Dunwoody Architecture - Year 4 by Dunwoody Alumni & Friends Magazine

DUNWOODY ARCHITECTURE

YEAR 4

The Architecture Programs at Dunwoody College of Technology combine to form a five year professional Bachelor of Architecture degree focused on strengthening the professionâ&#x20AC;&#x2122;s capacity to realize its potential for positive global change.

DUNWOODY ARCHITECTURE The Architecture Programs at Dunwoody College of Technology combine to form a five year professional Bachelor of Architecture degree focused on strengthening the professionâ&#x20AC;&#x2122;s capacity to realize its potential for positive global change.

AAS ASSOCIATE IN APPLIED SCIENCE The first two years offer an associate of applied science degree with a focus on employability through the establishment of professionalism and technical competency.

Y1 PROFESSIONALISM The first year focuses on establishing professionalism through an introduction to design + building technologies, practice in critical representation, and achievement in professional behavior.

Y2 TECHNICAL COMPETENCY The second year focuses on technical competency thgouh an introduction to project management, practice in architectural collaboration, and achievement in construction documentation.

BARCH BACHELOR OF ARCHITECTURE The final three years offer a professional bachelor of architecture degree with a focus on leadership in the art, discipline, and practice of architecture through achievement in design fundamentals, architectural research, and comprehensive design.

Y3 DESIGN Year three provides and introduction to design thinking, architectural design, and practice in varying site and historical contexts, and achievement in architectural design.

Y4 RESEARCH Year four focuses on architectural research through multidisciplinary design processes while working in more comprehensive contexts including global, cultural, theoretical, political and economic.

Y5 COMPREHENSION The final year is intended to synthesize previous knowledge through the development of comprehensive architectural works. Concurrently, legal, ethical, and business aspect of professional practice are introduced.

Y4 MINNEAPOLIS 2040 MINNEAPOLIS, MINNESOTA The purpose of this research based studio was to engage the design and urban planning implications latent in the proposed 2040 Minneapolis Comprehensive Plan. Working collaboratively with the Minneapolis City Council and members of the planning and development community, mapping strategies were developed with multiple datasets including a comparative analysis of cities across the United States, transportation networks and environmental assessments, racial and economic disparities, homelessness and affordable housing. The work of the studio then analyzed current housing, density and the impact of the proposed changes to zoning in the 2040 Comprehensive Plan. Design implications of the accessory dwelling unit, duplex, triplex, and the remaining range of the MIssing Middle, were engaged at a macro and site specific level. CLIENT Minneapolis City Council STUDENTS Adam Booth Sam LaSusa Tressa Koukal Devyn Smoter Megan Bur Nicholas Schurhammer Robert Bacon Samantha Christner Jacob Larson Nick Ramdingh Chris Eklund Laura Stene Safa Mustafa FACULTY Molly Reichert

     

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                          

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 

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 

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







































 

  





  

  

 



      





 











  













 













 









 





















                            











 



 

    



















  

  



  





   









         



  

 

  



            









       





 



 













 



 























































       







 



 













 



 























































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 

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Y4 IFP-MN SAINT PAUL MINNESOTA With an ambitious program and little funding, the Minnesota chapter of the Independent Filmmaker Project secured a 5,500 square foot whitewashed space within a 19th century warehouse in Saint Paul Minnesota. Intended as the centerpiece was the Marsden/Gustafson Gallery. To accommodate on-site production, sound and light were developed for ideal filming and recording. Sound is diffused and absorbed by an acoustic cloud which was simulated and digitally fabricated to control ideal levels of white noise and reverberation. Given the complexity of the ceiling, a point cloud scan was used to conceive of a geometry that could weave through existing elements. Its surface consists of folded planes of aluminum composite material holding recycled pulp paper which absorbs sound through the aluminum’s perforations. The perforation pattern itself was the result of the client’s request to use an iconic image that was unrecognizable without knowledge of its source. Using an image of film reels from the antique Arriflex 16MM camera within the gallery, a custom Grasshopper image processing script was developed to give the client full control of the pattern’s content and legibility. CLIENT The Minnesota Chapter of the Independent Filmmaker Project STUDENTS Tyler Bares; John Dwyer, AIA; Josiah Hanka; Gianna Madison; Andrew Miller; Celina Nelson; Alex Stanley; Roman Zastavskiy; FACULTY John Dwyer DONORS MG McGrath Inc.; Industrial Steel Fabricators; First & First; MA Peterson Design Build; Art & Architecture; Manifest Building; RJ Marco; Sunderland Frabotta Interiors; Willie Willette Works; Herzog Engineering PHOTOGRAPHY Chad Holder

