margaret rew master of architecture, university of virginia 2016
4
resume
studio work
8 10 14 16 22 28 32
red rocks diagrams super_market fralin museum theater section and the city atlantic city boardwalk steel systems analysis detroit cluster strategy
research + publications
40 42 44 50 56 58 64
cartography as question art for breakfast vertical evolo paris: write the city domestication detroit porch study book projects
68
next steps
table of contents | 3
education
University of Virginia
Master of Architecture, Spring 2016 Editor, SNACK: a pop up publication Copyeditor, LUNCH Journal 9 Raven Academic Honor Society Member since Fall 2013 Faculty Liaison, Student Association of Graduate Architects
Eskew Dumez Ripple, Extern Winter 2014 Utile, Inc. Architecture and Planning, Extern Winter 2015 LTL Architects, Extern Winter 2016
Tufts University
Bachelor of Art History and Political Science, spring 2011 Deans List and Thesis Honors
skills autocad, revit, vectorworks, rhino, grasshopper, vray, indesign, illustrator, photoshop
experience
Nix Research > Travel Fellowship
Summer Design Institute
Teaching Assistant. Charlottesville, VA, Summer 2015 Launched a generation of graduate MArch and MLA students into design as a mentor and guide through an intensive five week charette.
Catalyst II: Lineages and Trajectories
Student Editor. Charlottesville, VA, 2014-2015 Conceived and executed a project researching pedagogical lineages in the UVA School of Architecture through a series of interviews with faculty and alumni. To be published by Actar in the spring of 2016.
SPG Architects
Architectural Intern. New York City, summer 2014 Adapted the firm’s modular house prototype to its first site in Southampton, NY. Carried the project in fast track design and documentation through SD, DD and 50% CD at the end of the summer.
Howard Yezerski Gallery
Gallery Director. Boston, MA, 2012 - 2013 Mentored by veteran gallery owner Howard Yezerski, managed all outgoing communications including website, blog and press releases. Full responsibility for gallery inventory, invoicing and marketing.
Art for Breakfast
Writer and Editor. artforbreakfast.org, 2012 - 2013 Conceived, created and maintained Art for Breakfast, an art blog that chronicled the story behind, beneath and within one piece of art every day.
Institute of Contemporary Art, Boston
Security Guard / Visitors Assistant. Boston, MA, 2011 - 2012 A day job in the practice of looking turned into a writing project and a full time career in artist and gallery management. resume | 5
Studio Work
Trees grow and scale changes against rocks, which remain static through time. Performers shift daily. Trees grow and scale changes against rocks, which remain static
Stage requirements update with technological advances over years. Performers shift daily
Technological updates for new generations of performers takes up more and more space
Restaurants change ownership and vendors change paraphenalia with seasonal trends. Restaurants change ownership and vendors change paraphernalia
Density of crowd changes space daily depending on program
Igualada Cemetery
Therme Vals
Sendai Mediatheque Yokohama Terminal
Seattle Public Library
Toledo Glass Museum Seattle Olympic Sculpture Park
1994
1996
2001 2002 2003 2004
2006 2007
Middleton Inn 1987
Sainte Marie de la Tourette Parque del Este 1960 1961
Sea Ranch
Red Rock Amphitheatre 1941
Leca da Palmeira Pools Lovejoy Fountain Plaza Paley Park Parc Saint John Perse
Villa Mairea Johnson Wax Building 1938 1939
1966 1967
Villa Savoye 1931
1964
Parc Guell Woodland Cemetery 1914 1915
TIME
Density of crowd changes depending on active program the aura of the space throughout the day.
time
Concrete
stadium seating Concrete stadium seating is self supporting is - mimicking the solid designed to be selfstatic, supporting. structure of the rocks This static, solid structure mimicks the ancient structure of the rocks.
structure
STRUCTURE
red rocks amphitheater | matthew jull + teresa gali-izard | July 2013
An area tuckedstage An area behind the behind the stage provides storage for provides storage for dumpsters dumpsters and maintenance equipmentequipment. and maintenance
Heavy daily use Heavyof dailythe use of bleachers the bleachers requires frequent requires frequent cleaning and cleaning and trash trash pick up.pick ups Stage and dining areas require Stage and dining area require repairs repairs and updates periodically. and updates
Summer Design Institute | Red Rocks Case Study
Diagramming the intangible as fundamental.
maintenance MAINTENANCE Structural Vulnerabilities
Plant Life
Cleaning
Roadways
Trash
Utilities/ Mechanical
Daily Monthly Yearly Rarely
Thin, looping main entrance around Creation Rock drammatically opens up to a view of downtown Denver. Thin, looping main entrance around Creation Rock dramatically opens up to a view of downtown Denver
Entrance for employees and garbage trucks doubles as the private entrance for big acts like U2, whose legendary concert was taped at Red Rocks. Entrance for employees and garbage trucks doubles as the private band entrance for U2
Proximity to Denver has made Red Rocks a daily destination for exercise junkies, who run up and down the length of the amphitheater rows. Proximity to Denver has made Red Rocks a daily destination for exercise junkies, who run up and down the length of the amphitheather seating
circulation ACTORS Employees Tourists Regular Users
studio work | 9
B
C
D
6
2
3
E
7 4
5
n Burger (bar and restaurant)
andoah Joe Coffee Roasters
ous Nellie’s Jams and Jellies (retail)
ak to Fork (three restaurant levels, take out - sit down)
oursville Winery (bar, tasting room, & cellar)
utionary Soup (prepared foods)
ood aisles Harvest Bakery
duce
er Mountain Orchard (produce stand)
Super_Market | Esther Lorenz | September - December 2013
B
C
D
1
Charlottesville Farmers Market
KEY ELEMENTS:
PROPOSED: REORIENT
The big box structure is activated through human scale details that undermine the void-making tendencies of a standard supermarket.
Urban plan: Proposed market stitches residences and commercial buildings, drawing connections across voids blocking neighborhoods’ access to commercial center (commercial buildings in black, residential in grey).
CASE STUDIES:
SITE ANALYSIS:
A range of temporality, enclosure and price
West Main is a corridor
Super_Market | The Third Center Studio Supermarket/ Market Case Studies EXISTING EXISTING
Urban strategy brought to the detail. Supermarket/ Market Case Studies Bang for your Buck
Spatial Composition
Square Footage
Permanence
A community center underlining the significance of the Spatial Composition Square Footage
Kroger on Barracks Road Bang for your Buck
Kroger PROPOSED PROPOSED Barracks Road, Charlottesville VA ordinary. Contrasting the permanence of the ordinary (and
Permanence
Charlottesville Farmers Market
traditionally insignificant) with the impermenance of a civic community space that can be affected and altered. Break the big box. Cross the voids. # of Google Reviews 0-3
Services
4-10
Shopping
11-25
Restaurant Groceries
Theater
The program of a supermarket solves a simple problem - what do the residents need? Can architecture meet this banal need with integrity and common sense to improve the daily lives of neighboring communities? The Super_Market project becomes a case study in activating the parking, slope and railroad-induced voids with temporal, programmatic and spatial innovations in the ordinary.
Contour Stairs hold slope but allow access Vendors dig into side of the hill Surface flows through supermarket, picking up again at the edge of railroad tracks
9
A fundamental component of Super_Market is its ability to be the main source of a family’s weekly food. This means that the store must also produce enough of its own food on site (cutting down on the costs of shipping and middle men) to be economically viable.
ONLINE PRESENCE OF BUSINESSES
40+
GOOGLE PRESENCE
Charlottesville Farmers Market
Charlottesville Farmer’s Market Boston Haymarket Water Street, Charlottesville VARoad Kroger on Barracks
This project developed in response to the voids that separate the West Main Street commercial zone from the neighborhoods immediately surrounding it. These voids are not spatial but programmatic - made up of parking lots, vacant autobody shops, and railroad tracks. These temporal “voids” provide an opportunity for West Main Street to reconnect to its estranged neighbors.
The main entrance to the site is a two flight staircase shadowing the pre-existing “slope void” in vertical topographic steps. Identify this previously uninhabitable zone as a threshold and an imprint of history - occupy it. Use Heatherwick Studio’s vertical curve stair system - but rather than generate a curve based on aesthetics, the slope of the stair is determined by the hill below, accessible until it is punctuated by program.
