PRACTICE CHRONICLE by Mariana Alberola

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TABLE OF CONTENTS

01 My professional aspiration.

02 Why am I right for my professional aspiration?

03 Why is my professional aspiration right for me?

04 Biggest challenges my professional aspiration face.

05 Three ways to better tell the story of my professional aspiration.

06 What success looks like for me.

07 What success for my professional aspiration look like.

08 Existing practices that represent my professional aspiration.

09 Organizational structures of practices that will enable my professional aspiration.

10 Steps to achieve my aspirations.

11 Evidence of my convictions.

12 Current project : Outdoor Space at Community Forge.

I. The Program II. The Participants III. The Aspirations IV. Conceptual Design V. Design Process VI. Ethical Obligations VII. Implementation 13 Commission : PHASE 1. Outdoor Space at Community Forge.

MARIANA ALBEROLA REZZA

Formwork in Rio Ebro building. Being present in the different stages of a project.

01 My professional aspiration

In the future I hope to promote equality through original and functional works. Although there are several ways to achieve this, the one I feel more inclined to, is by having my own practice, and this does not mean that is has to be me acting alone, but it could be through a collaborative practice. I would like to see my studiosâ&#x20AC;&#x2122; work built and be able to participate in the construction process. A construction site offers opportunities to learn and grow that have always fascinated me. After working for two years in Mexico City in design-build practices I reevaluated what being a Mexican architect represents: a chance to preserve the culture and traditions involved in my countryâ&#x20AC;&#x2122;s vernacular architecture. PRACTICE CHRONICLE

MARIANA ALBEROLA REZZA

Me and Isidro, master builder and mentor. Foundation stage of Colima house.

02 Why am I right for my professional aspiration?

I am right for my professional aspiration because I care about people and their relationship to the built environment. I think people deserve to inhabit respectable spaces that apart from providing shelter, they give them satisfaction when inhabiting them. Juhani Pallasmaa mentions in Identity, Intimacy and Domicile “Authentic architecture is always about life; man’s existential experience is the prime subject matter of the art of building” 1 and I believe this to be true. Architecture apart from providing aesthetically pleasing spaces should be responsible environmentally, economically and socially. In relation to the last category I believe architecture has the power to listen and act for others, including those neglected and silenced voices. PRACTICE CHRONICLE

While clients are the propellers of our job, there is a rather neglected population that also constitute a big part of our practice, construction workers. I attempt to have a studio that gives proper credit and treatment to them. Something in a scarce situation in Mexico nowadays. Cases in which the architect tries to detach from responsibilities associated to construction workers are constant, but this does not have to be this way. Realizing that the role of an architect goes beyond drawing a few lines is imperative. Our repercussions on the different actors that participate in a project are immense, and so are the responsibilities. This is why my professional aspiration is to have a private practice that apart from creating coherent design and projects for clients, can also take action on less privileged communities. Understanding different points of view and ways of living and designing can lead to a successful practice. 6

MARIANA ALBEROLA REZZA

PRACTICE CHRONICLE

“Geras” doing plaster finishings in Azcona apartment renovation. He taught me how to place tiles.

MARIANA ALBEROLA REZZA

Provisional stairs in Rio Ebro building. Learning from improvisation.

03 Why is my professional aspiration right for me?

Architecture is part of human life. Either through good quality buildings or through poor quality buildings, we experience architecture every day. Through different means, architecture can affect and even reconfigure our behaviors. I believe being part of an architectural practice that strives to promote equality through original and functional works is a good way to proceed with my career. Although most of the population in the world does not have access to an architect or “architecture” as we understand it, this can change. Bryan Bell states in the Public Interest Design Practice Guidebook that “to build a field of public interest design that can grow to serve 100 percent of the public, we need to make clear the public benefits of design.” 2 PRACTICE CHRONICLE

In a country ,Mexico, where auto construction is a phenomenon led by the needs and tight funds of its dwellers, better architectural practices that can start a dialogue with this situations is needed. These are houses built with the available materials, under collaborative schemes, and in several construction phases that lead to functional homes in their design, but that can improve in aesthetic qualities and safety features. My life has been related to architecture ever since I can remember: my parents commissioned and built two houses of their own, so I got in contact with construction works at an early age. These awoke a strong curiosity on me that has never stopped. Today I am aware of the amount of planning, work and different actors that this practice entails. By having my own studio in which collaborative work seeks to improve the built environment and its inhabitants in an honest and respectful way, I pretend to contribute in creating better architecture. 10

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PRACTICE CHRONICLE

Formwork in the living room of Colima house. Traditional building ways present in contemporary design.

MARIANA ALBEROLA REZZA

Masonry and metal work in Rio Ebro building. Looking at the future.

04 Biggest challenges my professional aspiration face.

Architecture is a practice that, as many others, depends on different actors to achieve its goals. While an architect can control and supervise the design and construction processes, she or he will still need to be in contact with accountants, lawyers, publicists and government agencies. Further, in order to be successful it should pay attention to environmental, economic and social factors, all of which play an important role in the built environment. Some of the biggest challenges I will face in my career might be related to aspects out of my reach. One of these will be corruption. Coming from Mexico City, I have seen an experienced acts of corruption that lead to unfortunate products of architecture. PRACTICE CHRONICLE

Corruption is tightly related to a deficient government, and this has serious consequences on the built environment. Latin American cities are a clear example of auto construction. For decades, they have faced over densification and urban expansion. In Mexico City, neighborhoods such as Neza, Ajusco or Ecatepec are the result of years of informal settlements and growth. Auto construction is the built reality of a vast population, where planning is not considered and architecture is self made. These houses are the result of time and collaboration, where the available materials define most of the design, and the stages, sizes and appearance are revealed through each addition, modification or demolition. And although itâ&#x20AC;&#x2122;s creative and independent nature lead to unique building solutions, none or almost none architecture professionals are involved in the process.

Another challenge I will face in my future career will be gender inequality. While in an office environment this might not be as evident as one would think, in a construction site things are different. Stereotypes still pervade in some construction works: At least in Mexico, a young woman in charge of a construction site is perceived as an uncommon practice. Leading men whose education and principles are often related to sexism is a challenge. It is a field where gender still matters to some people. But it is slowly changing. As I mentioned before, in the future I hope to promote equality through original and functional works. The best way to advance an idea is by building solid foundations.

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PRACTICE CHRONICLE

Eufemio working on steel reinforcements for a beam. Kindness and willingness to grow.

MARIANA ALBEROLA REZZA

Formwork and steel reinforcements for a ridge. Understanding processes.

05 Three ways to better tell the story of my professional aspiration.

To better explain my professional aspiration there are a few misconceptions that need to be clarified. The first one is that design is a restricted and tedious process in which the genius architect will figure everything by herself. Also, that architecture is only for a select population with enough means to afford it. And finally that the process to bring a design into reality will be easy and fast. None of the above is true even though many people still react to architecture in this way. The profession has evolved over time and better approaches to design have been developed. For example Public Interest Design, promoted by Lisa Abendroth and Bryan Bell. PRACTICE CHRONICLE

In their own words “This practice informs the results of design because it is derived directly from the community or audienceindividuals who share a common quality-for whom the designs are created.” 3 This is an example of how participatory design can take into account many voices that will be influenced by a design, rather than the single architect making decisions.

With this in mind we can move on to the false assumption that in order to hire an architect you need to be rich and have a certain status. While this belief has been dissipated over the last centuries, some populations still do not feel comfortable enough to ask for architectural advice. It has been previously mentioned in this document that auto construction is the reality for most people on several countries. Nevertheless, trained architects can help inform decisions. It has been proven with some practices and projects such as Urban Think Tank’s housing project in South Africa or Armando Casas a project by Roberto Rodríguez and Ximena Davis in which through structural and spatial toy pieces they try to expand knowledge and offer strategies for families who will self build their houses, that collaboration is possible. Finally, understanding that the process of taking a design into real life actually takes time and many parties to agree is essential. One can not expect for thoughtful designs to happen all of a sudden. As mentioned before a good approach involves talking to different people both in the early stages of the design process and during the construction stage.

MARIANA ALBEROLA REZZA

PRACTICE CHRONICLE

Abel preparing a sample for black terrazzo. Knowledge transmitted.

MARIANA ALBEROLA REZZA

Formwork for stairs in Colima house. Life just as construction has stages.

06 What success looks like for me.

Success is having satisfied clients who enjoy the places I (or we) design for them. Success is knowing that besides contributing to the built environment in a fair and honest way, I am also helping others that might not often relate to architecture practices. Even though I want to support myself financially though architectural projects, I would also like to know that whenever possible, I am helping others without the need to be paid. Knowing that more people feel comfortable to approach an architect and that they can share and gain knowledge from others is something I look forward to. PRACTICE CHRONICLE

MARIANA ALBEROLA REZZA

Steel reinforcements in Rio Ebro building. Having a team and earning respect.

