Alina Granville Portfolio 2015 M.Arch by Alina Granville

Alina Granville

RESUME

INVERSION SEQUENCE

LIVING ON THE STRIP

SPECTRUM

SONIC FACADE

AMERICA’S CUP MUSEUM

WATER SLICE

MODULAR HOTEL

FABLAB + MICROHOME

SUBURBAN REMIX

ARCHITECTURE BY FLIGHT

FALSE ROOM

LIGHTWALL

RADIATE BLUE

00 contact

education

ALINA GRANVILLE alinagranville@gmail.com gville@umich.edu University of Michigan Master of Architecture

2013-2015

Cumulative GPA 3.7/4.0 Spring break externship at KlingStubbins/Jacobs Selected for yearly student show 2014

Massachusetts Institute of Technology 2008-2012 Bachelor of Science in Architecture Cumulative GPA 4.7/5.0 Winter externship at Techler Design Group Winter externship at Cristina Parreno Architects Published in Angles Online Writing Journal 2012

research

Conductive Thread 2015-present

Research assistant to Sean Ahlquist. Developing technology to measure pressure applied to tensioned fabric using conductive thread.

Pleasurebox 2014

Assistant on Leigha Dennisâ&#x20AC;&#x2122;s Fellowship. Worked on installation materials and developed video animations for the pleasureboxes.

Digital Design Fabrication Group 2010-2012

Research under Larry Sass. Researched factory layouts and incorporated into fablab layout. Designed microhome that could be built in deployable fablabs.

skills

Software

AutoCAD, Rhino, 3ds Max, Sketchup, Revit, VRay, Photoshop, Illustrator, InDesign, Dreamweaver, Premiere Pro, After Effects, Poser, Word, Excel, Powerpoint

Coding

Arduino, Processing, Java, Rhinoscript, HTML

Physical

Wood shop, metal shop, laser cutter, CNC router, hot wire cutter, concrete, plaster, watercolor, graphite, colored pencil, pastel, acrylic

Abilities

3D CAD, 2D drafting, model building, rendering, photo montage, shape grammars, basic structures, programming, simple robotics, photography, high speed photo, videography, darkroom, drawing, writing

01 architecture

INVERSION SEQUENCE Alma-Gare, Roubaix, France Professor: Anya Sirota Graduate Studio 3 Fall 2014 Group: Andrew Davis, Carol Nung Alma is known as the worst neighborhood in France. Located in the town of Roubaix, town has been known for yarn production. Over time, small industrialists developed the town, filling in all open space on the interior of the block with factories and worker housing, known as the courees. This industrialization fragmented the landscape, so we are proposing a system to open up the interior of each of the blocks, inverting the urban condition. Through our proposal, we imagine the urban condition will be inverted over time. We would begin with abandoned houses and vacant lots on the periphery. These would be used to create thresholds to the interiors of the blocks. The interior of the blocks would have their vacant factories dismantled and opened up for public space. The public space would be used to support a variety of activities, such as new forms of work like microfab units, markets, and laundry centers. Other space inside the blocks would be public space, that could be used for parks or events that happen once in a while, like a circus coming to town. Finally, because of activity on the inside of the block, we imagine the houses to face their entrances to the inside of the block, completing the inversion sequence.

Roubaix Lille

Paris

Alma developed without a city center. Because of this, amenities were spread thinly within each block. To meet the quick population expansion due to the yarn production in Alma, the doughnut condition of the blocks was filled with factories. This created unsanitary living conditions, leading to a fragment landscape. Although France has sought to remove this type of condition, Alma remains stuck in this suboptimal urban condition.

d te e. en cap gm nds a r a ef ll Th stria u d in

Bottom: Series of interventions to bring to the site. These happen on a variety of scales, with interactions that can happen on different time scales. Right: Sections that explain the condition over time. The first section shows the factory with overpopulated living conditions. The second shows the current condition, where the youth loiter in the streets, and cars are parked on the sidewalks on the tiny streets. The last shows our proposal, where we remove the factory and open up the interior of the block for new program.

ge Vinta

e Win

any

p Com

02 architecture model making

LIVING ON THE STRIP Highland Park, Detroit, Michigan Professor: Leigha Dennis Graduate Studio 1 Fall 2013

Living on the Strip pushes a new urban density within a strip mall parking lot, due to the rapid decline in population and increase in vacancy in Highland Park. Around 44% of Highland Park residents have no access to a car, so many residents are forced to walk along sparsely populated roads. Introducing housing to the strip mall changes the lifestyle of residents. No longer must they rely on cars or spend time walking between destinations. Because of this, additional program is integrated, like public rooftop spaces and a running track, to increase the amount of social exchanges. The design of the house allows each unit to open and become public, so residents can turn their units into storefronts or open their unit to claim part of the sidewalk as a front yard. Units can also form relationships with units opposite one another to create an interface across the sidewalk.

