JG P&T

Application for Promotion and Tenure.

The College of Architecture, University of Nebraska, Lincoln.

Jason Griffiths

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Dossier for External Review

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232 Architecture Hall West Lincoln NE 68588-0107 10th of July 2017

Application for tenure and promotion to Associate Professor at the College of Architecture, University of Lincoln Nebraska.

To Whom It May Concern: This dossier is offered for external review as part of my application for tenure and promotion to Associate Professor at the College of Architecture, University of Nebraska, Lincoln.

It is prepared in accordance with the Bylaws of the university’s Board of Regents and provides a record of my teaching, research, and service.

Sincerely

Jason Griffiths Assistant Professor BA Hons. Dip. Arch. UK. 3

Contents

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Contents II.A.

Curriculum Vitae 11

II.B

Candidate Statement 47

III.A - Supporting evidence/quality and effectiveness of teaching. 63 III.A.01 Course Portfolio 65 ARCH 510/ 610-511/611 Advanced Architectural Design

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ARCH497/597/897 2017 Summer Design-Build Professional Elective (Nebraska).

139

III.A.02 Student Achievement/Outcomes in Design-Build.

155

ARCH497/597/897 2017 Summer Design-Build Professional Elective (Oregon)

167

ARCH510/610 Design Research Studio. Fall 2015.

187

ARCH 4/5/897 The American Home

199

Arch 232 – Materials and Assemblies. Spring 2016,2017.

207

ARCH 311- Design Studio Spring 2016 -Timber in the City - Urban Habitat

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ARCH 614 - Design Thesis - Zebulun Lund Agrarian Ruins

241

III.A.03 Funded Grant. Great Plains CLT Architectural Education. 247 III.A.04 Curriculum/Course Development 255 III.A.05 International activity - AA Visiting School, Chengdu. 259 III.A.06 Student Evaluations 263 III.B. Examples of supporting evidence of scholarly, professional, and creative activity 275 III.B.01 Publications 277 Refereed Journal (accepted): Sole Author I on the streets - Character Issue - Mas Context

278

September 2016

278

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Book - Sole Author Manifest Destiny

282

Book Chapter - Sole Author Loft Living - 306090 #14: Making a Case

289

Book Chapter - Sole Author Arid - 306090 #13: Sustain and Develop.

303

Book Chapter - Sole Author The Invisible University Department of Distance

309

Invited Publication - Author Manifest Destiny - AA Files 57.

310

Journal Article : Sole Author Volume 38: The Shape of Law

318

Invited Journal - Sole Author The Cooling Table - Fabric Architecture, Sketches, Shade.

322

III.B.06 Conference Procedings

325

Conference Proceedings - Digital Haptic – Learning for K-Zell & Repurposed Political Ply.

330

Conference Proceedings - Man + Water + Fan = Freshman.

331

Conference Proceedings - Mutations of the AIGA – Narratives of objectivity.

338

Conference Proceedings - Pop-tech-flat-fab. 339 Conference Proceedings - Sioux City Bus Stops - Flat Fab & There’s No Place Like Non-Place.

353

III.B.02 Creative Activity 355 Not What We Bought- Project Row House

357

Duerinckx Residence

363

Integrated Diversity - 9th & D Street Housing

369

Median Home - Tempe Public Arts Award, AZ

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Tempe Garden’s Artistic Seating, Tempe, AZ

373

Lowest House - 29 Palms, CA

377

III.B.03 Awards, Recognition and Recommendations. 385 III.B.05 Reviews and Citations

399

Book Review - Los Angeles Times.

400

Book Review - Icon Magazine.

404

Sample of Online Reviews - Archdaily / The Architect Magazine

409

Book Review – The Architect’s Newspaper (East edition).

410

Book Citation - Kaleidoscope

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III.B.04 Public lectures 417

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III.C. Service 425 III.D Past Design-Build Projects 437 Marking the Forest 2013

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Marking the Forest 2012

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Political Ply Outdoor Shade Structure.

455

Freshman Outdoor Dining Pavilion. Stages 1&2.

459

Scottsdale Arts Festival - Camerae Obscurae.

465

SSV Refurbishment Stage I.

481

Shade Structure for ASU’s Polytechnic Campus Community Garden.

487

Polyshade

494

Pocket Shade Structure.

499

Sioux City Bus Stops

502

Des Moines Arst Fair Pavilion

504

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Waiver

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Curriculum Vitae

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II.A. C urriculum Vitae The following curriculum vitae provides a detailed account of my teaching, research and service for my teaching career. Sections highlighted in red describe work carried out since my appointment as an assistant professor at UNL in the fall of 2017.

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Curriculum Vitae

Curriculum Vitae Jason Griffiths BA Hons Dip Arch. Assistant Professor UNL EDUCATION The Bartlett – University College London (UCL) i Completed Diploma in Architecture. Awarded Distinction. RIBA Part 2 June 91 Completed first year of the MA in Architecture at the Royal College of Art (RCA) in London before transferring to the Bartlett.

June 90 Kingston Polytechnic Completed undergraduate degree. Awarded a BA (Hons) in Architecture (grade 2:1) A 2:1 is the second highest ranking for undergraduate degrees in the UK. RIBA Part ii 1 June 87 PROFESSIONAL The Bartlett – University College London (UCL) Completed the Royal Institute of British Architects (RIBA) Part 3 professional examination. Admitted to the Architects Registration Board (ARB) to qualify as a registered architect within the United Kingdom.

June 95 MEMBERSHIPS Colab Studio llc Founded in 1999 by Matthew Salenger and Maria Salenger, Colab Studio blends art and architectural concepts into thought provoking constructions.

Institute of Teaching and Learning (ILTS) with Certificate of Teaching in Higher Education.

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Curriculum Vitae

Registered Architect - Architects Registration Board (ARB) UK.

TEACHING University of Lincoln Nebraska Assistant Professor August 2015-Present Architectural Association Instructor – AA Visiting School, Chengdu, China July 2016 University of Lincoln Nebraska 2015 Hyde Chair of Excellence - College of Architecture Architectural Association Instructor – AA Visiting School, Chengdu, China July 2015 University of Arizona – Tucson AZ. Lecturer – College of Architecture, Planning and Landscape Architecture.

2014-15 Arizona State University.

Assistant Professor, The Design School.

The Herberger Institute for Design and the Arts.

August 2007-2014 The Architectural Association Visiting Lecturer – Hooke Park March 2014 The Architectural Association Instructor – Marking the Forest (AA Visiting School – Oregon) August 2012-13 Iowa State University.

Lecturer, Department of Architecture, College of Design.

August 2005-2007

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Curriculum Vitae

University of Nebraska - Lincoln, Nebraska.

Visiting Assistant Professor, Department of Architecture.

August 2004-2005 Florida Atlantic University.

Visiting Assistant Professor, Department of Architecture.

May 2004 University of Texas at Austin.

Visiting Assistant Professor, Department of Architecture.

January – May 2004 Texas A&M University.

Visiting Assistant Professor, Department of Architecture.

August 2003-2004 University of Westminster, London, UK. Senior Lecturer, module and deputy diploma course leader Department of Architecture.

September 1997-2002 Oxford Brookes University, Oxford, UK. Senior Lecturer, Department of Architecture September 1999-2001 Bartlett School of Architecture - University College London, England.

Diploma Unit 16 instructor, Department of Architecture September 1995-1997 Bartlett School of Architecture - University College London, England.

M.Arch. instructor, Department of Architecture September 1994-997 SPONSORED PROJECTS: Public, Private, University.

Santee Sioux Reservation Child Services Center, NE. Santee Sioux Reservation Child Services Center is a collaboration between The Nebraska Children and Family Foundation (NCFF) and CoA 206/17 graduate

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Curriculum Vitae

design-build studio. This 1000-square foot building will house programs related to family healing efforts and forensic investigations for sexual and physical abuse of children from the Santee Sioux Tribe. $200,000 Estimated completion Dec 2017 South Sioux Orchard Storage and Meeting Facility South Sioux Orchard Storage and Meeting Facility will consist of a 400-square feet two-storey structure plus on-site volunteer parking in the City of South Sioux in Nebraska . The building will provide storage for tools and a meeting space for volunteers to gather, train, and teach. $70,000 Estimated completion July 2017 Baxa Family Cabin 600 square-foot summer cabin for student researchers at the Cedar Point Biostation funded by Baxa Family Foundation . $70,000 Estimated completion June 2017 Creative Work in Public: Cuo ( 搓) – Chengdu China “Cuo” is the second of the Chengdu AA Visiting School projects focused upon the “I Box” site in the Niuwangmiao district of the city. Over 10 days 50 students created a temporary building that pushed the theme of Recycling in the City in ways that offered a commentary on the emerging nature of a booming urban condition in the center of Chengdu.

July 2016 Creative Work in Public: Emerge – Bauman Tree Farm retreat, Oregon “Emerge Retreat” is a prefabricated CLT cabin designed as part of the tree farm’s forestry educational program built in collaboration with 2016 UNL Architecture Student’s summer design-build program, FTF, OFRI and PCS Structural Solutions $15,000 May 2016 Public: Entrance to the Scottsdale Disability Center. Scottsdale, Arizona This project was commissioned by Jana Weldon, Senior Project Manager, Scottsdale Public Art Program. Developed in collaboration with the Spring 2012 Integral Studio.

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Curriculum Vitae

Project funding $35,000 December 2011 Public: Children’s Museum of Phoenix, Camerae Obscurae. Phoenix, Arizona.

Project funding: None (donated by Scottsdale Arts) May Public: Scottsdale Arts Festival, Camerae Obscurae. Scottsdale, Arizona This project was commissioned by Kirstin Van Cleef , Senior Project Manager for the Scottsdale Public Art Program. Developed in collaboration with the Spring 2011 Integral Studio.

Project funded $12,000.

Exhibited on March 13, 2011 University: ASU Student Services Auditorium Refurbishment Stage I & II, Tempe, Arizona.

August 2011 Project funded $80,000.

This project was commissioned by David Burge, Executive Director, Office of Undergraduate Admissions Arizona State University. Developed in collaboration with Spring 2011 Integral Studio.

Private Organization: K-Zell Entrance and Gates- Phoenix Arizona.

This project was completed in collaboration with 2009 Integral Studio students and Don Kammerzell of Phoenix based steelwork fabricators K-Zell Metals.

Project was valued at $15,000.

September 2010 University: Power Plants - ASU Greenbuild Pavilion, National Greenbuild Exhibition, Phoenix Arizona The Greenbuild Pavilion is a collaborative project with SALA faculty Joe Ewan, Harvey Bryan, Darren Petrucci, Phil Horton and SALA students. ASU’s Greenbuild Pavilion was constructed at the National Greenbuild Exhibition 2009, Phoenix, Arizona. My contribution to this project was to provide a digital model for design stage visuals and fabrication information for pipe bending, junctions, and layout.

Project funded $5,000.

November 2009 University: Political Ply Outdoor Shade Structure. Tempe, Arizona.

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Curriculum Vitae

The project funded $3600 by ASU student affairs, and $2000 by SALA Integral Studio funding.

Project fund $3600 April 2009 University: Freshman Outdoor Dining Pavilion, Arizona State University, Tempe, Arizona Project funded $5000 from various sources.

April 2008

Private: Pocket Shade Structure.

This is a provision of shade structures for intersections in downtown Phoenix. It was developed in collaboration with 2008 SALA Integral Studio students, Smith Group and Mesirow Financial. Project received $1000 AIA Arizona Chapter Small Projects grant and $500 from Gilbane Construction.

April 2008

Sioux City Bus Stops.

Project for two bus stops commissioned by the Sioux City Chamber of commerce and developed in collaboration with Siouxland Transit system. Built in collaboration with First Year (06) graduate students of ISU Architecture Department.

July 2007 ISU Pavilion for the Des Moines Arts Fair.

Built in collaboration with First Year (06) graduate students of ISU Architecture Department. $30,000 July 2006 CREATIVE PROJECTS: Public/Private Private Project: Duerinckx Residence Extension and refurbishment of existing house in Windsor District, Phoenix, AZ. $200,000 Dec 2014

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Curriculum Vitae

Creative Work in Public: Median Home – Sculptures for University Avenue for Tempe Arts “Median Home” comprises of two sculptures that form a small, fragmented house that are placed in the medians along University Avenue. $24,000 March 2013 Public: Tempe Garden's Artistic Seating Project, City of Tempe, Arizona.

Project for Tempe Garden's Association.

Project funding from City of Tempe, AZ. Maryanne Corder Neighborhood Grant Program $10,000 April 2012 GRANTS Great Plains CLT market Development through Architectural Education - U.S. Forest Service Wood Innovations Project Support Innovation and Forest Health U.S. Forest Service Awards Grants to Expand and Accelerate Wood Energy and Wood Products Markets. CO PI with Adam Smith of the Nebraska Forestry Service. $189,000 May 2017 Edwin Cramer Memorial Fund $6000 April 2016 Dana Family Fund $8000 April 2016 Oregon Forestry Institute $1000 May 2016

Not What We Bought - Graham Foundation Grant proposal for exhibition

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Curriculum Vitae

Shortlisted for a Graham Foundation Grant for the 2012 Grants to Individuals cycle.

The shortlist was made up of approximately 30 applications out 700 inquiry forms in the grant cycle. Invited to advance to the second stage and submit a proposal and supplementary materials for review. Grant not awarded.

2012

PUBLICATIONS: Books / Book Chapters Book Chapter: Sole Author Celebrating Excellence in Wood Structures Pending Fall 2017 As a winner of the Wood Design Awards “Emerge” will be profiled in Wood Design & Building magazine’s annual awards book, Celebrating Excellence in Wood Structures. The 2015/16 awards book, Celebrating Excellence in Wood Structures, highlights this year’s winners of the Wood Design & Building Awards, as well as the frontrunners from the Canadian Wood WORKS! and U.S. WoodWorks Wood Design Awards.

Book: Sole Author. Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing.

Published by Architectural Association Publications. 144 pages, Extensive col. ills 220 x 170 mm, Hardback, 2011 ISBN 978-1-907896-05-7. Print run 1500.

International distribution.

November 2011 Book Chapter: Sole Author Loft Living - 306090 #14: Making a Case Edited by Emily Abruzzo, Gerald Bodziak, and Jonathan D Solomon.

Distributed by Princeton Architectural Press. Loft Living chapter pp.74-87 (out of 180 pages in total). 306090, Volume 14. ISBN 978-0-615-34909-1. Print run 1500.

International distribution.

November 2011 Book Chapter : Sole Author.

Arid - 306090 #13: Sustain and Develop.

Edited by Joshua Bolchover and Jonathan D. Solomon.

Distributed by Princeton Architectural Press. Chapter: Arid, pp.274-278, (out of 308

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Curriculum Vitae

pages in total). 306090 Volume 13. ISBN 978-0692000885. Print run 1500.

International distribution.

April 2010 PUBLICATIONS – Invited / Refereed Journals Refereed Journal (accepted): Author I on the streets - Character Issue - Mas Context September 2016 Refereed Journal (accepted): Author Taste is Law - (trans-)loci 2015 Reviewer Architecture of the Sun - Thomas Hines JSAH 2015 Invited Journal: Author Taste is Law Volume Magazine # 38 – The Law Jan 2014 Invited Journal: Author - Communing with the Mechanical Wave Uncube Magazine No. 12 July 2013 Invited Journal: Author Revenge Appreciation in Suburbia Uncube Magazine No. 10 – Wood, Paper, Pulp May 2013 Invited Journal: Author Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing.

- AA Files 57.

AA Files #57 by Architectural Association Publications, pp.51-59. ISSN0261-6823, ISBN 978-1-902902-69-6. International distribution. Print run of 3700 copies. This

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Curriculum Vitae

journal article, written in collaboration with Alex Gino, offers a photographic and written account of American suburban housing. It is the precursor to the book of the same name.

January 2009

Invited Journal: Sole Author. The Cooling Table - Fabric Architecture, Sketches, Shade.

Fabric Architecture published by the Industrial Fabrics Association International.

Volume 21. Number 1. ISSN 1045-0483. P.48. National distribution.

January 2009 Invited Publication: Sole Author Alternatives - Iowa Architect Issue No. 07:262, pp2-3 published by The American Institute of Architects. Iowa Chapter. Regional distribution.

January 2007 PUBLICATIONS : Peer reviewed regional, national, and international conference proceedings Accepted conference paper: Engineered Lumber And “Tacit Knowledge” Of New Craft In Architecture The 4th International S.ARCH Conference 7-9 June 2017, HONG KONG December 2016.

Accepted conference paper: Engineered Lumber And “Tacit Knowledge” Of New Craft In Architecture BTES 2017 (Iowa State) 7 -9 June 2017 Des Moines. IA November 2016.

Accepted conference paper: When Nature Strikes - A study of Beetle Kill in America and its Potential use for Mass Timber Construction 2016 ACSA Conference – Open Session (In collaboration with Graduate Students Aubrey Wassung) October 2016.

Accepted conference paper: Design-Build: Service Beyond Community

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Curriculum Vitae

2016 ACSA Conference – Service (In collaboration with Graduate Student Mackenzie Gibbens) October 2016.

Conference Proceedings Accepted Abstract: Engineered Lumber And “Tacit Knowledge” Of New Craft In Architecture International Conference on Arts and Humanities – 2016 - Bali, Indonesia.

September 2016.

Conference Proceedings: A Place in the Sun Interdisciplinary Themes 3.1 (2011), ISSN 1920-3241 interdisciplinarythemes.org May 2011 Conference Proceedings: Digital Haptic – Learning for K-Zell Acadia 2011 Regional Conference – Parametricism This paper describes the pedagogical model of fabrication-centric studio as one example of the combination of digital and analogue design practice.

March 2011 Conference Proceedings: “Repurposed Political Ply”.

Acadia 2011 Regional Conference – Parametricism This paper describes a building canopy that has been formed from recycled political campaign boards. This project will be described from two perspectives: In the physical sense of its material and fabrication and in the experience of microenvironments and via the embedded computer.

March 2011 Conference Proceedings: The Aesthetics of Green and the Embedded Diagram 97th ACSA Annual Meeting conference proceedings: The Value of Design: Design is at the core of what we teach and practice.

This paper describes the manner in which the ethical position of green architecture is established by digitally fabricating “object types” in emblematic form.

March 2009 Conference Proceedings: Man + Water + Fan = Freshman ACADIA 2008: Silicon and Skin This paper describes the natural process of evaporative cooling and the digital fabrication of the ASU Outdoor Dining Pavilion.

October 2008

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Curriculum Vitae

Conference Proceedings: Mutations of the AIGA – Narratives of objectivity ANOTHER NAME FOR DESIGN: Words for Creation, The 6th International Conference on Design History and Design Studies, ICDHS 2008 OSAKA. This paper describes the process of transference from the graphic original via digital fabrication into architectural scale.

October 2008 Conference Proceedings: Pop-tech-flat-fab Changes of Paradigms in the Basic Understanding of Architectural Research. EAAE / ARCC 2008.

This paper describes the theme of simultaneity between the digital and analogue by examining the production of two projects. These are: a pair of prototype bus stops iii built in Sioux City and a shade structure for downtown Phoenix in the USA. June 2008 Conference Proceedings: Sioux City Bus Stops - Flat Fab 96th ACSA Annual Meeting: Seeking the City: Visionaries on the Margins This paper describes exploring aspects of mass-customization and the potential role of sheet steel parametric modeling software in producing further variants of the fabricated project The Sioux City Bus Stop.

March 2008 Conference Proceedings: There’s No Place Like Non-Place 96th ACSA Annual Meeting: Seeking the City: Visionaries on the Margins This paper describes research into aesthetics of contemporary suburban housing.

96th ACSA Annual Meeting: Seeking the City: Visionaries on the Margins. P.507514.

March 2008 Conference Session Chair - University of Westminster Returns of the Avant Garde November 2000 The Temple of Laughter for the Anatomy of Laughter / Traduire le Rire International and Interdisciplinary Conference, St Hugh's College, Oxford September 2001.

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Curriculum Vitae

PUBLICATIONS – Articles, reviews, and citations by others.

Online Review – The Architect Magazine http://www.architectmagazine.com/project-gallery/emerge_1_o Posted on April 27, 2017 Online Review - Archdaily http://www.archdaily.com/805751/emerge-jason-griffiths-and-college-of-architectureuniversity-of-nebraska-lincoln Posted on April 27, 2017 Sioux City Journal http://siouxcityjournal.com/news/local/loss-of-trees-is-a-loss-for-all-ofus/article_2388f058-f612-5795-b30b-d8db30281902.html March 2017 Siouxland News http://siouxlandnews.com/news/local/sick-and-injured-ash-trees-to-be-removed-insouth-sioux Feb 2017 Book Review – The Architect’s Newspaper (East Edition) Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing reviewed in The Architect’s Newspaper: Volume 10, Issue 09, May 23, 2012. ISSN 1552-8081. Review was written by Peter Lang Associate Professor in the Department of Architecture at Texas A&M University.

May 2012 Book Review - Icon Magazine Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing reviewed in Icon Magazine: March 2012, volume 105. p.121. Review by Crystal Bennes, Contributing Editor. Review commissioned by Christopher Turner, Editor. ISSN 1479-9456. International distribution.

March 2012

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Curriculum Vitae

Newspaper Review - Los Angeles Times Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing reviewed in Los Angeles Times 2011 year in review: Best in Architecture by Christopher Hawthorne. th Sunday December 18 2011. Arts and Books, section E8.

December 2011 Book Citation – Kaleidoscope Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing cited in Kaleidoscope magazine Keep the Car Running article by Michele D’Aurizio - Issue 12.

Fall 2011. pp. 68-69, ISBN 9772038480000. International distribution.

September 2011 Journal Citation Perspecta 42 : The Real, Spring 2010, Yale University and Rizzoli Publishing. Citation of Manifest Destiny in the journal Perspecta Glimpsing the Real in Architecture, or the Sun Always Rises by Lorens Holm.

June 2010 Newspaper Citation Political Ply installation in the Defining Sustainability exhibition Arizona State University: State Press Preview by Diane Wallace.

June 2009 Review of the ASU Art Museum exhibition Defining Sustainability. http://asunews.asu.edu/20090624_definingsustainability Journal Citation Architectural Research Quarterly (arq) “Pop Regionalism” by Wanda Dye, Volume 13, Issue 2 pp. 112-126.

June 2009 PUBLICATIONS : Exhibition Catalogue Entry.

Defining Sustainability. Exhibition catalogue entry. The Herberger Institute for Design and the Arts 2010– Exhibition Catalogue. ISBN 0-9817957-5-7.

August 2010

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Curriculum Vitae

Architecture – Protest Article September 2003 Journal of Architecture – What About my Things?

2002 Il Progetto No.9. - Dead use.

January 2001 Kyoto Vision -Proposals from the World - 5 % Off City April 1999 Metalocus - 5 % Off City February 1999 Architecture Today - The Millennium Café.

November 1998 Shinkenchiku The House For Mona Lisa October 1998 Loud Paper Beauty -The House for Mona Lisa September 1998 Architectural Perception - Urban Paths September 1998 Building Design The Oklahoma Memorial April 1997 Japan Architect - Possibility of Non Movement -Turn-on -House.

December 1996 Sunday Times - Young Architects – Building for the Future August 1995 World Architecture - Issue 40 - The Temple of Laughter 1995

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Curriculum Vitae

Architectural Design - Architecture and Water 1994 Building Design - The Temple of Laughter March 1994 and July 1995 PUBLIC LECTURES Same House – University of Texas in San Antonio Jan 17, 2016 Parametric Pop and Non-Signs - AA Visiting School Chengdu, China.

Jul 16, 2016 Repurposing - AA Visiting School Chengdu, China.

Jul 25, 2015 Manifest Destiny - AA Hooke Park Lecture Series Jul 17, 2015 Design-Build & Engineered Lumber - Iowa State University Apr 13, 2015 to Apr 14, 2015 Median Home - Tempe Public Arts Jan 21, 2014 Common Place – Woodbury University Feb 2014 Common Place – UNL Hyde Lecture Series Jan 2014 Manifest Destiny – The Iowa State University College of Design Public Lecture Series April 2014 “Manifest Destiny” – The University of Nebraska Lincoln Public Lecture Series April 2014 Japanese Architecture: Beauty Within the Ordinary - SMoCA Lounge,

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Curriculum Vitae

Scottsdale Museum of Contemporary Art [SMoCA], Scottsdale, Arizona.

November 2013 Not What we Bought - Project Row House March 2013 Manifest Destiny – Bowling Green State University.

Jan 2013 UCLA’s Department of Architecture and Urban Design The Future Living Project, Daiwa House.

March 2012 Manifest Destiny - Edge Industries - Phoenix Manifest Destiny lecture and book signing.

May 2012 Manifest Destiny - SMoCA Lounge, Scottsdale Museum of Contemporary Art [SMoCA], Scottsdale, Arizona Manifest Destiny lecture and book signing May 2012 Manifest Destiny - Canterbury School of Architecture, University for the Creative Arts (UK). Lecture on my book Manifest Destiny for CSA university lecture series “Multistory”.

November 2011

Manifest Destiny - Trinity College, Greenwich, UK. Lecture for Trinity Laban Conservatoire of Music and Dance.

November 2011 Manifest Destiny University of Dundee, Scotland. Lecture for the ADAS lecture series in the School of Architecture at the University of Dundee.

October 2011 Manifest Destiny Lecture and Book Launch for The Architectural Association, London UK. Public Lecture Series.

October 2011

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Curriculum Vitae

Manifest Destiny Lecture for Oxford Brookes University, Oxford, UK. Oxford Brookes University School of Architecture.

October 2011 Poptech - Lecture for Architecture Department, College of Design, Iowa State University March 2011 Repurposed Political Ply - Invited lecture to “Friday Conversations”. ASU Art Museum Tempe.

October 2009 Repurposed Political Ply Lecture and panelist for AAFAB Designing Fabrication Symposium - Architectural Association London, UK. Presented award winning scheme “Repurposed Political Ply”.

September 2009 Architecture and Digital Craft - Invited Lecture to art and cultural organization “Spirit of the Senses” based in Phoenix that provides a forum for creative dialogue and cultural expression April 2009 Common Denominator - Lecture as part of the SALA public Lectures series “Digit Architecture and Electric Anthropology”. Lectures from this series present a range of diverse approaches that offers fresh insight into the poetics technologically advanced architecture.

March 2009 Restrictive Nostalgia and the Imported Romantic: 20:80 AIAS Midwest Quad Chapter.

May 2005 Manifest Destiny for “This Friday” Series. Iowa State University College of Design.

January 2005 Collection Point - A six-month lecture series and exhibition tour of North America lectured and exhibited at 18 universities including SUNY Buffalo, RISDI, Rice, Tulane and UNAM. October 2002 to April 2003.

Estetica de la Deception - Lecture series for the University of Madrid

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Curriculum Vitae

(ESTAM),Universidad San Pablo CEU, University of Navara - Pamplona. Spain.

April 2001 Inaboutof for The University of Arizona Architecture Department.

December 2001 Inarch Lecture Series- Lecture for the Ordinaire di Architecti - Palazzo delle Esposizioni – Rome, Italy.

June 2000 Deaduse I - Lecture for the University of Madrid (ESTAM) architecture dept and PHD for Housing Course.

February 2000 Deaduse III - Lecture for the Dept. of Art Media and Publishing Oxford Brookes University.

July 1999 Deaduse II - Lecture for the Dept. of architecture Oxford Brookes University.

July 1999

“Deaduse” - Lecture for the University College London, Bartlett School of Architecture.

May 1999 AWARDS and COMPETITION PRIZES UNL CoA Faculty Award for Excellence in Outreach and Engagement.

March 2017 Wood Design Award from WoodWorks™ and the Wood Products Council.

Awarded a 2017 Regional Excellence in Wood Design Award from WoodWorks™ and the Wood Products Council. The project will also be featured in our 2017 Wood Design Award video which will be presented at five Wood Solutions Fairs and two Wood Design Symposia http://www.woodworks.org/emerge-project-team/

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Curriculum Vitae

Jan 2017 Deutsches Architekturmuseum (DAM) Book Award – Typology.

“Manifest Destiny. A Guide to the Essential Indifference of American Suburban Housing AA Publications (United Kingdom) won the prize in Typology category for Deutsches Architekturmuseum (DAM) and Frankfurt Book Fair book award.

December 2011 U.S. EPA and AIA Lifecycle Building Challenge 2009 Award of Honorable Mention.

September 2009 AA|FAB 2009 Award “Designing Fabrication” – First Place (Exterior Section).

London England. June 2009 Award of $2000.

Earth Life Competition Award of “JDF Business Communication Work” from Japan Design Foundation.

October 2008 Nominated for EAAE/ARCC Best Paper Award.

March 2009 Finalist in Green Tent Competition – ECOSHACK. August 2004 Special Prize in the Aomori Northern Style Housing Judges: Jean Nouvel and Tadao Ando.

December 2001 Third prize in the Shinkenchu competition The Indefinite House Judge Kazuyo Sejima.

December 1999 Joint first prize in AIA Charette Inbetweeness in the City Judges Ed Jones, Fred Koetter, Rick Mather and Paul Finch.

October 1999 Special mention in Architecture Foundation Living in the City competition. Judges including Richard Rogers and Piers Gough.

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Curriculum Vitae

July1999 First Prize in the Millenium Cafe Competition Judged by Terry Farrell, Adam Caruso and Rick Mather.

October 1998 Second place in Shinkenchu House for Mona Lisa Competition. Judged by Kazuyo Sejima.

June 1998 Second Place in Future Visions of Kyoto International Urban Design Competition.

Judged by Tadao Ando & Rem Koolhaas.

February1998 Runner up entry in the Oklahoma Memorial Competition for the site of the Alfred P. Murrah Building.

March 1997 Second place in Shinkenchu competition Possibilities of Non Movement with Alex Gino. Judge Kazuyo Sejima.

December 1996 Third Prize in the RIBA Superbowl Competition Judged by Nigel Coates and Russell Davenport.

April 1996 First Prize - The Temple of Laughter competition with the prize of the commission.

Project carried out with Alex Gino. Judges Thom Main, Wolf Prix, Eric Owen Moss, Arthur Ericsson.

Novemeber 1995 Third Prize in RIBA Mausoleum Competition�Judge Piers Gough and Gerald Mercranor.

Feburary 1993.

Second place in RIBA S.E. Region Student Prize Judge Ted Cullinan.

September 1987 Student Competition Awards

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Curriculum Vitae

Carpineto Mountain Refuge Competition Finalist. Kaitlin Frankforter 2015 Carpineto Mountain Refuge Competition Finalist. Meadow Pirigyi 2015 “2008 AIAS/Kawneer Library for the 21st Century” (student award) instructed student Matt Kuser in second placed entry for AIAS National Student Competition with prize of $1,500.

December 2008 “2008 AIAS/Kawneer Library for the 21st Century” (student award) instructed student Guiseppe Giuliano in honorable mention entry for AIAS National Student Competition with prize of $500.

December 2008 EXHIBITIONS / EVENTS Baeda-Kar - Wedge Gallery, Woodbury School of Architecture.

Peer-Reviewed exhibition contribution to “Baeda-Kar – 2016-17 Exhibition Series Oct 2016 New Walled Cities & Hinterlands – Arena 1 Gallery, LA. Invited Exhibitor.

Exhibition exploring sprawl and emerging suburban landscapes.

“Sprawl can be terrifying and beautiful, just as the mystical forest was. In the modern Hinterlands of agricultural land, cul-de-sac developments, solar farms, spoil heaps, eccentric landscapes of technology and infrastructure that replaced the forest floor, we can find a new poetry of wilderness and uncertainty Contributors: FAT and Grayson Perry; Feral Office; Jason Griffiths; Scrap Marshall; Ordinary Architecture; Yael Reisner; Spatial Affairs Bureau; Nana Tchitchoua; THE PRINTMAKERS LEFT; James Wines – SITE; Select Students and Alumni from Woodbury University School of Architecture, experts including: Nicholas Gallucci, electrical engineer; Professor Mark Thompson, photovoltaics and material sciences; Rossen Ventzislavov, urban philosopher; Roland Wahlroos-Ritter, pilot.

Feb 20, 2016 to Mar 19, 2016 Not What We Bought Project Row Houses in Houston.

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Curriculum Vitae

“Not What We Bought” is a solo exhibition to be held in one of Houston’s Row Houses. It was part of “ Round 37 Project Row Houses” and will consist of narrative drawings and models based on my recent book Manifest Destiny.

October 1012 German Collective Stand With funding from the Federal Foreign Office, the Frankfurt Book Fair presents book collections on the German collective stands that pick up on current areas of interest.

This stand includes winners from the DAM Architectural Book Award and will travel to book fairs throughout the world promoting renowned books from the past year.

September 1012 Online exhibition for Places Journal.

Places Journal is part of Design Observer and offers a forum of design for the public realm. http://places.designobserver.com/slideshow/manifest-destiny-american-suburbanhousing/30438/2118/2#slide October 2011 Power Plants Greenbuild 2009 The Greenbuild Pavilion is a collaborative project with SALA faculty Joe Ewan, Harvey Bryan, Darren Petrucci, Phil Horton and SALA students. This project demonstrates a series parametrically designed steel tube structures that support AV, PV and plant components.

November 09 Defining Sustainability - ASU Art Museum, Tempe October 2009 6th Annual National Sustainable Design Expo featuring the P3 Award April 2010 U.S. EPA and AIA Lifecycle Building Challenge 2009 October 2009 Designing Fabrication- Village Underground Art Space, London.

September 2009

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Curriculum Vitae

Earth Day Feastival at ASU Polytechnic Campus April 2009 Huerism and Help Menus 97th ACSA Annual Meeting “The Value of Design”: Poster Session March 2009 PopTech Milling Technology in Architecture, Art and Design: Poster Session December 2007 Collection Point Six-month lecture and exhibition tour of North America - lectured and exhibited at 18 universities including SUNY Buffalo, RISDI, Rice, Tulane and UNAM. October 2002 - April 2003 Collection Point – The Bridge Gallery UoW. May 2002 Artifice – The Architecture Foundation.

June 1995 1:1 exhibition at the Heritage Centre 19 Princelet St, E1.

May 1992

1:1 exhibition at the Mies Van Der Rohe Haus in Berlin.

March 1992 TEACHING UNL Spring 2017 Arch 511/611 Design Research Studio

36

Curriculum Vitae

Spring 2017 ARCH 323 Materials and Assemblies Fall 2016 Arch 510/610 Design Research Studio Summer 2016 ARCH497/597/897 : Professional Elective Spring 2016 ARCH 311 Studio.

ARCH 323 Materials and Assemblies Fall 2015 ARCH 510/610 Design Studio ARCH 497/597/897 “The American Home” Spring 2015 APH 598 – Elective “Story of the American Home” ARCH511/611: Vertical Design Research Studio U of A Spring 2015 04 ARC 452 Capstone Fall 2014 ARC 510b Design Studio II, M.Arch III ARC 540b Design Comm II ARC 498 Capstone Prep ASU Spring 2014 ADE422/LDE462 Architectural Studio IV ANP 598 Special Topics: Digital Fabrication Fall 2013 ADE 521 Advanced Architectural Studio I ADE 521 Advanced Architectural Studio I

37

Curriculum Vitae

APH 494 Elective “Story of the American Home” APH 598 Elective “Story of the American Home” Spring 2012 ADE 622 Advanced Architectural Studio, Independent Study - April Ward.

ADE 622 Advanced Architectural Studio, Independent Study - Allison Magley.

Fall 2011 ADE 521 Advanced Architectural Studio I ANP 494 Advanced 3D modeling in Rhino Spring 2011 ADE422/LDE462 Architectural Studio IV ANP 598 Special Topics: Digital Fabrication ADE 622 Independent Study: Dian Yu, Yu Wang, Benjamin Partridge, ATE 599 Thesis Research committee member. M.Arch Thesis Karla Grijalva Fall 2010 ADE 521 Advanced Architectural Studio I ADE 521 Adv Architectural Studio coordinator ANP 494 Advanced 3D modeling in Rhino Spring 2010 ADE422/LDE462 Architectural Studio IV ANP 598 #33002 Special Topics: Digital Fabrication Fall 2009 ADE 521 Advanced Architectural Studio I ADE 521 Adv Architectural Studio coordinator ANP 494 Advanced 3D modeling in Rhino Spring 2009 ADE422/LDE462 Architectural Studio IV ANP 598 #33002 Special Topics: Digital Fabrication ADE 622 Advanced Architectural Studio, Independent Study – Justin Trexler Fall 2008 ADE 521 Advanced Architectural Studio I ANP 494 Advanced 3D modeling in Rhino

38

Curriculum Vitae

Spring 2008 ADE422/LDE462 Architectural Studio IV ANP 598 #33002 Special Topics: Digital Fabrication Summer 2008 Architectural Association (UK) - Instructor AA Summer School Fall 2007 ADE 521 Advanced Architectural Studio I ANP 494 Advanced 3D modeling in Rhino Spring 2007 ADE422/LDE462 Architectural Studio IV ANP 598 #33002 Special Topics: Digital Fabrication TEACHING – INVITED CLASS LECTURER AND JURER, ARIZONA STATE UNIVERSITY. TEACHING – INVITED JURER, OTHER INSTITUTIONS. Iowa State final reviews Dec 5-6 2016 Taliesin reviews (Invited unable to attend) Apr 29, 2016 ASU reviews (Invited unable to attend) Apr 28, 2016 Taliesin Reviews (Invited unable to attend) Mar 11, 2016 Visiting Critic MAEDA workshop. The Architectural Association Jul 17, 2015, 11:00 AM to 4:00 PM Review AA Design & Make program Jul 16, 2015, 11:00 AM to 4:00 PM Students of Design & Make use the prototyping and realization of buildings as vehicles for design research, developing modes of architectural design that integrate full-scale making.

39

Curriculum Vitae

Final Reviews - U of A May 6, 2015 Woodbury University San Diego Final Reviews May 3, 2014 to May 4, 2014 Ohio State University - Guest critic.

Summer 2012 University of Arizona - Guest critic.

Summer 2012 Washington University St Louis - Guest critic.

Summer 2012 University of Arizona - Guest critic.

Spring 2012 University of Arizona - Guest critic.

Fall 2011 Architectural Association (UK) – Seminar Presentation to AA intermediate Unit 5.

Fall 2011 Architectural Association (UK) Intermediate Unit 1 Lecture Series: Jason Griffiths “ Bone Yard Foreclosure”.

Fall 2011 Architectural Association (UK) – Program Coordinator – “Lessons in Idiocy” AA intermediate Unit 5.

Fall 2011 University of Dundee – Urban Design thesis student seminar with Lorens Holm.

Fall 2011 Washington University St Louis - Guest critic.

Fall 2010 University of Arizona - Guest critic for Beth Weinstein

40

Curriculum Vitae

Spring 2010 Architectural Association (UK)- Critic for Shin Egashira.

Spring 2009 Architectural Association (UK) - Critic for David Greene.

Spring 2009 Bartlett UCL (UK) - Critic for Prof Jonathan Hill.

Spring 2009 University of Westminster (UK) - Critic for Kester Rattenbury/Sean Griffiths.

Spring 2009 University of Arizona - Critic for Prof Beth Wienstien.

Spring 2009 UNC Charlotte - Critic for Chris Beorkram.

Fall 2008 Bartlett UCL (UK) - Critic for Prof Jonathan Hill.

Spring 2008 University of Westminster (UK) - Critic for Kester Rattenbury.

Spring 2008 Royal College of Art (UK) - Critic for Bobby Desai.

Spring 2008 ARIZONA STATE UNIVERSITY APPOINTMENTS. The Design School Executive Committee – Member.

2012-13 The Design School Technology Committee – Member.

2010-12 Digital Culture Task Force – Member.

Fall 2011

41

Curriculum Vitae

The Design School Summer Exhibition Committee – Member.

Fall 2010 Digital Culture Curriculum Committee – Member.

Fall 2010 -11 School of Architecture Graduate Course Committee – Member.

2007-Present SALA Computer Committee – Member.

2007-2010

SERVICE UNL Architecture Department PPC 2015-2016 - Member UNL College of Architecture College Council 2015-2016 – Member UNL College of Architecture IT Committee 2015-2016 – Member UNL Architecture Department Search Committee - 2015-2016 – Member UNL Architecture Department SAC - 2016 - Member PURL Film Series panelist - Involved as a panel member for the post film discussion for the film The Pruitt-Igoe Myth December 2011

42

Curriculum Vitae

Tempe Streetcar: Public Art Meeting. This Committee was established to agree on a proposal and collaborative framework for integrating public art into streetcar stops.

November 2011 Juror for Professional Architectural Competition. Invited to judge the Imagination Cube Competition organized in collaboration with AIAS Arizona / Phoenix Chapter of the Construction Specifications Institute and Magnum Steel.

November 2011 Moderator. Panel discussion for SMoCA exhibitors Annie Han + Daniel Mihalyo presentation Signscape Scottsdale Center for Performing Arts.

October 2011 The Design School Lecture Series. Organized and moderated a panel discussion for three/four Pecha Kucha Night lectures. Each night comprised of four academics each presenting a six-minute lecture on a chosen.

Spring 2011 Public lecture at the Scottsdale Arts Festival. Lecture was given in conjunction with Julie Anand to the members of the public and described the construction and ideas behind the camera obscura’s designed for the festival.

March 2011 Scottsdale Public Arts Festival Committee. This Committee was established to agree on a proposal and collaborative framework for an installation for the Scottsdale Public Arts Festival.

December 2011 MODERATOR OR PANEL MEMBER AT PROFESSIONAL OR ACADEMIC MEETING/CONFERENCE Panel discussion and charette judge for AIAS event. This Panel discussion organized by the AIAS Marketing Director Nathan Korkki explored the role of competitions in architecture. Nathan AIAS - Marketing Director at Arizona State University.

February 2011 BOOK/PAPER REVEIWER FOR PROFESSIONAL OR ACADEMIC

43

Curriculum Vitae

PUBLICATION/CONFERENCE. Review book proposal for Routledge Books. Asked by the commissioning editor of Routledge and the Taylor & Francis Group to review and make recommendation for a book proposal.

April 2011 Review Conference paper abstracts. Asked by the organizers of ACADIA regional conference to review abstracts for forthcoming conference “Parametricism”. ACADIA is the Association for Computer Aided Design in Architecture May 2011 Review Conference paper abstracts. Asked by the session chair organizers of ACSA national conference “Digital Aptitudes” to review abstracts for forthcoming conference session the affect of computation on design process. ACSA is the Association for collegiate Schools of Architecture September 2011 PROFESSIONAL WORK Jason Griffiths Architects Present Wells Mackereth Architects.

August 97 Orefelt Associates.

August 95 Gino Griffiths Architects - Atlantis Art Gallery conversion.

April 93 John Outram Associates.

October 92 Douglas Stephen and Ptnrs.

October 91 Stanton Williams Architects.

July 90

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Curriculum Vitae

i

The Diploma in Architecture is fully validated by the Architects Registration Board (ARB) and the Royal Institute of British Architects (RIBA) and leads to exemption from Part 2 of the three-part qualification program for professional architects in the UK. ii The BA in Architecture is fully validated by the Architects Registration Board (ARB) and the Royal Institute of British Architects (RIBA) and leads to exemption from Part 1 of the threepart qualification program for professional architects in the UK. iii

This work was completed while teaching at Iowa State University, USA

45

Candidate Statement

46

II.B Candidate Statement

47

Candidate Personal Statement

01.

Introduction “To be interested in the popular culture of contemporary

America is to be interested in our popular architecture, the architecture of those buildings in which we live or work or

enjoy ourselves. They are not only an important part of our

everyday environment, they also reveal in their design and evolution much about our values and how we adjust to the surrounding world”.

The Domestication of the Garage JB Jackson At certain points during my career I have had the opportunity to reflect on my work in

architectural education. My candidacy for promotion and tenure at UNL is such a point. This

statement stands as much a consolidation of past accomplishments as an examination of their

influence upon my future work. As an architect and teacher I practice a creative process that

continually speculates on the development of architecture. Writing a statement for tenure is, in

my view, the same creative process - an act that fuses observation, gathering, and synthesis

that leads ultimately to creative output.

My application for tenure can be broadly understood through achievements of “design-build” education and the study of “ordinary” architecture in North America. Design-build teaches

students about the profession of architecture, and the ordinary provides a cultural standpoint.

This combination has led me to the study of digitally fabricated mass-timber construction and

has culminated in a series of funded buildings designed and built in collaboration with UNL

architecture students. This has also produced successful grant applications, awards,

conference papers, invited publications and juried exhibitions. This includes a $189,000 grant

from the U.S. Forest Service Wood Innovations which will allow significant impact in the

advancement of teaching CLT construction.

The study of the ordinary can be described as analysis of apparently meaningless environments.

It may be seen to originate in the literary experiment of “free indirect speech”i and includes

various forms of representation that explore down-to-earth scenarios of any particular culture.

Other terms of reference may include Realism, The Everyday, Familiar, Quoditian, Dame,

Kitchen Sink and The Vernacular which, collectively identify forms representations that are

“faithful to reality”. My interest is based on the practice of objective photography which evokes a

form of sublime pleasure of non-descript places. This includes William Garnett’s documentation

of 50’s suburbia and the New Topographics movement among others. In architecture this includes the work of architects like Kazunari Sakamoto, Charles Moore, Atelier Bow-Wow, Venturi Scott-Brown and JB Jackson.

48

Candidate Personal Statement

Throughout my career I have been fascinated by the architectural possibilities that dwell within ordinary buildings because, as Jackson says, they alone belie the evolution of “our values and how we adjust to the surrounding world”. For me this sense of familiarity is central to the way

design-build establishes a common language of architectural engagement. While this means a

practical understanding of construction and everyday needs of a client it is far more than an

apologia for prosaic buildings alone. Like Sakamoto I consider the greatest architecture that

which finds poetic expression of everyday life.