07 What success for my professional aspiration look like.

Success in my professional aspiration is tightly bound to my personal achievements. I look forward to having clients that keep reaching out to me for projects and that spread the word to their contacts because I am doing a good job. I am eager to find myself in a position where others approach me knowing that I can be a helpful source in overcoming architectural challenges. To be regarded as someone that knows how to interact with all types of clients and situations is one of my goals.

PRACTICE CHRONICLE

MARIANA ALBEROLA REZZA

Formwork for stairs in Colima House. Some paths worth recognizing.

08 Existing practices that represent my professional aspiration.

Although it is my intention to have my own studio someday, it is important to recognize work that has been done before and learn from their experience. There are three practice typologies that better encompass what I strive for as a future practitioner. These are the following: small scale design studios, medium cooperative studios and socially responsible studios. Thinking about what other practices on the built environment are doing will help guiding me on how I would like to interact with my partners, clients, staff, coworkers in different areas and with the public in general. These practices have set a starting point for my aspirations, I will elaborate on them as following: PRACTICE CHRONICLE

Small Scale Studios I define small scale studios as those based on individuals or partnerships that have a relatively small team who is driven by the mindset of the founders. 4 This practices are usually rooted in a specific place and develop both regional and international works. (Pictured on the next page from top to bottom)

: Frida Escodebo Based in her own house in Mexico City, her studio is a small team that develops projects ranging from art installations to large scale public projects. : Tatiana Bilbao Her studio is located in Mexico City and has worked on projects ranging from urban design, public buildings and social and research initiatives.

: TACO Based in Yucatan, southern Mexico, this multidisciplinary studio maintains a close relationship with the construction process. Their team consists of architects, engineers, mason workers, carpenters and plumbers to have more agency on their projects. : Ambrosi | Etchegaray This partnership studio is based in Mexico City and has dedicated their practice to art and architecture projects ranging from private houses to multifamily buildings and art installations.

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PRACTICE CHRONICLE

Tatiana Bilbao

Low cost House prototype

TACO

Casa Gabriela / Merida

Ambrosi | Etchegaray

Vivero Guayacan / Puerto Escondido

La Tallera / Cuernavaca

Frida Escobedo

Medium Cooperative Studios I define medium cooperative studios as those who either in partnership or in teams have established larger practices with more staff under their charge. This practices usually carry complex projects and hire young people willing to cooperate without having their name as the sole creator. (Pictured on the next page from top to bottom)

: PRODUCTORA Founded by four partners, this studio has projects ranging from furniture design to large scale public buildings. They have a fairly big staff that holds expertise in different areas such as engineering and fabrication. : Nieto Sobejano Based in Madrid and Berlin, this partner founded studio has completed large scale projects in different countries and counts on a large staff to achieve their work. They are award winning architects and long time educators. 28

: SANAA This partner founded studio is based in Tokyo and has a range of projects in different continents. From art installations and interior design to large public buildings they have a team and set of collaborators to develop projects all around the world. : Studio GANG Founded by an individual, this firm is a collaborative studio with offices in the US and Europe. With over 100 people they develop projects in architecture, urbanism, interiors and exhibitions.

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Nieto Sobejano

Barcelo Temporary Market / Madrid

SANAA

Home for All / Tsukihama

Studio Gang

Eleanor Boathouse / Chicago

Cultural Center / Teopanzolco

Productora

Socially Responsible Studios I define socially responsible studios as those who have are actively engaged with communities that do not usually have access to architectural services. These practices act as collaborative teams that want to make an impact on society. (Pictured on the next page from top to bottom)

: Comunal Taller Based in Mexico City, but developing their work in rural areas in Mexico, this practice acts as a participatory social process to understand and make an impact in rural communities. Through the exchange of knowledge to and from the inhabitants they develop their work. : Recetas Urbanas Based in Seville but working throughout different cities in Spain, this collaborative office uses subversive, sometimes illegal, strategies to enhance the urban and built environment. 30

: Cruz + Forman Based in San Diego and Tijuana, this research and practice studio focus con the relationship between architecture/ urbanism and its socio-political implications. Understanding informal settlements and advocating for a better built environment are their main concerns. : Shigeru Ban Although this studio has had big commercial commissions, the founding individual has always been interested in community oriented projects. Disaster relief and temporary housing projects are among some of the accomplished works. MARIANA ALBEROLA REZZA

Cruz + Forman

Manufactured Sites

Shigeru Ban

Temporary Shelter / Kenya

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Comunal Taller

Social housing / Tepetzintan

Recetas Urbanas

Spiders

MARIANA ALBEROLA REZZA

Making of a terrazzo sample. Each piece has a function.

09 Organizational structures of practices that will enable my professional aspiration.

As important as it is to research and understand what other practices are doing, it is also valuable to understand their organizational structures. This will help me define what type of relationship I attempt to have when in charge of my own collaborative studio. These relationships go from internal staff participation, to contractor exchanges and client communication. While the spectrum is vast and the practices change and adapt to different circumstances, there are some examples of typologies that I feel inclined to transcribe into my future practice. They will be explained and illustrated in the following pages.

PRACTICE CHRONICLE

: Collaborative Work Flow This organization typology depends on team effort in every aspect. This typology is often associated to small scale studios. Principals maintain a tight relationship with the staff and allow for big decisions to be consulted between all the team. The studio has a close relationship with other actors such as consultants, contractors, government agencies and clients. Participants:

- Client - Partner Architects - Project Managers - Junior Architects - Engineers - Guest Architecture Studio - Consultants - MEP - Environmental - Interior Design - Anthropology - Contractors - General Contractor - Sub contractors - Steel - Concrete - Masonry - Glass - Woodwork - Finishings

MARIANA ALBEROLA REZZA

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: Guided Holacratic Practices This organization typology is based on the decentralized management of an institution. With a central figure as a guide and binding authority, different teams with specific tasks realize their jobs while maintaining communication with one another. Rather than being a one-man-band, this practices recognize team effort and encourage self driven individuals. Participants:

- Client - Principal Architects - Project Managers - Junior Architects - Engineers - Guest Architecture Studio - Consultants - MEP - Environmental - Interior Design - Anthropology - Contractors - General Contractor - Sub contractors - Steel - Concrete - Masonry - Glass - Woodwork - Finishings

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Guided Holacratic Practices (open)

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: Community Oriented Participation This organization typology is founded on the premise that a community and the different actors involved in it will be part of the design and even construction of a project. This practices rely on different bodies in order to proceed with their agendas. These bodies may vary or not depending on the project. Participants:

- Client / Community - Partner Architects - Project Managers - Junior Architects - Engineers - Guest Architecture Studio - Consultants - MEP - Environmental - Interior Design - Anthropology - Contractors - General Contractor - Sub contractors - Steel - Concrete - Masonry - Glass - Woodwork - Finishings

MARIANA ALBEROLA REZZA

Scanned by CamScanner Community Oriented Participation (open)

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Steel reinforcements in foundations. Different layers in a path.

10 Steps to achieve my aspirations.

In order to achieve my aspirations I have to gain experience and learn from different people, under different circumstances about different things. Not only related to the built environment but to the many aspects that affect it and human life. My previous preparation in one of Mexicoâ&#x20AC;&#x2122;s best architectural school, UNAM, the Master of Architecture degree from Carnegie Mellon, together with the experience I have gained in distinct fields are the first steps in becoming the architect I want to be. I want to materialize my ideas into functional spaces where people feel satisfied.

PRACTICE CHRONICLE

I long to return to Mexico with enough experience and wisdom so that the mistakes that now deteriorate my country improve through brand-new ideas. After graduation from my masters degree I will work for an architecture office in the US and gain experience in a country that has still a lot to teach me about logistics, relationships and processes. As previously mentioned I plan to return to Mexico or alternate between the two countries, and even between more destinations if that is the case.

MARIANA ALBEROLA REZZA

My path is driving me towards the objective to contribute as an architect and improve my city, Mexico City, one of the biggest and most chaotic places in the world, through more functional and aesthetic housing and public spaces. A socially, environmentally and economically honest practice will be the means to promote equality through original and functional works.

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MARIANA ALBEROLA REZZA

Improvised furniture in a construction site. Materializing ideas.

11 Evidence of my convictions.

Talking about things without having a solid foundation does not account for future goals. This is why in order to demonstrate that what I am striving for in my professional career is true, I will include a set of past and current work examples and why they are relevant to my development as an architect. In the following pages I will illustrate and describe some of the most relevant projects that have taken me where I am. Each one of them has been a crucial part on my professional aspiration and have made an impact on different levels, educational, professional and social.

