Juan Felipe Diaz by Juan Felipe Diaz

VIN-1FMZU73E62UB59284

RADICAL RE-PURPOSE JUAN FELIPE DIAZ

Juan Felipe Diaz GSoA University of Florida Printed in Gainesville, Florida No part of this book may be used or reproduced without consent of the author or the University of Florida except in the context of reviews Chair : Alfonso Perez, Mendez Co-Chair : Lisa Huang

ACKNOWLEDGMENTS

le quiero dar las gracias a mi señor todo poderoso, a mi familia específicamente a mi padre y madre, Niray Diaz y Alma Ramírez y mi hermanita Valentina, por todo el apoyo y amor incondicional que me han dado durante mi carrera. A Bryan, Yared, jean y todos mis amigos que han estado conmigo durante mi juventud y carrera, los quiero mucho de todo corazón mil gracias. También a la facultad de la universidad profesor Alfonso Pérez y lisa Huang por habar sido excelentes mentores durante mi carrera.

I want to thank GOD almighty, my family especially my father and mother, Niray Diaz and Alma Ramírez and my little sister Valentina Diaz, for all the support and unconditional love they have given me during my career. To Bryan, Yared, Jean and all my friends who have been with me during my youth and career, I love you guys with all my heart thank you. Also, to the faculty of the university professor Alfonso Pérez and Lisa Huang for having been excellent mentors during my career.

CONTENTS 5 6-9

ABSTRACT

ABSTRACT UNDERSTANDING THE RE’S RE-CYCLE RE-USE RE-PURPOSE

11-31

CASE STUDIES UNDERSTANDING

33-57

THE BIG PICTURE 1. TYPE OF CAR CONSTRUCTION. 2. UNDERSTANDING FUNCTION AND PARTS OF THE OBJECT 3. MATERIALITY 4. SCALE / WEIGHT OF THE FOUND OBJECT 5. MOVEMENT AS ORIGINAL DESIGN INTENT

59-77

RADICAL RE-PURPOSE THEORY

There’s an abundance of vehicles through the United States and the world that are currently decomposing in junkyards. These particular objects that have so much potential as architectural components can be used in the construction application. The goal of the thesis would be to radically reuse found objects as architectural elements and apply them at different scales; from small details to a complete tectonic construct of a wall. This transformation can be done by finding multiple applications for the found parts of the car, understanding the relationship between their original purpose of design and their new application in architecture. An approach to this would be reusing materials that have already been created for a specific purpose and giving the found object a second life while maintaining the memory of the part. Recycled materials undertake an eight-part process from the separation of materials to the redesign which leads to an energy and time waste in the melting and creation process. The idea is to find an object that is taken from the car like the chassis and use it as structural elements in a pavilion. There is a set of guidelines regarding the use and application of these unique parts (limitations of the construction). These limitations are a set of rules that could benefit the design of the project.

1. SALES 2. DISASSEMBLY 3. CONSTRUCTION

79-93

PROPOSAL PAVILION / MEDITATION SPACE 1. DESIGN INTENT

95-97

PRICE COMPARISON

This Master’s research project is presented to the University of Florida’s Graduate School of Architecture in partial fulfillment of the requirements for the degree of Masters of Architecture.

99-101

CONCLUSION

Spring 2018

103-105

BIBLIOGRAPHY

I started this thesis with the preoccupation of waste. In today’s society, everything gets discarded (thrown away).

UNDERSTANDING THE RE’S RE-CYCLE

-Theres no intention of fixing the object, just the idea of purchasing a new one as soon as it’s needed. With this idea in mind, I wanted to explore the three (RE’S) RE-CYCLED RE-USED RE-PURPOSED

RE-USE RE-PURPOSE

A question for the reader: What happens in the next 50 years that petroleum decreases and cars fade away? What happens to materials when they become obsolete?

I wanted to have an understanding of what each of these categories means.

RE-CYCLED PROCESS COLLECTING

MAGNETIC SEPARATION

RE-CYCLED - IS AN EIGHT STEP PROCESS THAT INVOLVES

1. TIME - Process and categorizing

BALE PRESSING

2. LABOR - The creation of factories and workers to melt these found objects

3. ENERGY - To melt these in order to create something new.

COMMINUTION

RE-PURPOSED- IS A THREE-STEP PROCESS THAT INVOLVES

1. COLLECTING - The found objects

2. REDESIGN - looking for different applications/Uses

3. APPLYING - construction

FURNACE

RE-PURPOSED PROCESS COLLECTING

FORMING

RE-USED PROCESS REDESIGN

COLLECTING

FINISHED PRODUCT

APPLYING

ROLLING MILL RE-USED - IS A TWO STEP PROCESS THAT INVOLVES

1. COLLECTING - The found objects

2. REAPPLYING - As the objectâ&#x20AC;&#x2122;s original used of design.

FINISHED PRODUCT

CASE STUDIES UNDERSTANDING

Recycled Plastic Bricks ( RE-CYCLE )

Image Courtesy of Conceptos Plásticos

The process of melting down and reshaping of the plastic bottles/ components (these components can also include car parts as bumpers and panels) needs an additional form of energy, labor, time to reshape in order to create the bricks for the application to construct of the house. The architect must design the mold of the bricks in order to create a module that would be able to receive its self in a repetitive layer. I still believe that these projects are extremely important in society today because it’s still dealing with the prevention of waste going into the land fields.

Architect : Óscar Méndez Location : Cundinamarca, Colombia Client : Fernando Llanos Area : 40 SQM Project year : 2011

Ten years ago when Colombian Fernando Llanos tried to build his own house in Cundinamarca, he realized that moving the materials from Bogota was going to be very difficult. After mulling it over, he decided to build his house out of plastic, and after a series of trials and errors, he ended up meeting architect Óscar Méndez, who developed his thesis on the same subject, and together they founded the company Conceptos Plásticos (Plastic Concepts) in 2011. The innovative local company managed to patent its system of bricks and pillars made of recycled plastic, which is then put together like Lego pieces in a construction system that lets you build houses up to two stories high in five days. Instead of using brand new plastic, they decided to give plastic that has already been thrown away a second chance at life, keeping in mind that on average it takes 300 years for it to completely degrade. “Working with new plastic is simple,” explained Óscar Méndez to the Colombian newspaper El Tiempo, “because there are defined parameters, but used (plastic) requires more experimentation.” The base material they work with is obtained from popular recyclers and factories that discard tons of plastic daily. Using an extrusion process, the plastic is melted and emptied into a final mold, creating a three-kilo brick (6.6 lbs), similar to clay ones with the same dimensions. When assembled under pressure, the bricks insulate heat and have additives that retard combustion. Additionally, they are thermoacoustic and earthquake-resistance is up to code for Colombia, taking into account the country’s high levels of seismic activity.

With a final cost of 20 million Colombian pesos (about USD 6,800) per unit, the company had the help of four people to build a 40 square meter house with two bedrooms, a living room, a dining room, a bathroom and a kitchen in only five days. In their meteoric rise, a major milestone for this small company (with less than 15 employees) was the construction of a set of temporary shelters in Guapi (southwest of Colombia) for 42 families displaced by armed conflict. After winning the bid from the Norwegian Refugee Council (NRC), they completed the project in 28 days thanks to the joint work of 15 people, while recycling more than 200 tons of plastic. According to the NRC, the shelters have “a design adapted to the need for mobility and climatic conditions,” and the layout of the roof “improves both ventilation and lighting allowing for suitable conditions in such a hot climate.” The community project also has electrical installations, toilets, and three communal kitchens for the housed families. The revolutionary initiative from Conceptos Plásticos has already set its eyes abroad and won $300,000 (USD) in the latest edition of The Chivas Venture, to step up its production on a global scale, after beating out 26 other international initiatives with social impact. News via: Óscar Méndez, Portfolio, El Tiempo, NRC and The Venture.