However for the term “ordinary” to be understood as an academic field it must be subject to the same process of scholarly reflection, analysis and ultimately creative output as all other

disciplines. In my teaching this has led me to an understanding of digital design as a common practice and the application mass-timber technology upon ordinary forms and uses. It is

important to stress that my reading of the ordinary is ultimately based on its contribution to

innovation in my discipline. Furthermore my work suggests that “advancement” in architecture is

measured by how effective it is within everyday use and how technology is regarded as a form

of social practice. In this respect mass-timber (CLT in particular) produces relevant digitally

fabricated buildings through an affordable, fast-track process of design and production. The

creative act of design-build allows me to synthesize these themes into the complex process of

producing a functional and attractive piece of architecture. Academia allows me the benefit of exploring this process through UNL’s tripartite mission of teaching, research and service.

My position on the common practice of mass-timber construction was not derived from a

technological background but instead began with interests in the aforementioned “ordinary” art

practices and cultural criticism that first drew me to North America. This attraction can be

described as a search for extraordinary within the ordinary and is influenced by the artworks of

Dan Graham, the photography of Robert Adams and the writing of JB Jackson. After teaching

for ten years in London (firstly at UCL with Sir Peter Cook, and then at Westminster and Oxford Brookes) I was given the chance to pursue these interests in what Jackson describes as a

“wanderlajar”. For or eight months my partner (Alex Gino) and I travelled throughout North

America studying suburban single-family homes. This led to my first book, Manifest Destiny — A

Guide to the Essential Indifference of American Housing, which was published in 2011 by the

Architectural Association. This publication was recognized internationally through a series of

awards, critical reviews and invited lectures. Of this recognition perhaps the most rewarding

summary came from Christopher Hawthorne’s Los Angeles Times review for 2011 year in review: Best in Architecture stating “Griffiths miraculously finds new language to describe the eternally

affectless qualities of gated communities and tract housing”. This critical recognition helped me

place studies of the ordinary within a wider cultural context and explore its potential within

architectural discourse. The book lead to further publication and creative production including

Princeton Architectural Press and AMO’s Volume and invited exhibition with The Projects Rows

Houses. This is most recently demonstrated through recent invited exhibitions (Arena 1 Gallery,

LA and the Wedge Gallery at Woodbury School of Architecture) along with accepted journal

chapters (MAS Context) and lectures (UTSA). This recognition also allowed me to broaden my teaching to include courses in history and theory of The American Home and design studios

49

Candidate Personal Statement

based on “retro-fit” suburban development.

The mainstay of my teaching since arriving in the US, however, has been design-build. Before I was appointed at UNL I had completed some 11 projects accompanied by a steady stream of

awards and academic recognition including the AA Fabrication, EPA and Japanese Design

Foundation. These projects allowed me to refine my design-build pedagogy, to evaluate digital

fabrication methods and to develop methods of engagement between academia and the non-

profit organizations. It is these projects that hybridize the ordinary and digital design that set the

precedent for my current work at UNL. Of these it is recognition of Sioux City Bus stops and

public grants Marynane Corder or Tempe Arts furniture (more description) sculpture along with

creative work as a practicing architect that I value most highly.

I joined UNL in the spring of 2015 firstly as the recipient to the Hyde Chair of Excellence and then as tenure-track assistant professor the following Fall. This transition offered me the

opportunity to re-evaluate my teaching practice and to focus on advancing the pedagogy of design-build. During this period, it felt necessary to deepen my understanding of CLT

construction and present it as the core of my teaching in a way that could apply directly to the needs of non-profit organizations interested in engaging in design-build.

In this short time I been at UNL, the enthusiasm for design-build has exceeded my expectations.

At the point of writing I have three projects with a combined investment in excess of 1/4 million dollars worth of sponsorship from recognized non-profit sources. These projects have grown

through the mutual understanding of UNL’s mission and that of non-profit organizations like The

Nebraska Children and Families Foundation, The UNL Foundation, The Santee Sioux Tribal Council and the City of South Sioux. These commitments have expanded into a network of

contributions from other participants including services and in-kind donations from the NMA

(Nebraska Masonry Alliance), City of South Sioux Park Services, Santee Tribal Council Tax

Commission, local engineers and many others. While these organizations are key to the success

of each project it is the broader network of people who will interact with these buildings that constitutes the greatest impact of engagement between UNL and the State of Nebraska.

50

Candidate Personal Statement

These projects are also at the core of my research activity. While I am content that this network provides engagement with “real world” experiences for students studying design-build it also

provides discipline-specific evidence that allows me to evaluate the impact of each project.

These connections are key to the empirical research agenda of design-build and provide

evidence to gauge the effect of graduate level design research studios. I am happy to report

recent successes in student/faculty collaborative research outcomes for the 105th ACSA Annual

Conference in Detroit (Design-Build: Service Beyond Community with Mackenzie Gibbens and

When Nature Strikes - A study of Beetle Kill in America and its Potential use for Mass Timber

Construction with Aubrey Wassung) and in my own research for both national and international

conference submissions (Engineered Lumber And “Tacit Knowledge” Of New Craft In

Architecture for the 4th International Conference S.ARCH-2017 in Hong Kong). Funding success

in the Santee Sioux Child Services Building has also provided a basis for attracting future collaboration with the research and development department of Smartlam’s CLT plant in

Montana as a potential partner in implementing grant outcomes. These connections also extend

to other non-profit organization like OFRI (Oregon Forestry Institute) and collaborations with

UNL’s Nebraska Forest Services for the successful grant application to FY2017 U.S. Forest Service Wood Innovations ($189,000 award for The Great Plains CLT Market Development

through Architectural Education). These efforts have already received awarded recognition by

WoodWorks™ and the Wood Products Council for our 2016 summer design-build project

entitled Emerge. This project will also feature in the forthcoming book Celebrating Excellence in

Wood Architecture 2016-2017 to be published in Fall 2017.

My appointment at UNL has also offered me the opportunity to assess the relationship of digital design to architectural education. This evaluation was also framed by studies of “ordinary”

fabrication practice of engineered lumber. In this sense, I feel that emerging methodologies of

digital design have advanced from scholarship of technique to the “applied” procedures of

design-build. I now practice teaching digital design strictly through techniques that grew from

traditional woodworking tools (circular saw, chain saw, and router) that have been adapted to 5axis control mechanisms, i.e. through the legacy of tools familiar to many people. This

connection is critical to success of working with industry standard mass-timber fabrication

methodology and hence its application to the “real-world” constraints of design-build. This

concentration has allowed close collaboration with industry specialists like DR Johnson, Structurlam and Smartlam.

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Candidate Personal Statement

02.

Teaching (75% apportionment)

I began teaching architecture in 1994 as an assistant to Sir Peter Cook at The Bartlett School of Architecture in London. Since then I have taught extensively within the UK, Europe, North

America and China. In the two years since joining UNL I have been involved in an extensive

development of my teaching responsibilities. Over my first 3 semesters I have developed the following classes, either as new classes or adaptations of existing classes.

Arch 510/610 & 511/611: Design Research Studio (New).

Design-build is for me the most unique aspect of architectural education in the US. Within

design-build lies the vital impetus to deconstruct traditional patterns of teaching through the

agency “real world” scenarios of construction. I joined UNL because I was convinced that the

new model of a year-long Design Research Studio provided me with true curricular support to advance my teaching of design-build.

The Design Research Studio is based on the design-build ethic of “learning by doing” that

originated with American Arts and Crafts architecture. Richard Sennett describes this learning

as “tacit knowledge”ii derived from acts of making. Design-build is rooted in the craft traditions and theoretical discourse of authenticity in vernacular buildings and timber construction

(Charles Greene’s described this as “fingerspitzengetfuehl” or “fingertip feeling.”) My teaching

practice advances this tradition through the emergent industry of engineered lumber

construction. Working closely with industry professionals has allowed me to reform design-build

pedagogy by using a prefabricated primary structure in a way that avoids unnecessary liability to students and provides direct experience of innovative construction practice.

My 2016/17 studio has produced three projects scheduled to begin construction in the summer

of 2017. These are The Santee Sioux Reservation Child Services Center in collaboration with

Nebraska Children and Families Foundation ($170,000), The South Sioux Orchard Storage and

Meeting Facility ($60,000) with City of South Sioux, NE and The Cedar Point Biostation cabin in

Ogallala, NE ($70,000) for The Baxa Family Foundation.

This course was prepared in response to the new curricular model of the two-semester Design

Research Studio and implements student/instructor collaborative research submissions (mostly

the ACSA but also regional awards).

Arch 232: Materials and Assemblies (New) In my second semester at UNL I was invited to teach Materials and Assemblies as a three-credit

sophomore class. I reorganized the entire course to encourage students to develop construction

knowledge that could be applied to studio classes. The course is arranged to demonstrate how

52

Candidate Personal Statement

the material qualities of a building are established by context and the availability of technology, finances and resources. It demonstrates the geographical relevance of different systems

including engineered lumber, gridshell domes, masonry vaulting, precast cladding and mass-

customized systems designed in a parametric environment. The content of this class is

delivered in the first half of the semester through a formal series of lectures, while the second

half allows students to experience their physical application at full-scale. The course concludes

with a brick fabrication exercise in collaboration with the Nebraska Masonry Alliance followed by a 1:1 physical drawing of an entire section of a building’s envelope.

Arch 497/597: Summer Design-Build (New).

I established this course to provide students from the College of Architecture with the chance to

experience design-build in a three-week, three-credit summer elective. The course is site-based

and gives students the opportunity to craft and install components of a building while being

involved in the organization of construction teams and coordinating assembly. This course is

centered on engineered lumber and provides an overview of manufacturing procedures, forestry practices, digital design and methods of assembly through fieldwork, lectures, and full-scale

making exercises. The course can be included as an extension to Arch 510/610 & 511/611

Design Research Studio or as a stand-alone design-build (see Oregon Summer Design-Build

2016).

Arch 311: Architectural Design Studio: Situate. (Adapted) Arch 311 is a five-credit design studio based on a past studio program adapted to the

architecture program’s curricular incentive of Situate. The aim of this studio was to apply

engineered lumber construction to a complex residential and cultural program in an urban

setting. The studio began with the design of a small building set within an open rural landscape.

This project was based on the brief for the Architects Studio Competition run by the Opengap

organization and situated on Lake McConaughy in eastern Nebraska. The second phase of this studio applied students’ understanding of advanced timber structures to the challenge of

building in an urban context and culminated in a submission for 2015-16 ACSA TIMBER IN THE CITY: Urban Habitats Competition.

Arch 510/610: Architectural Design Studio (Adapted) This studio explored advanced timber fabrication methodology and its relationship to

contemporary living environments and the sharing economy.

The studio began with an introductory program for the Carpinetto Competition followed by a

session of research into engineered lumber and a studio trip to the Pacific NW and Canada. The

studio culminated in the program for the 1:2:1 Mass House that explored fluid forms of

inhabitation that varied between single-family occupation and use as an AIR BnB and called for

a house that was formally and spatially expressive of our time. This flexibility, described in the

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Candidate Personal Statement

ratio 1:2:1, suggests that the house may at one point be a single entity, at another point two (one

side a community of AIR BnB residents) and subsequently return to a single home depending

upon family needs.

ARCH 497/597/897: The American Home. (Adapted) I began teaching this course at Arizona State University after the publication of my book

Manifest Destiny and it provides an example of how my studies of “ordinary” architecture have

been included in my teaching. At this point it was called “The Story of the American Home” and explored representations of the single-family home in popular culture (The Swimmer, Blandings

Builds His Dream House, The Stepford Wives, The House of Seven Gables, etc.) The aim of this

course was to analyze the image of home and gain a critical perspective on marketing in the real estate business. This course counters the popular image of the house by exploring themes from Manifest Destiny that expose the problems of gated communities, oversized houses and

financial excess. This course demonstrates that my teaching has broadened to include courses

based on a historical and theoretical perspective. Since joining UNL I have developed the

course to demonstrate the role played by the home and search for “identity” in US architectural discourse. It focuses on the notion of “authenticity” that originates with the Struggle Period of Colonial architecture through the Shingle Style/ Craftsmen Cottages to contemporary

architecture. Studies include architectural texts (Scully, Moore, Venturi, JB Jackson etc.),

depictions of home in contemporary art and the influence of the American home upon

international architecture. The course is developed through a series of readings, essays and time-based representations of selected areas interest.

ARCH 597/897: Innovative Timber Construction (Fall 2017.

My most recent example of course development is the Innovative Timber Construction elective

beginning fall of 2017. This course implements the aforementioned U.S. Forest Service Wood

Innovations grant award for advancing the effectiveness of design-build and engineered lumber in

architectural education. As Co PI, my contribution to the application was to design and deliver a

three-year academic stream within the CoA with the aim of increasing student and practicing

architect’s experience with CLT and mass-timber construction, coupled with the expanded capacity of the architecture program’s ability to provide CLT and mass-timber education. This involves

curriculum development to include opportunities for students to design and integrate forestry and forest products perspectives into the use of mass-timber products.

54

03.

Candidate Personal Statement

Research (15% apportionment)

My research areas are design-build, engineered lumber and writing/creative work in the study of

“ordinary” architecture. My publication and research profile includes a sole-authored book, book

chapters, peer-reviewed/invited journal publications, academic papers, architectural

competitions and invited exhibitions. Recent activity includes the award from Forest Service

Wood Innovations along with over ¼ of a million dollars investment in sponsored projects from non-profit organizations (see Arch 510/610 & 511/611: Design Research Studio).

My design-build research develops the College of Architecture’s curricular incentive to

incorporate research into graduate level studio. The details of this process are evidenced in

studio programs and describe the methods by which students develop research in relation to

the studio’s broader theme of engineered lumber and design-build. This is a unique aspect of

my teaching practice and particularly appropriate to design-build and demonstrates strong

connections between teaching, research and service to the community. I am able to guide

students into specialization that I anticipate will be applicable to the design and construction

challenges we may face as the projects develop. Design work is prefaced by (and then inclusive of) a period of research on subject areas pertaining to design - build i.e. pedagogy, H&T -

American Architecture and Wood, Engineered Lumber (Digital Design) Engineered Lumber (Site/delivery and assembly procedures), Contemporary Craft –(Crawford, Sennett) Timber

reclamation (Beetle kill, etc.) Additional specialization is available to students who chose to

make deeper analysis of mass-timber CNC fabrication methods. During the research stages of the course, students can opt to advance their knowledge through a range of specializations

associated with design-build learning. Students will carry out research and produce a report that culminates in a co-written conference submission (usually paper or poster). Students then contribute their knowledge to colleagues during the latter stages of the course when their

expertise is most needed.

The first year of practicing this model has produced the two successful paper submissions to the aforementioned ACSA 2017 Detroit conference in collaboration with graduate students

Aubrey Wassung and Mackenzie Gibbens with successful submissions to local BTES 2017

(Iowa State) and The 4th International S.ARCH Conference 2017, in Hong Kong.

Although these scholarly activities provide an important contribution to my teaching practice, I

am also aware of the need to establish a “design-build specific” research methodology. While

the design, procurement, and construction of even small buildings can take up to two years,

post-occupancy evaluation requires considerably longer. Buildings are inherently slow to react

to the expectations we place upon them in the design process, and this is especially true with

emerging materials like CLT. Furthermore the integration of emerging technologies into the

curriculum and into mainstream practice also requires steady accumulation of knowledge.

With this in mind I have worked in partnership with Adam Smith of UNL’s Nebraska Forestry

Services to seek funding for a grant–aided educational stream within the CoA curriculum. This

led to the aforementioned funding ($189,000) from the FY2017 U.S. Forest Service Wood

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Candidate Personal Statement

Innovations award. Our proposal entitled The Great Plains CLT Market Development through

Architectural Education was established to “1) expand CLT educational opportunities for student architects, 2) expand CLT professional development opportunities for practicing architects and 3) expand capacity within UNL-Arch to deliver CLT design curriculum.” and establishes three

years of funding to support a new educational stream that advances the use of CLT at UNL and

within Nebraska’s construction industry.

“Educating students and practicing architects about CLT, fostering increased utilization of CLT

in Great Plains architecture, is key to the development of CLT markets and the associated

opportunities for low-quality timber. This project will reach multiple generations of architects,

providing the opportunity for long-term demand for innovative wood products and long lasting

outcomes, post-project.”

While much of my time at UNL has been spent developing teaching and research of design-

build, I am also aware of the need to continue study of ordinary buildings. While many US

design-build programs are advanced through a variety of themes (digital design, public health,

community service etc.), there are few that deal with a multivalent interpretation of “the ordinary”

as a field of inquiry in its own right.

In my view the most important work in this field lies in postwar photography of ordinary American and through a cultural critique of the everyday. Like Jackson I believe that these “everyday

environments” provide essential links between visual anthropology, environmental art and social

scienceiii and post-war architects in USA, Japaniv and the UK. These (contemporary) vernacular considerations extend beyond functionalism to explore a poetic expression of “commonplace” buildings, of factories, barns, suburban houses and other archetypal forms with normative American environments.

Of my contributions to this discourse the most significant has been my first book Manifest

Destiny published through the AA. Shortly after its release it won the Deutsches

Architekturmuseum (DAM) Book Award (Typology) at the Frankfurt Book Fair followed by outstanding reviews from the Los Angeles Times, The Architect’s Newspaper and Icon

Magazine. This work is complimented by numerous invited publications including The Princeton Architectural Press (306090), the AA Files, Volume, Uncube and have been in published in

Japan Architect, Journal of Architecture, Sunday Times and Architecture. My publishing profile in this field is also complimented by regular academic reflection through conference paper proceedings, invited lectures and symposia (ULCA DIAWA) for a range of academic associations of regional, national and international standing.

My most recent work offers an interpretation of “the ordinary” in the wake of the housing market

crisis of 2008 and abandoned “commercial vernacular”v of the American strip. This includes an

accepted journal publication in MAS Context titled I on the Streets that documents windowless street façades in Lincoln Nebraska. Its impact is demonstrated through invited exhibition

contributions for New Walled Cities & Hinterlands” – Arena 1 Gallery, LA and Baeda-Kar – 2016-

17 Exhibition Series, Wedge Gallery, Woodbury School of Architecture along with a recent lecture

56

for UTSA (“Same House”).

04.

Candidate Personal Statement

Service (10% apportionment)

Over my career I have been involved in almost every conceivable form of service from

curriculum development, advising on capital expenditure, institution restructuring, being

mentored (and mentoring), outreach, running a lecture series and recruitment. My administrative

responsibilities have included coordinating of all graduate studios (ASU), overseeing the digital

design curriculum (ASU), working closely with the shop to implement new fabrication equipment

along with a full load of committee responsibilities. My experience extends to the wider

academic community and to local non-profit and governmental organizations. As a qualified member of the Institute of Teaching and Learning within the UK, I have deep experience of

formal teaching structures and taxonomies of knowledge, which informs my teaching practice at

all levels. Since joining UNL, I have maintained my commitment to service by playing an active

role in college and departmental committees. My work on the Professional Program Committee (PPC) has allowed me to engage in curricular development, while serving on the College

Council provides insight into upper administrative procedures. Working through the IT

committee allows me to advise the department on improvements to fabrication technology, and my responsibilities on The Student Affairs Committee have advanced my concerns for student welfare. I am also fortunate to have served on search committees for the last two years to

maintain crucial issues of advancing the academic integrity of the UNL. I also consider service inherent to the teaching of design-build and the process of engagement with the community.

The breadth and diversity of design-build work in the US and China is a testimony to this

commitment. Since joining UNL I have maintained my service to community through work with

The City of South Sioux, Santee Sioux Tribal Committee and The Nebraska Children and Families Foundation. This type of service gives me particular pleasure because it is directly linked to my teaching and research activities and has allowed me to demonstrate the impact of a fully integrated teaching practice.

In summary, my teaching, research and service at UNL is based on design-build education that

explores engineered lumber and the influence of ordinary architecture. My ambition to become

a tenured member of faculty at UNL is tied to my ambition to make architecture a part of the

university’s mission to engage communities within the state of Nebraska. Academia affords me the special opportunity to advance my teaching practice by reflecting on the impact of past accomplishments and their bearing upon the future of my discipline.

I offer this statement to be considered for promotion and tenure in the College of Architecture at

the University of Nebraska Lincoln.

Jason Griffiths 07/10/2017

57

Teaching

58

III.A - Supporting evidence/quality and effectiveness of teaching.

This section provides supporting evidence for the quality and effectiveness of my teaching and includes a course folio of selected syllabi, student work and examples of student achievement. It also provides evidence of curriculum development alongside a successful grant application for the implementation of new courses and concludes with evidence of international activity and samples of student evaluation.

59

Jason Griffiths -BA (Hons) Dip. Arch.

Course Portfolio

60

Jason Griffiths -BA (Hons) Dip. Arch.

III.A.01 Course Portfolio

My teaching practice is based on design-build and combines engineered lumber construction with studies of “ordinary” buildings in North America. It includes graduate and undergraduate studios along with seminars, electives and independent studies.

Design-build is for me the most unique aspect of architectural education in the US. Within design-build lies the vital impetus to deconstruct traditional patterns of teaching through the agency “real world” scenarios of construction. I joined UNL because I was convinced that the new model of a year-long Design Research Studio provided me with true curricular support to advance my teaching of design-build.

I began teaching architecture in 1994 as an assistant to Sir Peter Cook at The Bartlett School of Architecture in London. Since then I have taught extensively within the UK and the US as well as Mexico, China and Spain.

61

ARCH 510/511-610/611

62

ARCH 510/ 610-511/611 Advanced Architectural Design Design-build is for me the most unique aspect of architectural education in the US. Within design-build lies the vital impetus to deconstruct traditional patterns of teaching through the agency “real world” scenarios of construction. I joined UNL because I was convinced that the new model of year-long Design Research Studio provided me with true curricular support to advance my teaching of design-build.

The Design Research Studio studio is based on the design-build ethic of “learning by doing” that originated with American Arts and Crafts’ architecture. Richard Sennett describes this learning as “tacit knowledge” derived from acts of making. Design-build is rooted in the craft traditions and theoretical discourse of authenticity in vernacular buildings and timber construction (Charles Greene’s described this as “fingerspitzengetfuehl” or “fingertip feeling.” My teaching practice advances this tradition through the emergent industry of engineered lumber construction. Working closely with industry professionals has allowed me to reform design-build pedagogy by using a prefabricated primary structure, avoiding unnecessary liability to students and enhancing first hand experience of innovative construction practice.

My 2016/17 studio has produced three projects scheduled to begin construction in the summer of 2017. These are The Santee Sioux Reservation Child Services Center in collaboration with Nebraska Children and Families Foundation ($170,000), The South Sioux Orchard Storage and Meeting Facility ($60,000) with City of South Sioux, NE and The Cedar Point Biostation cabin in Ogallala, NE ($70,000) The Baxa Family Foundation.

63

Syllabus

64

65

66

Jason Griffiths

ARCH 510/610 (511/611) (Optional), Advanced Architectural Design I / III : 5 credit hours

Fall 2016

Mass Timber Design-Build AUG.2016

P01.1 Research - Methodology The four projects we will be pursuing are: 1.

2.

3.

4.

The CPBS cabin(s) at Cedar point in Ogallala The CPBS studio at Cedar point in Ogallala South Sioux Orchard A retreat on the Bauman Tree Farm in Oregon.

Each of the projects will be developed collaboratively over a full academic year with the hope that any number of them will be constructed next year.

Research- Themes/Strategy/Methodology Design work will be prefaced by (and then inclusive of) a period of research in and around the subject areas of each project. These suggested themes are (not exclusively): 1.

2.

3.

4.

5.

6.

7.

8.

Design - Build Pedagogy.

H&T - American Architecture and Wood.

Engineered Lumber - Digital Design.

Engineered Lumber - Site/delivery and assembly procedures for Engineered Lumber.

Contemporary Craft – Crawford, Sennett Landscape Photography in US and Midwestern landscape design.

Forestry Other?

The research stages will involve two phases 1

P01.1 - Research methodology P01.2 - Academic reflection. Joint submissions for conferences, poster sessions etc.

Research methodology - Both design and research stress what is important and accurate to individuals and cultures now. Design-research situates architectural explorations between the creative agendas of the arts and the technical methodologies of the sciences. Design, and design-research as its exploratory realm, is distinct from both the arts & humanities and the sciences -- it is a third culture, independent of these two more dominant cultures of social, cultural and technical education. As such, design has its own ways of knowing, its own technologies and its own methodologies. If design education is positioned as the R&D wing of practice, we can take advantage of the academy’s ability to promote speculative design-research, experimentation, exploration and risk taking to aid our constituent professions. By emphasizing design-research, the College can feature the unique contributions of design towards innovation in service of Nebraskan communities and beyond. The goal is to produce new ideas and projective innovations through design.

Over this section students are expected to explore chosen themes that incorporate research techniques outline in the foot note references and on hold in the library.

Lucas, Ray. Research Methods for Architecture. London: Laurence King Publishing, 2016.

Linda Groat and David Wang, Architectural Research Methods. http://0-site.ebrary.com.library.unl.edu/ Dana Cuff. Architecture: The Story of a Practice. MIT Press, 1992.

Katerina Ruedi and Iain Bordon. The Dissertation: An Architecture Student’s Handbook

Studio Program: Page 1 of 2

67

ARCH 510/610 (511/611) (Optional), Advanced Architectural Design I / III : 5 credit hours Mass Timber Design-Build

Jason Griffiths Fall 2016

AUG.2016

P01.2 Academic Reflection “Design-research can unite faculty and student interests and turn students into collaborators in the production of ideas rather than consumers of knowledge. Faculty may still engage independently in design research, but they may also do so in collaboration with students through design research-oriented studios in the undergraduate core of all programs and the masters-level vertical studios and professional electives in the Architecture program. These studios prepare students to be self-motivated professionals capable of using design to work through complex problems and generate new architectural knowledge. For faculty, these studios become de facto laboratories in which they may collaborate with students towards shared goals with a high potential for impact”.

P01.2 will be comprised of an intensive research activity that will culminate through a submission in some form to an academic forum, conference session, award or poster session that formalizes the research theme. Ongoing research will be gathered in an agreed format according to the academic forum.

Students are to use the academic organizations listed in the footnotes and deliverables are according to submission criteria of each call.

Academic Organizations

2

68

2

International Conference on Arts and Humanities - http://fineartsconference.com/ ASCA awards - http://www.acsa-arch.org/programs-events/awards ASCA papers - http://www.acsa-arch.org/programs-events/conferences/annual-meeting/105th-annual-meeting ASCA posters http://www.acsa-arch.org/programs-events/conferences/annual-meeting/105th-annual-meeting/call-forprojects-posters Architizerhttp://awards.architizer.com/about/awards/ Woodworks http://www.woodworks.org/project-gallery/nominate-a-project-for-a-wood-design-award/ JAE - http://www.jaeonline.org Places online journal

P01.2 - Academic Reflection. A. Wassung (paper accepted for 105th ACSA Annual Conference in Detroit) When Nature Strikes A study of Beetle Kill in America and its Potential use for Mass Timber Construction Abstract This paper explores the alternative methods of wood collection in respect to lumber provided by nature and its potential use for mass timber construction. Sustainability in terms of materials can be compared through a complete life cycle analysis, which factors in pollution, waste, resources, and energy required for manufacture. In comparison to steel or concrete construction, wood outperforms the competition and it supports the atmosphere through its natural cycle of growth. In addition to sustainability, wood can be recycled and reused as other building materials, decorative elements, biofuel, and landscaping products. Recovered and recycled wood in the use of new stick frame construction has been understood as undesirable, but when used in mass timber construction, it eliminates the need for pieces of the same length and the nature of mass timber allows pieces that may not be suitable for structure to be combined and reinforced.

An alternative source of wood is provided by natural disasters, such as hurricanes, earthquakes, and tornadoes. The extent of the damage determines a tree’s use, but ultimately these trees are suitable in mass timber construction. In addition to natural disasters, diseases and pests can cause a significant amount of damage, ranging from mild affliction to mass destruction.

Many diseases and pests have swept through the United States claiming species of trees since European settlement.

Beetles make up the largest order in the animal kingdom, with only 24 species of beetles active in the United States causing damage to trees. Bark and borer beetles are the most destructive, affect the heart and woody areas of a tree. America is currently experiencing an epidemic of Mountain Pine beetle, Southern Pine beetle, Ips beetle, and most recently the Emerald Ash borer.

The Emerald Ash borer is a highly invasive species and an estimated 34 million ash trees, in a 25 state area, expected to be removed and replaced by 2019. The mass timber industry has the opportunity to capitalize on this surplus of wood as beetles can weaken the it, making it unsuitable for stick frame construction. Beetle kill wood, until recently, has mainly been used for biofuel, decorative, and small scale hobbies. Alpine Timberframe and Design has worked with beetle kill wood in their construction of UBC’s Bioenergy Research and Demonstration Facility and the Student Union Building, also at UBC. Euclid, along with the University of Utah, has been using beetle kill wood in a new form of mass timber construction called ICLT, interlocking crosslaminated timber, which uses no fasteners or glues. ICLT can be produced by any timber fabricator wishing to diversify their product without adding additional infrastructure. Mass timber construction, if using recycled wood, wood provided by nature, or the surplus of beetle kill, can become affordable for smaller scale projects and housing without the need to harvest virgin trees.

69

P01.2 - Academic Reflection. M. Gibbens (paper accepted for 105th ACSA Annual Conference in Detroit)

DESIGN-BUILD: SERVICE BEYOND COMMUNITY Jason Griffiths, University of Nebraska-Lincoln, Faculty Mackenzie Gibbens, University of Nebraska-Lincoln, Student Abstract “We’re not just trying to help a community, but we’re trying to deconstruct students’ privilege. We’re trying to get them to be better citizens, better community advocates, and to understand the complexity of urban areas.” -Thomas Dutton, Miami University This paper attempts to define the nuances of community-based services within design-build, and look at service-learning through the lens of variety of program drivers and course aims, including construction experience and a critique of academia. It then looks in more detail at a case study of design-build that pairs service and forestry within the Pacific Northwest.

It is important to understand the drivers of service and service-learning pedagogy within the scope of design-build. The practice of design-build within architecture pedagogy grew directly from community activism. The beginnings of design-build within the University can be traced back to John Ruskin at Oxford. It may be interpreted that Ruskin’s influence in the Arts and Crafts Movement in Britain had an impact of his drive for community and social services, and therefore influences the inception design-build in academia. The model that we recognize as design-build today was first created by Charles Moore and the Yale Building Project, founded in 1967 and still continues today. From its origin with the Yale Building Project the core of designbuild has been community service. Beyond community service, many University faculty aim to educate students on the concept of social justice and the philosophy that those who form the built environment have a duty to serve those who do not. As a result, may design-build projects work for those who are underserved by the design professions. This introduces students to alternative, democratic design practices and supports civic awareness and responsibility.

This paper concludes by investigating a current design-build program based in Oregon that attempts to interpret the imperatives of design-build pedagogy in terms of the contemporary discourse on engineered lumber. This case study, titled “Emerge,” is rooted in service, both for the students involved in the making of the project and for those who will use it in the future. It suggests that the issue of service is understood as a confluence of different conceptual frameworks that must engage immediate concerns of the physical context and the wider issues of ongoing advancement of recent developments in the construction industry.

The importance of service in architecture education has never been more apparent. As world sustainability issues continue to be at the forefront of concerns in the built environment, the importance of educating the next generation of designers and builders is obvious. Through design, we can also educate, inform, and influence the general public. Design-build provides a means through which to achieve these goals.

70

CNC TECHNOLOGY CLT PROCESSING TOOLS ROUTER

RT

3-axis pocketing

3-axis milling

3-axis drilling

5-axis pocketing

CIRCULAR SAW

CHAIN SAW

CIS

CHS

crosscut

rip cut

cross cut

miter cut miter cut

openings

compound miter

slotting

compound miter

tongue and groove

rip cut

APPLICATIONS Tengbom Architects_Student Flat

Localarchitecture_Temporary Chapel for the Deaconesses of St-Loup

dRMM_Endless Stair

RT

RT

CIS CIS RT

RT

RT

CIS

CIS CIS

RT

RT RT

RT

CHS =

CIS =

CIS

RT

RT

RT

RT

RT =

CHS =

CIS =

RT =

CHS =

CIS =

RT =

71

72 Base

Middle

Top

Borate/Glycol Preservative

Test for Decay: Locations of potential decay identified through visual inspection can be further investigated with a number of tests.

Sounding: Interpret dull or hollow sounds as possible indicators of decay. Sounding is not an effective method for detecting incipient or intermediate decay.

It is also not effective on thick timbers.

Pick Test: Conducted by driving a pointed tool a short distance into the wood and prying out a sliver.

A brash (abrupt) or crumbly break indicates decayed wood.

Where as a splintered break indicates sound wood Penetration or Withdrawal Resistance: A specialized tool called a pilodyn can be used to measure the resistance of the wood to penetration. A hardened pin is driven by a spring into the wood. The distance of penetration can be used as a measure of decay.

Drilling and Coring: Low resistance to drilling may be an indication of decay.

The core or drill shavings can be taken to a lab for further analysis. Holes created by coring or drilling should be filled with treated wood plugs to prevent moisture entry.

Resistance Drill Testing: Needlesized drill bits into wood and plot a graph of drill penetration vs. drill torque.

The measure of drill torque is an indicator of wood density.

Zero resistance to drilling is an indication of a void or decay.

Moisture Measurements: Resistance-type meters with long, insulated needles are the most useful, because they can measure moisture content at various depths below the surface.

Moisture contents of cores/drill shavings can be determined in the lab using the oven-dry method.

Stress Wave Timing: A technique used on-site to locate and measure areas of decay in wood support members. A compression stress is induced in a member, and the speed in which it spreads is measured.

Stains and Discolorations:

Surface Irregularities:

Mold:

Insect Activity:

Mechanical Damage:

Checks:

Visual Decay:

Preservative Treated Lamina

Boron Rods

Visual Inspection: The simplest method used for detecting decay is visual inspection.

20%

Equilibrium moisture content of the wood exceeds 20% should be inspected.

Sapwood/alburnm: Outer region of old trees Soft and not durable Light colored Vessels are not blocked by tyloses Function: Conduct water, nutrition Storage of food

Heartwood/duramen: Center region of old trees hard and durable Dark colored Vessels are blocked Function: Machenical support

The aim of this poster is to maximize the chance of exposing CLT to outdoor conditions by looking into: Wood type with low water permeability.

Wood preservative treatments, and techniques.

CLT appearance classifications.

On site CLT inspected methods.

Cross Laminated Timber _ Composition - Treatment - Exposure

occasional open joints up to 2mm width permited

occasional open joints up to 1mm width permited

not permitted

Machining - chainsaw

Wood moisture

Beauty treatment of the surface with dowels / blocks

Timber species mixture

permitted

No

permitted

not permitted

permitted

not permitted

≤ 15%

Yes

Rework edge of cut with sandpaper

No

occasional faults permitted

≤ 11%

Yes

Chamfer on L panels

occasional faults permitted

≤ 230 mm

occasional small faults permitted

Quality of narrow side bonding and face ends

100% sanded

Not permitted

Permitted

≤ 130 mm

occasional small faults permitted

Quality of surface finish

Lamella width

100% sanded

Surface

max. 2 cm Ø

max. 1 cm Ø Not permitted

Knots - black Knots hole

max. 1.5 cm Ø

Knots - sound

Rough edges

max. 3 cm Ø

Permitted

Insect damage

not permitted

not permitted

Core – pith

Permitted

Permitted

occasional surface cracks permitted occasional, up to 40 cm long permitted

Dry cracks

max. 10 x 90 mm occasional occurrences permitted

occasional occurrences permitted

Resin galls Bark ingrowth

Not permitted

Not permitted no knot clusters max. 5 x 50 mm

Not permitted

Blue Stains

slight discolouration permitted

Commercial Building Industrial Building

Residential building School, and Office

Industrial - Visible

Discolorations (Brown stain, etc.)

Bonding

Used

Example

Visible

permitted

permitted with spruce/silver fir/pine

≤ 15%

≤ 230 mm

permitted

No

No

occasional faults permitted

occasional faults permitted

Max 10% of surface rough

max. 2 x 50 cm

Permitted

Permitted

Permitted

small holes up to 2 mm

Permitted

Permitted

Permitted

Permitted

Permitted

Permitted

occasional open joints up to 3mm width permited

Construction Elements (Needed to be covered)

Non - Visible

P01.2 - Academic Reflection. P.Hong

P01.2 - Academic Reflection. S.Topalovic

FROM THE ASHES OF ASH Utilizing Nebraska’s Ash Trees

Overview

Bark EAB Path

Ash trees are dying by the millions in the Midwestern United States due to an invasive pest called the Emerald Ash Borer (EAB). This insect is a half-inch-long, shiny green beetle that feasts on the inner bark of ash trees. The beetle arrived in North America from Asia in the 1990s but wasn’t detected until 2002 in Michigan. It has since spread to more than 25 other states including most recently Nebraska.

Unaffected Wood

Nebraska is home to more than 50 million ash trees and at this time there is no means to stop the beetle. Currently most efforts are put into treating infected ash trees. The most popular treatment methods involve injecting insecticide into the tree. Once inside, the insecticide moves to where the ash borer is feeding. Depending on the product that is used, repeated treatments will be necessary every year or two. However, after several repeated treatments, some trees can become so weak that they are killed by other insects or root and stem diseases. As the invasion spreads, it’s estimated that nearly $275 million will be spent by local governments around the state to respond to the Emerald Ash Borer.

Although a sad and unfortunate tragedy, the demise will mean large volumes of ash lumber entering the market. It’s a common misconception that infested ash wood is useless and needs to be destroyed. On the contrary, the wood is still viable. The insect kills the tree by disrupting the exchange of water and nutrients from the roots with the sugars produced in the crown. This activity takes place in the thin cambium which is immediately beneath the bark, an area which is removed during the milling process. The rest of the wood is insect free and unscathed.

PROCESSING IMPACT

This research poster looks at the impact of the Emerald Ash Borer on Nebraska trees and puts forth and argument of utilization over treatment and waste creation.

Nebraska Infected Areas

Ash Casualties Timeline 100% 90% 80% 70%

In the 15 years following an EAB infestation, nearly 100% of a community’s ash trees will be lost. This inescapable invasion will take place in nearly every community across the state in the next 20-30 years.

60%

50% 40% 30% 20% 10%

0% 2016

2018

2020

2022

Emerald Ash Borer discovered in Nebraska

Ash Wood Information

Quarantine Regulation Treatment

General Description: The sapwood is light=colored to nearly white and the heartwood varies from greyish or light brown, to pale yellow streaked with brown. The wood is generally straight-grained with a coarse uniform texture.

Logs (All Ash Species):

Main Uses: Furniture, flooring, doors, architectural millwork and moulding, kitchen cabinets, paneling, tool handles, baseball bats, hockey sticks, skis, oars and turnings.

Working Properties: Ash machines well, is good in nailing, screwing and gluing, and can be stained to a very good finish. It dries fairly easily with minimal degrade, and there is little movement in performance.

Physical Properties: Ash has very good overall strength properties relative to its weight. excellent shock resistance and is good for steam bending.

It has

2024

2026

2028

2031 Nearly 100% of Ash Trees Lost to EAB

Years following EAB infestation

Dying Ash Tree

-Remove bark and an additional 1/2” of wood -Kiln drying treatment for logs less than 3” in diameter -Heat Treatment (T314-a) -Fumigation according to treatment schedule T404-b-1-1

Green Lumber (All Ash Species): -Remove bark and an additional 1/2” of wood -Kiln Sterilization treatment (T404-b-4) -Heat Treatment (T314-a) -Fumigation according to treatment schedule T404-b-1-1

Portable Mill and Kiln Firewood (All Hardwood Species):

Utilizing Infected Ash Trees Benefits of turning this “waste wood” into products: -Create new recycling opportunities for ash and other types of wood waste.

-Reduce the wood disposal costs for local communities.

-Reduce the burden on local landfills.

-Create new economic opportunities for Nebraska -Create new markets for high-quality, sustainable wood products.

-Remove bark and an additional 1/2” of wood -Kiln Sterilization treatment (T404-b-4) -Heat Treatment (T314-a) -Fumigation according to treatment schedule T404-b-1-1

Woodchips, Mulch, Sawmill Waste (All Hardwood Species):

Dimensional Lumber

-Chip or mulch to less than 1” in at least two dimensions -Follow an APHIS approved mulching or composting protocol

Ash Wood Products

PRODUCTION

Wooden Bats

Furniture Pieces

Flooring

Tables and Benches

Infected Ash Use Traverwood Branch Library Architects: Vane Tine & Guthrie Studio Location: Ann Arbor, MI The trees for use in flooring and shelving for the Traverwood Branch. A few of the trees were left intact and used as support beams along a row of windows on the south wing of the building to dramatic effect. The trunks interact beautifully with the uninterrupted expanse of green trees behind the building, and visitors can inspect the Emerald Ash Borer’s damage curving over the surface of the beams.

73

P01.2 - Academic Reflection. J. Doyle

E M B E D D I N G TECHNOLOGY in

cross

laminated

timber

TECHNOLOGY + WOOD [case studies] 1

2

LED CLOCK KOUJI IWASAKI

3

MAPLE PHONE HYUN JU YOON

TOUCH WWOOD DOORBELL GORDON CORMACK KEDS-

OPENINGS TYPES IN CLT PANELS [existing conditions] TYPE: corner wall opening PROJECT: HUNSETT MILL ARCHITECT: ACME

TYPE: curved wall opening PROJECT: NAKED HOUSE ARCHITECT: DRMM

TYPE: multiple opeings PROJECT: CLT HOUSE ARCHITECT: ATELIERJONES

TYPE: modified retangular and square opeings

VENEER [cutting methods and types]

ROTARY CUT veneer is continuously peeled centristically from source • RAW VENEER - veneer that has no backing, single thin slice of wood • PAPER BACKED - veneer with paper back, allows for large sheets of veneer • PHENOLIC BACKED - used for composite or manmade veneers

CROWN CUT veneer is sliced away from source resembling cut wood

• LAID UP - raw veneer that has been combined into sheets • RECONSTITUTED VENEER - made from fast-growing tropical species and dyed if needed • WOOD ON WOOD - multiple pieces of veneer combined in 2(+) ply

PROPOSED PROCESS FOR EMBEDDING TECHNOLOGY IN CLT Step 1: create voids for clock, veneer and power • rout void for clock components • rout around first void to give surface for veneer to be attached • drill hole for power cord/chisel rounded corners so that the veneer will fit properly

Step 2: insert and secure clock and clock power

• 12” chihai clock - remote controlled • power cord is inserted down hole drilled in previous step • clock is mounted in clt void

Step 3: apply glue for veneer and place veneer • crown cut veneer will most closely match the grain pattern existing on the clt panel • raw veneer should be used because it’s transparency will allow the clock lights to be seen • veneer strips should be placed with the grain pattern vertical to align with the grain of the clt

74

RIFT CUT veneer is created from parts of wood with more textured appearance

P01.2 - Academic Reflection.E. Ewmers

STEEL CONNECTION JOINTS

Cross-Laminated Timber (CLT) & Glulam - Steel Elements, Joints, & Fasteners

ENGINEERED WOOD PRODUCTS (EWP): Innovations in engineered wood products have given architects the ability to span longer distances with wood than ever before. Glulam Timber and Cross-Laminated Timber are the most recent products for which this research is about.

Manufactured by fixing boards together with adhesives gives these products incredible strength and ductility. These products are used in a variety of ways, from residential construction, to commercial buildings, to industrial structures.

Cross-Laminated Timber (CLT):

Glue-Laminated Timber (Glulam):

• Highly innovative manufacturing process that produces panels that can reach sizes up to 10’ x

• Highly innovative and versatile construction material with many uses.

• Composed of wood laminations based on their performance characteristics then bonded together

40’.

with durable, moistureresistant adhesives.

• Extremely resistant in both directions which lends itself to be extremely structural and ductile.

• In CLT, unlike Glulam, stresses acting in transversal direction do not adversely affect the shear

• Available in depths from 6” to 72” and lengths up to 100’ and longer.

strength.

• Only engineered wood product that can be produced in curved shapes.

Cross-Laminated (CLT)

Glue-Laminated (Glulam)

1.1 T YPICAL CLT CONNECTIONS

1.2 T YPICAL CLT CONNECTIONS

Floor to Floor and Wall to Wall Connections

Wall to Foundation

1.4 T YPICAL CLT CONNECTIONS

1.3 T YPICAL CLT CONNECTIONS

Wall to Floor/Roof

Wall to Wall

2.0 SOLID WOOD PRECEDENTS CLT & Glulam Structures

2.1 Esmarhstrasse (E3) Apartments

Custom Steel Joints for CLT & Glulam

Architect: Kaden + Partner

- Steel connectors eliminate the need for any wood connectors and also eliminate any wood in in the primary structure from being loaded perpendicular to the grain.

- Timber elements were cut by a CNC off-site so that they can be inserted into steel knife-plate connectors.

- This steel connection is bent and welded together, then bolted to Glulam cloumns and beams.

2.1 Bullitt Center Architect: Miller Hull Partnership - Hybrid structural system composed of a concrete podium, glulam post and beam timber frame, with custom steel connections that allows for lateral stability and uplift.

- Custom “Bucket-type” connector was made because of budget issues, but yeilded ease of construction, reduced costs, and direct bearing on the timber columns.

- This steel connection was cut and bent then welded together.

- Bullit Center is a hybrid timber/steel structure.

2.3 Bioenergy Research and Demonstration Facility Architect: McFarland Marceau Architects - The Bioenergy Research Facility’s main gasificatrion process area required a tall structural system.