PRACTICE CHRONICLE

PHASE 1 OF COMMUNITY FORGE OUTDOOR SPACE

: Community Forge Outdoor Space 2019

For this semester’s studio I decided to join the Urban Acupuncture studio led by Stefan Gruber in which we will work with Community Forge, the Wilkinsburg community and affiliates in order to propose an outdoor space that will focus on a playground area. I decided to join this studio because in the past I regarded urbanism as a discipline distant to the people where an architect’s role was the master planner and decision making almighty, nevertheless when I saw previous semester’s work and the different tactics they incorporate to understand a community and propose change with tactical interventions it changed my mind and inspired curiosity. Today I look forward to replicating this on future commissions. MARIANA ALBEROLA REZZA

JUNYETTA SEALE JUNYETTA SEALE THE GOLDEN PILLOW PROJECT / PITTSBURGH

THE GOLDEN PILLOW PROJECT / PITTSBURGH

I have been involved in Community Forge for one year teaching intergenerational hybrid sewing classes. People with different ages and I have been involved Community Forge differentin circumstances attendfor my classes. one year teaching intergenerational hybrid sewing classes. Peoplethe with different ages I believe outdoor space inand Community different circumstances attend classes. Forge should havemy a playground that merges play and math. Learning math is something I believe the outdoor space in very important forCommunity the future of the kids and Forge shouldithave a playground that merges could be taught through different methods. play and math. Learning plane math is something A Cartesian drawn in the floor or the very important for the future of the and multiplication tables inkids a hopscotch could be it could be taught some through ideas. different methods. A Cartesian plane drawn in the floor or the multiplication tables in the a hopscotch be Depicting history ofcould the neighborhood in some ideas. the walls, similar to what you can see at the Point State Park snack house, would be a good Depicting theway history of the neighborhood to incite conversation withinothers and the walls, similar tothe what you can seeplace at the show culture of the Point State Park snack house, would be a good way to incite conversation with others and show the culture of the place

We should not direct the play of the children but rather let them be curious. If we provide interactive spaces We should not direct play of the preferences then kidsthe with different children but rather let them beinterests. curican develop their Traditional ous. If we provide interactive playgrounds are spaces too structured but we then kids with different preferences should provide different possibilities can develop for their interests. kids to play.Traditional playgrounds are too structured but we should provide different possibilities for kids to play.

I would like to have a comfortable space in which I can have I would like to have a conversation with a comfortable space else. someone in which I can have a conversation with someone else.

URBAN ACUPUNCTURE COMMUNITY FORGE URBAN COLLABORATIVE STUDIO

CARNEGIE MELLON UNIVERSITY SCHOOL OF ARCHITECTURE

URBAN INTERVIEW ACUPUNCTURE COMMUNITY FORGE TO JUNYETTA

URBAN COLLABORATIVE STUDIO

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COLLAGING WITH ANTONIE AND DOMINIQUE

RECETAS URBANAS: CASE STUDY ANALYSIS

PRACTICE CHRONICLE

LOBBY

: Casa Colima 2015-2016

This project was my first solo commission for a private residence. It has been one of the most gratifying projects in my career and taught me invaluable lessons on the built environment and human interactions. This house was a private commission which required a design for a young couple who wanted to start a family. An emphasis was made into the shared spaces such as the kitchen and TV room since they are the core of the house activities. With a simple and refined design and use of materials, this project has only 2,200 sqft but fulfills all the clientâ&#x20AC;&#x2122;s needs. Since I was in charge of the design and construction from beginning to completion, I learned things that school never taught me and got to interact with people that had the experience to teach me numerous lessons in distinct fields. MARIANA ALBEROLA REZZA

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3rd PLACE IN INTER-BOWLING CHAMPIONSHIP

: Internship in hplusf studio 2018

This past summer I worked for 3 months at hplusf a design studio in Los Angeles led by Craig Hodgetts and Ming Fung. The studio has been in charge of mayor projects such as the Hollywood Bowl, the renovation to the Egyptian Theatre, the temporary UCLA Towell Library and most recently the renovation of the Frost Auditorium in Culver City to mention some. While I was there I had the chance to be part of several projects such as the production of request for proposals, archive and re-drawing of old projects in preparation for a book publication and a market analysis for a project in San Jose. In preparation for the publication of the book â&#x20AC;&#x153;Transformationsâ&#x20AC;? I drew and retraced some of the Egyptian Theater, Hollywood Bowl and Frost Auditorium original plans. MARIANA ALBEROLA REZZA

FROST AUDITORIUM SHELL DETAIL

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MARIANA ALBEROLA REZZA

Buid Phase 1: Learning Island and bench.

12 Current Project : Outdoor Space at Community Forge I. The Program

This semester the Urban Acupuncture studio will work with Community Forge, an organization based on the former Johnston Elementary school in the borough of Wilkinsburg, PA to propose a design for their outdoor space. Community Forge is dedicated to creating a place where kids and youth continue to learn and older people find activities and different opportunities to thrive. They promote prosperity and intend to revitalize the neighborhood through inclusive activities and programs of all sorts. The former school playground is now a semi-neglected space which is active during summer, the studioâ&#x20AC;&#x2122;s proposal is to create an outdoor space that can hold different programs for different audiences and activities. PRACTICE CHRONICLE

One of the studio’s desires is to weave networks of solidarity and build community. Therefore, this project will be thought of as a space not only for Community Forge but for all Wilkinsburg. By involving different members of the neighborhood since the beginning of the design process up until the implementation, this will become a place where the community can share and ultimately appropriate the space. In their own words they need :

- A play space for youth.

- A space that can hold Extreme Pogo Tournaments

- A space to hold BBQ’s, birthdays and community events.

- An outdoor exercise space.

- A gardening space.

- A big and open space for concerts and festivals.

- Extra parking space.

- Recycling and trash zone.

Taking this into account and after conducting a series of engagement sessions with different members of the community, the studio’s goal is to provide a master plan that can be implemented in stages (as money flows) and initiate small tactical interventions by the end of the semester that can propel future actions. An important factor for the studio’s decisions is a Kaboom!-Play Everywhere Challenge Grant for $60,000 dls that Community Forge was awarded with last year and that is specifically destined to an educational landscape playground.

MARIANA ALBEROLA REZZA

Boys in the after-school program making an activity to help us understand their ideas.

The â&#x20AC;&#x153;Number Mountainâ&#x20AC;? idea they presented seeks to revitalize the former playground of the school. Through STEM related games and allusions they proposed an educational space for kids and youth not only affiliated to Community Forge but for any interested neighbor.

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MARIANA ALBEROLA REZZA

Kick-off engagement session with neighbors and members of Community Forge.

Current Project : Outdoor Space at Community Forge II. The Participants

The idea of this project is to hold activities for the broader Wilkinsburg community besides those more specific to Community Forge. For this reason a series of interviews, neighborhood explorations and engagement sessions were conducted, these helped us better understand the urban and social dynamics of the place and determine the participants involved and their roles. - The Client : Community Forge - The Client’s representatives : - Jackie Cameron - Patrick “Coop” Cooper PRACTICE CHRONICLE

- The Indirect Clients : - Wilkinsburg neighbors - Kids and youth from after-school programs - Resident Organizations : - X-Pogo - Pittsburgh Learning Commons - Gwenâ&#x20AC;&#x2122;s Grirls - Global Human Performance - The Golden Pillow - EastBurgh Avengers Baseball Club - Barrels to Beethoven - The Architects: - Professor : Stefan Gruber - Graduate Students: - Mariana Alberola Rezza - Gautam Thakkar - Undergraduate Students: - Ghalya Al Sanea - Fon Euchukanonchai - Mounica Guturu - Ritchie Ju - Christine Kim - Rachel Park - Shariwa Ramakrishnan - Scarlet Tong - Chitika Vasudeva - The Consultants : Engineers Without Borders - The Contractors : To be determined

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Boys in the after-school program presenting their design ideas for a playground.

Conceptual design presentation to Engineers Without Borders.

MARIANA ALBEROLA REZZA

Drawing intervened by kids during the kick-off engagement session.