supermarkets

Above: Understanding the location of amenities in Highland Park, such as supermarkets, religious center, hair care, and leisure spaces. The top drawing show a 15 minute walking radius, while the bottom drawing shows a 5 minute walking radius. Right: Site plan of Highland Park, Michigan. Highlighted area is strip mall site along Woodward Avenue.

religious

hair care

hair salons, barber shops, hair braiding

leisure

alcohol, porn, drugs, strip club

There are three unit typologies that have different forms. These units are designed as a studio, one bedroom, and two bedroom unit. The larger units have access to an outside roof space. The units have a primarily linear form, to efficiently incorporate bathing and kitchen spaces into a thickened wall.

The three basic units can be aggregated in several ways. When aggregations combine, it presents the opportunity to create larger housing units, or combine the frames to house public programs on the site.

studio

one bedroom

two bedroom

4 bdm

studio 2 bdm

studio studio

cvs

studio/ laundry waiting

laundromat

studio

1 bdm

4 bedroom/game center/pool hall

studio

studio studio

daycare 1 bdm

stu

studio 2bdm studio playground

studio

open commu space

2 bdm

studio mcdonalds

cafe

studio bowling alley

ESTCODE

1 bdm studio

gym

locker room/pool

1 bdm/ne bus stop

running track 9 lap = 1 mile

udio

unity

studio

bar

glory supermarket

1 bdm

studio/kitchen for bar studio

1 bdm street of fresh food

studio/ stage for cafe

studio

1 bdm bakery

studio/uses kitchen in bakery

ESTCODE

studio studio studio art gallery

2 bed/ artist studio 1 bdm

studio

ewstand/ 1 bdm

deli 1 bdm studio

studio

1 bdm

MMER FACADE

NTER FACADE

ARCH 562 路 SYSTEMS STUDIO 路 WINTER 2013

Spectrum Hansen, McMorrough Vanessa Argento, Alina Granville, Katie Marcyan

Facade in Summer

ARCH 562 路 SYSTEMS STUDIO 路 WINTER 2013

Spectrum Hansen, McMorrough Vanessa Argento, Alina Granville, Katie Marcyan

Facade in Winter

03 architecture animation

SPECTRUM University of Michigan, Ann Arbor, MI Professor: Julia McMorrough, Christina Hansen Graduate Studio 2 Spring 2014 Group: Vanessa Argento, Katie Marcyan Spectrum is a new dorm and center on University of Michiganâ&#x20AC;&#x2122;s North Campus. The building features a serpentine shape that forms larger open areas on the exterior of the building. These curves help shape views and create smaller communities within the large building. The building has three types of dorm room units, each geared towards different community feelings. The smallest room is located near large community spaces and is called the pop out. Opposite of this, the largest unit, a two bedroom unit, has a shared open porch, known as the pop in. We also incorporated the idea of color into our design. While the building appears white, the insides of the moveable perforated shutters is colored. These pops of color become visible as people control how they operate with the buildingâ&#x20AC;&#x2122;s shading system. As this was a group project, I was responsible for floor plans, axonometic drawings, and the animation video.

music PRACTICE practice rooms MUSIC ROOMS

COMPUTER LABS

computer lab

DANCE STUDIOS dance studios

STUD

MARKET

market think tank THINK TANK

cafe andSHOPS shops CAFE AND

EVENT SPACE event space STUDIO SPACE studio space art gallery ART GALLERY

gymnasium GYMNASIUM

NG PROGRAMING

SWIMMING swimming poolPOOL

AL PUBLIC

G SERVICES AND SHOPS

U of M Recreational Buildings North Cam

EXISTING PEDESTRIAN PATHS

EXIST

ARCH 562 · SY

Spect

Hansen, McM Vanessa Arg

BIS

HO P

AV E

Site Plan Drawing

YM PL

D OA HR

ARCH 562 · SYSTEMS STUDIO · WINTER 2013

Spectrum CRAM CIRCLE

Hansen, McMorrough Vanessa Argento, Alina Granville, Katie Marcyan

MURF

IN AVEN

Building Program Diagram

HUBBARD ROAD

DENT THEATER

SITE PLAN

SCALE: 1/64”= 1’

mpus

TING RECREATIONAL FACILITY

Recreational Buildings

Right: The undulating shape allows for small communities to form around the pop out community spaces. There four types of room units, that are grouped in clusters around the building. The smallest unit is the studio room, which relies on large communal spaces within the hallway. There are two variations on a one bedroom unit with kitchen, which interlock and are found in the tower section of the building. The final unit is a family style two bedroom unit that has access to a large external porch.