- McFarland Marceau Architects devised a timber moment frame that spans 80 feet.

- The steel box is casted and then holes are cut for the embeded steel connections.

- A variation of this box is used to hold the columns to the concrete foundation.

References - Kuklik, Petr, and Anders Søvsø Hansen. Handbook 1 – Timber Structures. 2008.

- Mohammad, M., and W. Munoz. 2011. Connections in Cross-LaminatedTimber Buildings. In CLT handbook, ed. S. Gagnon and C. Pirvu. Chapter 5. Québec, QC: FPInnovations.

- “APA Publication Search – APA –The Engineered Wood Association” APA Wood. Accessed September 09, 2016. http://www.apawood.org/publicationsearch?q=c800 - Mayo, Joseph. Solid Wood: Case Studies in Mass Timber Architecture, Technology and Design. New York, NY: Routledge, 2015.

- Aicher, Simon, H. W. Reinhardt, and Harald Garrecht. Materials and Joints in Timber Structures: Recent Developments of Technology. Springer, 2014. Electronic.

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CEDAR POINT BIOLOGICAL STATION : FACULTY DWELLING

ARCH 510/610 : JASON GRIFFITHS COFFEY, EASTMAN, TOPALOVIC, WERMERS

LAKE MCCONAUGHY, OGALLALA, NE

B

A

C

D

N

FLOOR PLAN SCALE: 1/2” = 1’-0”

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ARCH 511/611 - PR3

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ARCH 511/611, Advanced Architectural Design I / III : 5 credit hours Mass Timber Design-Build

Jason Griffiths Spring 2017

PR 3.1 A. Wassung, A. Phengmarath. J. Croghan, R. Plamann,E. Wermers, J. Munoz

PR 3.1 South Sioux Orchard Facility The orchard in South Sioux City stands as a symbol for community sharing and gathering; a place for volunteers to harvest apples and honey to donate to the public, in addition to educating young members of the community on themes of food production.

Our project will consist of a two-storey structure, a footprint of 256 square feet, plus on-site volunteer parking. The main function of the building is to store the tools and supplies necessary to maintain an orchard. Secondary functions include interior and exterior gathering spaces for education and the processing of the harvest.

The storage facility is conceptually a large jewelry box, utilizing exterior awning doors for exterior access to tools and to create shade for exterior gathering. At the end of each day, the doors fold back into the façade creating a seamless box.

The budget developed from fund raising activities includes: $50,00 construction budget from City of South Sioux, NE $10,000 approx. construction material (Ash) from City of South Sioux $7,000 approx. construction material contribution from the Nebraska Masonry Association Reduced cost for CLT Reduced Professional fees for consultants In-kind donations for Nebraska Forest Services In-kind donations for photovoltaics This project was developed in collaboration with the Gene Maffit, Parks Director of South Sioux City, and Lance Hedquist, City Administrator, and is part of a series of public buildings that advance architecture in the community.

Our proposal was developed in direct consultation with user groups and city residents through presentations at council sessions and at CoA reviews. Students have been actively involved negotiating costs, building control, and working with consultants while preparing construction documents.

This project will be the first CLT building in Nebraska. The entire primary structure of floor, walls, and roof will be prefabricated and assembled on site and act as a showcase for advanced construction methodology with the community. The use of CLT makes this an exceptional design-build experience and presents students with the additional challenge of introducing non-traditional construction methods to City building control officers, the construction team and consultants. This level of engagement advances the discipline of architecture within Nebraska and engages research with practice through physical construction. This has had a particularly beneficial effect for city officials and the engineer (Shaffer & Stevens PC) who are using CLT for the first time and expanding their knowledge base in anticipation of widespread use of engineered limber.

This project will also showcase the City of South Sioux’s Ash reclamation program. Working in conjunction with Steve Rasmussen and Adam Smith of the Nebraska Forestry Service, students have developed a cladding system that utilizes Ash from local trees affected by the Emerald Ash Borer beetle. This process involves harvesting trees under quarantine in a process that mitigates the propagation of the beetle and reduces the infestation. This activity advances the design-build ethos of “learning by doing” by engaging architecture directly with the wider issues of material supplies and regional environmental concerns. Students are also involved in an on-going evaluation of the process as part of the studio commitment to engage research with graduate level learning. This documentation will form part of a post-occupancy report that will provide content for proposed courses in the CoA curriculum based on advanced timber fabrication methodology. The project has also provided evidence for a pending application for grant funding via FY2017 U.S. Forest Service Wood Innovations award in collaboration with Adam Smith and the UNL’s Nebraska Forestry Service.

The South Sioux Orchard Storage and Meeting Facility has provided students with a exceptional design-build experience. Engagement with the community, clients, consultants and suppliers has exposed them to a process that not only provides them with basic practice experience but also provides a showcase for innovative construction methodology and environmental design in Nebraska.

Studio Program: Page 1 of 3

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Students presenting to the South Sioux City Council.

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PR 3.1 A. Wassung, A. Phengmarath. J. Croghan, R. Plamann,E. Wermers, J. Munoz

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PR 3.1 A. Wassung, A. Phengmarath. J. Croghan, R. Plamann,E. Wermers, J. Munoz

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Jason Griffiths -BA (Hons) Dip. Arch.

PR 3.1 A. Wassung, A. Phengmarath. J. Croghan, R. Plamann,E. Wermers, J. Munoz

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Jason Griffiths -BA (Hons) Dip. Arch.

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PR 3.1 A. Wassung, A. Phengmarath. J. Croghan, R. Plamann,E. Wermers, J. Munoz

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PR 3.1 A. Wassung, A. Phengmarath. J. Croghan, R. Plamann,E. Wermers, J. Munoz

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PR 3.1 A. Wassung, A. Phengmarath. J. Croghan, R. Plamann,E. Wermers, J. Munoz

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PR 3.1 A. Wassung, A. Phengmarath. J. Croghan, R. Plamann,E. Wermers, J. Munoz

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ARCH 511/611 - PR4

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PR 4.1 M. Gibbens, R. Plager, Baitey, S. Kenny ARCHJ.Doyle, 511/611, Advanced Architectural Design I / III : 5 creditK. hours Mass Timber Design-Build

Jason Griffiths Spring 2017

PR 4.1 Santee Sioux Reservation Child Services Center Nebraska Children and Families Foundation and University of Nebraska-Lincoln graduate architecture students are working in collaboration to build a Family Support Center for the Santee Reservation. The mission of the Nebraska Children and Families Foundation is: “To create positive change for Nebraska's children through community engagement.�

This project is located on the Native American Santee Reservation near Niobrara, Nebraska. There are approximately 800 people that live on the 173 square miles of land. The tribe struggles with high rates of addiction and domestic abuse. A Family Support Center would create a positive, private, and safe space for those affected by these circumstances.

This Family Support Center will be a 950 square foot building that houses programs related to family healing efforts and forensic investigations for sexual and physical abuse. There will be spaces for supervised family interaction and foster parent training. An interview room and surveillance room will provide an environment for abused persons to share their experiences with authority.

The budget developed from fund raising activities includes: $170,000 construction budget from Nebraska Children and Families Foundation $12,000 approx. construction material contribution from the Nebraska Concrete Masonry Alliance Reduced cost for CLT Reduced Professional fees for consultants The project was granted funding after the studio developed a schematic design in collaboration with Associate Vice President (Systems of Care and Native American Connections) Nathan Busch of the Nebraska Children and Families Foundation and Executive Director Misty Frazier of the Santee Sioux Dakota Tiwahe Service Unit. During initial site visits, we met with Misty, her staff and Marion Brandt, a District Representative in the Santee Sioux tribe, to carry out site selection and learn about Santee Sioux reservation.

Engagement also included negotiations with Linda Potter, president of the Nebraska Concrete Masonry Alliance to secure a donation of brick for the exterior of the building.

The project continued to develop through meetings with the Tribal Council and with Tammy Eagle Bull, the President of Encompass Architects, to arrange potential studio/architect partnership during construction phases of the project.

Additional consultation included meetings with civil engineer Richard Onnen from E&A Consulting Group and structural engineer Donn Shaffer from Shaffer & Stevens PC. Even though the project is now in construction documentation, the studio is still actively engaged in fund raising.

During the most recent site visit, we presented our design and a funding request for some of the initial project costs to the Santee Sioux Tax Commission. After meeting with Warren Mackey (chair of the Tax Commission and Executive Director of the Santee Sioux Tribal Housing Authority), we were assured that our selected site was available and we would most likely receive the funding.

While this process has been complex and, at times frustrating, it has provided students with exceptional insight into the realities of architecture. In many ways the context of the project and the sensitive nature of the program have required exceptional maturity from the group. However, I am convinced that this will be an exemplary design-build project and an outstanding example of engagement within the College of Architecture.

Studio Program: Page 2 of 3

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PR 4.1 J.Doyle

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PR 4.1 J.Doyle

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Jason Griffiths -BA (Hons) Dip. Arch.

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PR 4.1 J.Doyle, M. Gibbens, R. Plager, K. Baitey, S. Kenny

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PR 4.1 J.Doyle, M. Gibbens, R. Plager, K. Baitey, S. Kenny

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Jason Griffiths -BA (Hons) Dip. Arch.

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PR 4.1 J.Doyle, M. Gibbens, R. Plager, K. Baitey, S. Kenny

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PR 4.1 J.Doyle, M. Gibbens, R. Plager, K. Baitey, S. Kenny

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WITH CONTRIBUTIONS Santee Sioux Family Support Center Jacob Doyle, Mackenzie Gibbens, Ryan Plager, Scott Kenny, Kevin Baitey Item

Description GENERAL FEES supervision fee general requirements temporary waste crane/hoisting crane operating construction labor TOTAL SITEWORK sitework TOTAL CONCRETE concrete rebar footings slab on grade slab on grade labor TOTAL

WOOD & BRICK interior framing ON (REDUCED PRICE) clt (3 ply) clt shipping casework MASONRY ALLIANCE brick cladding/installation N) TOTAL FASTENERS timberlock 8" screw steel connectors TOTAL THERMAL & MOISTURE PROTECTION insulation (2" rigid) metal roofing metal flashing TOTAL DOORS & WINDOWS exterior doors interior doors windows TOTAL

Qty

Unit Cost

Unit

Amount

2 2 1 1 40 750

$7,000.00 $500.00 $425.00 $1,500.00 $33.00 $18.00

/mo /mo /ea /wk /hr /hr

$14,000.00 $1,000.00 $425.00 $1,500.00 $1,320.00 $13,500.00 $31,745.00

1

$5,000.00

‐

$5,000.00 $5,000.00

138 21.8 1242 1242

$30.00 $250.00 $3.50 $7.00

/cy /cy /sf /sf

$4,140.00 $5,450.00 $4,347.00 $8,694.00 $22,631.00

417.9 827.3 ‐ 6.5 2484

$5.00 $15.00 $6,750.00 $150.00 $11.00

/sf /cf ‐ /lf /sf

$2,089.50 $12,409.50 $6,750.00 $975.00 $0.00 $22,224.00

10 ‐

$42.00 $6,000.00

/50pc ‐

$420.00 $6,000.00 $6,420.00

/sf /sf /lf

$6,735.00 $7,989.30 $667.50 $15,391.80

/ea /ea /sf

$1,650.00 $2,600.00 $13,500.00 $17,750.00

2694 $2.50 1453 $5.50 133.5 $5.00

3 $550.00 10 $260.00 270 $50.00

119

FINISHES drywall paint/clt finish flooring (other) flooring (tile) TOTAL

1112 3806 644 43

$2.00 $1.00 $7.00 $9.00

/sf /sf /sf /sf

$2,224.00 $3,806.00 $4,508.00 $387.00 $10,925.00

MEP plumbing material duct system electrical TOTAL

1242 $8.00 1242 $5.00 1242 $4.00

/sf /sf /sf

$9,936.00 $6,210.00 $4,968.00 $21,114.00

/set ‐ /ea /ea ‐ /ea ‐ /ea ‐ /ea ‐ /set ‐ /set ‐

$105.00 $215.00 $50.00 $360.00 $100.00 $200.00 $150.00 $430.00 $100.00 $100.00 $150.00 $100.00 $215.00 $455.00 $215.00 $2,945.00

SPECIALTIES kitchen sink/faucet kitchen sink/faucet microwave range range installation dishwasher dishwasher installation refrigerator refrigerator installation toilet toiletinstallation bathroom sink/faucet bathroom sink/faucet installation shower/faucet shower/faucet installation TOTAL

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

$105.00 $215.00 $50.00 $360.00 $100.00 $200.00 $150.00 $430.00 $100.00 $100.00 $150.00 $100.00 $215.00 $455.00 $215.00

CONSTRUCTION TOTAL

FEES contingency fee architect fees PROJECT TOTAL 120

COST PER SF

$156,145.80

15% of Total Cost 8% of Total Cost

‐ ‐

$ 23,421.87 $ 12,491.66 $179,567.67 $144.58

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ARCH 511/611 - PR1

122

Mass Timber Design-Build

Spring 2017

PR 1.1 - The Cedar Point Biostation Cabin in Ogallala, NE The Cedar Point Biostation cabin is the most recent project to gain funding within the studio. The aim of this project is to showcase innovative CLT construction methodology in the context of Cedar Point. Our proposal offers a reflection of existing log cabin vernacular in a way that advances mass-timber construction.

The 16’x20’ cabin includes sleeping quarters that combines beds and storage for student’s belongings.

The cabin is orientated to focus on the surrounding landscape and provide visitors with views of adjacent geological formations and Lake McConaughy.

Current budget: a. $70,000 construction budget from The Baxa Family Foundation b. Reduced cost for CLT c. Reduced Professional fees for consultants The project has been developed in collaboration with Jon Garbisch, Associate Director, School of Biological Sciences and UNL Foundation along with contributions from CLT manufacturers DR Johnson.

This process is aligned with the mission of the research station in that engages student research through in-the-field application of discipline specific knowledge. It stresses the importance of engagement through a unique learning context that is highly appropriate to the design-build ethos (learning by doing).

This project will also provide the basis for the CoA’s summer design-build program that will offer handson experience of construction and timber fabrication to all students within the Architecture program. As with Santee Sioux Reservation Child Services Center and the South Sioux Orchard Storage and Meeting Facility the project will include ongoing documentation of the process and form the basis for academic reflection and conference presentations on themes of design-build and advanced timber fabrication.

Studio Program: Page 3 of 3

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P01.2 - S. Coffey, S.Topalovic, A. Eastman, J. Croghan

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P01.2 - S. Coffey, S.Topalovic, A. Eastman, J. Croghan

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P01.2 - S. Coffey, S.Topalovic, A. Eastman, J. Croghan

C E DA R P O I NT B I OLOGICAL STATION_ underGraduate L oc ation_ Lake

cabin P roj e c t Te am _

McconauGhy, oGaLLaLa, ne

Double Wide CLT: We intend to emulate a double wide house delivery with CLT on one truck bed.

p h a se 1 _ CLT Bed P l at f orms

p h a se 2 _ cLT Work Space M a s s

ARC H 610_ Jason Griffiths coffey, croghan, eastman, topalovic, Wermers

CLT Slabs: Accessory portions of CLT that are not assembled before delivery will be stored up front and installed after set up.

CLT Box Mass: The prefabricated panels made by D.R. Johnson will be assembled in a box structure before shipment to alleviate on-site construction.

p h a se 3 _ CLT Bed M a s s

Del i v ery

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P01.2 - S. Coffey, S.Topalovic, A. Eastman, J. Croghan CEDAR P O I NT B I O L O G I C AL STATION_ underGraduate Lo cat io n _ Lake

McconauGhy, oGaLLaLa, ne

cabin P roj e c t Te am _

ARC H 610_ Jason Griffiths coffey, croghan, eastman, topalovic, Wermers

S ECTI O N P ER S P ECTI V E

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P01.2 - S. Coffey, S.Topalovic, A. Eastman, J. Croghan

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Jason Griffiths -BA (Hons) Dip. Arch.

P01.2 - S. Coffey, S.Topalovic, A. Eastman, J. Croghan

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P01.2 - S. Coffey, S.Topalovic, A. Eastman, J. Croghan

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P01.2 - S. Coffey, S.Topalovic, A. Eastman, J. Croghan CEDAT POINT: UNDERGRADUATE CABIN

Coffey, Eastman, Croghan, Topalovic Item

Description General Fees supervision fee general requirements crane operator crane services site builder CLT Delivery Cost Rex Miller Joe Croghan Eric/Darian

Qty 0 2 1 1 1 1 1 1 1

Unit Cost $7,000.00 $800.00 $1,500.00 $1,500.00 $2,000.00 $5,000.00 $1,000.00 $1,000.00 $1,000.00

Unit

Amount

/mo /mo /wk /wk /wk

$0.00 $1,600.00 $1,500.00 $1,500.00 $2,000.00 $5,000.00 $1,000.00 $1,000.00 $1,000.00

TOTAL

$14,600.00

DEMO SITEWORK demolition costs TOTAL

0

$500.00

-­‐

REINFORCING CONCRETE (Tavis?) concrete mix 75lb bag conrete forming tube 16"x4' footings Spread Footing TOTAL

6 6 6 6

$11.49 $20.98 $225.00

/cf /ea /cy

$0.00 $0.00

$68.94 $125.88 $1,350.00 $1,544.82

WOOD & PLASTICS glulam beams clt panels Cedar Exterior Cladding porch decking TOTAL

56 1493 150 0

$45.00 $8.95 $2.00 $5.50

/lf /sf

FASTENERS 2-­‐sided anchor channel timberlock 8" screw TOTAL

12 8

$20.00 $42.00

/ea /50pc

THERMAL & MOISTURE PROTECTION metal roofing metal flashing breathable membrane TOTAL

425 90 609

$6.00 $7.50 $8.00

/sf /lf

$2,550.00 $675.00 $4,872.00 $8,097.00

2 6 9

$100.00 $25.00 $50.00

/ea /ea /ea

$200.00 $150.00 $450.00 $800.00

FINISHES birch plywood sheets 4'x8' BEHR white zero VOC interior paint 5 gal TOTAL

8 1

$50.00 $108.00

/ea 5 gal

$400.00 $108.00 $508.00

MEP electrical TOTAL

50

$3.60

/sf

$180.00 $180.00

12

$0.00

/ea

DOORS & WINDOWS exterior doors* casement insect screens windows TOTAL *Assuming students make them

SPECIALTIES 1" roller ball bearing TOTAL

/lf

$2,520.00 $13,362.35 $300.00 $0.00 $16,182.35

$240.00 $336.00 $576.00

$0.00

$0.00

CONSTRUCTION TOTAL $42,488.17

132

FEES contingency fees architect fees Engineer Fee PROJECT TOTAL PROJECT S.F. COST PER S.F.

N/A

15% of Total Cost 8% of Total Cost 3% of Total Cost 28'-­‐7" x 14'-­‐8"

-­‐ -­‐

$ 6,373.23 $ 3,399.05 1465.841865 $48,861.40 420 $116.34

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135

136

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Jason Griffiths -BA (Hons) Dip. Arch.

ARCH 497/597/897

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ARCH497/597/897 2017 Summer Design-Build Professional Elective (Nebraska).

This course explores the fabrication and application of engineered lumber in architecture in a design-build course based at Cedar Point Biostation, Ogallala NE. It investigates different advanced timber (CLT, LVL, PSL) uses though first hand experience of production (from forest to fabrication plant), manufacture procedure (study of JR Johnson) and application in collaboration with practicing architects. Students will be exposed to detail, construction and site assembly requirements associated with particular engineered lumber projects. They will also learn about architect/fabricator “file to factory� production of information for digital fabrication techniques and 3D virtual design.

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141

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Jason Griffiths -BA (Hons) Dip. Arch.

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Jason Griffiths -BA (Hons) Dip. Arch.

145

146

147

148

Jason Griffiths -BA (Hons) Dip. Arch.

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Site Preparation (click)

150

151

CLT ANALYSIS

Research PRELIMINARY

Design

CONSTRUCTION

WEEK 1

p h as e 2 _ M I L L i n g

p h as e 1_ HAR V E S T When the trees are ready, they are harvested and sold to a saw mill.

p h as e 3 _ L A M I NAT I O N

The trees are processed and sawn into various sized/ cuts of lumber

CN C R O U T ER

Typical dimension lumber is layered and laminated to create CLT. The cross lamination of the long grain gives CLT its structural integrity in both directions.

CN C CI R CU L AR SAW

CN C CHAI N SAW

CLT B OX S T R U C T U R E PER FO R M AN CE

3 - PLY CLT PAN EL

D I R EC T I O N O F G R AI N

Desk and Stools

RESEARCH PRELIMINARY

WEEK 1

Design

CONSTRUCTION WEEK 2

Desk

1

4

Live edge cedar wood desk.

Straight cut cedar legs.

Using box joints to keep dry jointery.

The desk is a long internal desk that is screwed in from the exterior. One side was kept with a live edge to keep a theme throughout the cabin. The desk and legs were coated with three coats of clear sealant to protect it from aging and changing color. The desk stretches the entirety of the interior of the cabin.

Stools

2

5

Double sided Using box Applied sealant live edge joints to keep to keep magenta cedar. dry jointery. color.

The stools that are also made with cedar have double sided live edges to match the accents of the cabin. The stools were made with similar jointery as the desk. The stools were also coated with clear sealant to protect them from changing color over time. Keeping the beauty of the naturally megenta wood was a must have for this project.

3

152

6

STAIRCASES & TREADS

RESEARCH PRELIMINARY

Design

WEEK 1

CONSTRUCTION WEEK 2

WEEK 3

8 2” thick vertical board

7

6

Assembly

5 4

3 Completed Staircase

3”

2” 2”

12.5

”

2 1

min

”

10

1 --- 2” thick board (10” min Width) 2 --- Marked & cut on bandsaw 3 --- Mortised corners & forsenter center 4 --- Constructed jig (guide) for router 5 --- Routed out remaining material 6 --- Chiseled and sanded mortise 7 --- 2” x 3” tapered wooden peg 8 --- Completed tread & peg

FOUNDATION FOUNDATION

RESEARCH PRELIMI-

Design

WEEK 1

CONSTRUCTION WEEK 2

1

1 2

2

3

4

3 5

4 6

5

6

1. CABIN FLOOR PLANE

THEORETICAL PLANE ON WHICH CLT FLOOR SITS IN RELATION TO

2. GLUE-LAM WOOD BEAMS 28’ 7-5/16” X 6-3/4”, DEPTH: 1’ 4”

3. STEEL BEAM SHOES

1/8” STEEL PLATES WELDED WITH 6-3/4” INSTERTION SLOT

4. ANCHOR RODS 1. CABIN FLOOR PLANE 3/4” ANCHOR RODS SET INTO CONCRETE COLUMNS THEORETICAL PLANE ON WHICH CLT FLOOR SITS IN RELATION TO

5. CONCRETE COLUMNS 2. GLUE-LAM WOOD BEAMS

---” DIAMETER COLUMNS, BOTTOM OF COLUMN SITS FOUR 28’ 7-5/16” X 6-3/4”, DEPTH: CONCRTE 1’ 4”

6. BEAM CONCRETE 3. STEEL SHOES FOOTINGS

X ---’WELDED CONCRETE FOOTINGS, POURED 1/8” STEEL---” PLATES WITH 6-3/4” INSTERTION SLOT WITH COLUMNS IN ONE POUR

4. ANCHOR RODS

3/4” ANCHOR RODS SET INTO CONCRETE COLUMNS

5. CONCRETE COLUMNS

---” DIAMETER CONCRTE COLUMNS, BOTTOM OF COLUMN SITS FOUR

6. CONCRETE FOOTINGS

---” X ---’ CONCRETE FOOTINGS, POURED WITH COLUMNS IN ONE POUR

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Student Achievement

154

III.A.02 Student Achievement/Outcomes in Design-Build.

My students have been recognized for achievements in architectural juried competitions and peer-reviewed conference papers and poster sessions. The latter demonstrates effectiveness in the College of Architecture’s curricular incentive to include research into the studio sequence. My graduate studio teaching fosters themes, strategies, and methods by which students develop research in relation to the studios broader theme of engineered lumber and design-build. The studio program begins with an intensive research activity and culminates in joint faculty/ students submission to an academic forum, conference session, award or poster session that formalizes the research theme. This recognition includes: • Accepted paper for ACSA 2017 “When Nature Strikes” - A study of Beetle Kill in America and its Potential use for Mass Timber Construction 2017 ACSA Conference – Open Session (In collaboration with Graduate Student Aubrey Wassung) • Accepted paper for ACSA 2017- “Design-Build: Service Beyond Community” 2017 ACSA Conference – Service (In collaboration with Graduate Student Mackenzie Gibbens) •

ACSA Poster session- Accepted submission by Rachel Plaman

•

Finalists in the Carpineto Mountain Retreat Competition

155

Graduate Student Aubrey Wassung / Faculty Jason Griffiths (paper accepted for 105th ACSA Annual Conference in Detroit)

156

Graduate Student Aubrey Wassung / Faculty Jason Griffiths. (paper accepted for 105th ACSA Annual Conference in Detroit)

157

Graduate Student Aubrey Wassung / Faculty Jason Griffiths (paper accepted for 105th ACSA Annual Conference in Detroit)

158

Graduate Student Aubrey Wassung / Faculty Jason Griffiths (paper accepted for 105th ACSA Annual Conference in Detroit)

159

Graduate Student Mackenzie Gibbens / Faculty Jason Griffiths (paper accepted for 105th ACSA Annual Conference in Detroit)

160

Graduate Student Mackenzie Gibbens / Faculty Jason Griffiths (paper accepted for 105th ACSA Annual Conference in Detroit)

161

Graduate Student Mackenzie Gibbens / Faculty Jason Griffiths (paper accepted for 105th ACSA Annual Conference in Detroit)

162

Graduate Student Mackenzie Gibbens / Faculty Jason Griffiths (paper accepted for 105th ACSA Annual Conference in Detroit)

163

ACSA 2017 Poster Session. R. Plamann (accepted for 105th ACSA Annual Conference in Detroit) NEBRASKA'S WOOD PRODUCTS TRADITION : UNDERSTANDING

AVAILABLE SKILLS AND RESOURCES

THE FIVE SPECIES WITH THE HIGHEST NET VOLUME OF LIVE TREES IN NEBRASKA, AND THEIR RESPECTIVE CHARACTERISTICS AND COMMON USES:

EASTERN REDCEDAR

PONDEROSA PINE

GREEN ASH

BUR OAK

COTTONWOOD

Because of its excellent resistance to decay and insect attack Eastern Red Cedar is often used in outdoor applications such as fence posts and outdoor furniture.

Ponderosa Pine has a straight, uniform grain, seasons well, and has high dimensional stability making it ideal for close-fitting joints.

Ponderosa pine is often used in light framing, interior trim and cabinetry.

Green ash has low resistance of decay and is susceptible to insect attack. It works well with hand and machine tools and turns and finishes well.

It is often used for baseball bats and other turned objects.

Bur oak has a very high resistance to decay, is easy to glue and finishes very well. It is often used for cabinetry, boatbuilding and barrels.

Cottonwood is not resistant to decay and is susceptible to insect attack. It works well with hand and machine tools but has poor nail-holding capability. It is often used for boxes, pallets and other utility purposes.

NENZEL

VALENTINE

GORDON RUSHVILLE

CRAWFORD

HAY SPRINGS

HARTINGTON

STUART AINSWORTH

ATKINSON

LONG PINE

AGATE

CREIGHTON

O’NEILL

PLAINVIEW

HEMINGFORD

BROWNLEE WAYNE

PIERCE NELIGH

ALLIANCE

ELLSWORTH LAKESIDE

MITCHELL

ASHBY

HYANNIS

WHITMAN

MULLEN SENECA BREWSTER

HALSEY

BARTLETT

DUNNING

WEST POINT

MADISON

BURWELL

BAYARD

ALBION

BRIDGEPORT ORD

ARTHUR

TRYON

BLAIR

RINGGOLD

OSHKOSH

STAPLETON

MERNA ARNOLD

GENOA

BROKEN BOW

LEWELLEN

LOUP CITY

PAXTON

NORTH PLATTE

PAPILLION

CENTRAL CITY BRADY

GRAND ISLAND AURORA

COZAD LEXINGTON KEARNEY

SEWARD

YORK

LINCOLN

GIBBON

CURTIS

NEBRASKA CITY HASTINGS

IMPERIAL

CRETE

SUTTON GENEVA

MINDEN

PERU

HOLDREGE

WAUNETA

PRIMARY PROCESSORS SECONDARY PROCESSORS

TECUMSEH ARAPAHOE CAMBRIDGE TRENTON

McCOOK

BELLEVUE

RAVENNA

GOTHENBURG

GRANT

EASTERN RED CEDAR PONDEROSA PINE DECIDUOUS FORESTS

OMAHA

DAVID CITY

ST. PAUL OGALLALA

FREMONT

COLUMBUS

FULLERTON ANSLEY

POTTER SIDNEY

AUBURN

BEATRICE

INDIANOLA

HEBRON ALMA

FAIRBURY

RED CLOUD

WYMORE

SUPERIOR

BENKELMAN

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While primary processors are found primarily adjacent to forested areas, secondary processors are concentrated in or near areas of denser population.

NORFOLK THEDFORD

SCOTTSBLUFF

KIMBALL

DISTRIBUTION OF NEBRASKA'S WOOD PRODUCTS INDUSTRY COMPONENTS:

SPARKS

CODY CHADRON

HARRISON

FALLS CITY

PRIMARY

PRIMARY

PRIMARY

PRIMARY

Reece Wooden Sole Shoe Co., Columbus, NE

Oxbows Furniture, Bellwood, NE

Nebraska Timber Inc, Omaha, NE

Barcel Mill & Lumber Co., Bellwood, NE

SECONDARY

SECONDARY

SECONDARY

SECONDARY

Reece Wooden Sole Shoe Co., Columbus, NE

Oxbows Furniture, Bellwood, NE

Cabin owner, Marvin Liewer, Butte, NE

Barcel Mill & Lumber Co., Bellwood, NE

REECE WOODEN SOLE SHOES

EASTERN RED CEDAR DINING TABLE, OXBOWS FURNITURE

"A NEBRASKA LOG CABIN,"MARVIN LIEWER

PALLETS, BARCEL MILL & LUMBER CO.

From 1885 to 2002 Reece Wooden Sole Shoes hand crafted orthopedic and industrial shoes from cottonwood and elm that were distributed throughout the United States, Canada and Europe.

This dining table is one example of the custom wood work done by Aaron Rerucha of Oxbows Furniture. He works out of his grandfather’s wood shop building cabinetry and furniture. He collects individual pieces of lumber from local forests and neighbors.

Marvin Liewer built his own log cabin home using traditional Northwest Nebraska pioneer cabin techniques. He used Ponderosa Pine logs from the Pine Ridge area of western Nebraska.

This family owned cottonwood sawmill produces pallets, veneer, lumber and landscape mulches from logs harvested within 65 miles.

M. Pirigy/ K. Frankforter - Finalists in the Carpineto Mountain Retreat Competition

ENTROPIC LIGHT : This hut explores and mimics the

Utilizing

hiking from the cit y to the countr y.

allows

transition one goes through while This

is

exploration

achieved of

through

entropic

the

patterning

that mimics the transitions that occur

through the journey of the hike. The building then is a direct reflection of the hike and distills one’s mind to a place of solace and refuge

through the use of light and shadow.

occur. also

brettstaple

solid

this

timber

as

a

01.

03.

t ype

of

patterning

to

for

this

structure

to

04.

02.

This construction method

allows

05.

method

construction

be manufactured on site by local craf tsmen materials.

using

locally

Timber

has

sourced

desirable

ambient qualities, and when utilized

in a stacked method, has impressive structural

02 :

and

thermal

qualities.

03 :

04 :

site

01 :

of

p r o j e c t code : C M R -Z 2 1 N

01. fully enclosed

03. partial enclosure

04. cook

05. minimal enclosure

shadow

pattern

02. sleep

effect

construction

mid-day

01 :

mid-day

late morning

early morning

165 02 :

03 :

04 :

Jason Griffiths -BA (Hons) Dip. Arch.

ARCH 497/597/897 (CLICK)

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ARCH497/597/897 2017 Summer Design-Build Professional Elective (Oregon) This course explores the fabrication and application of engineered lumber in architecture in a pre–design build course based in Oregon. It investigates different advanced timber (CLT, LVL, PSL) uses though first hand experience of production (from forest to fabrication plant), manufacture procedure (study of JR Johnson) and application in collaboration with practicing architects. Students will also learn about sustainable forestry practices through site visits and lectures with a small-scale tree farm (Bauman Family Tree Farm and environmental advocacy group FTF. Students will be exposed to detail, construction and site assembly requirements associated with particular engineered lumber projects. They will also learn about architect/fabricator “file to factory” production of information for digital fabrication techniques and 3D virtual design. This knowledge will be applied and tested through a Design-Build preparation studio wherein students be involved in Design Development and Detailed Design of a small building for BFTF as part of an ongoing design build studio. This experience will include hands-on fabrication on the site of the tree farm.

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David Rogelio Alcala , Alfredo Vera F, Virginia Michelle Gormley, Ruslan White, Eric Lee Engler, Danielle Alexa Durham, Devin Bayles McLean, Scott Christopher Kenny, Justin Philip DeFields, Darian Johnathon Scott, Kristen Michelle Schulte, Joseph Roy Croghan, Hanna Christy

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David Rogelio Alcala , Alfredo Vera F, Virginia Michelle Gormley, Ruslan White, Eric Lee Engler, Danielle Alexa Durham, Devin Bayles McLean, Scott Christopher Kenny, Justin Philip DeFields, Darian Johnathon Scott, Kristen Michelle Schulte, Joseph Roy Croghan, Hanna Christy

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David Rogelio Alcala , Alfredo Vera F, Virginia Michelle Gormley, Ruslan White, Eric Lee Engler, Danielle Alexa Durham, Devin Bayles McLean, Scott Christopher Kenny, Justin Philip DeFields, Darian Johnathon Scott, Kristen Michelle Schulte, Joseph Roy Croghan, Hanna Christy

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David Rogelio Alcala , Alfredo Vera F, Virginia Michelle Gormley, Ruslan White, Eric Lee Engler, Danielle Alexa Durham, Devin Bayles McLean, Scott Christopher Kenny, Justin Philip DeFields, Darian Johnathon Scott, Kristen Michelle Schulte, Joseph Roy Croghan, Hanna Christy

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David Rogelio Alcala , Alfredo Vera F, Virginia Michelle Gormley, Ruslan White, Eric Lee Engler, Danielle Alexa Durham, Devin Bayles McLean, Scott Christopher Kenny, Justin Philip DeFields, Darian Johnathon Scott, Kristen Michelle Schulte, Joseph Roy Croghan, Hanna Christy

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David Rogelio Alcala , Alfredo Vera F, Virginia Michelle Gormley, Ruslan White, Eric Lee Engler, Danielle Alexa Durham, Devin Bayles McLean, Scott Christopher Kenny, Justin Philip DeFields, Darian Johnathon Scott, Kristen Michelle Schulte, Joseph Roy Croghan, Hanna Christy

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David Rogelio Alcala , Alfredo Vera F, Virginia Michelle Gormley, Ruslan White, Eric Lee Engler, Danielle Alexa Durham, Devin Bayles McLean, Scott Christopher Kenny, Justin Philip DeFields, Darian Johnathon Scott, Kristen Michelle Schulte, Joseph Roy Croghan, Hanna Christy

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David Rogelio Alcala , Alfredo Vera F, Virginia Michelle Gormley, Ruslan White, Eric Lee Engler, Danielle Alexa Durham, Devin Bayles McLean, Scott Christopher Kenny, Justin Philip DeFields, Darian Johnathon Scott, Kristen Michelle Schulte, Joseph Roy Croghan, Hanna Christy

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Jason Griffiths -BA (Hons) Dip. Arch.

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Jason Griffiths -BA (Hons) Dip. Arch.

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Jason Griffiths -BA (Hons) Dip. Arch.

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Jason Griffiths -BA (Hons) Dip. Arch.

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Jason Griffiths -BA (Hons) Dip. Arch.

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Jason Griffiths -BA (Hons) Dip. Arch.

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Jason Griffiths -BA (Hons) Dip. Arch.

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Jason Griffiths -BA (Hons) Dip. Arch.

ARCH 510/610

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ARCH510/610 Design Research Studio. Fall 2015.

Mass House- The Mass Customization of Mass Timber Houses explores advanced timber fabrication construction and its relationship to contemporary living environments.

The studio begins with an introductory program for the Carpinetto Competition followed by a session of research into engineered lumber and a studio trip to the Pacific NW and Canada.

The program culminates in the “1:2:1 Mass House” that explores fluid forms on inhabitation that vary between single-family occupation and AIR BnB. It is to be a house that is formally, spatially and programmatically expressive of our time. This flexibility is expresses in the ratio 1:2:1 in that the house may at one point be one house, at another, two (one side a community of AIR BnB residents) and subsequently return to a singular home. It may also be a variation of some condition between these two. While the house may be regarded type of semi-detached house this typology will be a point of departure rather than a results. The term “mass” refers to mass timber and more broadly innovative timber construction techniques.

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ARCH 510/610 Design Studio Fall 2015 5CU. m,w,f 12.30-4.20

College of Architecture

Instructor: Jason Griffiths

UNL

FACULTY Jason Griffiths BA Hons. Dip. Arch UK jgriffiths15@unl.edu

“Mass House” The Mass Customization of Mass Timber Houses

Studio Overview

Studio 510/610 will explore advanced timber fabrication methodology and its relationship to contemporary living environments. Over the semester we will investigate contemporary craft both as program and an alternative to existing construction methodology.

In recent years we have experienced radical developments in the material science of forestry products resulting in a lasting effect on fabrication and its consequent material, spatial and phenomenological qualities. Today timber has retuned to the vanguard of architectural discourse as a high-tech, affordable and th environmentally responsible material. Alex de Rijke has argued that if steel was the material of the 19 th st Century, concrete the 20 then wood may well be that of the 21 !

It is important to understand that today’s methods of making are derived from a long history of manipulating materials to form enclosures. Before the industrial revolution architecture was constrained by the immediate availability of distance and technological limitations. By necessity building were an expression of their region.

“There is no such thing as primitive man only primitive means” Le Corbusier The industrial revolution brought irreparable changes and with it a sense of abundant materials, mass production and (for architects) a palette of materials to select from. Conversely architecture began to detach itself from its relationship to its immediate surroundings. The apotheosis of this era, modernity, deliberately disassociated itself from traditional forms of identity and place in a celebration of modularity and logistics – and expression of an “Epoc”. Architecture, in congress with mass-production, expanded and then collapsed in repetitive emptiness.

Today we are in a new era of automated making that, thankfully, combines efficiency with pre-industrial sense of the craft of making. “Mass-production” has moved to “mass-customization” and with it a sense that architecture is open to a wide range of possibilities. While materials are formally separated from their origins (ply veneer does not look like a tree) our ability to manipulate that material has generated new forms of expression that are equally compelling.

However this scenario requires careful attention when applied to architecture in its broadest sense. The effect of contemporary methodology must be carefully measured against existing technology if it is to play lasting and significant role in architecture. Conversely the excessive and …use runs the risk of squandering the beneficial effects in favor of short-term effect.

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Enter the use of engineered lumber in general and CLT in particular. Today in Europe there is an emerging trend of prefabricated, fast track building systems that all deploy mass (ive) timber components to make buildings. This is particularly true of new hotels and mid-rise housing developments. For many years Austria

has lead the way in producing CLT components that are transported internationally within Europe and as far afield as Australia. To date the USA has failed to pick up on this trend while major developments in Canada are demonstrating credible adoption of engineered lumber for key buildings. It is interesting to note that while the US has lead the post-war boom in industrial production and application of forestry products (i.e. stud construction) there is little to demonstrate its use of the most contemporary uses of timber. This is even harder to understand when considering that for so long American architecture adopted wood as a pragmatic and symbolic expression of its chosen material for making its homes.

Contemporary Craft Richard Sennett, Mathew B. Crawford among others have recognized social and psychological importance of certain types of work that are derived from traditional craft activities. This type of work is considered as an alternative to the de-social effect of rationalized managerial systems that grew from the industrial revolution and were refined through modern corporations and organized offices. For Sennett and Crawford the results of work today are often separated from work activity and as a consequence works is seen as a means to an end rather than through a cognitive connection to what is produced.

Alternatively Sennett and co suggest “making is thinking,” and find value in work activities that involve “corporeal anticipation” of the making process. This does not mean a return to the past. Sennett includes Linux software, digital fabricators, home recordings and architects as contemporary craftsmen all of whom engage in the "interplay between tacit knowledge and self-conscious awareness".

Over the semester we will explore some of the implications of new work activities both from a programmatic point of view and in terms of how we conduct ourselves as architects with an interest in craft.

Making the Home In this respect the home provides a primal connection between the occupation of architecture and a language of forms, materials and fabrication methods – essentially how architecture communicates to us through its “matter”. This language is a combination of many elements architecture that, together, form an entirely unique human discourse. This language is not spoken or written per se but is embodied in shape, texture, connection, that synthesize associations to which we respond intuitively. A good building describes how it came to being, where its parts came from and how its construction process tells us something about the time in which it was built.

What differentiates architecture today from other periods is the role of advanced computational methods of fabrication.

Studio Sequence P01 – “Carpineto Mountain Refuge” Competition P02.1 – Two Into One House - Sketch/Concept design phase P02.2 – Two Into One House - Design Development + Digital fabrication P02.3 – Two Into One House - Detailed Design Phase Suggested Reading • • • • • • • • • •

Solid Wood: Case Studies in Mass Timber Architecture, Technology and Design. Mayo, Joseph Home Delivery –Bergdoll / Christensen Remarkable Japanese Timber Structures – Japan Architecture + Urbanism Shop Class as Soulcraft: An Inquiry into the Value of Work. Crawford, Matthew B. Timber Construction Manual (Construction Manu… (Hardcover) by Thomas Herzog, Julius Natterer Best of DETAIL: Holz / Wood The Westward moving Houses - Landscape in Sight: Looking at America – JB Jackson Graphic Anatomy - Atelier Bow Wow The Architectures of Atelier Bow-Wow: Behaviorology The Shingle Style Today – Vicent Scully

•

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P01 “Carpineto Mountain Refuge” Competition. Students: Ben Bedell, Meadow Pirigyi.

3

Bond of THRE3 Compositions

Design Concept

The concept of bringing three frames together (trails, mountains, and Carpineto Romano) form a compact structure of intersecting planes creating unqiue opportunities for spectacular views, shown in figure 2. Each view is thru a large floor-to-ceiling glass pane. The intimacy of the spaces brings you closer to the windowns as if you were set in front of a TV screen. These huts, nested along the hiking paths, will provide the hiker the opportunity to stop and rest or continue up the mountain, shown in figure 1.The use of cross-laminated timber B A (CLT) provides a sustainable design with a new contemporary look to the mountain C side. Small panels of prefabricated CLT allows for a shorter construction time and easier delivery to the site.

Maximizing views

Framing the views

View B

244m

View C

3

Adjusting area

4

Extending path

5

Providing a choice

6

Adding stairs

7

Alternative stop

View A

Framing views

Figure 2

Figure 1

2

1

Sustainable

View A: Hiking trails below

Ground Floor 1/8” = 1’-0”

Cross-laminated timber construction (CLT) View B: Lepini Mountain range 90mm CLT 200mm wood fiber insulation board battens 22mm impregnated wood fibre insulation timber or steel cladding

View C: Town of Carpineto Romano

A A

B

C

C

B

Ground Floor 1/4” = 1’-0”

Second Floor 1/4” = 1’-0”

The diagram above has CLT exposed on the interior with timber cladding on the exterior. The estimated U Value = 0.13.

Site

The form of the building is based off the available views of the existing landscape.This location is roughly 4200 feet above sea level which helps to maximize views.

To the right is a section of the site. It consists of 10’ contours.

Native wood

Wood cladding is used on the exterior to increase the U-value. It is chesnut which is native to the area.

Grade: 824’/1890’ = 43.597%

Construction sequence

1

prefabrication

2

flat-packing

3

4

getting to site

erecting

or

Benjamin Bedell

CARPINETO | CARAPACE

MEADOW PIRIGYI METAL CLADDING INSULATION 50MM x 50 MM LATH FOR SHINGLES 50MM x 50MM LATHS

CONSTRUCTION | ASSEMBLY The Carpineto Carapace is a noninvasive single g layer gridshell that sits lightly above rough terpini rain causing minimal disturbance to the Lepini most mountain landscape and can be placed almost anywhere.

This proposal adopts the gridshell construction technique. This technique allows lightweight material to be transported to the site and constructed into an immensely strong shelter. It is highly efficient and can be made from locally

POLYCARBONATE PANEL

LIGHTWEIGHT MATERIAL HAULED TO SITE

GLULAM STRUCTURAL RING CONSTRUCTED

LATHS OVERLAID AND INTERSECTIONS PINNED

LATHS PUSHED INTO COMPRESSION AND LIFTED

PINN PI NNED E CONNECTIO ONS Tightene ned d TO SE SECU CURE RE PLA LACE CE

BRACING BLOCKS TO HOLD LATHS IN PLACE

GLUE LAM BEAM

LANDSCAPE | ELEVATE

GLUL GL ULAM UL AM TIM MBEER RI RING N NG

Gridshell structures naturally form organic shapes. This makes a good choice in which it will echo the gently rolling landscape on wherever it rests.

PILE CAP

SCREW OR HELIX PILE TOE O

To further resonated with the landscape, the Carapace is elevated above the rocky surface by the use of helical piles. This foundation system consists of a central steel shaft that screws into the landscape. This allows the structure to be easily uprooted and deconstructed with almost no indication the hut ever existed on site.

