Eye_Hand_Mind_ Jacob Dunn's Architecture Portfolio

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jacob dunn student | professional | portfolio

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introduction

student work A Return to Eden

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thesis The Nature of Recycling

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Metropolis Energy Materialized

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Jake

Integrated Studio Ebb-n-Flow Winery

professional work Hybrid

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IDL Gonzales Live/Work BSU Teaching Art 156 - Arch Graphics 1

1 1986 born in Lancaster 7 2007 study abroad CA summer in Rome, Italy 2 1992-2004 grew up in 8 2007 attended AIAS Mountain Home, ID Forum in Milwaukee, WI 3 2004 flew to Chicago, IL 9 2008 internship at Arup for scholarship interview for 7 months with IIT 10 2008 trip to Paris 4 2004-2009 went to 11 2008 trip to Amsterdam Moscow to attend the UofI 12 2009 attended AIAS 5 2007 3rd year field trip to Forum in Denver, CO Seattle, WA 13 2009 attended ACSA 6 2007 attended ICFF conference in Portland in NY, NY for Metropolis 14 2010 trip to San competition win Francisco and LA, CA 12

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7 Before college, I had ZERO interest in architecture. Born in Lancaster, California and then moving to Mountain Home, Idaho at the age of six, I was basically quarantined from any type of critical architecture. In high school I loved to play baseball, was elected student body president, and graduated as valedictorian—I had little interest in anything creative. I simply chose architecture as a career pathway out of shallow interest, and I am eternal grateful for this stroke of chance that has allowed me to find meaning and significance in my life.

I got my first real taste of a city when I was flown out to Chicago my senior year of high school; I made it to the final round of interviews at the esteemed Illinois Institute of Technology and received an all-expense paid weekend in the city. However back then, I had no idea what I was seeing when I was walking through Crown Hall or strolling around one of the most architecturally rich urban fabric of a any United States city. I just knew that it felt….right.

After not receiving the scholarship and ultimately not being able to afford IIT, I went to school at the University of Idaho which was an experience that I wouldn’t trade for any other college. I discovered that it doesn’t matter where you study architecture, its how you study architecture that really matters. At UofI, I fell in love with its picturesque campus, made lifelong social connections, and felt my architecture sensibilities change by the semester.

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My next life-defining experience, occurred during the summer of my junior year when I travelled to Rome Italy to study architecture for the summer. Before heading to Rome, I had to spend a week in New York building an exhibition booth for part of a competition that I had won for the International Contemporary Furniture Fair and Metropolis Magazine. After barely leaving Idaho for most of my life, I hit two of the world’s major metropolises within a week of each other, talk about fortune?! It was in Rome that I felt true architectural beauty and with such a beautiful subject, it was only a matter of time until I fell in love with sketching.

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The next summer I had the opportunity to work in London at the world renowned Arup. The seven months that I lived there was an experience that set me on a path toward living and understanding sustainability on a whole different level. It informed my recycling center thesis project, and cajoled me into truly loving sustainability. Upon returning home, I finished my thesis and received the Henry Adams Gold Medal of Honor from the UofI. This was the architecture program’s most distinguished accolade and it reflected my extracurricular activities, community involvement, and the fact that I graduated with my MARCH at the top of my class with a 4.0 GPA. Now I try to balance my between work and teaching, knowing that I wouldn’t trade my experience at the University of Idaho for anything.

natural talent Jacob Nathan Dunn | biography

a return to Eden When exactly did we lose our connection to nature? Was it when humanity was exiled from the Garden of Eden? When we moved out of caves and into air-conditioned homes? Or was it with the advent of electricity, of industrialized farming? vWas it with the rise of the Capitalist machine? Or was it when Paris Hilton starred in that commercial for Carl’s Junior? It’s hard to pin down the exact date, but at some point along the line of human existence we have lost what David Orr calls, “a sensual connection to nature”. We have alienated ourselves from nature that has nourished our needs for over millions of years…which has caused alienation from ourselves. We now live in an estranged environment that dilapidates rather than ages, that wants to be perfect vs. embracing imperfection, and that destroys rather than creates…

But how did this happen? When did we start viewing trees as merely a number of board feet rather than something precious? I mean, aren’t we inherently natural beings? The last time I checked there are two forms of life: plants and animals.

Since I haven’t

been able to produce my own food through photosynthesis yet, I would conclude that I’m an animal.

All that animals are concerned with is eating, sleeping, marking territory, maintaining simple social

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Homo sapiens, makes sense right?

structures, and procreating with the opposite sex— sounds like the University of Idaho life to me.

So what’s different? Some would say it’s that humans are able to engage in metathought, or “thinking about thinking” which distinguishes us from the other animals. Heidegger might argue that this simple fact gives man a higher consciousness, therefore excluding him from the natural world. This alienation allows us to view our condition as self-sovereign subjects that are the whole of everything objective, thereby delivering nature over to ourselves as something to be controlled, mastered, and used to our own ends. Our values have shifted from embracing our home to its exploitation for misguided ends. Even just the dichotomization between civilization and the natural world has a proclivity to further estrange us from our environment with negative consequences.

Separated from us, the earth and its atmosphere can now be objectified and reduced into distinct parcels of raw material from which to yield to the demand of humans. Now Nature unto itself has no value except for the tangible numbers it represents as resources. This condition has to be true, how else can we slash and burn rainforests? How else can we dump toxic waste into rivers and oceans? How else could we have let unsustainable growth warm the planet to the point of human genocide? Most importantly, how can we still let Dick Cheney hunt animals…or humans, or whatever?

We need to go back to embracing and being nature. We need to go back to designing the built environment as an interconnected ecosystem whose waste But nature does have value, right? streams are reused, recycled, and redistributed within the community. If we spend on average 80% of our lives indoors, then we need to design interiors Just ask the people of Cuba, whose as habitats instead of disparate homogenized cubes. We need to design the building as part of a larger system that gives back to its site and reinforces natural mangrove forests form a social and environmental structures. “Green” Architecture should start to blur the subject/object delineation between inside and outside, machine and organism, natural barrier to the salinization building and landscape, civilization and the of their inland fresh water resources. Ask anyone whose home is environment…and promote the idea that we are nature. Only through our love for it will we fight heated with the electricity produced from microbes eating waste in for nature’s survival…and inevitably our own.v anaerobic digestion tanks. Or just think about why we heal faster in the presence of nature, or why we prefer to work in natural light with a view to the outdoors.

As a people who are now largely

urbanized, we are evermore fascinated and affected by the natural landscape—is that why the Hamptons are so popular? In some form, we still have an affinity to nature that is deeply engrained into our DNA.

If an abalone can make a ceramic shell as strong as steel without the use of heat, then we should at least be able to design a building with proper solar orientation.

So we must remember that “green” Architecture is nothing new; actually it means going back to the basics in terms of design. Ever since the Exile, we’ve lost our innocence, you might say. When we hear green architecture, it doesn’t mean forgetting the past, the old and going to the new, embracing the high-tech. “Green” architecture should be something that reconnects us as sensuous creatures evolved over millions of years to a beautiful world. That world does not need to be remade but rather revealed.

…and that will be our return to the Garden.

university of idaho BA + MARCH | 2004 - 2009

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sustainablility editorials

V-RAY rendering

Complete Rhino Model

CAD

character watercolors

sustainability integration

design development/sketching

didactic sketch modelling

schematic masterplan

site analysis

hybrid program conception

site seach/selection

waste mgnt. officials

interview w/ ARUP

recycling process analysis

research agenda

typology analysis

design intent definition

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The recycling center also has a civic role to play in the promotion of the act of recycling, versus just being a static building that carries out this process.

Currently, the cause and

effect relationship of waste management is disconnected from the publics consciousness.

People simply throw their trash in small containers, in which it disappears to cause ecological degradation and blight that most people never see.

Through integrating the

recycling center in everyday life, such as placing it within the city and having people walk through

Redefining Sustainable Culture Through Biophilia, Biomimicry, and Ecological Design The recycling centre is a key building typology in transforming our culture into an ecologically sound organism that derives meaning from the way we relate to our environment. The ways that people, buildings, neighbourhoods, towns, cities, countries, and the world deal with the waste disposal, recycling, and resource management are key factors in determining how ecologically sound a community is. The center has the potential to establish give-and-take relationships with its community, further connecting and localizing its resource loops through the utilization of the standard mantra of recycling: reduce (zero-waste living), reuse (secondary recycling markets), and reycycle (utilizing single-stream waste sorting facilities).

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it on their way to work, this process is moved to the forefronts of the people’s minds.