SITE SECTION SCALE: 1/32”= 1’

TOWER S

ARCH 562 · SYSTEMS STUDIO · WINTER 2013

Spectrum Hansen, McMorrough Vanessa Argento, Alina Granville, Katie Marcyan

Typical Floor Plan

TYPICAL FLOOR PLAN

SCALE: 1/32”= 1’

ARCH 562 · SYSTEMS STUDIO · WINTER 2013

Spectrum Hansen, McMorrough Vanessa Argento, Alina Granville, Katie Marcyan

Ground Floor Plan

TYPICAL FLOOR PLAN

SCALE: 1/32”= 1’

GROUND FLOOR PLAN

SCALE: 1/32”= 1’

GROUND FLOOR PLAN SCALE: 1/32”= 1’

ARCH 562 路 SYSTEMS STUDIO 路 WINTER 2013

Spectrum Hansen, McMorrough Vanessa Argento, Alina Granville, Katie Marcyan

Community/Building Section Axo

DETAILED WALL ELEVATION AND SECTION 0’

1’

5’

10’

ARCH 562 路 SYSTEMS STUDIO 路 WINTER 2013

Spectrum

Hansen, McMorrough Vanessa Argento, Alina Granville, Katie Ma

Enlarged Plan Wall Section

J J J J

Below: Stills from animated video. Shows an animated diagram of how the building works and details how a community inside the dorm behaves.

04 architecture sound production audio modification

SONIC FACADE MIT, Cambridge, MA Advisor: John Fernandez Undergraduate Thesis Spring 2012

While architecture inherently makes sound when people and the environment interact with it, architects seldom orchestrate a building to produce sound. My thesis proposes a sonic facade that turns an existing building into a sound producing instrument. Sonic facade is a wind powered, sound producing device that can be integrated into a wall structure. The thesis proposes a seven rule grammar for users to determine the placement and implementation of the sonic facade on an existing building and site. The grammar incorporates a shape grammar that allows for a range of simple to complex possibilities that could be applied to a variety of buildings. The Sonic Facade not only has an aural quality, but is also an indicator and transmitter of the outside world. When the tubes pass from the outside to the inside of the building, the wind, the rain, and passersby bring sound inside the building. While working on this thesis, I tested many variations of tubes to determine the best way to produce sound. I selected three types of tubes to use in my Sonic Facade designs, due to their simplicity and ease to produce sounds. I recorded the sample sounds of these tubes, and used Audacity to construct samples of what each design sounds like.

straight tubes

aeolian harp tubes

bent tubes

altered section tubes

harry bertoria tubes

The facade is produced out of a series of tubes, or more technically a series of air column vibrators. While all the tubes may be the same length, the combination of three different types of tubes produces different sounds. Right: Series explores how wind interacts with tube, to explore ways sound can be produced. Bottom: Series of tested tube forms for the development of sound production.

split tube

transverse opening tubes

organ pipe inspired tubes

interior partition

Basic Shape

“Pillar” Symmetry 16

Spatial Relation

Add pillar Rotate 15˚

Basic Designs Label Rule 1

Label Rule 5

Label Rule 2

Label Rule 6

Label Rule 3

Label Rule 7

Label Rule 4

Label Rule 8

Design Space 1 basic rule: 16 basic designs

2 basic rules: 256 designs

3 basic rules: 4096 designs

Label Rule 9

Label Rule 13

Label Rule 10

Label Rule 14

Label Rule 11

Label Rule 15

Label Rule 12

Label Rule 16

Sonic Facade Grammar [Overview]

Rule 1 [Decide location of facade]

This grammar provides directions and guidelines for customization of a sonic facade. After determining the area to place the facade in plan, the user decides how long each sound tube will be. The tubes are represented as pillars at ďŹ rst but these are later substituted with up to three different sound tubes.

Determine start and end points on building to place tubular facade attachment based on wind patterns. Moving from start to end should profress in a counter clockwise manner.

Start End

Plan [X2,Y2]

[X1,Y1]

Rule 2 [Determine height of tube]

Rule 3 [Calculate number of tubes]

Determine the height of the tube. The tube should be placed at least 3 inches off of the ground, and can reach the same height of the building. higher than the building, or lower than the building.

Determine number of tubes to be located on each segment of the facade. For facade segment [F] with a distance [D], D/6” = Number of tubes [N]. Determine number of corners [C].