working box office catering co-working space youth programs director

working executive director education director business director screenwriting residency mcknight fellow development director youth instructor facilities operations technical

filmmaking public / private screening editing post production documentary production screenwriting animation story boarding photography cinema lounge equipment rental classrooms

filmmaking juice media public school residencies summer youth camp adult continuing education youth edit lab youth screening

interstitial marsden gustafson gallery public / private events meeting / dining industry sponsorship facilities rental kitchen MNTV Showcase member photography showcase independent spirit awards

1 2 3 4 5

MAIN GALLERY PRIVATE OFFICE BOX OFFICE COMMONS YOUTH PROGRAMS

EDITING ROOM EQUIPMENT SCREENING ROOM KITCHEN STORAGE

6 7 8 9 10

Y4 CASA MARIA PUERTO RICO Earth is suffering from irresponsible and outdated agricultural practice. These effects are being felt through climate change as well as health problems in humans. Puerto Rico is directly feeling these effects. Hurricanes, a failing economy, pollution, and food shortage is causing a mass exodus of Puerto Ricans to the mainland United States. Puerto Rico needs to make changes, and those changes need to come from the depths of the communities. 80% of Puerto Rico’s agriculture production was destroyed during Hurricane Maria. Before Hurricane Maria Puerto Rico only grew about 15% of their total food supply. Puerto Rico’s climate is set to intensify over time. If people are going to stay on this island Puerto Rico needs to become hurricane resistant and self sufficient. Casa La Cuarta is n architectural response to conditions underlying Barrio La Cuarta in Capitanejo, Puerto Rico. This prefabricated modular home originates from a reinforced concrete box culvert system. An ale-carte type system gives the opportunity to home owner to efficiently customize their home to fit their lifestyle. These homes are hurricane, earthquake, and flood resistant making them a sustainable solution to Puerto Rico’s housing crisis.

CLIENT Ponce Neighborhood Housing Services STUDENT Ryan Kelly SUPPORTING RESEARCH Tyler Bares Marcos Villalobos Gianna Madison Alex Stanley Andrew Miller FACULTY John Dwyer Laura Cayere-King

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Homes in Puerto Rico are often poorly built and encourage an unhealthy way of living. Neighborhoods are congested and crime ridden.

A clean community is a happy community. 1HLJKERUKRRGV LQ 3XHUWR 5LFR ZHUH ȿOOHG ZLWK trash and debris. There is potential to make money in this area and it could be channeled as a resource.

Most of Puerto Rico’s food is imported causing overpricing and lack of control. With the hurricanes wiping out most of the agriculture, Puerto Rican’s are desperately looking for new ideas towards its agriculture.

Puerto Rico’s infrastructure was severely damaged during Hurricane Maria. Through its vulnerability, supplies could not be delivered to residents in need which had fatal implications.

Puerto Rico’s biggest issue is its power grid. Most of which failed during the hurricane, the islands power system is outdated, unreliable and overpriced.

Although a lot of the island gets a healthy dose of rainfall each year, Puerto Ricans are not channeling the resource to its fullest potential. Still relying on aquifers Puerto Ricans need to start thinking ahead on water issues.

Parks in Puerto Rico are scarce and unmaintained. Parks are usually unoccupied unless their is a community gathering or festival.

Local small business are crucial to Puerto Rico’s struggling economy. These businesses support local citizens everyday needs while recycling money back into the economy.

