UNL College of Architecture Spring 2011 Newsletter by Justin Brouillette

Dean’s Office 210 Architecture Hall P.O. Box 880106 Lincoln, NE 68588-0106

COLLEGE OF ARCHITECTURE NEWSLETTER Architecture Community+Regional Planning Interior Design Landscape Architecture

FACT + MIN|DAY BEMIS INFOSHOP www.factlab.org

Volume 7.2 Spring + Summer 2011

The University of Nebraska–Lincoln does not discriminate based on gender, age, disability, race, color, religion, marital status, veteran’s status, national or ethnic origin, or sexual orientation. ©2009, The Board of Regents of the University of Nebraska. All rights reserved.

University of Nebraska-Lincoln

Contents

News, Updates, Comments? PLEASE SEND TO: Stephanie Kuenning UNL College of Architecture 232 Architecture Hall West Lincoln, NE 68588-0107 skuenning2@unl.edu

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A STUDENT PUBLICATION

Deconstructing Design

Taylor Nielsen

A Studio Culture

Ecuador + Italy

ARCH Notes

IDES Notes

LA + CRP Notes

UNO Program Notes

Justin Brouillette

Sabrina Tockook

Tom Laging

Betsy Gabb

Kim Wilson

Robert Duncan

Faculty News

Cunningham Medal

Faculty

2011 Finalists

about the cover

What do you do with this? This is a QR-Code which is scannable with a smart phone camera. They contain information such as a link to a website that we think is a valuable addition to the printed story. We hope you will check it out!

FACT + MIN|DAY BEMIS INFOSHOP www.factlab.org

WWW Student Editors

Justin Brouillette

Fifth Year Architecture Student

Taylor Nielsen

Fifth Year Architecture Student

Sabrina Tockook

Sixth Year Architecture Student

Faculty Advisors

Betsy Gabb Stephanie Kuenning David Karle

A MESSAGE FROM THE DEAN Our hearts go out to the citizens of Japan as they suffer through a horrible environmental and human tragedy. Hurricane Katrina was a “wake up call” for the world in terms of how fragile and delicate the balance is between nature and human settlements. And then the tsunami devastated the communities throughout the Indian Ocean. Over this past year, the role and responsibilities of design professionals has once again been highlighted by the tragic events in Haiti, Chile, New Zealand and now Japan. All of these events are resulting from some of the most significant natural disasters of our time. Japan is an especially tragic, compounded, extreme example of environmental impact with a monumental earthquake, tsunami, flooding and fallout from a large nuclear power plant. Suddenly the entire world is once again watching and wondering about the environmental implications of such events on the future of human settlements. Obviously, there is no real way to fully mitigate against these enormous and powerful forces of nature, however, it is time that careful attention is given to the fact that for the first time in human history our world populations are concentrated in our cities, and an increasingly significant number of our major cities are concentrated in the coastal regions of the world. As we

continue to build for an ever-increasing global population, we must truly rethink and redesign our approach to establishing a sustainable environment. Specifically, we must reconsider our utilization of land, water and natural resources. These considerations are the focus of the new Water for Food Institute here at the University of Nebraska. We must also consider the impact upon rural communities through the Rural Futures Institute, which is another critical effort to explore the relationships between communities and the natural environment. The production of food and energy are indeed the subject of debate regarding water consumption, crop production, biofuels and the economics of world food supplies. The investments in passive and green energy technologies are another critical area deserving full exploration in the utilization of alternative fuels as the concerns for fossil and nuclear-based energy sources are now under extreme pressure worldwide. Collaborative efforts such as the “Net Zero Energy House” project being constructed with the latest techniques and technologies by our faculty and Architectural Engineering hold promising futures. Land density and development models are also being explored utilizing the latest GIS and BIM

models are capable of infusing alternative energy and economic modeling into design efforts for future development. In essence, we have the historic events and models telling us we must not continue to simply plan, design and build as we have in the past. Major efforts are underway worldwide to explore new cities, systems and structures utilizing new materials, transportation and communication distribution networks that hopefully will recognize the need and the reality of our potential for a truly sustainable environment. Our mission is to prepare future generations of professionals for the challenges ahead.

WAYNE DRUMMOND FAIA Dean, College of Architecture University of Nebraska-Lincoln

NCBDS 2011

DECONSTRUCTING DESIGN

A Deeper Method of Thinking & Making TAYLOR NIELSEN

When Brian Kelly stands in front of his second year students after a review and tells them he really doesn’t care about the final product they created, the students respond with a stunned look on their faces. Truth is, Kelly does care; he cares about process. The students will never again be asked to recreate the project (a vertically contoured chipboard landscape, designed specifically to hold a cantilevered egg), but the abstracted conceptual ideas behind the exercise will influence design decisions throughout their academic and professional careers. Assistant Professor Kelly was appointed the coordinator’s role in the development of the second year studio stages of the program. Upon receiving this position, Kelly spearheaded the reformatting of the second year curriculum. “The faculty in the programs involved felt the need to develop a more cohesive curriculum for second year to assure students the best possible foundation design experiences,” Kelly said. All parties involved collectively understood that faculty consistency in the second year program would play a major role in the improved education of the students. Along with Kelly, the fall 2010 sections were led by Betsy Gabb, David Karle and Peter Olshavsky. Additionally, there was a need for the philosophical ideals of the specific projects to build directly upon each other throughout the entire academic year. However, the content holds more significance than any particular faculty member. The goal is for the program “not to be personality driven, but more objective driven,” Kelly said. The major dilemma when structuring the criteria for the curriculum at such an early stage in the students’ design education is calibrating the balance and transition between abstraction and something architectural. The reformatted second year program utilizes a series of short abstracted projects containing components of key issues relating to design. Throughout the year, each of these projects builds upon the knowledge uncovered by previous iterations and ultimately results in an architectural manifestation. The first semester syllabus describes the course in this way: “Formal analysis and abstract design applied to the making of spatial and formal constructs with specific attention toward strategies of order and proportion. Focus on the process of design through organizational and graphic techniques derived from explicit relationships, physical and digital modeling, orthographic projection,

free hand drawing and other forms of graphic representation.” The course, Fundamentals of Design, is made up of a weekly, hour-long lecture in addition to the two blocks of studio meetings. The lectures are a significant component of the education process, as they correlate built work and speculative projects with the congruent abstracted studies. At times, the process and the end goal can be difficult for students to fully grasp. These precedent studies and discussions motivate the understanding of why. This is a key question that all students encounter at various times throughout their academic career. The infusion of theory into the design principles taught at this level promotes a heightened sense of inquiry creating potential for extremely meaningful design. An understanding of the potential significance for the reformatted

second year program can be revealed through a brief summary and exhibition of the series of projects. The description of the projects is, again, best prefaced by the first semester course syllabus:

“The goal is for the program not to be personality driven, but more

objective driven” Brian Kelly

“During the semester there are a series of graduated problems which progressively add more variables and lead to a synthesis of skills in the final project which incorporates elements of the preceding problems. Studio projects will demonstrate students’ competency levels in concepts presented as well as in problem solving and presentation techniques.” Project one begins with an introduction phase in which each student creates a unique barcode, using information variables such as male or female and phone number digits. The barcode is used because it is a specific and predictable way in which a data set can become a visual artifact. During the second phase, students intervene into the context of the barcode to create a new reading. Each graphic manipulation focuses on issues of composition and response to context. Phase three introduces students “to the potential of the section to determine the formal identification of the whole – part to parcel,” according the project brief. The original barcode is extruded in the form of a physical model, and the section planes are manipulated based on nodal points on the profiles, each move a response to the adjacent section. The project is beginning to investigate concepts of parametric design, in analog form. “Parametrics can most simply be defined as the relationship between the parts within a system,” states the brief. In the next phase, a horizontal contour map is created, representing the surface produced by the section profiles. Phase five of project one celebrates the unplanned in the design process. Twenty-five toothpicks are dropped onto the face of the site plan.