Ground to tube [G] ≥ 3” 2’ ≤ Length of tube [L] ≤ 19.88’

Elevation Rule 2A

Plan

Rule 2B

L G

Rule 2C

L G

D1 N1 = D1/6” N2 = D2/6”

Rule 4 [Place starting pillar]

Rule 5 [Aggregate pillars]

Place ﬁrst pillar at starting point at least 3 inches away from wall. Add labelings for tube number [Z] and tube type [T]. Note the two starting label positions.

Add pillars while Z ≤ N using straight rule. If Z = N and C > 0 use turn rule once.

Wall to tube distance [W] ≥ 3”

State labeling pattern for tube type [T] : If L > 9.94’ : 1 - 2 - 1 - 2 - 1 - 2 - ... If L <= 9.94‘: 1 - 2 - 3 - 1 - 2 - 3 - ...

State labels: Tube number [Z] = 1 Tube type [T] = 1

Straight rules: Label rule 1

Label rule 6

6”

Z=1 T=1 W = 3”

Z + 1

Label rule 9

Z + 1

Label rule 14

6”

W L

Z=1 T=1 W = 3”

Turn rules:

Z + 1

Width of pillar [W] is determined by size of necessary tube to complete turn and maintain tubes placed 3 inches from the wall.

Label rule 3

Label rule 7

Z = N C

Z = 1 C - 1

Label rule 12

Z = N C

Z = 1 C - 1

Label rule 16

Z = N C

Z = 1 C - 1

Z = N C

Z = 1 C - 1

Rule 6 [Add coloring]

Rule 7 [Substitute pillar with tube]

Add coloring to pillar. The coloring marks the location for the connection detail between the tube and the wall.

Substitue tube for pillar based on labeling. Substitute connection detail parametric color grammar.

T=1

based

two open ends

s 2.5â&#x20AC;?

T=2

one open end and slot

T=3

one open end

L = 8’ G = 3” W = 3” Label rules 1, 9 , 14; 1, 6, 9

Example design 1: In this design all tubes are of the same 8’ length, but the tubes are arranged in different ways on the different walls. A pattern of label rule 1, 9, 14 is repeated on the shorter length wall, and a pattern of label rule 1, 6, 9 is repeated on the longer wall. This design has a complicated appearance, because the facade undulates and spirals. This allows for interesting moments such as an awning and small private partitions. Only three different sounds are produced by the tubes along this facade, due to all tubes being the same length.

L = 3.25’ G = 3” W = 3” Label rule 6

L = 3.25’ G = 3.75’ W = 3” Label rule 6

L = 2’ G = 7.25’ W = 3” Label rule 6

L = 9’ G = 3” W = 3” Label rule 6

Example design 2: In this design there are three different lengths of tubes 2’, 3.25’, and 9’. Only label rule 6 is used to generate the design, but variation is introduced to the design through different starting label positions from the sonic facade grammar rule 4. Because the design is simple, the facade isn’t very distracting and the tubes only function as a facade. This design is shaped around the openings in the facade. Nine different sounds, ranging from high to low, are produced by this facade due to the multiple lengths of tubes.

e to gth and ted ace the

APPLICATIONS OF SONIC FACADE MIT’S GREEN BUILDING N

Sonic Facade applied to MIT’s Green Building on northwest facade, due to prevailing Northwest winds. [2]The design used the longest tube length possible, 19.8816’, and therefore only the tubes with two open ends and one open end and one long transverse slot can be used. The aggregated design frames the entry way to the Green Building and creates a place that students can come to hang out and listen to the facade during the day. Only two low pitches will be produced by the tubes in this design.

S S

L = 19.88’ G = 15’ W = 3”

05 architecture rendering

AMERICA’S CUP MUSEUM Newport, RI Professor: Mark Goulthorpe Undergraduate Studio 6 Fall 2011 Group: Kimberly Mennel A design for a museum and boat building workshop for the America’s Cup Sailing Competition in Rhode Island. Since the competition only comes to Newport every two years, the space has to not interfere with the landscape, but still carry the legacy of the competition beyond its duration. The design features a carbon fiber shell embedded in the earth, to keep all the beautiful views found at Fort Adams Park in Newport. The ends cantilever, allowing for a cafe view back to Newport and on the opposite side a viewing area of the race. Inside, the space is left open for large projections along its walls; which allow the building to become an active viewing location for sailing enthusiasts to come and watch the other races of the America’s Cup together. Daily, boat building takes place on the sides of the gallery, allowing for visitors to learn about and buy high tech carbon fiber sailboats. Although the space is underground, light is able to enter the space through openings in the carbon fiber weave, which composes the roof and some of the walls. I worked with a fellow classmate on this design. While we both contributed to the design, I created renderings and diagrams.

Top: Carbon fiber shell relationships. Interlocking shapes form floor, roof, and walls. Middle: Wall section thickness changes along section. Thickness responds to applied forces of exterior.