TOIL TO ILET ET 1...44 1 4 m2 44

RE CONFIGURABLE | INTERIOR

SLEEP / RELAX 6.46 6 m2

Upon entry, the hiker has an unrestricted view to the mountain below. The interior steps down and allows the hiker to follow the landscape as he or she moves from space to space.

The dead space created when building on a slope is taken advantaged by rolling the furniture in and out. This opens the small space to be more flexible during the day.

MUDROO MUDR OOM M 1 91 m2 1.

DAYTIME CO DA ONFFIG GUR RAT ATIO ION IO N

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EATING / LIVING 5.1 m2

ENTRY 1 56 m2 1.

EVENING CONFIGURATION

KITCHE KITC HEN N 3.42 3.

42 m2

P01 “Carpineto Mountain Refuge” Competition. Students: Kaitlin Frankforter, Lida Lu. ENTROPIC LIGHT : This hut ex p lore s a nd m im ics the

Utilizing

hik ing f rom the cit y to the countr y.

a llows

tra nsition one g oe s throug h while This

is

ex p lora tion

a chieve d of

throug h

e ntrop ic

the

p a tte r ning

tha t m im ics the tra nsitions tha t occur

throug h the jour ney of the hike. The b uilding the n is a dire ct re f le ction of the hike a nd distills one ’s m ind to

a

p la ce

of

sola ce

a nd

re f ug e

throug h the use of lig ht a nd sha dow.

occur. a lso

b retts taple

solid

this

timber

as

a

01.

03.

t ype

of

patterning

to

for

this

s truc ture

to

04.

02.

This c ons truc tion method

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05.

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c ons truc tion

b e m a nufa ctured on s ite by local cra f tsm e n m a te r ia ls.

us ing

locally

Timber

has

sourc ed

d es irable

a m b ie nt qu alities , and when utilized

in a sta cke d method , has impres s ive str uctura l

02 :

and

thermal

qualities .

03 :

04 :

site

01 :

of

p r o j e c t c od e : C M R - Z 2 1 N

01. fully enclosed

03. partial enclosure

04. cook

05. minimal enclosure

shadow

pattern

02. sleep

effect

construction

mid-day

01 :

02 :

03 :

mid-day

late morning

early morning

04 :

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P01 “Carpineto Mountain Refuge” Competition. Student: Lida Lu.

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P02.3 – Two Into One House - Detailed Design Phase.Students: Ben Bedell.

A

The 1:2:1 Mass House is constructed of mostly cross-laminated timber (CLT) cladded with brick/ stone veneer and reclaimed wood. Standing seam protects the roof and wraps down on the west side of the building. The stairs and building services are central to the project allowing good circulation and window access for all bedrooms.

The constraints of this site are the setbacks from the street and surrounding buildings. These setbacks limited the width of each housing unit to roughly 18 feet.

This building could be divided into two units or remain as one. Two total parking spaces are given, one space in the driveway and one on the street.

Offsetting the two units gave room for a small driveway on the south side of the building. The west unit is designed to be flexible so that it could turn into a one car garage in the future if needed.

Benjamin Bedell ARCH 610 Griffiths Fall 2015

1

:

2

:

1

MASS HOUSE

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194

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P01.1 – Research and development of fabrication technology. Student: Kaitlin Frankforter,

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(CLICK)

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Jason Griffiths -BA (Hons) Dip. Arch.

ARCH 497/597/897

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ARCH 4/5/897 The American Home I began teaching this course at Arizona State University after the publication of my book Manifest Destiny and is an example of how my studies of “ordinary” architecture have been included in my teaching. At this point it was called “The Story of the American Home” and explored representations of the single-family home in popular culture (The Swimmer, Blandings Builds His Dream House, The Stepford Wives, The House of Seven Gables etc.) The aim of this course was to analyze the image of home and gain a critical perspective on marketing in the real estate business. This course counters the popular image of the house by engaging aspects of Manifest Destiny and a exposing the problems of the gated communities, overblown space and financial excess. This course demonstrates that my teaching has broadened to include courses based on an historical and theoretical perspective. Since joining UNL I have developed the course to demonstrate the role played by the home and search for “identity” in US architectural discourse. It focuses on the notion of “authenticity” that originates with the Struggle Period of Colonial architecture through the Shingle Style/ Craftsmen Cottages to contemporary architecture. Studies include architectural texts (Scully, Moore, Venturi, JB Jackson etc.), depictions of home in contemporary art and the influence of the American home upon international architecture. The course is developed through a series of readings, essays and time-based representations of selected areas interest.

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for a more meaningful domestic architecture in the light of a failed housing market and uninspiring suburban styles. It will focus on the notion of “authenticity” that originates with the Struggle Period of Colonial Houses through the Shingle Style/ Craftsmen Cottages to contemporary architecture.

Studies will include architectural texts (Scully, Moore, Venturi, JB Jackson etc), popular literature (The House of Seven Gables, Mr Blandings Builds His Dream House, The Stepford Wives, Loving Frank), depictions of home in contemporary art and the influence of the American home upon international architecture. + Aims and outcomes This course is designed to help students relate architectural design to cultural context that has been shaped by social discourse, lifestyle aspirations and so on i.e. the house as an expression of collective ideals of a period in time. It suggests that our understanding of these forces will help us create architecture that responds to new trends in the residential architecture of North America.

Gaining historical perspective of these trends will help us anticipate future trends and focus our design efforts. The course will incorporate various levels of learning including documentation, remembering, understanding, applying, analysis and, to a lesser extent, evaluating. The course will improve techniques of architectural writing, historical awareness and visual communication + Readings This seminar is composed of a series of reading sessions, seminars and presentations. The semester will be divided into a series of texts that depict domestic architecture at significant moments in US history. While we will look back at the earliest buildings in the US our readings will come from mostly architectural texts that began during the formation of the architectural profession i.e. the HH. Richardson and so on through the late 1800 spanning until the present day. + Texts The following text will comprise the reading assignments for the course.

01 Text - Chapter – “Westward moving house” 02 Text - Chapter 03 Text - Chapter 04 Text - Chapter 05 Text - Chapter

Landscape in Sight by J.B. Jackson Shingle Style– Vincent Scully

The Place of Houses – Lydon Donlyn, Charles Moore, Gerald Allen Architecture of the Sun – Thomas Hines The Secret Life of Buildings Gavin Macrae Gibson

Each text will be read and summarized over a three-week sessions. They will be prefaced with a

200presentation from the instructor that will provide exposure to the various influences cited in the

ARCH 497/597/897 Professional Elective. Fall 2015 3CU. T, THR 9.30-410.45

College of Architecture

Instructor: Jason Griffiths

UNL

FACULTY Jason Griffiths BA Hons. Dip. Arch UK jgriffiths15@unl.edu

The American Home Seminar Overview

+The American House – Introduction “This is not my beautiful House.”

David Byrne – Talking Heads This seminar explores the historical and theoretical background to the American home and its role in the search for “identity” in US architecture. Its aim is to assist you in establishing a basis

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text. Students produce and a draft summary during a seminar session and then produce a complete text for the conclusion of each session. + Image Documentation Each reading will be accompanied by exercises in documentation of images, analytical drawings that will be collaged with your summary texts to produce visual representations that will be put into a Prezi format (see below) at the conclusion of each 3-4 week session. The idea of these analytical drawings is to highlight aspects of architecture that exemplify elements of “identity” in relation to the American home. Drawings are to be simple greyscale images with color overlays. + Prezi Presentations – Non-linear mapping of texts and images.

For this we will be using a “non-linear” visual presentation format called Prezi. Part of this exercise will demonstrate that architecture cannot be seen as a linear development of a single theme but rather a series of influences that periodically come in and out of consideration. For example there have been two identifiable periods of Neo-Classicism, three referring to wooden vernacular styles at so on. How we document the rise and fall of various influences will require a different method than historical chronology and for this we will use the Prezi format.

+ Architectural Houses – “The Difficult Whole” – Concluding Synthesis The course will conclude with an exercise that will ask you to apply your understanding of the texts to a significant piece of American residential architecture. You will be supplied with one from a number of key buildings that represent various aspects of the course’s content. Each building, in its own way, exemplify something uniquely American in its composition.

Using the Prezi format you will deconstruct this house into “components of architectural influence”. I have included Samual Antupit’s illustration of Lichtenstien’s “Mural with a Brush Stroke” to demonstrate how this is done with a painting. I will provide a list of houses I consider appropriate although I will accept a house on your suggestion if it is appropriate to the exercise this will be “05 Prezi ”.

+ Assessment.

The course will be assessed through a combination of draft texts, Prezi presentations and seminar contributions. A detailed breakdown of your grades will be supplied in your assessment sheet that will be updated over four assessment periods (see attached).

The overall breakdown of assessment stages is as follows: Assessment Stage I 20% Assessment Stage II 20% Assessment Stage III 30%

202 Assessment Stage IV 30%

K. Kusleika - Stills from final Prezi video

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K. Kusleika - Text Sample

Kylie Kusleika Jason Griffiths ARCH 497 December 15, 2015

The final presentation focused on the idea that the Shingle Style became more and more simplistic as its influences over time started to change. Perhaps the very first knowledge of the shingle style is the Berkeley house that was published by Mckim in 1874. The reason for this really was “ ...to promote a new approach to design inspired by the American place and the American past.” (Shingle Styles: Innovation & Tradition in American Architecture 1874-1982) It seemingly started with H.H. Richardson simplifying the Hopedene and adding elements like a broadened roofline and horizontality.

This then influenced Mckim Mead and White in their Isaac Bell house, which a couple years later gets translated further into the Low house with an even further stretched roof and simplistic windows.

A turning point seems to occur when one adds in the Newport Casino of 1880 however, where Mckim Mead and White gain influences from Japanese style through the Centennial Exposition. ...”where there was a much-admired and discussed Japanese house with mats, moveable screens, and open spaces articulated by the structural frame with its “kamoi” and “ramma,” the horizontal tie or molding and the pierced screen.” (Scully) Here the Shingle Style starts to become a little less recognizable. It then gets pushed further toward simplicity, but perhaps farther away from what was known as the first Shingle Style.

This happens through Frank Lloyd Wright’s home that captures much of the Japanese influence in plan, yet is still recognizable as the Shingle Style on the exterior. It is becoming much more stripped down and simplistic. “One could say that by the mid-eighties that method of spatial articulation had become a tradition or at least a fashion of general use.” (Scully) Greene & Greene’s Gamble house is then the point at which the style becomes almost unrecognizable besides materiality. It has shifted into 205 an almost holistic Japanese style that could be classified as more Arts & Crafts than Shingle.

Jason Griffiths -BA (Hons) Dip. Arch.

ARCH 323

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Arch 232 – Materials and Assemblies. Spring 2016,2017.

Materials and Assemblies is an introduction to techniques used to make different types of building. The aim of the course is to demonstrate the implications of various factors (materiality, physical constraint, labor, skill and technology) upon projects from a diverse range of contexts. Students will learn and reflect upon material assembly systems that include engineered lumber, gridshell domes, masonry vaulting, precast cladding, mass-customized systems among others.

The course begins with series of lectures, presentations, and readings introducing diverse examples of construction systems with intermitent student assessments and online tests. This is followed by full-scale frabrication and drawing exercises where demonstrate application of thier knowledge These exercises include the Nebraska Masonry Alliance Competition and a full-scale drawing exercise where students (in groups) will be asked to draw a 1:1 section through a chosen building envelope. This section was drawn on a continuous sheet of trace and hung in the link space as the concluding review for the course.

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UNIVERSITY OF NEBRASKA, COLLEGE OF ARCHITECTURE Arch 232 – Materials and Assemblies

Materials and Assemblies Syllabus INSTRUCTOR

Jason Griffiths – Assistant Professor jgriffiths15@unl.edu 246 Architecture Hall West Lincoln, NE 68588-0107 phone: tba Office hours: T, 8.00 – 10:30 & 1.00 – 3.30

FORMAT: Lecture/lab DAYS/TIME: TuTh 9:30 – 10:45, rm Arch 127 Prereq: Arch 335 BULLETIN DESCRIPTION

Introduction to materials and assemblies with an emphasis on design implications and contemporary practice.

COURSE DESCRIPTION Arch 232 – Materials and Assemblies is an introduction to techniques used to make different types of building.

The aim of the course is to demonstrate the implications of various factors (materiality, physical constraint, labor, skill and technology) upon projects from a diverse range of contexts. Students will learn and reflect upon material assemblies that include engineered lumber, gridshell domes, masonry vaulting, precast cladding, masscustomized systems among others.

COURSE OUTCOMES For completion of the course students are expected to have acquired and will be evaluated on an; 1.

2.

3.

4.

5.

6.

ability to speak effectively during seminar discussions and peer review. ability to analyze building systems and according to various constraints. to understand materiality as a result of aesthetic decisions to understand assembly according to process of supply and installation to understand the properties and possibilities of traditional, alternative, and emerging building materials.

To represent understanding through measured drawing as a foundation from which students will be able to analyze, form opinions, and critically think about the built environment.

COURSE FORMAT / STRUCTURE (tasks and activities): Materials and Assemblies is a lecture / seminar divided into two sections: P01 – A series of lectures, presentations, and readings introducing diverse examples of materials and assemblies that will form the basis for ongoing assessments and demonstration of knowledge by the students.

P02 – a full-scale drawing exercise where students (in groups) will be asked to draw a 1:1 section through a chosen building envelope. This section will be drawn on a continuous sheet of trace and hung in the link space as the concluding review for the course.

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ASSESSMENT [assigned faculty to determine] Course Syllabus: Page 1 of 4

UNIVERSITY OF NEBRASKA, COLLEGE OF ARCHITECTURE Arch 232 – Materials and Assemblies

Students are required to submit: Over the semester you will be tested on your learning from the weekly lectures and presentations. These tests are based on the level of learning (recall, understanding and application) appropriate for students at your level.

The weekly assessments will vary from knowledge tests, written and drawn forms of assessment. The course will deploy methods of practicing recall at strategic time intervals after each lecture otherwise known as “spaced repetition and recall” i.e. practice recall after 5 mins, then 2hrs, then 48 hrs. This will correspond to a recall session for 10 minute after the lecture, then as homework and finally in the Thursday lab session when you will be tested.

The session will also include two/three external lectures and a short visit to the State Capital.

The semester will conclude with a 5-week session of full-scale drawing to be exhibited in The Link at the end of the semester.

For a detailed description of the lecture series please see the attached schedule.

NAAB CRITERION

The National Architectural Accrediting Board identifies (34) performance criteria it determines to “constitute the minimum requirements for meeting the demands of an internship leading to registration for practice.”

Information describing the 2009 National Architectural Accrediting Board (NAAB) Conditions and Procedures for accreditation can be found by going to that organizations web site www.naab.org.

COMPLIANCE TO NAAB CRITERIA: A.7

History and Global Culture: Understanding of the parallel and divergent histories of architecture and the cultural norms of a variety of indigenous, vernacular, local, and regional settings in terms of their political, economic, social, ecological, and technological factors.

B.4

Technical Documentation: Ability to make technically clear drawings, prepare outline specifications, and construct models illustrating and identifying the assembly of materials, systems, and components appropriate for a building design.

B.7

Building Envelope Systems and Assemblies: Understanding of the basic principles involved in the appropriate selection and application of building envelope systems relative to fundamental performance, aesthetics, moisture transfer, durability, and energy and material resources.

B.8

Building Materials and Assemblies: Understanding of the basic principles used in the appropriate selection of interior and exterior construction materials, finishes, products, components, and assemblies based on their inherent performance, including environmental impact and reuse.

COURSE FORMAT All studios will abide by the College of Architecture studio culture document. This document can be downloaded from the Resources tab on the College of Architecture website. The studio will maintain a professional atmosphere in the studio at all times. This not only refers to the attitude and seriousness of each of us in the studio, but also to the physical environment.

Students are highly encouraged to work in the studio in addition to the regular course hours, rather than at home. Students are permitted to work in studio at all hours but sleeping overnight in studio is not allowed.

ASSESSMENT You will be assessed on a weekly basis with grades accumulating to assessment stages under the following categories: P0 1.1 – 1.5 P0 1.7 – 1.10 P0 2.01- 2.02

30% 35% 35%

There will also be penalty deductions for lateness and absence.

Course Syllabus: Page 2 of 4

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Full-Scale Drawing (click)

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P02 – Full-scale drawing exercise.

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P02 – Making exercise. - Nebraska Masonry Alliance Comp.

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ARCH 311

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g Quarters Resemble a Typical Rural Housing Layout

ARCH 311- Design Studio Spring 2016 -Timber in the City Urban Habitat The aim of this studio was to apply engineered lumber construction to a complex residential and cultural program in an urban setting. The studio began with the design of a small building set within an open rural landscape. This project was based on the brief for the “Architects Studio” Competition run by the Opengap organization and situated on Lake McConaughy in eastern Nebraska.

The second phase of this studio adapted student’s understanding of advanced timber structures to the challenge of building in an urban context and culminated in a submission for 2015-16 ACSA TIMBER IN THE CITY: Urban Habitats Competition.

“The competition challenges participants to design a mid-rise, mixed-use complex with affordable housing units, a NYC outpost of The Andy Warhol Museum and a new and expanded home for the historic Essex Street Market” This competition is highly significance in terms of a change in our understanding in the relationship between construction and the city. The challenge of the competition can be can be more broadly described as a challenge to the symbolism of “modern” technology, materials, space and its relationship to our understanding of a contemporary 225 city.

ARCH 311- Design Studio Spring 2016 5CU. m,w,f 12.30-4.20

College of Architecture

Instructor: Jason Griffiths

UNL

FACULTY Jason Griffiths BA Hons. Dip. Arch UK jgriffiths15@unl.edu

P01 – “The Architects Studio” Competition Aims We will begin the 2016 Spring Semester with the design of a small building set within an open rural landscape. This project will be based on the brief for the “Architects Studio” Competition run by the Opengap organization and on one of the bluffs along the south side of Lake McConaughy in eastern Nebraska.

Opengap invites participants to submit innovative proposals to rethink the workspace of an architect. To propose projects that address the architect's vision of his ideal inspiration and working space.

Excerpt from the competition brief Your project is to be designed with two key considerations: 1.

2.

To explore advanced methods of timber fabrication.

To explore physical context and methods of situating a building within a challenging landscape.

Program Sequence P01 will be broken down into two stages that comprise your development of the competition.

P01.1 – Research and development of timber fabrication technology.

P01.2 – Site analysis and documentation of physical and environmental context and competition submission i.e. “incorporation of structure, material, and their expressions into design”.

P01.1 – Research and development of timber fabrication technology In recent years architecture has experienced radical developments in the material science of forestry products resulting in a lasting effect on fabrication and its consequent material, spatial and phenomenological qualities. Today timber has retuned to the front of architectural discourse as a high-tech, affordable and environmentally responsible material. Alex de Rijke has argued that if steel was the material th th st of the 19 Century, concrete the 20 then wood may well be that of the 21 !

1.

This is particularly true of engineered lumber in general and CLT in particular. Over the semester you will be introduced to a range of engineered lumber types (CLT, PSL, Glulam, Brettstapel and so on) and will be asked to explore inventive ways of including it in your designs. In Europe there is an emerging trend of prefabricated, fast track building systems that all deploy mass(ive) timber components to make buildings. For many years Austria has lead the way in producing CLT components that are transported internationally within Europe and as far afield as Australia. To date the USA has failed to pick up on this trend while major developments in Canada are demonstrating credible adoption of engineered lumber for key buildings.

Fabrication methods.

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The first phase of the studio will be a short research activity. I will initiate a discussion on different fabrication methods during the first session from which you are to select one method (forming process, formal Language and fabrication techniques and explore it from different aspects) Methods include (but are not exclusively).

Forming 1.

2.

3.

4.

5.

6.

7.

8.

Formal Language CLT – Cross Laminated Timber Glulam FACIT system – Ply box Single/Double layer gridshell Round wood manipulation Parallel /bilateral structures LVL - Laminated Veneered Lumber Nail/dowel laminated elements

1.

2.

3.

4.

5.

6.

Subtractive geometry Developable surface Double Curvature Flat pack 2D cut Bending Modular Construction

Fabrication techniques 1.

2.

3.

4.

CNC Steam bending.

Stacking.

Notching

Categories of Information to be researched A. B. C. D. E.

Material Type dimension and source Digital design “file to fabrication” production information i.e toolpaths etc.

Construction method – show as a sequence and location/staging.

Detailing/Fixing Current built precedents – Architects, Engineers, Buildings, Consultants

P01.2 - Site analysis and Competition.

The second phase of this studio asks you to apply this knowledge to challenge of the competition and apply it to a rural site. The session will begin with sketch design phases and will be followed by some site analysis and then conclude with two reviews that simulate the competition process. The idea of these reviews is to give you two passes at preparing competition drawings. Both stages will be “judged” by faculty. After the second review we will select 5 finalists for whom school will finance the entry fee.

Site analysis.

Our site is one of the bluffs along the south side of Lake McConaughy in eastern Nebraska. Weather permitting we will make a short site to experience the site and gather data. Site analysis is to include 1.

2.

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5.

6.

A contour plan of the site Series of plans, site sections and elevations (cross and longitudinal) Scale 1/16” or 1/32”= 1’ (longitudinal sections can span several drawing sheets) 3 D digital model of site and environment.

Environmental factors i.e. solar, wind, daylighting, water.

Site flora and fauna Produce a photographic prospect, aspect and transect of the site with viewpoints annotated on plan.

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P01.1 – R&D of timber fabrication technology. C.Reeh

ENGINEERED LUMBER

WikiHouse: Overview

WikiHouse is a new open community project that responds to the recent affinity of tiny house design by putting the people in the driver’s seat of both the design and construction of architecture. This is accomplished by overhauling the construction phase into an automated and simplistic process.

The overhaul had to be done in a way to make the construction phase of architecture more user friendly. To accomplish this, the founders of WikiHouse set about discovering ways to fix a house together using only structural plywood and no nails or power tools.

Looking into new technologies, they began experimenting with the uses and capabilities of CNC routers and discovered a way to print all the pieces of a house onto sheets of 18 mm wood. Since the sheets of plywood aren’t long enough for typical stud heights, they researched ancient Korean joinery techniques, which allow you to fix two peices of wood together horizontally without the use of nails. This is done by wedging another smaller piece of wood between a notch in the two seperate pieces.

The construction of these homes requires zero power tools, no experience in the fields of building construction, and can be built by two or three people in about a day. Even more fascinating, is that the WikiHouse team has made the project open source, allowing anyone to upload WikiHouse designs for people to use in their own homes. This could potentially allow for the widespread use of these homes once future technology leads to more widespread use of CNC’s.

This research will look into not just the capabilities, limitations, and tectonics of the current version of WikiHouse, but also into the possible morphologies of structures, the applications of similar projects into WikiHouse, and its possible implementation in larger scale building production through the use of modular configurations.

arch 311 J. Griffiths Spring 2016

ENGINEERED LUMBER

WikiHouse: Tectonics Case Study

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The cut out pieces are arranged and stacked with their common shapes.

Speeding up the construction process.

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Further floor joists are placed between the already connected notches, and similar pieces are also used to connect the walls and roof together. Like the frames, these are tied off with wedges using a mallet.

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The first components built are the stud frames. These are two plywood layers thick and notch together at opposite angles for each layer. Once this is done and they are connected with wedges the piece can be lifted into place until the other frames are completed.

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The next series of frame connections are then placed into the same wedge as the previous ones. These only extend part way out to the next bay to allow for an easier connection as well as more connection points for the exterior sheathing.

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Once multiple frames are erected, the initial connections between the two are done using notches between the frames and the connecting component.

This allows for the project to remain stable until further tying connections are made.

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Lastly, the pre cut sheathing is applied to both the interior and exterior of the structure. These initially snap into place but would need to be screwed in on a full scale model in order to comply with building code.

arch 311 J. Griffiths Spring 2016

P01.1 – R&D of timber fabrication technology. C.Reeh technology.

ENGINEERED LUMBER

WikiHouse: Technology and Fabrication

The design system is modular and independent of typical construction products so parts can be interchangeable. For example, if you desired a certain type or height of window, you could simply design your WikiHouse to have a stud bay with connections seperated far enough to accommodate your glazing.

The precision manufacturing of the building makes it much easier to achieve high levels of air tightness, and insulation. Since a typical home has its construction components measured and pieced on site, also normally done as fast as possible, the resulting structure, while still suitable doesn’t have an outstanding air tightness. This results in lower R values for walls which makes the building less sustainable. The WikiHouse is very air tight due to the precise CNC cuts, resulting in a low energy envelope.

Nearly any cladding material can be used.

Wood siding being the easiest to fix to the structural plywood, with stone materials, while achieveable, are the most difficult.

Doors and windows can also be interchanged, and the WikiHouse construction system also allows for the use of small span curtain walls along the front axis of the house.

By using sustainably sourced and recycleable materials such as OSB, and minimising construction waste, the system has a much lower embodied energy than conventional construction.

The parts are assembled and the frames raised by hand, the construction instructions insure that you don’t assemble a component that cannot be lifted. The parts are connected using pegs and wedges, derived from ancient Korean construction methods, and mallets are also cut and connected with the kit.

The building system used is designed to be both safe and easy to assemble. For example, the structure itself is used to make a safe working platform when the built design is more than one storey, eliminating the need for scaffolding or other equipment.

Under the creative commons license, WikiHouse is free to use any designs and redistribute them to other users. This allows for anyone to either use or build upon the design of someone else, or to even allow anyone to research the further capabilities of the system.

Additionally, this will eventually create endless designs to choose from for your WikiHouse, like a construction app store of sorts where every app is free of charge.

arch 311 J. Griffiths Spring 2016

Similar Fabrication of Structural Members

ENGINEERED LUMBER

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The first cut out pieces are arranged as columns onto the established footings of the project site, these will connect to the rest of the base layer.

4

Once all of the framing of the exterior shell is completed, sheathing is applied.

This is done in an almost identical manner as the WikiHouse sheathing was done, by having the plywood sheets snap into grooves along the framing exterior.

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Once the beams are in place, numerous pieces are notched onto the ground plane to ensure an extremely strong base for the remainder of the house to rest on.

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Once the sheathing is done, the basic form of a house is completed, from here components such as windows and doors are added.

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A similar thing is done to erect the walls of the building. Cut out pieces notch together into square patterns allowing for insulation to be placed into each stud bay. These walls are in some cases stronger than standard framed ones.

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Lastly, Larry Sass also developed a way to prefabricate the decoration applied to typical suburban home exteriors. Once the shell of the house is completed and windows and doors are added, these decorations are applied.

arch 311 J. Griffiths Spring 2016

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P01.3 – “The Architects Studio” Competition. C. Reeh.

Innovation Through Tradition This retreat builds off of the traditional architecture of its setting, Ogallala Nebraska.

The design looks to integrate old midwest farmhouse layouts as the programmatic elements to the house. This allows for the architect to draw inspiration from not just the historical aspects of the architecture, but also from his collected artifacts of the region, similar to the John Soane house in England. Additionally, the construction of the house resembles traditional barn raisings where people can construct a barn in about a day. Based upon WikiHouse and Larry Sass’ Shotgun Homes, the retreat is cut and assembled on site using just plywood and a standard CNC router.

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1 Kitchen and Dining 2

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Bedroom

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Living Room

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Office

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Fabrication Area

First Floor Plan

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1” = 30’

1” = 30’

Second Floor Plan

Site Plan

1” = 30’

Morphology Based on Traditional Nebraska Farmhouses

Design Ideology: Traditional Farmhouse

Architect’s Retreat

1 1

The Living Quarters Resemble a Typical Rural Housing Layout

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Traditional Farmhouse

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The basic requirements for the living of a farmer and his family

Barn

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Fabrication/Modeling Area

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Study Area

Used for the storage of machinery and for the application of tools

Storage Shed

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Allows for storage of machinery, as well as miscellaneous functions

Architect’s Living Quarters Contains the standard programs suited to housing

Serves as an area for the architect to create building models and material studies

Secluded room that allows for an office space

East Section

Construction Technique:

1” = 10’

Modern Adaptation of Traditional Barn Raisings

Fabrication and Construction Sequence: 2

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The Architect Generates Creative Inspiration from his Collected Artifacts of the Region

East Elevation

1” = 10’

North Elevation

1” = 10’

P01.3 – “The Architects Studio” Competition. G.Moehlenhoff REVERENCE: an architect’s retreat

AR5106

R-4

The concept of highlighting the large rock features scattered around on the site through a series of linked boxes creates a multi-level studio for an architect to retreat to when searching for the ideal inspiration for design. Perched on top of a ridge that peers out over Lake McConaughy in western Nebraska, this studioand home is framed using prefabricated cross-laminated timber (CLT) panels and glued laminated structural ribs.

Within the building, the large rock features are showcased by a series of glass boxes that penetrate through the entire structure. These glass boxes create interruptions in the normal circulation of the studio but serve as constant reminders of the landscape that inspires the architect.

R-3

R-2

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CONCEPT: showcasing the rocks

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R-2

R-3

R-4

DESIGN: studio ENTRY

SECTION 1

STUDIO 1

UP

STUDIO 3 UP UP SECTION 2

STUDIO 4

STUDIO 2

VIEW WHEN WALKING TO THE FRONT

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STRUCTURE: engineered lumber elements

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SITE MAP 15

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FIRST & SECOND FLOOR PLAN 01

60 ft.

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60 ft.

THIRD & FOURTH FLOOR PLAN 01

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60 ft.

AR5106

CONNECTING: joining the elements

GLASS PANE

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IN

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NV

ELO

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ROCK FEATURE CONCRETE SLAB GLULAM BEAM TO GLULAM BEAM

GLULAM BEAM TO CONCRETE WALL

GLULAM RIB TO CONCRETE FOOTING

ROCK FEATURE DETAIL

CLT

PA N

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STUDIO 4

STUDIO 3 STUDIO 2 STUDIO 1 GL UE

R-2

DL A RIB MINA T S

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R-1 INTERIOR OF STUDIO 1

SECTION 1 0 1

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30 ft.

GL UE

DL A RIB MINA T S

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STUDIO 4 STUDIO 3

R-3 STUDIO 1 STUDIO 2 R-2

REVERENCE: an architect’s retreat

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Jason Griffiths -BA (Hons) Dip. Arch.

ARCH 311- Design Studio Spring 2016 5CU. m,w,f 12.30-4.20

College of Architecture

Instructor: Jason Griffiths

FACULTY Jason Griffiths BA Hons. Dip. Arch UK jgriffiths15@unl.edu

P 02 - TIMBER IN THE CITY: Urban Habitats Overview The second phase of this studio asks you to adapt your understanding of advanced timber structures to the challenge of building in an urban context. Over the remainder of the semester we will focus our attention on the 2015-16 ACSA TIMBER IN THE CITY: Urban Habitats competition.

“The competition challenges participants to design a mid-rise, mixed-use complex with affordable housing units, a NYC outpost of The Andy Warhol Museum and a new and expanded home for the historic Essex Street Market”1 Please read through the program thoroughly.

This competition is highly significance in terms of a change in our understanding in the relationship between construction and the city. The challenge of the competition can be can be more broadly described as a challenge to the symbolism of “modern” technology, materials, space and its relationship to our understanding of a contemporary city. This image, up until quite recently has been that a city is constructed from concrete, steel, glass etc i.e. all materials that characterize the modernist era. However with the recent arrival of engineered lumber this relationship is now under question for the first time since the beginning of the Industrial Revolution when wood was seen by many as the antithesis of the new metropolis. In effect this competition asks you to reimagine the city as a place that connects to “nature” and rural origins for the first time in over 100 years.

Program Sequence The remainder of this semester will be broken down into 3 stages of design leading to your final project.

• P02.1 Program Analysis, Concept Design • P02.2 Design Development • P02.3 Completed Proposal – Competition Presentation Boards

1 The Association of Collegiate Schools of Architecture (ACSA) TIMBER IN THE CITY: Urban Habitats Competition for the 2015-2016 academic year.

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Jason Griffiths -BA (Hons) Dip. Arch.

P02 M. Christensen

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Jason Griffiths -BA (Hons) Dip. Arch.

P02 M. Christensen

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P02. G. Moehlenhoff

TIMBER FOLDS: folding programs The Timber Folds project explores various folding techniques applied to engineered lumber to create a mixed use urban habitat located in Manhattan’s lower east side. The programs include affordable housing units, a New York City annex of the Andy Warhol Museum, and the relocated expansion of the Essex Street Market. Using engineered lumber, this project seeks to advance innovative design using three folding techniques: Canopy Fold, Valley Fold, and Habitat Pleat.

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MICRO UNIT

P02. G. Moehlenhoff

- 325 sq. ft.

- 150 units

1-BEDROOM UNIT

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- 650 sq. ft.

- 80 units

INTERIOR OF MARKET LOOKING NORTH

2-BEDROOM UNIT - 850 sq. ft.

- 60 units

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TYPICAL RESIDENTIAL FLOOR LAYOUT

3-BEDROOM UNIT - 1000 sq. ft.

- 20 units

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2-BEDROOM UNIT

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TIMBER CLADDING

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INSULATION

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5 E.T.F.E. INFLATED PLASTIC

HOUSING TYPOLOGY ELEMENTS

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6 TIMBER FRAME

10 WATER RUNOFF PIPE

3 INSULATION

7 GLASS PANELS

11 WATER COLLECTION TANK

4 CLT WALL PANEL

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8 AIR SUPPLY HOSE

9 E.T.F.E. INFLATED PLASTIC HOUSING WALL SECTION DETAIL

1” = 1’- 0”

MARKET TYPOLOGY ELEMENTS

MARKET WALL SECTION DETAIL 1” = 1’- 0”

DELANCEY ST.

BUILDING 1 MARKET STALLS 2 EATING AREA 3 MUSEUM LOBBY

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SUFFOLK ST.

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ESSEX ST.

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SITE 1 SITTING SPACE

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ENTRY

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WALKING EAST ON DELANCEY STREET 17

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P02. D. Valle-Steele

DIVERCITY C

The Essex Street Market

1880 France

Puerto Rico

ALLA ZEMIANSKA

Jose Luna

Eric Duk Suh

Luis Rodriguez

Luna Brothers has been around as a family business in New York City for almost 40 years.

Learned at an early age how to cut and prepare fish from father and founder, Jae Duk Suh.

Since moving from the Dominican Republic almost 40 years ago, Luis has built his business from the ground up.

Luna Brothers Fruit Plaza

Pain D’Avignon

European market enables us to showcase our traditional, hand-made crusty breads

Dominican Republic

Asia

Luis Meats

New Star Fish Market

Hunts Point Cooperative Market Diverse selection of fruits and vegetables from 49 states and 55 countries.

Fulton Fish Market New York Time, The Fulton Fish Market estimates U.S. fish consumption per capita, about 5 percent of U.S. seafood sales flowed through the Fulton market

West New York

Manhattan

Long Island City Bakery Distribute freshly baked bread and pastries to Manhattan, Brooklyn and Queens, and distributors who provide to the tri-state area.

Farmingdale Meat Market Carry over 3,000 items and can handle custom specifications for any order.

New York

Essex Street Market

Brooklyn

Live + Work

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ARCH 614

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ARCH 614 - Design Thesis - Zebulun Lund Agrarian Ruins This thesis is an investigation into the architectural value of agrarian ruins and aims to begin to communicate those through architectural drawing. In the 21st century, ruin obsession is increasingly aimed at ruins of a more recent time, often that of the dying industrial city. This study shares in the impatience and enthusiasm for ruins of the culture we live in and has turned to the ruins of abandoned farm buildings. Consequently, this has studied the potential values offered by barns, sheds, and chicken coupes, alike. This was accomplished first through countryside tours from locals in Gosper County, followed by solo site visits after getting their stories, locations, and permissions for exploration.

Here lies a diverse number of architectural qualities to be experienced and gained as it was attempted to document them. Impossible to describe with words, and still falling short with photographs, this thesis turned to drawing and collage techniques to communicate the potential values offered by these agrarian ruins.

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Funded Grant

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III.A.03 Funded Grant. Great Plains CLT Architectural Education.

Great Plains CLT Market Development through Architectural Education is a successful grant application from the U.S. Forest Service Wood Innovations Application for 2017. The grant is a collaboration between Nebraska Forest Service and UNL’s architecture department. The appication was prepared by Adam Smith (NSF) and myself (as Co-PI).

For this grant NFS and UNL-Arch will partner to expand CLT educational opportunities for architects in the Great Plains. Increasing both student and practicing architect experience with CLT and mass timber construction, coupled with the expanded capacity of UNL-Arch to deliver CLT and mass timber education, will increase CLT use in Great Plains architecture, increasing markets for low-value wood for the manufacture of CLT. The total amount received by NFS/UNL is $126,062. The total project cost (amount received plus amount we offered as match via staff time and in-kind) was the $189,093.

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cations such as fence posts and outdoor furniture.

ideal for close-fitting joints.

Ponderosa pine is often used in light framing, interior trim and cabinetry.

HARRISON

boatbuilding and barrels.

NENZEL

VALENTINE

GORDON RUSHVILLE

CRAWFORD

HAY SPRINGS

HARTINGTON

STUART AINSWORTH

ATKINSON

LONG PINE

AGATE

CREIGHTON

O’NEILL

PLAINVIEW

HEMINGFORD

BROWNLEE WAYNE

PIERCE NELIGH

ALLIANCE

ELLSWORTH LAKESIDE

MITCHELL

ASHBY

HYANNIS

WHITMAN

MULLEN SENECA

While primary processors are found primarily adjacent to forested areas, secondary processors are concentrated in or near areas of denser population.

NORFOLK THEDFORD

BREWSTER

HALSEY

SCOTTSBLUFF

BARTLETT

DUNNING

WEST POINT

MADISON

BURWELL

BAYARD

ALBION

BRIDGEPORT ORD

ARTHUR

TRYON

BLAIR

RINGGOLD

OSHKOSH

STAPLETON

MERNA ARNOLD

GENOA

BROKEN BOW

LEWELLEN KIMBALL

but has poor nail-holding capability. It is often used for boxes, pallets and other utility purposes.

DISTRIBUTION OF NEBRASKA'S WOOD PRODUCTS INDUSTRY COMPONENTS:

SPARKS

CODY CHADRON

and turns and finishes well.

It is often used for baseball bats and other turned objects.

ANSLEY

LOUP CITY

POTTER OGALLALA

PAXTON

NORTH PLATTE

PAPILLION

CENTRAL CITY BRADY

AURORA

GOTHENBURG

GRANT

COZAD LEXINGTON KEARNEY

LINCOLN

NEBRASKA CITY HASTINGS

IMPERIAL

SEWARD

YORK

GIBBON

CURTIS

CRETE

SUTTON GENEVA

MINDEN

PERU

HOLDREGE

WAUNETA

PRIMARY PROCESSORS SECONDARY PROCESSORS

TECUMSEH ARAPAHOE CAMBRIDGE TRENTON

McCOOK

BELLEVUE

RAVENNA GRAND ISLAND

EASTERN RED CEDAR PONDEROSA PINE DECIDUOUS FORESTS

OMAHA

DAVID CITY

ST. PAUL SIDNEY

FREMONT

COLUMBUS

FULLERTON

INDIANOLA

HEBRON ALMA

FAIRBURY

RED CLOUD

WYMORE

SUPERIOR

BENKELMAN

AUBURN

BEATRICE

FALLS CITY

PRIMARY

PRIMARY

PRIMARY

PRIMARY

Reece Wooden Sole Shoe Co., Columbus, NE

Oxbows Furniture, Bellwood, NE

Nebraska Timber Inc, Omaha, NE

Barcel Mill & Lumber Co., Bellwood, NE

III.A.04 Curriculum/Course Development SECONDARY

SECONDARY

SECONDARY

SECONDARY

Oxbows Furniture, Cabin owner, Marvin Barcel Mill & Lumber Co., In the two years since joining UNL I have been involved in an extensive development of my teaching responsibilities.

Bellwood, NE Liewer, Bellwood, NE Butte, NE Over my first 3 semesters I developed the following classes either as new classes or adaptations of existing classes.

Reece Wooden Sole Shoe Co., Columbus, NE

Arch 510/610 & 511/611 Design Research Studio Arch 232 – Materials and Assemblies Arch 497/597. Summer Design- Build The most recent course development will implement the $189,093. Forest Service Wood Innovations award (see above) for advancing the effectiveness of design-build and engineered lumber in architectural education. As Co PI my contribution to the application has been to design and deliver a 3-year academic stream within the CoA with the aim of increasing student and practicing architect’s experience with CLT and mass-timber construction, coupled with the expanded capacity of UNL-Arch to deliver CLT and mass-timber education. This involves curriculum development REECE WOODEN SOLE SHOES MARVIN LIEWER "A NEBRASKA LOG and CABIN," PALLETS, BARCEL MILL EASTERN RED DINING to TABLE, OXBOWS and FURNITURE & LUMBER CO. to include opportunities for CEDAR students design integrate forestry forest products perspectives into the use Marvin Liewer built his own log cabinand home using traditional From 1885 toof 2002mass-timber Reece Wooden Sole Shoes This dining tableIt is one example of the custom woodCLT work done

by AarThis family owned cottonwood sawmill produces pallets, products. will also expand professional development continuing education opportunities Northwest Nebraska pioneer cabin techniques. He used Ponhand crafted orthopedic and industrial shoes on Rerucha of Oxbows Furniture. He works out of his grandfather’s wood veneer, lumber and landscape mulches from logs harfrom cottonwood and elm that were distribut- shop building cabinetry and furniture. He collects individual pieces of lum- derosa Pine logs from the Pine Ridge area of western Nebraska. vested within 65 miles. for practicing architects within Nebraska and culminate in the planning/design of on-campus small-scale CLT ed throughout the United States, Canada and ber from local forests and neighbors.

Europe. manufacturing and design center.

The first stage of this initiative is ARCH 597/897 Innovative Timber Construction beginning in the Fall of 2017.

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Syllabus ARCH 597/897 Innovative Timber Construction

Jason Griffiths Fall 2017

AUG.2017 ARCH 597/897 Innovative Timber Construction BULLETIN DESCRIPTION Introduction to a variety of mass-timber products including: engineered lumber, cross-laminated timber (CLT) and mass-timber construction. Exposure to the history of timber architecture, the lumber industry, methods of production, prefabrication and construction methodology.

PREREQUISITES: Admission to the professional architecture program, or permission.

CREDIT HOURS: 3 FORMAT: Seminar DAYS/TIME: TuTh 9:30 – 10:45, rm 233 INSTRUCTOR Jason Griffiths – Assistant Professor jgriffiths15@unl.edu 246 Architecture Hall West Lincoln, NE 68588-0107 phone: tba Office hours: T, 8.00 – 10:30 & 1.00 – 3.30

COURSE DESCRIPTION Engineered lumber and CLT in particular has experienced a dramatic rise in popularity in Europe and Canada. However it is not yet a construction material commonly used in the US especially in Nebraska or across the Great Plains. However, the architectural (greater spans and allowed creativity) and economic (lower cost construction and shorter project timelines) benefits of CLT necessitate consideration in future architectural designs. This course will encourage and provide students with knowledge to design with CLT and other engineered lumber products. It provides an understanding from the forest products perspectives and the “story behind the material” and a greater understanding of the role CLT in relation to environment concerns. This will provide student architects with the necessary talking points in pitching their CLT designs to clients throughout their career.

As part of the course, a student study trip to the Pacific Northwest will be offered. This trip will include visits to CLT manufacturing facilities such as DR Johnson in Riddell, Oregon and Structurlam in British Columbia, Canada. Students will also have to chance to visit the UBC CLT design and manufacturing facility in British Columbia. As part of this trip Students will gain an in-depth understanding of CLT fabrication in relation to CNC operations, and interact with the UBC–Timber Engineering & Applied Mechanics (TEAM) department. Students will gain knowledge of CNC cutting, and “file to factory” protocols, providing skills currently in demand by architecture firms. Also as part of the new course, students will have the opportunity to visit Nebraska softwood sawmills producing lumber products capable of inclusion in CLT manufacturing. This trip will highlight the opportunities CLT provides the forest products industry and low-quality timber resources.

The aim of this course is to develop experienced and confident young architectural professionals with the skills and creativity necessary to successfully seek employment and utilize CLT and mass timber products throughout their careers in architecture.

Cost issues and anticipation of grant and U.S. Forest Service Wood Innovations Application – FY2017 COURSE OUTCOMES For completion of the course students are expected to have acquired and will be evaluated on an; 1.

2.

3.

4.

5.

ability to think critically and speak effectively during seminar discussions and peer review ability to analyze organizational strategies and building configurations and styles relative to a particular cultural context; their related trajectories, formative influences, and resulting effects. ability to write and use representational media appropriate for both within the profession and with the general public ability to gather, assess, record, and comparatively evaluate relevant information in order to support conclusions related to a specific assignment. ability to examine and comprehend the fundamental principles present in relevant precedents

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Course Syllabus: Page 1 of 2

Syllabus ARCH 597/897 Innovative Timber Construction

Jason Griffiths Fall 2017

AUG.2017 6.

ability to demonstrate an understanding of the parallel and divergent histories of architecture and the cultural norms of a variety of indigenous, vernacular, local, and regional settings in terms of their political, economic, social, ecological, and technological factors 7. ability to analyze a comprehensive program for an existing architectural project 8. understanding of the basic principles and appropriate application and performance of construction materials, products, components, and assemblies, including their environmental impact and reuse 9. understanding of principles of structural behavior in withstanding gravity and lateral forces and the evolution, range, and appropriate application of contemporary structural systems 10. ability to assess, select, and conceptually integrate structural systems, building envelope systems, environmental systems, life-safety systems, and building service systems into building design

NAAB CRITERION While much of the course material addresses relevant Criteria there are no specific NAAB requirements since this is Professional Elective taken by a limited set of students.