Interim 2nd year project review

The ends, lines, and overlaps are recorded through a series of lines and crosshairs. This otherwise meaningless data is analyzed and considered for the final phase. In phase six, a structure is created within the site, designed to hold a cantilevered egg. This structure utilizes the properties of a post and beam system. The location of the structure is based upon the site analysis and directly responds to the surface condition. No glue may be used in the final model. This requires the students to investigate joinery and design sophisticated connections. To the naked eye, these final egg holding constructs may seem strange and distant from the realm of architecture. However, through the process of creation, important architectural issues are investigated (i.e. composition, site and structure). Project two begins with an intensive site analysis of the area in and around the Sheldon Sculpture Garden in Lincoln, Nebraska. The students are presented with an opportunity to utilize knowledge gained in the abstracted site of project one and employ the added intellectual capital in the development of this realworld situation. Breaking down the study into two categories: inventory and analysis, students are divided into groups and create a presentation reporting their findings. The second and final phase critically questions the most standard component of the architectural discipline, the wall. To prevent a default approach to using the wall as merely a narrow divider of two spaces, this project expands the space of a line. In addition to performing the standard

function of separation and connection, students are presented with the task of adding simultaneous functions. This wall is positioned on the site analyzed in the previous phase. The main intention of this project is to investigate issues of tectonics and materiality, among others. The second semester is defined by a focus on programming and how the process can inform and further the ideas examined during the previous semester. Project one exposes the students to program through a precedent study of a selected residential work. Through drawings, diagrams and analytical models, the students extract the aspects of the houses characterized by the design of performance specific space. This study looks at living as an “event,” which is used as an “identifier and catalyst of modern space,” according

“a more cohesive curriculum for second year to assure students

the best possible foundation design

experiences” Brian Kelly

to the project brief. Following this precedent study, project two returns to an investigation of the threshold condition; this time incorporating programmatic influences. The site is an infill space located in the Lincoln Haymarket District. The project brief states: “Harvester will intentionally set up reciprocal conditions

that will encourage the harvesting of one program to feed the other.” Project three is the culmination of the entire second year design experience. The project requires the student to address all the issues dealt throughout the year, including site, structure, materiality, tectonics, program, context and representational techniques including orthographics, model making, paraline, lineweight, shadow projection and graphical composition. The design process begins with group analysis of a specific site determined by the studio instructor. Programs explored included a studio crash pad, columbarium, and farmers’ market/ used bookstore. Ultimately, the fundamental purpose of the second year program is to prepare students for subsequent years. Although second year only makes up a small section of a student’s academic career, this year occurs at a key time in the design thinking formulation. Comparable to the greater ability of children to absorb the teaching of foreign languages over adults, this curriculum has an immense opportunity for influence at this early developmental stage. In order to ensure the effectiveness of the content, Kelly desires to teach a group of his second year students later on, at the fourth year level. This presents an opportunity for the evaluation and calibration of the curriculum. As it stands, the systematic and interconnected projects of the current program are churning out dynamic student work. Both faculty and students welcome

Project 1, Phase 6: (L)EGGs Project 2, Phase 2: POCHE

the challenge to create meaningful projects that not only satisfy the second year studio requirements, but also serve to enrich the work of upper level studios. The reformatted second year program puts the students in an optimal position to continue to improve their skills in future years and create a compelling portfolio of work. ◊

Semester One

P1.1

Project Evolution

Barcode Development 1/2 week

Examples of first semester student work

P1.2 CONVERSATION

Barcode Intervention 1/2 week

with 2nd Year Teaching Assistant:

Erik Leahy

In your experiences in the second year studio, are the students able to recognize and take advantage of the connective relationships between each phase of the projects? “I think this is the point where they start [to] form those connections for themselves. Those who are able to form those connections gain a decided benefit.”

P1.3

2 weeks

P1.4

In your opinion, what are the most significant traits that determine a successful 2nd year project versus an ineffective one? “An ability to find and successfully resolve a unifying concept to their design, which is clear and legible and brings an underlying foundation to their design. They need to be able to relate into this concept.” Which project in the curriculum did you feel was the most successful and influential overall? “The Wall Project (P2.2). It allowed the students to begin dealing with architecture without getting too into the issues of programming and purpose. It allowed them to be tectonic and compositional in a way that became layered and complex.”

Parametric Profiling

Scan Lines 1/2 week

P1.5

Drop + Assess 1/2 week

P1.6

(L)EGGs 3 weeks

ARCHWEB.com

What? Why?

JUSTIN BROUILLETTE

The Studio Culture Policy. Students hear about the policy once a year when the College administrators send out a reminder email at the start of fall semester. The policy is placed in every studio pinned to the wall, only to be called upon in dire need of relief from loud music or seemingly unfair deadlines. Taken directly from the second paragraph, “The studio culture framework at UNL establishes a mutually agreed upon set of values that outline standards and expectations for a non-threatening design learning environment.” Studio is a place governed by both students and faculty to preserve a good working environment, but what does this bureaucratic jargon mean to students? To contemporary students, “studio culture” means more than a document. Those words represent a camaraderie developed from years of seeing each other put to their wits end after their render fails or hard drive corrupts. Daily life as a whole for some students could be placed in this document - architecture school overtakes the importance of “life” as every alumni and parent soon finds out. Yet in some way, is this not the exact “non-threatening learning environment” we set out to protect? Are students and faculty familiar enough with the policy to know what to change if they could? The direct influences vary greatly by individual institution, but to be an accredited architectural school via the National Architectural Accrediting Board’s (NAAB) requirements a school must, “have a written policy regarding the culture of their studio environment.” This is a broad requirement description because of the large variances in contemporary architectural education. The initial intent of the task force in 2000 was to “research and offer a call to action, focused on the values of optimism, respect, sharing, engagementand innovation,” furthering a mutual respect between students as colleagues and educators. Current students would have a hard time understanding what design school was like before the heralded “Studio Culture Policy.” Dean Wayne Drummond, FAIA, explained what we know as critiques formerly were a one-sided process. “Whereas you couldn’t question the professors, now it (critiques) is more of a dialog and review.” Nearly every architectural student across America circa 2008 should have some knowledge of the policy’s worth and weight. So where did this policy come from? An article published in Crit,