This design strives to achieve this relationship by innovatively hybridizing the industrial program with public features such as art galleries, building centers that teach people about sustainable practices such as how to minimize waste, how to live sustainably, and even be an education center about green technology and its implementation. Through the incorporation of public amenity such as café’s, coffee shops, community roof gardens, and public viewing galleries, this extends the reach of the facility to reach a wider demographic. Additionally, locating and connecting the recycling center near a newly designed lively mixed use community will provide an opportunity for integrated density and can insure proper social amenity to accompany a visit to the facility, making it a destination unto itself.

The Nature of Recycling thesis studio | spring 2009

understanding Much effort was invested into understanding the complexities of a single stream waste system and new Materials Recycling Facilities (MRFs) in London.

To handle the shift away from presorted recyclables, a new type of facility has evolved to process a wide range of co-mingled office and commercial dry recyclables. Large equipment dominates the interior of their warehouse structure and is specialised to sort between the different co-mingled waste streams, i.e. paper from plastic, cans, glass, etc. Some MRFs use a series of screens, or even floatation and buoyancy to separate waste. The particular facility that I toured in London, however, uses a series of rotating camshafts and gravity feeds to separate objects based on 2d and 3d shape.Additionally, extremely specialised equipments such as magnets and infra-red density lasers have the ability to achieve a high level of quality in the end resources recovered by the complex process.

equipment. The quality of space revealed by close observation of the equipment could be compared to labyrinthian quality Piranesi’s prison drawings. The constant movement of the conveyor belts,

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needed to be experience the sheer rational beauty of the recycling process.

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along with their multidirectional and multi-level character, provided

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Touring the facility, I couldn’t help being drawn to the beauty of the

for a strong spatial experience.

inspiration

I concluded that the public

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to the north

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the site itself lies on the most southern tip of the borough, on Leamouth Peninsula. The 7 hectare piece of land represents

one of the most exciting regeneration opportunities in East London. Today the area has an air of dereliction and decay as it is a contaminated brownfield. Situated where the River Lea meets the River Thames, the peninsula has a special character based around its waterfront location. Canning town is the nearest tube and sits directly opposite the north bank. SOM is currently redesigning the site as a mixed use development.

Newham borough is situated five miles east of the City of London and is bounded by the river Thames in the south, River Lea in the west and River Roding in the east.

the borough Project Site

to the south

schematic masterplan design

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views

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This schematic design places the recycling centre at the northern tip of the site. A walkable green roof can be utilized as an interesting connection between the tube station, pedestrian bridge, and more public parameters of the site. This moment would gain a lot of exposure, as it would be viewed from the public tube and the elevated highway to the north.

opposite The drive-up-drop-off style Civic amenity site would be located directly south of the centre, right by the crucial hinge point of vehicular access to the site. This would allow easy transition to the southern peninsula, where a lot of the public amenities and commercial area would lie.

The southern peninsula contains the main public hub of activity, where the sustainability and research centre could be located right next to the re-use centre, joined by the common area for the farmers market, which could bleed over onto the eastern part of the site. The re-use centre could be strategically positioned to buffer the public zone from the unsavoury bits of the anaerobic digestion plant.

The backdrop of this public interaction area would not be the commanding 02 centre to the south. Additionally the Anaerobic Digestion tanks could for a powerful place-making apparatus for the gallery, amphitheatre and hopefully more natural park-like atmosphere on this part of the peninsula.

Directly to the west of the site is another small-scale park, which already has a strong connection with the river and what’s across it.

Masterplan Concept The goal of the project is to shape public space, service areas, and educational initiatives to provide an experience that promotes the act of recycling and celebrates an ecologically sensitive lifestyle. By providing social amenity alongside habitual recycling efforts, the experience is slowed down and enjoyed. The site provides useful public areas such as learning centres and green business that facilitate engagement with sustainable practices, methodology, and ideas. Now a trip to the recycling centre becomes much more than a stop along the journey, it is the journey and a destination unto itself. This place-making is not the product of the buildings themselves, but a result of the design of the relationships between the buildings.

Design Concept Through the integration of interior and exterior, machine and organism, architecture and landscape, people and the natural world – the recycling centre will promote the idea that Design Concept

we are nature.

Didactic Sketch Modelling Two conceptual sketch models were conceived to begin to explore the spatial relationships offered by the particular orientation of the masterplan. The process was open-ended and intuitive, leaving room for discovery and the shedding of stylistic preconceptions during the creation of the buildings’ form—to almost say that the form “grew” from the site in an organic fashion. The models were then sensitively photographed and silhouettes of people were then added to start to understand the potential character and experiential qualities of this exploration. Different versions of parti diagrams were also derived from this process, each one being analyzed for its appropriateness to the programmatic space, site, and overall organization of the two peninsulas.

Model 1: The Invasion of Nature

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To better understand how the natural world could start to be integrate with the urban environment, two types of materials were used for this model. Small scale bits of actual plants were used as a one-to-one representation of the quality of natural systems, while planes, columns, tubes, and screens were used to represent more man-made built forms.

During the construction of the model, opportunities for their harmonies were better understood, and as their two very different forms were integrated amongst each other, notions of natural vs. manmade landscapes, and the idea of interior and exterior, started to become ambiguous.

Model 2: Shifting Architectonics This model explored a more architectonic hybridization of the dichotomy between nature and civilization. Natural forms were represented with screen, translucent like materials, in an effort to capture vegetation’s interaction with light and vision. Planes, 4-sided columns, and other planar materials were used to more closely relate to the built environment’s repertoire of building blocks.

After building the model, more precise and rational ways of incorporating nature were arrived at, leading to a more realistic interaction with nature.

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The Invasion of Nature

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1. Rooftop Gardens This perspective shows the prospective character of the facilities green roofs. Here, nature grows on the overhead canopies that seem to curve upward and outward from the roof. A plethora of spaces are in this photo, including covered and uncovered seating/ gathering areas, and larger lawn-type open spaces.

2. Attitude towards the River Lea More natural and organic pedestrian walkways could bridge over the river and connect to the eco-park peninsula to the west. Ample social space should be oriented towards this advantageous waterfront edge.

3. Connection to the Roof Gardens This shows the pedestrian bridge that links the facility to the existing tube station. It starts to show what the view of the roof gardens might be like, and how there might be a café with a strong overhead “gateway” condition to define this interface.

4. Roof Elements from the first storey could wrap around to form space-defining canopies on top of the roof.

Both natural and man-made vertical elements start to form screens and visual barriers from which to look through.

5. Density=Community For the residential towers, large public deck areas would be attached to the main building volume, whilst utilizing eco-Piranesi-like walkways link the different spaces together.

6. The waters edge South facing porch spaces and community decks would front the Thames river edge. Potentially, floating gardens could be utilized to not only provide food for the development, but also provide special social amenity for this aspect of sustainable ecological living.

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Shifting Architectonics

1. Wrap Around

Screens from the ground could extend and wrap around to the roof, providing a continuous shading device for window fenestration and roof gardens. Here you can see a pathway that runs alongside of the entire building form, creating a potential opportunity to view into what could be a large recycling bay.

2. Vertical Connection

This photo depicts the true potential of the outdoor community decks and how they might be in interconnected system of social amenity and gathering space. The vegetated screens could even depart from the façade and peel away from the building to form buffered shady walkways.

3. Open to the South

The southern façade of the southern mixed-use peninsula could be as open and diaphanous as well, utilizing vegetated screens and large community roof decks as shading strategies. Here you can also see how the ground level public plaza spaces could potentially open up to the water’s edge and turn into promenade walkways that lead to the floating community gardens.

4. Roof Terraces

These vegetated screens could also be strictly vertical and simply reside above the communal roof decks while casting beautiful, dappled light onto the building’s surface.

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floorplan development

masterplan ideas

roof gardens

entry perspective

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a focus on the recycling center

This

[ARUP: “the best designs are those where you can’t tell where the was an ultimate engineering stops and architecture begins.” structure + envelope + experience

hyper-integration

goal for the structure and envelope of the building. The architecture and engineering have to work together to create a seamless experience for the rooftop gardens and elevated walkways to be inhabitable, contain green roofs, serve as monitor skylights that double as viewing galleries, produce energy through photovoltaics, house vertical axis wind turbines, and contain operable windows for stack ventilation capability.

the Fissure

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Two main volumes fissure at the entry to the recycling facility, creating both a pathway in between them and multiple opportunites for light to penetrate into the building. Strips of nature inject themselves into the depths of the volumes and incorporate themselves as part of the interior space. The exterior storage bay, with its constant vacillation of various cubes of recyclates, transforms the façade into a transient and ever-changing composition.

Cafe Gateway

The recycling center is connected to the nearby tube station via a pedestrian bridge that spans the river. The café structure greets the urbanites as they leave the station with a generous outdoor seating area framed by a wooden sleeve that wraps a transparent café. The hollow wooden sleeve frames a staircase flanked with a living wall that leads to the roofgardens and viewing galleries on the roof. Beyond the sleeve, a visual link is formed with the pathway that traverses through the two main volumes of recycling center, drawing people through the facility and toward the southern peninsula.