26-40
Hotel
UNEMPLOYMENT 1% 2% 3%
A
Super_Market is a casual and necessary center highlighting the significance of the ordinary. The project revolves around food - its production, commerce, and consumption. At the core of Super_Market is a contrast between the permanence of the big box store and the impermanence of community markets. The line between these two conditions blurs as the expansive steel frame roof extends over an outdoor arcade for a temporary stalls and the grid of a saturday market informs the structure and layout of the 24 hour superstore.
The open surface behind the proposed building is patterned with an infrastructure grid of holes in the ground that become the organizing system of a market when activated.
4% 5% 7%
Cleveland West SideBoston Market Haymarket Haymarket
Northon End, Boston MA Kroger Barracks Road
Cleveland West Side Market
11
Take a divisive highway and occupy it. Use the otherworldly geometry of its underbelly to activate new kinds of public space (a skate park, a kayak marina). Voids are opportunities.
UNEMPLOYMENT
Supermarket
Market
E
Permanent Static Reliable Ordinary
10
A8erna - NL Architects Koog aan de Zaan, Netherlands
Boston Haymarket
A market is just a roof. Throughout history markets have been social centers stemming from human needs. In the Mercato Centrale of Florence, vendors sell bananas, coffee, prosciutto and delicious sandwiches to locals and tourists alike.
Transience Change Flexibility Opportunity
Cleveland West Side Market Mercato Centrale Florence, Italy
CROSSABLE / UNCROSSABLE VOIDS
12
A
8
west main street level plan
longitudinal section E studio work | 11
Super_Market | Charlie Menefee + Ben Hays | January - May 2016
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Section fleshed out in Revit, with layers of 2013 project building out into an artful shell.
studio work | 13
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Education as Performance | Peter Waldman | February - March 2014
Waldman Studio | Addition to the University of Virginia Fralin Museum of Art
Arts education as performance. Figure of gallery extension counteracted by the digging of an amphitheater into the ground. The theater’s fly rises up, answering the height of the architecture school East Addition. The entire project is constructed so that each participant is both an actor and an observer of their own prismatic education.
studio work | 15
private
plan 03
plan 02
Unit is organized with maximum verticality on a gradient of public to private space.
plan 01
public
section B
plan 03
unit logic
section A
plan 02
plan 01
Footprint size is determined by the limiting factor of the length and width of a queen mattress
The Section and the City | Robin Dripps |Contested September - December 2014becomes territory between units space of interaction in a city of strangers.
Studio 7010 | Robin Dripps
Design by rule into projective imagination.
studio work | 17
The Section and the City | Robin Dripps | September - December 2014
Streets ramp in opposite direction between units.
Hallways are r and “alleys” o radical conne
aggregation strategy
This circulation twists in sectio circulation thro using only a ra
contested territory
Streets and alleys create conte territory at center of the ‘block’
Dripps 7010/8010: Section and the City Hallways are replaced by “streets” and “alleys” on a grid that Margaret Rew - Masters in Architecture, Path 3 allows radical connectivity between units. The circulation is a simple city grid in plan, but twists in section so that strolling within each cluster of buildings also loops upward through the building. Contested space becomes space of interaction between strangers.
studio work | 19
The Section and the City | Robin Dripps | September - December 2014
ft
3
a study in the value of volume)
t logic
difference. I propose that the fundamental assumption in this outdated calculation will soon be defunct. We know now that we do not live on the vast open planes of modernism. We have bodies, we take up space. We do not need floor space. We need volume.
private
plan 03
plan 02
Unit is organized with maximum verticality on a gradient of public to private space.
site strategy plan 01
public
section B
section A
Circulation Voids Elevators are gondolas constrained to vertical motion. Here, the elevators break that constraint and move along cables through a network of stops. The circulation system runs parallel with the voids needed to bring light and air to the inner units.
Cuts are made through a system to maximize light, ventilation, access, and views.
Structure The building has a hybird structure half gridded along the units and half following the course of the gondola cables. This later structure invades the orthogonal territory. The two systems are autonomous but entwined.
plan 03
plan 02
Cuts are made to maximize light, ventilation, access and views.
plan 01
Footprint size is determined by the limiting factor of the length and width of a queen mattress
Contested territory between units becomes space of interaction in a city of strangers.
gregation strategy
Elevators are gondolas constrained to vertical Meet the High Line motion. Here, elevators break that constraint and move along cables through a network of stops. The circulation system runs within the voids cut to bring light and air to the interior units.
Units aggregate vertically to infinity.
The nexus for the circulation system sits just next to the high line. New Yorkers and tourists are greeted by a cavernous circulation void network above them, and invited to step off of the high line into a gondola winding through the building to a now public roof deck. Thay can then either take the gondola back down or stroll the 90 floors of ramp back to the park.
Extend Establishes a system that can break through the ground plane or extend infinitely into the sky.
Streets ramp in opposite direction between units. Hallways are replaced by “streets” and “alleys” on a grid that allows radical connectivity between units. This circulation is dumb in plan, but twists in section to allow the option of circulation through the entire building
studio work | 21
Ferry Terminal to Detached Casinos Culinary Institute Student Center
Houseboat Production
grams
Farmer’s Market
Hotel School Administration
University Theater and Library
Houseboat Neighborhood Student Housing + Dining
Hotel/ Motel
Protected Beach Campus Quad
dge
Residential Water Access
Extend Water’s Edge through Vacant Parcels
Revetment Play Space
Studio One Million | Spring 2015
Leverage investment in an infrastructural edge for social + economic growth. Given the prompt of 1,000,000 square feet of development in Atlantic City, a desperate metropolitan area with little to no projected growth, we identified space for intervention through infrastructure. A long edge of the boardwalk destroyed during Hurricane Sandy is going to be rebuilt with Army Corps funding. How can the city rethink its relationship with the water in this mostly vacant waters edge neighborhood? Can we use buildings to leverage the city’s most historic asset towards a more diversified economy? We propose a radically banal programmatic agenda (parking structures, grocery stores, motels, senior health centers, a carnival) to reorient the city to its inhabitants.
studio work | 23
Atlantic City Boardwalk | Matthew Jull + Manuel Bailo | January - May 2015
studio work | 25
A New Edge for Atlantic City Karilyn Johanesen and Margaret Rew
A boardwalk destroyed during Hurricane Sandy is going to be rebuilt by the Army Corps of Engineers along the edge of Atlantic City. How can the city rethink its relationship with the water in this mostly vacant waters edge neighborhood? Can we use buildings to leverage the city’s most historic asset towards a more diversified economy? The Atlantic City Boardwalk has long been a place of celebration and activity, using the natural resource of the beach and the water to pull families and lovers from Philadelphia and New York at its founding. The city continues to attract millions of tourists each year. This boardwalk, however, has never been conceived as a public space for both the city’s visitors and residents. As the city’s monopolized casino economy crumbles from within, we suggest a reorientation of this new section of boardwalk: towards the citizens themselves. This reorientation is both programmatic and spatial—using cuts, ramps, twists and bends to pull the city into the water and the water into the city.
Elevation 1/50"=1
Ferry Terminal to Detached Casinos Culinary Institute Student Center
Houseboat Production
Education and Industry Programs
Farmer’s Market
Hotel School Administration
University Theater and Library
Houseboat Neighborhood Student Housing + Dining
Hotel/ Motel
Protected Beach Campus Quad
Boardwalk as Thickened Edge
Residential Water Access
Extend Water’s Edge through Vacant Parcels
Revetment Play Space
Transverse Sections 1/16"=1'
Atlantic City Boardwalk | in collaboration with Karilyn Johanesen | Matthew Jull + Manuel Bailo | January - May 2015
boys and girls club
Vacant Local 54
fire texas ave. playground
parking garage
church
AC High School
sovereign ave. school outlets texas ave. school
church
church
grayhound new residential
bass pro shop
brighton towers
church
mid-town terminal control center
church
public safety
post office
fire
tropicana parking garage church
chelsea pub/inn
martinique motel
econo lodge
sea breeze club condos
rodeway inn
hilton parking garage
quality inn
rodeway inn oceanview
motel? or residential?
parking garage
caesar's parking salvation army
historic warehouse
knife and fork
econo lodge
residential or hotel towers?
hilton
the chelsea
motel? day's inn
hospital
environmental site remediation
Delilah's Show Girls
ascot motel
A.C.Dolls
caesar's casino
boardwalk hall
tropicana casino (closed) [historic?] hotel
claridge casino
bally's parking
trump taj mahal
bally's casino
showboat (closing)
revel parking garage
revel (closing)
trump taj mahal (closing)
resort casino
Residential and Civic Commercial Casino Vacant Parking Park
Map of Atlantic City showing existing land use
Fold
studio work | 27
Cut
Twist
Figure A. Passive Solar Strategy Diagrams
Summer Strategy
Deciduous tree shades in the hot summer months and then lets light through in the winter months when solar gain is needed.