STUDIO CULTURE

the bi-annual publication of the American Institute of Architecture Students, (AIAS) in 2001 by Quad Director, Brad Lunz, recounted the issues of contemporary design schools at the time, and some not so new issues. An excerpt: “Presented with deadlines that are unachievable. Burdened with a disproportionate ratio of earned hours versus contact hours. The mentality that an all-nighter means dedication. Brandishing scars from X-acto blades like wounds attributed to heroic battles. Architecture schools have become the battlegrounds of survival. We are conditioned to believe that this is the manner in which the education of an architect is conducted. After all it has been this way for decades, why change it now?” An obvious need for change became clear at FORUM (the national AIAS conference) when a new business item was presented asking for help

creating healthier design schools from the Council of Presidents after the death of a student of architecture. The student, from Southern University apparently

“The goal is to have both students and faculty write it, be engaged in it, and keep it up to date. In fact, we probably need to re-do ours now”

Wayne Drummond

died in a head-on car accident after “pulling two-allnighters” in a row for a studio review. When writing the current UNL Studio Culture Policy, “faculty members and student leaders went through no less than four drafts,” Assistant Professor Peter Hind said. “It came from the requirements of accreditation to disclose the way the school was handling personal safety, creativity, requirements and annoyances.” Nearly eight years after the inception of the first Studio Culture Policy (SCP) requirement by NAAB, one would like to think there has been great progress in the life of architecture students and educators. The findings by the Second Studio Culture Task force in 2007-2008 are suggestive of beneficial results for those involved. Eighty-five percent of administrator’s feel studio culture condition has been successful in fulfilling its mission to create a supportive environment within the program. The results are less defined considering students’ opinion on the matter. Michelle Morehead, a fifth year UNL Masters of Architecture candidate recently was selected for a National Architecture Accreditation Board (NAAB) visit as a student representative. “At the school I visited every professor includes their studio culture policy in their syllabus and they use it for conflict resolution,” Morehead said. “Whereas here, I hear a lot of people who are having issues in their studios that our SCP is supposed to cover. Very few people know the policy exists and if they do know it exists, it provides no tools for them to utilize to resolve issues.” One could assume that while beneficial, the typical student does

Second year students in the Barn

not understand what the policy of their school consists of, nor that they can be a part of making changes for the better. While the policies are put in place for the betterment of the school at a given time, they are intended to be evolved with the change in technology, students, design methodologies and, of course, culture. The latter part of the latest AIAS Task Force’s report gives a summary of the best practices and policies of the entirety of policies submitted to date (44 policies as of September 2007). These findings are interesting because they discuss many relatable issues. There was a noteworthy discussion on anything SCP-related at an AIAS Grassroots Leadership conference in 2008. Students from across the nation had an intense conversation about the formation of their schools’ policies, many of which were specific instances of difficulties with their administration while trying to participate in the creation process. SCP was a new topic for many of the students who attended providing many interesting facts that have a large effect on schools across the nation. As much as any other subservient body of people, students also have had to join together and invent ways to validate their rights and needs. This was an exciting

conversation as many quickly realized the impact a few students made on an entire industry, a true bottom up effect. What exactly creates a “culture” anyway? As a beginning design student, studio is an incredibly important factor of development. In studio, learning comes from peers at all times of the day. Informal 3:00 a.m. critiques are seemingly

students had the chance to create their own studio structure? Could vertical studio be more than just a continuation of undergrad studios? Students have the chance to review their current professor in every class but is a bubble sheet enough? Are any changes imposed from these reviews? Students need to begin asking themselves what is appropriate for 2012 and beyond. With the Studio Culture Policy, “The goal is to have both students and faculty write it, be engaged in it, and keep it up to date. In fact, we probably need to re-do ours now,” Drummond said. Without student guidance, the SCP has little effect. Updating the policy is never finished. As much as everyone involved in writing their policy wishes the process to be a once-and-done event, culture and society are always moving forward with new ideas, technology and social habits. One such memorable issue from a student at a Grassroots conference combined technology and a social faux pas. More than one professor on a student critique panel was using their iPhone throughout reviews. This digital disregard of respect was something unimaginable a decade ago, yet now was a real issue. ◊

“I hear a lot of people who are having issues in their studios that our SCP is supposed to cover. Very few people know the policy exists, and if they do know it exists, it provides no tools for them to utilize to resolve issues.” Michelle Morehead

5th ARCH

as influential as the real thing. Yet, as design students progress, the physical place becomes less important. Is this a product of a great studio culture because it allows personal design maturity? Or maybe an example of studio culture failing to be a strong influence in the latter years of our program? Studio has always been prescribed by the officiating professor; however, what if

A NEW ENVIRONMENT

Studios change every semester: the people, the professors and the items placed within. One such class which has changed the face of the Barn (third floor West) is Assistant Professor Chris Ford’s vertical studio. Typically basic design and visual literacy students populate the barn, but with changes in numbers, one section was free for the spring semester. Ford asked his students to create a different setting and make the Barn more appropriate for graduate-level students who long ago called this space second year studio. Responding to the call, students created an enclosure to better define the space. Other items included fifth year student, Adam Post’s desk top safe-like box and Grant Ronchi’s laptop dock stand. Altogether this section of the Barn has taken on an entirely different feel as students’ art making machines (Meta-matics) were made and are now stored around the studio.

3 1. fifth year, Adam Post’s desk box 2. Grant Ronchi’s laptop stand 3. the environ of Ford’s vertical studio 4. Krissy Harbert’s thesis review 5. work ‘iterations’

“85% of administrator’s feel that studio culture condition has been successful or very successful in fulfilling its mission to create a supportive environment within the program.” Administrative respondant

TEN BEST PRACTICES, GUIDELINES AND RECOMMENDATIONS*

1 2 3 4 5 6 7 8 5 UNL-ARCH Studio Culture Policy Download PDF

9 10

Studio Culture narratives should have a much broader and robust “life” within their institution, other than their inclusion in the Architecture Program Report (APR) and review by the NAAB. Creation of a Studio Culture narrative should be seen as an opportunity for selfreflection, assessment and growth. Schools should “find their own collective voice” though this process. Studio Culture narratives should evidence cultural phenomena that are experiential/performance-based. “Rules and regulations” are neither experiential nor performance-based. Studio Culture narratives should relate student educational experiences to the institution’s broader learning cultures and pedagogical identity, as well as recognize larger support networks and resources available to students throughout the larger institution. Broader focus should explicitly describe the relationship of the studio environment to the integration of practice settings and cross-disciplinary educational environments. Studio Culture narratives should reveal the relationship of the studio experience to “everything else” students can and should engage as part of their academic and curricular experience. Studio culture narratives should be accessible in language and format to their audience (concise, engaging, actionable, tangible), with particular recognition that the audience may include prospective students unfamiliar with design education. The model and format of policies -- particularly for an audience of individuals who think and communicate graphically -- should be strongly considered as an opportunity to organize, clarify and reveal a particular studio/educational culture. Consider additional media to craft and communicate a Studio Culture narrative. Studio Culture narratives may wish to relate broader contemporary issues or values within the profession and higher education to the particular approach toward academic instruction and exploration. Specific and explicit focus should be given to the institution’s development of professional and leadership capacities by way of their studio culture. This includes development of competent leaders and successful team collaborators.