COURSE FORMAT This seminar is composed of a series of lectures, seminars, presentations and study trips. The semester will be divided into several phases that cover historical context, president studies, technical considerations and digital fabrication exercises. Students will be expected to make regular contributions to seminars, prepare reports on each phase of the course and carry out fabrication exercises.

Grading and Evaluation: Students will be assessed over 4 stages of the course with the overall distribution of effort in the following proportions: Assessment Stage I Assessment Stage II Assessment Stage III Assessment Stage IV

20% 20% 30% 30%

Students will be provided with a detailed breakdown of each assessment stage at the outset of the course.

Semester letter grades will be determined by the following percentage:

A+: 100-96.67 A: 96.66-93.34 A-: 93.33-90 B+: 89.99-86.67 B: 86.66-83.34 B-: 83.33-80 C+: 79.99-76.67 C: 76.66-73.34 C-: 73.33-70 D+: 69.99-66.67 D: 66.66-63.34 D-: 63.33-60 F: 59.99 or below

. . and corresponds to the following GPA scale:

A+ to A: 4.00, A-: 3.67 B+: 3.33, B: 3.00, B-: 2.67 C+: 2.33, C: 2.00, C-: 1.67 D+: 1.33, D: 1.00, D-: 0.67 F: 0.00

HYDE LECTURE SERIES You are strongly encouraged to attend the Hyde lectures. Most (but not all) lectures are Fridays at 4:30 – 5:45/6:00.

READING LIST To be handed out as needed.

COURSE SCHEDULE See course calendar.

EXAMS There is no final exam for this course. Students will be assessed at four intervals over the semester.

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INTERNATIONAL ACTIVITY

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III.A.05 International activity - AA Visiting School, Chengdu.

“Cuo”

( 搓)

This is the second year that I have been invited as an instructor for the Architectural assocaitions Visiting School in Chengdu, China. This year the school focused its attention on the “I Box” site in the Niuwangmiao district of the city.

50 students were faced with the task of creating a temporary building that pushed the theme of Recycling in the City in ways that offered a commentary on the emerging nature of a booming urban condition.

The design process quickly centered on the nature of social interaction and a shared desire to extend the way the local residents used the space in causal and leisurely activities. There is an a appealing lack of pretense to the way the space currently engages people that is rare in a part of the city that is busy making more predictable “urban” spaces.

The group were united in their understanding for the need build upon what existed by way of loosely mixed activities of lower middleclass Chinese in evenings and mornings beyond the midday heat.Perhaps this lack of pretense also informed our material choices and method of construction. There is a similar informality to white plastic pipe simply threaded together at right angles through cylindrical holes cut with a simple (solitary) hole saw. However such simple means is often the basis for discovery in terms of its limits of structural performance and its ability to create a space.

These discoveries, in part parted aided by computational design and in part by physical testing in situ, resulted in a compact, user-activated space with heraldic spheres reaching precariously overhead. Once complete the space was offered to the city in the final act of naming the build “Cuo” - a term borrowed from the action of mixing mahjong pieces in random patterns before a game.

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Chinese Visa Application Service Centre London 12 Old Jewry, London EC2R 8DU U.K.

AAVS CHENGDU

Re:

‘Marking the City’

Mr. Jason Griffiths

16th TO 24th JULY 2016

25th April 2016

BRIEF To whom it may concern: Chengdu Beixin Knowledge City Real Estate Co., Ltd (CBKCRE) would like to invite Mr. Jason Griffiths (Passport No: 517454173, Gender: Male, Date of Birth: 15/12/1964) to conduct a business trip to our Chengdu office from 1st May 2016 to 30th April 2017 for on-site visiting as well as educational exchange. Mr Jason Griffiths will be visiting the site on a regular basis throughout 2016 to 2017 as requested by CBKCRE. The cost of the trips will be covered by Architectural Association London.

We would very much appreciate your assistance in granting Mr.Jason Griffiths visa to China and we look forward to seeing him in China.

Please do not hesitant to contact me should you require any further information.

The AAVS Chengdu 2016, seeks to exploit the thriving nature and intensity of the site by inventing an inhabited structure made from recycled materials collected from the Chengdu construction industry. The intervention, to be located at the iBox plaza on the junction of the 4th Section of First Ring Road East, Jinjiang District, will mediate it's location between an inhabited space and the extreme urban setting in which it's set.

REQUIREMENTS The project needs to be temporary.

Located on the site for 6 weeks.

The project needs to be able to be inhabited by a maximum of 10 people at one time.

Yours faithfully,

The project requires a mediated experience between the internal space and the city; by means of a visual, temporal, dynamic or virtual quality.

Chenwei CEO Chengdu Beixin Knowledge City Real Estate Co., Ltd

The project needs to be structurally stable.

TIMING The AAVS commences on Saturday 16th July at 10.00 and ends on Sunday 24th July at 18.00 www.chengdu.aaschool.ac.uk

地址：成都市新都区斑竹园镇云兴路 8 号

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电话：028-83989821

传真：028-83989680 邮编：610506

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III.A.06 Student Evaluations The following provides an overview of my teaching evaluations for m studio classes, required courses and seminar. It also provides a smaple of student feedback from my most recent studio class

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Jason JasonGriffiths Griffiths-BA -BA(Hons) (Hons)Dip. Dip.Arch.

Arch.

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Scholarly, Professional, and Creative Activity

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,

III.B. Examples of supporting evidence of the quality of scholarly, professional, and creative activity This section provides evidence of my scholarly, professional, and creative activity. It includes samples of my publication profile (sole-authored book, book chapters, peer-reviewed/invited journal publications andacademic papers) and examples of creative work including commissions for public art, furniture, architecture as well as recent competition work and invited exhibitions. The impact of my work is demonstrated through awards, recognition and recommendations from my peers and collaborators. It is disseminated through reviews, citations and invited public lectures.

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Publications

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III.B.01 Publications My portfolio of published work includes a sole-authored book, book chapters, peer-reviewed academic papers and invited journal contributions. This work offers scholarly and creative reflection upon my interests in design-build and ordinary architecture.

My most significant publication is my first book Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing published by the AA. This book was the recipient of the The Deutsches Architekturmuseum (DAM) Book Award (Typology) at the Frankfurt Book Fair followed by reviews from the Los Angeles Times, The Architect’s Newspaper and Icon Magazine. This work is complimented by numerous invited publications including The Princeton Architectural Press (306090), the AA Files, Volume, Uncube along with articles in Japan Architect, Journal of Architecture, Sunday Times and Architecture.

My most recent work offers an interpretation of “the ordinary” in the wake of the housing market crisis of 2008 and abandoned “commercial vernacular” of the American strip. This includes an accepted journal publication in MAS Context titled I on the Streets that documents windowless street façades in Lincoln Nebraska.

Publication in the field of design-build includes scholarly reflection on pedagogy, fabrication technology and history/ theory. It offers evidence of regular academic reflection through conference paper proceedings and journals of regional, national and international standing. This includes two co-authored papers with graduate students (see III.A.05 Student achievement/outcomes).

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Refereed Journal (accepted): Sole Author I on the streets Character Issue - Mas Context September 2016

Accepted September 2016.

Publication details tba. Guest edited by Stewart Hicks and Allison Newmeyer From the call - “The upcoming issue of MAS Context will focus on the topic of CHARACTER. What are the opportunities of conjuring fictional characters as a device to demonstrate how a building is experienced?

What makes a building have or become a character? Why do architects sometimes consciously formulate their own persona as a quasi-fictional character? We are looking for critical writing, photo essays, analytical studies, data visualizations, visual explorations, architectural projects, interviews, films, etc. that probe at these questions to include in our CHARACTER issue. Join us as we consider architecture in literary terms in order to reimagine how buildings can communicate with audiences through form, expression, structure, type, decoration, experience, narrative, and metaphor.�

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MAS Context “I on the streets” “I on the streets” is antithesis of Jacobs’ mantra of inclusive and socially coherent urbanism - on first appearance an abject architecture in its most characterless form.

However the anonymity of a sightless facade provides a certain type of freedom shared by a minority of architectural photographers who reveal something more problematic about the relationship between photography and architectural character. Despite its better intentions the notion of objective photography in its different forms (William Garnets/construction science Hiller Becher/postindustrial) is quite often and quite quickly subsumed by a more broad cultural appreciation leading to a more refined aesthetic informant to architectural design. This appreciation lies in an inadvertent allure of the solitary spaces and the sublime pleasure of “ordinary” environments.

In truth so much significant architecture draws upon this allure (MVRDV / Andreas Gursky, Venturi/Ruscha, St John Wilson/Demand, Herzog de Meron / Hiller Becher, Diller Scofidio/ Joel Sternfeld and so on). However this contemplation and aesthetic consideration is only possible from a position of extreme anonymity. The kind of anonymity that allows the photographer to work unobserved (in this case by every windowless facades in Lincoln Nebraska) in an environment that would be unavailable in perhaps socially enlivened urbanism of “eyes on the street”.

Naturally great architecture must be socially cohesive but its breadth in equally inclusive of an ambiguous relationship to objectivity and perhaps the more problematic allure of the characterless “ordinary” architecture.

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Book - Sole Author Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing.

November 2011.

Published by Architectural Association Publications. 144 pages, Extensive col. ills 
220 x 170 mm, Hardback, 2011 
ISBN 978-1-907896-05-7. Print run 1500. International distribution.

Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing was published in November 2011. Structured through fifty-eight chapters, the anthology offers an architectural pattern book of suburban conditions all focused not on the unique or specific but the placeless. It presents a first hand account of ordinary houses that began in 2003 during a road trip across the US. The images and text of Manifest Destiny present a critical view of a suburban world full of perfect homes and the enduring, strange allure of the Arcadian dream.

(For the full publication please see hardcopy included in package).

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Book Chapter - Sole Author Loft Living - 306090 #14: Making a Case

November 2011 Edited by Emily Abruzzo, Gerald Bodziak, and Jonathan D Solomon.

Distributed by Princeton Architectural Press. Loft Living chapter pp.74-87. 306090, Volume 14. ISBN 978-0-61534909-1. Print run 1500. International distribution.

306090 invited a group of artists, architects, and writers to design a house, or reflect on the idea of the house, for this book. Loft Living is a narrative of a contemporary solution for the “perfect� house. By gathering personal information and assessing contemporary values the project defines the ideal shape, size, and appearance of this house. It develops an associative model based on archetypical house profiles that describe the values of each inhabitant in terms of their belongings and patterns of consumption.

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by Jason griffiths loft!

MINE

It’s our first House!

But How will it contain our possessions?

YOURS

Houses should bring people together!

With a clear idea of who does what!

We share a concern about the environment.

"Loft Living" is today's solution for a young couple’s perfect house. by gathering personal information and assessing contemporary values loft living is able to define the ideal shape, size and appearance of this house, it developes an associative model based on archetypical house profiles that describe the values of each inhabitant in terms of their belongings and patterns of consumption. today's first time buyers, faced with the mounting pressures of the greatest commitment of their lives are looking for help. "Loft Living" is today’s solution for young couples seeking to organize their lives and reconcile their relationship in their new home. not only will "loft Living" apportion space and storage in a fair and balanced way but it will also help couples share their commitment to sustainability. using contemporary parametric models and data analysis "loft Living" will arrive and maintain the perfect solution for the first time buyers of the next generation.

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306090 14

Loft living is a service provided by experts in the field of domestic reconciliation and architecture.

I was trained as an architect and I also have experience in conflict resolution and real estate sales.

My first task is to get couples to agree on an archetypical profile for their house

these are processed as a simple definition

loft!

Profiles are then offset and lofted to form a house

we felt that a pitched roof with a medium height ridge was familiar to us both - an archetype to which we both ascribe

"loft living" demonstrates how a parametric model of popular profiles can be modified to suit each couples taste. we also add siding, windows and doors.

like this!

doors and windows express our different personalities

291 GRiFFiTHS, Jason

BUT WHAT about our possessions? - The First and probably the most important task is to acertain how much each couple will bring to the new house.

To do this I have developed data gathering profiles for each couple Each couple inventories thEIr entire belongings in Terms of volume

stacking volumes evaluate effective volume and vary according to object category

this is assessed as a sum of stacking volumes

I am the volume of male possesSIONS

The size of each gable is then assessed

This gives the ratio of expansion for each gable

I am the volume of Female possessions

divide this volume by the ten year national average. expand !

Adjustments are carried out through a simple definition

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BUT WHAT about money? - then each couple's relative financial status is assessed. This figure is used to calculate the distance of the offset and hence the volume of each side of the house.

financial advisor pulling in around 110K plus benefits

realtor basic is 100k. also some private properties earning another 25K.

This dimension is a product of female assets.... ...and This a product of male assets

here again I gather data to arrive at aN extension ratio.

in effect the linear dimension of the property in inches is twice the annual salary Divided by a thousand

here is our bottom line

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The Negotiation! - This begins with a small house. naturally there is a great deal of discussion .......

"seems like more than I imagined"

1

2

"I think you're forgetting some things"

"I have less"

4

3

"seems closer to this"

"That's not helpful"

6

5

1

2

3

4

5

6

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eventually they arrive at the final form

We agree!

Then windows and doors are adjusted.... ....

....along with storage allocations.

this is important for the next stage and the couple’s ongoing commitment to sustainability

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an ongoing commitment:consumption and sustainability - as couples settle down to married life they begin to gather more possessions. they are both concerned about the impact this might have on the environment and this leads to differences of opinion - who is consuming the most? who is really upholding their commitment to sustainable domestic practice?

"loft living" will predict this crisis by correctly apportioning potential increases in volume to each party. volumetric information stored in bar codes can be fed into the model to demonstrate the increase in overall volume

both parties are aware of the consequences of their purchase before they buy. should either party decide to go ahead with the acquisition it will be added to a running total. this total is then periodically added to the house by increasing the depth and height of the storage wall- this is generally reassessed after 5 years.

gradually the projected volume increases.

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When these volumes reach a critical mass the house will need to grow. House alterations are designed by using a similar parametric model to the the initial argreement process. then the house is extended using conventional materials.

Generally couples try to time the expansion to comply with construction material warranty periods when they would normally need to be changed. most americans of thier age have a strong sense of the home as an adaptable entity. this results from the availability of affordable materials from hardware superstores (like lowes and home depot) and low-skill construction techniques. young couples have inherited a practical approach this kind of work that is part of a long-standing tradition of home improvement in the U.S.

for example the the storage wall is extended and added to with conventional plate biscuit joints.

However the main house presents a major challenge to accommodate the change.

Ridge and eaves beams rotate!

New siding spLays out!

GRiFFiTHS, Jason

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we adapt the standard "Hardie PlanK" and stud wall to achieve the splayed effect.

In this case we rotate the plank but ensure that we maintain a 1 1/4" overlap and nail with a 6D or siding nail according to Hardie specs.

WINDOws will change too! conventional hardie board siding can easily adapt to accommodate new windows and door inserts where necessary then we oRder a set of vinyl sliding windows

these windows are chosen from a schedule of standard sizes designed to fit typical structural openings. these openings accord with the grasshopper definition scaling values.

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similarly the roof sheathing is replaced where necessary to complete the adapted pitch. again this material is both affordable and readily available

much of the existing house has now been altered with only the central service core remaining intact. once complete the whole process offers an affirmation of "user adaptation" of the home that is key to north american construction methodology

we gain a lot from making changes to our house by ourselves

our new house is complete! but what will the community think?

299 GRiFFiTHS, Jason

the new form displays the couple’s attitude to sustainability which can now be experienced by everyone!

he was probably getting her to buy it for him!

well i always thought she was buying all that stuff we're never as bad as that

i am not so sure they really care about the environment.

thanks to loft living we now really know what some people are like

in this way communities can begin to socialize around shared themes and values. local residents will have an undeniable picture of what neighbors are really like. gone are covert and duplicitous domestic practices wherin values are concealed within the walls of the house. today everything is fair!

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when a community has been completed and I see it stretching out into the distance i realize that all the hard work has been worth it. Thanks to "loft Living" we have a better society of socially responsible suburban consumers. self-regulating and sustainable, it stretches out towards the distant horizon of the american west.

The end!

GRiFFiTHS, Jason

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when a community has been completed and I see it stretching out into the distance i realize that all the hard work has been worth it. Thanks to "loft Living" we have a better society of socially responsible suburban consumers. self-regulating and sustainable, it stretches out towards the distant horizon of the american west.

when a community has been completed and I see it stretching out into the distance i realize that all the hard work has been worth it. Thanks to "loft Living" we have a better society of socially responsible suburban consumers. self-regulating and sustainable, it stretches out towards the distant horizon of the american west.

The end!

The end!

Jason Griffiths is a partner in Gino Griffiths architects and works in the American Southwest. His practice is based on a multidisciplinary approach to architecture working through competitions, buildings, furniture, writing and photography. He has won numerous international awards and has exhibited and published widely including in AA Files, Architecture, JA, JAE and the Sunday Times. He is the author of Manifest Destiny – A Guide to the Essential Indifference of American Housing which offers an account of a six-month tour of North American suburbs. As an Assistant Professor at Arizona State University’s Design School his work explores archetypical forms and daily activity through digital fabrication. Built work includes The Lowest House in the Mojave Desert, Siouxland Transit Bus Stops, K-Zell Metalworks, The Political Ply Shade Canopy and Scottsdale Arts Camera Obscura’s. Jason has lectured widely throughout Europe, the US and Mexico and has taught at the Bartlett, Westminster, the AA and the Tech de Monterrey. http:///www.ginogriffiths.com

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Book Chapter - Sole Author Arid - 306090 #13: Sustain and Develop.

April 2010 Edited by Joshua Bolchover and Jonathan D. Solomon.

Distributed by Princeton Architectural Press. Chapter: Arid, pp.274-278. 306090 Volume 13. ISBN 978-0692000885.

Print run 1500. International distribution.

Sustain and Develop, the thirteenth volume from 306090 Books, investigates the contradictory yet potentially productive tension between our drive to develop and our growing realization that unregulated growth is eroding the natural ecology in which we live.

The chapter Arid describes the design of a structure that responds to the arid climate of the Arizonan desert through evaporative cooling strategies and arrangements of photovoltaic panels. The project formally refers to the table archetype as a way to engender social discourse among freshman students on entering the university.

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Arid

Aridness and the lure of the arid climate is based on the rejection of a seasonal sense of time. The predominant motivation for migrating to arid zones has for a long time been retirement, and with it an attempt to escape the ritual-heavy existence of cyclical time of more northern climates. French sociologist Henri Lefebvre has observed that along with the migration of rural workforce into industrialized cities came a sense of separation from seasonal time to be replaced with the year round and 24-hour continuum of mechanized environments.1 For different reasons the move from seasonal to arid climates produces a similar change in the perception of time in leisure pursuits, relaxation and changes in lifestyle.

In order for this to appeal to the leisure classes, cities like Los Angeles, Las Vegas and Phoenix had to engineer a transition in the perception of the desert from a hostile wilderness to an Arcadian idyll. Overcoming the fear of brutal landscape was initially engendered by soothing images of citrus groves, then suburbia, and subsequently retirement ex-urbs like Sun City and Anthem. This transition has occurred with marked contrast in different generational perceptions. In 1849 the Bennett-Arcane Party named Death Valley on leaving after months of struggle to cross into California. By marked contrast Superstudio’s “Life and Supersurface”2 presents naked families within a seamless landscape refocusing the myth of American settlement. While this image is often regarded as a high point of the architectural avantgarde in the 1960s it may also be seen as partly responsible for propagating another myth of arid landscapes, an avant-garde form of real estate speculation based on the idea of an endless unobstructed terrain that is entirely compliant and serviced for consumption. In effect (rather than appearance) this scenario has come to pass in the suburbs of Phoenix and Las Vegas. “Fundamental Acts”3 can be closely matched to the today’s serviced grids stretching out across a flat landscape at the borders of southwestern suburbia. For many years arid zone cities were regarded as supreme achievements of water engineers, sheer willpower and expansionistic zeal.

However, recently this ethic seems to have turned sour under zeitgeist of environmentalism. What was once boosterism has turned into a loss of confidence along with a desensitized sense of expanded space. Today the images of golf courses in the desert are just as likely to be used as warnings against profligacy as they are as selling points for new communities. Similarly the image of bermed lawns flooded by former citrus irrigation channels does little to improve Phoenix’s attempts to address use of water resources.

These twin aspects of endless terrain and suppression of seasonal time are key factors in the make-up of arid zone cities.

However retirement and leisure are by no means the only form of arid expansion. Today’s new emergent demographics have brought with them the possibility of a departure from the city’s predominantly excessive image.

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Phoenix, Arizona. Bermed lawns are periodically flooded by the former citrus grove irrigation system

Desert fridge and evaporative cooling model

Under the title the “New American University” Arizona State University is projected to expand to 100,000 students by the year 2020,4 having extended its campus from Tempe to three new locations in greater Phoenix.5 Along with the title “New” comes renewed interest in educational environments within arid zones that is coupled with a rejection of profligacy of physical expansion. This new university campus offers a departure partly in its physical nature but more drastically in the temporal and episodic use of space. While this may currently be a less visible attribute of the arid zone campus it is potentially its strongest benefit. While the more seasonal universities of the Midwest, A&M’s and rural campuses appear to be conditioned by traditions and rituals of cyclical events (football seasons, spring break events, fall bonfires, etc.) the ASU campus appears less “event driven.” A considerably less spectacular sense of seasonal change is replaced with a year round continuum of good weather and outdoor existence. This sense of a continuum may also offer a marked contrast from the way seasonal campuses delineate between enclosed learning environments within buildings and external space as predominantly zones of transition, (romantic landscaping, processional routes). In arid zone universities this delineation may be less defined and instead focus on the nuances of different cooling

techniques for each condition. Here the distinction lies between evaporative cooling as an alternative to AC and forced air systems. In some senses this distinction presents a departure from the prevalent notion of hermetically sealed interior (along with an enclosed learning environment) and a less defined cooled zone.6 It is the latter that presents the greatest opportunity in terms of alternative places of learning. Similar to other arid zone universities, the ASU campus has the potential to regard its interstitial spaces as extended learning zones. Additionally, those interstitial zones may also offer an ideal location for the much sought after locus for cross-disciplinarian academic production. In short it may become both physically and academically transitional.

Recently these forces have lead the university to adopt specific policies with regard to water conservation and the use of external spaces that are part of their wider campus sustainability initiatives.7 Offshoots of these initiatives are found in the university arboretum and campus-grown foods that deploy flood irrigation systems for water conservation. In terms of architecture recently commissioned buildings have turned towards design of outdoor spaces through evaporative cooling systems as the corollary of indoor AC-cooled spaces.8 One such initiative currently under proposal suggests the development of a series of Freshman Dining Pavilions9 that comprise of 10 temporary structures across the campus that focus on a dining ritual for incoming students. This project has become the subject of a prototype cooling structure that offers an assimilation of evaporative cooling systems as architectural narration of water use and cooling processes. The project aims to communicate its themes through both a haptic and symbolic understanding of evaporative cooling around the rituals of outdoor dining.10 Desert Fridge: A Dining Pavilion at ASU “When you look at a building what do you see?

The modification of those rhythms and their inscription in space by human means”12 —Henri Lefebvre

To the east of Johnson City, TX, is the Lyndon B. Johnson family home. Part of the Johnson Estate13 is given over to a working farm circa 1870 that presents various aspects of domestic practice from that era. This includes a desert fridge, which is a simple four-legged structure with a slightly battered profile that is draped in calico. Its principle is simple; water from an upturned jar is drawn by osmosis down the sides of the calico where it evaporates in wind currents drawn though a “dog run” between two log cabins. Cooled air circulates within the structure where cheese and milk are kept fresh during the summer.

The desert fridge is a simple system that reaches a state of equilibrium through the natural process of evaporation.

This biological process offers a system that is then projected both upon the dining ritual and the composition of the building. The following text explores a sequence of levels by which the structure, via digital production process, provides an educational narrative on sustainability. This communicative quality is portrayed by a prototype pavilion in direct biological terms, through tacit knowl-

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edge, perceived phenomena, lexical and mechanical systems. The text also describes how these digital production processes were used in the pavilion’s design and fabrication.

These range from an empirical prognosis of evaporative cooling effects, fluid dynamics, heat mapping and solar radiation analysis through to sheet steel laser cutting, folded plate construction and fully associative variable models of standard steel construction. The aim of the pavilion is to create an environment that presents the evaporative cooling message at a multiple of levels that will concentrate the visitor in a complete understanding of the processes imbued within the building.14 For invited freshmen the experience of the dining pavilion begins prior to actually arriving at its site. Each dining event is preceded by an invitation that is sent to the students in a simple glass jar. The jar contains instructions printed on a clear plastic sheet that describes not only the event but also what to do with the jar:

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“THIS JAR IS AN INVITATION TO DINE AMONG FRESHMEN. PLEASE BRING IT ON (date) TO (campus location). WHEN YOU ARRIVE FILL THE JAR WITH WATER AND INVERT IT ON TO THE CLOTH STRIP WITH THE PLASTIC STRIP PROVIDED.”

Using the jar in this manner is a deliberate appropriation of familiar dining rituals, i.e. a glass of liquid at each setting. However when the jar is inverted, water gradually seeps out of it and is drawn under osmotic pressure through the canvas. This canvas, like the inverted jar, shares affiliations with the dining ritual. Like the tablecloth it conveys a sense of a formal event. However, like the jar, the cloth is estranged from this familiarity—it hangs inwards and invites the controlled accident of split liquid.

Cooling Function and Iconography The jars and the cloth present two elements in the chain of events that make up the pavilion. A series of other technical and iconographic components make these events functional. At the center of the pavilion is a 16” aluminum fan that hangs below the surface of the table.

The fan is driven is driven by a roof-mounted 50-watt direct current PV panel15 (For the prototype structure the PV fan was hardwired to the DC motor although in the final proposed version solar generated electricity would be stored in batteries concealed below the floor structure) and drives air downwards on to a diverter and then horizontally through the inverted tablecloth. Air is cooled through the evaporative process and then blown on to the legs and midriffs of the students dining at the table. The students dine in the cooler micro-environment as the water level in the jars gradually recedes in front of them, prolonging the event and engendering interactions.

The system achieves a considerable drop off in ambient air temperature up to six feet from the table’s center.

However the empirical nature of this project is not, in itself, enough to directly communicate the message of the buildings system. This scheme is also arranged to communicate, via a sequence of physical components, several levels of comprehension of the buildings core concept. Each component of the building transcribes its

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Detailed section/ photograph of pavilion and cooling table showing temperature drop off

particular role in the larger scheme in ways that assist the visitor in a tacit and visual understanding of the buildings message and performance.

Providing the visitor with the sight of a jar of water that gradually empties offers a direct visual and quantative experience of the building’s process. Henri Lefebvre writing in the Production of Space describes “the modification of those rhythms and their inscription in space by human means”16 In so doing he refers to those acts, events and flows that occur within a building but are not considered architectural material per se. Lefebvre argues that such experiences are equal if not greater among architectural experience but commonly considered ancillary to conventional architectural discourse—a building may contain a swamp cooler although it is rarely considered as an architectural element. The change in state of a body of water passing through it is even less architectural. In this respect this pavilion exposes similar aspects of the actual flows within the building and brings them into the architectural experience, engaging and

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informing visitors about hidden environmental systems that lie within.

While the role of the fan, like the jar of water, is crucial to the operating system of the design it is also a key iconographic element in visually translating the pavilion’s theme. At times the iconographic power of the fan exceeds its ability to perform effectively.17 This “both and”18 interpretation is apparent in the design of the dining table. The functional necessity of the under-table air forces the fan out of sight and below the table and ensures that it plays a subservient role as a communicative architectural element. The design of the table addresses this issue through a perforation pattern of enmeshed fans arranged to make up the table surface. This pattern is laser cut into ¼” paintlock mild steel sheet that is then bent and formed into the table.19 The level of perforation is designed to allow the passage of cool air through the table and on to the diners. The perforation also borrows from the functional typology of outdoor furniture that is perforated to allow rainwater to pass through it and also

Above and top: Pavilion roof structure and perforated panel pattern Roof structure panel pattern generated frompattern assimilaAbove and top: Pavilion roof structure and perforated panel patternand perforated Roof structure and perforated panel generated from assimilaformed from standard formed steel sections from standard steel sections

tion of fan image and diagram of fan axes tion of fan image and diagram of fan axes

to reduce its thermal mass inits hot temperatures. pavilion site is chosen for its proximity to for existing shade to existing shade to reduce thermal mass in In hotthis temperatures.

In this pavilion site is chosen its proximity way the fan patternway actsthe asfan a visual communicator andcommunicator on campus exposure direct sun, the locations pattern acts as a visual andand its on campustoand its exposure to direct sun, the locations simultaneously a functional element. themselves derivedthemselves from a set derived of solar from radiation simultaneously a functional element. a setstudies. of solar20radiation studies.20 The size of the pavilion means thatpavilion it can only ef- that it can only efThe size of the means Thevisual Aesthetics of Green fectively communicate its performance within close visual within close fectively communicate its performance The Aesthetics of Green proximity. It is too small to propagate its message to the its message to the proximity.

It is too small to propagate green architecture produces either a technology wider context of the campus.

Thisofscale of communicawider context the campus.

This scale of Today communicaToday green architecture produces either a technology driven functional aesthetic or an undeclared of tion is broadened by the structure that sits above tion is shade broadened by the shade structure that sits above driven functional aestheticsystem or an undeclared system of The worst excesses of worst bolt-onexcesses green of bolt-on green the table. Here again iconography ofthe theiconography fan is used of thegreen thethe table.

Here again fan isiconography. used green iconography.

The signifiers attract criticism asattract “greenwash” while a purely to generate a meshtoofgenerate primary a and secondary structural mesh of primary and secondary structural signifiers criticism as “greenwash” while a purely technological producesapproach an anti-aesthetic beams and perforated infilland patterns.

The underbelly of the beams perforated infill patterns.

The underbelly of theapproach technological producesoran anti-aesthetic or non-aesthetic Either way, neither position fully structure (lit at night) projects pattern language var- language structure (litthis at night) projects thisatpattern at var-result. non-aesthetic result. Either way, neither position fully recognizes the importance of the asemblematic and as ious angles aroundious the campus.

The structure is designed angles around the campus.

The structure is designed recognizes the emblematic importance and of the undermines the movement’s ability to make a ability to make a to support a sequence of PV shade panels. panels to support a sequence ofThese PV shade panels.such These panels such undermines the movement’s responsecomplete to all aspects of architecture.

Raoul are set above the perforated shade and comprise are set above thepanels perforated shade panels complete and comprise response to all aspects of architecture. Raoul 21 Bunschoten, in the OASEwriting Architectural Journal, polycrystalline PV elements laminated betweenlaminated sheets between polycrystalline PV elements sheets writing Bunschoten, in the OASE Architectural Journal,21 asserts that architecture propagates itself through a of toughened glass.

Each panel is designed to directly of toughened glass. Each panel is designed to directly asserts that architecture propagates itself through a diagram condition.

This diagram, genercharge batteries stored below the suspended floor. charge batteries stored below the suspended floor. of its idealized diagram of its idealized condition.

This diagram, generas an is also present in is also present in The arrangement of these patterns isofspecific to the isated The arrangement these patterns specific toabstraction the atedof asthe an ideal abstraction of the ideal architecture in emblematic form. the artifacts location and orientation of each individual pavilion.

Each location and orientation of each individual pavilion.

Each architecture in Both emblematic form.and Both the artifacts and

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the processes that are essential to any particular culture are embedded within one another in a manner that raises both function and décor together inextricably. How might green architecture be seen in this light? What are the implications of this upon the movement and what is emblematic of its ideal state?

An overview of sustainable architecture today reveals a sequence of signifiers (either functional or not) that seem to consistently symbolize “green.” Quasinaturalistic finishes, global associations, organic form and omnipresent vents and fans are but a few. That these appear to represent a consensus either consciously or not may allow them to feature as a lexicon of signifiers that might ultimately be used deliberately within architecture. In the ASU Dining Pavilion function, message, and associated iconography are drawn together to convey its environmental system. From the function of natural evaporation ramify a series of results that are portrayed through the building’s composition, fabrication, structure and environmental effects.

The ASU Dining Pavilion is a prototype for a building that is designed to engender social discourse among freshman students on entering the university. Its formal aspects connect the project to the wider cultural context of arid zone campuses. The building is set up to mix user and education in the interstitial spaces between the more conventional learning environments of an enclosed building. This scenario is symptomatic of an emerging condition in places like Arizona where the conception of a non-seasonal continuum allows architects and university planners to delineate space in news ways born of the idiosyncrasies of an arid climate.

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11. Lefebvre, Henri. The Production of Space, Wiley-Blackwell p. 117, April 15, 1992 12. Lyndon B. Johnson State Park and Historic Site. Hwy. 290 E. at Park Road 52, Stonewall, TX 78671 13. All detailed design and fabrication work carried out in collaboration with students from ASU Department of Architecture and Landscape Architecture, Integral Studio, Spring 2008 14. DC Motor: Permanent Magnet, Totally Enclosed Non-Ventilated, HP 1/35, RPM 2350,Voltage 12 DC, Full Load Amps 3.8 15. Lefebvre, Henri. The Production of Space, Wiley-Blackwell p. 117, April 15, 1992 16. For example the RIBA center in Portland Place, London proposed a wind turbine on the roof 17. Venturi Scott Brown Izenour, Learning from Las Vegas, MIT Press, p. 72 18. For 20 gauge the laser ran at 2900 mm/minute at 3600 Watts while for the ¼” ran at the same feed rate but at 3600 Watts 19. http://squ1.com/products/ecotect 20. “Stirring the city,” OASE Architectural Journal. No.48/1990 Jason Griffiths gained his professional qualification at the Bartlett UK and is a partner of Gino Griffiths Architects in collaboration with Alex Gino. He began teaching in 1994 at the Bartlett and then went on to teach at Oxford Brookes and University of Westminster as a senior lecturer. His teaching career is paralleled with 11 prize-winning competitions including first prize in both the AAFab 2009, Temple of Laughter and the Millennium Café competitions. In 2003 Jason and Alex came to the US to conduct a sabbatical research/lecture tour of North American suburbs. Prior to joining ASU he worked in Texas, Nebraska and Iowa. Griffiths’ teaching explores the design build studio as a vehicle for research interests in both digital fabrication and contemporary iconography. His completed works in this field include an Arts Pavilion for Iowa State, Sioux City Bus Stops and ASU Dining Pavilion.

He is currently building a house in Mojave Desert in collaboration with

References

Alex Gino. Jason has been published in many academic and professional journals including the Journal of Architecture, Architecture,

1. Lefebvre, Henri. Rhythmanalysis. Space Time and Everyday Life,

Sunday Times, World Architecture, Building Design and AJ. He has

Continuum, pp. 51-56, 2004

lectured in Spain, Italy, Mexico and the US for institutions that include

2. Lang, Peter and Menking, William. Fundamental Acts 1972,

ESTAM, In-Arch, UNAM, Rice, Sci-Arch, the AA and the Bartlett.

Superstudio: Life without Objects, Milano (Italy) : Skira ; New York, NY : Distributed in North America and Latin America by Rizzoli International Publications, Inc. through St. Martin’s Press, pp. 179 -184, 2003 3. Ibid 4. http://asunews.asu.edu/20080131_campusgrowth 5. http://asunews.asu.edu/20080131_campusgrowth 6. Problems associated with evaporative cooling i.e. air-borne pathogens, matrix maintenance, etc make it less desirable to high tech and domestic interiors which favor highly automated and manageable ac systems. Evaporative cooling system and swamp coolers tend to appear in older houses, industrial sheds and exterior spaces.

7. See http://sustainability.asu.edu/giosmain/news/gios-news/ bonny-sustainability 8. Richard and Bauer. See ISTB1 - http://www.richard-bauer.com/ istb1.htm 9. The brief for the project was proposed by former dean Duke Rieter in collaboration with Bruce Mau 10. The pavilion is intended as a gathering point and a place of interaction for ASU freshmen. The long-term aim of this project is to provide a multiple of these pavilions across the campus that will be the locus of a sequence of dining events over a “dining season” during

Laser fan pattern functions to allow passage of cooled air through the

the fall and spring semester.

steel table and to reduce thermal mass

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YANG, David

Book Chapter DMZOO- Sole Author The Invisible University 285 Department of Distance - L.A.U.W.N Project #19: A Book of Provisional Information.

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H B E

Published by Architectural Association Publications. Pages 194-195 (from 280), extensive col & b/w ills 330 x 240 mm, Hardback, 2008 ISBN 978-1-90290266-1. Print run 1500. International distribution.

August 2007 The Invisible University Department of Distance is a chapter within the book titled L.A.U.W.N Project #19: A Book G of Provisional Information edited by Samantha Hardingham & David Greene. Essays by Samantha Hardingham, Sand Helsel, Sam Jacob andA.Robin Middleton.

The book was published in collaboration with the Research Centre for Democratic People’s Republic of Korea; B. Republic of Korea; C. People’s Republic China; D.isEast Seaof (Sea of Japan); E. Yellowof Sea; F. Demilitarized Zone; G. Jeju-do; Experimental Practice (EXP)ofwhich part The University Westminster, England.

H. Seoul; I. Pyongyang; J. Taebaek Range; K. Baekdu Mountain; L. 38th Parallel G

Democratic People’s Republic of Korea Republic of Korea An investigation into theC relationship between People’s Republic of China man and D DMZOO East Sea (Seaenvisions of Japan) the built environment, the a new paraE zoological Yellow Sea digm for the 21st-century garden empowered F Demilitarized Zone Dystopian tradiby the technological process of cloning.

Jeju-do Seoul has created an ecological sanctuary; the DMZ and its I Pyongyang J Taebaek Range Controlled Zone (CCZ) are now host contiguous Civilian Baekduspecies, Mountain 201 bird species, 28 amphibian to 52K animal L reptiles,38th 67 Parallel inland fish species and 1,194 plant species.1

tion serves as the conceptual framework for examining the interdependence of nature and artifice as manifest in the regeneration of the ecosystem in the Demilitarized Zone, the corridor separating the two Koreas. The project confronts the paradoxical complexity of national reconciliation in the Korean peninsula in an attempt to reveal potential problems facing normalization of the territory.

Established in 1953 at the end of the Korean War, the 250km long, 4km deep Demilitarized Zone (DMZ) continues to operate as a boundary between two hostile nations that were once culturally unified. Korea’s bipolarity has engendered an intermediary zone defined by conflict and contradiction. Although initially created as a neutral buffer free of military presence, the DMZ is currently the world’s most militarized border with an estimated 1.2 million troops stationed within 100km of its limits. Four tunnels dug by the North Korean army in preparation for invasion exist underneath one of the most heavily mined areas in the world. No official peace treaty has been signed to this day; the United States and South Korea are technically still engaged in war with North Korea.

Due to the hostile nature of the DMZ, only a very small number of humans—usually unauthorized military personnel—have entered its official boundary. This minimal level of human intervention during the past half century has caused drastic changes in the physical landscape. The natural regeneration of the ecosystem

More than 100 of these species have been classified as either rare or endangered by the IUCN. The rapid development of South Korea encroaches upon the previously uninhabited area around and within the DMZ. Joint economic ventures between North and South Korea—in the form of industrial parks and tourist sites—are emerging in close proximity to the DMZ. With 70 percent of the Korean peninsula covered in mountain ranges, arable and developable land is a valuable resource. The renewal of biodiversity and animal life in the DMZ has resulted in the urging of environmentalists and ecologists to maintain the zone as a natural reserve or to set up a system of national parks. The DMZOO, through the process of cloning, offers a solution to mediate the overlap of these two conditions.

A B

Content not included in this document.

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References 1. Shore, William B. “Sanctuary: For Nature and for the Dead.” World Watch Magazine, p. 34, Nov.-Dec. 2004 David Yang is an architect working in New York. Born in Seoul, South Korea and raised in New York, he received a Bachelor of Architecture from Cornell University in 2006; DMZOO was his senior thesis project.

He will be attending the Yale School of Architecture in the fall of 2009 to pursue his post-professional degree.

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Invited Publication - Author Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing AA Files 57.

January 2009 AA Files #57 by Architectural Association Publications, pp.51-59. ISSN0261-6823, ISBN 978-1-902902-69-6.

International distribution. Print run of 3700 copies. This journal article, written in collaboration with Alex Gino, offers a photographic and written account of American Suburban Housing. It is the precursor to the book of the same name.

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Manifest Destiny A Guide to the Essential Indifference of American Suburban Housing Jason GrifďŹ ths & Alex Gino

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In the United States a man builds a house in which to spend his old age, and he sells it before the roof is on.

Alexis de Tocqueville, Democracy in America, 1834 On 18 October 2002 Alex Gino and I set out to explore the American suburbs. Over 178 days we drove 22,382 miles, made 134 suburban house calls and took 2,593 photographs. We supported ourselves by lecturing and exhibiting in universities but the main focus of our studies was the new developments at the edges of US cities. Our goal was not a place per se but more a collective view of contemporary housing. The distended sense of mass in these suburban agglomerations was important, as it provided a counter-experience to our usual architectural tourism – that is, rather than preplanned visits to one-off buildings, we sought out a general condition away from the urban core and within the continuous pattern of houses at the periphery of America’s cities. Instead of the unique we sought the multi-directional, and instead of the specific the placeless.

Our aim was to acquire an intimate understanding of the suburban environment through an uninterrupted tour across a rolling network of gently graded inclines and burnished concrete surfaces. The journeys we made were systematic: typically, we would look for the newest development or gated community and then attempt to drive every road within its confines in an over-deliberate circuit. On each visit we photographed houses repeatedly from as many angles as we could including, if possible, from inside. We talked to owners, realtors, builders and service workers and visited show homes, building sites and yard sales. Once we had exhausted the internal routes we would look again at these developments from outside, along perimeter roads, highways and surrounding service routes.

Gradually, we began to get an impression of suburbia as the pursuit of a collective ideal that continually resists its denouement. This illusiveness became the focus of our research, part of which you can see in the following pages. These extracts offer first-hand visual sources that chart each manifestation of the contemporary suburban picture. Like an architectural pattern book, they offer evidence of a fastidious and relentless pursuit played out in the houses and spaces at the edges of American cities.

In our experience, this pursuit is the measure of a suburbanite (or as Robert Fishman would have it, a ‘techno-urbanite’) who can be gauged in degrees of control and the thoroughness with which they renew everything within their immediate realm, a place where nothing, from the flow of water to the grain of a carpet, eludes inspection. This fastidiousness, fashioned by two and a half centuries of experimentation and periodic overhaul, appears as alive today as it ever was. Of the estimated 1.7 million new homes in the US in 2006, an estimated two thirds were suburban – ie, over a million fresh starts where suburbia is still the winner in a ceaseless contest for an ideal place of repose. A complete place born of the manic restoration of arcadia, painstakingly reassembled and neurotically reinforced through social practice, law and an omnipresent desire to be well groomed and nice.

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Bump Outs

In Iowa and much of the Midwest houses have extensions called Bump Outs. These provide additional volumes to the main living areas by pushing internal elements like bookcases and ďŹ replaces outwards to line up with the inside face of the external walls.

This arrangement helps to hollow out the living space and maintain an even, rectangular interior plan, improving circulation and creating an uncluttered space surrounded by built-in features. Externally, the physical expression of these volumes typically references a porch or bay window. Here, an interior ďŹ replace is reduced to a small metal vent in the short space between the hearth and the exterior. Instead of forming a brick chimney stack, it is subsumed into the all-pervading language of upvc siding and capped under a shallow pitch of asphalt roof shingles. However, while Bump Outs share the formal characteristics of traditional and vernacular additions, the lack of any kind of opening suggests an erased, featureless house that is perhaps deformed or at best missing something important. It is this lack of expression that makes Bump Outs so striking, a simultaneity of continuity and removal exacerbated, on the one hand, by the uniformity of their cladding and, on the other, by the cantilever which suspends the extension delicately off the ground plane. Floating, mute, referential and yet subversive, the resonances of Bump Outs are of an absurdist installation as much as a recent suburban architectural convention.

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Double Walls

The suburban houses of Plano, Texas are typically surrounded by two walls. A heavy masonry outer wall runs around the perimeter of the block, and a less substantial (usually timber) fence borders each property. In between is a single-track road for service access. The emblematic quality of these twin divides has long appeared central to the iconography of suburbia (one thinks of Huckleberry Finn white-washing the picket fence and Robert Frost’s ‘good fences make good neighbours’), but their over abundance in Plano seems to challenge these stereotypes. While the fences retain their picket-fence familiarity they do so with a disfigured and anamorphic lankiness.

Supported by steel reinforcement and cantilevered concrete footings, they often stretch up to 10 feet high. Their height makes it impossible to see the houses. The middle ground of lawns and sidewalls is cut out and instead you get a truncated view where the rooftops, just visible, appear to sit on an elevated fence horizon. This lends the houses an obsessively shored-up feeling where the lasting impression is of security and removal. When seen next to the brick perimeter block this sense of security becomes almost rhetorical. Doubled up, they doubly reinforce a trend towards internalisation that has come to characterise many new suburban environments.

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Brick Stamp

In areas of the us with extreme winter weather, construction codes require foundations to be at least three feet below ground level in order to prevent frost damage. For most new houses this results in external walls that extend down, providing the opportunity to create inhabitable basement rooms. In Midwestern states like Kansas and Nebraska there exist a number of companies that specialise in basement construction involving in-situ cast concrete walls. Frequently these walls are designed to replace brick using aluminium formwork that transfers the brick effect onto the concrete (although a pvc lining can also mimic a timber-board finish). Each panel ensures that the brick courses appear as a continuous staggered bond. Despite the desire for brick effect there is always a trace of the vertical joints between panels of formwork that results in a thin ridge of concrete. Whole bricks straddling the connections have a slight blip in their profile. These joints create their own rhythm across the wall, overlaid onto the more apparent rhythm of the false mortar joints. Together these marks appear like the simultaneous rendition of construction techniques. In many of the houses we visited these walls were left by the owners as off-form finishes and were rarely painted. It appeared that while there was an element of fakery, these walls also had an integrity that the owners liked.