Winter Strategy
Circulation serves as buffer zone. Light is well controlled until winter months, at which point it reaches all the way to the northern wall. This will help with daylighting, but glare will have to be addressed.
Seminar (50-100 fc optimum) Classroom (50-100 fc optimum)
section
Lecture hall (100-200 fc optimum)
June altitude: 35 degrees
8:00 am
Circulation (5-10 fc minimum)
September altitude: 28 degrees December altitude: 8 degrees
Environmental Systems Design Analysis Margaret Rew | Spring 2015 Morning light is mostly blocked by Eastern wall. This works for the dining program, but changes could be made to allow for a bright kitchen as the chefs begin their day.
Classroom (50-100 fc optimum)
The building form is laid out as a box in a box in order to provide a 4-10 foot glazed thermal buffer zone on the roof, western, southern, and eastern edges of the building (figure A). This buffer zone performs crucial thermal and ventilation capacities and holds the main circulation spaces of the building. The depth and orientation of this zone was determined by the shading study from workshop 01 (figure B).
Seminar (50-100 fc optimum)
plan
Circulation (5-10 fc minimum)
8:00 am
School will be beginning at 8 AM daily. This means that special attention should be paid to entrances and circulation zones.
June azimuth: 85 degrees
There is a distinct contrast in glazing ratio between the inner and outer envelopes (figure D). The inner envelope maximizes glazing placement for task illumination levels in a classroom. The outer envelope has a much higher glazing ratio in order to maximize solar heat gain.
September azimuth: 100 degrees December azimuth: 123 degrees
Solar Collector Panels
8 AM
Classrooms (2) (50-100 fc optimum)
The intent of the project is to make up for steel’s lack of insulating capacity by incorporating an outer and inner envelope into the building form itself. In the summer these pockets passively ventilate the building by heating up, pushing hot air out and pulling cool air from the first and second floor operable fenestration. In the winter the outer envelope closes tightly but the glazing maximizes solar heat gain (figure A). Windows between the inner and outer zones can be opened at these times to bring solar heat into the classroom spaces. This strategy has been employed in vernacular buildings throughout history in the form of greenhouses and sunrooms (Lechner, 2009).
Midday, the lighting strategy is characterized by its variety within the building. The second floor becomes very well lit for outdoor lunch period and office work, whereas the first floor is blocked by the above terrace, making a cool, dark space for relief from the bright sun.
June altitude: 70 degrees
September altitude: 60 degrees
Seminar (50-100 fc optimum) December altitude: 30 degrees
Classroom (50-100 fc optimum)
section
Lecture hall (100-200 fc optimum)
12:00 pm Circulation (5-10 fc minimum)
Catwalks (solar shading and facilities access)
Classroom (50-100 fc optimum)
The HVAC system is conceived as a complementary supplement to these passive systems (figure E). Shoulder seasons are dominant climatic conditions in the state of Virginia. As the weather in charlottesville cools, the first line active system to get to work is the active solar heating. This system capitalizes on the glazed roof buffer zone by placing the solar collector panels there. The water heated in those panels is then run through a heat exchanger to heat the air coming into the ventilation system. This requires very little energy input (Allen & Iano, 2012). This system is supplemented in the coldest months by a conventional furnace system, controlled precisely and easily by the occupants of the building for maximum comfort. These two heating systems as well as the condensed air cooling system are distributed by forced air ventilation ducts hanging below the 12’ ceilings of the building.
Seminar (50-100 fc optimum)
plan Circulation (5-10 fc minimum)
12:00 pm The classrooms will have their most significant glare concerns during this period of the day, when all are in session and the sun is at its hottest. Operable shading devices should be considered for the glazed South wall.
December azimuth: 170 degrees September azimuth: 175 degrees June azimuth: 177 degrees
12 PM
Lecture Hall (100-200 fc optimum)
Ventilation Ducts
Buffer Zone
Circulation
Seminar
I
(5-10 fc minimum)
(50-100 fc optimum)
( h
Diffuse Western light during the sunset might be an appropriate strategy for the classroom program. Potential opportunities include clerestory windows puncturing the Western wall.
Allen, Edward; Iano, Joseph. The Architect’s Studio Companion. Hoboken, NJ, 2012. p. 248.
Seminar (50-100 fc optimum)
Figure D. A glimpse into environmental conditions and systems at work at noon in September as school begins for the students.
Lechner, Norbert. Heating, Cooling, Lighting: Sustainable Methods for Architects. Hoboken, NJ, 2009. p 148.
Classroom (50-100 fc optimum)
section
June altitude: 25 degrees
Lecture hall (100-200 fc optimum)
September altitude: 20 degrees
5:00 pm
Circulation (5-10 fc minimum)
Outdoor Mechanical Space
December altitude: 3 degrees
Afternoon classes will finish and evening sessions will begin during this time. This again puts pressure on the circulation zones of the building, and glare on computer screens will be a concern with the altitude of the sun so low.
Classroom (50-100 fc optimum)
Forced Air Duct Network
Seminar (50-100 fc optimum)
plan
Circulation (5-10 fc minimum)
5:00 pm
5 PM June azimuth: 280 degrees
September azimuth: 265 degrees
December azimuth: 242 degrees
MONTHLY
In the evening, light is well tempered to avoid sunset glare. This is with the exception of December, when it reaches to the far side of the floorplate. This could be remedied by DIURNAL AVERAGES extending the western wall to the south.
Total Solar Gains
West
Fenestration Fabric Loss Coefficient
Total Internal Gains
East
Roof Fabric Loss Coefficient
Fabric Heat Loss per day
South
Ground Floor Heat Loss Coefficient
Total Sensible Ventilation Loss
North
Exterior Wall Fabric Loss Coefficient
Total Sensible Heat Loss
Building Areas
Exterior Walls
passive solar heating
Active Solar
Ground Floor
Figure B. Solar orientation and shading studies for Charlottesville, VA on December 1, September 1, and June 1
Indoor Mechanical Space
passive ventilation Heat Exchanger
Roof
- Charlottesville Faa VA USA, W MO# =724016
Active solar water piping
Ventilation ductwork
Heat Pump
Fabric Heat Loss
Furnace
°C
Figure E. HVAC Strategy Diagram
Figure C. Heat Gain Study Findings
Figure F. Plan and section diagrams of active mechanica
40
Furnace supplements active solar heating system comfort zone range
Active solar system meets heating needs
Passive ventilation cools via stack effect
Active solar system meets heating needs
30
gap between comfort zone and average temperature
20
10
monthly temperature range Direct/ diffuse solar strength
0
-10
Jan January
Feb February
Mar March
Apr April
May May
Jun June
Jul July
Figure G. Monthly Diurnal Averages for Charlottesville, VA
design development + environmental systems | Charlie Menefee + Gwen Murray | April 2015
monthly temperature range direct/ diffuse solar strength comfort zone range gap between comfort zone and average temperature - need passive heat gain
Aug August
Sep September
O
Design Development | Environmental Systems Wind Scoop
Steel for the shoulder seasons. Potential areas of low illumination
The intent of the project is to make up for steel’s lack of insulating capacity by incorporating an outer and inner envelope into the building form itself. In the summer these pockets passively ventilate the building by heating up, pushing hot air out and pulling cool air from the first and second floor operable fenestration. In the winter the outer envelope closes tightly but the glazing maximizes solar heat gain. Windows between the inner and outer zones can be opened at these times to bring solar heat into the classroom spaces. This strategy has been employed in vernacular buildings throughout history in the form of greenhouses and sunrooms (Lechner, 2009).
Operable Fenestration
Indoor Mechanical Space
(heat exchanger, furnace, heat storage)
Outdoor Mechanical Space (condensing unit, fuel storage)
W / m²
al systems.