American Institute of Architecture Students, “Toward an Evolution of Studio Culture”

UNL Study Abroad

Summer Excursions

ECUADOR ITALY

SABRINA TOCKOOK

The College of Architecture presents multiple opportunities, in various countries, to study abroad. Students who decide to participate in traveling the world will be impacted personally, socially, educationally and professionally. Currently, study abroad destinations for the College of Architecture include; Dublin, Ireland; Hannover, Germany; Clermont-Ferrand, France; London and China. Many students are unaware of the shorter summer excursions offered as well. Ecuador and Italy present two more chances for students to enrich their studies throughout the world. Both expeditions, Ecuador and Italy, have taken place during the first summer session of classes, leaving in the middle of May and returning the first week of June. From the ancient elegance of Europe to the tropical hands on Amazon, the students who took part in the classes last year clearly expressed how amazing and life changing the experiences were. While these summer classes are slightly altered from last year, improving personal skills in stunning environments is still a guarantee. Ecuador presents a completely different adventure in all aspects from other study abroad countries. Landscape Architecture Program Director, Professor Kim Wilson is in charge of the trip and has been taking students to similar locations for the past six years. Interestingly, she became involved in such a dramatic summer trip while teaching at Purdue. Wilson was involved in service learning projects where students were paired with a nonprofit organization to work and help the community. She discovered that the locations they were assigned were extremely similar to the areas where the students had grown up themselves. With this issue in hand, Professor Wilson wanted to take the students out of the comfort zone of the United States suburbs and increase the contrast between growing up in a privileged society to growing up in a much deeper disadvantaged area. The nonprofit organization, Verdo Milenio, helped find new locations and contributed to setting up the trips to underprivileged cities throughout the world. With preferred locations selected, Wilson began to take students on extreme expeditions annually.

Ecuador 2010 Last year Wilson took 12 students to the Amazon of Ecuador for 15 days. Coming from all different disciplines in the college, these students were working directly with the village and community to change the way the villagers were conducting business. Originally dedicated to agriculture, this village wanted to change its focus to eco-tourism. The goal was to develop a new master plan for the layout of the village, and focus on the people’s vision and direct issues. Essentially, establishing both the short and long term time frames together. Wilson’s personal goal for her students was to “try to condition them as much as possible. It is stressful but a learning opportunity,” Wilson said. ”You impact individuals as well as yourself, even if there are no physical results within those three weeks.”

The trip was extremely structured and scheduled. “The overall experience was really life changing, and it actually makes me see how we live back in the states in a completely different way,” Kristen Bender, third year interior design student said. “It’s different than the other study abroad trips I think because it

“If you’re up for the challenge it is one of the most rewarding experiences.”

Andrea Koerner

is the reality of a third world country smacking you in the face, unlike the leisure of being over in Europe for a semester of schooling.“ On location, there was hardly any personal or alone time since there were different things to see or work on at all times of the day. Daily interaction with the villagers, created a project for the students involved in the community more than ever before. Andrea Koerner, sixth year architecture graduate student said, “You had to listen to them. We didn’t just come in and tell them what to do, they were involved in every step of the process.” There was continual feedback with multiple meetings and presentations. Twelve seemed to work out as a golden number of participants, allowing for easy separation into groups, joint brainstorming and coming back together with a stronger concept. When asked what was gained from the overall experience Koerner said “not being afraid to speak up, being forced to do something different.” For Bender, “ I gained a different perspective on my life and not to take a single thing for granted.” After the students departed from the Amazon, the village is now working on gaining the funding for the development that was designed. A large aspect is focused on education for the younger children in the village. Upon checking the current status, the land has now been cleared for the beginning development, and work will begin when more funding has been established. Summing up the trip can be expressed as an exceedingly intense three weeks that became almost overwhelming. These 12 students were in the heart of the Amazon, and a few were not fully mentally prepared for these extreme conditions and lack of amenities. The

Group photo of villagers and students in Ecuador

environment consisted of 95 percent humidity, multiple insects especially chiggers, little to no electricity, out houses, exterior showers, sleeping under mosquito nets, not being allowed to drink the water, and not knowing the language. Affects of the environment were wide ranging between the students, Koerner said, “You never feel tired or hungry, (all you focus on is that you’re)always thirsty, and then (on top of everything) you have to think!” What a typical day consisted of cannot be compared to the daily activities of any of the students back home. The day would begin by being awakened to the rooster crowing at dawn and as Bender described, “In the next hut you can hear the men’s walkie-talkies going off about the day, ‘Bodega, Bodega, Bodega!!’” After rising, a breakfast was in order. Meals were eaten in the dining room that would be transitioned into a studio space in between. After breakfast, the students would divide up in their respective jobs for the day, some would go interview, and others work on bum wad since there was no paper. Every aspect of work was extremely hands on. Work was basically done the entire day stopping only to take time for lunch and dinner. Dusk would hit around 6:30 at night and if more work needed to be done for the day the students would strap on head-lamps and continue to work until bedtime. Time was added into the schedule for recreational activities such as hiking, or playing soccer with the kids, all utilized in the process of acclimation. By the end of the trip, everyone had become comfortable and happy with the work that was accomplished. For Koerner of the 13 countries she’s been to, Ecuador was by far the most beautiful and most unique.