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AAfil

Dallas Enfilade closet closet

bathroom bathroom

wc

wc

entry entry

closet closet library library kitchen kitchen

living living bedroom bedroom

dining dining

In an effort to eliminate corridors, recent suburban houses frequently employ interconnecting rooms. Spaces are designed to link together to allow continuous movement around the plan. Here the aim is to avoid having to backtrack through sequences of rooms and make inconveniently long journeys. In many respects the system works although it does redefine the use and interpretation of traditional household rooms.

For example, in many cases, the room that completes the circle is the toilet. In the Turtle Creek community in Dallas apartments have double-doored toilets that connect the hall to the bedroom’s en suite bathroom. This toilet becomes multifunctional and partly transitional rather than a dead-end. Although this helps achieve the realtor’s maxim – ‘no corridors or wasted space’ – it also has less obvious consequences. If you are unfamiliar with the layout, homeowners will advise you of the correct procedure – eg, ‘if you use the shower remember to go through the toilet and lock the door that connects to the hall’, or ‘always remember to bolt both doors when you are inside’, or ‘please un-bolt both doors after you have used the bathroom’, and so on. This adds further rituals to those that are already carried out subconsciously. Although these soon become assimilated into everyday use, we got the impression that they contradicted the realtor’s claim of improved efficiency. What ultimately prevails is a sense of indifference towards a space that lacks any apparent fixity. Most of the time the doors are left half open, creating a space that seems to have a listless ambivalence towards its position within the house.

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Birdcages

Many houses in southern Florida have an additional external room at the rear of the property constructed from an extruded aluminium structure and 1/16-inch gauge mesh. Known locally as Birdcages, these spaces expand the footprint of the house by up to a third of its area. On warmer evenings and weekends they provide an (almost) outdoor space which acts like a giant sieve against the mosquitoes and bugs that thrive in Florida’s humid climate. In plan, Birdcages suggest an escape from the formality of the darker Spanish colonial interiors, as evidenced in loose arrangements of plastic furniture and informal settings. In programmatic terms, these structures appear to share certain associations with 1960s experimental architecture – Birdcages are sold through the ideal of near naked domesticity, couples at repose within ephemeral membranes and in direct proximity to the wilderness. However these associations are not carried over to the buildings’ form or context. Marketed by local realtors as barely visible naturalistic house additions, in reality it is difficult to see anything other than their looming and very physical presence. The overall silhouette appears to borrow from the adjoining house, with its pitched roof and hipped gables lending the Birdcage a vernacular so engrained that ultimately it is hard to tell which structure is the host and which is the interloper.

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Journal Article : Sole Author Volume 38: The Shape of Law Archis + AMO + GSAPP, 2014 144 pages, paperback, 203mm x 265mm9789077966389 ‘It’s legal, but is it legitimate?’ and ‘It’s legitimate, but is it legal?’ These are questions rarely discussed in public concerning architecture and urban design. Yet architects have to deal with rules and regulations, and architecture is to a large extent defined by them. So the question is: how to deal with the law? Throughout the pages of this issue, we’ve explored different strategies for dealing with legal problems, whether that be through a direct fight or indirect action, through avoiding, subverting or changing the law. Because in the end law is too important to be left to lawyers.

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3.1.

Taste Is Law Jason Griffiths From seventeenth-century painter Claude Lorrain to the modern-day Home Owners Association (HOA), the Picturesque has come a long way. Today it appears that the ineffable charms of what Kenneth Clark described as “the most enchanting dream that has ever consoled man”, is enshrined in the rules and regulations that make up most residential developments across the United States.

Volume 38

“I wandered lonely as a cloud”1 – “I got a citation for trespassing as a non­resident within a neighbor­ hood watch area”2

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33

If the origins of this pastoral order can be traced back to the English Garden of the 1700s it was soon translat­ ed into a range of native idioms all keen to express sen­ sory freedom of nature. In a sense the Anglo American connection was uniquely united around similar political themes. The English libertarian movement of the Whig Party (Glorious Revolution) has similarities to American Romanticism in that both seek rejection of monarchi­ cal authority. This transition describes a shift between the idea of ‘improving’ English estates to a combination of Deism3 and commercial exploitation as the basis for American progress. In the US this ambiguity took on the vivid appearance of the Jeffersonian grid vying with the rambling and circuitous ‘nature’ of the romantic land­ scape. Arguably Central Park set a precedent that grad­ ually resolved itself into the rational and legal distinction between public spaces of the grid and the walled devel­ opments and gated communities in between. This division can be broadly understood as the separation of wholly public space from varying degrees of the public­private space of planned residential communities. Today entering into such a development means you are within the HOA’s own legal system, which – as long as it doesn’t contra­ vene state or federal laws – has the ability to make up its own rules. In order to ensure a unified and pleasant nature developers have successfully campaigned for aesthetic principles which echo the Picturesque rules and romantic affects of English landscape design. Here ‘verdant na­ ture’ requires an application “for hedges more than two inches in height or eight inches in length”4, ‘scenic vis­ tas’ mean “no live trees with a diameter in excess of four inches, measured twelve inches above ground […] may be cut without prior approval of the Architectural Review

V38_biwe_FINAL.indd 33

Board”, and a ‘haunted stream’5 is for the contemplation of strictly club members, their guests, and invitees.

Buying a home usually implies a legal obligation to comply with the rules that the HOA has laid down in the covenants, conditions and restrictions (CC&R) of pretty much all deeds for houses within planned developments.

As a result the HOA is a quasi­public entity that main­ tains the general appearance and guarantees a coher­ ence of lifestyle for all owners within the development.

Even though you own a house the developer continues to enforce influence upon its appearance through ar­ chitectural guidelines and the actions of the association president or the ‘architectural’ committee. Since such a large portion of residential developments are subjected to HOA it follows that the character of much urban space in the US is enforced by ‘elected’ residents with spare time, money, and an interest in politics. An architectur­ al training or aesthetic education does not seem to be a prerequisite. If the Romantic spirit began as a solitary contemplation of sublime nature, which the Picturesque translated into a didactic set of aesthetic principles, then these principles now reach far and wide across the US. Living free in nature means you will have to comply with the rules!

1

William Wordsworth, ‘I Wandered Lonely as a Cloud’, 1804.

2

Overheard conversation between a non­resident and a fisherman at The Lakes of Tempe.

3

Authors note that Deism denotes that God resides in Creation.

See: Elizabeth Barlow Rogers, Elizabeth S. Eustis. John Bidwell, Romantic Gardens: Nature, Art, and Landscape Design. (David R Godine, 2010) p.55.

4

Compton Village Homeowners Association Architectural Guidelines.

5

‘The Haunted Stream’ (1834) is an illustration by Samuel Palmer that dwells on the mythical landscape with a solitary figure look­ ing upon a body of water and moonlight reflection.

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21/01/14 14:41

Landscape with the Marriage of Isaac and Rebecca - Claude Lorrain 1648.

“Romanticism promotes the abandonment of social convention” E.B.R “Lakes in a placid and sinuous outline” E.B.R on DCap Brown “The mountain and the deep gloomy woods” E.B.R on Wordsworth Middle ground occupied partial ruin and background distant sublime nature.

The Lakes Community Association Rules “natural or earth colored stone may be used in conjunction with grass ” General Rules: Rule #5 “8. Special activity: Those activities involving members, with management approval, which may include guests and invitees and may require reservation of selected common areas and facilities.” A. Definitions: The Lakes Community Association Rules and Regulations It is the intention of the LCA to ensure that the overall landscaping theme is a well-maintained lush green, which has made The Lakes Community uniquely appealing to property owners. General Rules: Rule #5

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El Rio de Luz - Frederic Edwin Church “the best emblem of unwearied, unconquerable power, ... how shall we follow its eternal changefulness of feeling? It is like trying to paint a soul” - Ruskin describes the “truth of water”. E.B.R A distant canoeist at daybreak in the tropical rainforest.

Botanical studies of flora and fauna from 1857 trip to South America

The Lakes Community Association Rules “Palm Trees shall be planted no closer than 5 feet to the Lake wall.”

TREES & LAKE WALL: RULE #5: LANDSCAPING “1.3 Canoes and kayaks shall be no longer than 18 feet.” - Watercraft Allowed. BOATING RULES “LAKEFRONT EASEMENT: Each lakefront lot contains a 40 foot easement in favor of the LCA as measured from the rear lot line inward. This easement extends 25 feet into the lake and 15 feet into the lot measured from the shoreline. This easement is provided to accommodate the operation and maintenance of the lake and lake systems.” - RULE #2: EASEMENTS AND SETBACKS

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Invited Journal - Sole Author The Cooling Table - Fabric Architecture, Sketches, Shade.

January 2009 Fabric Architecture is published by the Industrial Fabrics Association International. Volume 21. Number 1. ISSN 1045-0483. P.48. National distribution.

This article describes a working model for a prototype structure for an outdoor dining pavilion that was designed and constructed on the campus of Arizona State University in spring of 2008. The pavilion is intended as a gathering point and a place of interaction for ASU freshmen.

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Conferences

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III.B.06 Conference Procedings My portfolio of published work includes a sole-authored book, book chapters, peer-reviewed academic papers and invited journal contributions. This work offers scholarly and creative reflection upon my interests in design-build and ordinary architecture.

My most significant publication is my first book Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing published by the AA. This book was the recipient of the The Deutsches Architekturmuseum (DAM) Book Award (Typology) at the Frankfurt Book Fair followed by reviews from the Los Angeles Times, The Architect’s Newspaper and Icon Magazine. This work is complimented by numerous invited publications including The Princeton Architectural Press (306090), the AA Files, Volume, Uncube along with articles in Japan Architect, Journal of Architecture, Sunday Times and Architecture.

My most recent work offers an interpretation of “the ordinary” in the wake of the housing market crisis of 2008 and abandoned “commercial vernacular” of the American strip. This includes an accepted journal publication in MAS Context titled I on the Streets that documents windowless street façades in Lincoln Nebraska.

Publication in the field of design-build includes scholarly reflection on pedagogy, fabrication technology and history/ theory. It offers evidence of regular academic reflection through conference paper proceedings and journals of regional, national and international standing. This includes two co-authored papers with graduate students (see III.A.05 Student achievement/outcomes).

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ENGINEERED LUMBER AND “ TACIT KNOWLEDGE” OF NEW CRAFT IN ARCHITECTURE. Jason GRIFFITHS UNL\ Architecture Hall, 1400 R St Lincoln NE 68588, USA

Abstract Notions of “tacit knowledge” in architecture are often (erroneously) presented by the profession as a counter-­‐productive resistance to automation (i.e. craft v manufacture etc.)

This paper suggests that this (false) dichotomy has been challenged by new making methodologies of engineered lumber and the re-­‐emergence of mass-­‐timber structures. It presents the pedagogy of “design-­‐build” teaching as a reappraisal the craft ethos within education in the light of both Mathew Crawford and Richard Sennett’s ideas on new work activities. At its core lies the notion that “learning by doing” and the American Arts and Crafts’ ontological study of authenticity is a unique branch of architectural education -­‐ an approach once characterized by the reactionary individualism of American architecture summarized by Charles Greene’s mantra of “fingerspitzengetfuehl” (“fingertip feeling”). The reason to revive this discourse is based on the re-­‐emergence of wood (in the form of advanced engineered lumber) as a credible alternative to modernist industrial construction technology. In essence this new materiality is more akin to pre-­‐industrial “tacit knowledge” than industrialized buildings per se and therefore requires its own intellectual context. The paper asks how traditional themes of craft are reappraised in contemporary work that is both “useful and intellectually absorbing” and how the visceral pleasure (“corporeal anticipation”) of making is played out through emerging forms of materiality. However this proposal also recognizes that design-­‐build has a uniquely ambiguous relationship with conflicting notions of work ethics. While it must encompass the craftsman’s intuitive approach it is also part of a much broader collaborative (architectural) network of “knowledge workers” and suggests ways that craft positively challenges increasing Taylorist simplification of tasks in favour of new cognitive skills within architectural production.

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Conference Proceedings - Digital Haptic – Learning for K-Zell & Repurposed Political Ply.

March 2011 Peer reviewed conference proceedings of two paper from -Acadia 2011 Regional Conference – Parametricism “Digital Haptic – Learning for K-Zell”. This paper describes the pedagogical model of fabrication-centric studio as one example of the combination of digital and analogue design practice.

“Repurposed Political Ply”. This paper describes a building canopy that has been formed from recycled political campaign boards. This project will be described from two perspectives: In the physical sense of its material and fabrication and in the experience of microenvironments and via the embedded computer.

For the full publication please see hardcopy included in package.

330

Conference Proceedings - Man + Water + Fan = Freshman.

October 2008 Peer reviewed conference proceedings. ACADIA 2008: Silicon and Skin.

“Man + Water + Fan = Freshman” - This paper describes the natural process of evaporative cooling and the digital fabrication of the ASU Outdoor Dining Pavilion - ACADIA 2008 Silicon and Skin Conference proceedings. P.208-213 Circulation – National.

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Man + Water + Fan = Freshman Natural Process of Evaporative Cooling and the Digital Fabrication of the ASU Outdoor Dining Pavilion

Communication

Digital Fabrication

Environment

Jason Griffiths Arizona State University

To ThE EaST oF JohnSon CiTy TX iS ThE LynDon B. JohnSon’S FamiLy homE.

Part of the Johnson Estate

2

is given over to a working farm circa 1870 that presents various aspects of domestic practice from the era.

This includes a desert fridge which is a simple four-legged structure with a slightly battered profile that’s draped in calico. its principle is simple; water from an upturned jar is drawn by osmosis down the sides of the calico where it evaporates in wind currents drawn though a “dog run” between two log cabins. Cooled air circulates within the structure and where cheese and milk are kept fresh during the summer. The desert fridge is a simple system that reaches a state of equilibrium through the natural process of evaporation.

This system provides a working model for a prototype structure for an outdoor dining pavilion that was designed and constructed on the campus of arizona State University. The desert fridge is the basis for a “biological process”3 of evaporative cooling that has been interpreted in terms a ritual of outdoor dining in arid climates. The pavilion is intended as a gathering point and a place of interaction for aSU freshmen. The long-term aim of this project is to provide a multiple of these pavilions across the campus that will be the locus of a sequence of dining events over a “dining season”4 during the fall and spring semester.

This paper describes how the desert fridge principle has been interpreted in the program and construction of the dining pavilion. it explores a sequence of levels by which the structure, via digital production process, provides an educational narrative on sustainability. This communicative quality is portrayed by the building in direct biological terms, through tacit knowledge, perceived phenomena, lexical and mechanical System

systems. The paper also describes how these digital production process were used in the building’s design and fabrication. These range from an empirical prognosis of evaporative cooling effects, fluid dynamics, heat mapping and solar radiation analysis through to sheet steel laser cutting, folded plate construction and fully associative variable models of standard steel construction. The aim of the pavilion is to create an environment that presents the evaporative cooling message at a multiple of levels that will concentrate the visitor in holistic understanding of the processes imbued within the building.5

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ACADIA 08 › Silicon + Skin › Biological Processes and Computation

When you look at a building what do you see?

Henri Lefebvre

1

1 Jars and a table cloth.

For invited freshmen the experience of the pavilion begins prior to actually arriving. Each dining event is preceded by an invitation that is sent to the freshmen in a simple glass jar.

The jar contains instructions printed onto a clear plastic sheet that describes not only the event but also what to do with the jar. The role of the jar is to establish an overture to the building through its iconography and association of its perceived functions. The jar comes in advance of the whole project and sets the tone for what is to follow.

Excerpt from an invitation: “INSTRUCTION: THIS JAR IS AN INVITATION TO DINE AMONG FRESHMEN. PLEASE BRING IT ON (date) TO (campus location).”

The simplicity of the jar is estranged by the nature of its role as an invitation.

“INSTRUCTION: WHEN YOU ARRIVE FILL THE JAR WITH WATER AND INVERT IT ONTO THE CLOTH STRIP WITH THE PLASTIC STRIP PROVIDED.” Using the jar in this manner is a deliberate appropriation of familiar dining rituals i.e. a glass vessel of liquid at each setting. However the jar is inverted. Water gradually seeps out of the jar and is drawn under osmotic pressure through the canvas. This canvas, like the inverted jar, shares affiliations with the dining ritual. Like the tablecloth in conveys a sense of a formal event. However, like the jar, the cloth is estranged from this familiarity i.e. it hangs inwards and invites the controlled accident of split liquid.

2 Fans—fluid dynamics The jars and the cloth present two elements in the chain of events that make up the pavilion. At the center of the table is a 16” aluminum fan that hangs below the surface of the table which is driven by a roof mounted 50 watt direct current PV panel6 (For the prototype structure the PV fan was hardwired to the DC motor although in the final proposed version solar generated electricity would be stored in batteries concealed below the floor structure) and drives air downwards onto a diverter and then horizontally through the inverted tablecloth. Air is cooled through the evaporative process and then blown onto the legs and midriff of the students dining at the table. The dinner continues and the students remain in the cooler environment as the water level in the jars gradually recedes in front of them. An empirical analysis of the system demonstrates a considerable drop off in ambient air temperature up to six feet from the tables center (Figure 4).

This can be demonstrated by a computational fluid dynamic model for an evaporative cooling system that is based on a 16" fan7 generating airflow rates approx 2000 CFM operating at 1500 rpm. Air is blown equally in four directions below the table through an evaporative cooling membrane of heavy cotton (total area of 24 sq.ft) woven fabric with strands removed to provide greater percentage of perforation. Our working model studies 8 revealed that the most effective quality of perforation was around 30% of the fabric. These factor produced over a 20 degree difference between the table center and a distance of 6 feet in an ambient temperature of 98 degrees and during relative still air conditions. These temperatures were highly affected by wind currents around the pavilion being considerably cooler sitting in a down wind position.

FigUrE 1. DInIng PAvIlIon

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The scheme provides a cooled microclimate around the pavilion that is designed to sustain conversation, prolong the event and engender student interaction. However the empirical nature of this project is not, in itself, enough to directly communicate the message of the buildings system. This scheme is also arranged to communicate, via a sequence of physical components, several levels of comprehension of the buildings core concept. Each component of the building transcribes its particular role in the larger scheme in way that assist the visitor in a tacit and visual understanding of the buildings message and performance.

3 Visual and dynamic communication of internal systems.

Providing the visitor with the sight of a jar of water that gradually empties offers a direct visual and quantative experience of the building’s process. Henri Lefebvre writing in the Production of Space asks, “when you look at a building what do you see?9” In so doing refers to those acts, events and flows that occur within a building but are not considered architectural material per se. Lefebvre argues that such experiences are equal if not greater among architectural experience but commonly considered ancillary to conventional architectural discourse. A building may contain a swamp cooler although it is rarely considered as an architectural element. The change in state of a body of water passing through it is even less architectural. In this respect this pavilion attempts to expose similar aspects of the actual flows within the building and bring them to direct architectural contemplation. In exposing the physicality of the water along with its apparent change in state the building aims to engage and inform visitors about hidden environmental systems in a non-lexical way. Here the water becomes direct information and that information is conveyed as a physical fact directly and without recourse to codification, presented calculation or indeed any other assimilated mode of communication. In this respect it attempts to operate within a more universal context that belongs the category of global “Arid”.

4 Fans—Function and association.

However the aim of this building is to communicate its concept over several of levels of environmental experience. Another such level demonstrates how the buildings language might dovetail with its function. If the recent history of sustainable design were to be considered in iconographic terms then the iconography of the fan might be central to this contemplation. While the role of the fan is crucial to the physical operating systems of sustainable design it is also a key element by which the ethic is promulgated within the widening debate on sustainability. At times the iconographic power of the fan exceeds its ability to perform effectively.10 This “both and”11 interpretation of the fan has a particular take on the project and, in particular the design of the dining table. The functional necessity of the under-table air forces the tables fan out of sight and below the table and ensures that it plays a subservient role as a communicative architectural element. However the design of the table addresses this issue by developing its language through a projected pattern of enmeshed fans arranged to make up the table surface. This pattern is laser cut into 1/4” paintlock mild steel sheet that is then bent and formed into the table12. However this projection is also developed from a functional reading of this particular type of table and of outdoor furniture generally. In this case the level of perforation is designed to allow the passage of cool air through the table and onto the diners. The perforation also borrows from the functional typology of outdoor furniture that is perforated to allow rainwater to pass through it and also to reduce its thermal mass in hot temperatures. In this way the fan acts as a visual communicator and simultaneously a functional element.

5 Structure However the size of the table means that it can only effectively communicate its performance within close visual proximity. It is too small to propagate its message to the wider context of the campus.

This scale of communication is then transferred to the shade structure that sits above

FigUrE 2. DESErt FrIDgE AnD EvAPorAtIvE CoolIng MoDEl.

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the table. Here again the iconography of the fan is assimilated into the building as a mesh of primary and secondary structural roof beams along with perforated infill patterns. In this case the fan iconography was developed by generating a Veroni diagram of the regulating lines of individual fan axes. The underbelly of the structure (lit at night) presents a prospect of this assimilated pattern language seen from afar and from various angles around the campus. Again these iconographic elements are inextricably bound to the structure’s functional responsibilities and place in the chain of activities that can be traced back to the physical (and conceptual core) of the jar of water. In this case the structure is designed to support sequence of PV shade panels. These panels are set above the shade perforated shade panels and comprise of polycrystalline PV elements laminated between sheets of toughened class (again this is “as proposed”. The actual prototype incorporates a conventional framed PV panel). Each panel is designed to directly charge the batteries that are stored below the suspended floor.

6 Parametrics and site position.

The arrangement of these patterns are specific to the location and orientation of each individual pavilion.

Each pavilion site is chosen for its proximity to existing shade on the campus and its exposure to direct sun. Each pavilion requires a combination of both i.e. a certain amount of direct sun to charge the batteries and an amount of shade for afternoon comfort during low sun angles. Each site is derived from a set of solar radiation studies13 taken from a FigUrE 3. (toP lEFt) DEtAIlED SECtIon

range locations from across the campus. These studies were then interpreted in terms of

FigUrE 4. tEMPErAturE DroP oFF ArounD tABlE (thE hEAtIng

the configuration and position of the PV units within the roof structure i.e. enough area to

CoIlS BEloW thE SurFACE WErE DESIgnED to WArM DInErS

provide adequate solar exposure to charge the batteries.

Each structure responds to these different configurations of light and shade pattern in

through ContACt DurIng thE CoolEr EvEnIngS) FigUrE 5. lASEr FAn PAttErn FunCtIonS to AlloW PASSAgE oF

that they are designed as permutations of a basic parametric model. Each model is com-

CoolED AIr through thE StEEl tABlE AnD to rEDuCE thErMAl

prised of a network of standard steel sections that are joined with associative connections.

MASS.

In this way each unique pattern of light can be accommodated with minimal alterations to

FigUrE 6. rooF StruCturE AnD PErForAtED PAnEl PAttErn

the basic underlying sketch of structural lines within the program14. Modifying the sketch

FroM StAnDArD StEEl SECtIon

allows a speedy alteration of the whole model and each model is directly translated into

FigUrE 7. (toP rIght) rooF StruCturE AnD PErForAtED PAnEl

cutting patterns that that can be quickly generated as production information for steelwork

PAttErn gEnErAtED FroM ASSIMIlAtIon oF FAn IMAgE AnD vE-

fabricators15. Together these aspects of the roof structure aim at another interpretation of

ronI DIAgrAM oF FAn AxES.

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the buildings role. Here the core theme of the building finds another visual and functional element arranged to communicate the buildings stance on sustainability.

7 Conclusion.

In this project function, message, performance and iconography are inextricably linked in theme of communication and education of sustainable design.

The ASU outdoor dining pavilion present a prototype for a building that is designed to engender social discourse among freshman students on entering the university. This paper suggest that the theme sustainability is herein portrayed architecturally through multivalent readings of facets of a core concept of evaporative cooling.

While the workings of environmental aspects of architecture are, in many ways, invisible at times architecture conventionally relies upon the mechanical aspect of environmental systems to portray such allegiances. In most cases however these mechanical systems are not considered to be architectural. This project suggest that such conventionally internalized themes can be explored through both tradition and non-traditional architectural modes of communication. The core concept of this project is strategically set at the buildings center of focus. Here the natural process of cooling is played out as part of both a leisurely and informative ritual for diners. In this way the building is to be seen as educational in a direct physical way. From this conceptual core of natural evaporation emanates several “transferences” that are portrayed through the buildings composition, fabrication, structure and environmental effect. This paper describes these processes and how such aims can be achieved through digital design. It suggest that a digitally assisted approach to sustainable design can offer a wider set of considerations that include, but are not exclusive to, a functional interpretation of sustainable goals.

FigUrE 8. ECotECt SolAr rADIAtIon DIAgrAMS For DIFFErEnt

8 Endnotes

CAMPuS loCAtIonS to ASSESS oPtIMAl Pv PAnEl

1.

The Production of Space—Henri Lefebvre Wiley-Blackwell (April 15, 1992).

ArrAngEMEntS.

2.

Lyndon B. JohnsonState Park and Historic Site. Hwy. 290 E. at Park Road 52, Stonewall, TX 78671

FigUrE 9. tWo vArIAtIonS oF thE PArAMEtrIC SolIDWorkS MoD-

3.

http://www.acadia.org/acadia2008/—Call for papers text.

El uSIng ASSoCIAtIvE StEEl SECtIon MoDElIng MoDIFIErS

4.

“A Pavilion will be a unique but elemental and simple structure. Approximately 12’ x 16,’ (thus very small), each Pavilion will feature an architecture that is designed to accommodate intimate student gatherings in a

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very purposeful manner. The designs will be demonstrations of sustainability, community, inventiveness, and will add a vital physical contribution to the campus. But as the vessels in which the most engaging conversations on campus are sponsored, they will represent something even larger” Brief from the Outdoor Dining Pavilion, Dean of School of Architecture and Landscape Architecture, ASU in collaboration with Bruce Mau. 5.

All detailed design and fabrication work carried out in collaboration with students from ASU Department of Architecture and Landscape Architecture, Integral studio , Spring 2008

6.

DC Motor: Permanent Magnet, Totally Enclosed Non-Ventilated, HP 1/35, RPM 2350,Voltage 12 DC, Full Load Amps 3.8,

7.

Aluminum Fan Blade: Diameter 16 Inches, Motor Power Rating 1/40HP, 1050 RPM

8.

Initial working model was based on a simple soaked cloth and re-arranged house fan.

9.

The Production of Space—Henri Lefebvre Wiley-Blackwell (April 15, 1992).

10. For example the RIBA center in Portland Place, London proposed a wind turbine on the roof. “RIBA’s wind turbine hopes blown out by council planners. The RIBA’s plans to provide a model for sustainable architecture have been foiled by Westminster City Council, which is set to refuse planning permission for two wind turbines on the roof of its headquarters building in Portland Place. Planning officers are recommending that the Allies and Morrison scheme to add the 20m turbines to the top of the building should not go ahead.

Officer Robert Ayton said the objections were ‘on the basis of visual impact’. http://images.google.com/ imgres?imgurl=http://www.greenconstruction.co.uk/images/Bookshops_03.gif&imgrefurl=http://www.greenconstruction.co.uk/archive/roundup034.asp&h=150&w=150&sz=9&hl=en&start=1&um=1&tbnid=GACii_9Y2t WeBM:&tbnh=96&tbnw=96&prev=/images%3Fq%3D%2522RIBA%2Bwind%2Bturbine%2522%26um%3D1 %26hl%3Den%26client%3Dsafari%26rls%3Den%26sa%3DG 11. Learning from Las Vegas P.72—Venturi Scott Brown Izenour—The MIT Press 12. For 20 gauge the laser ran at 2900 mm/minute at 3600 Watts while for the 1/4” ran at the same feed rate but at 3600 Watts.

13. http://squ1.com/products/ecotect 14. For more information on this see http://www.solidworks.com/pages/onlinetour/popup.cfm 15. All fabrication carried out by K- Zell Metals, Inc 1725 East Broadway Road, Phoenix, AZ 85040-2407 and Fine Line Fabrication 17464 N 25th Ave, Phoenix, AZ 85023

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Conference Proceedings - Mutations of the AIGA – Narratives of objectivity.

October 2008.

Conference proceedings ANOTHER NAME FOR DESIGN: Words for Creation, from the 6th International Conference on Design History and Design Studies, ICDHS 2008 OSAKA P.492-495. Circulation – International.

This paper “Mutations of the AIGA – Narratives of objectivity” describes the process of transference from the graphic original via digital fabrication into architectural scale.

Proceedings not included in this document.

338

Conference Proceedings - Pop-tech-flat-fab.

June 2008 Peer reviewed conference proceedings from Changes of Paradigms in the Basic Understanding of Architectural Research. EAAE / ARCC 2008.

This paper, “Pop-tech-flat-fab”, describes the theme of simultaneity between the digital and analogue by examining the production of two projects. These are: a pair of prototype bus stops built in Sioux City* and a shade structure for downtown Phoenix in the USA. EAAE / ARCC 2008 Changes of Paradigms in the Basic understanding of Architectural Research conference proceedings.P.225-267. Circulation – International. * Please note that the Sioux City Bus Stops were completed the semester prior to joining ASU however is paper was written after my appointment as an assistant professor.

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Pop-tech-flat-fab 1

Pop-tech-flat-fab

Fig. 1 – Completed bus stop and proposed multiple typologies.

This paper for the EAAE / ARCC 2008 addresses the theme of simultaneity between the digital and analogue by examining the production of two projects. These are: a pair of prototype bus 1 stops built in Sioux City and a shade structure for downtown Phoenix in the USA. The conceptual basis for both these projects coincides with the question of how “phenomenon 2 attached to a certain locality” might be created through advanced methods of digital fabrication.

Both projects offer an apology for rapid prototyping techniques applied to an understanding of 3 “contextualism” . Both projects are presented first as a contextual and symbolic response to an interpretation of “locality” and then re-appraised in technical terms. In both projects these technical aspects aim to advance not only the methods of physical production but also the transition of design methods to 1:1 fabrication. In the case of the Sioux City Bus Stops this idea is represented through an analysis of two-dimensional cutting techniques and developable surfaces. In the case of the Phoenix Shade project this idea is then developed through fully associative digital models. Together these projects attempt to accelerate the physical production of their symbolic and contextual content through a discussion on parametric modeling that allows an efficient production of a set of different permutations. By associating the symbolic/contextual with the parametric these projects suggest and alternative procedure to the traditional and prevalent trope of “digital architecture” and its co-dependence upon explicitly biomorphic, 4 computational and quasi-naturalistic language .

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Flat Cut

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The study of flatness in architecture has a particular place within the expanding discussion of digital fabrication and its relationship to the built environment. This chapter suggest that while both the additive and subtractive methods of rapid prototyping have crucial roles to play in the design process it is the various scaled operations of two-dimensional CNC cutting that offer closer ties to conventional construction methods. The following offers a description of this method in the form of two bus stops that where designed for Sioux City Iowa in the summer of 2007. This text describes the background to the project and then presents the design and fabrication process as an aligned methodological transference from the model to full scale.

Background In this case those formal and textural qualities were the main design priorities at the beginning of the scheme. The project was initially generated in discussion with a number of Sioux City public agencies that included the Chamber of Commerce and Downtown Partners along with key 6 contributions from various steel production companies . After the schematic design had been agreed the project was presented to the first year graduate students of Iowa States Architecture program as the focus for the summer session of the “Service Learning� course. The project was then developed in detail and constructed by the students under the guidance of the studio instructor. The whole course lasted eight weeks.

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The key considerations of this design center on the role of the bus stop within the physical and cultural context of downtown Sioux City. As architect Nathan Kalaher points out the city has experienced ad ongoing “erasure” of the center between 1930 and 2003 and is still witnessing a 7 depletion of its building stock . Sioux City’s downtown areas are thinning out as former industrial warehouses are being demolished. This project responds to this context by mimicking those absent building typologies in quasi-historical scaled down forms. Proposals are presented as an apparition of what once existed and now reappears in a new form. The two we selected were “Smoke Stack Industrial” and “Storefront” which were chosen from a range of other reduced profiles. These forms where functionally adapted to the role of a bus stop to give shelter and provide good sight lines for the bus driver looking for waiting passengers (hence the bite out of the front left hand corner and missing leg). Another facet of this contextual reflection appears in the detail and decoration of the buildings elevations. All sides of the building are indiscriminately tattooed with abstractions of Prairie Style decoration that were generated from proximate sources. One appropriates from Steele / Purcell Elmslie’s Woodbury Court House and the other 8 from Louis Sullivan’s Babson House which were then collaged onto the form in a manner that externalizes and brings them to the close attention of the daily bus traveler. The final consideration in terms of these contextual links is the use of sheet steel as the main construction material. Of the remaining industries within Sioux City steel fabrication is one of it most vibrant.

The city is often described as “Midwestern rust belt” claiming four large steel fabrication plants each making extensive use of CNC laser and plasma cutting capabilities. It is this aspect of the projects construction that forms the focus of this text and speculation on the “flat-cut” nature of mainstream digital fabrication.

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Likeness In part this speculation is based around the likeness between the design method and the fabrication technique. The key issue here is that the stock of the design model is manipulated in almost the exact same way as the full-scale stock. The consequences of design decisions can be more effectively simulated especially when full-scale stock sizes are replicated at smaller scale

Pop-tech-flat-fab 4 and with a similar material. This relationship cannot be applied to the additive process of the three types of 3D printers wherein the full scale construction method is drastically different both in terms of the material and in the manner in which is cast. This may be contested. At present professor Behrokh Khoshnevis is producing a 1:1 3D printer designed to produce concrete 9 buildings called the “Contour Grafter . However the issue of digital fabrication in architecture can be roughly categorized in two ways: Those that we can use today and those that we cannot.

While both aspects of this discipline require extensive consideration in architecture it is the former that is focus of this paper. The following offers a detailed account of the construction process evaluated in terms of this “likeness” between design activities and method of production.

Pattern The final arrangements for the external patterns were agreed after a lengthy process of trying alternatives. These patterns were generated from photographs and hand drawings of existing Prairie school designs. Here the issue of what constituted “localities” became an issue of contention among the class and with the clients. While the students had been encouraged to base the pattern on the contextually familiar language of Midwestern Arts and crafts they had also been encouraged to re-appraise this language in terms of contemporary iconography. This study took the form of an assimilation of images and graphics that portrayed Sioux City’s current

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economic and industrial base i.e. cows, computers, steel and so on (See Fig. 2). However the consensus amongst the clients and the students was that the sense of estrangement here departed from what was generally considered to acceptable within this context.

Fig. 2 – Contemporary iconography inserted into Arts and Crafts decoration.

The range of alternatives (sans contemporary iconography) were then quickly tested by scanning these drawings as black solid shapes on white background and autotracing them in Illustrator to produce a set of polylines. These lines then formed the basis of the scaled down laser cut models. This process allowed us to quickly test the levels of transparency and topological continuity of the panels. The “autotrace� command could be used to produce a filled surface that can be moved around to test its integrity both as a digital model and then as a laser cut panel of the model. The method was used to analyze all the surfaces and make sure that all patterns held together. From our various choices we produced a number of models (in addition to the texture mapped renderings) used in presentations to the clients and fabricators and upon which we made or final choices. These illustrator drawings served to initiate one aspect of our discussions with both State Steel and Missouri Valley Steel on the problems with laser cutting. Initially it was hoped that these autotraced drawings would go straight to the fabricators for the final cutting although when the actual cut times where simulated using the companies NestPRO software they were considered to be too long. This testing process allowed us to get closer to the most efficient method of line quality and to iron out any unnecessary pause point during the laser cutting process. It transpired that the best line production would be an Autocad polyline that was generated from initial spline drawings and then converted to a polyline. In addition to this all acute angled junctions needed to filleted with a radius of no less that .02 inch in order for the laser cutter to cut the junctions without burning. The final cutting including the panel profiles had a travel distance of approximately 4000 ft at a rate of 100 inches/min with a total cut time around 8hrs for all panels.

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The issue of flatness became apparent again when we began to work on structural alternatives.

Both steel companies advised us on the appropriate dimensions for their steel supplies that were principally to do with the nominal thicknesses, grain direction and overall dimensions. However the maximum steel sizes were ultimately conditioned by the 7x9 bed size of the laser cutter. All panel sizes needed to be within these proportions or capable of being efficiently nested as multiples within these proportions. Again this was something that we could simulate quickly on the laser cutter as save fabrication time. However these considerations had even greater effect on the structural solution of the project.

Initially the designs had been based on a frame and panel system that was generated from studies of existing aluminum bus stops. This meant that the panels could be thin and nonstructural. However we began to think that this might have a limitation on the longevity of the proposal. After our initial proposals to the Chamber of Commerce and open session of Sioux City Council we were encouraged to develop them as prototypes for more stops and other cities within the region. Additionally the steel companies were suggesting that they could be a flat pack system that could be delivered and assembled locally. As a consequence we changed the structural system to a folded plate method and made the decorative panels integral to the structure. The new system was to be entirely cut from sheet steel and connected with brackets.

The panels were connected through tapped holes that were secured with 1/2'� dia. #20 threaded stainless steel hex-headed security bolts. This system required further analysis of the topological continuity of the panels and their lateral strength that was in effect a form of cross bracing disguised within the pattern. Additional strength was generated from the right angled folded plate panel ends and in the pitched roof form. In both cases all two-dimensional laser cutting needed to be done in advance and that those patterns needed to have a solid border along the fold lines.

Once they were laser cut they then folded using a 200-ton NC press brake for accurate bend angles. Panel sizes also needed to respect the brake opening and accessibility issues. As the brake is predominantly used with steel these issues translated back to the design models and simulated with the laser cut chipboard model panels.

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The preference for the flat pack version was also conditioned by the painting options.

At one point during the transition to the flat pack version we had considered a fully welded version. This proposal had more of a “one off “ quality to it but was considered to be a safer bet both structurally and in terms of avoiding the complexity of designing and positioning the threaded holes and corresponding slotted holes. This version would then imply that the welded whole would have to be sprayed in an auto body shop by hand and not without some difficulty (especially within the chimney on the smokestack version). In effect this meant that the bus stops were considered more as artworks than a system for potential mass production. It seemed that, for pedagogical, reasons it was important to pursue them as a hybrid of a customized and mass produced system. This was furthered by the encouraging support from Sioux City Council for further versions. This issue extended to the painting options.

Our second alternative for paint was through a company called Frisco who have a manufacturing facility also in Sioux City. A large proportion of their work includes the mass production of components for age equipment that includes an extensive powder coating facility. The design of the flat pack bolted version was also influenced by this system and essentially aligned with age equipment component production methods. In addition to the panel size restriction of the laser cutting bed we were also restricted by the size of the 5’x102” throat of the shot blasting booth, the charging and spraying booth and the infrared heating run all of which were arranged in sequence along a hanging conveyor system. At one point we had been analyzing the possibility of getting the fully welded version through. However this was restricted by the booth throat area and also because this painting system was most effective on objects that had no hidden or internal faces.

Therefore our pre-assembled pieces could be more effectively painted using a system that was designed to provide a specification that would withstand all weather exposure. In this respect the most vulnerable parts of the project were the sharp edges of the pattern in that the paint would thin along the edges. This problem was reduced by the shot-blasting phase of the painting, which would effectively round these edges giving a more even coverage. This alignment with the industrial process even extended to the paint finish and solved our anxieties about the right color.

Although Fimco’s were happy to source color options for us the plant mainly ran on bulk cans of stock ag colors of black and the emergency colors red, yellow, green and blue. Frimco’s spay schedules are arranged around large batches of components of the same color. We felt that these colors were especially appropriate not only for production reasons but also because they would have some contextual link to the agricultural foundation to Sioux City. The built versions were the blue and the yellow although future versions would incorporate the full range of colors.

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Parametric versions 11

Initially each bus stop was to be a unique reflection of its position within the city and as a consequence built as a “one-off”. The next phase of this project considers a set of variations each based on the idea of “absent typologies” (for example a house with a chimney and a warehouse). Subsequently however clients asked for a developed proposal for multiple variants to replace existing bus stops throughout the area. This presents a direct challenge to the notion of mass customization and how it is to might be achieved through parametric modeling software.

This development in the project represents one version of the much wider problem of the move from conventional methods of design production and fabrication to fully associative digital modeling and rapid prototyping. The essence of this question lies in how these software environments deliver projects of comparable quality to those that are mass-produced while retaining their individuality. Furthermore can this diversity be delivered without excessive increase in design, information production, fabrication, delivery and assembly cost? (i.e. what is 12 the point at which it “touches the ground” ) Working both with the steel companies and Fimco gradually pushed the project in the direction of the flat panel system. The realization of this project became more conditioned by industry standard production techniques. Part of the reflection of this project also considers the way in which the design process might further the notion of mass customization while retaining a practical understanding of its effect on production information and fabrication methods. In this respect it is the earlier stages of the design that should be considered more widely in the manner in which it incorporates methods of digital morphogenesis. While the Sioux City project was not in itself developed into a parametric environment these considerations did have direct bearing on the subsequent project for Phoenix “Pocket Shade” project.

“Cross now” Context and symbols

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Like the Sioux City bus stops this project began with a symbolic interpretation of the context. In this case elements of this context were: the generic condition of a typical downtown intersection, a framed view of the city skyline and the isotype figure of the “cross now� symbol for the traffic light. These cultural aspects of non-specific place are considered in relation to the functional question of providing shade for pedestrians in one of the hottest climate within the US. Each corner of a typical Phoenix intersection presents two alternative aspects towards the city when waiting to cross the road i.e. north and east, north and west, south and east and south and west and each orientation present a particular skyline. The project responds to this skyline by mimicking its silhouette in an offset thick line that becomes the top of the shade/cantilevered structure. While the nature of this profile is largely an aesthetic device this aesthetic is arranged a marker of both a place and a time within a rapidly developing downtown environment. In the future this profile will act as register by which the public will be able to calibrate physical change within the city.

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The second interpretation of “aspect” within this scheme is considered at a more local scale of the road width and crossing time. Each structure is arranged to face east west (reducing the profiles to either a north or south orientation) to provide as much shade as possible from the lower east-west sun). This vertical section of the shade provides protective screen for pedestrians waiting to cross the road and while watching the traffic lights and cross indicator. The project responds to this view by altering the percentage transparency and nature of the perforation of the screen to suit eye heights and sightlines for the pedestrians.

This aspect of the project was combined with the “prospect” of the building as a marker and pause point before crossing the road. Part of the perforated/ laser cut cladding of this project is then arranged to act as a supergraphic that describes the buildings implicit function through the larger isotype profile of “cross now” figure. This symbol was also multiplied at small scale to add a symbolic reading to the function of shade described above.

Both the screen and the profile offer separate challenges when considered in terms of the parametric model used to design and manufacture this building.

Screen While this screen is subject to a more predicable set of constraints these constraints vary slightly from site to site. Even within the most generic and repetitious street layout each corner has its nuances and particularities. In each case the sightlines across the road will be different and the provision of shade affected by the immediate physical context of trees and building. The specific of each site give rise to specifics of pattern which then needed to be efficiently reproduced. In order to do this each pattern was generated though a set of geometric transformations that were then given a simple code e.g. 4/3BM5+BM2+BM5 etc (See Fig. 3). While this code has not, as yet, been processed as a script its rational geometric sequence can be use to accurately describe desired levels of transparency shade and opening profile.

Fig. 3 – Permutations of “Cross Now”

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The second aspect of the parametric quality of this project concerns the structure and its relationship to the skyline and the site. In order for these skylines to be quickly altered and quickly converted into production drawings the project had to be generated through one fully associative model that could allow each desired variation. We considered various software packages that allowed us to make the basic shift towards fully associative solid modeling all of which were based on the Parasolid modeling kernel eventually settling on Solidworks. The nature of the project orientated us in the direction of product design software and in particular programs that are geared towards sheet steel manipulation and folded plate geometry with associative hole pattern functions and bend type modifiers. Additionally it then provides direct methods for fully documented production level drawings that translated to NC bending and laser cutting software applications. In effect Solidworks was used to unfold our three-dimensional model and generate dimensioned cutting patterns with all hole and bending information including bend factors, 13 tapping information and bolt schedules automatically included. Each permutation of skyline could be quickly generated by manipulating the underlying sketch according to the desired profile.

This development also affected the relationship between the design activities and the steelwork fabricators. While it was more economical for the students to unfold and dimension all the drawings themselves the fabricators technicians were equally willing to do this. By using industry standard software the technicians could quickly analyze the proposal for any design flaws and fabrication problems and quickly amend them prior to fabrication. These areas of improvement 14 mainly concerned pressbrake access and steelwork stock sizes. Our fabricators would have been equally satisfied with a fully formed three-dimensional Solidworks model that they would use to provide their own orthographic cutting patterns. In most cases fabricators will customize bend deductions within software to suit their particular machinery. While Solidworks encourages designers to do this in-house it is only really effective if they have a close working relationship with fabricators and an intimate knowledge of their machinery. This is also often an economic decision on the part of the designer and based on the relative rates for in house technicians 15 compared to shop technicians . It has the additional benefits of allowing the fabricators to compose drawings directly through nesting programs and according to their current stock availability improving cost and efficiency.