Deck Ecosystem

The southern façade of the mixed use development is riddled with openings, large-scale community roof decks, vegetative screens, and connective staircases.

All of these components form an organic whole that emphasizes community, social interaction and an engagement with the outside.

The lively nature of these roof decks contribute to the urban street life below and even overlook the floating community gardens that feather along the water’s edge.

Canary Wharf Skyline

Two main volumes fissure at the entry to the recycling facility, creating both a pathway in between them and multiple opportunites for light to penetrate into the building. Strips of nature inject themselves into the depths of the volumes and incorporate themselves as part of the interior space. The exterior storage bay, with its constant vacillation of various cubes of recyclates, transforms the façade into a transient and ever-changing composition.

Northern Peninsula 1. recycling facility 2. education center 3. civic amenity site 4. cafe/coffee shop 5. Canning Station Tube Stop 6. constructed wetlands 7. vertical parking 8. connective path/ stormwater management 9. existing amphitheatre

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Southern Peninsula 10. anaerobic digestion plant 11. residential towers 12. commercial street level 13. restaurant 14. salvage warehouse 15. public plaza/farmers market

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Site Context 16. existing wetlands 17. River Lea 18. Thames River 19. existing waterfront park 20. elevated highway 21. railway 22. Bow Creek Eco Park 23. Millenium Park

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North Peninsula 1. recycling facility 2. education center 3. civic amenity site 4. cafe/coffee shop 5. Canning Station Tube Stop 6. constructed wetlands 7. vertical parking 8. connective path/stormwater management

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South Peninsula 9. existing amphitheatre 10. anaerobic digestion plant 11. residential towers 12. commercial street level 13. restaurant 14. salvage warehouse 15. public plaza/farmers market Site Context 16. existing wetlands 17. River Lea 18. Thames River 19. existing waterfront park 20. elevated highway 21. railway 22. Bow Creek Eco Park 23. Millenium Park

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coffeeshop/gallery rooftop gardens civic amenity site anaerobic digestor

tube station recycling facility two storey parking lot - green pathway on top

waterfront restaurant

residential towers

community decks

floating community gardens

re-use warehouse - interior farmers market commercial first floor

massing ideas

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2nd level 1.1. pedestrian bridge to

eco-park 2.2. green roof walkway 3.3. viewing galleries 4.4. open office space 5.5. catwalk gallery 6.6. office storage 7.7. control room 8.8. conference room 9.9. private offices 10.

10. mechanical room 11.

11. cafe/coffeeshop 12.

12. pedestrian bridge to tube station

ground level 1. regular recycling 2. large item and irregular recycling 3. promenade and rain gardens 4. outside storage bay 5. lobby 6. art gallery 7. building center 8. storage 9. video room

10. employee lounge 11. constructed wetlands 12. sorting bay 13. tipping floor 14. loading docs 15. barge loading dock 16. metal and plastic sorting center 17. bailer/compactor

roof level 1. community gardens 2. vertical axis wind turbines 3. roof top terrace 4. roof top viewing galleries

LRC

is the main perspective as one departs from the LRC gateway This tube station and heads across the pedestrian bridge that connects to the elevated pathway of the recycling facility. The staircase that is housed within the café’s wooden sleeve leads to second story seating and a doorway out to the roof garden terrace. The sleeve would also frame the entire pathway through the building and beyond to the 02 Center. The approach shot shows the fruition of the entry as the tree-lined and rain gardenflanked pathway meets the recycling facility. This richlyvegetated pathway extends down through the site, under the elevated highway, before it terminates at the existing amphitheatre of the southern peninsula, providing a gathering area as a prelude to the southern peninsula and mixed-use development.

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approach

eco-Piranesi The main recycling bays contain multiple levels of vertical engagement with the recycling equipment all the way from ground level viewing, to the elevated pathway, and from up above on the roof gardens, all which combine to create a very piranesi-like experience of the space. This perspective also really shows the lack of a clear delineation of the building’s envelope. The frameless glazing systems almost disappears and the buildings edge becomes the wetlands immediately in front of the facade, the eco-park across the river, and even the city skyline starts to make its way as part of the interior of the building.

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from the inside out

structural concepts The structural framing system is comprised of castellated steel beams, which is an innovative way to efficiently use this already highly recycled structural material. They are made by cutting an I-beam along its length in a scalloped pattern and then welding the two halves back together to leave openings, which can be either round or hexagonal.

The finished product weighs the same, but is deeper and stronger than the original I-beam. The holes in the beam not only facilitate a visual engagement between the beam and its surroundings, they allow more natural light to diffuse deep within the space through the mammoth 5’ deep beams that support the monitor skylights. Additionally, the holes provide an armature for plants to climb up and integrate with the structure.

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employed to create a very delicate glazed envelope that would contradict the intensely robust structure housed behind its glass veil. A grid-less system also starts to reinforce and uphold the original simplicity of the industrial boxlike forms.

The main recycling bays are flooded with diffuse light from the large monitor skylights while being ringed with dappled light from the vertical ivy screens that thermally protect the building envelope from the western sun. The result is a very deep façade and a naturally lit space that starts to create an ambiguous interstitial space in between the inside and outside of the building.

design proce embodied energy research

hardwood veneer research fabricate prototype panel

proposal to Metropolis assemble design-build team design charettes for booth design educational displays collaboration w/graphic design students model booth in Rhino export to CAD create digital fabrication files

test build

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Sustainable Design Build This design-build project culminated from a final assignment in a curriculum for an interior design Materials and Specifications class. The assignment brief was to revolve around the idea of embodied energy in building materials, which dovetailed with a competition that Metropolis magazine was facilitating.

The panel that I designed was featured in the class’s proposal to the competition and some of my renderings were published in an issue of Metropolis along with segments of an interview that I had with their editor in chief. Out of six schools selected internationally, the magazine chose the University of Idaho’s proposal to develop its panel prototype into a full-scale, 10’ x 20’ didactic exhibition booth for the 2007 ICFF in New York City. A team of four interior designers, one mechanical engineer, and one architect (myself) was assembled to design, build, ship, and assemble the booth on site in New York for the furniture fair. The team even collaborated with the graphic design students to create the logo and some of the exhibition displays. My responsibilities included project management, conceptual and schematic design, and digital fabrication.

Energy Materialized ID 353 Materials and Specs | Summer 2008

The original prototypical panel looked to express the idea of embodied energy through hardwood veneer material.

The embodied energy in this particular building product is high, mostly due to multiple layer compositional assembly that has to carefully machined and adhered together to form a panel. The design sought to expose this energy by using a CNC machine to mill a pattern at different depths on the face of the panel. The different crossbands of veneer create a multitude of surface articulations of the panel, thereby visually expressing its high embodied energy.

initial booth designs The initial design of the booth used a subtractive method to create exhibition space.

The booth was intended to be a didactic tool for teaching about the embodied energy of multiple hardwood products, while the booth itself would be made out of the original hardwood veneer panel design.

Even with the simple program of an exhibition booth, the team envisioned it being used for viewing, sitting, standing, resting, and learning.

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panel rendering

These renderings more truly represent the nature of the final design. A panelized system was favored over a furred out framework, mostly because it shows of the idea of a panelized system.

Additionally, the booth uses multiple strategies to minimize its embodied energy: no metal connectors such as nails or screws based off a 4’ x 8’ module, only waste is sawdust flexible system can adapt to multiple different uses packs down into a 4’ x 8’ x 2’ volume--less packaging

visualization

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digital fabrication

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As a result off making the panels notch together to form rigid spanning systems and bearing walls, extreme accuracy was required to ensure the panels would work together as a system. The entire booth was modeled to fit together in the 3d modeling program, Rhinoceros, to ensure that all teeth and slots matched up perfectly. Next, the panels were flattened, exported to CAD where different colored lines meant different drilling depths for the CNC machine.

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We had one day to run a test build of the structure and troubleshoot any problems with the design before we shipped the booth off to New York for the competition/exhibition. The loading dock behind the woodshop where all the panels were CNC’d proved to be a surprisingly beautiful outdoor setting for the booth, where one could really experience how its perforations played with light.

Following the 1/16 inch

scaled assembly model, utilizing two step ladders and 6 students, the entire booth only took about one hour to erect.

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layered Some panels were milled all the way through the layers of the external grade plywood, creating openings in the booth that allowed both views and light to penetrate its richly layered spaces. The team couldn’t get enough hardwood veneer 4’ x 8’ panels to be donated, so we had to settle for external grade plywood. This led to more imperfections in the milling process, which only added to the character and haptic qualities of the booth.