Oct October
1.0k
Furnace supplements active solar heating system 0.8k
0.6k
0.4k
0.2k
0.0k
Nov November
Dec December
The HVAC system is conceived as a complementary supplement to these passive systems (figure E). Shoulder seasons are dominant climatic conditions in the state of Virginia. As the weather in Charlottesville cools, the first line active system to get to work is the active solar heating. This system capitalizes on the glazed roof buffer zone by placing the solar collector panels there. The water heated in those panels is then run through a heat exchanger to heat the air coming into the ventilation system. This requires very little energy input (Allen & Iano, 2012). This system is supplemented in the coldest months by a conventional furnace system, controlled precisely and easily by the occupants of the building for maximum comfort. These two heating systems as well as the condensed air cooling system are distributed by forced air ventilation ducts hanging below the 12’ ceilings of the building. studio work | 29
Enclosure
Access 08
05
Systems
03
02
Frame
|
Steel
Design Development | Margaret Rew | Spring 2015
Combat the thermal challenges of steel construction by leveraging its weaknesses. Establish a buffer zone on the South side of the building that will mediate the cold in the winter and ventilate using the Stack effect in the summer.
01
01 Deciduous trees, 70 feet
10 Operable window
02 Glazing system 01 (conditioned spaces, framed)
11 Insulation
03 Glazing system 02 (unconditioned, pinned)
12 Flashing 13 Waterproof membrane
04 Roof construction - steel trapezoidal profile sheeting, insulation, waterproof membrane
14 Connecting pins, 1/4 inch diameter
05 Active solar heating system
16 Connecting plate
06 Column, HSS10
17 Steel channel
15 Bolts
design development + environmental systems | Charlie Menefee + Gwen Murray | April 2015 07 Beam, W 18 x 76
18 Ventilation scoop
08 Open web joist girder, 36LH09
19 Steel trapezoidal profile sheet
09 Double glazing, 12/16/6
20 Glass entrance door jamb
Ground
mum)
Seminar
Indoor Mechanical Space
(50-100 fc optimum)
(heat exchanger, furnace, heat storage)
door Mechanical ace
Outdoor Mechanical Space (condensing unit, fuel storage)
Active solar water piping
oor Mechanical ace
solar ng
Ventilation ductwork W / m²
Figure F. Plan and section diagrams of active mechanical systems. 1.0k
Active solar system meets heating needs
Furnace supplements active solar heating system 0.8k
Forced Air Duct Network
0.6k
passive ventilation
0.4k
Heat Exchanger Aug August
Sep September
Oct October
0.2k
passive solar heating Nov November
Active Solar Heat Pump Furnace HVAC strategy combines active and passive systems
studio work | 31
0.0k
Dec December
a working porch | team strategy: cluster | Julie Bargmann | September - December 2015
A Working Porch | Berlin + Detroit with Julie Bargmann
Don’t send the vacant houses of Virginia Park to the dump. pre-1910 1920s 1930s
Instead, stabilize the structures. Make New Virginia Park the best neighborhood in the city to buy a $5000 house through a two pronged approach - strategic base level rehabilitation and shared construction resources at the old Herman Kiefer Hospital.
1940s 1950s 1960-1979 1980-1999 2000+
studio work | 33
Existing
Now
a working porch | team strategy: cluster | Julie Bargmann | September - December 2015
Soon
studio work | 35
a working porch | Julie Bargmann | September - December 2015
studio work | 37
Research + Publications
Mapping Our World: Art, Research, and Cartography Art as Research at Tufts University with Monica McTighe May 13, 2011 Maps are the visual representation of research. Saturated with information, they connect people visually to the spaces they inhabit. Their visual nature allows them to communicate complex ideas and messages in a way that people can process and relate to. Maps provide context. They are an interface between people and their world. They are rife with power relations, making choices for the public about what places are important and what are not. They structure our perception of our world. Maps can question and create new spaces by recycling forgotten information into new knowledge. Because of those powerful qualities, maps are an effective tool for artists looking to question the status quo in our relationship with the spaces they inhabit. This paper will outline several of the projects included in the Experimental Geography exhibition to point out the many uses of maps to visualize knowledge. Lize Mogel, a counter-cartographer and contributing artist to the Experimental Geography exhibition, describes why maps have such potential power, “All maps, whether institutional or counter-cartographic, embody and produce power relations. They describe relations between people and place. They communicate through design.” Experimental Geography and Trevor Paglen The title of the exhibit around which this study was constructed comes out of the work of Trevor Paglen. Paglen describes himself as a writer/artist/geographer/journalist, focusing most of his work around forgotten or unseen places. Though he doesn’t work in maps directly, he has made significant contributions to the theoretical structure behind critical cartography. He constructs his term “experimental geography” in rebellion against the idea of the map. He says, “As useful as maps can be, they can only provide rough guides to what constitutes a particular space.” Paglen criticizes the polarizing impacts of political maps or the dehumanizing emphasis of borderlines and roads. In response to those ideas, Paglen dedicates his work to researching and recording
places that have been forgotten by or hidden behind maps. Working within Lefebvre’s concept of the “production of space,” Paglen is interested in the interaction between people and the spaces they inhabit, producing their own world. In his introduction to the exhibition’s catalogue, Nato Thompson describes the term “experimental geography” as “a new lens to interpret a growing body of culturally inspired work that deals with human interaction with the land.” He describes how he and the rest of the Independent Curators International team put together the traveling exhibition to showcase that work. The “experimental geography” exhibit included a wide variety of works and mediums, each of which “takes on the production of space in a self-reflexive way.” The exhibit was split up into four parts, one of which focused on cartographical works. This section has been the focus of my study, though I include one project from the “landscape as metaphor” category to outline how the meaning behind the works overlaps. An interesting aspect of the maps section of the exhibit is that the team of curators invited only four “map artists,” but one of those artists, Daniel Tucker, exhibited an archive of map works as his project. The project is called the “We Are Here Maps Archive” and it exists online as a collection of counter cartographies and other digitized map art. For the Experimental Geography exhibit, the 27 maps were grouped together for the exhibition on a “freestanding poster display.” This collection of critical cartographies is a display of maps as produced knowledge that have become valuable in themselves as reproducible conveyors of information. This status pushes the boundaries of the traditional art practice in which images are valued for their rarity and origin, rather these which emphasize the utility and critical nature of art. Some of the artists that I chose to discuss in this paper were included in the exhibit via Daniel Tucker’s archive, while others were invited by ICI directly. In her introduction to the “cartography” section of the exhibition catalogue, Lize Mogel offers that countercartographies “do not try to remake the map but instead appropriate it in order to analyze, understand and create a balance of power.” Maps sit are charged with information and meaning. Their visual appeal and streamlined design allows them to be powerful tools in the conversation on Paglen’s Experimental Geography.
Cartography as Question | Monica McTighe | March - May 2011
Figure 1. Bill Rankin’s “Future T.” (Source: www.radicalcartography. net)
Radical Cartography is a series of projects by Bill Rankin in which he plays with the way that maps can display data. In an exhaustive digital collection online, he presents a long series
is the most important part the visual impact of the piece is compromised because viewers must read and interpret in order to understand. Maps allow artists to organize information in a way that maintains the residual power of the data - maps are information sponges. This trait then allows artists to frame their research in a way that makes a point, making the map an excellent critical tool. This tool is helpful for the artist-as-activist because it combines social criticism with the artists’ aesthetic. By making works that are so deeply contextualized in space, the activists look to do more than “raise awareness,” they alter the way that their viewers experience their world. Through their research the artists create new knowledge by recycling old data into dynamic presentations that have an impact on the viewer. These new representations of the knowledge are valuable enough (and utilitarian enough) to be collected and preserved as sources for future research. Thus the artists maintain a display that confirms the legitimacy of their research while simultaneously exercising their artistic licenses on the aesthetic and content of the map.
of work on cartography. Each of the maps usually takes a singular topic and redisplays it so that it can communicate a new message. Visually, his maps are simple and striking, using stark colors to communicate a message through cartography. Often he juxtaposes different sets of information that wouldn’t previously have been compared. One example of this is his Building Heights/ Land Value project, in which the artist cartographer maps out the various heights and values of the buildings in Manhattan on two identical maps of New York City. The project invites comparison between the two visualized sets of data, and calls to attention a strong correlation between them. By redisplaying the existing data, the artist gives it new meaning and questions a new area of city planning - why do taller buildings increase the value of the land they sit on? What kinds of precedents does that set for future urban planning? Does the increased value and height of the buildings change the city in any other fundamental way that has been overlooked?