Section A

Section B

Section C

Section D

06 architecture process model making

WATER SLICE Porter Square, Cambridge, MA Professor: Shun Kanda Undergraduate Studio 5 Spring 2011

The public bath is composed of two parts: a sequentially staged bath and supporting program. The program that supports the bath relates to the surface under the water. These spaces influence the bath spaces above and the overall form of the building. This part of the building is very solid and has few openings, pushing the relationship to the heavy and massive ground even further. The area that represents the water and its shape is the bath. The bath has a flowing form and continues over the entire site. The undulations in this form create areas that are both larger and smaller, creating varied and intimate spaces inside one continuous space. The bath also contrasts the rest of the building since it is much lighter and glassy than the rest. The roof carries water and brings it into the space to supply the baths. All the spaces in the building are long and connected along one circulation core. Walking through the building, one first rises up. Upon reaching the top, one enter the shower and begins a long journey is traveling back down though the baths to the ground, mimicking the path of water. The building dynamically responds to rain, as it is collected and filtered through the roof and then falls through into the baths.

and elates paces very and nd its r the arger nuous much t into g and , one egins ound, in, as o the

Left: Series of conceptual models exploring texture and form of water. Right: Form studies from first study model to final design.

Section D

Exploded axonometric shows circulation through building. The initial path begins with a quick ascent to the showers. After, guests traverse through multiple paths leading to differing sized private baths that eventually end in a large public bath. Water is also captured in the roof, and flows through ridges across the roof surface. The water also falls into the building, enhancing privacy within the bath.

07 architecture

MODULAR HOTEL Theatre District, Boston, MA Professor: Nick Gelpi Undergraduate Studio 4 Fall 2010

Initial inspiration for the project came from the Guggenheim Museum. After diagramming the Guggenheim into modules, I determined the shape of each of my modular rooms for the hotel. Each room is shaped as an antiprism, a shape that allows minimal space inside each room, while still allowing for living functions. The vertical end of the antiprism allows for standing, while the horizontal end allows for sleeping. Modules are arranged in a spiral. The modules transform in size to create bathrooms. Through the aggregation form, other spaces are created in the building. Large atriums are formed on the interior housing the lobby, library, and auditorium.

Guggenheim Studies

Initial inspiration for the project came from the Guggenheim Museum. After diagramming the Guggenheim into modules, I determined the shape of each of my modular rooms for the hotel. Each room is shaped as an antiprism, a shape that allows minimal Basic Module space inside each room, while still allowing for living functions. The vertical end of the antiprism allows for standing, while the horizontal end allows for sleeping. Modules are arranged in a spiral. The modules transform in size to create bath-rooms. Other Spiral Aggregation Backare to Back Aggregation spaces, which include an auditorium and a library created out of larger masses of modules. Plan Section Section Plan

Plan Transformation

Section Transformation

Plan

Section

Plan Transformation Plan

Top Left: Sections showing the shape of the module is conformed to the actions of the human body inside the unit. Top Right: 3D model highlighting circulation that connects the aggregated units and circulation into each unit. Left: Diagrams showing how the modules are aggregated in a spiral shape. The modules also deform at the ends of the building, and the diagram shows how this affects the aggregation.

Spiral Aggregation Plan

Back to Back Aggregation Section

Section

Plan

Plan Transformation

Section Transformation

Plan

Section

rmation

08 architecture research digital fabrication

FABLAB + MICROHOME Advisor: Larry Sass Digital Design Fabrication Group, MIT 2010-2012

A fab is a building that houses fab lab machines such as CNC router, laser cutter, and milling machine that can be made with those machines. The fab can be produced by the machines it will contain, making it deplorable almost anywhere. The fab can then make houses, tools, furniture, toys, and practically anything. We designed a customizable system where different roofs and window patterns and shapes can be chosen My responsibilities included researching factory history, design, and organization, modeling all components inside of the fab lab based off of real machines, designing exterior elements of the fab, and 3D printing models based off of my designs. The floor plan of the fab is based on historical factory research. To go along with the fab, we have designed a 500 square foot microhome to be produced by the fab. We used the base of a mobile home to design the form, as a typology of built in factory design. Unlike the mobile home, the microhome is assembled on site after all components are cut, manufactured, and flat packed in the local fab. While the building is small, the microhome has large implications due to its fact tracked nature.

nting and 3D models printing based models off similar machines and processes A Traditional Traditional Factory Factory Layouts Layouts

Static Static Build Build [large, [large, complicated complicated products] products] [examples: [examples: airplanes, airplanes, mobile mobile homes] homes] buffer zone

similar machines and processes B yout

Process Process Based Based Layout Layout FlowFlow LineL [for [for products made in batches or factories thatthat [products products made in batches or factories [produ use use automated cells] automated cells] typically typicao [examples: furniture] [examples: furniture] [examples [exam raw raw material material