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Pop-tech-flat-fab 12 Similar aspects of the cutting procedure also had an adverse affect on production time because we used two different steel thicknesses i.e. !” for structure and 20 gauge for cladding. This 16 implied two different cutting power settings for the laser cutter and therefore was cut in two different sessions. On reflection this procedure would have been more efficient if the design had been one gauge steel and fully composed as a folded plate construction system. This disparity of steel thickness would also have an effect upon powdercoating times as both shot blasting times and heating temperatures also vary according to steel thickness.

A similar reflection the disparity between the pattern cutting drawing and the Solidworks models cutting drawing also reveal areas for improvement. Despite our move to full associativity these aspect of parametric modeling still remain as separate processes in the production drawing stage. While we found that we could make improvements to the sketch-to-scan-to-cutting 17 process to eradicate the problem of spline curve incompatibility with NC output applications we could not include the perforation cuts directly into the Solidworks file. Generally the Solidworks file would be arranged to have a solid sheet of steel to establish the general arrangement of the perforated panel and then the pattern would be inserted at the end and directly into the fabricators nesting program as a DXF file.

This text suggests that an effective use of parametric modeling programs would enhance the role 18 of “digital morphogenesis” as the alternative to the traditional duality of physical models and orthographic drawings. The alignment of scaled and full-scale laser cutting fabrication would then ensue without drastically changing the effect of the final outcome.It explores aspects of mass customization and the potential role of sheet steel parametric modeling software in producing further variants of a basic form. It reflects on further improvements to the design process with particular consideration of the morphology of digital models. It concludes by suggesting that the flat-cut technique has a consequence upon both formal and textural properties of architecture that should be consciously embraced as a language that offers direct communication with readily available modes of digital fabrication.

Conclusion While this text charts a transition from one project to another in terms of its technical improvements through parametric modeling it does so under the constraint of the developable surface and flat cut architectural detail. While this is partly motivated by production efficiency and extensive use of laser cutting techniques it also came, in part, from an interest in contextualism, typologies and symbolism along with the desire for an intentional sense of flatness. As the project developed so too did the consideration of flatness as a specific architectural device. In both cases this two-dimensional appearance is intended as a register upon which aspects of context and locality are played out. Both the cutting and bending process became important methods by which the familiarity of the typology and decoration were estranged via these flattening 19 techniques. In this way the laser cutter turned out to be particularly appropriate to these aims.

The sense of compression of architecture towards an infinitely thin surface is part of its commentary and intentional aesthetic. In part this method is indebted to Venturi’s play on the 20 overtly flat signification of cutout elements of his buildings. While much of VSB’s work preempted use of CNC cutting in its detail and language it also provided important lessons on the economy of expression in architecture i.e. the flat, vertical surfaces of the building provides the most cost effective register for architectural communication. Today these expressive opportunities can be explored by architects more cheaply and quickly with advanced methods of fabrication. While digital fabrication supports a wide range of architectural outcomes it is interesting to note that in terms of the material that many of them begin in a state of flatness after which they are formed or bent into the appropriate shape. This period of flatness is implied both in the developable surface and in the double-curved surface of lateral and bi-directional sectioned structures. These two projects look for further applications for this understanding of flatness through a consideration of the developable surface and flat-cut ornamentation. They are considered in terms a particular aspect of digital fabrication from the design process through to

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Conference Proceedings - Sioux City Bus Stops - Flat Fab & There’s No Place Like Non-Place.

March 2008.

Two Peer Reviewed Conference Proceedings from 96th ACSA Annual Meeting Seeking the City: Visionaries on the margins P.507-514. Circulation – National. : “Sioux City Bus Stops - Flat Fab” & “There’s No Place Like Non-Place”.

“Sioux City Bus Stops - Flat Fab” describes aspects of mass customization and the potential role of sheet steel parametric modeling software in producing further variants of the fabricated project The Sioux City Bus Stop.

“There’s No Place Like Non-Place” describes research into aesthetics of contemporary suburban housing.

Proceedings not included in this document.

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Creative Activity

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III.B.02 Creative Activity My teaching practice has been accompanied by creative projects that include competitions, invited exhibitions, private architectural projects and comissions for public furniture and art.

In my earlier career I received recognition with prizes in eleven architectural competitions judged by international architects including Kazuyo Sejima, Richard Rogers, Jean Nouvel, Tadao Ando & Rem Koolhaas several of which were first prizes.

My work as a professional architect includes publicly comssioned furniture projects for the Maryanne Corder Neighborhood Grant. The Tempe Arts University Avenue Streetscapes Grant and an extension and conversion for the Duerinckx Residence in the Windsor District of Phoenix Arizona. Invited exhibitions include The Projects Rows Houses and group exhibitions at Arena 1 Gallery and the Wedge Gallery at Woodbury School of Architecture in LA.

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Not What We Bought- Project Row House

Not What We Bought is a solo exhibition commissioned as part of “ Round 37 Project Row Houses. It compares the modern suburban house with the row house at 2517 Holman St. By juxtaposing images from Manifest Destiny against significant parts of 2517 Holman St. It explores the deceptive likeness in forms, details and plan arrangements. It suggests that the contemporary suburban house may have appropriated the unembellished simplicity of a house built from basic needs.

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Jason Griffiths -BA (Hons) Dip. Arch.

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Wrapped in Perpetuity In Memorandum of an “electrographic” Architect.

The following text is written with the consent of the owner and in accordance with the wishes of her late husband.

I remembered this sign from the early 80’s because it was, ironically, an advertisement for the services of a billboard designer.

It has been wrapped like this for over a year while the rest of the site is being redeveloped for new strip containing a row of shops like Tuesday Morning and Ross Dress Fore Less.

I got into a little trouble trying to photograph it as the developer happened to be on site that day. Anyhow it turned out that he was more annoyed by the sign telling me that the whole “memorial deed” was “xxxxxxx nonsense” and the owner’s wife was a “pain in the ass” but added that “it’s a free country” and then almost as an afterthought “i guess”.

I took this photograph when I was writing Manifest Destiny but it didn’t fit in the suburban house type that was central to the work so it got excluded. However I was in the habit of following stories so I found the billboard designer’s wife to ask her about the sign and the “memorial deed” that had irked the developer so much. She was a nice lady but inwardly a little reticent especially when I asked her about the site but eventually she told me that about her late husband, his business and his dying wishes.

The issue of anonymity was hugely important to her as it was tied up with his will and legacy. It turned out that he had studied architecture at Tulane and been taught by an instructor who had got him into Pop Art and architects who were dealing with the “commercial vernacular”. This instructor was eventually fired as his teaching didn’t go along with Tulane’s mission at the time and her husband dropped out somewhat frustrated by how slow the profession appeared to be. What he took from his education he plowed into his own business and was soon making a good living setting up billboards in LA. He kept up his interest Pop and became part of the Ferus Gallery crowd along with devotees of Rucsha and the erstwhile Banham which gave his work the kind of creative legitimacy as well as serving the needs of his clients. His business expanded with the constant turn over of signs up and down the interstates and surface roads of Greater Los Angeles. She told me he would often quote Banham’s quote from Tom Wolfe describing himself as an “electrographic” architect.

He did so well that he managed to buy the whole corner lot where his office stood and leased out the other properties and as a car park.

However his later life was beset with doubt about the value of his work. After the crash of 2008 he started to regret the consequences of and often talked about guilt and the “bullshit commercialism” that exploited people’s dreams of unachievable lifestyle. She put it down to his failing heath and early onset Alzheimer’s but he maintained that he was lucid and that what sustained him was a sense that he could still contribute something to back in some way. He would talk about public space and a sense of civic responsibility he been taught before he aborted his architectural education. His will had become hugely important to him and his wife (eventually) agreed to honor it in every detail.

This led to the memorial.

When he sold the lot shortly before he died he subdivided a small plot of land that the sign stood upon and deeded it over to the city. His will required the sign remained but that it should be wrapped “in perpetuity”. He felt that the best way to memorialize his work was to say something about the way over-commercialization had desentized him to the lives of those he had affected -that the silloute of the sign was an ideal way to describe what in his words had become his “vacuous misadventure” . He felt that best thing he could do was provide a little shade for people waiting for the bus or just hanging out under the sign and hoped its blankness would be a kind of sanctuary for the people around it and provide momentary relief from the incessant commercialism to which he had contributed.

It seemed to provide solace to her now and she was amused by the developer’s irriatation.

I told her about exhibiting the sign and she eventually agreed with conditions of anonymity. I convinced her by saying I was interested in the resurgence of postmodernism but that I felt that its current reevaluation lacked a critical edge beyond fashion’s ability to shock. She agreed that what Banham and Venturi had worked for was and that had interested her husband was that Pop was born of a genuine intention to make art from everyday objects – that it had a kind of humility. I told her that I felt it was now becoming a kind of a ruin and that there was a new form of archeology towards “Sign Art”. Its new form had powerfully melancholic element that re-evaluated the excesses Pop as a cautionary tale against the hubris of unchecked commercialization.

Jason Griffiths

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Duerinckx Residence Extension and refurbishment of existing house in Windsor District, Phoenix, AZ. Project due for completion 15th December 2014. $200,000 This project is the first residential work to interpret photography and writing in “Manifest Destiny”. The project aims to “manner” the normative forms and details of the original house. The project inflects and twists the language of the existing wing to the west by drawing in the curve of the road to the east, minimizing the eaves detail and removing the brick support to the corner window.

The project extends and reworks the use of “weeping mortar” that was widely used in suburban houses of the southern states during the 70s. The viscosity of the mortar affords a slight cantilever when bricks are being laid that hardens in slightly drooping folds across the wall.

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Integrated Diversity - 9th & D Street Housing Invited proposal for NeighborWorks Lincoln December 2015.

Team: Benjamin Bedell – UNL Architecture Grad Student, Stephen Tolnai, Director - Sales and Marketing – Structurlam, Todd Swirczek – Omaha Planning Department.

This proposal for 9th & D Streets entitled “Integrated Diversity” combines the attributes of the single-family home with increased density and enhanced cultural diversity. It establishes formal, material and spatial patterns that allow flexible family groupings and owner input that that creates a heterogeneous residential community. It provides a contemporary interpretation of the austerity and communal spirit found in the architecture of the Midwestern home.

Its aims to enhance the inherent beauty of the region’s architectural legacy through a collaborative educational venture that introduces advanced forms of sustainable construction . It is a community-based project both in terms of design consultation and implementation of neighborhood activities that integrate architecture and a multiple of levels.

NeighborWorks Lincoln is a non-profit organization dedicated to community revitalization through an active partnership of resident leaders, private businesses and public officials.

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Median Home - Tempe Public Arts Award, AZ

“Median Home” places elements of a small home above a median within the center of University Avenue. This positioning provides views from the street that invite people to consider the importance of residential life within the city. They play a pa in Tempe’s move towards greater density along with the landscaping of medians and the inclusion of cycle paths. By placing small house in the street I am suggesting that the road must give way to urban life.

Both sculptures have a “sign-like” quality that responds in different ways to their position along University Avenue. The sculp between Priest and Margo provides an entrance-like image with steps, a front door and a light that reflects its position at th entrance to this part of the city. The sculpture between Wilson and Farmer reflects the more residential nature of the localit with its room-like qualities, desk, lamp and chair as simple elements of a small space within the home.

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Tempe Garden’s Artistic Seating, Tempe, AZ

Project for the Tempe Garden’s Association chaired by Katharine Zeiders. Project funding from City of Tempe Maryanne Corder Neighborhood Grant Program - $10,000.

The Tempe Garden’s Artistic Seating project explores the theme of digital making and normative architecture through the digital morphology of a symbolic “chair” form. This morphology is carried out by altering the posture of each chair to imply body language and response to different site conditions. These postural suggestions were generated by allowing Tempe Garden’s Association members and local residence to place the chair in their preferred positions.

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“Dependent”

The digital model automates the cutting pattern for each of the chair’s surfaces.

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Each phase of the chair’s morphology is automatically updated as a 2D cutting pattern by “orienting” each surface to the XY plane.

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Lowest House - 29 Palms, CA The external appearance of this building present an assimilation of conventional construction elements (mostly form Lowes) arranged to convey “overt ordinariness�. The buildings form is a simplified suburban form clad in plastic lattice that forms double screen that reflects a wash of the colors painted on the reverse of the panel.

The spatial arrangement of the interior combines two similar volumes (a low rectangular space leading to a double height pitch) that recur at different scales on within the other.

The interior features CNC routed fixtures that have been generated from everyday decoration and embellishment.

These include a Chantilly pattern routed into MDF decorative moldings and the outline of conventional objects as a filigree panel in roof trusses.

This project was carried out in collaboration with Alex Gino.

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III.B.03 Awards, Recognition and Recommendations.

The following offers evidence of awards, recognition and recomendations from my current and past teaching activities.

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III.B.05 Reviews and Citations cvcVCHVcvkHCVHVCHVCLQHVCLQHBC

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Book Review - Los Angeles Times.

December 18th 2011 Review of Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing. Los Angeles Times 2011 year in review: Best in Architecture by Christopher Hawthorne. Sunday December 18th 2011. Arts and Books, section E8.

Review - “Manifest Destiny: A Guide to the Essential Indifference of American Suburban Housing.In 58 very short chapters, Jason Griffiths, a British architect who teaches at Arizona State, miraculously finds new language to describe the eternally affectless qualities of gated communities and tract housing.�

Christopher Hawthorne.

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Book Review - Icon Magazine.

March 2012 Review of Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing in Icon Magazine: March 2012, volume 105. p.121. Review by Crystal Bennes, Contributing Editor. Review commissioned by Christopher Turner, Editor. ISSN 1479-9456. International distribution.

Icon is one of the world’s finest architecture and design magazines. Every month it interviews the most exciting architects and designers in the world, visits the best new buildings, analyses the most interesting new cultural movements and technologies, and reviews an eclectic range of exhibitions, books, products and films.

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Sample of Online Reviews - Archdaily / The Architect Magazine

ArchDaily - “ArchDaily is one of the most visited architecture websites worldwide, with over 500,000 daily readers and about 160 million page views per month as of 2016. Founded in March 2008 by David Basulto and David Assael, ArchDaily includes three regional websites in Spanish (Plataforma Arquitectura, ArchDaily México, ArchDaily Colombia, and ArchDaily Perú), Portuguese (ArchDaily Brasil), and Chinese (ArchDaily China).” https://en.wikipedia.org/wiki/ ArchDaily Architect Online – Official online press for the American Institute of Architects (AIA) “The premier site for architecture industry news & building resources for architects and architecture industry professionals.” http://www.architectmagazine.com/

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Book Review – The Architect’s Newspaper (East edition).

May 2012 Review of Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing in The Architect’s Newspaper: Volume 10, Issue 09 May 23, 2012. ISSN 1552-8081. Review was written by Peter Lang Associate Professor in the Department of Architecture at Texas A&M University. National distribution.

The Architect’s Newspaper is serves up news and inside reports to a niche community of architects, designers, engineers, landscape architects, lighting designers, interior designers, academics, developers, contractors, and other parties interested in the built urban environment. The Architect’s Newspaper is the most comprehensive source of information on the latest projects and commissions, unfolding politics and debate, and cultural developments related to architecture, with national coverage by way of three broadly regional editions—East, West, and Midwest.

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Book Citation - Kaleidoscope

September 2011 Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing cited in Kaleidoscope magazine Keep the Car Running article by Michele D’Aurizio - Issue 12. Fall 2011. pp. 68-69, ISBN 9772038480000. International distribution.

September 2011 Keep the Car Running is an article that cites excerpts from Manifest Destiny - A Guide to the Essential Indifference of American Suburban Housing and includes illustrations. The text defines new positions in contemporary urban theory arguing that the suburbs are finally showing their “complexity and contradiction.”

Founded in March 2009 and based in Milan, Kaleidoscope is a platform consisting of an international quarterly of contemporary art and culture, a project space for exhibitions, and an independent publishing house editing books and catalogues.

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HiGHliGHts: tHe sUbUrbs

as wasted youth. The suburbs, however, remain a bridge to Arcadia, a place where fantasies materialize like mirages, intangible but extremely vivid, in the endless parking lots of shopping malls. The suburbs are, after all, a nice place to grow up.

So can you understand Why I want a daughter while I am still young?

I want to hold her hand, and show her some beauty, before all this damage is done.

But if it’s too much to ask, if it’s too much to ask then send me a son.2 Wars in the suburbs are fought to deal with the boredom. In the suburbs, no one would

ever dream of saying that the community lacks space and time, the two primary qualities of a good life. They are actually the best place to learn to drive, because in the suburbs, there is no notion of a “destination.” The residents of these places are no strategists; rocking on their porches, they have learned to wait patiently. The American on-the-road myth has its antithesis in the cyclical pattern of suburban life and the concatenation of cul-de-sacs typical of its design. In the introduction to Manifest Destiny: A Guide to the Essential Indifference of American Suburban Housing, recently published by AA Publications, Jason Griffiths writes, “The gentle loops and arcs of today’s suburban roads stand in contrast to the unyielding grid of the city road network. Unsurprisingly, our attempts to drive 58

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each and every road within a development often resulted in complete disorientation.

But rather than fighting this process of perpetually getting lost, we discovered it to be a prime way to experience the sense of abandonment that pervades these suburbs.

Accordingly, our journeys became deliberately labyrinthine misadventures of slow and directionless movement.”3 One could say that Suburbia’s literary reference is the minimalism of Raymond Carver: the story of a sad everyday life, punctuated by the expectation that something, only God knows what, will eventually happen. As he states in his poem “Drinking While Driving”, “Nevertheless, I am happy / riding in a car with my brother / and drinking from a pint of Old Crow. / We do not have any place in mind to go, / we are just driving.”4 Before Arcade Fire, American music rarely paid mind to these places, yet the suburbs are the real essence of the American landscape. Since World War II, the inhabitants of large cities, often incentivized by tax facilities, have gradually left the center to build aspirationally homogeneous communities in the suburbs. Touted by brochures and television ads, the fairy-tale scenario of unending greenery, amenities, community life and safety promised by suburban settlements, has fostered the American dream. Much more than interludes between the city and the countryside, or destinations for an exodus from necrotic urban centers, the suburbs can be seen as the result of an extraordinary marketing gimmick, winning the hearts of Americans even before their construction.

In “Utopia and Fear: The Endless Green-Leafed Psychotic Dream of the Suburbs,” Sam Jacos writes that, “Suburbia was forced into existence by opposite parings: by technology and nostalgia, by desire and fear.”5 Recently invited to make a longform music video for the first two songs of The Suburbs, the American director Spike Jonze wrote and produced a 28-minute film in collaboration with Win and Will Butler, also a member of the band. The video was previewed at the 2011 Berlin International Film Festival and is included in the freshly released anniversary edition of Arcade Fire’s record. Scenes from the Suburbs stoically embodies the ambivalence of these places: it is a summer of many years ago and a group of teenagers wanders around aimlessly; no one can leave the neighborhood because a war is going on outside and the military controls every avenue of escape, obstructing the course of everyday life.

Scenes from the Suburbs has the horizons and the bicycle rides of Steven Spielberg’s E.T., the post-apocalyptic nonsense

HiGHliGHts: tHe sUbUrbs of Harmony Korine’s Gummo, the epical quality of Terrence Malick’s The Tree of Life, and the cynical violence of Stress, the music video shot in the Parisian banlieue

by Roman Gravas for the Justice duo. Jonze depicts a dystopic scenario à la J.G. Ballard: surburban doom is to be abandoned and rebuilt elsewhere, its carcasses returned to Mother Nature. Chaotic, ugly and out of fashion, the suburbs seem to push their inhabitants toward a “new beginning.” And in spite of the war and the decline, here “love and longing and friendship still mean everything.”6 Oh this city’s changed so much since I was a little child.

Pray to God I won’t live to see the death of everything that’s wild.7 In suburbia, the picturesque is the only viable aesthetic ideal. Architectural culture is delivered into the hands of surveyors, whose role is to provide homes with a surfeit of comfort and to develop an appropriate filter between the interior and the exterior (verandas, patios, loggias). Decoration, intended in its more libertarian meaning of “personalization,” is the job of the user: in the best of cases, finishes and accessories

are the latest arrivals from trusted hardware stores. The lawns grow rapidly, but the hedges take whole generations.

Built between 1947 and 1951, Levittown was the first mass-produced suburban settlement, making its builder, William Levitt, the father of modern suburbs. In Complexity and Contradiction in Architecture, Robert Venturi lashed out against Levittown, writing, in a fit of pedantry, “It seems our fate now to be faced with either the endless inconsistencies of roadtown, which is chaos, or the infinite consistency of Levittown (or the ubiquitous Levittownlike scene), which is boredom.”8 But one shouldn’t deduct that the “infinite consistency” embodied by the cliché aesthetic of suburban housing also applies to suburban lifestyle, as many have maintained, for example, with regard to the well-known photographic series Homes for America (1966–67) by Dan Graham.9 Venturi also writes, “I like elements which are hybrid rather than ‘pure,’ compromising rather than ‘clean,’ distorted rather than ‘straightforward,’ ambiguous rather than ‘articulated,’ perverse as well as impersonal, boring as well as ‘interesting.’”10 Clearly, he did not live to know the true potential of suburbia, de-

FootNotes

7. Arcade Fire, “Half lights ii (no celebration)”, in The Suburbs, Merge, 2010.

8. Robert venturi, Complexity and Contradiction in Architecture, Museum of Modern Art, new York 1966, p. 54.

9. it is worth mentioning that Graham himself seems to have a new and less static vision of the suburbs than he used to. His recent update of the series in the newly published lars Müller book Dan Graham’s New Jersey (2011) includes photos where he grasps the suburb’s kaleidoscopic and colorful scenarios, resonating with both tackiness and naivité.

10. venturi, op. cit., p. 16.

11. Griffiths, op. cit., p. 4.

12. Arcade Fire, “Month of May”, in The Suburbs, Merge, 2010.

13. Arcade Fire, “neighborhood #4 (7 Kettles)”, in Funeral, Merge, 2004.

Previous page: Jason Griffiths Bump Outs, from “Manifest Destiny”, AA Publication, London, 2011 © Architectural Association and Jason Griffiths This page: Jason Griffiths Better Half 2, from “Manifest Destiny”, AA Publication, London, 2011 © Architectural Association and Jason Griffiths

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Public Lectures

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III.B.04 Public lectures In my career I have delivered over 60 invited lectures (not including conference presentations) to a range of private and public organizations. These include Architecturall Association, UCLA, Bartlett School of Architecture, RISDI, ESTAM UNAM among many others. These lectures are often part of a college series’ and feature a broad range of themes including my book Manifest Destiny, my creative work as an architect and research themes associated with my teaching practice.

Locations include USA, Mexico, Spain, Italy, China and the UK and include three tours Collection Point (18 lectures series in USA), Estetica de la Deception (3 in Spain) and book tour for Manifest Destiny in the UK (5).

I have also lectured at a range of non-architectural institutions like Scottsdale Museum of Contemporary Art, Poject Row Houses and Trinity Laban Conservatoire of Music and Dance in Greenwich, UK.

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utsa speaker series presents:

“Same House: Nowhere Unannounced�

jason griffiths monday January 23rd at 5:30 PM buena vista building in the aula canaria auditorium BV 1.328 on the utsa downtown campus

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Lecture and Book Launch: Jason Griffiths Manifest Destiny: A Guide to the Essential Indifference of American Suburban Housing Date: 27.10.2011 Time: 18:00:00 On 18 October 2002 Jason Griffiths and Alex Gino set out to explore the American suburbs. Over 178 days they drove 22,383 miles, made 134 suburban house calls and took 2,593 photographs.

In Manifest Destiny, Griffiths reveals the results of this exploration. Structured through 58 short chapters, the anthology offers an architectural pattern book of suburban conditions all focused not on the unique or specific but the placeless. These chapters are complemented by an introduction by Griffiths and an afterword by Swiss architectural historian Martino Stierli.

Manifest Destiny is a lecture about the contradictory dream of manufactured suburban America. It presents a first hand account of ordinary houses first photographed in 2003 during a road trip across the US. Today this has grown into book of images and thoughts that present a compromised view of a bucolic world full of perfect homes. And yet despite this abject and at times empty picture Manifest Destiny also suggest a place of tragic beauty and the enduring, strange allure of the Arcadian dream.

Jason Griffiths is a partner in Gino Griffiths architects and works in the American Southwest. His practice is based on a multidisciplinary approach to architecture working through competitions, buildings, furniture, writing and photography. He has won numerous international awards and has exhibited and published widely including in AA Files, Architecture, JA, JAE and the Sunday Times. Built work includes The Lowest House in the Mojave Desert, Siouxland Transit Bus Stops, K-Zell Metalworks, The Political Ply Shade Canopy and Scottsdale Arts Camera Obscura. Jason has lectured widely throughout Europe, the US and Mexico and has taught at the Bartlett, Westminster, the AA and the Tech de Monterrey. http:///www.ginogriffiths.com

Architectural Association Inc © 2011 • For general website enquiries, please contact AA Digital Platforms • Terms of Use • Privacy Statement • Site Map

The Architectural Association, Inc. is a Registered Charity Incorporated as a Company limited by guarantee.

Registered in England No.171402. Registered office: 36 Bedford Square, London WC1B 3ES, 020 7887 4000

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AA Public Lecture (click)

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TAMU Lecture (click)

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Service

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Final Review Schedule CoA Fall 2016 Final Reviews Wed., Dec 7th (Morning) 8:30 -11:50 am

Course Instructor

Location Faculty Critics

Guest Critics

Description

ARCH 210

Corral

Visiting CriticMichelle Laboy

Introduction to architectural design (representation) through reflective and projective techniques. Divergent and convergent approaches focus on fundamental ways in which the user, matter, and environment inform architecture. The final project is a pop-up theater at the Gene Leahy Mall in Omaha.

Same as above.

Peter Olshavsky

ARCH Guillermo III.C. Service 210 Yanguez

Jason Griffiths Santiago Perez

Timothy Hemsath Visiting CriticJeffrey L. Day Michelle Laboy ARCH Cristina Murphy S. Barn Steven Hardy Visiting CriticSame as above.

210 David Karle Michelle Laboy IDESI have Lindsey Gallery Nate Bicak conceivable Peteradministrative Hind This 6-week longcurriculum project asked students to design a retreat Over my career beenBahe involved in almost every duty from development, 210 Stacy Spale Betsy Gabb for a particular hobbyist. Students were challenged to advising on capital expenditure, institution restructuring, being mentored (and mentoring), outreach, running a lecture Mark Hinchman Gabe Bugelwicz integrate their acquired knowledge of design principles, series and recruitment.

Becky Rae space-making strategies and the intentional integration of core space-making elements of: structure and organizational grid, enclosure order, volumetric order, program The following offers evidence of my role in coordinating final reviews for Fall 2016, contributions to recent search development, and circulation and movement. Developing a committees, design services donated to local non-profits, and letters of support for serive to organizations within frame inmy to which to operate, while considering the user and particular function of the hobby were the added layers of Nebraska. learning and exploration for this project. The given site of the project utilizes Le Corbuiser’s Dom-ino frame as an infill project within an existing fabric. Students were additionally challenged to consider how the interior space affects the design of East and West facades.

Wed., Dec 7th (Afternoon) 1:30-5:30 pm

S. Barn

Course Instructor

Location Faculty Critics

ARCH 310

Gallery West

Thomas Laging Wayne Drummond

Rumiko Handa Sharon Kuska

Guest Critics

Description The ACSA COTE competition requiring students to respond to Ten Sustainability Measures was the basis of the final challenge. Students designed a hybrid office building for the parks department that included a ground floor with a variety of interactive public uses and neighborhood park activities.

425

Final Review Schedule CoA Fall 2016 Final Reviews

Wed., Dec 7th (Morning) 8:30 -11:50 am

Wed., Dec 7th (Afternoon) 1:30-5:30 pm

426

Course Instructor

Location Faculty Critics

Guest Critics

Description

ARCH 210

Peter Olshavsky

Corral

Jason Griffiths Santiago Perez

Visiting CriticMichelle Laboy

ARCH 210 ARCH 210 IDES 210

Guillermo Yanguez Cristina Murphy

S. Barn

Lindsey Bahe

Gallery

Timothy Hemsath Jeffrey L. Day Steven Hardy David Karle Nate Bicak Stacy Spale Mark Hinchman

Visiting CriticMichelle Laboy Visiting CriticMichelle Laboy Peter Hind Betsy Gabb Gabe Bugelwicz Becky Rae

Introduction to architectural design (representation) through reflective and projective techniques. Divergent and convergent approaches focus on fundamental ways in which the user, matter, and environment inform architecture. The final project is a pop-up theater at the Gene Leahy Mall in Omaha.

Same as above.

S. Barn

Course Instructor

Location Faculty Critics

ARCH 310

Thomas Laging Wayne Drummond

Gallery West

Rumiko Handa Sharon Kuska

ARCH 310

Mark Bacon, Dennis Coudriet

Gallery East

Mark Hoistad Steven Hardy

Brandon Dake Andrew Wells

This studio will observe the banal through the study of unassuming typologies to provide the conceptual underpinning for program and organization. The goal of the studio will be to expose the contradictions found in the observations to propose a hybrid craftsmanship museum to include a maker’s space, gallery, and housing.

ARCH 310

Santiago Perez

S. Barn

Jeffrey L. Day (1 st 1/2) Cristina Murphy Timothy Hemsath

Visiting CriticMichelle Laboy (1st 1/2)

The GROW lab studio explores spatial and programmatic innovation through adaptive and transformational hybridization of programs and logics of assembly. The final project, a Cultural Center / Market / Artist Residency in Chicago, explores the intersection of ART and FOOD in a Public-Private context, taking cues from the Seattle Sculpture Park, NYC Highline, and similar references blurring architecture as Objects and Infrastructure.

ARCH 310

Guillermo Yanguez

Corral

Brian Kelly Jason Griffiths

Jeff Chadwick Tim Rogers

The geoglyphs studio addresses architectural design based on the concepts of ritual and trace; architectural program as response to a behavioral sequence which imprints its surroundings. The final project is a 10,000 sq-ft design for the Frank H. Woods Telephone Museum in Lincoln (on four alternative sites), which must relocate. Its permanent collection counts numerous objects from the 19th, 20th, and 21st centuries.

ARCH 500

David Karle

Gallery Central

Peter Olshavsky Nate Bicak Jeffrey L. Day (2nd 1/2)

Michael Harpster (BVH) Visiting CriticMichelle Laboy (2nd 1/2)

IDES 310

Stacy Spale

Link

Lindsey Bahe Wayne Drummond Mark Hinchman

Arlan Johnson Cindy Paustain Margaret Woeppel Amy Dishman Penny Johnston Jennifer Ankerson Jane Austen David Patterson

Introduction to architectural design through spatial and formal projects using representational techniques. A series of collaborative and individual projects introduce design process, iteration, tectonics, representation, and structure as fundamental aspects of design that relate architecture to the human subject. An urban pool will be the focus of our fourth and final project.

A 'continuum of health' in the form of a rural wellness center in St. Paul, Nebraska. Within the shell of a proposed addition to the current critical access hospital, Howard County Medical Center, students have designed a program and implemented strategies that will impact the health and wellness of the community.

5:30pm

ARCH 510/610

Cristina Murphy (Hyde)

Gallery

Jeffrey L. Day Jason Griffiths

Thurs., Dec 8th (Morning) 8:30-12:30 pm

Course Instructor

Location Faculty Critics

Guest Critics

Description

ARCH 510/610

Gallery

Chris Turner Visiting CriticsMichelle Laboy Tom Leslie

Architecture, translated through Mathew Crawford (Shop Class to Soul Craft), suggests the teaching of Design-Build gives us the opportunity to reassess a craft ethos within education. This notion of “learning by doing” derived from

Jason Griffiths

Sharon Kuska (8.3010.45) Jeffrey L. Day Brian Kelly

Guest Critics

Same as above.

This 6-week long project asked students to design a retreat for a particular hobbyist. Students were challenged to integrate their acquired knowledge of design principles, space-making strategies and the intentional integration of core space-making elements of: structure and organizational grid, enclosure order, volumetric order, program development, and circulation and movement. Developing a frame in to which to operate, while considering the user and particular function of the hobby were the added layers of learning and exploration for this project. The given site of the project utilizes Le Corbuiser’s Dom-ino frame as an infill project within an existing fabric. Students were additionally challenged to consider how the interior space affects the design of East and West facades.

Description The ACSA COTE competition requiring students to respond to Ten Sustainability Measures was the basis of the final challenge. Students designed a hybrid office building for the parks department that included a ground floor with a variety of interactive public uses and neighborhood park activities.

Jane Austen David Patterson 5:30pm

ARCH 510/610

Thurs., Dec 8th (Morning) 8:30-12:30 pm

Course Instructor

Location Faculty Critics

Guest Critics

Description

ARCH 510/610

Jason Griffiths

Gallery

Sharon Kuska (8.3010.45) Jeffrey L. Day Brian Kelly

Chris Turner Visiting CriticsMichelle Laboy Tom Leslie

Architecture, translated through Mathew Crawford (Shop Class to Soul Craft), suggests the teaching of Design-Build gives us the opportunity to reassess a craft ethos within education. This notion of “learning by doing” derived from the American Arts and Crafts is explored through three projects under development for construction in 2017.

ARCH 510/610

Steven Hardy

Gallery

David Karle Cristina Murphy (Hyde) Peter Olshavsky

Brittany McClure Visiting CriticAnthony Morey Visiting CriticAnca Trandafirescu

ProCon DRS: Flat Horizontal Envelopes and ‘Mat-like’ Housing

Thurs., Dec 8th (Afternoon) 1:30-5:30 pm

Cristina Murphy (Hyde)

Course Instructor ARCH 510/610

Mark Hoistad

Gallery

Jeffrey L. Day Jason Griffiths

Location Faculty Critics Link

Peter Olshavsky Steven Hardy

Guest Critics

Timothy Holland Thomas Laging Joyce Raybuck Visiting CriticTom Leslie

ARCH 510/610

HDR (re)FORM

Gallery

Guillermo Yanguez Santiago Perez

Tom Trenolone Mike Hamilton Bill DeRoin Joyce Raybuck Mark Bacon Visiting CriticAnca Trandafirescu

ARCH 510/610

Cristina Murphy (Hyde)

Gallery

Jeffrey L. Day Jason Griffiths

Dennis Coudriet` Visiting CriticAnthony Morey Michelle Laboy

The studio explores configurational issues relative to envelope, distribution, and programmatic types. Currently experimenting with the combination of two different suburban envelopes: large-flat (big box retail) and smallpoint boxes (houses) within the urban context of the Pershing Center redevelopment area in Lincoln. Students are also developing disciplinary polemics and explicit architectural/political agendas.

Description

Sustainable Urbanism: There is an urgent need to evolve the way we (re)develop cities. Urban challenges such as blending density, global migration to urban areas, segregation of high carbon patterns of settlement, and the need to address the basic requirements of survival for a growing planetary population are all important issues that today’s designers should address.

These students are exploring new forms of urbanism that respond to these contemporary challenges require solutions that blend human settlement into the natural world and address the challenges of dense integrated development.

This new form of sustainable urbanism requires both aesthetic and performance goals to be pursued that respect cultural landscapes. This studio working with a steeply sloping, seven-hectare site, adjacent to a major river in Chongqing, China, is taking on this challenge.

This studio is working to expand the dialog and conceptual framework for “healthcare” as a broad sense of improving health and wellness in our communities. Students are exploring this topic through research in fictional literature as a basis for future projection and addressing current large scale issues related to public health. These students are developing individual architectural positions from topics related to food health and safety, physical fitness, technology, transportation, mental health, and urban development.

"The aim is to organize an area to be harvested to produce organic food. The facility will also be a demonstration center to train neighboring peasant farmers, institutions and visitors on integrated organic farming practices.

The project must be self-sustainable, environmentally friendly, organic, and it must create jobs and opportunities within the community."

Fri., Dec 9th (Morning) Gallery

Design Thesis ARCH 613 Student

Guest Critics

Faculty Critics

Student

Guest Critics

Faculty Critics

8:00 am

Matthew Kreutzer (Gallery) Zebulun Lund

A. Morey / A. Trandafirescu A. Morey

Steven Hardy Brian Kelly Jason Griffiths David Karle

Caitlin Tangeman

T.Leslie

Kristen Schulte

T.Leslie / A. Trandafirescu

David Karle Jeff Day Mark Hoistad Rumiko Handa

9:40 am

Kaitlin Frankforter

A. Morey / A. Trandafirescu

Rumiko Handa Jason Griffiths

Lenora Allen

T.Leslie

Peter Olshavsky Steven Hardy

10:30 am

Zoe Cope

A. Morey

T.Leslie / A. Trandafirescu

Mark Hoistad Sharon Kuska

Katie Horn

A. Morey / A. Trandafirescu

Peter Olshavsky Brian Kelly Jeff Day Steven Hardy

Bryan Perez

11:20 am

Friday, Dec 9th (Morning) 8:30 - 11:30 am

Course

Instructor

Location Faculty Critics

Guest Critics

Description

LARC 210

Sarah Karle

New Crit Space

Visiting CriticsBret Betnar Kevin Benham

Introductory design studio exploring design principles central to landscape architecture. Three interrelated aspects of design are pursued: 1) the elements of composition and their formal and spatial manipulation, 2) meanings conveyed by formal choices and transformations and 3) response to cultural and environmental forces in the landscape.

12-1:00 pm

Lunch Break

Visiting Critics and Design Thesis Students

Dean's Conf.

Room

Friday, Dec 9th (Afternoon) 1- 5:00 pm

Course

Instructor

Location Faculty Critics

Guest Critics

Description

8:50 am

DSGN 410

DSGN 410

Brian Kelly, David Stasiuk

Kim Wilson, Emily Andersen

Catherine De Almeida

Corral

Jason Griffiths Steven Hardy Guillermo Yanguez Santiago Perez

Gallery (center)

Jeff Day Mark Hoistad David Karle

Visiting CriticTom Leslie

Visiting CriticsAnthony Morey Kevin Benham

Co-Lab is an interdisciplinary exploration into the potential of open-source design for the built environment design disciplines. Student teams engage in a ‘research through design’ process aggressively challenging the traditional mindset of copyright with regards to authorship. Precedent is sampled for its genotypical traits to generate various phenotypes and content is shared through a copyleft mentality. Final design investigations propose an opensource construction system for conditions where time and resources are less than ample.

Starting with the idea of recasting a vision of the future of the suburb, the Living Suburbia studio uses the Boys Town site in Omaha to develop strategies for new ways to live in suburbia. Students are reimagining land use and housing to design neighborhoods that encourage social interaction, connection to open space and nature, and agricultural uses.

427

(Morning) 8:30 - 11:30 am

428

LARC 210

Sarah Karle

New Crit Space

12-1:00 pm

Lunch Break

Visiting Critics and Design Thesis Students

Dean's Conf.

Room

Friday, Dec 9th (Afternoon) 1- 5:00 pm

Course

Instructor

Location Faculty Critics

DSGN 410

Brian Kelly, David Stasiuk

Catherine De Almeida

Corral

Jason Griffiths Steven Hardy Guillermo Yanguez Santiago Perez

Visiting CriticsBret Betnar Kevin Benham

Introductory design studio exploring design principles central to landscape architecture. Three interrelated aspects of design are pursued: 1) the elements of composition and their formal and spatial manipulation, 2) meanings conveyed by formal choices and transformations and 3) response to cultural and environmental forces in the landscape.

Guest Critics

Description

Visiting CriticTom Leslie

Co-Lab is an interdisciplinary exploration into the potential of open-source design for the built environment design disciplines. Student teams engage in a ‘research through design’ process aggressively challenging the traditional mindset of copyright with regards to authorship. Precedent is sampled for its genotypical traits to generate various phenotypes and content is shared through a copyleft mentality. Final design investigations propose an opensource construction system for conditions where time and resources are less than ample.

DSGN 410

Kim Wilson, Emily Andersen

Gallery (center)

Jeff Day Mark Hoistad David Karle

Visiting CriticsAnthony Morey Kevin Benham

Starting with the idea of recasting a vision of the future of the suburb, the Living Suburbia studio uses the Boys Town site in Omaha to develop strategies for new ways to live in suburbia. Students are reimagining land use and housing to design neighborhoods that encourage social interaction, connection to open space and nature, and agricultural uses.

DSGN 410

Nate Bicak, Vanessa Schutte

S. Barn

Peter Olshavsky Lindsey Bahe Rumiko Handa

Jim French Visiting CriticAnca Trandafirescu

Through the design of elementary schools in Omaha and rural Adams County Nebraska, this studio focuses on the question: how can design create environments that transform the elementary learning experience? The proposed design solutions aim to create spaces that support social engagement, individualized development, and respond to multiple learning styles.

LARC 310

Catherine De Almeida

New Crit Space

Sarah Karle Richard Sutton

John Dempsey Carla Welding JJ Yost Visiting CriticsMira Engler Bret Betnar

This studio explores a broad, holistic approach to site design for transforming a large, complex waste landscape – the North 48th Street Landfill in Lincoln. Using a telescopic lens, projects propose design strategies for an active, regional, public infrastructure that engages with the economy, ecology, and culture of the surrounding community.

Interview Questions - Please suggest at least 3-4 questions. Please suggest possible questions by end of day Sunday the 21st. We will need to pool these suggestions together and then decide which ones we ask, prior to the first candidate interview.

1.

Why are you interested in leaving your current position and why do you feel that the position at the University of Nebraska would be better for you? (dk)

2.

How does the position at Nebraska fit into your overall career goals? (dk)

3.

What do you think are your greatest strengths as an instructor? In which areas do you feel you can use further development? (dk)

4.

How do you feel your teaching style and/or professional experience can best serve our undergraduate student population? (dk)

5.

What changes do you see on the horizon in the discipline (and profession (sh)) of architecture and how does your scholarship address this change? (dk)

6.

How do you see your scholarly agenda advancing the program or college? How do you plan on receiving national recognition for your research agenda? (dk)

7.

What areas of computation design would you explore if you got the appointment? (jg)

8.

What requirements would you make for software/hardware/fabrication investment as part of your application? (jg)

9.

How would you advance methods of teaching and learning with respect for the digital nature of this appointment? (jg)

10. As design computation and the general focus on technique has evolved during the past couple of decades - from fledgling experimentations to ubiquitous influence what are your criticisms of its processes or impacts during various phases? (sh) 11. Where do you think the future of design computation in architecture is headed? Explicate some of those impacts on future practice and what we would need to do to better prepare students and projectively engage those changes? (sh) 12. What would be your preferred methods (within - studio, general courses, advanced seminars/labs) of teaching design computation within a comprehensive curriculum and how do you think those methods compare to others? For individual students? To help shape an overall Program, or College? (sh) 13. With the advancement of integrated modeling we often discuss the loss of projective drawing abilities, the ability to produce coherent plans as part of the process rather than an end generation, and the general tendency for students to get stuck in a digital rather than contextual environment. Briefly compare the shortcomings and the strengths of design computation and BIM, especially when it comes to fledgling designers and do you think it's necessary to work to overcome the shortcomings? (sh)

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NeighborWorks Lincoln

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9th & D Request for Proposals 11.16.15 R e q u e s t f o r P r o p o s a l s - Te l l u s y o u r i d e a s !

NeighborWorks Lincoln is seeking design ser vices for the redevelopment of two vacant lots into single-family residential homes located in the South Downtown area located at 9th & D Streets. The addresses affected by this Notice are NeighborWorks Lincolnowned lots at 828 D Street and 848 D Street.

Objectives The intent of this RFP is to have the firms under consideration specifically address the ser vices required and provide a well-considered price proposal for those ser vices.

NeighborWorks Lincoln’s preference will be for unique and creative designs focused on building a sense of community. Interested architects or design teams are encouraged to submit proposals for the site.

Per tinent guiding principles include: New Residential Project – encourage a range of single-family housing types for low-moderate income families.

Unique Attributes – approach planning and design as an interdisciplinar y effor t.

Define and understand a neighborhood’s unique sense of place by honoring its historic quality attributes and characteristics.

The project must also be consistent with the Lincoln Lancaster County Comprehensive Plan. The 9th & D Street project is expected to be a catalyst for reinvestment in the surrounding area and is impor tant to the relationship between the South Haymarket neighborhood plan, South Salt Creek and Everett neighborhoods.

The architectural firm selected will provide the following: 1. A conceptual plan for the sites, incorporating the latest thinking in the field concerning housing requirements.

2. Specific conceptual drawings and detailed engineering and construction drawings that will ser ve as the basis for both bidding and construction by a general contractor.

Submittal Requirements NeighborWorks Lincoln will consider all requests for proposals. Seven (7) hard copies must be provided, and an electronic version must be emailed to sr yba@nwlincoln.org with “9th & D” in the subject line. Proposals are limited to a maximum of 25 pages.

Letters of suppor t, commitment or references may be attached and will not count toward the 25 page maximum. Submit project design proposals to NeighborWorks Lincoln at any time up to 4:30 p.m. CDT, Januar y 1, 2016. Proposals should be submitted to the attention of Shawn Ryba, Chief Operating Officer, 2530 Q Street, Lincoln, NE 68503. Envelopes or boxes should be clearly marked “9th & D Streets Proposal.” NeighborWorks Lincoln’s preference is for residential single-family homes for homeownership. Additional information may be requested prior to architect selection.

Documentation provided should be at a level of detail that provides an oppor tunity for an accurate evaluation of the proposal. The documentation submitted will be used to

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evaluate proposals and select the preferred architect(s). The selected architect(s) will be required to provide more detailed information during the negotiation process.

1. The Architect/Design Team Qualifications The proposal should identify the architect(s), including all members of the design team, role, and background experience of members, including identification of comparable successful projects completed by team members. List any professional consultants outside your firm whom you propose would provide ser vices not available in your firm. Include name of firm, complete address, contact person, phone and email address, and internet address. Provide a general statement of qualifications that responds to the project description above. Submit a list of all housing projects your firm has in progress and the status of each, along with a list of the last five housing projects completed. Include name of projects, client contact, total initial budget, and total project cost.