Italy 2010 Last summer was the first trip to Italy for a drawing and sketching class. The class was taught Hyde Chair Brian Andrews. The development of an Italy trip actually came from the seminar Andrews instructed during the spring semester of 2010. Hours were spent every week reading and discussing the architects and architecture of Italy. 6th year masters student, Molly Macklin, brought up how a rich history of ideas and thoughts are rooted in Italian architecture. A great deal

of the College of Architecture’s education is learning about and trying to understand these thoughts, but never getting to actually experience the culture of what is taught. The desires from many of the Hyde chair students to actually walk through the streets of Italy and experience what was being taught in class sparked the idea to offer an opportunity for students to study abroad in Italy. A group of ten students participated and were taken throughout the country learning and enjoying drawing the architecture within their surroundings. Departing from the country on May 13, and returning on the 4th of June, two full days were not devoted to sketching, but personal sightseeing. The trip began in Rome and moved through Florence, Siena, Venezia, Vicenze Verona, Mantova, Como and Milan. The beginning of the trip

“We were constantly surrounded by brilliant architecture, beautiful materials, and a wonderful culture.” Kelly Hiskey

6th ARCH

was, under no circumstances, what the students had initially anticipated. None the less, everyone was still in awe of the sights. Kelly Hiskey, sixth year architecture graduate student, explained how the first few days went. “We arrived in Rome, without any of our luggage. We spent four days walking around in the pouring rain without clean clothes, umbrellas, etc. That did not stop me from having a good time. All I could think was, ‘I am in Italy!’” A day in Italy would begin with a quick breakfast at the hotel. Afterwards, the group would meet at an arranged Piazza at 9:00 am. The entire group would explore the city, the architecture and Italy’s culture from the morning meeting time until around 6:00 at night. Sometimes so enthralled in the atmosphere the group would not even stop for lunch, taking more time to see as much of the city as possible. One to two hours would be spent at a given destination where they would

Sketches done in Italy by: Donner, Christensen, Macklin, & Hiskey

produce a series of sketches and writings. On average, three pages of sketches with three sketches per page were done in one day. Normally the group would meet for dinner and a relaxing evening. Hiskey said when asked how the overall experience was, “AMAZING! We were constantly surrounded by brilliant architecture, beautiful materials and a wonderful culture.” “It was the best thing I have ever done. Throughout our studies we learned about Rome and all the buildings and the architectural periods, but to experience them was awesome,” Archie Carpenter, sixth year architecture graduate student, said.

Galapagos 2011 The Galapagos this year follows the same formal structure as Ecuador was, but is anticipated to reach another level. With help again from Verdo Milenio, Wilson was presented with the new location for this summer. Located in the Galapagos, the agenda is described as working to develop a needed network of community parks throughout the area. The work is expected to be just as hands on and intensive as last year; with similar weather and living conditions. Wilson continually enjoys how the culture of third world countries is so much different than our hard-line work in the United States. “Go with the flow and see what happens, you never know how it will turn out,” Wilson described. What

Working at night with headlamps Presenting work to the villagers

you can expect is to work in teams, gain service learning, and impact communities as well as yourself. Traveling around the same time frame as the previous year, the Galapagos trip will take place from May 8 through June 6. Bender’s first concern of the new location was, “ I think some this year are going into it thinking it will be a vacation.” Through multiple group meetings for the participants, Wilson cleared this expectation from their minds. Students who truly understand what they are working towards and the environment they will be in can go in with the right mind set and succeed. Ultimately, leaving with an eye opening experience. Koerner described

the trip for all potential participants as “physically and mentally demanding, but if you’re up for the challenge it is one of the most rewarding experiences.” This year the trip begins by landing in the city of Kito where a few days will be spent. The group will then travel to their Galapagos destination for ten days to be put to work. The end of the trip is a few days spent in Baños in the Andes Mountains. Leaving the students with three entirely different environments in a short amount of time. After receiving her three vaccinations for Typhoid, Diphtheria, and Hepatitis A, Sarah Hitchcock, fourth year Interior Design student, is anxious to get the trip started. “Kim makes it really reassuring since she is so experienced with taking students to these exotic places.” Hitchcock continued,“This trip will be so different from anything I’ve ever done before, and I’m most excited to get to work with all the people.” These trips, to Italy and Ecuador, allowed for completely different opportunities for the students in the College of Architecture. From learning and working in a third world country, to sketching the ancient architecture in the cities of Italy, the experience cannot be recreated. Both are open to students of all levels and disciplines in the college and will produce new friendships in a new work environment. So sign up, pack your bags and prepare for a the summer of a lifetime.

Architecture Program

Architecture

PROGRAM NOTES

TOM LAGING PROGRAM DIRECTOR

The first week in March I walked out into the Link and thought to myself this can’t really be the College of Architecture. We are looking more “way cool” than I thought possible! A good half of our industrious faculty have been preparing for the two conferences we are putting on this spring and have coordinated an impressive chronological exhibition of the design curriculum and our professional electives. This was all to impress our conference visitors, but it has impressed the program director as well. The exhibit is so well done I have been using it to enable prospective faculty candidates as well as high schoolers and their parents to visualize the extent and quality of our architectural education. The parametric design and beginning design conferences are clearly the high points for this semester. We need to thank Steve Hardy, Tim Hemsath (MArch 01) and Janghwan Cheon for their role as hosts and co-chairs to the parametric design conference. They have put in an incredible amount of extra effort fitting all the pieces of the conference together. Jeff Day and Nate Miller (MArch 07) gave keynote presentations and the conference was a great success by all measures. It has put Nebraska’s program on the digital map. No less, the team of Peter Hind (MArch 00), Lindsey Bahe MArch (MArch 03) and Brian Kelly (MArch 99) are assembling the last few parts for this year’s National Conference on the Beginning Design Student. Instead of going to Cancun over break they staged a 12 hour sewing charrette to get 100 conference bags made from recycled billboard material. We have walked the recycling walk even reproducing a 19th century sweatshop. The future of history is once again an open question. The Burr Smith, Ron Hess, and now the Ted Ertl legacy is ready to be passed on, but to whom? Ted is retiring at the end of the spring term and then he is off to Colorado. We currently are interviewing a strong group of candidates and hope to find a wonderful new face to lead

Lunch at the beginning design conference Lisa Collingsworth’s health spa Lisa Collingsworth’s health spa Interior design students in Chicago

Interior Design Program

the curriculum. We are also looking for someone to fill an urban design position and hoping this will be a personality that can effectively bridge the gaps between architecture landscape and planning. Peter Hind has become the IDP coordinator for NCARB and has been instrumental in getting students informed of the new standards by which students may begin their IDP records as early as after high school. We hope this new policy will enable students to work through the IDP process toward an earlier registration. Jobs for our graduates are picking up slowly; things do look better than last year. We had seven or eight firms interviewing for interns at our annual event. Rumor has it that several of our graduates have already secured a piece of their future as design professionals. Once again our Chicago trip for the fourth year studios was a success. We owe a great deal of that to the fourth year faculty but most importantly to Kim Clawson (BSAS 75) who has given his tireless support for the program helping us access Chicago offices and our alumni group. This spring the Tau Sigma Delta Honorary Society honored Kim for his Atlas-like efforts. He, of course, gave the students his wisdom of the ages in return. The spring semester I am confident will end with some great vertical studio and thesis projects to add to our “way cool” collection of student work.