Flow Line or de factories in batches that or factories thatare [products buffer zone lls] similar similar machines machines typically on as and processes and processes A A re] [examples: car groupgroup of of groupgroup of of product product groupgroup of of workers workers A A

workers workers Bmachines B workers workers D D similar and processes C

raw groupgroup of of material workers workers C C

bufferbuffer zone zone

similar similar machines machines and processes and processes B B bufferbuffer zone zone

uter, router, laser laser cutter, cutter, and and milling milling machine machine that that cancan be be made made with with those those machines. machines. similar similar machines machines g deplorable it deplorable almost almost anywhere. anywhere. TheThe fabfab cancan then then make make houses, houses, tools, furniture, and processes and processes C tools, C furniture, ystem system where where different different roofs roofs and and window window patterns patterns and and shapes shapes cancan be be chosen chosen and organization, organization, modeling modeling all all components components inside inside of the of the fabfab lablab based based off off of real of real godels models based based off off of my of my designs. designs. The The floor floor plan plan of the of the fab fab is based is based on on historical historical product

similar machines and processes A

product product

FlowFlow LineLine Continuous Continuous Production Production sories thatthat[products are are constantly moving on on tracks, [products constantly moving tracks,[highly [highly automated automated and and specialized specialized in one in one task]task] buffer typically on assembly line]line] typically on zone assembly [examples: [examples: chemical chemical factories, factories, canned canned goods] goods] [examples: cars]cars] [examples: raw raw similar machines material material and processes B

raw raw material material

buffer zone

process process A A

assembly assembly line line

similar machines process process B B C and processes

continous continous production production

assembly assembly line line process process C C

product product product product

product

raw materials storage

micro mills

cnc router lasercutter

electronics

clean parts

storage

classroom

bathroom wet space

workshop space

paint station

dry

storage

assembly

storage completed product

Variations on microhome forms. By using the same shape, we are able to create a modular system where variations in roofs, walls, and screens are possible.

09 illustration

SUBURBAN REMIX Professor: Christian Unverzagt Graduate thesis Winter 2015

Offices are designed to control employees, by creating either oppressive efficient environments or playground environment that replicate domestic lifestyles. Similar to effecting their workers, suburban office parks impact the communities they are placed in. Office parks are create the suburban corporate wasteland, because they are exclusive environments that only serve their company. While some offices have found success in creating an all-encompassing and monumental office, many offices no longer can support large suburban campuses as economic pressures force companies to let go of employees and the rise of working demands from younger generations. This illustration looks at the exclusivity of the suburban office, where the context is completely separate from the office. It proposes a solution to alleviate the disengagement the suburban office has created with communities by integrating neighborhood elements into the office park.

CONFIDENTIAL A R C H I T E C T S H E A D Q UA R T E R S Subject: To:

Order 572. Operation: Scale. US Military.

Overview: While World War II is known as a deadly war from the technological innovation of the airplane that allowed bombing attacks from the sky, military soldiers are not solely guilty for the destruction. While assumed as innocent, architects were mobilized during the war to design structures, create models, and draw influential images for industry, the military, and the public. However, war time architects produced works that instilled dehumanization through work that lacked individual identity and scale. Normally architecture relies of the relation to the human scale, but ironically during the war architects based their design on new scales both large and small, such as the parts produced in a factory or the scale of a room used for a propaganda exhibition. Most war time construction became large scale construction that masked its unethical nature, but as scale shrank and became closer to human size it became more cynical and deadly. The further from the human scale as architect constructed or represented each construct, the more ethical it became to bomb it. However, the closer a representation reflected the human scale, the more menacing and unethical it became to destroy. The removal of the human scale in architecture and representation provided the regimented and dehumanizing design that was accelerated during the war. The blurring of scale separates the occupants and context from the building to make destruction, physically and emotionally, more ethically acceptable. This pattern of dehumanization, regimentation, and standarization continued on after the war until post modernism began to emerge as a trend in architecture.

1. The largest scale of architecture design was the megastructures that housed the building of wartime materials and infrastructure and the megacomplexes that housed the workers who worked in megastructures. Architect Albert Kahn's basic concept for these industrial buildings was to build single story steel frame structures that kept all production along a straight assembly line. These structures were windowless, and focused singularly on their 'occupants', the objects being produced inside. Depictions of these spaces never showed the human scale, and were often drawn at an aerial vantage point with no context, removing any scale from their representation. Production facilities were the target of many bombing raids, and crippling a facility could set production back days to weeks. Oddly enough megastructures sometimes became as large as the downtown areas of cities, making them easily spotted and targeted from airplanes. It was seemingly acceptable to bomb the factory, without any regard to the amount of people that ran production around the clock.