1. Valencia, Nicolás. “This House was Built in 5 Days Using Recycled Plastic Bricks” 01 May 2017. ArchDaily. (Trans. Pimenta, Amanda ) Accessed 21 Apr 2018. <https://www.archdaily. com/869926/this-house-was-built-in-5-days-using-recycled-plastic-bricks/> ISSN 0719-8884

This projects has about 95% of Materials being RE-CYCLED

Pavilion Made from Aluminum Cans and Cracked Clay ( RE-CYCLE )

Courtesy of Team Aesop (Josh Draper, Lisa Ramsburg, Powell Draper, Edward M. Segal, and Max Dowd)

Cast & Place has been announced as the winner of the 2017 City of Dreams competition to create a pavilion for New York City’s Governors Island. Held by not-for-profit arts organization FIGMENT, the AIANY Emerging New York Architects Committee, and the Structural Engineers Association of New York, the competition called for a design to be the hub of FIGMENT’s free community arts festival during Summer 2017, based on questions of the future of New York, how design can confront environmental challenges, and how architecture can be built from recycled or borrowed material. With these questions in mind, Cast & Place was conceptualized as a pavilion made entirely from waste. 300,000 recycled aluminum cans, cast into the cracks of dried clay, will form structural panels that assemble into shaded spaces for performance and play. To make these panels, the

team—called Team Aesop, consisting of Josh Draper, Lisa Ramsburg, Powell Draper, Edward M. Segal, and Max Dowd—will collect five tons of clay from Flushing, Queens, through the Clean Soil Bank, an organization that facilitates the transfer of earth from excavation sites, lays it out to dry in reclaimed wood molds from Big Reuse. The recycled aluminum cans, partially supplied by recycling center, SureWeCan, will then be melted and poured into the cracked dredge, creating lightweight, strong panels. At the end of the summer, when the arts festival is over, the pavilion will be disassembled and turned into benches and trellises for the people who helped to support the project. Cast & Place will be entirely funded through its kickstarter, which is open and accepting donations towards its $30,000 goal until March 27. 2. Sabrina Santos. “Pavilion Made from Aluminum Cans and Cracked Clay Wins 2017 City of Dreams Competition” 23 Mar 2017. ArchDaily. Accessed 21 Apr 2018. <https://www.archdaily.com/867234/pavilion-made-from-aluminumcans-and-cracked-clay-wins-2017-city-of-dreams-competition/> ISSN 0719-8884

This project would be constructed with 100% RE-Cycled materials, not only the Aluminum cans are being RE-Cycled but also the wood molds are being RE-Purposed, but the RE-Use of the clay to create the organic shape of the panels. This project has the three (RE’S) categories (RE-CYCLED, RE-PURPOSED, RE-USED) working together to form panels for this pavilion construction. In use of the smaller scale parts of the pavilions, the parts are also being used as cup coasters.

This projects has about 100% of Materials being RE-CYCLED, RE-USED, RE-PURPOSED.

One Bucket at a Time ( RE-USE, RE-PURPOSE )

Image courtesy of Jaime Navarro Architects: Factor Eficiencia, 5468796 Architecture

The project could be moved to various locations with the ease of its assembly. After the life-cycle of its installation, the buckets could be recycled and made into a different object. The project uses common painter’s buckets as the building blocks for an interactive pavilion. Connecting the buckets via a grid of ropes, the installation is a malleable ‘surface’ that the public is encouraged to freely explore. The incorporation of a grid system to the MRP stood out because of the application of the module design. As used by LOT-EK studio with the full-size container.

Location: Central Alameda Park, Av. Hidalgo s/n, Cuauhtémoc, Centro, 06010 Ciudad de México, CDMX, Mexico Architects in charge: Pablo Batista, Sasa Radulovic, Johanna Hurme, Gerardo Salinas y Fermin Espinosa Structural Engineer: Studio NYL Structural Engineers Constructor: Factor Eficiencia Area 100.0 m2 Project Year: 2017 In Mexico City’s metropolitan area, with a population of more than 23 million people, 4.5 million daily commuters navigate complex road networks, frequent traffic jams, public protests and parking shortages. The street—the prime public space—is the setting for all such friction. There, “viene viene”—entrepreneurs who function outside of government oversight, bribe the local police, use common painter’s buckets to claim a piece of the street, and will charge hopeful drivers looking for a parking spot with an additional fee in exchange for access to their illegal stall. Each viene viene can control one or several city blocks with their buckets, and will threaten anyone who parks without agreeing to pay them. One Bucket at a Time, was inspired by this hijacking of public (parking) space, and uses common painter’s buckets as the building blocks

for an interactive pavilion. Connecting the buckets via a grid of ropes, the installation is a malleable ‘surface’ that the public are encouraged to freely explore. The surface functions like a giant carpet, and can be rolled, pulled together or up to a point or along a line taking on different forms. People can sit, run, play, stand, lounge, and participate in the act of taking over the public realm. In situ for a three-day period, the installation will come down gradually, released from the ropes and absorbed by the city. By using buckets—a symbol of holding the public space hostage—we are highlighting and questioning this pervasive condition, and also empowering people of Mexico City to reclaim ownership of their public space, one bucket at a time, even if only for a few days.

3. “One Bucket at a Time / Factor Eficiencia + 5468796 Architecture” [One Bucket at a Time / 5468796 Architecture + Factor Eficiencia] 16 Mar 2017. ArchDaily. (Trans. Santibañez, Danae) Accessed 21 Apr 2018. <https://www.archdaily.com/867291/one-bucket-at-a-time-factor-eficienciaplus-5468796-architecture/> ISSN 0719-8884

This projects has about 100% of Materials being RE-USED, RE-PURPOSED

The Circular Pavilion ( RE-USED, RE-PURPOSE )

Architects: Encore Heureux Architects Location Parvis de l’hôtel de ville, 75004 Paris, France

Image courtesy of Cyrus Cornut

Area 70.0 sqm Project Year 2015

This pavilion demonstrates the potential of RE-Use in architecture, about 60% of the implemented materials here finds a second life. Wastes taken from three different construction sites. Each of the materials implemented has its own story. The use of 180 wooden doors, deposited during a housing rehabilitation operation in Paris’ 19th district, form the facade. Inside, the isolation uses mineral wool removed from a supermarket roof. The wooden framework is made from materials that were left-over from the construction site of a retirement home while the ground and the partition walls consist of former exhibition’s walls. Outside, the terrace is built with the wood of Paris Beach event. The furniture was made from 50 wooden chairs that were collected from Parisian bulky waste, fixed and painted, and the hanging lights come from the public lighting storage.

Photographs Cyrus Cornut, Cyrille Weiner

A singular building, the Circular Pavilion has nothing round. The name describes the process, which follows the circular economy principles, according to which ones’ waste become others’ ressources. Faced with the depletion of natural resources and aims for the «Zero Metropolis Waste» ambition, this pavilion demonstrates the potential of re-use in architecture, which fits in the context of COP 21 (the 2015 United Nations Climate Change Conference) in Paris. About 60% of the implemented materials here finds a second life.

hanging lights come from the public lighting storage. At the exception of the framework and impermeability, all the work was done by the technical services of Paris City Hall.

Wastes taken from construction sites, erroneous orders or unused stocks : each of the materials implemented has its own story. 180 wooden doors, deposited during a housing rehabilitation operation in Paris’ 19th district, form the facade. Inside, the isolation uses mineral wool removed from a supermarket roof.

An improved focus on the already existing resources and materials would allow to reduce our consumption of primary resource as well as avoid the production and accumulation of wastes that then need to be dealt with. It an ongoing research toward an architecture characterized by sobriety and pertinence.