Interior Design BETSY GABB PROGRAM DIRECTOR As always spring semester seems to fly by with many activities and events. Third and fourth year Interior Design students traveled to Chicago in early March. In addition to a tour of Oak Park and Millennium Park, they also visited a number of firms including SOM, Gensler, Suzanne Lovell, Perkins+Will: Eva Maddox Branded Environments, not to mention the Merchandise Mart. When visiting the Merchandise Mart, one student said, “This is my version of Heaven.” It was a busy time for all. Upper level students also completed service projects for the Colleges of Arts and Sciences ‘Academic Grind’ coffee shop and provided conceptual design ideas for the Crete Community Center. The community of Crete and the Crete School System has come together to purchase the existing National Guard Armory and convert it to a Community Center serving both community activities and events and adult education. In addition, students also completed schematic designs for an update of the Champions’

Club, adjacent to Memorial Stadium on the UNL Campus. The Graduate Program in Interior Design continues to grow as well. Over twenty-five students are currently enrolled and there are twenty-five applicants who would like to begin in the fall of 2011! Unfortunately due to lack of resources, not all the applicants can be admitted. The Program continues to offer courses in residence and online. ASID and IIDA again hosted a great Career Day for the Interior Design students. In addition to presentations by several young professionals from the area, Cheryl Durst, Executive Director of IIDA gave the keynote presentation. Everyone came away with renewed inspiration and enthusiasm. Thanks, too, to the many professionals who have supported the program through their participation in crits and hosting internships. Your support of the program is invaluable. If you haven’t done so already, please join the College of Architecture on Facebook! You will find information about the students and activities in the College and some terrific images as well.

LA + CRP

KIM WILSON PROGRAM DIRECTOR

This was a very productive and rewarding academic year as both the Landscape Architecture and Community and Regional Planning Programs (LA+CRP) have been busy establishing new partnerships, reviewing curriculum, developing and delivering new courses, traveling to conferences, developing research proposals and selecting a Hyde Chair of Excellence. Professors Scholz and Cantarero are working toward a partnership with the School of Public Administration (PA) at University of Nebraska-Omaha. The Planning Accreditation Board re-accreditation team first proposed this idea in fall 2008. The objective is more effective use of resources in both programs. Both LA+CRP Programs are working towards their accreditation visits in 201213. The faculty have been polishing their curriculum and in fall 2010. The LA faculty voted for 13 curriculum changes that strengthened the design and site systems sequence and integrated new courses in research methods, professional practice, contemporary history and theory, and professional electives. This is the first year for the capstone course where 5th year LA students select a topic of interest and work with a mentor to develop their ideas. The students selected some interesting and relevant topics including flooding, landscape design guidelines, urban agriculture, wetland strategies, walkability and child obesity, and urban infrastructure. The outstanding capstone project will be recognized during spring graduation and be awarded the newly named Herminghaus Award of Excellence, in honor of Ernst Herminghaus the designer of Pioneers Park and the Nebraska State Capitol grounds. In preparation for MCRP re-accreditation and the new outcomes assessment criteria, we will spend the next year developing and assessing programmatic and course learning outcomes. To kick off the process, we will hold a work session

with a representative cross-section of our alumni at the end of April. In an effort to provide our students with courses that are relevant and realistic, Gordon Scholz developed a new course this semester called: Learning from Planning, Design, and Development Case Studies. This course employs case studies to understand the complexity of real estate development process using local and regional projects, ranging from individual structures to largescale developments. LA+CRP is also engaged in research. Professor Tang is spending his time aggressively seeking funded research. Just this year he submitted more than nine grant proposals and was awarded four grants totaling $191,000 from EPA, Nebraska Environmental Trust, University of Nebraska, and the City of Weihai, Shangduo Province, China. He also has several proposals under review and published three peer-reviewed journals, one book, one book chapter, and four conference presentations. Professor Cantarero’s collaboration with UNL colleagues from Child, Youth and Family Studies and Psychology resulted in a grant submittal to National Institute of Health to study psychological and behavioral health problems of Latino and Caucasian youth in poverty in the Midwestern states. Yunwoo Nam is working on his grant from Wood Charitable Fund to improve and strengthen neighborhoods by engaging them in a neighborhood assessment process that will help set neighborhood improvement goals. He received additional grant funding from NeighborWorks to support this study.

As we look out to the 2011–12 academic year, we are thrilled to have two Hyde Chairs of Excellence in Landscape Architecture joining us. Fall semester we will be welcoming Alan Berger, Associate Professor of Landscape Architecture and Urban Design, Massachusetts Institute of Technology. Alan received his BS in Horticulture from UNL and his MLA from the University of Pennsylvania. He has written a number of books, one of the most notable is “Drosscape: Wasting Land in Urban America.” He will teach an interdisciplinary studio called Lincolnopolis: Landscape Urbanization, Mobility, Agriculture, Energy at the Interburban Frontier. Alan will also give a Hyde Lecture and offer seminar course. Gina Ford, Principal at Sasaki Associates, INC in Watertown, MA, will join us for the spring semester. Gina has a BA in Architecture and Architectural History form Wellesley College and MLA From Harvard Graduate School of Design. Gina will also teach an interdisciplinary studio based on a new model of practice titled At the Intersection of Research, Strategic Planning and Physical Design. She will also give a Hyde Lecture and offer a seminar course called Stories from the Battlefield: Currents in the Design and Construction of Public Realm. 2010–11 was a good year and 2011-12 is looking even better! Thanks for your support and please contact me with ideas, questions or internship opportunities!

Hyde Chair Lincolnopolis Course UNO Student work: Matt Mitera

UNO

the focal points? Does the sequence of arrival seem organized or uncertain? Maria Lorena Lehman, one of the leading ROBERT DUNCAN PROGRAMS DIRECTOR experts on delivering exceptional occupant experiences though smart building design, Within the first year has the following thoughts on the subject architecture and interior in sensing architecture: “Part of every design curriculum, a space is the entrance - don’t neglect the major component is importance of the threshold. This is where visual literacy. This the designer can help occupants prepare course is composed of for the visual stimuli they are about to several subject areas take in once inside. If there is no physical including composition and analysis. threshold think of how the room’s details, It focues on developing creative and lighting, material and overall geometries perceptual analytical skills through will get their attention as they gain greater problem solving. This is normally done focus of the room over time.” With these through a series of basic design exercises comments in mind, understanding design dealing with two- and three-dimensional often comes down to first impressions. theoretical applications. Topics within this A Sculptural Entry Sequence area regularly pertain to visual forces, Students in Professor Duncan’s visual assemblages of compositional elements literacy class were introduced to the exhibiting balance and gravity, tension subject of entry sequences and their and movement, transparency and overlap. design implications in the following studio Discussion often considers relationships, project. Nine groups of key words were the visual connection between one shape given as possible design choices for a and another, between a shape and a line, two part abstract entry sequence. Initially between a group of dots and the edge students were placed into groups and of the page. these qualities, connecting, spent time researching visual images of comparing, and relating to create visual objects or buildings that matched the key whole form the basic principles of words. The given key words were: visual literacy. Students in first year were Understated vs. Exaggerated, Direct vs. challenged by the following exercise. Indirect, Active vs. Static, Order vs. Disorder The categorization of building entrances as Tension vs. Harmony, Hidden vs. Obvious, a design exercise epetition vs. Variation, Expected vs. Building entrances can be grouped into Unexpected, Ascent vs. Descent. three basic categories based upon their At this point the students were given relationship to the exterior facade of the details on how their visual research and structure. The three categories are flush, the given key words were to be developed projected and recessed. Other possibilities into a sculptural entry sequence. The plan exist but are usually a variation of the allowed for each student to select one set three basic types. In most cases the entry serves as a transition from exterior into the building and acts as a preview of what is to be expected and experienced once inside the structure. The sequence of visual events that take place prior to entering a building can be casual or delineated with considerable emphasis placed upon the approach to the building. If space is provided and available for a sequence of visual events, the entry progression can offer a delightful transition from the exterior to the interior. Whatever the intention of the designer, the method of entering a building plays an important role in how well the building resolution is received and appreciated. Some questions may be properly asked about entrance design. Where are