2. One of the roles architects filled in WWII was camouflaging buildings from air attacks. While there was an effort to move operations into underground bunkers (such as the Tecton Group's proposal for underground shelters in London that could hold 7,600 residents in a single concrete tube), many architects focused on camouflaging cities and buildings by altering and disguising the outlines of buildings from the airplane. Schools such as the Ecole des Beaux Arts of Paris and the Pratt Institute taught architects camouflage techniques to distort objects and scale. Camouflage created the removal of representation, such as the breaking of outlines of a building's roof and the use of painted netting over landscape to distort recognizable landmasses. The effect of camouflage altered the scale and context of structures and landscape from the aerial view from airplanes. While camouflage was used as a defensive technique, their consequences still displaced cities due to large scale camouflage devices and dehumanized many spaces due to the removal of identifying features such as the removal of color and crosses from churches.

3. New types of housing emerged during the war to support large scale production, due to the decentralization of industry. New housing developments needed to be built, but wartime production contributed to a shortage of materials so many complexes were made up of huts, shacks, and tents. Houses constructed out of quality materials, were built on mass production prefabricated systems, such as the Dymaxion House and the Quonset Hut. Despite the fact that these houses were human scaled, their deployment into repetitive landscapes was not. While the housing was functionalist, the sheer amount of units led to no unique identity for the occupants. For example, Oak Ridge, a town built around a Manhattan Project facility, had over 75,000 people living in secrecy around the factory unaware of what they were even working on. To keep up with the fast pace of housing production, Ernst Neufert even proposed moving the factory to the site, with his Hausbaumaschine. This was a house moving machine that would construct housing on site along rails, without the guidance of humans, even removing humans from the construction process.

4. The smallest scale relating to the human proved to have the most destructive and brutal depictions from architects, due to their realistic and relatable nature. Architects that had previously studied German and Japanese villages were instructed to teach soldiers how to bomb and raid these homes. In Dugway, Utah fake German and Japanese villages were constructed for napalm bombing experiments. The full scale home models used for training runs were complete with domestic furnishings that soldiers would encounter during their invasions Other structures designed around the human scale, were German concentration camps. Every inch of the building was optimized and programmed to hold a prisoner. It was determined that each prisoner have three square feet. It is here that the question of ethics most comes into play, with the human scale that was being worked on. While some architects were forced to design concentration camps by Nazi forces, most architects on both the Allies and Axis practiced freely. It has been said that Albert Speer, Hitler's chief architect, justified his actions by claiming his "obsessive fixation on production and output statistics blurred all considerations and feelings of humanity." Perhaps architects unknowingly designed dehumanizing war spaces, but its likely that the shift removed the human from representation validated the unethical nature of war architecture.

10 illustration writing

ARCHITECTURE IN UNIFORM Professor: Amy Kulper Theory and Criticism Spring 2014

While World War II is known as a deadly war from the technological innovation of the airplane that allowed bombing attacks from the sky, military soldiers are not solely guilty for the destruction. While assumed as innocent, architects were mobilized during the war to design structures, create models, and draw influential images for industry, the military, and the public. However, war time architects produced works that instilled dehumanization through work that lacked individual identity and scale. Normally architecture relies of the relation to the human scale, but ironically during the war architects based their design on new scales both large and small, such as the parts produced in a factory or the scale of a room used for a propaganda exhibition. Most war time construction became large scale construction that masked its unethical nature, but as scale shrank and became closer to human size it became more cynical and deadly. The further from the human scale as architect constructed or represented each construct, the more ethical it became to bomb it. However, the closer a representation reflected the human scale, the more menacing and unethical it became to destroy. The removal of the human scale in architecture and representation provided the regimented and dehumanizing design that was accelerated during the war.

CONFIDENTIAL A R CH ITE CTS H E A DQ U A R TE R S Subject: To:

Order 572. Operation: Scale. US Military.

1.1. The largest scale of architecture design was the megastructures that housed the building of wartime materials

and infrastructure and the megacomplexes that housed the workers who worked in megastructures. Architect Albert Kahn's basic concept for these industrial buildings was to build single story steel frame structures that kept all production along a straight assembly line. These structures were windowless, and focused singularly on their 'occupants', the objects being produced inside. Depictions of these spaces never showed the human scale, and were often drawn at an aerial vantage point with no context, removing any scale from their representation. Production facilities were the target of many bombing raids, and crippling a facility could set production back days to weeks. Oddly enough megastructures sometimes became as large as the downtown areas of cities, making them easily spotted and targeted from airplanes. It was seemingly acceptable to bomb the factory, without any regard to the amount of people that ran production around the clock.