The wooden framework is made of extras from the construction site of a retirement home while the ground and the partition walls consist of former exhibition’s walls. Outside, the terrace is built with the wood of Paris Beach event. When it comes to the furnitures, 50 wooden chairs were collected from Parisian bulky waste, fixed and painted, and the

While implanted on the parvis de l’Hôtel de Vill, the pavilion will host exhibitions, workshops, lectures and debates. At the beginning of year 2016, the Circular Pavilion will be dismantled and reinstalled permanently in Paris’ 14th district as a sports association’s clubhouse.

With this experimental process, we wanted to demonstrate that access to new materials deposits rely on new relationships with the ones in charge of de-constructing and dismantling buildings, the ones who salvage and implement materials.

4. “The Circular Pavilion / Encore Heureux Architects” 21 Dec 2015. ArchDaily. Accessed 21 Apr 2018. <https://www.archdaily.com/778972/the-circular-pavilion-encore-heureux-architects/> ISSN 0719-8884

« In the history of humankind reuse is a common thing, whether it was bricks and stones of obsolete buildings, already existing foundations and supporting walls or whole buildings » Jean-Marc Huygen, Architect

This projects has about 95% of Materials being RE-USED, RE-PURPOSED

Recycled materials cottage ( RE-USED )

Materials that have been collected and bought from three different buildings that have been demolished. - Glazed doors of a house of the 60´s by Horacio Borgheresi that originally belonged to a patio, became the main facade of the new housing. - Eucalyptus and native rauli parquet floors of a house of the 70´s by Larraín, Swinburn, and Covarrubias, which became the main coating. - Commercial laminated beams and steel pieces used for a temporary exhibition are now part of the main structural elements.

Architect : Juan Luis Martines Nahuel

Courtesy of Juan Luis Martínez Nahuel

These materials have been reused to create a new construction. Materials that were taken from the sites as scrap (junk) and where RE-Used as their original design of use.

Location : Panguipulli, Chile Client : Francisca Boher Elton Area : 112.0 SQM Project year : 2008 The house is emplaced in the wooded hillside of the Pirihueico Lake located in 14th. Region (Region de los Rios). The difficulty of access determined the restraint of defining the project in multiple modular parts of the capacity of a small truck. The wish and ability of the client to search and purchase demolition materials set a series of elements to incorporate in the new home. - Glazed doors of a house of the 60´s by Horacio Borgheresi that originally belonged to a patio, became the main facade of the new housing. - Eucalyptus and native rauli parquet floors of a house of the 70´s by Larraín, Swinburn and Covarrubias, which became the main coating.

- Commercial laminated beams and steel pieces used for a temporary exhibition are now part of the main structural elements. Once the new elements were taken into account, the cottage was defined as a single storey volume with a slight break in the plant axis which articulates and determines the entrance as well as the definition of two main zones, depending on their level of publicity or privacy. The facades, overhangs and terraces, are proposed based on the orientation, in terms of the view and the sunlight. The recycling of materials as a new order of Re-Construction.

5. “Recycled Materials Cottage / Juan Luis Martínez Nahuel” 13 May 2011. ArchDaily. Accessed 21 Apr 2018. <https://www.archdaily.com/134620/recycled-materials-cottage-juan-luis-martinez-nahuel/> ISSN 0719-8884

This projects has about 80% of Materials being RE-USED

Upcycling Pavilion ( RE-PURPOSED )

Architects: BNKR Arquitectura

Image courtesy of Sebastián Suárez

Location: Expo CIHAC, México DF, México Design Team: Esteban Suárez, Emelio Barjau, Sebastián Suárez, Marcell Ibarrola, Christian Morales, Montserrat Escobar, Jorge Alcántara

This case study was interesting because the proposal was to create a low cost - zero waste sustainable pavilion that could set an example for future exhibitions. It’s as simple as stacking Coca-Cola to create divisions within a space. The main component is the Coca-Cola crates. The architect decided to incorporate 5,000 crates in the project.

Environmental Advisor: Juan Casillas Area: 300.0 sqm Photography: Sebastián Suárez Deeply concerned by this, we approached the exhibition principals with the proposal of creating a low cost - zero waste sustainable pavilion that could set an example for future exhibitions. Inspired by the upcycling movement, that focuses on converting waste materials or useless products into new materials or products of better quality or for better environmental value, we conceived a pavilion made up exclusively of soda crates piled on top of each other. First, we presented the project to a major soda company, in this case Coca Cola, to get them to sponsor us and lend us the soda crates. Since they found the project very interesting and in tune with their sustainability company programs, they even offered to sponsor the transportation of the crates. Second, we convinced the exhibition principals to let us build the exhibition´s cafeteria, which was never given any thought design wise, with 5,000 soda crates as an Upcycling Pavilion. Besides the aesthetic qualities and the environmental and sustainability virtues they saw in it, our biggest selling point was that it would not cost them a cent.

Since we´d never built a pavilion out of soda crates, we awaited the arrival of the 5,000 crates three days before the exhibition opened, and constructed it on the spot through on site experimentation and trial and error. The crates were piled on top of each other and simply tied to one another with small plastic cinch straps to create the walls. The curved walls are not gratuitous; they give structure and let you go up to 5 meters in height. The walls end in diagonal lines that meet the floor in order for them to have more stability. Although up-cylcing has been around for some time now, nothing of this sort had ever been done in the more than thirty years that the exhibition has taken place. It served as an example for unconventional and outside the box solutions for creating low cost and zero waste pavilions. When the exhibition came to an end, the pavilion was dismantled, the plastic cinch straps were collected and recycled and the soda crates were returned to Coca Cola to continue being used for what they were originally created: carrying soda pops.

6. “Upcycling Pavilion / BNKR Arquitectura” [Pabellón Sobreciclable / BNKR Arquitectura] 25 Nov 2012. ArchDaily. Accessed 21 Apr 2018. <https://www.archdaily.com/296531/upcycling-pavilion-bnkr-arquitectura/> ISSN 0719-8884

This projects has about 100% of Materials being RE-PURPOSED

The Eames House-WAR-PLANE MATERIALS APPLIED TO POST-WAR HOUSING ( RE-PURPOSE )

Image courtesy of Stephen Canon The Case Study House Program announcement explained that: “Architects will be responsible to no one but the magazine, which having put on a long white beard, will pose as ‘client.’ It is to be clearly understood that every consideration will be given to new materials and new techniques in home construction. And we must repeat again that these materials will be selected on a purely merit basis by the architects themselves. . .No attempt will be made to use a material merely because it is new and tricky. On the other hand, neither will there be any hesitation in discarding old materials and techniques if their only value is that they have generally been regarded as ‘safe.’” When Charles and Ray designed their own home, Case Study House #8, they sourced many of the parts from catalogs of industrially produced materials. As Charles wrote in 1953, “Potentially mass production has the possibility of bringing more concern, more sweat, blood and tears to the service of the individual consumer than the craft era could ever dream of, and in many areas today, it is already being done.” The Eames House incorporates pre-fabricated steel windows, Cemestos panels, Truscon steel beams and joists, chicken-wire, factory-standard glass, and parts from a marine catalog to create the stairway. These elements account for most of the home’s structural components. They also added industrial elements to the inside of the building, including materials from military aircraft. Built-in cabinets line the walls

of the house, including the back of the seating alcove in the living room; the sliding doors over those cabinets are made of Plyon. Some of the windows are also outfitted with Plyon panels on the inside. This material was marketed as fuel-cell liners by Swedlow Plastics, the original manufacturer, located just south of Los Angeles in Gardena, California. As a fuel-cell liner, the material was thin, strong, lightweight, and it resisted degradation. In addition, the Plyon proved to be translucent, durable, and capable of holding its shape. Those very same qualities made it useful as an interior finish. Consider the alternatives to plyon that were available: Thin wood doors can warp or crack, and paper screens, like those used in Japan, have a tendency to tear. Sixty-six years have passed since Charles and Ray built the House, and none of the original Plyon panels have needed replacement. Durability was a key factor in everything the Eameses designed; in using Plyon, Charles and Ray were able to meet that standard. For the cabinets, they used Plyon panels in opaque white, and they chose a translucent version of the material for some of the windows. The handsome Plyon details of the Eames House illustrate one of the many ways in which Charles and Ray fulfilled The Case Study House Program‘s values and objectives. It is a tribute to their ingenuity that they could take a material originally used for war planes and find a practical way to use it in post-war housing.