of key words to use as a design focus or concentration for the creation of two entry sequences which were separated by a wall. Then each student designed two entry sequences through the wall using a selected set of key words as design strategy. The key words acts as design concepts for determining the visual composition and circulation on either side of the wall and resultant transition sequence of moving through the wall from one side to another. Normally on a major project a group of Omaha architects are invited to the final review for their feedback and comments. The review at midpoint and group met with the class when the project was completed to assess the final results and offer their opinions on the success of the final designs. The two meetings significantly advanced the design process and final results. Those taking part in the reviews were Bethany Friedow, graduate teaching assistant assigned to the class, Sabrina Ahern and Alissa Piere from Leo Daly Architecture; Jeremy Carlson from Studio 360 Architects; Dave Hinsley and Ross Miller from HDR Architects; Jake Slobodnik from Carlson, West, Povondra Architects; and Tom Kessler, architectural photographer. These individuals provided excellent insight into the process of design exploration and solution. Their willingness to take part, along with others in the Omaha design profession, provides a unique benefit to the UNO program and its students. Such cooperation helps to further tie the architecture and interior design programs to the professions.

Faculty News on archweb.unl.edu

an update

CHRIS FORD

FACULTY NEWS ASSIST. PROFESSOR ARCH

In April 2010, Ted Shelton (University of Tennessee) and Assistant Professor Chris Ford (Architecture) began discussing the possibility of a future collaboration that directs respective teaching and scholarship toward a shared interest in infrastructure design. From that initial contact, we have now refined an inter-university Spring 2011 semester design studio curriculum that addressed contemporary issues in infrastructure design. The primary questions for consideration were the following: 1. What are the biggest challenges that our urban conditions will face in the foreseeable future? 2. What are the natures of these problems? 3. Can an infrastructure type address one of these problems? 4. If so, then can a hybridized infrastructure type address multiple problems in a pluralistic way? In the least, students enrolled in this topical studio option were introduced to an infrastructurebased vocabulary, gained personal insight into how decisions related to public infrastructure were made by various stakeholders, and be familiarized with infrastructural issues as they rise to leadership positions in the architectural profession. However, at best, student proposals would also exceed any curricular goals for the course and produce technically-plausible infrastructure proposals that preemptively act as provocateurs for change in the larger and more inclusive public realm. The final project for this inter-university studio project was titled “HUIs: Hybridized Urban Infrastructures” and expected that each student became a relative expert in at least one of five possible categories of performative yield: Agriculture, Energy, Transportation, Waste or Water. To begin, a group research assignment was issued during our field trip to Knoxville, TN, on Feb. 17-20 and concluded during their visit with us on Feb 24-27. Students worked as individual authors of their own forthcoming designs, however half of each studio designed for downtown sites in Lincoln, NE, whereas the other half designed for downtown Knoxville, TN. Final student proposals shall be formatted for submission to the 2011 ACSA/AISC Steel Design competition “Open” category.

KATHY ANKERSON ASSOCIATE DEAN As a new CIDA site visitor, Associate Dean & Professor Kathy Ankerson, engaged in her first accreditation site visit in February, alongside two very experienced site visitors. The experience was incredible and enlightening and provided not only a service to the profession through volunteering, but also a helpful opportunity to see how another wellregarded interior design program operates. Speaking of CIDA, we had great news earlier this term. For our submission of the “UNL-HDR Healthcare Collaborative Studio,” we were awarded the 2010 CIDA Innovation in Interior Design Education merit award! The award was presented at the National IDEC Conference in Denver March 18. Ankerson was also contacted earlier this year by the leadership of IDEC to create the inaugural course offering for the IDEC Innovative Teaching Strategies (ITR) initiative, unveiled at the same National IDEC Conference. The IDEC Interior Design Teaching Resources will strive to support IDEC’s education goals by providing diverse and engaging teaching and learning information that assists interior design educators. Work continues on the Nuckolls Lighting Fund grant “Lighting Across the [Design] Curriculum” with other faculty members at UNL and three other universities. Work also continues on the Illustrated Codes for Designers digital books, with the Residential work set to be released this summer! Also at the awards ceremony for the National

IDEC Conference in Denver, Interior Design Program Director & Professor Betsy Gabb received a service award in appreciation for her service to the Interior Design Educators Council’s Journal of Interior Design. Professor Gabb has served on the board of directors since 2005. Professors Ankerson and Gabb are working together with faculty from Gerontology to explore the possibility of creating a graduate certificate in Gerontology + Design.

TOM ALLISMA ASSIST. PROFESSOR ID Assistant Professor Tom Allisma (Interior Design) was informed in December that his creative scholarship submission for the IDEC conference was accepted for presentation. There were more than 50

Kathy Ankerson’s Illustrated Codes for Designers On 19 February 2011, (30) design students from both the University of Nebraska and University of Tennessee generated (150) schematic options for “HUIs: Hybridized Urban Infrastructures” in (75) minutes.

DR. ZHENGHONG TANG

ASSIST. PROF. LARC+CRPL

Dr. Zhenghong Tang, Community and Regional Planning + Landscape Architecture, is currently working with Professor Ed Harvey at the School of Natural Resources and Dr. Xu Li at the Department of Civil Engineering for the EPA-funded project. This project collaborates with Rainwater Basin Joint Venture and Nebraska Game and Parks Commission in wetland conservation planning. The overall goal of this project is to provide wetland managers with topographically-correct 3-D wetland maps to prioritize wetland conservation efforts and assess wetland conservation design practices. This project addresses three specific tasks for the playa wetlands: 1) Establish accurate, topographically-correct, 3-D wetland maps to relate weather conditions and wetland functions;

2) Develop a measurable Restorable Wetland Index to prioritize playa wetland and drainages conservation; 3) Assess wetland conservation design practices for watershed-based wetland conservation. This research will use the emerging high-resolution Light Detections And Ranging (LiDAR) data to create next-generation wetland maps for playa wetlands. The research provides the missing link in conservation design by providing accurate elevation measures to delineate watershed extent and determining the impact of individual hydrologic modifications. This project will be one of the first to integrate LiDAR data and a hydrologic modifications datasets to find the relations of current weather conditions and wetland functions. This project provides reliable, accurate wetland spatial parameters to prioritize playa wetland conservation and assess the effectiveness of existing wetland conservation design practices. The wetland conservation design tools and protocols will be examined in two pilot counties in Nebraska. The intellectual merit of the research is based on advancing knowledge linkage of wetland mapping technologies and wetland function modifications, and showing how to adapt wetland conservation designs. The outputs from this project provide practical protocols for state/regional/local wetland managers and thus ensure “no net loss” in quality and quantity of wetlands.