Maps in art have become more and more common over the past thirty years as artists have focused more on research in their work. As records of past and present power dynamics in our geography, maps allow artists to question the status quo and to express complex political statements through design. The projects surveyed in this paper are just several examples of a wide spectrum of artists working with maps. This project has been a study of the various ways artists use maps as an interface between an individual and their world. Here, maps are a tool by which to confront complex ideas of space, place, and relativity; to call attention to global issues; or to assert the power of the local.
One of the biggest conflicts with research-based art is its presentation. Often when the research going into the project research + publications | 41
...Bright, saturated, and crystal clear. The shadows are purple, rays of sunlight refract over the image in Indian Yellow, straight from the tube. ... ...The record of a movement. Here, the imprint is direct. Her toes brushed aside that charcoal, her sweat wrinkled that paper. A dance is recorded. ... ...Location is the scale of the mountains and the water line against the deep red of the water. It is also essential to its meaning – it is another landmark we have never seen nor will ever see, one of millions. ... ... Venus just barely stands on her shell, which curves under her left foot as the right floats off in balance. ...
...Above the storm a dirty red smoke rises, as if the blue grey were not a storm but water on an angry furnace. ...
art for breakfast | independent daily writing project | october 2012 - march 2013
Art for Breakfast | Independent Writing Project
Sharing art with you, every day. Art for Breakfast was conceived to let you into one piece of art every day with a little bit of context and honest description. Our contributors wrote about whatever art moved them, from ancient to contemporary; iconic to obscure. The project was a great way to force myself to sit down and think about the work at hand; bringing each out of an isolated museum context so that they can be accessed for their essential qualities of beauty, truth, and humanity. I’ve always had a problem with the way art has a tendency to segregate itself from others - Art for Breakfast is my small protest against that.
research + publications | 43
go vertical | in collaboration with Taylor Hewett and Karilyn Johanesen | Robin Dripps | January 2015
Vertical Living | Evolo Competition Entry
GO VERTICAL. Recognized Evolo competition entry [top 20 most innovative skyscraper], in collaboration with Karilyn Johanesen and Taylor Hewett. (archdaily) A project to turn the free plan on its head: the tropes of modernism must be questioned, for they are rich in opportunity. In this hypothetical vertical apartment unit we declare war on the open planes of Modernism. We have bodies, we take up space. We do not floor space, we need volume. We do not need free plans. We need free sections.
research + publications | 45
go vertical | in collaboration with Taylor Hewett and Karilyn Johanesen | Robin Dripps | January 2015
The pancake is dead. The people of the City have been cooped up against their sealed window on a double-loaded corridor for the last time. We predict the demise of the FAR and the $$ PSF. Mies has failed us. We have lived on those open planes of Modernism and we their scoff at their flatness. We declare war on the free plan. We celebrate the possibilities of the free section. Rising real estate costs and natural barriers to city growth have put vertical pressure on the City. We can no longer tolerate the attitude of suburban spreading - in our periphery or in our metropolis. The spatial strategy of the suburban ranch-house-turned-shoebox on pancaked ground planes will no longer work. We suggest an equivalent to the townhouse - a typology that has long defined the healthy urban center. Such a typology allows for residential units embedded in a fabric of public circulation and program. We propose a new spatial paradigm. A city designed for volume. Along with this new paradigm come attitudes of inclusion and hybridity. We recognize the layered nature of identity in the global city, in which we are all both citizens and strangers. This age-old attribute of the cosmopolitan center has been redefined in the contemporary global city by the unyielding forces of capitalism. The real estate and tourism industries vie for territory at the expense of the public. The resultant architecture reinforces the opposition between these two identities and has yet to address growing trends that complicate distinctions between resident and tourist, permanence and transience, familiar and alien.
research + publications | 47
go vertical | in collaboration with Taylor Hewett and Karilyn Johanesen | Robin Dripps | January 2015
This proposal subverts the current model of elevator core circulation within the mixeduse skyscraper by leveraging light and air voids as pathways for a gondola-style vertical circulation. This gondola network becomes an armature for pockets of public space and privatized public program. In this new public territory, citizen-spaces and stranger-spaces mutually benefit from their adjacencies and overlaps. The proposed spatial strategy maximizes connectivity and hybridity - proposing that these places that a citizen-stranger lives, works, and plays in should be defined first and foremost by the tenacity of their volume.
research + publications | 49
written cities | travel research grant | june 2015
Written Cities Project Proposal | Nix Travelling Fellowship
To draw the city of Paris through writing. I proposed to write a 400-600 word provocation of place every single day for 4 weeks. This is intended as an extension of the Art for Breakfast project – an independent writing project from the year before I started my architecture masters. Since then, I have wanted to explore how this project would translate from art to architecture. My Nix Traveling Fellowship is an exploration of that translation. I read writers of place. The work this summer will cross place into drawings, pulling Annie Dillard into the hard banks of the Seine, and Geoff Dyer’s slicing observations into Carlo Scarpa’s layered details. The study will be modeled as a cross between Rebecca Solnit’s New Orleans Atlas and Italo Calvino’s Invisible Cities. I bring with me the work of Manuel Bailo on human scale public catalysts, including his observations on the irrelevance of the distinction between formal and informal in the success of a public space. I see his autocad drawings as a meter for the specificity of my intended inquiry – a research based on trust in measured observation.
This project is proposed as an investigation into the perception of place, as an surgical examination of the nature of exploration and of our relationship as students of architecture to the fabric of the cities we build. The city provides an intense layering of time into material. I am interested in the way that the layers of Haussman obscure and reveal the Romans. I want to see the way that these histories stomped on or made precious by the contemporary city. Exhibition opens March 25, 2016.
research + publications | 51
write the city | nix travelling fellowship | may 2015 - march 2016
writtencities.org | May 30, 2015
Threshold. A doorway, a gate. A line in the sand. A piece of yarn, unrolling. The space that I raked with my fingers along the wall so far: The walls here lean towards you, over the street. Haunched or bursting to be closer – both. Roofs patina against each other, knowing to fade together as planes. These stones must be somehow conscious, pulling grey out of their sky into blue slate. Quick, tiny feet; dust rising; cloud raising; squeal. There are children everywhere. At the corner I turned onto again, lost on purpose – she held his face and he angled out, carefully not to move his face away from her kiss. Paper doll windows float over gutters – these are not the heavy cornices of Florence. Paris speaks through thick windows, eyes in pretty array. My threshold is a line, carved and traced and traipsed into sidewalks and streetcorners. It wobbles and teeters and absorbs its one point perspective, searching for the moment when it will next run into itself and weave a network over this city. This line of mine carved from sky to street will soon be a backbone of axes and alleys, corners and points of reference. But in these first days it is skinny and I teeter on it as I lay my yarn out across this strange new place. Look back tomorrow and it will snap shut into first impression. It is with this dreamy sense of carving that I begin my thirty days in Paris. In this month I will build these lines into a web – peek beneath it, through it. I will weave together a city and sculpt there in the air in front of you what I have found.
research + publications | 53
A line through this city
The proposal
Arrival. Out of Charles de Gaulle customs and squeezed through a plastic tunnel escalator across a circular atrium. There is so much space so close to around you, but you cannot feel it through the plastic. Baggage claim is radial, but you understand it as an arc from escalator to bus station. From one place to another, I carry myself from sign to sign. Bus stop, pause. Waiting, time extends in this bright white box of strangers waiting until the bus rumbles in, ordinary.
To draw the city of Paris through writing.
Place des Vosges + Hotel Sully
I propose to write a 400-600 word provocation of place every single day for 4 weeks. The works will accumulate in real time on a website and then into a book upon my return. The website will give space for experimentation, recording the dive into knowing a city. The book will reveal an invisible city.
Place des Vosges - old and new, familiar, gravitate towards that back corner, or feeling the ache of garden behind tall solid walls. Paris leaves you guessing at those precious courtyards, you know they are there. There is something about knowing a space you can’t see but feel on the other side. How did you trace that brain line through the heavy door into dirt clouds. A tiny person kicks wildly through the dust, chasing. The formal garden is a strange background for play.
Threshold. A doorway, a gate. A line in the sand. A piece of yarn, unrolling. The space that I raked with my fingers along the wall so far: The walls here lean towards you, over the street. Haunched or bursting to be closer – both. Roofs patina against each other, knowing to fade together as planes. These stones must be somehow conscious, pulling grey out of their sky into blue slate. Quick, tiny feet; dust rising; cloud raising; squeal. There are children everywhere. At the corner I turned onto again, lost on purpose – she held his face and he angled out, carefully not to move his face away from her kiss. Paper doll windows float over gutters – these are not the heavy cornices of Florence. Paris speaks through thick windows, eyes in pretty array.