Y4 DIGITAL CERAMICS Digital Ceramics is an architecture design+build studio investigating the intersection between modern robotic manufacturing tools and fabrication processes and age-old materials of casting ceramics. The course addresses the issues architects face in introducing variation into typical standardized building systems and materials. Through site study and conversations with our client, we noticed several design opportunities for our Digital Ceramics work. The alley is a specific urban condition keeping vehicular traffic and associated structures at the back of buildings, prevalent in the city of Minneapolis. Through many charrettes the projects landed on addressing issues of light, saftey, urban heat island effect, and greenspace. After careful observation, we noticed that the birds in the alleyway were virtually all house sparrows. Historically, you would not find a house sparrow living in a undisturbed forest. Normally you would find them in city centers or in parks and green space near denser populations of humans There is also a current movement to raise awareness to the quickly declining population of house sparrows. The research says that the fast urban sprawl and grow of technology and packaging is creating an environment not fit for these birds, and something that they are not used to. A way to combat this is to keep adjacent green space and nature to our dense urban areas, as well as supply adequate housing for these birds. CLIENT Loring Park Business Collaborative STUDENTS Aaron McCauley Kyle Huberty Hannah Biros Josiah Hanka Guyon Brenna Marcos Villalobos Ryan Kelly James Matthes Ben Sherman Kevin Xiong FACULTY Molly Reichert

ific site we had already decided facing CMU wall, next to the

iteration of the planters, that d the placing the off white he blazing white wall would not The ideal situation would be to l before installing the modules. e color testing to see what colors best considering the location and the wall across the alley.

LANTERS

Located on the southwest edge of Downtown Minneapolis, this quaint cobblestone alley way is found between Loring Park and Hennepin Ave.

100’

200’

400’

of the removed material settled inside the guard, most of the clean up quick and minimal with a sho

which opvac.

If the center of the plaster blanks were s would need a dry some before we began

RAM

n the planter group have a hard time ory number of modules all.

birdhouse groups ces to cover the wall. d a design that would rograms.

PLANTER SYSTEM

SYSTEM

For the modules used as planters we placed the drainage holes in the center of the bottom of the pieces. The modules hold about 2-4 cups of dirt, enough for the plants chosen for the planters.

Drainage

BIRD-PLANTERS | 37

Planter section

BIRD-PLANTERS | 39

COMBINED PROGRAM

After the first iteration the planter group realized they would have a hard time producing a satisfactory number of modules to cover the CMU wall. So, the planter and birdhouse groups opted to combine forces to cover the wall. Together they created a design that would accommodate both programs.

SYSTEM

Module elevations

Module sections

36 | BIRD-PLANTERS

BIRD HOUSE SYSTEM

Heat Ventilation

As with the first iteration, we designed the modules with a spot on the bottom to cut drainage holes and a spot on the top for ventilation holes. The inside of the pieces are a generous size for the nests.

Drainage

Bird house section

38 | BIRD-PLANTERS

Y4 EVERYDAY URBANISM Everyday Urbanism compliments the ordinary, daily urban life and seeks to progressively better the experiences of its users through isolated opportunities of improvement. It focuses on ignored spaces present in our daily lives. These neglected moments in architecture are often observed as sidewalks, parking lots and alleys. Experientially, these places feel like “in-between” spaces rather than destinations. These spaces tend to be banal and mundane, with a minimal level of detail. However, these are areas still experienced, which present us with an opportunity to overcome the existing oppression in order to change the way people experience this part of their day. This is not a theory that is seeking to reach Utopian ideals, but rather, improve what already exists (Chase, Crawford, Kaliski, 2009). The location we selected is dominated by two intertwining stairs. While we had used the stairs many times before this project, the experience was inconsequential. The string installment is meant to be playful and inspire intrigue. Many who experience the installation may wonder what it is, why it is there, and what it is supposed to be. This installation was intended to create a liveliness that was lacking in this space. The strings reach across two pieces of Dunwoody’s history, the original and addition stairs, metaphorically connecting users from different levels and programs. We saw The string installment as a way to engage and stimulate the experience of the stairs. Visually, the contrasting bright colors radiate from a single point, fostering energy and creativity. The creation of this multidimensional space weakens the domination of the stairs, instead, directing the focus to other levels and points of connection.

STUDENTS Samantha Christner Jacob Larson Laura Stene FACULTY Catherine Britt PHOTOGRAPHY Kathy Helgeson