4.4. The smallest scale relating to the human proved to have the most destructive and brutal depictions from architects,

due to their realistic and relatable nature. Architects that had previously studied German and Japanese villages were

instructed to teach soldiers how to bomb and raid these homes. In Dugway, Utah fake German and Japanese villages were constructed for napalm bombing experiments. The full scale home models used for training runs were complete with domestic furnishings that soldiers would encounter during their invasions Other structures designed around the human scale, were German concentration camps. Every inch of the building was optimized and programmed to hold a prisoner. It was determined that each prisoner have three square feet. It is here that the question of ethics most comes into play, with the human scale that was being worked on. While some architects were forced to design concentration camps by Nazi forces, most architects on both the Allies and Axis practiced freely. It has been said that Albert Speer, Hitler's chief architect, justified his actions by claiming his "obsessive fixation on production and output statistics blurred all considerations and feelings of humanity." Perhaps architects unknowingly designed dehumanizing war spaces, but its likely that the shift removed the human from representation validated the unethical nature of war architecture.

11 photography

FALSE ROOM Ann Arbor, Michigan Professor: Catie Newell Glow Matter Fall 2014

One of my passions is photography. In this series, light is used to shape and disguise space. The space is an outdoor pavilion at night time. The main space is characterized by columns, while two other connected spaces have windows and doors to the exterior. The spaces are separated through the use of beams along the ceiling. The role of artificial light in these photos highlights this spatial separation, with much more contrast than is perceived in the actual space. The result in many of those photos is one that breaks apart the space into 3 separate parts a central part with columns, and two mirroring side spaces. Interestingly many of the photos begin to question an inside and outside, as the depth of the black spaces becomes hard to decipher. Occasionally sky peaks through some of the dark windows furthering this confusion. Although there photos were taken at night and there was no fixed artificial light in the park, some shadows were cast into the space that became apparent in some scenes. However, the affects to the space were made through artificial light, and created a variety of moods, ranging from powerful to eerie.

12 responsive installation

LIGHTWALL Professor: Malcolm McCullough Responsive Surfaces Spring 2014

This installation uses mirrors to reflect light onto the wall based on interaction. The installation works mechanically from rotating mirrors that direct the light up and down the wall as it moves. The speed and the direction of the lightâ&#x20AC;&#x2122;s movement is based on four force sensors that people can step on. If all four sensors are triggered, a layer of color is added to the light. The idea here is that two people would have to work together to create that interaction.

13 responsive installation

RADIATE BLUE Professor: Catie Newell Glow Matter Fall 2014 Group: Varnessa Argento, Mauricio Cornejo, Joe Donelko, Andres Marin, Sean Niu In this project we created a light installation to activate the Detroit riverfront. We created a series of wax casted lamps that grafted onto the site. The lamps were shaped to wrap onto benches and rails on the site, or also welded to one another. These lights activated the river by slowly twinkling when there was no one on the sidewalk. The lights also track and follow people when they walk by, with the use of a distance sensor. While our installation was small, we imagined this to line the entire sidewalk, so we could provide light in dark areas while people are walking. We also created a system of more sustained lighting, that could be activate. After sitting on a bench or standing at the railing for a set period of time, the lights around that area would slowly turn on. As this was a group project, my role was to develop the code and the wiring plans. Along with that, I also was involved with casting the lights in wax.

Directions for building a wax light.

Wax was melted and mixed with hardener to create our lights.

Once white and gooey, the plastic sheet and the wax was lifted from the form work, and the remaining hot liquid wax was spread around the plastic sheet.

Using several hands, the plastic sheet with the cooling wax must be shaped. At this point, the wax could be shaped around a seat and railing, making it possible to sit in specific places on the site.

While the wax was melting, a plastic sheet on top of a wood frame had to be constructed, to keep the wax from spreading too far.

The wax was then poured onto the plastic sheet on top of a cool concrete floor.

After holding in the desired shape several minutes, the wax begins to solidify. A light pod mold should be placed into the base of the wax, outside of the plastic. After, the wax was put into a bucket of water to cool.

Once solid, but not rigid, the plastic should be removed from the wax slowly. After, the wax should be let to dry and harden completely.

REPEAT

Once dry, the wax is painted with a layer of colored liquid latex to prevent the wax from breaking.

The light pods contained 3 individually controlled LEDs.

These lights were eventually connected back to several breadboards to control the 63 LEDS we were using.

We controlled the lights with two force sensors and one distance sensor.

All of this was controlled by one Arduino, so the installation could be set up without a computer.

Thanks for viewing.