Current Project : Outdoor Space at Community Forge III. The Aspirations

When Community Forge decided to work with Stefan Gruber and the Urban Acupuncture studio, they already had a design proposal driven by the Kaboom! grant application. Community Forge had a vision of what the outdoor space had to accomplish, so in order for us to better assist them in the project we had to take this into consideration for our new proposal. â&#x20AC;&#x153;The conflicts between private and public interests that come to the fore in design deliberations typically cannot be resolved without ignoring or arbitrarily narrowing the scope of legitimate claims.â&#x20AC;? 5 This reminds us that the implications of a design affect different stakeholders and compromises have to be made. PRACTICE CHRONICLE

The aspirations of both clients and architects will be closely linked to important ethical decisions and practices that will be reflected in the lives of others. Likewise, the role of the government or public figure has to be carefully considered to conduct a holistic design.

: The Client’s Aspirations To create an outdoor space that empowers youth and brings organizations, their participants and Wilkinsburg’s residents together. To provide a space for the community to collaborate and strengthen the growth and prosperity of the neighborhood. To provide an educational space for kids and youth from all ages in which adults are also invited to participate and encourage learning and recreational activities.

: The Architect’s Aspirations 68

To design a space that contributes not only to Community Forge’s purposes, but that can serve as a trigger for future development in Wilkinsburg, a neglected and impoverished borough. To provide thoughtful interventions that can be implemented over time since the financial situation of the organization is not yet stable. To encourage community involvement since the beginning of the design process and up until construction.

MARIANA ALBEROLA REZZA

PRACTICE CHRONICLE

Hopes and Concerns activity during the kick-off engagement session.

Boys in the after-school program presenting their design ideas for a playground.

MARIANA ALBEROLA REZZA

Urban art in Penn Av, Wilkinsburg.

Current Project : Outdoor Space at Community Forge IV. Conceptual Design

After several weeks of precedent studies, neighborhood visits and observation, interviews, and engagement sessions, the studio gave a presentation to some faculty members in CMU as well as Community Forge representatives Coop and Jackie and Engineer Without Borders representatives. This presentation displayed the conceptual design we worked on which focuses on creating an outdoor space that can allow for different activities to happen and different people to get involved in. The project is conceived as â&#x20AC;&#x153;Islandsâ&#x20AC;? that vary in size, program and even color. This will allow for flexibility in both use and implementation. PRACTICE CHRONICLE

INITIAL BRAINSTORM

TEAM DESIGN DECISION MAKING

MARIANA ALBEROLA REZZA

NOTES ON INTERVIEWS AND ACTIVITIES

NOTES ON MOBILE ELEMENTS AND PATTERN

PRACTICE CHRONICLE

NOTES ON INTERVIEWS AND ACTIVITIES

NOTES ON MOBILE ELEMENTS AND PATTERN

MARIANA ALBEROLA REZZA

INITIAL ISLANDS SCHEME

PRE MIDTERM TEAM MEETING

PRACTICE CHRONICLE

MARIANA ALBEROLA REZZA

Midterm conversation with professors and professionals.

Current Project : Outdoor Space at Community Forge V. Design Process

After the midterm presentation which served as a conceptual design marker point for us, we are continuing with the development of some ideas and thinking of their future construction. A final design proposal with a detailed project and a guide for its implementation will be presented to Community Forge by the end of the semester, some tactical interventions such as mobile elements and paint will be realized by CMU students along with the community. Ultimately, Engineers Without Borders will take over the project and build it as money allows.

PRACTICE CHRONICLE

Group work session.

MARIANA ALBEROLA REZZA

PRACTICE CHRONICLE

MIDTERM: PLAYGROUND ISLAND DETAIL

MARIANA ALBEROLA REZZA

MIDTERM: DESIGN PROPOSAL MODEL

- Playground Island - Babyâ&#x20AC;&#x2122;s Island - Learning Island - Fitness Island - Gathering Island - Future Island

PRACTICE CHRONICLE

MARIANA ALBEROLA REZZA

Gwen’s Girls engagement session.

Current Project : Outdoor Space at Community Forge VI. Ethical Obligations

As Tom Spector mentions in The Ethical Architect, “Negotiating a balance between legitimate public concerns and private demands is at the heart of the architect’s professional obligation.”6 Throughout the development of this project we have tried to address a private outdoor space as a place that could eventually contribute to the neighborhood in general. Being responsible and considerate to the Wilkinsburg community as well as to Community Forge has been one of the most important propositions in our design. The obligations stated by the AIA code of ethics will be further explained in the following pages. PRACTICE CHRONICLE

: Obligation to the client In order to do our best for Community Forge and its representatives, members and visitors, we have behaved responsibly and balanced expectations and reality. The limited budget with which they operate plays an important role with our project. We are designing something that they will be able to maintain over time and keep caring about.

: Obligation to the public Being able to represent different players in the community is a challenge. This project seeks to improve many sectors of a broken neighborhood. A key part of our role in this project is to empower the community so that they own and take care during time of their shared space.

: Obligation to the profession As members of a profession where lives are at stake and creating something requires so much time and resources, we have been cautious that there are no risks. At the same time we are proposing compelling designs through which other will feel inspired.

MARIANA ALBEROLA REZZA

: Obligation to the environment In our design we have incorporated materials that intend to minimize maintenance and at the same time endure weather conditions. We have also incorporated recycled materials such as tires that will let the community know and get empowered over recycling issues.

: Obligation to colleagues We have engaged in conversations with other members of the profession and have taken their insight to our design with consciousness. At the same time as a group we have found different ways to communicate and advance in our ideas collectively. We all have different skills and levels of knowledge and dedication. This is very important for this group project.

GWENâ&#x20AC;&#x2122;S GIRLS ENGAGEMENT SESSION. OUR CLIENTS TOO.

PRACTICE CHRONICLE

MARIANA ALBEROLA REZZA

Community Forge building and outdoor space. Existing conditions.

Current Project : Outdoor Space at Community Forge VII. Implementation

By the end of the semester we will have implemented some tactical interventions such as mobile elements and paint along with the community. As mentioned before, Engineers Without Borders will take over the project and build it as money, permitting and a retaining wall allow. The idea is that the island design can be implemented over time and is flexible enough to accommodate modifications in case Community Forge needs so. Some students, like me, will graduate and might not be able to see this project come to life in person, nevertheless Stefan will keep following the project and aid in any way possible. PRACTICE CHRONICLE

MOBILE TIRE ELEMENT DETAIL

MARIANA ALBEROLA REZZA

MOBILE TIRE ELEMENT POSSIBLE ARRANGEMENTS

EXISTING MOBILE ELEMENTS. KIDS PLAYING WITH THEM.

PRACTICE CHRONICLE

MARIANA ALBEROLA REZZA

Buid Phase 1: Learning Island and bench.

13 Commission : PHASE 1. Outdoor Space at Community Forge.

The following pages document the design process and implementation of PHASE 1 at Community Forge, as well as the propositions for the implementation of future islands. As mentioned before, the resulting urban design framework proposes an archipelago of islands programmed for diverse activities to be implemented incrementally over time. Aiming at setting in motion a transformation, in the last few weeks of the semester, the studio together with volunteers realized the first island: an educational landscape with colorful games and sports fields as well as the first two of four benches. PHASE 2 : Playground Island will be implemented this summer.

PRACTICE CHRONICLE

: Project PHASES PHASE 4 - The Red Porch

“Now parents don’t have to seat in their cars to watch their kids play. I can even have lunch here on a nice sunny day wile the kids play in the area.”

“It is great to have a sh in the outdoor that ca people as it is ideal for gatherings. We don’t h places like this in Wilki

- Michael Johnson

“These benches are fun for kids to practice their pogo techniques and allow pogo-ers to do a lot of different type of tricks on them.” - Will Weiner

PHASE 1 - Music bench MARIANA ALBEROLA REZZA

“T o u to

PHASE 3 - Gathering Island PHASE 5 - Fitness Island

“My job is very stressful, so I’d like a calm place to read. The girls like making things like arts and crafts. They also ejoy the chess program a lot” - Marlena Livsey

“There are fun ways to exercise properly without a gym. Fun things to attract kids to exercise. We can have outdoor fitness community events, so that people can stay outdoor to work out and having to go through all the logistics of paying by using the gym.” - Donald Robinson

“It is great to have a shaded area lke this in the outdoor that can seat around ten people as it is ideal for family gatherings. We don’t have a lot of places like this in Wilkinsburg” - Ashely Comans

“The Sunfest music festival hosted in Community Forge is very sucessful and many people came to enjoy music together,” - Jordan Howard

“The second closest planet orbiting our Sun is Venus. Maybe we can see it using the telescope on our roof tonight if the sky is clear.” - Patrick Cooper

93 “I like the outside area because I play outside with my friends. We would play hide and seek, tag, football, and basketball.” - Charles Johnson

PHASE 2 - Playground Island PHASE 1 - Learning Island PRACTICE CHRONICLE

PHASE 1 Learning Island and 50% of benches

MARIANA ALBEROLA REZZA

PHASE 2 Playground Island

PHASE 3 Gathering Island

PHASE 4 The Red Porch

PHASE 5 Fitness Island

PRACTICE CHRONICLE

CONCEPTUAL DESIGN DESIGN DEVELOPEMENT CONSTRUCTION DOCUMENTS SAMPLING POWER WASH + CLEAN SITE FILL UP CRACKS + PACKING PRIMING THE SURFACE MARKING THE SURFACE STENCIL MAKING PAINTING CONCEPTUAL DESIGN

DESIGN DEVELOPMENT

PROCUREMENT - PLYWOOD

PROTOTYPE CD

CNC PART 1 ASSEMBLY PART 1 CNC PART 2 PAINTING + VARNISH PART 2 ASSEMBLY PART 2 CNC PART 3 PAINTING + VARNISH PART 3 ASSEMBLY PART 3

MARIANA ALBEROLA REZZA

april 15

april 08

april 01

march 01

february 01

: Project Schedule PHASE 1

may 12

april 28

april 21

april 15

may 5

PATTERN ISLAND TIMELINE

SEATING ISLAND TIME LINE

PRACTICE CHRONICLE

: Project Team PHASE 1

develops design concepts and prepares all design and construction drawings.