DR. RODRIGO CANTARERO PROFESSOR CRPL DR. JAMES POTTER ARCH EMERITUS Drs. Rodrigo Cantarero (CRPL) and James Potter (ARCH emeritus) had their research paper, “Stress and Contextual Proximity of Residential Factors,” accepted for presentation and publication at international ASEAN Conference on Environment-Behavior Studies in Bandung, Indonesia (June 15-17).

DR. MARK HINCHMAN

ASSOC. PROFESSOR ID

At the awards ceremony for the National IDEC Conference in Denver Interior Design Professor Mark Hinchman was awarded the 2011 IDEC Book and Media Award for his book History of Furniture. This is the inaugural award and quite significant - so please congratulate Professor Hinchman on this achievement and acknowledgment of the contribution of his work to the advancement of design education!

TIM HEMSATH ASSIST. PROFESSOR ARCH

Hemsath’s super efficient ZNETH II house.

Architecture Program Assistant Professor Tim Hemsath continues his involvement in affordable energy efficient design with the start of the second Zero-net Energy Test House Prototype, ZNETH II. He is working with Architectural Engineering and Construction Engineering faculty at the Peter Keiwit Institute and under contract with the City of Omaha to Drawing from Kelly’s ‘ma(r)king’ seminar at CalPoly Professor Tang’s 3-D wetland map research

Faculty Research projects on archweb.unl.edu

applicants and only 14 were accepted. His submission of Roja Mexican Grill - Old Market - Omaha, Nebraska, was presented at the annual IDEC convention in Denver on March 17th. Allisma was also recently informed that his submission (Blue Sushi - Fort Worth, Texas) for the ASID Educator Design Excellence Competition was awarded top prize. There were 10 entries in the commercial design catagory and Blue took first place. Allisma will receive the official award at the Neo Con convention this June in Chicago. The project will be published in both ASID publications – ICON and Access.

design/build a caretakers residence at Hummel Park. The project is being funded by grants from the City of Omaha, PKI Technology Development Corporation and the Durham School of Architectural Engineering and Construction Management totaling $147,000. The 1,000 square foot ZNETH II will feature innovative solar hot water system donated by Silk Road Solar, incorporate current waste heat recovery system, and be constructed for approximately $100,000.

BRIAN KELLY ASSIST. PROFESSOR ARCH Architecture Program Assistant Professor Brian Kelly presented a paper at the ACADIA Regional Conference held at the UNL College of Architecture in March 2011. Co-authored with Adjunct Faculty David Karle from UNL, the paper titled “Parametric Thinking” investigates the potential of the parametric tool as a means of curricular development. It will also be published as a part of the conference proceedings. Kelly also presented three papers at the National Conference on the Beginning Design Student held at the UNL College of Architecture in April 2011. “Found Objects in the Design Process” explores the use of found objects as a catalyst in the design studio. “Parametric Thinking,” co-authored with Karle, investigates the potential of the parametric tool as a means of curricular development. “Power tools: parasite’s progress,” co-authored with Brent Freeby and Michael Lucas of California Polytechnic State University, reflects the development of a curriculum and project authored by Kelly while

teaching in California. All three papers will also be published as a part of the conference proceedings. Kelly’s article “ma(R)king” has been accepted to the Rice University School of Architecture’s Plat Journal issue titled Mind the Gap. The article situates the role of projection in architectural representation from both a historical and contemporary viewpoint. The journal will be published in June 2011.

LINDSEY ELLSWORTH-BAHE ASSIST. PROF. ID Lindsey Ellsworth-Bahe gave two presentations at the national IDEC Conference. One focused on her design of the Bahe Lakehouse and one discussed a new course in the Interior Design Curriculum, “Material Application.” Many who attended the presentations of the course said the Material Application course should be included in every interior design curriculum.

CUNNINGHAM MEDAL

ABOUT THE CUNNINGHAM MEDAL AIA Nebraska and the College of Architecture award the Bronze Medal for excellence in academic and design achievement. The medal was established to commemorate Harry F. Cunningham, a fellow of the American Institute of Architects. Harry Cunningham oversaw the completion of the Nebraska State Capitol upon the death of Bertram Grosvenor Goodhue, and established the school of architecture at the University of Nebraska-Lincoln. The awarding of the medal is determined by a vote of the faculty and AIA-Nebraska after reviewing the Master of Architecture studentsâ&#x20AC;&#x2122; final projects. Jon Martin, Brittany McClure, and Nate Holland were this yearâ&#x20AC;&#x2122;s finalists for the Cunningham Medal. Architecture Theses Digital Archive

BRITTANY McCLURE HYDRO(LODGE)IC

WINNER

Exterior Lobby Perspective Project Section Drawing Underwater Perspective

This thesis aims to answer the question: “How should architecture enhance one’s experience with water?” Phenomenological research and an investigative site trip in the fall led me to an investigation centered around exploiting the line where air and water meet. Water is constantly in a state of flux even when it appears to be flat. My concept pushes and pulls that line of air meeting water and creates a hyper “paused” section through the natural peaks and valley’s of moving water. The super verticality of this becomes a commentary on the relative flatness of water.

JON MARTIN

A MUSEUM OF SELF ARCHAEOLOGY: EXPLORING THE POTENTIAL OF NARRATIVE IN ARCHITECTURE The intent of this thesis project is to question the methods of translation between narrative text and architectural space and to examine new questions and creative directions of infusing text and story into architectural practice. I must be critical of the conditions of use where this type of method has been and can be used. Is it merely appropriate in the circumstances of culturally significant or memorialized buildings, or is there a broader use by which it can affect architecture on a larger scale? I must also be critical of how much influence and integration this method can have on architectural practice and the techniques of today. I intend not to dismiss the methods of contemporary architecture, but to lend a way of creating a greater significance in our work.

Interior Hallway View Hallway Section Public Gallery Space

NATE HOLLAND INFORM FORM PERFORM

Architecture as a profession has always concerned itself with finding beauty in built forms. In the digital age beauty is changing; information controls our lives and true beauty is found in the way we interpret it. Architects have developed and employed parametric design strategies to both interpret this information and increase their production. Though these strategies have improved architectural design, they are not being used to their full extent in the design process. I propose taking the use of computers in aiding architectural design one step further; site information and program data should INFORM the project, driving the creation of a building FORM enabling it to PERFORM at higher levels than traditional design.

Street Level Perspective Grasshopper Scripting Process Overall Perspective