This case study shows the ingenuity that the Eames has when dealing with materials that had already been designed for a specific purpose (Military aircraft), these materials have already made a carbon footprint in its original construction. The materials are being manipulated from their original form, my ideals are that I want to be honest to the parts that I would be using in my 1:1 construction.

The goal of the Case Study House program was to provide low-cost housing for the “ninety-nine” percent, especially for the millions of G.I.’s returning to civilian life after World War II. Charles and Ray Eames took this objective very seriously. Daniel Ostroff

This projects has about 10% of Materials being RE-PURPOSED 7. “War-Plane Materials Applied to Post-War Housing.” Eames Office, Daniel Ostroff, 10 Jan. 2017, www.eamesoffice.com/blog/war-plane-materials-applied-to-post-war-housing/.

Steele, James (1994). Eames House: Charles & Ray Eames (Architecture in Detail). London & New York: Phaidon. ISBN 0-7148-4212-5.

Can Cube, Archi Union Architects ( RE-PURPOSE )

This case study is particularly interesting to me because the architect explains that they are RE-Purposing the cans and not RE-Cycling, by doing this the material (cans) are being applied directly after use, no energy, labor, time is being invested in the manipulation of the part. I’m interested in the Idea of keeping the material as-is but still being able to modify small portions of it for connecting points and reinforcement. By utilizing several ecological and renewable systems the building is highly efficient and sustainable.

Architects: Archi Union Architects Inc

Image courtesy of Sheng Zhonghai

Location Shanghai, China Area 1000.0 sqm Project Year: 2010 Photographs: Sheng Zhonghai Can Cube’s facade is a system of aluminum carbonated drink cans which are enclosed in an aluminum frame. The façade saves the energy wasted during recycling processes by reusing the cans in their current form, without the need for recycling or further processes. Archi Union’s sustainable mixed-use Can Cube design is an innovative residential and office building, located in Shanghai. By utilizing several ecological and renewable systems the building is highly efficient and sustainable. The entrance level and below ground level are both occupied by office space, while levels two and three are recreational and private living quarters. At the entrance

is a gradually recessed garden, leading to the basement level. A bridge connects the foot of the garden to the first floor level. Enclosing them in an aluminum frame keeps the structure light and easily adjustable by its occupants. Window-sash type sections within the façade provide the user with full control of sunlight/daylight in all seasons. The façade works alongside underground heating and cooling devices, rainwater filtration and solar energy systems, which all provide more efficiency and minimize the wastage of energy.

8. “Can Cube / Archi-Union Architects” 27 Oct 2010. ArchDaily. Accessed 21 Apr 2018. <https://www.archdaily.com/85278/can-cube-archi-union-architects-inc/> ISSN 0719-8884

This projects has about 10% of Materials being RE-USED

PUMA CITY ( RE-USE, RE-PURPOSE )

Architect : LOT-EK Client: PUMA Location: Multiple Global Ports Size: 11,000 SF Completed: 2008 Structural Consultant: Robert Silman Associates Mechanical/Sustainability Consultant: Rosini Engineering

SCANS THE ENVIRONMENT IN SEARCH OF MANMADE OBJECTS AND SYSTEMS LOT-EK EXPLOITS OBJECTS AS RAW MATERIAL FOR ARCHITECTURE LOT-EK UPCYCLES OBJECTS TO CREATE REMARKABLE BUILDINGS LOT-EK is an award-winning architectural design studio based in New York and Naples, Italy. Founded in 1993 by Ada Tolla and Giuseppe Lignano, LOT-EK has been involved with commercial, institutional and residential projects globally. In addition, LOT-EK has conceived and executed exhibition design and site-specific installations for major cultural institutions and museums, including MoMA, the Whitney Museum, the Walker Art Center and the Guggenheim. LOT-EK has achieved high visibility for its sustainable and innovative approach to construction, materials and space, through the adaptive reuse (“upcycling”) of existing industrial objects and systems not originally intended for architecture. LOT-EK APPROACH Our sustainable approach to construction through upcycling has been the basis of structural projects at all scales. We are committed to ecologically responsible and intelligent methods of building. To that end, we leverage the technological properties of existing industrial objects to create architecture. Our goal is to not only upcycle the objects themselves, but to upcycle the intelligence that went into their development. Beyond

the inherent sustainability of our design methodology, we are committed to researching and implementing innovative ways to conserve materials and energy. Our projects have long been considered ground-breaking and innovative. LOT-EK’s first monograph, Urbanscan, was published by Princeton Architectural Press in February 2002. LOT-EK Mixer, was issued by Edizioni Press in 2000, and MDU: Mobile Dwelling Unit, published by DAP, was printed in June 2003.

Twenty-four shipping containers are retrofitted and transformed into PUMA City, a transportable retail and event building. The building was assembled and disassembled at several different international ports. PUMA City is conceived as a three-level stack of containers, shifted to create internal outdoor spaces, large overhangs, and terraces. The structure is comprised of two full retail spaces on the lower levels, both designed with large double height ceilings and 4-container-wide open spaces – as a counterpoint to the modular box-quality of the container inner space. The second level houses offices, press area, and storage, while a bar, lounge and event space with a large open terrace is placed at the top. The building uses 40-foot long shipping containers as well as a number of the existing container connectors to join and secure containers both horizontally and vertically. Each module is designed to ship as conventional cargo container through a system of structural covering panels that fully seals all its large openings to be removed from the site to re-connect the large, open interior spaces. At 11,000 square feet of the ace, it is the first container building of its scale to be truly mobile.

LOT-EK PRINCIPALS Ada Tolla and Giuseppe Lignano both have Masters Degrees in Architecture and Urban Design from the Universita’ di Napoli, Italy (1989), and have completed post-graduate studies at Columbia University, New York (1990-1991). Besides heading their professional practice, they also teach at Columbia University, Graduate School of Architecture, Planning and Preservation in New York, and have taught at the Massachusetts Institute of Technology’s Graduate Department of Architecture, in Cambridge, MA, at the School of Architecture of the Univerisity of Syracuse and at Department of Architecture, Interior Design and Lighting of Parsons School of Design in New York. They also lecture at major universities and cultural institutions throughout the US and abroad. In December 2011, Ada and Giuseppe were recognized as USA Booth Fellows of Architecture & Design by United States Artists (USA). 9. David Basulto. “PUMA City, Shipping Container Store / LOT-EK” 20 Dec 2008. ArchDaily. Accessed 21 Apr 2018. <https://www.archdaily.com/10620/puma-city-shipping-container-store-lot/> ISSN 0719-8884

This projects has about 90% of Materials being RE-USED, RE-PURPOSED

Rural Studios - Glass Chapel ( RE-CYCLE, RE-USE, RE-PURPOSE )

IMAGE: TIMOTHY HURSLEY

The studio became known for establishing an ethos of RE-Cycling, RE-Using and RE-Purposing of objects. I’m using Rural studios for this same purpose, I believe that objects that have been designed for a specific purpose could have a secondary purpose of use, the idea of giving the windshield of an old Chevrolet inspired me to think of alternate uses of the automobile. I’ve been fascinated with the tectonic construction because it could easily be assembled and disassembled by an individual with a set of rules and guidelines. Rural studios simply applied the windshields to a structural frame that was designed to hold each unit. I’m interested in maintaining each of the components that are taken from the car as true to their original design as possible and finding a way where they would fit together to form structural elements, hinges, joints, roof, windows, and apertures. I’m interested in maintaining the memory of each of the parts and giving them a second life.