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new york These photos show the booth in its native context at the International Contemporary Furniture Fair at the Jacob Javits Convention Center in New York. The University of Idaho’s booth was set up on the corner of a block consisting of six different exhibition booths picked internationally by Metropolis Magazine. Our competitors for best of show included Alberta Canada (winner), USC and other universities from all around the world.

connection detail

The milled down sections of the plywood not only exposed its substrate, thereby creating a very tactile surface pattern, but these insets also made for great informational displays. This didactic quality of the booth focused around educating the public about the manufacturing processes and embodied energy associated with other hardwood products such as OSB, particleboard, etc.

The graphics

include step by step manufacturing processes custom made by the graphic design students, renderings from the Materials and Specifications interior design class, mock up models of wall panels, and infor mational brochures about the booth.

step-by-step wine tasting

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1 Pour the wine into a clear, tulip shaped wine glass, about ¼-1/3 full.

2 View the wine at a 30 degree to 45 degree angle against a bright, white background. Notice the: a.

Clarity (absence of haze) b.

Color hue (shade or tint) c.

Depth (intensity or amount of

pigment) d.

Viscosity (resistance to flow) e.

Effervescence (noticeably

sparkling wines) 3 Sniff the wine at the mouth of the glass before swirling—study the nature and intensity of the fragrance 4 Swirl the glass to promote the release of the aromatic constituents from the wine 5 Smell the wine again, initially at the mouth and then inhale deeply farther into the bowl—study the nature and intensity of the fragrance.

6 Take a small sip of the wine.

7 Move the wine into the mouth to coat all surfaces of the tongue, cheeks and palate—note the various taste sensations and where they are perceived in your mouth: a.

Sweetness b.

Acidity c.

Bitterness

v-ray renderings

sketchup viritual model

midcrit with engineers

operable facades research

elevation studies

natural ventilation strategies

night flush ventilation

digital daylight modeling

sustainability considerations

HVAC and structure integration

diagramming exercise

10 sketches, 3 sketch models

site selection competition

precedent study model

precedent programmatic analysis

winemaking process research

wine experience research

Italo Calvino “Invisible Cities”

design proces 8 Concentrate on the mouth-feel (tactile) sensations of:

a.

Astringency b.

Prickling c.

Body d.

Temperature e.

“Heat” (alcohol) Note the fragrance of the at the warmer temperatures inside 9 your mouth 10 Aspirate the wine by drawing air through the wine to enhance the release of its aromas sensed retronasally. This is done through slightly gurgling or by pursing your lips and breathing air over the wine— study the difference in nature and intensity of the fragrance during the “in-glass” judgment and “in mouth” judgment.

11 Swallow or expectorate (spit) the wine 12 Breathe out the warmed vapors through the nose—notice any aroma detected 13 Concentrate on the olfactory and gustatory sensations that linger in the mouth and notice their intensity and duration

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Full - Bodied Architecture The experience of wine speaks toward a complete sensuality.

It traverses taste and

integrates the human body’s multivalent sense modalities into one holistic experience. Despite all of the thought inside the bottle, an encounter with wine can be affected by external factors

URDC

outside of its control, such as company, place, setting, mood, lighting conditions, and even the social occasion. Architecture is no different. It is something that transcends a mere visual experience and speaks to a full-bodied sensuality that can engage multiple levels of tactile reciprocity.

Additionally, like wine, the

architectural experience can be enhanced by its pairing with context, site, history, local character, ecology, nature, etc.

This project

tries to embody these haptic ideas while trying to respond to as many of the urban conditions of the site as possible. The design has 3 main concepts:

1 2 3

the courtyard is the center

sectional and volumetric expression of the gravity-flow wine process to the public

operable facades connect the interior courtyard to the street - thereby blurring notions of interior, exterior, and building envelope

Ebb -n- Flow Winery IURDC Boise | Grad Studiio | Fall 2009

To aquire a spatial intelligence of existing wineries and their winemaking program, diagrams were created to examine various relationships between the buildings

Overall Spatial Arrangement The main goal of the design was to minimize the impact of a large structure on the existing vineyards and surrounding landscape. Public access is kept above ground, while the industrial heart of the program is mostly underground.

and their processes. Subjects were explored through a series of freehand diagrams that graphically depict how the wineries function and behave architecturally.

Burmed in the Landscape The simple sculptural main building form reflects the natural grade of the landscape, which allows the exterior to harmonize with the surrounding vineyards. The burm also allows grape-carrying vehicles to access the second floor of the winery, where they can move throughout the rest of the wine-making process by gravity.

Quintessa Winery Location: Rutherford, California Gross Square Footage: Winery = 27,000 sq ft Winery caves = 15,000 sq ft Office Building = 4,800 sq ft

Passive Design The spatial arrangement of the building allows for multiple passive design strategies to be utilized in heating and cooling the building. Irrigated sod roofs, thermal mass, and the use of night air ventilation preclude the need for mechanical refrigeration in the bottling and wine case storage areas.

Location: Niagra on the Lake, Canada Gross Square Footage: 22,000 sq. ft Architect: Les Andrew

Stratus Winery

student work | IURDC | pg 8

The stratus winery is the only LEED certified winery in the world. Its owner, David Feldberg and previous CEO of the furniture company Teknion, was an advocate of the early integration of the design professions to create the most ecological design possible. divides itself programmatically into 3 main components: 1. public 2. processing 3. storage. The public area has a strong connection to the outside through opening up in a multitude of ways to a surrounding patio. The processing area utilizes a suspended mezzanine to keep an open and flexible floor plan for the wine-making equipment.

Completed in 2005, Stratus was designed by Les Andrew Architect, with a central design role played

by Sandwell Consulting Engineers.

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experiential section-relief model

INTENT: to create a physical model of The architecture is not overly an existing winery’s “[A]rchitecture”. flamboyant and ostentatious, but rather it is subservient to the experience of wine and wine making.

The architectural aesthetic of Stratus Winery Its as if the architecture almost could be described as an “over-rationalized, disappears and the people, the wine, prefabricated, off-the-shelf piece of the landscape, and the machinery engineering—not architecture”. The architect take on the role of “architecture.” describes the building as “zen-minimalism, with a simple structure to adapt to the The model is an attempt to abstractly winery’s ever-evolving needs.” Of these two convey the fundamental aspects descriptions, one thing can be sure: he of the experience of the winery, building serves as a framework for the events and to ultimately understand if its and experiences that take place within its simplistic architecture accentuates walls. these experiences, or is merely too ambivalent toward its program.

Model Size: 3’ x 5’ x 6”

The site for this project is located in downtown Boise, Idaho. The site’s territory encompasses two surface parking lots that flank a thin building in the center. Parti walls flank each side, although one gives way to an existing courtyard used by adjacent restaurants. The site has both an alley and a street front, which happens to be on “Main” street across from some of Boise’s local bars and restaurants. The program is five-fold:

the site: an urban winery 1.fermentation 2 office space 3 demo vineyard 4 restaurant/bar 5 retail

Contemporary wineries have endeavored to be solely “gravity-fed” wineries that refrain from using pumps or mechanical operations to move grapes through the production process. Most winemakers will argue that wine-making method more carefully handles the grapes, protecting them from bruising and ultimately leading to a better quality wine. This design aims to express the unique functional layout of this type of winery on a multivalent sectional level.

A continuous void runs verticall ythrought he building, which allows the public to view the entire gravity-flow wineprocess from one vantage point.

3 main concepts: courtyard as center

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1.gravity flow process

2 courtyard as center The c-shaped parti of the building celebrates the courtyard as the center of the building where the programmatic elements of the winery and the public aspects of the city coalesce. The winery tanks and production area of the facility form the backdrop to this outdoor space, monumentalized behind a frameless glass façade. Outdoor seating areas, staged music performances, and an expression of the winemaking process all converge to form the heart and center of the design.

Operable facades function to pull the interior void of the courtyard through the wineyr and out onto the street, alluring street goers into the center of the winery. Additionally, these flexible facades open the retail area of the program to the street during the day and allow the energy of the winebar to spill onto the street during the night.

facade study

mezzanine platform

birds eye perspective wine tasting/barrell storage

sketchup studies

fermentation space

the courtyard

Sketch modeling digitally and physically in parallel allowed me to spatially explore the architectural concepts of the design in the site. During this process, I was able to achieve more concrete glimpses of how the fermentation space would be exposed, how the circulation of the courtyard worked, and how some of the other key architectural moments could be realized in physical or virtual form. Utilizing hot glue, corrugated cardboard, a scissors allowed me to create fluid physical models, that explored many ideas in a relatively short amount of time. Sketchup was a powerful tool in ensuring proper dimensions, proportion, and scale throughout the sketch modeling process. By concurrently modeling ideas in the virtual realm, more precise design moves could influence and affect the physical models in tandem. The virtual model allowed the exploration of more courtyard as center subtle massing moves, such as how a continuous slab could bend and wrap volumes to form space.