Margaret Rew Nix Travelling Fellowship Recipient 2015
My threshold is a line, carved and traced and traipsed into sidewalks and street corners. It wobbles and teeters and absorbs its one point perspective, searching for the moment when it will next run into itself and weave a network over this city. This line of mine carved from sky to street will soon be a backbone of axes and alleys, corners and points of reference. But in these first days it is skinny and I teeter on it as I lay my yarn out across this strange new place. Look back tomorrow and it will snap shut into first impression. It is with this dreamy sense of carving that I begin my thirty days in Paris. In this month I will build these lines into a web – peek beneath it, through it. I will weave together a city and sculpt there in the air in front of you what I have found.
This is intended as an extension of the Art for Breakfast project – an independent writing project from the year before I started my architecture masters. Since then, I have wanted to explore how this project would translate from art to architecture. My Nix Traveling Fellowship is an exploration of that translation. I read writers of place. The work this summer will cross place into drawings, pulling Annie Dillard into the hard banks of the Seine, and Geoff Dyer’s slicing observations into Carlo Scarpa’s layered details. The study will be modeled as a cross between Rebecca Solnit’s New Orleans Atlas and Italo Calvino’s Invisible Cities. I bring with me the work of Manuel Bailo on human scale public catalysts, including his observations on the irrelevance of the distinction between formal and informal in the success of a public space. I see his autocad drawings as a meter for the specificity of my intended inquiry – a research based on trust in measured observation.
Scale shift, window comes to the ground. Roofs patina against each other, shouldn’t they be conscious? Mustn’t they know how to fade just right against each other in the sky? They tell time against the wall, pulling grey down into the courtyard with their blue slate. An empty pedestal. Was it meant to be empty? The window frame leans. Adjusting to what? For how long? Why do they play here? What happens to me when I take the picture? You are a coward with questions.
Louvre
Luxembourg, mottled
Where is Alec? On a first night, the city stretches ahead of you. A walk anywhere threads me across the grain of the loud boulevards, along an invisible edge of Seine. Memory is foamy, pockets of air hold together and drive you to somewhere. Along a string to a fortress wall.
The public slips into this agriculture, tre you decide.
In the square I am smacked with the tininess of humans. Audacity and courage and preposterous wealth. The opulence of empty space. Three sets of windows high but the square towers 60, 80 feet. Manipulations of scale undercut perception. This building has how many floors? Louis must’ve been a tiny man. The magic of water and the secrecy of music. Ducks hide from the wind. Strings plucked ride the air. **flip into how to write these facts in, names of kings and architects.** Maps, history, writing, photos. You lack intention and substance in your description. Cut down, through into fact. What do you know? How does that make what you have seen? What do you recognize? I imagine my feet carving down through these paved stones, 6 x 6. Time stretches along this line - look back tomorrow and it will snap shut into first impression.
I do not know Paris. This project is proposed as an investigation into the perception of place, as an surgical examination of the nature of exploration and of our relationship as students of architecture to the fabric of the cities we build. The city provides an intense layering of time into material. I am interested in the way that the layers of Haussmann obscure and reveal the Romans. I want to see the way that these histories stomped on or are made precious by the contemporary city.
The Louvre courtyard (real name?) is a huge stone square, It is huge because it is wide - it would take two minutes to run to the far side. Huge tall I see a tiny person head scraping below a window sill. The pavestones six by six curve up slightly to the fountain at center - or that is just the world tipping over round, look up for evidence we are swinging around that axis still. The fountain at the center is studded with ant people in shadow against the setting sun on stone behind them, a deep acid yellow royal facade. Hugeness made normal by complete surrender. The three stories must reach 60 feet over four entrances. A musician presses out against each of these archways, notes tumbling into the court. All deep strings. A man whistles along from the poche of the wall, throwing his wind into the air. These four competitors are the only program besides four men selling eiffel towers for your camera phone. The latter are not having much success. I watch them from a cold bench while they take turns walking up to the tourists but when they sit it is thirty feet back from the fountain. Everyone else rushes through this space between center and edge. The man sets his arms wide behind big shoulders and sags his chest.
I am haunted by english and a city of im direction is suspended. Looking only fo Thoughts tossed into the sky, over the b these trees.
We people of the city arrange ourselves the water or ourselves. Do you see your of a city?
Road drops off the hill into garden, ple there are two people laying like one in t repeated, extended. The grid of trees a flat against our heads. Light hits faces w structures distance between strangers. W stone carpet beneath, a movable chair a read his face while he reads. The 20’ dia both protecting and endless. I had trou chairs seemed just the same amount of
I remember differently from words. Th crossing on my knee and remember lick together but really I ate the whole thing below the trees and how the man sat w than I wrote down, folding open again. The drawing does not help the same. It that to draw or to write is to save the m pressed between pages carry it around f June air. From the drawing the trees rea the memory comes from where the gro easy to remember the horizon, bright o on memory, on recall. What of it was th sweeping under those regular trees, how
A scattering of benches and chairs app marked by asphalt on an axis, only a sug become new trees and we are a forest. Q and strands of hair.
Why does the space work so well acoustically? Is it the unrelenting symmetry? It holds three different (four?) thin songs and lets them run through open fingers. The music moves around the courtyard with the wind. A piece of light shoots through the huge wall to my left - the sun has struck from one side to another of the palace, starting as a muffled triangle and strengthening as it stretches out to evening. Wind seems to move through it too and more and more this palace seems like four thick walls to make music for me here. Inside flips and I am in a perfect turrell theater. The palace’s
May 28
Airplane, Place des Vosges, Hotel Sully
Vestoj (Laura Gardner)
On Slowness (The Contemplative Life)
May 28
May 28
Le Marais
Walk from Place des Vosges to the Louvre
Vestoj (Lydia Davis)
Carlos Maria Dominguez + Peter Sis
On Slowness (What an Old Woman Will Wear)
the house of paper
May 29
Cafe in le Marais
Geoff Dyer
The Ongoing Moment
write the city | nix travelling fellowship | may 2015 - march 2016
May 29
Playground, Pompidou
Georges Perec
An Attempt at Exhausting a Place in Paris
May
Pomp
Italo C
Les Villes
Pompidou
ees in a grid hold firm over wherever
mage. Vacuous granite. My sense of or quiet and a certain color of the air. breeze. Promenade is obscured under
s strange around this circle to watch rself smack up against the hugeness
easantly unkempt. Where you thought the grass. My afternoon walk is are a huge hypostyle hall pressed with an accent of green. The grid We each claim our territory on the angled just enough away that I can’t agrid makes a play on privacy, trees uble deciding where to sit, all of the sticky.
he place comes together I see my ankle king the ice cream that we bought g. I know the way the light came soft with his back to us. I remember more . The less words the less I remember. t is romantic, this notion that I have moment for later in an envelope, for when you need a breath of hot ad heavy and the figures cartoonish, ound is mottled like water. It is on the other side. All of this effort he space? How to access the true w to describe the pace they inscribed.
propriated. Paths through trees are ggestion. People in single chairs Quiet trees, wind beneath lifts leaves
Exploit, explore thickness. Tourists snake a thin line across the sloped plaza and duck inside the metal machine, a cave of glittering wires. The cave is an entrance hall, cavernous and full. Thickness in all directions; mechanical systems and structure breathe as a sponge. The space does not have walls but mezzanines, the floor gives out into another layer of atrium below. Stairs and signs hang from the ceiling as a wire screen. The density and expanse of a forest. The Arts Center was conceived in the early seventies as a new cultural center for modern Paris within an urban renewal strategy by President Georges Pompidou. The project, originally called Centre Beaubourg, was controversial for the razing of surrounding neighborhood fabric – another piece of the renewal project took down Les Halles, a historic market. The museum displaced townhouses on Rue Beaubourg, one of which became the subject of Gordon Matta-Clark’s Conical Intersect during the museum’s construction. The competition for the design was won by Richard Rogers and Renzo Piano and built from 1971-1977 as a modern art museum that is also a library, a gallery, playground, a public square, a viewport out to all of Paris.
dignity? Torn between exposure of the mechanical systems and deference to the art, the galleries try both. The lights are fluorescent bullies in a rigid cell structure. The light shelves blast white and don’t bounce like they did in Piano’s drawing. Now I am watching these defunct mirrors instead of Henri Matisse’s cartoon of a woman as she should be (Blouse Romaine). Ah but if I could look down she would be spellbinding - blues in flat, feeling planes of paint holding and glowing from the surface. The lighting system has been adapted to the works displayed - sometimes a wall is dark because the works are paper, or on showstoppers the cells lift away, replaced by real spots. These paintings you can really see. I suspect that these working moments checkerboard the galleries, the finally well lit walls pulling an unconscious crowd from masterpiece to masterpiece. I love I love I love a plane of color on linen, with a hand behind it. Fall into those greys. Color and light and planes of walls on walls down from mechanical ceilings. Uncanny Balthus, or just a sexist bastard interested only in the objects on a woman’s body. But the colors - let him do anything. He tosses me carelessly between horror and adoration - my stomach churns. It is hard for me to stop looking at the art.