STEFAN GRUBER

pattern island project managers

professor develops design concepts and prepares all design and construction drawings.

fourth year B.Arch student in charge of procurement of material, ﬁnancing and budgeting

MOUNICA GUTURU ﬁfth year B.Arch student

in charge of planning and scheduling

MARIANA ALBEROLA second year M.Arch student

develops design concepts and prepares all design and construction drawings.

furniture island project managers

GHALYA ALSANEA

FON EUCHUKANONCHAI fourth year B.Arch student

in charge of procurement of material, planning and scheduling.

SCARLET TONG fourth year B.Arch student

in charge of all fabrication processes

CHRISTINE KIM fourth year B.Arch student

in charge of transport and building

RITCHIE JU ﬁfth year B.Arch student

in charge of building permit drawings sets

GAUTAM THAKKAR second year M.Arch student

98 in charge of schematic and design development of playground

RACHEL PARK

implementation

fourth year B.Arch student in charge of schematic and design development of outdoor gym

SHARIWA SHARADA fourth year B.Arch student

in charge of coordination of masterplan

CHITIKA VASUDEVA fourth year B.Arch student

MARIANA ALBEROLA REZZA

COMMUNITY FORGE

$$$

$30,000

ďŹ nancial purview

client

$5,000

KABOOM GRANT HOME DEPOT COMMUNITY IMPACT GRANT PPG FOUNDATION GRANT

URBAN ACUPUNCTURE STUDIO design build consultant

procurement

DESIGN BUILD TEAM

-in charge of all design decisions -procures materials -build and execute

HOME DEPOT

paint, hardware, tools, machines, general supplies, etc.

PAUL LUMBER ALLEGHANY MILLWORKS

hardwood, lumber, sheet goods

MCMASTER CARR

hardware, nuts and bolts

COMMUNITY FORGE

miscellaneous items and power tools

SoA STUDIO

miscellaneous items and power tools

CMU dFAB

CNC milling, lasercutting, and other digital fabrications needs

SoA WOODSHOP

woodworking, laminating, cutting, etc.

PRACTICE CHRONICLE

: PHASE 1. Learning Island The Learning Island is designed as a painted amalgam of abstract, educational play elements which allow users to engage with them as they wish. Inspired by the traditional European multibane, it uses the Fibonacci sequence to create layers of activity types that facilitate both play and learning. Patterns of sports activities — basketball, soccer and football — are incorporated into colored bars and a grid that facilitate jumping, skipping, pogoing and chess. The centerline of the sports field is used to map an abstract solar system onto the island, exemplifying the “learning landscape” aspirations of the project. Other play elements like hopscotch and dance steps can be found as well. Addressing more pragmatic issues of parking, the design also incorporates standard double lane parking spaces using orange squares to define each spot. Finally, the island outline is defined by a two lane 100m track circuit that defines the space and holds it together. 100

Having finalized cost estimates, material acquisition and internal scheduling, this island was realized as a joint effort by the studio, over a span of two weeks. Beginning with an intense cleaning and preparation of the site, the process involved mapping out the learning pattern followed by filling in predetermined colors, under the supervision of three students acting as construction managers. Community involvement was a key part of this process, manifesting itself in a ‘Community Volunteer Day’ at Community Forge, where a large group of residents and patrons spent an afternoon painting the pattern onto the site, and starting to engage with the design in their own creative ways. MARIANA ALBEROLA REZZA

101

PRACTICE CHRONICLE

: PHASE 1. Learning Island Design Development

102

MARIANA ALBEROLA REZZA

103

PRACTICE CHRONICLE

: PHASE 1. Learning Island Occupancy Scenarios

COMMUNITY EVENT 104

MARIANA ALBEROLA REZZA

BACKSTAGE AND TRUCK PULL IN AREA

STANDARD 24’ x 14’ STAGE

CONCERT/FESTIVAL

EDUCATIONAL PLAYSCAPE

PARKING

105

PRACTICE CHRONICLE

: PHASE 1. Learning Island Building

PREP

Â?

106

Â Â?

MARIANA ALBEROLA REZZA

STEP 1: CLEAN

STEP 3: FIND THE SHAPE

1.1 Clean, weed, sweep and powerwash the surface.

3.1 Find the four corners using pythagorean and tape them. 3.2 Use given dimensions to find points of the island boundaries and mark them with chalk. 3.3 Connect the points and smoothen out the track shape using chalk.

Materials:

CF1 1 CF2 X1

3 X3 1 X3 4 X1 5 X1 14 X1

Skills:

CF4

ST1

CF5

31 X1 CF6X10 22X1 39X1 42X1

107

STEP 2: PACK

STEP 4: PRIME

2.1 Fill in and pack the cracks.

4.1 Use aphalt primer to prime the interior of the island

Materials: 7 8 CF3 42 X11 X8 X2 X1

Materials:

X23

10 47

PRACTICE CHRONICLE

12X2 21X3 20X3 26X3 28X3 15 X1 22X1

42X1

PAINT

Â Â?

STEP 5: TRACEâ&#x20AC;&#x201D; FIBONACCI SQUARES

STEP 6: FILL BASE SHAPES

5.1 Follow given dimensions to mark out the fibonacci squares. 5.2 Make sure every corner is a right angle.

6.1 For Circles: Locate the center and use rope measured to the radius dimension to chalk the circumference from the center.

Materials:

CF4

ST1

31 X1 CF6X10 22X1 39X3

108

CF4

ST1

CF6

45X1 57X1 62X3 56X1 59X1/4 63X1

20X5 28X5 17X2 35X4 42X1 Skills

Skills:

6.2 For Squares: Use given dimensions and ensure that the corners are right angles. Materials:

CF4

ST1

CF5 CF6 X10

17X2 35X2 42X1 Skills:

MARIANA ALBEROLA REZZA

39X3 61 X1 60X1/2 20X5 28X5

STEP 7: FILL BARS & CHESS

STEP 9: FILL IN THE TRACK

7.1 Measure as per dimensions and tape on the outside of 9.1 Trace the offset of the island boundary to form the what needs to be painted. track. Materials: Skills:

ST1 1

39X4 20X6 28X6 17X4 36X4 60X1 63X1 CF6X10

Materials:

Skills

ST2 CF6 X1

9.2 Fill in the track with paint.

STEP 8: PAINTâ&#x20AC;&#x201D; FIBONACCI SQUARES

Materials: 20 28 17 36 60 63 CF6 X4 X4 X2 X1 X10 X6 X6

8.1 Use the Striping Machine to paint the squares by centering to the existing chalk line.

Skills

Materials: 52 53 42 X1 X8 X1 Skills:

X10

PRACTICE CHRONICLE

109

Â?

Â? Â?

Â?