Both tools, combined with hand drawing, proved to be essential in exploring the complex three dimensional qualities of the spaces that the program and site were demanding. across the street

across the street

facade study

the model Sketch modeling digitally and physically in parallel allowed me to spatially explore the architectural concepts of the design in the site. During this process, I was able to achieve more concrete glimpses of how the fermentation space would be exposed, how the circulation of the courtyard worked, and how some of the other key architectural moments could be realized in physical or virtual form. Utilizing street facade

hot glue, corrugated cardboard, a scissors allowed me to create fluid physical models, that explored many ideas in a relatively short amount of time.

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wine tasting/barrell storage

Sketchup was a powerful tool in ensuring proper dimensions, proportion, and scale throughout the sketch modeling process. By concurrently modeling ideas in the virtual realm, more precise design moves could influence and affect the physical models in tandem.

The virtual model courtyard glazing allowed the exploration of more subtle massing moves, such as how a continuous slab could bend and wrap volumes to form space. Both tools, combined with hand drawing, proved to be essential in exploring the complex across the street three dimensional qualities of the spaces that the program and site were demanding.

street view

the thecourtyard courtyard

fermentation vista

the site the site the site the site the site genesis diagram the site c-shape parti c-shape parti c-shape parti c-shape parti c-shapec-shaped parti parti c-shape parti

mezzanine level

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hift

sun s

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pulling the void pulling the void pulling the void pulling thepulling voidthe void pulling the void pulling the void slab and infill slab and infill slab and infil formalism slab and infill slab and infill slab and infill slab and infill

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street level

basement level

office

final iteration final iteration final iteration final iteration final iteration final iteration final iteration

demo vineyard

red fermentation

white fermentation

bar / retail

program diagram

1. bar 2. fluid retail 3. bar courtyard 4. restaurant courtyard 5. restaurant 6. kitchen

7. cellar seating 8. bathroom 9. storage 10. fire stair 11. loading dock 12. wine elevator

13. storage 14. retail storage 15. mech room 16. cellar wine tasting 17. performance stage

Street Level

section 1 1. courtyard 2. barrel storage/bottling line

section 3

3. cellar sesating 4. tasting room 5. barrel storage 6. bathroom 7. mech space 8. crush pad mezzanine

These sections show the true volumetric nature of the project, which closely relates 1. bar/retail to the “gravity flow” winemaking process.. Whether it’s the courtyard, fermentation 2. lounge space, or vertical circulation, people can inhabit multiple strata of space. The courtyard’s edges are ringed with walkways and platforms, the fermentation 3. courtyard space allows public viewing from all heights and levels, and even ascending or 4. restaurant descending the switchback staircase is an immersion of the verticality of the project. 5. office

6. kitchen 7. cellar ceating 8. case storage 9. barrel storage 10. water treatment

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9. demo vineyard

s-1

s-2

s-3

section 2 1. lounge 2. terrace 3. fluid retail 4. mech room

5. wold storage 6. cellar seating 7. barrel storage

8. bar 9. white wine fermentation 10. courtyard entrance

passive design calculations Passive heating and cooling strategies were an integral part of the design process. After studying a psychrometric chart for Boise, Idaho’s climate, appropriate passive design measures were selected based off of their expansion of the comfort chart. On the chart, daily average temperature readings are marked for an entire year for the climate. Additionally, different colored boundaries represent different passive strategies, allowing a comparison for which applications yield the most benefit based on the project’s climate. Night flush and thermal mass, coupled with stack and cross ventilation, was deemed the most appropriate passive cooling strategy. Consequently, using high performance glass, high insulation values, and passive solar with proper shading encompassed the passive heating strategy.

aplicable to: june-sep diurinal swing: 30 degrees average design high: 90 d lowest indoor temp: 60 d lowest mass temp: 66 d floor area: (bar/retail) 5000 sf mass area: floor area = 5000 sf + roof area = 4000 sf +side walls and bar = 1000 total = 10000 sf. avg mass to floor ratio: 2:1

night flush + thermal mass

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total mass heat storage capacity = 150 btu/day, sf

= 75,0000 btus/day for night flush, we need to remove 14% of the heat stored in the mass during the hour of best night ventilation, so we are aiming for 21 btus/hr, sf. through stack, cross, or mech ventilation [see next section].

The current design basically has 1000 sf of inlet and outlet in this scheme, but theoretically the entire facade wouldn’t be open during the night, so lets see what area would need to be securely operable at night.

cross and stack ventilation

1. As a starting point, select 250 sf of both inlet and outlet with, which gives us a inlet area to floor area ratio of: 5.

2. Boise’s average wind speed of 7.5 mph at night during June-Sept.

3. Use nomograph to find cross ventilation cooling capacity: 40 Btus/hr, SF. 4. This is wice the capacity for night flush (21 Btus/hr, SF), optimum secure inlet and outlet size: 125 SF.

stack ventilation diagram

cross ventilation diagram shading strategies South facade

Northwest facade

architecture is self shading during calls for vertical slats for fully glazed the summer, allows full sun pen- curtain wall system. The vertical shading devices double up as veretration during winter tical structure for frameless glazing employs a dual curtain system for system. both privacy issues and glare control

Thin,

narrow

volumes

fronting

the street employ fully operable, sliding glazing systems that open up the building to both the street and to breezes. The main chasm throughout the 3 floors of the building also operates as a stack ventilator.

mezzanine daylight study

after modification

mezzanine + clerestorey + vision glazing

larger view

baseline case

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nine + clerestorey + vision glazing daylight analysis

mezzanine baseline

The project used resources available through the Integrated Design Lab in Boise to digitally analyze daylight levels in some of the main spaces. The Sketchup geometry was exported into Ecotect as an .obj file, next the Radiance plugin was used to create realistic renderings of natural daylight and illuminance data grids. The study revealed a need to balance the daylight in the fermentation space and it allowed for an iterative design process that optimized the mezzanine’s skylight performance.

section illuminance grid This vertical illuminance grid shows the full effect of the north-east facing sawtooth skylight. The grid reveals a large amount of light coming in from the fully-glazed northwest façade that abuts the courtyard. However, this large amount of light coming from a single direction creates an unbalanced lighting solution with the potential for glare. Adding a skylight above the mezzanine space created a more even daylighting solution with foot-candle readings above 30 for the entire space, achieving the minimum lighting criteria for this zone.

daylight section + clerestorey glare analysis false color

Both of these false color sections show the propensity for point source glare in the space. Given the candela/ m2 readings, any ratio above 10 starts to create visual discomfort and glare.

In both cases we can see

that using stainless steel or any other highly reflective metal for the wine tanks posed

serious glare issues.

glare analysis contour map

As a result, wooden wine tanks were utilized in the final design.

HVAC strategy took active chilled beam wall section The on two different forms that 1. primary/ventilation air [1] is introduced into the active chilled beam through a series of nozzles 2. return air induced up into the active chilled beam and in turn through a secondary water coil 3. induced room air is cooled and/or heated by the water coil to the extent needed to control comfort 4. induced air is then mixed with primary/ventilation air and discharged into the room 5. wood slatted soffit 6. sliding glass facade 7. indirect lighting channel 8. hydronic heating tubes

reacted to the dissimilar programmatic requirements of the project. In the more “industrial” areas like the fermentation space or wine cellar, ductwork is exposed in significant manner that celebrates its function as a mechanical system. For the other programmatic elements, such as the restaurant or retail/wine bar, the HVAC system takes on a different attitude.

Ductwork and air handling systems start to hide behind soffits that are faced with beautiful wood-slatted material that also provide a warm counterpoint to the mostly concrete interiors.

Additionally, other specialized strategies are also employed throughout the winery such as: underfloor air distribution for the office, hydronic geothermal radiant heating and active chilled beams for the winebar/retail space.

HVAC integration active chilled beam systems

vertically embedded radiant heat tubing

geothermal mechanical room

exposed ductwork for fermentation space

underfloor air distribution/ kitchen hood/restaurant soffit

industrial-sized soffit for fermentation zone

street level mech room basement level mech room

soffits for bar/ retail area

exposed HVAC for industrial

underfloor air distribution

dedicated mech rooms geothermal mechanical room

radiant heat tubing raw, exposed ductwork

radiant heat tubing

Vistas of the entire winemaking process open up to the viewer in certain points along the route of the public tour. These views allow people to experience the entire winemaking process from one vantage point, thereby tracing the genesis of wine all the way from the crushpad to its descent into the cellar.

fermentation vista

1. winebar/retail public tour diagram

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2.

The public tour starts in the retail area, before moving up toward the lounge on the second floor. This gives you access to move across the courtyard and onto the demonstration vineyard, the official beginning of the winemaking process.