From the atrium onto an external escalator, looping up diagonal across the city. You might melt in this plastic tube, hanging off the edge of that tangle of trusses. Glass doors reach out at each floor but you keep moving – Paris roofs tilt towards you as you stretch to the top. George Pompidou’s jewel tops out head and shoulders above the city. This idea of a public institution as park, a point of relief in the city. A comma. Give space, time to change direction. A phrase made circumspect, reflexive. The Pompidou is a seat on the roofs of Beaubourg. A bastion of the public, an attempt to turn inside out the barren fortress of the Louvre.
This exhibition is the record of a project begun in the spine of Italo Calvino’s Invisible Cities, propelled into paper through a research trip to Paris in June of 2015, scraped along mornings from July to March into the drafts assembled along the base of the exhibition.
The subject of the exhibition is the process of writing of my text of the city as a productive and experimental act.
To turn a building inside out. We talk often in architecture of a thickened edge. Paris understands this thickness in shutters and curtains and window sashes, in courtyards and terraces and sidewalk cafes. The Pompidou bathes in this thick function and conditioned space disappears behind truss and duct. In this way it is a building to take on political meaning overtly. Democratic, inclusive, critical and explicit. Declaring what might be the role of art in the city: to weave the beautiful into the messy, allowing for criticism and productive frictions between neighbors. The homeless camp out beneath dirtied white trusses, teenagers from the public library stare over their cigarettes at the conveyor belt of tourists moving always up and left. Matisse coexists with the ventilation system, which in the galleries has in turn been painted deferentially white. This agenda of multiplicity from the postmodern project is fertile in a city well-versed in the monolithic facade as assertion of power. It is harder to write when you also have to move. Stillness takes on new speed to catch up to your revving pen. People crowd into here, how do you keep
This model is a continuation of the historically Parisian project of the nineteenth century flaneur, whose “writing of the city in texts results from the walking of the city as text.”1 In my research, I recorded my practice of Rebecca Solnit’s Field Guide to Getting Lost through photographs, books, and pages and pages of notes.
y 29
pidou
Calvino
Invisibles
May 29
May 30
Pompidou
Le Marais, Archives, Sainte Chapelle
Italo Calvino
Carlos Maria Dominguez + Peter Sis
Les Villes Invisibles
the house of paper
1 Deborah Parsons, Streetwalking the Metropolis: Women, the City and Modernity. Oxford: Oxford University Press, 2000.
Lydia Davis
Can’t and Won’t
research + publications | 55
Lydia Davis
Can’t and Won’t
Lydia Davis
Can’t and Won’t
Lunch Academic Journal Fall 2015 Call: DOMESTICATION
domestication makes us mad | in collaboration with hannah barefoot | lunch journal submission | may 2016
word domestication makes what might be an architectural conversation of house and home into one of territory. Phrases like “possibilities of interaction among generations and genders” gesture flaccidly at theoretical change while structuring a conversation that reinforces still-dominant binaries. Now the home can be productive! As opposed to what it has always been?
image credit: Chase and Borne Coffee Advertisement from 1950s.
Lunch Journal Article Submission | in collaboration with Hannah Barefoot
Dear Lunch: The word domestication makes us mad. Why? What is the difference between domestic and domestication? Domestication is an action. The noun, formed by abstracting the verb domesticate, assigns hierarchical agency, concretizes action against another. It involves exerting control, manipulating species, training and breeding animals. This provocative word pushes aside the everyday, ordinary and lived, forcing the issue of the domestic into the realm of the perceived and conceived. We are removed. Our agency in articulating alternative narratives is lost. Using domestication validates a troubling contemporary agenda - searching for extremes - rendering the everyday significant only by ignoring the very qualities that make it everyday. We must be careful of calls to generate new theoretical frameworks and accompanying specialized vocabularies to “subvert the illusion of complete control.” For example, “Friction at the boundary between domestic and foreign” leans on difference. The call renders domestication as other than the everyday - calling upon an ancient division of labor used explicitly to subjugate half of the population. The
Domestic is an adjective, a descriptor, a means of specifying a circumstance. Accompanying a noun, domestic implies an internal perspective, a turning toward close friends, family. This qualifier enables us to describe a full range of experiences: deep connection and love, mundane daily events or incredibly violent, horrifically quiet acts. Power lies in our choice of noun, legibility becomes key and the nouns: ‘violence,’ ‘garden,’ ‘sphere,’ ‘affairs,’ etc. are clarified. The word domestic can imply the sentimental, vulnerable, gendered, insignificant, squishy, fleshy, tender, insecure, rigid, warm, cold. The {domestic + noun} grounds a noun in a shared, diverse experience of the everyday. The combination is capable of connoting both ultimate safety or abject fear. What comes of Lunch 11’s call for domestication is heavily dependent on how it is framed. Under the current call it is hard to imagine submissions that do not reinforce the selfperpetuating myths of control within the home. However, the call is correct: we need to seriously address the social and economic architectural problems and opportunities of domestic space. But domestication is not the domestic.
A seemingly trivial suffix, “-ication” changes a nuanced description to violent action. We worry emphasis on action misses the fleshy goodness a discussion about theories of the domestic could inspire. Energized by our indignation with the violence of domestication, we will compose a paper and graphics intended as a foil to the Lunch 11 call, projecting new frameworks for examining the domestic. We want to love on the true substance of {domestic + noun}. We will draw characters translating hierarchies through grammatical sentence diagrams. These scenes will play out in the accompanying text through an exploration of alternative
research + publications | 57
independent porch study | Julie Bargmann + Bill Sherman | January - May 2016
Independent Porch Study | Julie Bargmann + Bill Sherman
What happens to a house in vacancy? Expanding on the Detroit studio design proposal from the perspective of the porch as a piece of an urban system of disposal. Closing in on a particular aspect of the system each week. Represent my findings graphically. Compile a weekly list of questions in preparation for our meetings. Finish the semester with a series of drawings representing the system I have uncovered and how my design will pull out of it.
research + publications | 59
Material Anatomy Estimating the material palette of a typical Virginia Park house in order to multiply and quantify potential.
Shingles
Asphalt, unit size? x Roof sq ft.
Studs Sheathing Siding
Wood, 2 x 4 x 8 Perimeter x # Floors x 16 inch o. c.
Wood, 1 x 6 x 8 Perimeter x Floor Height x # Floors
Wood, 1 x 4 x 8 (or Vinyl or Brick) Perimeter x Floor Height x # Floors
Fixtures
2 bathtubs, 3 sinks, 14 cabinets (typ)
Windows + doors
18 windows, 12 interior doors, 3 exterior doors (typ)
Shingles
Asphalt, unit size? x Porch roof sq ft.
Columns
Wood, 2 x 6 x 10 + cladding 4, typ.
Subfloor
Wood, 1 x 6 x 8 Porch area x 2
Joists Finish floor
T&G wood, 1 x 4 x 8 Area x # of floors
Wood, 2 x 8 x 8 Porch area x 2
Porch, typ.
Subfloor House, typ.
Wood, 1 x 6 x 8 Area x # of floors
Joists
Wood, 2 x 8 x 8 Area x # of floors x 12 inch o. c.