Rural Studio is an off-campus design-build program of Auburn University. The program, established in 1993 by D.K. Ruth and Samuel Mockbee, gives architecture students a more hands-on educational experience while assisting an underserved population in West Alabama’s Black Belt region. In its initial years, the Studio became known for establishing an ethos of recycling, reusing and remaking. In 2001, after the passing of Samuel Mockbee, Andrew Freear succeeded him as director. Since that time, Rural Studio has expanded the scope and complexity of its projects, focusing largely on community-oriented work. The Rural Studio philosophy

suggests that everyone, both rich and poor, deserves the benefit of good design. To fulfill this ethic, the Studio has evolved towards more community-oriented projects. Projects have become multi-year, multi-phase efforts traveling across three counties. The students work within the community to define solutions, fund raise, design and, ultimately, build remarkable projects. The Studio continually questions what should be built, rather than what can be built, both for the performance and operation of the projects. To date, Rural Studio has built more than 170 projects and educated more than 800 “Citizen Architects.”

10. “Purpose and History.” RURAL STUDIO, AUBURN UNIVERSITY, www.ruralstudio.org/ about/purpose-history.

This projects has about 80% of Materials being RE-CYCLED, RE-USED, RE-PURPOSED

THE BIG PICTURE 1. TYPE OF CAR CONSTRUCTION. 2. UNDERSTANDING FUNCTION AND PARTS OF THE OBJECT 3. MATERIALITY 4. SCALE / WEIGHT OF THE FOUND OBJECT 5. MOVEMENT AS ORIGINAL DESIGN INTENT

TYPE OF CAR CONSTRUCTION BODY ON FRAME VEHICLES When we speak about the glass chapel the first image that comes into my head is the use of the windshield, the chapel uses 75 windows taken from a Chicago scrap yard. This case study developed a series of questions for the thesis project. What other parts of the car could be used and applied in an architectural construction. Cars have a general lifespan of five to ten years of use depending on

the individual use and driving style of the person and how well the vehicle has been maintained throughout its life of use. Most of the vehicles after they have been used, are discarded in large lots (junkyards) ether to be dismantled for parts till the weather corrodes whats left of the car. These cars are usually left in these lots for a period of twothree years till they are taken to the car crusher, then recycled.

For the thesis, the focus would be primarily on the category of RE-PURPOSING With the idea of maintaining RE-USE as part of the memory of the object that I would be using for the design of the project. 1. TYPE OF CAR CONSTRUCTION. - BODY-ON-FRAME CONSTRUCTION 2. UNDERSTANDING FUNCTION AND PARTS OF THE OBJECT - EXPLODED VIEW OF PARTS

3. MATERIALITY 4. SCALE / WEIGHT OF THE FOUND OBJECT 5. MOVEMENT AS ORIGINAL DESIGN INTENT - ESSENCE OF THE PARTS

BMW i3 BMW i8 Cadillac Escalade Cadillac Escalade ESV Chevrolet Colorado Chevrolet Silverado Chevrolet Suburban Chevrolet Tahoe Ford Econoline (1977-2014) Ford Explorer (1990-present) Ford Expedition Ford Expedition EL Ford F-Series GMC Canyon GMC Sierra GMC Yukon GMC Yukon XL Infiniti QX80 Jeep Wrangler Jeep Wrangler Unlimited Lexus GX Lexus LX Lincoln Navigator Lincoln Navigator L Mercedes-Benz G-Class Nissan Armada Nissan Frontier Nissan Titan Nissan Xterra Ram 1500 Toyota 4Runner Toyota Hilux Toyota Land Cruiser Toyota Sequoia Toyota Tacoma Toyota Tundra

The type of vehicle construction will be based on the “body-onframe” assembly. I decided to explore the different manufacturers that design their vehicles with this type of assembly. The vehicles that are listed on the left side of the page, are a few of the many manufacturers that make “body-on-frame” vehicles. The main structural element is the CHASSIS, I chose the body-on-frame manufacturing method because it’s what seemed the most applicable architectural structural component. The main structure of the car could have the potential of becoming a tectonic construct.

Advantages 1. Easier to design, build and modify. (partly due to today’s computer-aided design(CAD) for coach-built vehicles in particular. 2. Less noise whilst travelling, because the groans squeaks and rattles normally associated with bodywork movement due to stresses and strains are not heard so much, and road noise from tyres is more ‘distant’, all due to the bodywork being isolated from the chassis by rubber pads around the attachment bolts, or by suspending the body on the chassis. 3. Easier to repair after accidents. This is crucial for first responders (police, fire, EMS) and anyone who

Disadvantages 1. The complete vehicle will often be heavier than a monocoque shell, resulting in diminished performance and higher fuel consumption. 2. Body-on-frame vehicles with high ground clearance such as trucks and true off-road SUVs have high centers of gravity, compromising their on-road performance somewhat.

needs their vehicle to earn a living. Damaged bolt-on wings, bumpers etc: can be replaced easily, and in the case of a ‘working vehicle’ they can be returned to earning status almost immediately. A monocoque (one piece) vehicle shell would need specialist repairs, which could mean long delays till the vehicle is ‘useable’ again. 4. Can allow more torsional flexing before yielding (trucks, truck-base SUVs, off roading) 5. Vehicles mounted hIgh on a separate chassis such as trucks and true off-road SUVs are less likely to suffer damage from rust caused by dampness, mud, stones, road grit, water, snow, and other more serious damage like the transmission or engine oil sump damage often caused by rocks.

3. Less resistance to torsional flexing (flexing of the whole vehicle during cornering.) can compromise the handling and road grip. 4. Many “Body on chassis” vehicles have no ‘inbuilt’crumple zones like one-piece monocoque vehicles, meaning there’s can be a higher chance of injury in a bad accident when the vehicle stops instantly without the impact being absorbed.

UNDERSTANDING FUNCTION AND PARTS OF THE OBJECT 1. end set rack 2. tube air transfer 3. clip, tie rod 4. bracket steering rack (upper) 5. cushion b power steering rack 6. bracket steering rack 7. clip transfer tube (nifco) 8. band b bellows 9. grommet a steering 10. grommet b steering 11. dust seal tie rod 13. washer tie rod lock

14. end r. tie rod 15. boot tie rod end (nok) 16. end l. tie rod 17. p/s rack core id (s04-a5) (rmd) 18. bush steering gear box mounting 19. collar steering gear box mounting 20. bolt gear box mounting (10x55) 21. nut hex. (14mm) 22. bolt-washer (10x25) 23. nut hex. (10mm)

1. pedal accelerator 2. washer accelerator pedal 3. spring accelerator pedal 4. cover accelerator pedal 5. arm auto cruise 6. bush, center 7. spring auto cruise 8. wire throttle 9. seal throttle cable 12. clamp throttle wire 15. switch assy. stop & cruise 18. pedal brake

19. bush pedal 20. pad pedal stopper 22. spring assy. pedal return 23. collar pedal 24. cover brake pedal 26. bracket pedal 33. bracket footrest 35. bolt hex. (10x70) 36. bolt-washer (6x12) 41. nut, hex. (10mm) 45. washer, plain (10mm) 46. pin, split (2.5x18)

AUTO CRUISE 1. wire actuator 2. seal throttle cable 3. valve check 4. actuator assy. 5. valve 6. o-ring 7. gasket 8. screw tapping 9. screw tapping 10. drain (hitachi) 11. joint vent tube 12. support wire

DRIVESHAFT

1. bulb (14v 1.4w) 16. bracket select lever 2. switch assy. automatic transax- 17. cover select lever le gear position 18. wire control 3. solenoid assy. at shift lock 19. seal bracket (keihin) 20. holder wire end control 4. plate position 21. boot control wire 5. cushion shift lock stopper 22. pipe control wire adjusting 6. stopper shift lock 23. pin control wire adjuster 7. release shift lock 24. escutcheon, console 8. lever select 25. screw, tapping (5x11) 9. spring detent 26. nut, flange (6mm) 10. spring lock pin 27. nut, self-lock (6mm) 11. collar select lever 28. washer, special (6mm) 13. knob push 29. clip, connector (red) 14. spring push knob 30. clip, harness band (135mm) 15. bush knob setting (natural).