Next, the tour moves across the vertical void space that runs the length of the main building, providing a beautiful vista of the fermentation process. The tour then travels behind the crush pad before descending a switchback staircase into the tasting room, mimicking the flow of wine, which is surrounded by the barrel cellar.

2. retail/winebar The winery holds a very open disposition to the urban streets of Boise. Despite having a contemporary material palette of austere and warm surfaces, the retail/wine bar is very receptive of its context. When the façade is open, this space becomes a part of the street, and the street ebbs its way closer to merchandise and toward courtyard of the winery. This retail space can also be modified into a bar at night, by means of fluid systems furniture that can double as both occupant-adaptable seating and retail shelving.

The formalism of the project follows the nature of its inception as an urban-inf ill project. Large concrete slabs bend and wrap to form enclosure, while textured wooden boards and smooth glass infill its cavities to form a counterpoint to the austere material.

3. street view

3. courtyard night The street façade of the building has many layers. The sliding glass façade can be opened or closed, which welcomes guides the passerby along the street.

Additionally, sections of red curtain can be drawn to provide privacy for more intimate functions, or a white sheer curtain can be pulled in the wintertime to strategically diffuse low-angled light and control glare inside the thin street volume.

4. street - open

5. street - closed

board layout

6. wine cellar/tasting The wine tour experience ends with a descent into the wine tasting room, which is surrounded by the barrel cellar and bottling line. This room allows the tour to taste wine while being exposed to another vista of its making: the aging and bottling process. Here, the cellar is mostly a dark and cloistered experience, but natural light filters down from the courtyard and across the silent barrels. This is the background for the wine tasting room, a place for the experience and celebration of wine.

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The courtyard is territorialized by both the restaurant and the wine bar, whose volumes also flank the ground level of the central open space.

Moving upward, the bar’s lounge views into the courtyard, while the demonstration vineyard across the way caries the void of the street even farther into the complex. A platform for transient public art also forms banquet style seating for the courtyard. The entire experience is grounded by the colossal fermentation tanks, which stand like sentinels behind a frameless glass façade.

hybrid

“The best buildings are where you can’t tell where the architecture stops and the engineering begins…”

This was a phrase that constantly resounded in my head during my time working at Arup in London.

For seven months, I was completely surrounded by engineers. For survival I had to adapt; I had to learn their language to be able to work so closely amongst their profession. I learned to think like them. It transformed me into something where my architectural background helped to inform my new engineering insights. I became a hybrid architecture student.

Whilst working at the most world renowned engineering firm in Europe, I had my fair The importance of integrated design became even more apparent, however, working in Idaho at the Integrated Design Lab share of late night debates with engineers upon my arrival back to the states. Fortunately the lab, like Arup, was wholly dedicated toward the idea of energy efficiency about the place of architecture amongst and sustainable architecture. At my new job however, I discovered the link between design, energy, and simulation that such technical work.

My coworkers, serves as the key to sustainability.

The first thing I want to see from a building is its energy despite their jeers and weird British humor, The IDL nurtured my hybridization held a deep respect for the balance and shifted my sensibilities more to end use breakdown charts and kBtu/SF, yr rating between the professions. The whole firm the engineering side of architecture.

(EUI). It bothers me that a pie chart could be such seemed more often than not to achieve this a muse! I even find myself flipping past the typical stability between technical prowess and architectural inspiration. Ultimately they have their dominating market “moneyshot” of an architectural magazine spread and position and a portfolio full of world class engineering gawking at beautifully rendered section perspective and architectural superstructures to prove it. To me, their work was characterized by buildings that tapped diagrams that show how natural ventilation schemes into place and held the power to touch both people integrate with decoupled radiant systems—it’s bizarre. and the city. This was something the engineers pushed for. Perhaps most importantly, at Arup I was able to Its so bad that I can’t even look at a beautifully glazed experience first hand the integrated design process curtain wall system without thinking, “I wonder what (or “Unified Design” as they coined it), and learn just how far it can take a project when architects and the u-factor of that glass assembly is….” Not to put engineers work together before the onset of a project. too fine a point on this subject, but I would rather read

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Greensource magazine over “Architectural Record.

profession

This hybridization is both troubling and exciting for me simultaneously. This transformation has caused me to look at the design process in a new light. I truly feel that responsible design should start with an aggressive analysis of climate, followed by its integration with passive design systems and building program. After orientation, climate, and building envelope are integrated to reduce loads, HVAC systems can be optimized to meet this demand before resorting to renewable energy. Additionally, energy modeling and analysis needs to be implemented early and iteratively in this design process. Each architectural iteration’s energy performance should be measured and simulated in an attempt to drive down the proposed building’s energy use index (EUI), closer and closer to the Architecture 2030 challenge.

Only through a hybrid approach between architecture and engineering can we hope to achieve critical, low energy, high performance buildings.

The architectural side of me asks, “Where do human factors fit into this seemingly pragmatic approach to design? Luckily high performance buildings have a predilection to create better quality environments for its inhabitants and daylight serves as just one proof of this statement. I’ve learned at the IDL that daylight serves as a lynchpin for energy efficiency in its ability to reduce lighting demand, thereby decreasing the electrical consumption of a building while having a positive affect on its thermal performance. Well-daylit buildings also just so happen to create But what about the “Architecture” of such environments where people a rational, pragmatic approach to design? are more connected to the This type of architecture has the potential to outdoors and the sensation of traverse all of the cerebral, elitist, and stylistic time. Natural light has profound squabbles in architectural debate—especially affects on human psychology the ideas about contextualization and historic and has even been proven to architecture. Allowing the performance of a boost human performance in building to drive its design naturally roots the multiple situations.

Daylight building in its site and context. This architecture is both energy efficient and is naturally place-specific while facilitating a beautiful in architecture and its meaningful dialogue with the past that isn’t careful manipulation is a source about stylistic historicism or archeological for both energy efficiency and quotations. This type of sustainable architecture phenomenology. My architectural speaks to a historic and more honest way of sensibilities constantly remind me designing with our environment that predates of the larger picture and that high the schism facilitated by the technological In a contemporary performance buildings aren’t just triumph over nature. architectural culture that searches for meaning about creating the most energy and significance, could this be the answer? efficient box possible. Instead, this type of design is about creating buildings that people I am a Hybrid. I constantly oscillate between will love and feel connected architecture and engineer, which I feel to for generations to come. balances my view of the built environment and profoundly influences the way I design. This hybrid nature allows me to see resolutions between these two professions while working with either. My schooling taught me to love nature, while my professional career has taught me how to love nature.

nal work

arch intern/professor IDL Boise | Arup London | BSU Professor

integrated design process i

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optimized glazing ratios shading/overhang study o

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EUI breakdown active renewable energy

energy savings breakdown

IDL

An Integrated Approach to Net Zero

This detached, 400 square foot office project was brought to the lab by a local architect, Rob Thorton, looking to optimize the performance of his early conceptual design. The lab was hired to conduct energy modeling, daylight modeling, and passive design analysis on the architect’s model and an optimized model proposed by the IDL. A three person integrated design team was created to coordinate the optimization of the final design scheme. I worked closely with one of the engineering-oriented interns in the office that specialized in energy modeling. My main responsibility consisted of providing climate analysis and passive design calculations which directly affected an Energy Plus thermal performance model and a Ecotect/Radiance daylighting model, handled by our supervisor/project manager.

Our project team worked closely together on all aspects of the energy and daylight modeling, vacillating between hand calculations and digital simulation to test different design iterations. Each version of our model drove the office’s energy use index (EUI) closer and closer to net zero. By the end of the process, our glass specifications, insulation recommendations, rigorous daylighting, and passive design strategies lowered the EUI down to 17.8 kBtu/SF, year with an annual energy savings of 62% over the code baseline. To reach net zero energy consumption, the owner is proposing a photovoltaic array on the south shading overhang that would produce all of the facilities electrical needs. Our process and end product epitomized the model of integrated design that is needed in contemporary architectural practice to create truly sustainable buildings.

My work on the Gonzales net zero live work unit represented my quintessential experience as an intern at the Integrated Design Lab in Boise, Idaho. It was a wonderfully didactic experience that showed me why integrated design is so important for sustainability and how it facilitates high performance buildings. I was not only part of the integrated design process, but I also had the chance to exercise my knowledge of passive design on pragmatic level toward a built project.