STEP 10: FIBONACCI SPIRALS STEP 11: BASKETBALL LINES

110

10.1 Construct the two spirals from the fibonacci squares using a rope to find each arc.

11.1 Trace the basketball lines using the given dimensions.

Materials: 45 CF6 X1 X4

Materials: 45 CF6 X1 X2

Skills

ST1

10.2 Carefully paint them using a thin paint brush.

Materials: 37 59 42 X3 X1/2 X1

Materials: 37 57 56 42 X1/2 X1 X3 X1/4

Skills

MARIANA ALBEROLA REZZA

STEP 12: PLANETS & RINGS 12.1 Locate the center and use rope measured to the radius dimension to chalk the circumference from the center. Materials: 45 CF6 X1 X2

ST1

37X6 59X1 55X1/2 58X1 62X1/4 56X1

54X1/2 42X1 Skills:

111

12.2 Locate the center and edges of the rings and use chalk to smoothen out the ring shape. Materials: 45 CF6 X1 X2 Skills:

ST1

37X6 55X1/2 56X1/2 42X1

PRACTICE CHRONICLE

DETAIL

STEP 13: PLANET ORBITS 13.1 Locate the end points of the line that acts as a refernce for the orbit. 13.2 Use given dimensions to find points of ths line and mark them with chalk. 3.3 Connect the points and smoothen out the orbit shape using chalk. Materials: 45 CF6 X1 X2

ST1

37X6 59X1 55X1/2 58X1/2 62X1/4 56X1/2

54X1/2 42X1

112 Skills:

MARIANA ALBEROLA REZZA

Â Â Â? Â? Â?Â? Â? Â ÂÂ&#x20AC;

Â? Â? Â? Â&#x20AC; Â Â&#x20AC; Â?

Â&#x2021; Â&#x2C6; Â? Â&#x20AC; Â&#x201A; Â&#x192; Â? Â&#x201A; Â? Â? Â? Â? Â Â? Â? Â&#x20AC;

Â&#x192; Â Â&#x2026; Â&#x2020; Â? Â? Â Â&#x2026; Â&#x2020;

Â? Â? Â Â? Â&#x20AC;Â&#x201E;Â? Â? Â?

STEP 14: STENCILING

STEP 15: FINISH

14.1 Prep the laser cut file. 14.2 Laser cut the stencils.

15.1 Use true North(not magnetic north) for the sundail orientation.

Materials:

ST3 1 ST4 X8

ST1 1

39X3 64X1 CF6X4

113

PRACTICE CHRONICLE

STENCIL CUTS

HOPSCOTCH DANCE STEPS

CORNER DETAIL

SUNDIAL

FEET AND YARDS

114

CARDINAL DIRECTIONS CHESS NUMBERS AND LETTERS

PARKING SQUARES

MOONS

MARIANA ALBEROLA REZZA

MATERIAL LIST I. PROCURED FROM HOME DEPOT CLEANING

S.NO.

QUANTITY

UNIT COST

1 Ames Hoe/Cultivator Combo with Wood Handle

PRODUCT NAME

PRODUCT IMAGE

$11.98

TOTAL COST

$11.98

2 Quickie Professional Wood Block Deck Scrub Brush

$5.98

$11.96

3 Quickie Bulldozer 18 in. Indoor/Outdoor Push Broom

$10.97

4 ZEP 1 Gallon Driveway, Concrete and Masonry Cleaner

$10.97

$21.94

5 ZEP 32 oz. Professional Bottle Sprayer

$3.78

6 Latex-ite 1 Gal. 2X Premium Blacktop Crack Filler

$7.98

7 Quikrete 50 lb. Commercial Grade Blacktop Repair

$13.25

$145.75

$5.97

$19.95

$458.85

$3.47

8 7 in. Pointer Trowel

9 Latex-ite 4.75 Gal. Airport Grade Asphalt Driveway Filler Sealer 10 3 Gal. Spout Plastic Pail

11 Latex-ite 18 in. Driveway Squeegee

$13.99

12 Quickie Professional 24 in. Floor Squeegee with Handle

$25.98

13 Quickie 24 in. Dual Blade Floor Squeegee

$32.97

$4.47

14 Grease Monkey

Disposable Latex Gloves (50Count)

15 Linzer 12 in. Deep Well Plastic Paint Roller Tray

$4.98

$14.94

TOTAL

$775.00

115

PRACTICE CHRONICLE

PAINT SUPPLIES

S.NO.

QUANTITY

UNIT COST

TOTAL COST

16 Linzer 9 in. PET Tray Liner White

PRODUCT NAME

PRODUCT IMAGE

$0.98

$9.80

17 9 in. Plastic Roller Tray (3Pack)

$4.97

$9.94

$1.97

$6.98

$3.97

$51.61

$13.47

$67.35

18 9 in. Plastic Roller Tray

19 18 in. Plastic Roller Tray

20 9 in. 5-Wire Heavy-Duty Roller Frame

21 Wooster 14 in. Sherlock Roller Frame 22 4 ft. Wood Extension Pole with Metal Tip

$6.97

$69.70

23 Wooster 9 in. x 3/4 in. Surpass Shed-Resistant Knit HighDensity Fabric Roller Cover

$5.37

$10.74

24 Wooster 9 in. x 3/4 in American Contractor High-Density Knit Fabric Roller

$4.97

$19.88

25 Wooster 9 in. x 1-1/4 in. American Contractor High-Density Knit Fabric Roller

$5.77

$23.08

26 Wooster 14 in. x 3/4 in American Contractor High-Density Knit Fabric Roller

$8.94

$89.40

27 Wooster 9 in. x 1-1/4 in. Surpass Shed-Resistant Knit HighDensity Fabric Roller Cover

$6.17

$61.70

28 Wooster 9 in. x 3/8 in. Surpass Shed-Resistant Knit HighDensity Fabric Roller Cover

$4.47

$26.82

$8.74

$34.96

$2.97

$8.91

$2.48

$4.17

$8.34

$3.97

$35.73

$9.97

$1.38

$12.42

29 9 in. x 3/8 in. High-Density Polyester Knit Paint Roller Cover (3-Pack)

33 2 in. Flat Cut Utility Paint Brush

34 1.5 in. Flat Cut Utility Paint Brush

116

35 3 in. Flat Cut Utility Paint Brush

36 4 in. Flat Chip Brush

37 2 in. Flat Chip Brush Set (15-Pack)

46 HDX 1-qt. Multi-Mix Pail

47 Empire 3 in. x 1000 ft. Caution Tape in Yellow

$8.97

$26.91

TOTAL

$588.69

MARIANA ALBEROLA REZZA

MISCELLANEOUS

S.NO.

QUANTITY

UNIT COST

TOTAL COST

30 Milwaukee INKZALL Paint Marker, White

PRODUCT NAME

PRODUCT IMAGE

$4.97

31 Dewalt Cast Aluminum Chalk Reel in Blue

$5.97

32 Dewalt 8 oz. Chalk in Red Permanent

$2.69

38 Gorilla 1-7/8 in. x 12 yds. HeavyDuty Duct Tape

$4.97

$54.67

39 3M ScotchBlue 1.41 in. x 60 yds. Original Multi-Use Painter's Tape (6-Pack)

$31.98

$63.96

40 3M ScotchBlue 0.94 in. x 60 yds. Original Multi-Use Painter's Tape (9-Pack)

$31.83

41 Stanley Quick Change Retractable Knife (2-Pack)

$7.97

42 HDX Nitrile Heavy-Duty Disposable Gloves (20Pack)

$5.97

$29.85

43 West Chester Disposable Latex Gloves (100-Count)

$9.98

44 Firm Grip Utility Large Glove (4Pack)

$9.88

45 Anvil 500 ft. Fluorescent Yellow Braided Nylon Mason's Line

$8.97

47 Empire 3 in. x 1000 ft. Caution Tape in Yellow

$8.97

$26.91

$3.25

$9.97

$8.28

$5.98

$94.98

TOTAL

$380.11

48 Home Depot 5 Gal. Homer Bucket

49 Klean-Strip 1 qt. Pure Gum Spirits Turpentine 50 Klean-Strip 1 qt. Odorless Mineral Spirits 51 HDX Red Painters Shop Towels (24-Pack)

52 Rust-Oleum 2395000 Professional Striping Machine

63 Allway Tools Paint Can and Bottle Opener

64 Directional Compass

PRACTICE CHRONICLE

117

PAINTS

S.NO.

PRODUCT NAME

PRODUCT IMAGE

53 Rust-Oleum 15 oz. Caution Blue Inverted Marking Spray Paint

QUANTITY

UNIT COST

TOTAL COST

$4.78

$71.70

$25.98

$103.92

$25.98

$51.96

$25.98

$51.96

$25.98

$129.90

$115.00

$345.00

$115.00

$345.00

TOTAL

$1266.40

54 Glidden 1 gal. Flat Base 1 White Exterior Latex Paint

55 Glidden 1 gal. Flat Base 1 Island Aqua Exterior Latex Paint (Teal)

56 Glidden 1 gal. Flat Base 1 Laser Lemon Exterior Latex Paint (Yellow)

57 Glidden 1 gal. Flat Base 1 Pacific Coast Blue Exterior Latex Paint (Light Blue)

58 Glidden 1 gal. Flat Base 1 Sizzling Sunset Exterior Latex Paint (Light Orange)

59 Glidden 1 gal. Flat Base 1 Caution Blue Exterior Latex Paint (Dark Blue)

60 Glidden 5 gal. Flat Base 1 Caution Blue Exterior Latex Paint (Dark Blue)

118

61 Glidden 5 gal. Flat Base 1 Pacific Coast Blue Exterior Latex Paint (Light Blue)

62 Glidden 5 gal. Flat Base 1 Inferno Exterior Latex Paint (Dark Orange)

MARIANA ALBEROLA REZZA

II. SUPPLIED BY COMMUNITY FORGE

S.NO.