1. column assy. steering 2. holder b steering column 3. cover steering joint 4. joint b steering 5. clip a joint cover 6. clip b joint cover 7. pivot column 8. label steering column caution(english/french) 9. bolt steering yoke (8x28) (nippon seiko) 10. nut flange (8mm)

11. washer toothed lock 12. clip steering joint cover 13. clip trim (7mm) *nh120l* 14. bolt-washer (8x16) 15. bolt-washer (8x30)

11 â&#x20AC;&#x153;Arm Assy - Front Suspension | FordUS.â&#x20AC;? Ford, parts.ford. com/shop/en/us/chassis-parts/arm-assy-front-suspension-7891703-1.

FRONT BRAKE

13. stay actuator 14. stay actuator 15. clamp actuator wire 16. tube vacuum 17. clamp 18. tank vacuum 19. nut flange (6mm) (dacro coating) 20. tube actuator vent 21. bolt-washer (6x10) 22. bolt-washer (6x16) 23. bulk hose vacuum (3.5x8000)

1. driveshaft set r. (gkn) 2. driveshaft l. (rmd) 3. boot set inboard (gkn) 5. joint inboard 6. joint inboard 8. band joint boot (double rolled band) 9. band shaft boot (double rolled band) 11. set-ring (26x1.8) (gkn) 12. band, joint boot (double rolled band) 13. ring stopper a (gkn)14. circlip (23mm)14. circlip (24mm) (gkn) 14. circlip (23mm) 15. damper dynamic (toukai) 17. nut spindle (22mm) 18. cv joint set 19. boot set outboard (gkn)

1. caliper set fr. 2. bearing assy. fr. hub (koyo seiko) 3. hub assy. fr. 4. caliper sub-assy. r. fr. (rmd) 6. pad set 7. screw, bleeder 8. piston 9. cap bleeder screw 10. clip a, pad 12. shim brake pad 13. bolt a 15. clip c pad 17. sleeve a 19. disk fr. brake

20. splash guard r. fr. brake 21. splash guard l. fr. brake 22. bolt caliper mounting (12x21) 23. bolt wheel (rocknel fastener) 24. circlip special (inner) (73mm) 25. screw flat (6x14) 26. screw-washer (5x12)

1. knuckle r. fr. (abs) 2. knuckle l. fr. (abs) 3. joint ball (lower) (musashi) 4. boot ball dust (lower) (technical auto parts) 5. arm assy. r. fr. (upper) 6. arm assy. l. fr. (upper) 7. boot ball joint (upper) 8. circlip control arm 11. bolt flange (10x68)

12. 13. 16. 17. 18.

KNUCKLE nut ball pin (upper) (10mm) nut castle (12mm) pin split (2.0x22) pin split (3.0x25) plug blind (25mm)

MATERIALITY 1. Ferrous - are metals or metal alloys that contain the element iron. They have small amounts of other metals or elements added, to give the required properties. Ferrous Metals are magnetic and give little resistance to corrosion. Some examples of the ferrous metals we deal with: Vehicle scrap metal Demolition Site scrap metal Metal offcuts from manufacturing industries 2. Non-Ferrous Metals - do not contain Iron, are not magnetic and are usually more resistant to corrosion than ferrous metals. 3. Shredder residue (ASR) - is an inevitable by-product of car recycling. Removal of all liquids and hazardous or valuable components from the car and shredding of the hulk.

These found objects have so much energy and time put into the design and manufacture of each individual part. My goal for the thesis is to find a second life for these found objects. How can these found objects manifest them selfs into architecture.

FERROUS METALS

PRESERVE AND RE-PURPOSE WITH WHATS MOST COMMONLY FOUND AT THESE SCRAP YARDS. I believe that itâ&#x20AC;&#x2122;s counter productive to melt these beautiful objects that have so much potential to become something else.

WROUGHT IRON

CAST IRON

Ap : Gates and Fencing

Ap : Machine parts, Engines, Discbrakes

MILD STEEL

Ap : White goods, Nuts and Bolts, Car body panels

HIGH CARBON STEEL

Ap : White goods, Nuts and Bolts, Car body panels

NON-FERROUS METALS

ALUMINIUM

P : Ductile, Felible, good strenght to Weight. AP : Kitchen ware, food wrapping and cans

COPPER

P : Ductile, Felible, good strenght to Weight. AP : Electronics, pipes or pan bottoms.

ZINC

P : Fairly strong and durable. AP : coatings for screws and bolts, can be die cast for small high detail pieces.

GOLD

SILVER

P : Expensive, Lus- P : Fairly expenterous, durable. sive and durable. AP : used to make AP : used to make expensive jewellery jewellery, cutlery and electronics. and in photographic film.

TITANIUM

P : Very strong and durable. AP : used to make expensive jewellery, surgical applications (high replacements).

CHAIR FRAME STRUCTURE SUB-STRUCTURE TO THE LEATHER OR UPHOLSTERY OF THE VEHICLE CHAIRS..

ALTERNATOR EXPLODED AXONOMETRIC SKETCH, LOOKING AT THE DIFFERENT COMPONENTS. UNDERSTANDING USE AND MOVEMENT.

WINDOW MOTOR AND HINGE, LOOKING AT NORMAL MOVEMENT AND SCALE OF THE COMPONENTS TO EACH OTHER.

AXEL

KNUCKLE

SUSPENSION ASSEMBLY AND AXEL. THE TIE ROD THAT EXTENDS OUT FROM THE STEERING ASSEMBLY AND CONNECTS TO THE KNUCKLE TO MAKE THE WHEEL MOVE LEFT AND RIGHT. THE AXEL CONNECTS FROM THE DIFFERENTIAL TO THE WHEEL TO MOVE FORWARD AND BACKWARDS.

SUSPENSION ASSEMBLY, BRAKE ASSEMBLY, KNUCKLE ASSEMBLY, TIE-ROD ASSEMBLY, TIRE ASSEMBLY.

MOVEMENT AS ORIGINAL DESIGN INTENT

CHASSIS

SECTION DETAIL OF PANEL JOINTS, FRONT (UPPER AND LOWER) CONTROL ARM, UP AND DOWN

SECTION DETAIL OF STATIONARY PANELâ&#x20AC;&#x2122;S AND LIGHT PENETRATION TO PAVILION

SECTION DETAIL OF PANEL’S, ROTATION POINTS AND USE. RIGHT AND LEFT MOVEMENT

SECTION DETAIL OF PANEL’S ROTATION POINTS AND USE. RIGHT AND LEFT MOVEMENT

FRONT ELEVATION OF CHASSIS WITH DIFFERENTIAL

FRONT ELEVATION OF CHASSIS WITH GLASS PANEL LAYOUT

BRAKE ASSEMBLY AND ANALYTICAL SKETCHES

U-JOINT ASSEMBLY AND ANALYTICAL SKETCHES

TIE-ROD ASSEMBLY AND ANALYTICAL SKETCHES

BRAKE AND CLUTCH ASSEMBLY AND ANALYTICAL SKETCHES

EXAMPLES OF PARTS BEING RECYCLED FROM END-OF-LIFE VEHICLES.