Gonzales Home Office Itegrated Design Lab | Spring 2010

original design

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This rendering, plan, and section represent the original design of the architect for the small, 400 square feet home office. The building is detached from the house of the owner/client, and will serve as an office for 1-2 people. The program contains one large office space with a kitchenette, with a separated entry foyer, bath, and storage room. The owner’s main concern was to capture the picturesque view of the foothills to the south and southwest of the site. Most of the southern façade is glazed with both view and daylight windows, with a large overhang that both shades the glass and projects into the interior to form a light shelf.

annual energy consumption (kBtus) 4 Cases 1

baseline (IEEC 2009)

2

architect’s design

3

proposed (with floor insulation)

4

proposed (w/o floor insulation)

cooling

7,962

6,777

13,288

3,914

heating

1,261

265

152

322

equipment

5,583

5,583

1,858

1,858

lighting

3,725

749

749

749

exterior lighting

294

294

294

294

savings (KBTU)

0

5,156

2,483

11,687

total

18,824

13,668

13,668

7,137

peak heating (Btu/hr)/ft2)

14.12

6.93

13.56

6.57

peak cooling (Btu/hr)/ft2)

12.67

8.65

13.44

5.99

EUI (kBtu/ft2)

47.1 47.1

34.2

40.9

17.8

Energy Savings

0%

27.4%

13.2%

62.1%

fans pumps

Energy + model parameters 1 baseline (IEEC 2009) Walls Roof Floor Windows Lighting(w/ft2) Equipment(w/ft2)

2”x6” wooden stud wall with R-20 insulation R-38 Batt insulation over air tight membrane 6" concrete slab Double glazed 1 w/ft2 1.5 w/ft2

U-0.047 U-0.025 U-2.25 U-0.312 SHGC-377 VLT-0.444

2”x6” wooden stud wall with R-21 insulation +2” rigid insulation 2”x6” wooden stud wall with R-21 insulation +2” rigid insulation+6” concrete mass R-38 Batt insulation over air tight membrane No floor- 6” concrete slab Triple glazed 0.2 w/ft2 1.5 w/ft2

U-0.0323

2 architect’s design S, E, W wall N wall Roof Floor Windows Lighting(w/ft2) Equipment(w/ft2)

3 proposed w and w/o insulation S and E wall N wall W wall Roof Floor S, E, N window W window Lighting(w/ft2) Equipment(w/ft2)

U-0.0319 U-0.025 U-0.099 U-0.138 SHGC-477 VLT-0.668

4

2”x6” wooden stud wall with R-30 insulation +2” rigid insulation 2”x6” wooden stud wall with R-30 insulation +2” rigid insulation+6” concrete mass 2”x6” wooden stud wall with R-30 insulation +2” rigid insulation+6” concrete mass R-60 Batt insulation over air tight membrane With floor- 6” concrete slab+2” rigid insulation No floor- 6” concrete slab Triple glazed Triple glazed 0.2 w/ft2 0.5 w/ft2

U-0.0245 U-0.0242 U-0.0242 U-0.013 U-2.25 U-0.099 U-0.187 SHGC-0.577 VLT-0.698 U-0.215 SHGC-0.248 VLT-0.322

These modeling parameters represent the inputs for the energy plus model.

As the design cases progress, these charts illuminate a cause and effect relationship between the different decisions of the architect or the lab and ow they affect the energy end use of the building.

The charts explain in great detail the different r-values for wall/roof assemblies and the performance specifications for windows based on orientation.

savings ext lighting This bar graph represents a breakdown of the energy end use of the four different design schemes.

Given the graphs, the architects design generates most of its savings through cutting down on lighting, which is handled by the generously glazed southern façade. Additionally, better insulation and windows also cut down on the heating and cooling energy required for the unit. The optimized proposed case produces its savings though optimizing the façade’s glazing to floor area ratio, increasing thermal mass, super insulating the walls/roof, and using high efficiency equipment. The only difference between the two proposed cases consists of insulation below the slab, as the graph shows, by thermally separating the slab from the ground, there are huge penalties in decoupling the space from the cooling properties of the earth.

lighting equipment heating cooling

annual energy end use

20,000

27.4 % savings

13.2 % savings

62.1 % savings

proposed (with floor insulation)

proposed (w/o floor insulation)

15,000

10,000

5,000

(kBtu) 0 4 Cases 1

baseline (IEEC 2009)

2

architect’s design

3

4

passive solar calculations glazing performance recommendations SOUTH as a starting point, south glazing should have an SHGC (solar heat gain coefficient) of 0.6 or higher and a U-factor of 0.35 or less. The higher the better in terms of an SHGC, but it becomes increasingly important to provide optimum external shading to control unwanted solar gain. Since a large percentage of the southern façade will be glass, insulating shades or movable insulation panels should be utilized to cover the glazing at night to mitigate heat loss.

As far as non-solar glazing, insulation and thermal performance becomes the most important:

110 sq ft architects design 80.6 sq ft proposed Our first recommendation was to specify different performance specifications according to each orientation of the buildings elevations. Additionally, we then looked to optimize the ratio of southern glazing to floor area, finding that 26% of the floor area is the optimal amount of southern glass given an solar heat gain coefficient of .6 or higher.

architects design

NORTH high visible light transmittance (0.5 - 0.7), lowest U-value possible (0.29 or lower), SHGCis not a factor WEST

high visible light transmittance (0.5 - 0.7), low U-value, and low SHGC (0.4 or lower)

EAST high visible light transmittance (0.5 - 0.7), low U-value (0.35 or less), high SHGC (0.6 or higher)

souther glazing ratio rationper perfloor floorarea area

proposed design

The architect had designed 110 sq. ft. of glazing with a 35.4% ratio; so much glazing would cause the cooling load of the building to increase. The cooling energy of the building was the most intensive energy end use, so the lab proposed an optimized 80.6 sq ft of glazing (26% ratio) which fulfilled the passive solar requirement.

thermal mass storage sizing

Given the two sketchup models above, removing all of the daylighting windows may seem counterintuitive. However, the daylighting model revealed that these windows are not necessary for daylighting, mostly due to the narrow nature of the space and ample sidelighting. Additionally, these windows are unshaded and allow a lot of heat gain into the building which drives up up the peak cooling load of the building. The labs solution optimized the passive solar system of the building, while meeting the daylighting and cooling requirements of the building Given the oversized southern glazing the architects design of a concrete slab and one concrete wall didn’t meet ratios of exposed or indirectly exposed thermal storage performance criteria for a passive solar system. However, with the decrease in southern glazing with the proposed design, the specified amount of thermal mass was more than adequate.

shading device calculations

45 archtiects design

Shading device sizing was calibrated toward a well insulated, residence that favors passive solar heating. The goal is to admit as much sun as possible without risk of overheating in the summer.

To better understand the relationship to sun shading angles and their impact on the under or overheated periods of our building, Climate Consultant 4 software was used. The chart below shows the sun paths and angles for the period of June 21 (top of graph) to December 21 (bottom of graph). The red plot represent when shade is needed, while the blue dots represent when to admit sun. The same sun path diagram for December 21 to June 21 is all blue.

Given the overheated and underheated periods of the climate, a horizontal shading angle of about 55 degrees is considered to be optimum.

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The proposed case uses the optimum 55 degree shading angle, which referring to the Climate Consultant chart, shades the window during most of the overheated period of the year, while optimizing solar radiation when the sun is needed.

This strategy allows the building to have a minimal if nonexistent peak heating load of 6.57 kBtus/sq ft.

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The architects design utilized a 45 degree cutoff angle for the sun, which shades the window during the under heated period of the buildings climate. Additionally, this shading angle prohibits deep sun penetration into the building, further dismantling the design’s passive solar strategy.

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55 proposed design

diurinal temperature range chart

step by step process proposed case

1 Determine the lowest possible indoor air temperature.

90 degrees (average summer design high) –30 mean daily range = 60 DEGREES F Lowest possible indoor air temperature

60 degrees Farenheit

the lowest mass temperature, whose temperature is 2 Approximate important as a goal for which to try to cool to at night.

80 degrees F – ( 60, T min – value from step #1) + 5 = 15 ΔT

66 degrees Farenheit

the thermal storage system to figure out its thermal storage 3 Size capacity.

80 degrees F – ( 60, T min – value from step #1) + 5 = 15 ΔT

mass to floor area ratio : 1-8.

6” slab concrete and 4” slab walls

thermal mass sizing nomograph

- then from the nommograph:

thermal heat storage:140 Btu/day, sq. ft. architect’s design = 5.14 Btu/hr, sq. ft. proposed per hour:

9.3 Btu/hr, sq. ft.

the percentage of stored heat in the mass that can be 4 Determine removed at night during the best hour of cooling. This determines the ventilation strategy.

5

13% or 16.25 Btu/hr, sq ft. thermal heat storage:125 Btu/day, sq. ft.

Size a mechanical ventilation system for the night flush ventilation.