PRODUCT NAME

PRODUCT IMAGE

QUANTITY

CF 1 Power wash

S.NO. CF 2 HosePRODUCT NAME CF 1 Power wash

PRODUCT IMAGE

QUANTITY

1 1 CF 3 Hand Tamper CF 2 Hose

2 1

CF 4 Measuring Tape 100’ CF 3 Hand Tamper

1 2

CF 5 Straight Edge

2 CF 4 Measuring Tape 100’

CF 6 Jumbo Sidewalk Chalk

30 CF 5 Straight Edge

CF 6 Jumbo Sidewalk Chalk

30 S.NO.

PRODUCT NAME

PRODUCT IMAGE

QUANTITY

ST 1 Measuring Tape - 25’

III. SUPPLIED BY STUDIO

ST 2 Jig to Þnd a parallel curve to edge of the track S.NO. PRODUCT NAME ST 3 1 Ply Chipboard ST 1 Measuring Tape - 25’

1 PRODUCT IMAGE

QUANTITY

8 2 ST 4 Drafting Tape ST 2 Jig to Þnd a parallel curve to edge of the track

ST 3 1 Ply Chipboard

8 ST 4 Drafting Tape

119

PRACTICE CHRONICLE

SKILLS

A. FINDING THE RIGHT ANGLE LINE

40â&#x20AC;&#x2122;

Use Pythagorean theorem to find and check right angles to make sure all lines are perpendicular.

30â&#x20AC;&#x2122;

use 40â&#x20AC;&#x2122; string to chalk arc location

40â&#x20AC;&#x2122;

find 30â&#x20AC;&#x2122; on a straight line

40â&#x20AC;&#x2122;

50 â&#x20AC;&#x2122;

30â&#x20AC;&#x2122;

use 50â&#x20AC;&#x2122; string to chalk arc location

the intersection of the two arcs is a point on the perpendicular line

You can also use: 40â&#x20AC;&#x2122;

120

half double triple

(3â&#x20AC;&#x2122; - 4â&#x20AC;&#x2122; - 5â&#x20AC;&#x2122;) (1.5â&#x20AC;&#x2122; - 2â&#x20AC;&#x2122; - 2.5â&#x20AC;&#x2122;) (6â&#x20AC;&#x2122; - 8â&#x20AC;&#x2122; - 10â&#x20AC;&#x2122;) (9â&#x20AC;&#x2122; - 12â&#x20AC;&#x2122; - 15â&#x20AC;&#x2122;) (30â&#x20AC;&#x2122; - 40â&#x20AC;&#x2122; - 50â&#x20AC;&#x2122;)

50 â&#x20AC;&#x2122;

Just make sure to keep the Pythagorean proportions. 30â&#x20AC;&#x2122;

paint line through the point

MARIANA ALBEROLA REZZA

B. FILL ORTHOGONAL SHAPES Use tape to have straight and clean shape edges.

find edges of shape and make sure lines are perpendicular (ref. skill A)

tape the outside of the shape to be filled

use paint roller to fill inside the tapes

smoothen and touch up within the stroke boundaries

121

use paint brush for touch ups and missed spots

remove tape to reveal crisp edges

PRACTICE CHRONICLE

C. PAINT ORTHOGONAL LINES: METHOD #1: STRIPER Use a paint striper machine to paint straight lines. This method is fast, but you do not have control over the lineâ&#x20AC;&#x2122;s thickness and smoothness.

chalk line through defined points

align chalk line to striper center line and stripe

122

MARIANA ALBEROLA REZZA

D. PAINT ORTHOGONAL LINES: METHOD #2: PAINTBRUSH Use a paintbrush to paint straight lines. This method is more time consuming, but you have more control over the outcome.

chalk line through defined points

smoothen and touch up within the stroke boundaries

use paint brush thickness to find the line

123

PRACTICE CHRONICLE

E. FILL CURVED SHAPES

s Radiu

Use this method to fill any non-orthogonal shape.

find circleâ&#x20AC;&#x2122;s center point

use string length of the radius to chalk the circle shape

use paintbrush to define and smoothen the edges

use paint roller to fill in the circle

use paint brush for touch ups and missed spots

124

MARIANA ALBEROLA REZZA

F. PAINT CURVED LINES

s Radiu

Use this method to paint any non-orthogonal lines.

find circleâ&#x20AC;&#x2122;s center point

use string length of the radius to chalk the circle shape

use paint brush thickness to find the line

smoothen and touch up within the stroke boundaries

125

PRACTICE CHRONICLE

126

MARIANA ALBEROLA REZZA

127

PRACTICE CHRONICLE

128

MARIANA ALBEROLA REZZA

129

PRACTICE CHRONICLE

: PHASE 1. Gathering Island. Benches Based on the embedded element, the different benches can be categorized as: Music bench: This bench includes a passive amplifier as a response to the youthâ&#x20AC;&#x2122;s enthusiasm for listening to and sharing music with their friends.

Play Bench: A ball-throwing wall is added into the bench and is designed to be placed near the playground island. A planter bed is added to create a different sensory exploration from touch, see and smell that also introduce an opportunity for youth to learn from adults.

130

Garden Bench: A low profile bench that is situated between the playground and other islands on the upper level of the outdoor area. It has a larger seating surface to accommodate parents who would want to be close to their children and supervise them as they play.

Quiet Bench: It adopts the same form as the music bench, but it is meant to encourage relaxation and individual activities such as reading. The higher elevation creates a surface to lean against.

MARIANA ALBEROLA REZZA

ench

Music Bench

Play Bench

ench

Play Bench

Garden Bench

ench

Garden Bench

131

Quiet Bench

Music Bench

PRACTICE CHRONICLE

: PHASE 1. Gathering Island. Benches Building

Drill / Impact Driver Drill wrench / Impact Driver

T-STAR drill bit

T-STAR T-STAR drilldrill bit bit

mallot

wrench wrench

mallot mallot

3/8â&#x20AC;? 3/8â&#x20AC;?

2.50â&#x20AC;? 2.50â&#x20AC;? 3/8â&#x20AC;? 3/8â&#x20AC;?

3/8â&#x20AC;?

Drill / Impact Driver

T-STAR drill bit

wrench

mallot

132

3/8â&#x20AC;? nut x32

3/8â&#x20AC;?

/ Â Â? Â&#x2030;

Â? Â? Â&#x2021;Â Â?Â? (pack of 100)

3/8â&#x20AC;? nut x32 nut x32x93 #103/8â&#x20AC;? 2.5â&#x20AC;? screw

3/8â&#x20AC;? 3/8â&#x20AC;?3/8â&#x20AC;? washer x32 2.5â&#x20AC;?2.5â&#x20AC;? boltbolt x16x16 / Â Â?

/ Â Â? Â&#x2030;

/ Â Â?

Â? Â? Â Â? (pack of 15) Â? Â? Â&#x2021;Â Â? (pack Â? Â? Â Â? (pack of 100) of 15)

Â Â / Â Â? Â&#x2030;

Â&#x20AC; Â&#x201A; Â&#x201A; / Â&#x192; Â&#x201E; / Â Â? Â&#x2030;

Â? Â? Â&#x2021;Â Â?Â? (pack of 100) Â # Â&#x2026; Â Â?â&#x20AC;? Â? Â? Â&#x2021;Â Â?Â? (pack of 100) Â? Â?Â&#x2020; Â Â&#x2026; (pack of 400)

3/8â&#x20AC;? washer 3/8â&#x20AC;? washer x32x32 metal bracket x4

screw #10#10 2.5â&#x20AC;?2.5â&#x20AC;? screw x93x93

Â Â

Â Â Â&#x20AC; Â&#x201A; Â&#x201A; / Â&#x192; / Â Â? Â&#x2030;

Â Â Â Â? Â&#x20AC; Â&#x201A; Â&#x201A; / Â&#x192; Â&#x201E; / Â Â? Â&#x2030;

Â # Â&#x2026; Â Â?â&#x20AC;? Â? Â? Â&#x2021;Â Â? (pack of 100) ( ) Â # Â&#x2026; Â Â?â&#x20AC;? Â? Â? Â&#x2021;Â Â? (pack of 100) Â? Â?Â&#x2020; Â Â&#x2026; (pack of 400) Â? Â?Â?Â Â&#x2021; (Â&#x201A; Â&#x201E; Â&#x2C6; Â&#x2020;) Â? Â?Â&#x2020; Â Â&#x2026; (pack of 400)

0â&#x20AC;? 3/8â&#x20AC;?