Seat (Urethane foam, fiber) - Soundproofing materials for vehicles

Window (Glass) - Tiles, etc

Hood (Steel) - Vehicle parts, general steel products

Engine (Steel, aluminum) - Engines, aluminum products

Wiring harness (Copper) - Copper products, engines (cast aluminum reinforcement)

Engine oil (Oil) - Alternative fuel for boilers and incinerators

Radiator (Copper, aluminum) - Gunmetal ingots, aluminum products.

Coolant (Alcohol) - Alternative fuel for boilers and incinerators Bumper (Resin) - Interior parts, tool boxes, etc.

Battery (Lead) - Batteries.

10.

Transmission (Steel, aluminum) - General steel products, aluminum products.

11.

Body (Steel) - Vehicle parts, general steel products.

12.

Trunk (Steel) - Vehicle parts, general products.

13.

Bumper (Resin) - Interior parts.

14.

Tire (Rubber) - Raw materials, alternative fuel for cement, etc.

15.

Door (Steel) - Vehicle parts, general steel products.

16.

Catalytic converter (Rare metal) - Catalytic converters.

17.

Gear oil (Oil) - Alternative fuel for boilers and incinerator.

18.

Suspension (Steel, aluminum) - General steel products, aluminum products.

19.

Wheel (Steel, aluminum) - Vehicle parts, general steel products, aluminum products.

20.

Tire (Rubber) - Raw materials, alternative fuel for cement, etc.

The beautiful objects have so much design ( time labor energy) applied to them, but people don’t necessarily think about them. When we look at a car we see the exterior, the individual relates more to the door (door handle), radio dashboard etc. but we don’t necessarily understand what’s happening with the thousands of parts that are working together to make the vehicle move.

One of my biggest concerns for the project is the aesthetics of the final design since the majority of the parts are mechanical, the project has the tendency to look like the (transformer).

MATERIALS SOLD BY WEIGHT

IRON -

.7 CENTS PER POUND

CATALYST -

.9 CENTS PER POUND

CABLES -

.90 CENTS PER POUND

ENGINE ALUMINUM-

.15 CENTS PER POUND

RIMS -

.50 CENTS PER POUND

ENGINE IRON -

.9 CENTS PER POUND

RADIATOR -

.35 CENTS PER POUND

BATTERIES -

.35 CENTS PER POUND

RULES AND GUIDELINES FOR ASSEMBLY AND DISASSEMBLY

1. Reversible fixations (mechanical) enable disassembly without damaging components. Minimal welding. 2. Separability of building parts and components members and constituents. This generally disqualifies composites, glued, and cast, or other chemical connections (welding). 3. Hierarchical assembly according to component lifetime. Enables minimal interference in components with longer lifetime when exchanging others. 4.

Accessibility to joints, Enables disassembly without damaging components.

Parallel assembly. Enables local exchange of single components.

6. Manageable size and weight of components. To enable changes and disassembly without cranes. 7. Modular components (similar structure, composition and uniformity). To increase re-usability.

Through the construction process of creating the 1:1 build, these rules and guidelines began to evolve with the project. Some of these rules were initially set ideas to creating limitations of the use of the individual parts that were being taken from the vehicle. After the vehicle was disassembled and all the parts were laid-out, the composition of the components became apparent on how the parts would be used in the design of the model, around 75% of the parts could easily tie back together but the other 25% had to tie back together with brackets. This means that the design would have to include perforations in different parts of the chassis in order to attach components (windows, Springs, Panels, Lower control arms, etc)

8. Minimum of mechanical degradation, such as cutting, carving, and penetration. To minimize waste and increase component re-usability. 9. Orthogonal geometries, as opposed to curved. To minimize waste and increase components re-usability. 10. Minimal use of component types and parts. To ease process of disassembly and resource mining.

RADICAL RE-PURPOSE THEORY 1. SALES 2. DISASSEMBLY 3. CONSTRUCTION

RADICAL RE-PURPOSE THEORY

The use of reclaimed and recycled materials and their application in architecture. The thesis statement is the design of a one - of – a kind meditation architectural space, by using RE-Purposed objects that have already been created and apply them as a construction material in a pavilion. The primary components of the thesis would be the use and exploration of the car parts as individual objects that have the potential to become architectural. Through the exploration of the thesis, expect to find a composition of modular ideas that create a bigger picture, examples of case studies that deal with the three (RE’S). The main challenge for the thesis would be to take each of the components and figure out a way in which they come together. During this process, drawings are analyzed to explore movement and scale to create my own understanding of each of the components. Something that has intrigued me about the idea of RE-Purposing is that the materials that have been made to serve a specific purpose, would have to alter in its use while maintaining the same design, but working in the different application as an individual component that later creates a bigger whole. With this idea in mind, the questions that would keep showing up through the thesis. What would be the limitations for each of the materials, and how much can they be manipulated before they become (RE-Cycled) components, will the parts maintain the memory of their original design intent while having a different application. For the thesis, it’s of extreme importance to explore how these objects come together, the re-connection of the joints. I believe that there’s an infinite amount of possibilities that could potentially be explored. One of the biggest tasks that I must face is trying to figure out how many ways a material can be used in an architectural exploration, how can these materials become structural or syn-

thetic in a project, what properties do the materials must offer in the application? Some examples of firms that I have found that deal with the application of objects is LOT-EK architectural studio, they use shipping containers as a new way of thinking about the RE-Purposing of an object and how to create it into a place of dwelling. They explore different techniques of staking in their projects, they create these moments of intersection that carves into the boxes and it makes them seem like one volume. I’m not entirely sure that LOT-EK architecture focuses on the idea of memory of the object but they do focus on the experiential feeling of the material how does each individual connect with the construction of the container. Another architect that I plan to study is Richard Neutra an Austrian-American modernist that build houses in the 30s. Neutra was an expert at finding multiple purposes for materials, the relationship between the creation of furniture and how it can be developed into structural elements inside a house. Some of the material explorations that I have done have done analyze the objects in their original form of application, how can these materials carry over their memory into an architectural application, how much can the objects change before they become something else. As the project began to explore a more theoretical idea of the materials, the objects began to relate as representations in different applications as architectural components. The use of cross members supporting larger structural elements in construction was being mimic in a smaller scale in the construction of the vehicle as moments that prevent the main structure of the car from torsional flexing. The memory of the material will create moments in the construction that might relate to its original use. The memory of its original movement of the piece might maintain its purpose.

These studies show the production of the Ford Explorer since its launch in 1990. The current vehicle that I decided to purchase was a 2002 Ford Explorer that cost $500 dollars and it was in running conditions. These cars are produced with the idea that they would last from five to 15 years in the street. So, in retrospect from its original production year, there were 140,509 explorers produces and there’s probably around 10 still in circulation.