To find the required air flow rate in CFM, use the equation: Q = q/(1.1)(delta T) -> 16.25 btus/day x 487 (sq. ft. area of our mass) = 7913 btus/day (7913 btus/day)/ 24 = 329 BTUS/HR

additional thermal mass locations: 1-8 ratio

Q= (329 btus/hr)/1.1)(12) =25.45 CFM

mech ventilation: 25.45 CFM

inlets and outlets for passive cross ventilation of thermal mass.

6 Size Since the building’s orientation is 45 degrees off the perpendicular axis of the nighttime winds, exterior opening casement windows should be used to aquire a “wing wall” to avoid sizing penalties.

80/(487 sq ft, total mass area) x 100% = 16.4 % Q= (329 btus/hr)/1.1)(12) =25.45 CFM adjust for higher temperature differences at night: 79.86 sq. ft. of inlet X ((3 degrees F, what the chart assumes) / (8 degrees F, actual temp difference)) = 30 SQ. FT. OF INLET

30 sq. ft. of inlet and outlet

cross ventilation data

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daylight and glare analysis for Dec 21st noon Daylight modeling was conducted to test lowered glazing These renderings looked at the December 21st noon sky condition which represents the time of the year when the sun needs to penetrate the space deeply to maximize thermal storage in the mass while not causing occupant discomfort. The illuminance graph shows extremely high lighting levels where the sun is directly admitted to the space, which happens to be where the client has chosen to place the main work space. Given the low angle of sun penetration during this time of the year, the IDL recommended the client move the workstation back to align with the front of the bathroom and storage wall. This would still give the occupant a framed picture view of the landscape, allow full sun penetration on the slab for thermal storage, and avoid the glare-prone zone of the office space. The prescence of the light shelf and daylighting windows, allthough superfluous, were an aesthetic priority for the client and were requested to be modelled for this iteration.

levels in the space and to understand the glare conditions of the space. The Revit model was exported into Ecotect, and then the Radiance plugin was utilized for daylight analysis. In terms of lighting criteria for an office, the IDL recommends a range between 300 (27.8 footcandles) and 5000 (464.5 footcandles) lux. The lab found that in all sky conditions, the minimum level of illuminance was met with the recommended amount of glazing on the southern façade.

1 Basic Drawing Techniques 2 Architectural Orthographics 3 Architectural Perspective 4 Design Drawing

cirriculum

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5 Physical Modelling and the Virtual Realm 6 Photoshop and Graphic Composition

Academia During my time as a design studio’s teachers assistant, I saw too many early design students crippled by hard-lining drawings. These students lacked the drawing skills and sensibilities necessary to quickly explore different iterations of design. My class endeavored to change this problem by emphasizing the celebration of the hand in drawing. For every project, tools such as t-squares and p-bars were allowed to set up the structure of a drawing, but all final lines had to be freehand. The intent of this restriction was to allow the students to gain confidence in their ability to draw without the use of aids and to hopefully become more comfortable with drawing anywhere and everywhere. The projects were also designed In the Spring of 2010 I had the life-changing opportunity to teach an architectural graphics to use sketching as medium to embody and explore design, rather than to use it solely class for Boise State University’s pre-architecture program. Since my junior year at the as a method of representation. The class University of Idaho, I have always been a teacher’s assistant for a design studio, and relished even centered around expanding the notion of drawing to encompass sketch modelling, at the chance to continue my involvement with academia. However, this was my first chance photocollage, and even virtual modeling. to actually run my own classroom, design a curriculum, and direct my own group of students.

I’ve never been so frustrated in my life than while I was a adjunct professor, however, A project-based curriculum unfolded for the class, utilizing the idea of multiple pinups and during this time I felt like I had contributed presentations so that the students could learn from multiple approaches to the same drawing the most to Architecture as a whole. problems. The experience was difficult insofar as I had to administer the class while it progressed and create original lecture material, all whilst working simultaneously at the IDL.

Professor Dunn Boise State University | Art 156 - Architectural Graphics 1 | Spring 2010

class text The Thinking Hand by Juhani Pallasmaa The students read different essays and conducted class discussions from this book by the famous Dutch architect, Juhani Pallasmaa. The text was a useful tool in prying open students’ minds to the miraculous potential of the human hand and drawing.

Juhani argues the fundamental disconnect between the mind and body, the hand and mind, and how an eye-mind-hand fusion is essential for architectural creative dexterity.

“The Thinking Hand” enlightened students to better understand their existential relationship to drawing and how this embodied wisdom can be obtained in a design project through their imaginative hands.

project 1 - 18” x 24” half and half drawing The students were to develop their ability to describe contour, shade,

and

crosshatching.

tone

through

fundamental

drawing

skills

like

Their project brief assigned the students to

create a still life composition of table and chairs, rendering one half in contour and the other half in strictly shade and shadow.

project 2 - 18” x 24” household object

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The idea of this project was to introduce the students to the idea of analytical drawing and get them to begin to draw the internal structure of objects. By using an analytical framework as the beginning of drawing, the students were able to break down complex household objects into analytical geometry to better describe their shape, volume, and form.

project 3 - 18” x 24” plan projection After a good base of drawing skills were established, architectural orthographics were introduced. The students were assigned to visit a building on the campus, document/measure the site, and create an inside/outside plan drawing of their subject building.

project 4 - 18” x 24” section elevation hybrid After plan drawings, elevations and sections were the next logical step.

The idea

elevation hybrid, that further reinforced the strong relationship between these two orthographic drawing types.

The

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of a building on campus that was cued off

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of this project was to create a section/

an elevation drawing of the same façade.

project 5 - 18” x 24” 1 pt perspective constructed landscape After 2d orthographic drawing styles were covered, the idea of 1pt and 2pt perspective was introduced to the students.

For this project, they constructed a three-dimensional grid using 1pt perspective techniques, which served as a framework for their drawing of a courtyard. They were then provided with a siteplan containing dimensions and heights of the outdoor space and had to construct the rest using the principles of perspective.

project 6 - 18” x 24” sketching tour of downtown Boise Even more important than being able to construct a perspective, was the idea to be able to draw spaces quickly and fluidly. To acquire the spatial intelligence to draw and communicate a variety of space, observational perspective should be practiced continuously and rigorously. To get the students excited about this kind of drawing, I took them out into the city for a sketch crawl around downtown Boise.

project 7 -MIDTERM masterpiece The students’ midterm revolved around combining the ways architectural orthographics and perspective communicated space, to attain a sophisticated understanding of a buildings spatial and three dimensional qualities. Their project was to choose a building subject in the city and create a masterpiece exterior perspective drawing, supplemented by a plan and section view of what they were looking at.

project 8 - 4 8.5” x 11”

project 9 - 18” x 24”

the diagram

iterative coffee shop

After the midterm, the idea of the

Once the students aggregated a diagrammatic toolset for articulating the design of an existing building, they were then required to use the same diagrammatic analysis to explore a design of their own. The students designed their own site, and were given an extremely simple coffee shop program to explore through drawing and diagramming. I was less concerned with the quality of design, rather an emphasis on representation was the goal of this project.

diagram

drawing

typology

was

introduced as a way to describe a singular building on campus.

Each

student was assigned the same building, the BSU recreational center, and was required to create four 8.5” x 11” sheets of paper full of different types of diagrams: formal, organizational,

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circulation, and conceptual diagrams.

project 10 the sketch model Keeping true to the goal of expanding the notion of a “drawing”, the students were introduced to the idea of sketch modeling as a type of architectural “drawing” and its ability to convey different types of information as a three dimensional medium. The students used the ideas discovered through the iterative diagramming process and explored them further through the act of making. The sketch models were intended to open the students to more haptic, imaginative, more visceral methods of “drawing”. The models were to be made out of inexpensive materials and had to be made in under an hour, subverting the idea of the model as a representational tool and transforming it into a designing mechanism.

The students were required to create 5 different typolgies of sketch models: additive, subtractive, detail, drawing hybrid, and conceptual. Additionally, the students were required to photograph their work to convey the experiential qualities of their sketch models.

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project 10 the sktetchup model Sketchup is badly, badly abused in the early curriculum of architecture. It is a wonderfully intuitive 3-d modeling program, but too often students rely on its poor graphic outputs to represent and convey a design. This project aimed to allow the students to combine their analog and digital skills together to create a stronger, more communicative drawing. The students were assigned to create a “skeletal” sketchup model of their designs thus far, print out section cut images of the model in perspective, and finally draw over them to create beautiful section perspectives of their coffee shops.

project 11- FINAL architecture presentation board Sketchup is badly, badly abused in the early curriculum of architecture. It is a wonderfully intuitive 3-d modeling program, but too often students rely on its poor graphic outputs to represent and convey a design. This project aimed to allow the students to combine their analog and digital skills together to create a stronger, more communicative drawing. The students were assigned to create a “skeletal” sketchup model of their designs thus far, print out section cut images of the model in perspective, and finally draw over them to create beautiful section perspectives of their coffee shops.