Foundation
CMU, Perimeter x Basement Height + Area
independent porch study | Julie Bargmann + Bill Sherman | January - May 2016
Material Palette: Anatomy
Research Plan
research + publications | 61
woodrow wilson street
independent porch study | Julie Bargmann + Bill Sherman | January - May 2016
research + publications | 63
byron street
blaine street
image credit: Manuel Bailo
Public Catalyst | Manuel Bailo | September 2013 - May 2014
Translating Anatomies of Public Space Barcelona native Manuel Bailo’s 300 page dissertation pinpoints the catalytic anatomies of good public space. The project involved massive rewriting efforts to mediate between the brilliant Catalan original and a translation that lacked clarity. By the end of the project I was elbow deep in Camillo Sitte and Hegemann, case studies that I would bring with me to the Written Cities Paris project two years later. Though I focused on the rougher background research of the project, I learned a great deal from Manuel’s true acheivement drawings of public space case studies as they morph under the creative thumb of the public.
SNACK: A student-run pop up publication | Editor | September 2014 - May 2015
Record, reflect, repeat. A physical manifestation of the murmurings and happenings in Campbell Hall commited to a radically independent student authorship and experimentation with publication practices that can scale.
three book projects | September 2013 - May 2015
faculty interviews
student work
Catalyst 2: Lineages and Trajectories | Ghazal Abbassy | March 2013 - April 2014
We make the argument in the pages of Trajectories that our school’s future pivots between the work of the faculty and that of the students. The Lineages and Trajectories book project took on the identity of the school from two angles: recording Lineages and projecting Trajectories. Lineages is a series of conversations about history and pedagogy; Trajectories documents the work of the school from Fall 2013 to Spring 2014.
research + publications | 65
practice
Francesco Borromini Francesco Borromini
Francesco Borromini
Andrea Palladio Andrea Palladio
Andrea Palladio
Thomas Jefferson Thomas Jefferson
Thomas Jefferson
Gottfried Semper Gottfried Semper
Gottfried Semper
AntonioGaudi Gaudi Antonio
Antonio Gaudi
Frank LloydWright Wright Frank Lloyd
Frank Lloyd Wright
EileenGray Gray Eileen Walter Gropius Walter Gropius Le Corbusier Corbusier Le
Eileen Gray Walter Gropius Le Corbusier
Mies van der derRohe Rohe Mies van
Mies van der Rohe
Rudolph Schindler Rudolph Schindler
Rudolph Schindler
Hans Scharoun Hans Scharoun
Hans Scharoun
AlvarAalto Aalto Alvar
Alvar Aalto
LouisKahn Kahn Louis
Louis Kahn
Saarinen Saarinen
Saarinen
DanKiley Kiley Dan
Dan Kiley
Alejandro delalaSota Sota Alejandro de
Alejandro de la Sota
Team1010 Team
Team 10
Metabolism Metabolism
Metabolism
SuperStudio Studio Super
Super Studio
Archigram Archigram
Archigram
ColinRowe Rowe Colin
Colin Rowe
RobertVenturi Venturi Robert
Robert Venturi
JohnHedjuk Hedjuk John
John Hedjuk
Jacques Simon Jacques Simon
Jacques Simon
Kenneth Frampton Kenneth Frampton
Kenneth Frampton
Peter Eisenman Peter Eisenman
Peter Eisenman
Jaque Robertson Jaque Robertson
Jaque Robertson
Michael Graves Michael Graves
Michael Graves
HarryPorter Porter Harry
Harry Porter
Ben Howland Howland Ben
Ben Howland
LaurieOlin Olin Laurie
Laurie Olin
Williams Tsien Williams &&Tsien
Williams & Tsien
PeterZumthor Zumthor Peter
Peter Zumthor
Rem Koolhaas Koolhaas Rem
Rem Koolhaas
Bernard Tschumi Bernard Tschumi
Bernard Tschumi
BillMitchell Mitchell Bill
Bill Mitchell
StevenHoll Holl Steven
Steven Holl
ZahaHadid Hadid Zaha
Zaha Hadid
Bill McDonough Bill McDonough
Bill McDonough
Michael Valkenburgh Michael Van Valkenburgh Michael Van Van Valkenburgh MichaelHays Hays Michael
Michael Hays
Niall Kirkwood Kirkwood Niall
Niall Kirkwood
EnricMiralles Miralles Enric
Enric Miralles
ScottCohen Cohen Scott
Scott Cohen
NaderTehrani Tehrani Nader
Nader Tehrani Greg Lynn Charles Waldheim
JeanneGang Gang Jeanne
Jeanne Gang
1960
GregLynn Lynn Greg Charles Waldheim Charles Waldheim
Catalyst 2: Lineages and Trajectories | Ghazal Abbassy | March 2013 - April 2014
other discipline
Ghazal Abbasy-Asbagh
other other othercolumbia michigan carnegie upc carnegie michigan mit michigan cornell upc practice practice columbia columbia other other carnegie school school school mellon mellon discipline discipline mellon
e
upc mit rice
cornell princeton mit
rice cornell gsd princeton rice virginia
gsd princeton virginia gsd
Faculty Interviews virginia
The relationship between
Robin 32 DrippsDripps Dripps these two books hinges on Theo Van Groll** 38 Van Groll Van Groll Van Groll the map–a graphic study Reuben 42 Rainey Rainey Rainey* Rainey layering influences as data Warren Byrd* Byrd 46 Byrd Byrd extracted from hours of Takahashi* 52 Takahashi Nancy Takahashi Takahashi conversations. This map Lucia Phinney*Phinney 56 Phinney Phinney is the backbone of both Pamela Black Black 60 Black Black Lineages and Trajectories, Judith 64 chapters of each ordered Kinnard KinnardKinnard** Kinnard the Ed Ford 70 the interviewee’s arrival at Ford Ford Ford by W. G. Clark* Clark 76 A School. This framework Clark Clark the Charles III 82 Menefee Menefee Menefee Menefee allowed for complexity over Peter Waldman 86 Waldman Waldman Waldman categorization. Editorially, Beth Meyer* Meyer 94 Meyer Meyer hierarchically, graphically, Earl 102 Mark MarkMark Mark we cultivated necessary and William 108 Sherman ShermanSherman Sherman tenuous connections between Alexander Kitchin 114 two projects. Kitchin Kitchin Kitchin the Bargmann 118 Bargmann Julie Bargmann Bargmann Van Lengen 124 Van Lengen Karen Van Lengen Van Lengen John 132 Quale QualeQuale Quale Phoebe 136 Crisman Crisman Crisman Crisman Sanda 142 Iliescu Iliescu Iliescu Iliescu Anselmo 148 Canfora Canfora Canfora Canfora Betsy RoettgerRoettger 152 Interviewed, Roettger Roettger Jeana 156 transcribed Ripple Ripple Ripple Ripple Kim Tanzer Tanzer 160 and edited Tanzer Tanzer Jorg Sieweke Sieweke 166 Sieweke Sieweke Nana 172 Last Last Last Last Schaeffer Somers 176 Somers Somers Somers Iñaki 180 Alday AldayAlday Alday Margarita Jover 188 Jover Jover Jover Shiqiao Li 194 Li Li Li Ghazal Abbasy-Asbagh Abbasy-Asbagh Abbasy-Asbagh Abbasy-Asbagh 4 Leena 200 Cho Cho Cho Cho Galí-Izard 204 Gali-Izard Teresa Gali-Izard Gali-Izard Jull Jull Matthew Jull Jull 210 Lee Lee Michael Lee Lee 214 Lorenz Lorenz Lorenz Lorenz Esther 218 McDowell Seth McDowell McdowellMcDowell 222 Osborn Osborn Brian Osborn Osborn 228 lineages table of contents, Bailo Bailo Bailo Manuel Bailo Esteve 232 image credit: Karilyn Johanesen, Suau Suau Suau Suau Megan 236 Marcela Gracia Acosta 2010
2010
2000
2010
2000
2000
1990
1990
1990
1980
1980
1970 1980
1970
1970
1960
Dripps
SCHOOLS - KEY PP 9 * Holds degree from UVa ** Former Faculty
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Acknowledgments
240
I came to UVa because it is invested in the future of the American city. I am looking for a firm that is invested in its own city, writing the text of many years to come with humility and ingenuity. In school my daily work tackles the deployed imaginations of Yona Friedman alongside the imaginary stairwells of Italo Calvino. I relish this moment of intellectual engagement. As I prepare to graduate this May, I am looking for ways to cross these energies of inquiry into practice while shifting my own focuses to learning the deep craft of our profession and preparing to take my licensure exams. Next, I am looking for a firm with inspiring leadership and a commitment to innovation at every scale.
next steps | 69
Margaret Rew | Masters of Architecture 2016 | University of Virginia