“Ford Explorer Retrospective – Automobile Magazine”. Automobile. July 23, 2010. [2] “Ford Motor Company Sets New Full Year U.S. Sales Record”. Theautochannel.com. Retrieved October 7, 2010. “Ford Motor Company’s December U.S. Sales Climb 8.2 Percent” (PDF). Ford Motor Company. Archived from the original (PDF) on April 30, 2011. “Ford’s F-Series Truck Caps 22nd Year in a Row as America’s Best-Selling Vehicle With a December Sales Record”. Theautochannel.com. September 13, 2010. Retrieved October 7, 2010. “Ford Achieves First Car Sales Increase Since 1999”. Theautochannel.com. September 13, 2010. Retrieved October 7, 2010. “CROSSOVERS, LINCOLN HIGHLIGHT FORD’S 2007 SALES PERFORMANCE; FURTHER GROWTH EXPECTED IN 2008” (PDF). media.ford.com. January 3, 2008. Archived from the original (PDF) on May 25, 2011. Retrieved March 27, 2017. “F-SERIES DRIVES FORD TO HIGHER MARKET SHARE FOR THIRD CONSECUTIVE MONTH” (PDF). media. ford.com. January 5, 2009. Archived from the original (PDF) on February 6, 2009. Retrieved January 4, 2011. “FORD CAPS 2009 WITH 33 PERCENT SALES INCREASE, FIRST FULL-YEAR MARKET SHARE GAIN SINCE 1995” (PDF). media.ford.com. January 5, 2010. Archived from the original (PDF) on July 11, 2011. Retrieved January 5, 2010. “FORD’S 2010 SALES UP 19 PERCENT – LARGEST INCREASE OF ANY FULL-LINE AUTOMAKER; FOUN-

DATION SET FOR GROWTH IN 2011 | Ford Motor Company Newsroom”. Media.ford.com. January 4, 2011. Archived from the original on September 2, 2011. Retrieved January 6, 2012. “2011 Ford Brand Sales up 17 Percent for the Year in U.S.; Fuel-Efficient Cars, Utilities, Trucks Drive Sales Gains” (PDF). media.ford.com. January 4, 2012. Archived from the original (PDF) on January 31, 2012. Retrieved January 4, 2012. “Ford Cars, Utilities and Trucks All Post U.S. Sales Gains in 2012; Company Posts Best December Sales Since 2006”. media.ford.com. January 3, 2013. Archived from the original on January 6, 2013. Retrieved January 3, 2013. “Ford Motor Company Delivers Best Sales Year Since 2006 ; Ford Is Top Brand with Records for Fiesta, Fusion, Escape” (PDF). Media.ford.com. Archived from the original (PDF) on December 26, 2014. Retrieved March 27, 2017. “Ford Posts Best U.S. December Sales Results since 2005 ; Ford Once Again Best-Selling Brand and Best-Selling Vehicle” (PDF). Media.ford.com. Retrieved 2017-03-27. “New Products Make Ford America’s Best-Selling Brand for Sixth Straight Year; F-Series No. 1 Vehicle for 34 th Year” (PDF). Media.ford.com. Retrieved 2017-03-27. Luft, Alex (2017-01-04). “Ford Motor Company December 2016 Sales Numbers USA”. Fordauthority. com. Retrieved 2017-03-27. “Ford SUVs Post Record Sales While F-Series Marks 41 Years as America’s Best-Selling Pickup; Ford Achieves 8th Consecutive Year as the Country’s Favorite Brand” (PDF). Media.ford.com. Retrieved 2018-01-03.

DISASSEMBLY

4. SEPARATION OF THE RIGHT FENDER FROM THE MAIN FRAME. 1. 2002 FORD EXPLORER WAS PURCHASED FOR $500 DOLLARS. FIRST STEP WAS THE REMOVAL OF THE HEAD LAMPS, BUMPERS, GRILL.

5. SEPARATION OF THE CHASSIS FROM THE FRAME, 10 CONNECTIONS

2. DRAINAGE OF ALL THE FLUIDS FROM ENGINE, TRANSMISSION, BREAK FLUID, WATER, POWER STEERING.

3. REMOVAL OF THE AIR FILTER, OIL FILTER, HEADERS, RADIATOR, FAN, COMPRESSOR, WATER PUMP, ALTERNATOR ETC.

7. CHASSIS SEPARATED FROM THE FRAME, TRANSMISSION, DIFFERENTIALS, GAS TANK, EXHAUST SYSTEM, ARE STILL ATTACHED TO THE CHASSIS OF THE VEHICLE.

6. SEPARATION OF THE CHASSIS FROM THE FRAME, 10 CONNECTIONS. REMOVAL OF THE CHAIRS, STEERING WHEEL, ALL DASHBOARD COMPONENTS, PEDALS, CARPETS, ALL ACCESSORIES FROM CABIN OF THE VEHICLE.

CONSTRUCTION

JOINTS TO MINIMIZE WELDING POINTS

1. CHASSIS BEING CUT IN HALF TO EXPLORE THE CONNECTION BETWEEN CHASSIS

2. CHASSIS MIRRORED TO CREATE CONNECTION BETWEEN THE CHASSIS,

4. DOOR HINGES TO MANIPULATE THE MOVEMENT OF THE GLASS PANELS

PROPOSAL PAVILION / MEDITATION SPACE

FRONT LOWER CONTROL ARM

VIN-1FMZU73E62UB59284

349 1 1 1L24 3042 AL 1A335B015

01C34206

13761010 13755013

13758001

1B346L31R

1A342R08

13713-015

13759001

1A344-M038

AXONOMETRIC

EXPLODED AXONOMETRIC

PRICE COMPARISON

PRICE COMPARISON PAVILION PROPOSAL 18 x 22 ENCLOSED SPACE = 396 SQ-FT 26 x 28 COMPLETE AREA = 728 SQ-FT CONSTRUCTION : 9 - FORD EXPLORER DRIVE SHAFT’S $20 EACH 10 - FORD EXPLORER TOE COMPENSATOR’S $10 EACH 10 - FORD EXPLORER CHASSIS $200 EACH 20 - FORD EXPLORER SHOCK ABSORBER’S $7 EACH 20 - FORD EXPLORER CONTROL ARM’S $20 EACH 24 - FORD EXPLORER ROOF PANEL’S $10 EACH 78 - FORD EXPLORER REAR GLASS PANEL’S $20 EACH $12 EACH 20 - 4X4 WOOD HOME DEPOT $15 EACH 13 - 4X8 PLYWOOD HOME DEPOT $10 EACH 78 - MANUFACTURED GLASS BRACKETS $200 BOLTS/NUTS/SCREWS ETC. $200 TOOLS RENT / PURCHASE

$6,035 TOTAL

TIMBER - FRAMED WOOD STORAGE SHED

15 X 30 ENCLOSED SPACE = 450 SQ-FT

$20,000 TOTAL

12. “Wood Shed.” WILLIAM MERRIMAN ARCHITECTS, www.merrimanarchitects. com/wood-shed/.

CONCLUSION

CONCLUSION I do have to make a confession to the reader, I have a passion for found objects and cars have been a part of living in my family, from buying, selling, fixing. I’ve always been attracted by the idea of being able to reapply materials, Radical RE-Purposing has been in my way of life since before I knew what architecture was. I’ve decided on this topic because one of the first case studies that I explored was the glass chapel by Rural Studios. During my time in undergrad and graduate program at the University of Florida, I always struggled with the idea of having to buy materials to create models for school, so I would go around studios looking for scrap materials that I would be able to incorporate into my models. Everything from 1:1 scaled materials like 2x4 to drywall, to

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materials (scraps) left by other students. I’ve always liked the idea of creating buildings from scraps or RE-Purposed materials. My main intention for my projects is to bring awareness to the reader that there is so much waste being produced in our day to day life, and there are so many possibilities for these objects that are being discarded into land fields or melted down. With this project I know I’m only scratching the surface with the number of possibilities that the vehicle has for the profession of architecture, but I know that this is a great step forward from the use of the windshield in the Glass Pavilion. I promise to continue my search for alternated uses and applications for these beautiful objects.

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BIBLIOGRAPHY

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Sabrina Santos. “Pavilion Made from Aluminum Cans and Cracked Clay Wins 2017 City of Dreams Competition” 23 Mar 2017. ArchDaily. Accessed 21 Apr 2018. <https://www.archdaily.com/867234/pavilion-made-from-aluminum-cans-and- cracked-clay-wins-2017-city-of-dreams-competition/> ISSN 0719-8884

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ADDITIONAL BIBLIOGRAPHIES

“Wood Shed.” WILLIAM MERRIMAN ARCHITECTS, www.merrimanarchitects.com/wood-shed/.

ALL UNCITED IMAGES ARE PROPERTY OF THE OWNER.

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