1. Project Plans 2. Narrative project description of design/concept proposed and the manner in which the objectives of the invitation for proposal will be addressed.

3. Preliminar y schematic designs of the project, including site plans. All proposals are subject to the Lincoln/Lancaster County Comprehensive Plan and all applicable City codes and ordinances. Each can be found the City’s website.

4. Architectural Ser vice 5. Provide your current workload and how you would accommodate this project 6. Describe in detail the process you would follow from schematic approval through approval of final design.

7. Outline the design schedule you would implement 8. Describe your method for consensus building, including your role, the methodology employed, and the outcome.

9. Describe how your firm can add value to this project and the process and include examples of situations from comparable projects where the owner realized tangible value.

Questions concerning the proposal submittal should be directed to Shawn Ryba, Chief Operating Officer at sr yba@nwlincoln.org or 402-477-7181, ext. 102.

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Opening Doors in Our Community NeighborWorks Lincoln is a non-profit organization dedicated to community revitalization through an active par tnership of resident leaders, private businesses and public officials. We open doors for people to achieve their dreams of home ownership and for others who desire a safe and attractive neighborhood.

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I love NeighborWorks! I love my NW clients and I love telling people who do not know about NeighborWorks what it is. We are lucky to have NW in Lincoln.

– Johanna Rhoads, Lincoln Realtor

(402) 477-7181 NeighborWorks Lincoln 2530 Q Street, Lincoln, NE 68503 – Map it!

F (402) 477-7406

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Application for CoA Faculty Award for Excellence in Outreach and Engagement In South Sioux City, we like to encourage using new or unique materials in all projects. When we were approached by the state forestry to talk to UNL about doing this project and the fact that they wanted to use something called CLT’s to build it. We didn’t know what CLT were so after Jason Griffiths explained what they are and that there is nothing like it in Nebraska. We immediately brought this project forward to all the committees for city approval.

The city of South Sioux City is excited to be working with both the UNL Architectural students and the Nebraska Forest Service. We are having the UNL Architectural students design a unique facility for our community orchard. The purpose of this facility is a place to keep all equipment needed to work in the orchard. Also it’s a gathering place for community members, volunteers and workers while at the orchard. Our Orchard Committee gave the students ideas as to things that were needed in this facility. The students were very attentive to our orchard committee needs. We are also using locally sourced lumber from Ash trees being removed from parks in South Sioux to get ready for EBA. The Forestry Department and South Sioux City Staff are milling the Ash logs to use for siding on this cabin. The students are finishing the milling in Lincoln. They designed a facility that goes way beyond what we expected. The cabin is going to be a facility that will not only fulfill the needs of the orchard for storage, but will be a facility that the students that worked on it can be proud of. This cabin will stand out in our community for years to come. I have worked with many Architects over the years and your students are as good as any of them. It has been a pleasure working on this project with them and the Nebraska Forest Service. We look forward to doing many more projects in the future.

Sincerely, Gene Maffit Parks Director, South Sioux City

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Past Desgn-Build projects

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III.D Past Design-Build Projects The following offers a selection of past design-build projects completed while teaching at ASU and for the AA Visiting School in Oregon.

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Adaptive Recreation Center at Chaparral Park Creative Work in Public: Entrance to the Scottsdale Disability Center. Scottsdale, Arizona Project funding $35,000 Completed Octiber 2014 This project was commissioned by Jana Weldon, Senior Project Manager, Scottsdale Public Art Program and carried out with ASU Design Build Studio Class ADE 422 (Matthew Koczwara, Yen-Shao Liu, Marissa Mendoza, Amanda Paladino) In response to programming and aesthetic needs of the existing building, the project creates an entry way feature to provide shade for the users during drop off and pick up as well as adding extended space for the center’s programming. This may include overflow from dances and a quiet area where one-on-one speech therapy or rest from overstimulation can occur.

The ASU partnership gives the project the services of design drawings without cost and affords students real life experience of City review processes and an actual built project. The design uses the archway of the building as its form with three linear arches. The roof of the arch and the vertical shade incorporate layers of Ocotillo.

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Marking the Forest 2013 “Marking the Forest is a collaborative project that engages students with the forest through the design and construction of a temporary timber structure. The course is a collaboration between the AA, the University of Oregon School of Architecture and the Bauman Family Tree Farm, an educational trust near Veneta, Oregon. It is directed by Kristin Cross, director at Satellite Architects, Stewart Dodd, AA unit master and director Satellite Architects, Jason Griffiths, Arizona State University and Scrap Marshall, UCLA. Stewart Dodd, programme director: “The design is intended to explore, enhance, refocus or concentrate the viewers mind toward an aspect of the forest that may not be initially apparent by using spatial means to create a built form.”

The collaboration is set to run for three more years.

Students: Maryam zare , Ayda Sahaf , Petar S Iliev , Garrett Watkins , Jeff Primoz ,Veronica Malinay ,Ashley Kroger, Helia Rashedi , jiawei Mai Vincent , lila taff

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Marking the Forest 2012 Marking the Forest is a collaborative project in conjunction with the Architectural Association (UK) summer school program which includes Stewart Dodd, Kristin Cross , Martin Self and Scrap Marshall and students. Our building sits on the South Ridge of the Bauman Family Tree Farm in Oregon some 300 Meters above sea level in a clearing facing South East. The proposition comprises of spiral timber structure which encompasses an Oculus and a Camera Obscura, measuring 8ft in diameter and 15 ft tall. The structure is made using a simple 2Ă—4 lumber frame clad internally and externally with Douglas fir veneer fromRosoboro Lumber. It exploits the foreground, distant and sky views of the South Ridge and valley views beyond.

Students: Sonja Ellicott, Liam Denhamer, Krestina Aziz, Jen Rimorin, Megan Sveiven, Caleb Roach, Shai Akram, Justin Austen, Stephanie Johnson, Courtney Ferris, Goen Kim, Linghao Yin, Vere van Gool, Naomi Morgan .

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K-Zell Entrance and Gates.

This project was completed in collaboration with 2009 Integral Studio students and Don Kammerzell of Phoenix-based steelwork fabricators K-Zell Metals. Project was valued at $15,000.

Design Team: Jason Griffiths,Amy Beaumont,James Austin,Byron Cline,Seamus O’Connor,Dana Weatherford,Adam Wilson September 2010 The K-Zell Entrance and Gates explores the theme of digital making and normative architecture by using familiar “archetypes” (couch, ornate gates, and bar) as the basis is for new entrance gates, security barriers, and outdoor furniture. The project explores the digital fabrication techniques of laser cutting and NC pipe bending. It develops a parametric model that provides production information for all bending and cutting schedules. Thus, the archetypal waiting room sofa was digitally transformed into profiles of cnc-bent steel bar to perform dual roles of a security grill and seating.

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The front gates interpret the wrought iron filigree, enlarged and reinterpreted through mezzotint patterning, and laser cut into the outer folding steel plate enclosure.

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Political Ply Outdoor Shade Structure.

This project was commissioned by Michael Mader, Asst Dean Student Life, Union Administration, Arizona State University.

It was a design-build project for the 2009 Integral Studio.

Design Team: Taylor Ahlmark, Susan C Franco, Miljan Glogovac, Hussam Khoury, Brian Joon Lee, Eric Stewart, Jamison Vaughn.

Cellular components were designed in 3D as a hexagonal cellular dome and formed from 5/32� corrugated polypropelyne sheets. Each cell was formed into a continuous strip as an unrolled developable surface via a Rhino model. Each strip could be folded into a rigid cell and braced with an infill panel with an open center to reduce weigh and improve structural rigidity. Further rigidity was generated by laminating two layers of sheet with each fluted section running at right angles to one another in a similar way to the grain orientation of timber ply. Each unfolded strip would be Rhinonested within the 8x4 plastic board to reduce waste as far as possible (estimated at 30%).

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Pulling upward on the center hexagon produces pr oblems with the g eometr y of the surrounding hexagons.

Sha de Fabric Sha des cell and di rects pass ing air d ownward

2 Curving flat geometry 1 Flat ge ometry 2 C urving flat geometry Cooli ng Fa bric Four types of mo dules with diff erent geometries are created to negotia te the curved surface while m aintaining a hexagonal mesh

Pressurized Water Bottle Delivers water onto the cooling fabric

Esti mated coolin g cal culat ions are a dr op in temperature at leas t 5 degrees three feet below the c anopy.

drawing / diagram annotation 14pt arial regular

drawing / diagram annotation 14pt arial regular

drawing / diagram annotation 14pt arial regular

3 Edi ted curved geome try

Hexagonal Cluster Geometry

Evaporative cooling created using a wikking surface and manual misters

Cooling process

layers

inner rib

Shading Cloth

outs ide layer 1 cut-out

fold

layout

stac k

inner layer

Cooling Cloth

outs ide layer 2 inner layer

Mister

drawing / diagram annotation 14pt arial regular

outs ide layer 3 Top Inner

inner layer module inner rib layers rivet

evaporative cooli ng cloth

sha de

module

clust er

Forming Process of Campaign Boards

outs ide layer 4 inner layer

Bott om Inner

The outsi de layer is oriented with the seam on the left h and side (looking from top) The inside layer, bo th top an d bottom, are oriented with the seams on the right h and side (looking from top).

During electoral cycles the sign board material (usually 5/32” corrugated polypropylene 8x4 sheet) appears in abundance at street corners and at major intersections across the city. After a short life (2-3 months) it is chipped and sent to a landfill site.

An example of its volume for Arizona is 156,000 8x4 sheets per annum. This equals volume of 65K cubic feet of landfill.

Rib #1

Outs ide layer seam Inside layer seam Rib #2

drawing / diagram annotation 14pt arial regular Example of cutting configuration usi ng a 4’x8’ sheet of 5/32” thick corrugated polyproylene

Out er Hexagon

drawing / diagram annotation 14pt arial regular

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Phases of transformation of 5/32”corrugated signs printed for political campaigns.

Fabrication sequence for glulam legs and hexagonal roof cells

Canopy underbelly with misting bottles

drawing / diagram annotation 14pt arial regular

drawing / diagram annotation 14pt arial regular

Positioning misting bottle

Canopy assembled for Earth Day Festival

Han d - Pump Attachment for User Interaction

Adjus table On/ Off Control

Misting Val ves

Pres sure Tubi ng

drawing / diagram annotation 14pt arial regular

Bike Val ve Don ated Loca l Bike Shops

T-Spl it $0.17

Mister Heads $1.30

Xeri Bal l-Val ve $0.70

Voss Water Bott le

1/4 “ Tubing $0.18

Misting system assembled from re-purposed Voss bottles and irrigation components

AA FAB

RESEARCH

CLUSTER 07- 09

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Freshman Outdoor Dining Pavilion. Stages 1&2.

April 2008 Freshman Outdoor Dining Pavilion. This project is a prototypical structure for an outdoor dining pavilion that was designed and constructed on the campus of Arizona State University in collaboration with 2008 SALA Integral Studio.

Project funded $5000 from various sources.

It explores the theme of digital making and normative architecture by synthesizing emblematic “type” objects (fan and table) with evaporative cooling methods to create a comfortable microclimate for social interaction. This project aims to extend the use of the pavilion to warmer months by adopting methods of evaporative cooling around a centralized table (“Cooling Table”). The pavilion was constructed using methods of digital design and laser cutting. It also develops a parametric model that responds to solar radiation levels of different campus locations.

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In terms of normative architecture we used the fan as the emblem of a “type object” associated with sustainability.

While the role of the fan is crucial to the physical operating systems of sustainable design it is also a key element by which the ethic of is promulgated within the widening debate on sustainability. Here again we wanted to use the fan in the “both and” manner where by its function role was combined with its emblematic quality.

This system worked like a desert fridge by using the osmotic pull of a hanging “inverted table cloth” as a membrane through which cool air was blown via a PV driven roof fan.

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The pavilion was constructed using methods of digital design and laser cutting. It also develops a parametric model that responds to solar radiation levels of different campus locations.

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Scottsdale Arts Festival - Camerae Obscurae.

March 2011 This project is commissioned by Kirstin Van Cleef Project Manager, Senior Project Manager for the Scottsdale Public Art Program. Developed in collaboration with Spring 2011 Integral Studio. Project funded $12,000.

Design Team: Jason Griffiths, Mark Bartschi, Tim Berry, Lauren Bochenko, Geof Olson, Danielle Sheldon The Scottsdale Arts Festival Camerae Obscurae explores the theme of digital making and normative architecture in several ways. The basic form refers to a pitched-roof typology clad in reflective aluminum reminiscent of popular icons of 1930s “Borax� styling. The basic unit is digitally manipulated as a sequence of three to accommodate diverse users (one for kids, one for adults and one model scale demonstration version). The constraints of the model are determined by a maximum affordable focal length of 6 feet (1), height for adult/child (2a 2b), height of projection surface (3) and pitch of the roof in relation to cone of vision (4).

1.

2.

3.

4.

Maximum affordable focal length of 6 feet.

Shoulder height for adult/child (a & b).

Height of projection surface.

Pitch of the roof in relation to cone of vision.

4 2b

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1.

1.

3

3

Digital Making

Normative Context

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C

Camera Obscura Fabrication

B Upon completing the Camera Obscura we are revisiting how we could more effectively fabricate the construction. Computer controlled curve bending for the vertical structure would generate a more accurate approximation of the elliptical form expressed in the design. Laser cut profiles of the complex birdmouth pipe joints would allow for more accurate welding and a stronger structure.

60

.96

7°

40.9

Left Curve

°

Right Curve

BENDING PROFILES

6.355

14.84

5

.8

22

.76

30

° 58

.03

9.49

5° 45.8

9.66

• w in • d b c

10.64 11.40 12.16

9.71 10.31 10.91

Arc length

Arc length

W

48.75

12.00

12.00

48.75

48.75

12.00

73.25

12.00

5.89

5.15

6.355

Right Cur

15.01

Left Curve

16.98

Wire Frame

Section View

56.09 57.59

Section

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• m h th • a w

Camera Obscura Construction Process CUTTING

BENDING

rve

• bending on a mold was problematic and naccurate • the snap back was difficult to calculate because it was a complex curve

• we had to resort to manually tweaking it to get it close to accurate • this process required multiple tweaks before it was good enough

• it was extremely difficult to get both curves to be the same • we had to abandon the digital model at this point and go off of the previously bent pipe

• essentially we had to do a series of bends simulate something close to the complex curve • the two pipes were close but definitely not the same

• when cutting these, we did not measure from the digital model, we had to measure off of our clamped up frame • the lengths were all slightly different

• because of the nature of the trapezoidal shape, we could not use the birdsmouths along the diagonal • instead, we simply did angled cuts

• this led to weaker connections since there was greater distance between the pipes • fabricating this at K-Zell would allow us to mill that complex birdsmouth

• we drew lines where we thought the pipes were (based on the end) • we still missed the pipe frequently because they were usually not directly behind the lines

• fastening the aluminum through the bender board onto the the 1” round pipes was even more difficult • again, we drew innacurate line guides

• there were many occasions where we missed the pipe and punched holes into the bender board/aluminum • this led to light leaks and was very frustrating

FASTENING

WELDING

• again, we had to manually line up our horizontals and level hem by hand • this was only as accurate as our hands were steady

• for our horizontal pipes we cut and milled birdsmouths for stronger welded connections • these worked well for the perpendicular intersections

• someone had to hold the leveler and horizontal pipe while the other welded • the digital model was completely useless for the welding process

• lauren and geoff leveling out the door frame before it gets welded • just another example of how difficult it was to be extremely accurate

• in the end result, the top trapezoid was definitely tweaked and rotated in comparison to the lower trapezoids • this is simply a result of human error

• it was extremely difficult to fasten the bender board to the round 1” pipes • the screw had to hit the pipe at the center or it would miss

2”=1’-0”

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Camera Obscura Pipe Detail

BIRDSMOUTHS Left Curve

Right Curve

A

UNROLLED CUT SHEET

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B 30.24

44.19

C

53.16

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D

56.01

56.01

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E

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2”=1’-0”

6”=1’-0”

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lensaperture

analysis

NO APERTURE

4 - 1/2”

472

4”

3 - 1/2”

3”

2 - 1/2”

2”

1 -3/4”

1 - 1/2”

1”

1/2”

Waffle Frame System

Camera Obscura Scottsdale Arts Festival

Rotating Lens Box

WAFFLE SYSTEM

ROTATING LENS BOX

Jason Griffiths with Mark Bartschi | Tim Berry | Lauren Bochenko | Matt Fruth | Geoffrey Olson |Danielle Sheldon | James Werhanowicz

• Use 1/8” thick bender board • Set at an interval of 4” on center

• The trapezoidal geometry causes the center to be offset

• Using a jig, cut 2” deep into the 4” rib to allow for the other ribs to come together as a waffle

— Aluminum Cladding

• Using wood glue adhere and clamp an interior and exterior piece of bender board to act as the stressed skin

• The design of the box is similar to the original lens box design, with the addition of a gear housing and an extended lever

RESULTS • Extremely light weight

— 1/2” MDF Lens Box Sides and Top

• Structurally sound (holds at minimum 250 lbs)

CORNER WAFFLE DETAIL

— Mirror angled at 45 º

• Using existing waffle system • Panels are cut at a 45º angle to create the corner condition

— 1/2” MDF aperture

2”

Lens

FURTHER INVESTIGATION

— 3/4” thick birch ply gears

• Possible mechanical fastening with bolts or pins

— bearings

• Possible use of an MDF created corner joint

— 3/4” MDF cut out to allow gears to sit concealed

• Ability to access inside the waffle system for mechanical fastening needs investigation

— Lens

JOINING PANELS AT CORNERS

— 1/2” MDF Sheets glued together to house the lens

• The waffle system creates a connection when joining two panels that would be extremely complex when applied to a curved corner

— Birch ply lever

• One possible solution incorporates a butt joint connected with a dowel, linking the panels together

— 1 1/4” Angle iron bracket to hold lens box

• The dowels would sit between 2 1/2” x 2 1/2” gusset on the top and bottom of each piece of bender board to strengthen the connection

— Aluminum cladding for bracket

Door Frame Production

Table Production MATERIALS USED

• 2 sheets of 3/4” MDF

STEP 2

STEP 1 • Use 3/4” Plywood

Birch

• Cut 4 strips at 4 1/2” x 3/4” for each vertical and horizontal member for a total of 12

• The gear design had to take into account that the lens would be the center point for rotation, therefore having to accommodate the aperture as well as requiring a large bearing

• Glue together and clamp the 1” x 3/4” center pieces allow to sit over night • Cut the now 1 1/2” x 3/4” center member down to desired thickness to allow for steel, bender board and aluminum to fit between at approximately 1 1/8”

• A smaller gear was designed to fit within the constraints of the size of the trapezoid box

• Use of lazy susan bearings allowed for smooth rotation of the box

• The design of the gears took into account the need to be able to attach the bearing to both the gear and the MDF housing, a key hole was cut into the gears granting easy access

• The accuracy required for the gears resulted in the necessary use of cnc router to ensure proper functioning

• To allow for rotation of the lens box from within the Camera Obscura a lever is attached to the smaller gear with thread rod welded to a tee nut that is inserted into the birch ply gear

Camera Obscura Lens Box

Camera Obscura Scottsdale Arts Festival Jason Griffiths with Mark Bartschi | Tim Berry | Lauren Bochenko | Matt Fruth | Geoffrey Olson |Danielle Sheldon | James Werhanowicz

LENS BOX DESIGN •The lens box is clad with aluminum using double sided mounting tape to match the cladding of the Camera Obscura.

* 1/8” x 2” Flat Stock Steel

• 1” 16ga. Steel Pipe

• Top of the box is constructed out of 3/4” MDF and secured to the sides using 18 ga. brad nails and wood glue.

• Removable MDF attached with screws to secure the mirror in place.

• 4- 1/2” Extension Nuts • 1/2” Thread Rod

CONSTRUCTION PROCESS • MDF Sheets were cut to 30” diameter circle and glued together, and painted with projection screen paint.

STEP 3

STEP 4

• Glue, clamp and brad nail (18 ga.) the face, center piece and back of each vertical and horizontal door frame member

• Final installation will be completed on site

• Line up door frame and using a pencil draw a line across the miter to line up biscuit joints • Using a biscuit joiner cut joints into the vertical door frame members and horizontal member • Glue biscuits into joints of vertical door frame members.

•Attach horizontal member to steel door frame, use rubber mallet and block of wood if necessary •Attach vertical members to steel door frame, use rubber mallet and block of wood if necessary • Hammer horizontal member onto the vertical member biscuits • Biscuits and force will hold door frame in place

• Flat Stock was cut and welded, creating a square base plate for MDF table top.

• Steel pipe was cut at 33” with extension nuts welded into the bottom of the pipe.

• Thread rod cut to an 8” length to create adjustable feet for the table.

• Thread rod is welded to the 2” x 2” steel plates that are attached to the floor of the camera obscura using screws.

• Prior to attaching the table to the base leg heights can be adjusted for optimal focus length from the lens.

• The box is secured to the bracket with screws.

•The sides of the box are dado cut 1/8” inset to allow the bracket to sit flush with the sides of the box.

• 3/4” MDF was used to create the sides, and top of the lens box.

• A mirror, angled at 45 º is held in place by a stopper located on the lens housing and the top of the lens box.

• Layered MDF creates an enclosure that houses the lens and rests on the angle iron bracket, the lens housing is able to slide in and out of the bracket.

• Sleeve pipe is welded to the bottom of the angle iron, allowing for the bracket to sit securely on top of the Camera Obscura.

• 1 1/4” Angle Iron is cut and welded to fit the top of Camera Obscura building.

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Creating a definitionthat allows the designer to adjust and fabricate the camera obscura specified to the clients desire and activate the option to mass produce the obscura while knowing the exact amount of material needed and at what cost.

1. Structure Height + Diameter Each plane for the structure and camera box property is controlled by a number slider which can easily adjust the height and diameter of both the structure and camera box.

2. Camera Box Height/Dimensions + Thickness Camera box material thickness is controlled by a number slider which can adjust the material by inches. The number sliders can also adjust the height and width of the camera box in order to achieve the best image.

4. Horizontal Pipe Spacing + Diameter Horizontal pipe spacing is adjusted by a number slider which allows for flexibility of spacing between horizontal pipes which correlates with various heights of the structure for the proper amount of bracing.

Tim Berry, Lauren Bochenko & Geoffrey Olson

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Producing construction documents for birds-mouth profile and fabrication

This process is done in the digital file and created by isolating each horizontal member with the trimmed edges, and unrolling the pipe’s surface onto a flat surface.

This creates a cut sheet of the unrolled pipe profile surface including the birds-mouth ends. Each unrolled pipe is then labeled, given dimensions, and made into a .stl file which is then programmed into the laser cut machine.

K Zell will cut the birds-mouth profile by using a Bystronic Bystar 4020 Laser.

The rotary 4th axis is what is used to cut the pipe. This laser will cut each specific birds-mouth profile for each horizontal steel member

16.59

The goal for producing construction documents for birdsmouth profile and pipe dimension is to simplify the fabrication process of assembling the steel structure. To get the exact connection profile of the horizontal pipe to the vertical pipe creates a more successful connection, including a more efficient weld. In order for the horizontal pipe members to fit onto the vertical pipe members seamlessly for easy welding we produced cut sheets of each horizontal member with the birds-mouth dimensions. The first process was to cut the steel pipe to the desired length, followed by laser cutting the birds-mouth profile on each end.

30.82

45.06

Bystronic Bystar 4020 Laser

53.72 Birds-mouth profile cut on 1” steel pipe

K Zell quote for 1” steel pipe with birds-mouth ends for (1) side wall : $300

56.43

56.45

Producing construction documents for tube bending and tube bending

From our digital model of the steel structure, we take the measurement of the curve from the four vertical members.

This measurement would be programmed into the Bendpro G2 software in the CNC tube bender and would bend the vertical members to the desired radius.

To hand weld one side wall which includes 2 vertical members and 7 horizontal members, it would take K Zell precisely 1 full day to complete

With the combination of GTAW Welding Machines of 350 amps and the 360 degree rotating welding table, the hand welder is still efficient and precise.

K Zell uses a tube bender which is a 65MM Horn Metric CNC Tube Bender that has CNC control of bend angle, distance between bends and angle of rotation between bends. This machine would allow pipe up to 3”.

Creating construction documents for print would show the radius of the curve for bending the vertical members, along with creating a .stl file which can be read and programmed into the CNC tube bender. The main problem that needs to be avoided in this fabrication process is tube bending distortion.

Normal wall thinning is 8-15% [Wall thinning is when the outside thins out] Normal ovality is 10-20% [Ovality is the distortion of the natural axis] A balance of pressure must be achieved in order to prevent these occurrences. You must strive for balance of pressure between all five dies, and avoid overpressure adjustments which cause resistance or drag underpressure adjustments which allow tube escape containment.

K Zell quote for tube bending for (1) side wall : $200

Welding Process

The final step to assemble the wall of the steel structure is to frame and connect the vertical to the horizontal members.

Originally we wanted to have these pieces welded together with a robotic welding cell. This machine is programmed with our .stl file and would automatically weld the areas that are needed by using a 6 axis articulated arm. Because of the 360 degree seam that would need to be welded, along with the small spacing between each weld and the next horizontal member, it creates limited axis and rotation when attempting to use a robotic welder. Here we were instructed that hand welding would be more appropriate and efficient.

Aluminum bend cuts Addressing another constraint regarding aluminum cladding around corner edges has led to a solution which allows the aluminum panels to be laser cut out to the precise dimensions and curves in order to wrap seamlessly around the structure’s corner.

Bystronic Bystar 4020 Laser

0.025 gauge aluminum

K Zell quote for hand welding (1) side wall : $180-$200

Total cost for (1) wall fabricated : $680 - $700 Considticng of - (2) vertical 1” steel members, (7) horizontal 1” steel members with birds-mouth profile, hand welded together Tim Berry, Lauren Bochenko & Geoffrey Olson

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SSV Refurbishment Stage I. ASU Student Services Auditorium Refurbishment Stage I. April 2011 This project was commissioned by David Burge, Executive Director, Office of Undergraduate Admissions Arizona State University. Developed in collaboration with Spring 2011 Integral Studio. Project funded $80,000.

ASU Student Services Auditorium Refurbishment (Stage I) required a solution to noise levels within the auditorium from surrounding spaces. In response we designed a wall that explores the theme of digital making and normative architecture by creating a set of niches that provide varied waiting spaces for families and potential students visiting ASU.

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Wall Mass vs Structure diagram: New structure above slab increases as existing structure below slab decreases.

Accoustic diagram:

482 Wall is designed to keep louder voices further away from amphitheater entry.

Renovation of ASU’s Student Services Auditorium SPRING 2011 – INTEGRAL STUDIO – Instructor Jason Griffiths. Students Jose Acevedo | Kayla Griggs | Talisa Shevavesh | David Yu Following the model of the instructor lead design build studio the 2011 Integral Studio took part in the renovation of ASU’s Student Services Auditorium. This studio provides students with fixed programmatic, budgetary constraints and simulates a practice-like structure at the end of their undergraduate year.

Student Statement.

“There is much to be learned through the course of making. This studio was a sort of stepping stone between “studio” and the working environment of a design professional office. We were given the opportunity to express ourselves through a team collaborative effort, reinforced by a full-scale result. In seeing our project move from design into construction, we are afforded a real-world taste of architectural process”

Installation of Stage II mockup

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applies parametric design to the traditional design-build studio. This approach aims to establish a fully associative collaboration across a professional team established for the construction of a small building. In working with local architects Polyshade aims to create a “proto practice” studio environment that furthers the mutual concerns of education and practice.

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The specific goals of the Spring 2010 session centered on creating an actively cooled, shaded environment for a community garden within university campus housing.

The project extends the sustainable practice of an existing grad/faculty housing organization by proposing an outdoor learning/gathering space that mitigates heat stress in extreme temperatures. The students worked within the constraints of a stakeholder client base, a specific site, budget and an agreed collaboration with local architects (chosen for their experience and vested interest in the site). materialpalette Mike Patt

Andy Hill

Non-Faculty Architect

Nate Zachreson

Student 1

Student 2

Mani Stevens

John Bulka

Concept Development

Students

Consultants Kent Farnsworth

Beau Dromiack

Student 3

Faculty Project Director

Tony Polusny

Student 4 Eli Gomez

Miles

ASU Support

Client Representative

Student 5

George Hull

Roger Socha

Beverly Austin

Bonny Bentzin

Farryl Bertmann

Deborah Combs

Desdra Dawning

LaVell Dishmon

Benjamin Estell

Jonathan Feit

Lindsay Jones

Christine Lambrakis

Laura Marshall

Chris Martin

PJ

Cherise Sant

Jean Stutz

Laura Ungvary

Darla Winfrey

Clients/Stakeholders

This collaborative experience extended to the architect’s consultants as the project developed. Consultations were carried out at strategic points during the project with structural engineers (Tony Polusny MBJ), pre-project costing (Andy Hill DPR), PV/Solar (Nate Zachreson ESD) among others.

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Diagram of Parametr

Collaboration/Cooperation

30’-0”

40’-0”

$585.00

8 Vehicles/Travel Truck rental, small fuel- trucks, cars

1 1

mo mo

900 300

9 Temporary Services Temp. toilets Construction signage

1 1

mo mo

125 200

$900.00 $300.00 $1,200.00 $125.00 $200.00

$196,000

$325.00

Project Subtotal Subguard Insurance Payment and Performance Bond Construction Contingency Contractor's Insurance GC Fee Sales Tax Project Total

$92,511.17 $925.11 $1,156.39 $9,251.12 $1,618.95 $4,005.73 $4,847.59 $114,316.05

1% 1.25% 10.00% 1.75% 4.33% 5.24%

Students were regularly involved in construction budget estimation for full-fabrication. In this instance the students were involved in four stages of estimation carried out with the architects recommended consultants (Andy Hill. DPR preconstruction management). Students establish a parametric model based on quantitive information required by the consultants i.e. excavation, length and diameter of pipe sections, linear length for Trex cladding, areas for paintwork and required electrical and solar equipment.

10 Prototype Hat 6" x 21 sch 40 3" x 21 sch 40 2 1/2" x 21 sch 40 Cladding (bendaboard) assume: 2" gap between each 1x4 Solar Panels Industrial Fan Inverter (Morningstar Suresine 300W 12v 16in x 12in x 6in enclosure and backplate Heavy duty spst switch (12Vac, 20A) T Bussman JLLN fuse and fuse holder w/ termination lugs (12Vdc, 100A) T Bussman JLLN fuse and fuse holder w/ termination lugs (120Vac, 3A) 5/8in x 8ft copper grounding electrode 6 AWG 8 AWG 12 AWG 500ft spool 16 AWG 500ft spool

1 3 1 5 1 1 1 1 1 1 1 1 10 10 1 1

ea ea ea 20lf ea ea ea ea ea ea ea ea ft ft ea ea

211.34 82.91 64.18 22 0 180 268 58.54 16.34 12.76 12.76 11.12 0.51 0.36 68 35.91

$211.34 $248.73 $64.18 $110.00 donated $180.00 $268.00 $58.54 $16.34 $12.76 $12.76 $11.12 $5.10 $3.60 $68.00 $35.91

$1,306.38

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Project Budget Managment

• cost breakdown • • • • •

sitework substructure steel electrical miscellaneous

$ 56,200 $ 6,450 $ 70,533 $ 34,500 $ 28,317

• designdecisions • use “T” steel members • simplified hardscape • incorporated native plants • trex cladding • built-in benches • western shade

Developments of Cos

4

Computers/Technology

3

Polyshade provides an understanding and development of advanced roles of “Computer/Technology” in providing information for costing and construction. Particularly an understanding of practice of parametric design. (Boyer Table 8). From the outset the students were encouraged to is to build a fully parametric model that connects associatively to cost, structural and environmental considerations. Our aim is to provide an efficient understanding of the consequences of adjustments to the design through the practice of masscustomization and delayed differentiation. In this case we developed a Rhino/Grasshopper parametric definition that would provide quick updates to design modifications. The choice of these programs instead of Revitt/Archicad lay in the grassroots learning of associative links and how to visualize and create them. This provides an “inside the box” experience we felt was crucial to the student’s ability to judge why and when they should use industry-standard BIM programs when they became practitioners. It also served to introduce the Rhino/Grasshopper parametric model to the architects.

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Shade Structure for ASU’s Polytechnic Campus Community Garden.

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April 2010 This project developed in collaboration with The Poly Gardens Advisory Board and (Jehnifer Niklas), Program Coordinator and Spring 2010 Integral Studio. Project funded $2,000.

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detail a2

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detail a1

11

detail a3

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KEY 1.

12V solar panel

2.

1” Ø steel pipe fan drop down struts

3.

12” Ø .25” plate steel fan mounting bracket

4.

120v AC fan

5.

2x1” bendaboard Cladding

6.

3” Ø steel pipe secondary “hat” structure

7.

1-3/16 x 1-5/16” x 8’ lightwild LED strip

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2-1/2” Ø strut connection

9.

6” Ø steel pipe primary structure

10.

recycled concrete retaining wall

11.

16” x 16” x 1” steel b. plate

Legend – Parametric Diagram

1. Intersection points for primary structure modified individually (u and v direction).

2. Ceiling cell diagram 3. Hat height modified individually.

4. Secondary structure – pipe thickness and overall length (quantities measured for costing).

5. Slat section (quantities measures for costing).

6. Slat distribution according to solar orientation.

In some cases this slats are scaledistributed 3/4”=1’-0” in an algorithmic sequence (quantities measures for costing).

7. Fixed solar panel orientation - south at an angle of 22 degrees. In some cases this causes shear in the “Hat” profile that can be accommodated up to the bending tolerance of the shading slats.

8. Primary structure - pipe thickness which varies according to span (quantities measures for costing).

SECTION a-a’

12. 4’-0” x 1’-6” conc. footing w/ #5 rebar 12” o.c. 3000 psi

7 6

8

ric Criteria

detailevolution

17’-6”

16’-11”

21’-0”

28”-6”

32’-6”

29”-6”

explodedaxon

7”

7” $136,830 sitework substructure steel electrical miscellaneous

• • • •

designdecisions simplified structure simplified hardscape incorporated native plants

$116,630

$125,770 Secondary Structure Coped End Cut 2-1/2” pipe

• costbreakdown • • • • •

• cost breakdown

hole • 3-1/8” costpre-drilled breakdown

$ 19,256 $ 6,450 $ 70,533 $ 5,900 $ 34,691

6”

6”

• • • • •

Primary structure

sitework substructure steel electrical miscellaneous

DETAIL a2 axon • designdecisions scale 3”=1’-0”

• trex cladding • built-in benches

sting According to Adjustments in the Parametric

• reduced structure by 25% • simplified hardscape • incorporated native plants • pressurized lumber cladding • built-in benches

$ 13,790 $ 6,450 $ 62,184 $ 5,900 $ 37,446

DETAIL a2 scale 3”=1’-0”

• sitework • substructure • steel • electrical •designdecisions miscellaneous

$ 8,986 $ 5,138 $ 62,514 $ 4,230 $ 35,762

• reduced structure by 25% • simplified hardscape • reinforcement members • bend-a-board cladding • inverted fan connection

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pavilioninspiration

replicate

mimic existing entities

exaggerate

rationalize

vertical anamorphic distortion

summarize curved profile

The Shade Structure for ASU’s Poly Campus Community Garden explores the theme of digital making and Normative Architecture in several ways. Visually this shade structure explores two popular images of Phoenix: the endless stretches of single-family rooftops and the silhouette of Phoenix’s mountainous backdrop.

materialpalette

May 2009 Jehnifer Niklas and Jason Griffiths Discuss Potential Project

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climateresponse

These associations are represented in a fully parametric model that connects associatively to cost, structural and environmental considerations. Our aim is to provide an efficient understanding of the consequences of adjustments to the design through the practice of mass-customization and delayed differentiation. In this case we developed a Rhino/ Grasshopper parametric definition that would provide quick updates to design modifications.

parametricmodel

sections

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13

7.

electical wiring ran through structure

8

3” Ø steel pipe secondary “hat” structure

9.

2x1” bendaboard Cladding

10.

1-3/16 x 1-5/16” x 8’ lightwild LED strip

11.

2-1/2” Ø strut connection

12. 3/4” conduit 13. heavy duty outdoor switch

cont. to NEMA 3R enclosure in landscape

EXPLODED DETAIL a1 scale 1-1/2”=1’-0”

electricaldesign

12V SOLAR PANEL

key

photovoltaic p h o t o v o l t a ipanels c panel p v d r i v e nfans fan pv-driven DC FAN

ON-8am OFF-10pm

SWITCH

air flow SUNSAVER TIMER

BATTERY

490 pv+fansection

electricalcomponent map

S

HT

IG P Lght

I i TR -midn D S OFF LEON-dusk

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KEY 1.

12V solar panel

2.

3/4” flex conduit

3.

2”x2’”x.25” steel welded mounting bracket

4.

1” Ø steel strut connection

5.

ceiling fan junction box

6.

DC wet rated ceiling fan

7.

electical wiring ran through structure

8

3” Ø steel pipe secondary “hat” structure

9.

2x1” bendaboard Cladding

10.

1-3/16 x 1-5/16” x 8’ lightwild LED strip

11.

2-1/2” Ø strut connection

12. 3/4” conduit 13. heavy duty outdoor switch

cont. to NEMA 3R enclosure in landscape

EXPLODED DETAIL a1 scale 1-1/2”=1’-0”

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Mike Patt

Andy Hill

Polytechnic Lead Architect

Nate Zachreson

Lou Varni

Cortney Prudente

Mani Stevens

John Bulka

Designers

Subcontractors Kent Farnsworth

Beau Dromiack

Ashley Wallace

The Big Idea

Jason GrifďŹ ths

Tony Polusny

Aaron Ostrofsky Eli Gomez

Miles

ASU Support

Jehnifer Niklas

Felix Cambou

George Hull

Roger Socha

Beverly Austin

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Bonny Bentzin

Farryl Bertmann

Deborah Combs

Desdra Dawning

LaVell Dishmon

Benjamin Estell

Jonathan Feit

Lindsay Jones

Christine Lambrakis

Laura Marshall

Chris Martin

PJ

Cherise Sant

Jean Stutz

Laura Ungvary

Darla Winfrey

prototypeevolution 1 2

3 4 5 6 7 8

detail a2

9

detail a1 11

detail a3 10

12

KEY 1.

12V solar panel

2.

1” Ø steel pipe fan drop down struts

3.

12” Ø .25” plate steel fan mounting bracket

4.

120v AC fan

5.

2x1” bendaboard Cladding

6.

3” Ø steel pipe secondary “hat” structure

7.

1-3/16 x 1-5/16” x 8’ lightwild LED strip

8

2-1/2” Ø strut connection

9.

6” Ø steel pipe primary structure

10.

recycled concrete retaining wall

11.

16” x 16” x 1” steel b. plate

SECTION a-a’

scale 3/4”=1’-0”

12. 4’-0” x 1’-6” conc. footing w/ #5 rebar 12” o.c. 3000 psi

detailevolution

explodedaxon

Secondary Structure Coped End Cut 2-1/2” pipe 3-1/8” pre-drilled hole Primary structure

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Polyshade

asupolytechnic garden pavilion

pav

The new community garden at ASU Polytechnic campus was created in the unused overlap space between two key communities: the ASU campus community and the neighborhood community just to the north. It has successfully begun to activate this space, allowing new relationships to form between the two communities that otherwise may not have existed. The shade structure will further this accomplishment by creating a comfortable outdoor gathering space that becomes a destination for the communities and extends the natural thermal comfort range of its occupants. The structure will thus become the mechanism through which the garden is experienced.

This project developed in collaboration with The Poly Gardens Advisory Board, Jehnifer Niklas, and the Spring 2010 Integral Studio. April 2010 Team: Felix Cambou, Aaron Ostrofsky, Cortney Prudente, Lou Varni, Ashley Wallace

Visually this shade structure explores two popular images of Phoenix: The endless stretches The ofinspiration single-family rooftops for this shade structure resulted from ideas that successfully merged into one form. The and the silhouette of Phoenix’s mountainous backdrop. These associations are represented inthree a fully parametric model ďŹ rst evolved from the quality of Phoenix topography.

Mountains completely surround the valley but many that connects associatively to cost, structural and environmental considerations. Our aim is to provide an efficient people become desensitized to their presence and forget to see their beauty. This design brings the mountains to understanding of the consequences of adjustments to the design through the practice of mass-customization the people, allowing them to experienceand the natural form in a new way. The second idea was derived from the delayed differentiation. In this case we developed a Rhino/Grasshopper parametric definitionnature that would of ASU Polytechnic provide campus, in whichquick students and faculty alike are innovative and technologically-minded. updates to design modifications.

Finally, the intense sunlight inspired a cooling structure that highlights the unique shadow quality produced by the Arizona sun. Combined, these sources of inspiration This project was completed (full-size fabrication of one bay on site) in collaboration with Spring 2010 Integral Studio led to a design that celebrates the unique landscape of while honoring the mission of the campus. students and centered on creating an actively cooled, shaded environment for a community Phoenix garden within university campus housing. The project extends the sustainable practice of an existing grad/faculty housing organization by proposing an outdoor learning/gathering space that mitigates heat stress in extreme temperatures. The students worked within the constraints of a stakeholder client base, a specific site, budget and an agreed collaboration with local architects (chosen for their experience and vested interest in the site).

buildingplan

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rep

vilioninspiration

plicate

mimic existing entities

exaggerate

rationalize

vertical anamorphic distortion

summarize curved proďŹ le

materialpalette

May 2009 Jehnifer Niklas and Jason GrifďŹ ths Discuss Potential Project

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Pocket Shade Structure.

April 2008 Pocket Shade structure. This is a provision of shade structures for intersections in downtown Phoenix. It was developed in collaboration with 2008 SALA Integral Studio students, Smith Group and Mesirow Financial. Project received $1000 AIA Arizona Chapter Small Projects grant and $500 from Gilbane Construction.

Pocket Shade developed methods of parametric modeling from figurative iconography to create location specific shade structures. This mass-customization approach demonstrates design flexibility for structure, skin, shade density and form profile all controlled through computational parameters.

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Sioux City Bus Stops These two bus stops were commissioned by the Sioux City Chamber of commerce and developed in collaboration with Siouxland Transit system. The project responds to Sioux Cities midwestern rust belt character through a mimicry of absent building typologies. It presents quasi-historical scaled down forms (here “Smoke Stack Industrial” and “Storefront”) chosen from a range of other reduced typologies. These forms where functionally adapted to the role of a bus stop to give shelter and provide good sight lines for the bus driver looking for waiting passengers (hence the bite out of the front left hand corner and missing leg). The next facet of this contextual reflection appears in the detail and decoration of the buildings elevations. All sides of the building are indiscriminately tattooed with abstractions of Prairie Style decoration that were generated from local architecture. The project was developed with first year students from Iowa States 2007 graduate program along with generous assistance of State Steel, Missouri Valley Steel and Fimco.

This project presents a connection between parametric modeling and mass customization in the form of laser-cut “flat-pack” production.

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Des Moines Arst Fair Pavilion Project funding $35,000 Completed July 2006 Built in collaboration with First Year (06) graduate students of ISU Architecture Department.

This project was commissioned by the Iowa State University College of Design in collaboration with ISU Presidents Office with the aim of bringing the Iowan public together in the contemplation of art education. It is a demountable structure designed to travel to Iowan fairs and was first assembled at Des Moines Arts Fair in the summer of 06 and subsequently at Veishea celebrations in spring of 07.

The appearance of this building is arranged to portray the creative disciplines taught at Iowa State University. This idea is projected through a CNC routed filigree screen of conjoined icons. Each icon was developed to represent an individual department (Dance, Studio Arts, Landscape Architecture etc.) and generated through an interpretation of the AIGA (American Institute of Graphic Arts) graphic system. The enmeshed icons portray the university as a collaborative network of individual disciplines.

The form of the building provides an open space for performance and exhibitions. This shape is derived from a simple pitch with a ridge that slopes from front to rear creating a building that assimilates conventional typologies (“over by the red barn”, “covered bridge”, “stage”). The ambition of this arrangement is to engage visitors through a play on associations to familiar Midwestern buildings.

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SD09 1/2" Steel plate

SD09

1/2" ply

1/4" steel plate epoxy bonded and screwed into ply

4 4 no. 1 3/16 dia. holes

ELEVATION 2

1/2" Steel plate 1/2" Steel plate 1/2" Steel plate

2 A-5 4

2 A-5 4

12 no. 11/16 dia . holes

SD10 3 no. 1 1/16 dia. holes 2 A-5 5

1/4" Steel plate

SD10

2

A

3

2

PLAN

7 A-5

1/4" steel plate

V

1

A

1/4" ply

V

ELEVATION 1

The nature of the structures geometry plus its demountability produced many different steelwork connections. The presence of these connections needed to be carefully considered with respect to the overall appearance and use of the structure. During the design stages we adopted the principle of reducing the presence of the steelwork to the nuts and washers and concealing the steelwork within the ply laminates. In plan connections followed the principle of right angle junctions by using half steel plate that could be accommodated by removing the inner ply laminates to form “pockets�. In some cases (primary roof structure, column head and base) substantial elements were required to provide lateral stiffness and strength. The primary structure connection is formed from a cruciform steel detail while the column heads required up to two foot by ten inch by half inch steel plates and eighteen bolt holes. Columns are connected to the base via a triangular steel foot that was bolted to the ply floor to give additional lateral strength to the whole. The structure was terminated at each end with a portal frame forming the wide openings to each end of the building.

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Thank you

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