3/8â&#x20AC;? 2.5â&#x20AC;? bolt x16 / Â Â?

Â? Â? Â Â? (pack of 15)

3/8â&#x20AC;? nut x32 / Â Â? Â&#x2030;

Â? Â? Â&#x2021;Â Â?Â? (pack of 100)

3/8â&#x20AC;? washer x32 / Â Â? Â&#x2030;

Â? Â? Â&#x2021;Â Â? (pack of 100)

MARIANA ALBEROLA REZZA

#10 2.5â&#x20AC;? screw x93 Â Â Â&#x20AC; Â&#x201A; Â&#x201A; / Â&#x192; Â&#x201E; Â # Â&#x2026; Â Â?â&#x20AC;? Â? Â?Â&#x2020; Â Â&#x2026; (pack of 400)

metal bracket x4

Â Â Â Â? ( ) Â? Â?Â?Â Â&#x2021; (Â&#x201A; Â&#x201E; Â&#x2C6; Â&#x2020;)

( )

(+/ ) / ” ( / ) #

( / ”

/ ”

133

PRACTICE CHRONICLE

( ) / ”

”

( )

134

MARIANA ALBEROLA REZZA

( )

" ”

/ ”

“

(0.75”) ( ) ( / ” ) ( / ” ) ( ) ( / ” ) ( ) ( / ” ) (1.5“) ( / ” ) ( ) ( / ” ) ( ) ( / ” )

M4 M3

M12

G1 G1 G1

M10

G1 G1 B6

G2 R8

B5 M9

M8 B1 G4

R4 R2 R3

M11

M12

R5 R9 R4

PRACTICE CHRONICLE

135

" ”

" ( )

136

MARIANA ALBEROLA REZZA

( / ”)

/ ”

)

PRACTICE CHRONICLE

137

( ) / ” / ” / ”

/ ” / ”

138

( / ” )

MARIANA ALBEROLA REZZA

" / " /

( )

( ) CCE*COLORANT OZ 32 64 128 R4 - NEW RED 4 24 1 W1 - WHITE - 60 - Y3 - DEEP GOLD - 15 - / / /

CCE*COLORANT OZ 32 64 128 R4 - NEW RED 4 24 1 W1 - WHITE - 60 - " / " Y3 - DEEP GOLD - 15 -

PRACTICE CHRONICLE

139

Step 1

Step 2

Step 3

Step 4

3/8â&#x20AC;? 2.5â&#x20AC;? bolt x8

3/8â&#x20AC;? washer x16

3/8â&#x20AC;? nut x8

Step 1

Step 2

Step 4

Step 3

Step 4

Step 5 B7

Step 6

Step 7

Step 8

B8 G1

#10 2.5â&#x20AC;? screw x6

3/8â&#x20AC;? 2.5â&#x20AC;? bolt x8 3/8â&#x20AC;? washer x16

3/8â&#x20AC;? nut x8

G1 3/8â&#x20AC;? 2.5â&#x20AC;? bolt x8

#10 2.5â&#x20AC;? screw x6

3/8â&#x20AC;? washer x16

Step 4

Step 5

3/8â&#x20AC;? nut x8

#10 2.5â&#x20AC;? screw x10

Step 6

Step 7

Step 8

Step 9 G1

140

x16

#10 2.5â&#x20AC;? screw x6

B2 B5

G2 G1

B6 G2

3/8â&#x20AC;? 2.5â&#x20AC;? bolt x8

G2 G1

#10 2.5â&#x20AC;? screw x6

3/8â&#x20AC;? washer x16

#10 2.5â&#x20AC;? screw x10

3/8â&#x20AC;? nut x8

B4 #10 2.5â&#x20AC;? screw x10

Step 8

Step 9

G1 G2

G1 G1

#10 2.5â&#x20AC;? screw x10

MARIANA ALBEROLA REZZA

Step 10

#10 2.5” screw x16

Step 12

Step 11

#10 2.5” screw x16

Step 13

Step 14

Step 15

Step 13

Step 12

Step 14 R8

R2 R3

Step 12

Step 11

#10 2.5” screw x26

#10 2.5” screw x3

141

Step 15

Step 14

Step 15

R6 R4 R9

R6 R4

10 2.5” screw x26

#10 2.5” screw x26

PRACTICE CHRONICLE

R6 R4

R5 #10 2.5” screw x3

Step 15

Step 16

Step 17

M10

M9 M8

Ste Step 16

Step 17

M10

M9 M8

Step 1

#10 2.5” screw x18

Ste

Step 18

Step 19

met

R8 #10 2.5” screw x18

Step

Step 18

Step 19 R8

142

MARIANA ALBEROLA REZZA

Passive Boombox Assembly M4

M10

Step 1

M11

Step 2

Step 3

3/16” screw x4

3/16” screw x4 R7

metal bracket x4

Step 4

Step 5

Step 6

143

PRACTICE CHRONICLE

144

MARIANA ALBEROLA REZZA

145

PRACTICE CHRONICLE

As described in previous sections, the project is designed to be executed incrementally over time. PHASE 1 was already implemented and will now be assessed for post occupancy. The idea is to learn weather Community Forge and the neighbors like or not the space now that is completed and understand how they use it. The next part of the master plan envisions rebuilding the existing retaining wall using the modular versa lok blocks. This retaining wall extends on either side to form bleachers and seating utilizing the modular nature of the versa lok blocks. This retaining wall needs to be executed in phases where a part of the bleachers are built along with the play island and the remaining retaining wall is built over time. The PHASE 2 play island will be executed in the coming months by utilizing the Kaboom! grant which was awarded to Community Forge this year.

146

KIDS PLAYING IN BENCH IN PROGRESS

MARIANA ALBEROLA REZZA

147

LONDON PLAYING IN BENCH

PRACTICE CHRONICLE

PHASE 1 Learning Island and 50% of benches

148

MARIANA ALBEROLA REZZA

PHASE 2 Playground Island

PHASE 3 Gathering Island

PHASE 4 The Red Porch

PHASE 5 Fitness Island

149

PRACTICE CHRONICLE

week 0

: Project Schedule PHASES 2, 3, 4

DESIGN DEVELOPMENT 6 weeks CO-ORDINATION W/ CONSULTANTS 4 weeks CONSTRUCTION DOCUMENTATION 8 weeks CONTRACTOR BIDS 8 weeks WILKINSBURG CDC CONCEPTUAL REVIEW 3 weeks BUILDING PERMIT APPLICATION 2 weeks DEMOLITION & SITE CLEARANCE 2 weeks EARTHWORK

3 wee CONCRETE WORKS

CONCRETE BLOCK WORK

150 STRUCTURAL WORK

INTERIOR WORK

MEP

FINISHES

LANDSCAPE/ SOFTWORK

FORMER IS REQUIRE FOR LATER TO CONTINUE PACKAGE SUBMISSION APPROVED

MARIANA ALBEROLA REZZA

RETAINING WALL, BLEACHERS, PORCH TIME LINE

eks

3 weeks

4 weeks

6 weeks

151 4 weeks

4 weeks

PRACTICE CHRONICLE

: Project Team PHASES 2, 3, 4

URBAN ACUPUNCTURE STUDIO jurisdictional purview

design build consultant

ENGINEERS WITHOUT BORDERS

procurement

future aﬃliations

structural and civil consultant

152

MEP CONSULTANT LANDSCAPE CONSULTANT PLAYGROUND CONSULTANT

lumber, paint, hardware, power tools, etc.

HOME DEPOT

playground equipment, rubber mulch, ﬁnishing, hardware, safety features

PLAYGROUND EQUIPMENT

recycled tires as per speciﬁcations

PPW TIRE RECYCLING CENTRE

ensuring safety of playground features

PLAYGROUND SAFETY COMPANY

hardwood, lumber, sheet goods

PAUL LUMBER ALLEGHENY MILLWORKS

plant material/ softscape, soil ﬁll

LANDSCAPE VENDORS

metal fabrication and

METAL FABRICATION VENDOR

MARIANA ALBEROLA REZZA

COMMUNITY FORGE

$$$

$30,000

$5,000

WILKINSBURG CDC ﬁnancial purview

zoning and occupancy permit

WILKINSBURG BOROUGH community approval

implementation

jurisdictional purview

client

PRIMARY CONTRACTOR

KABOOM GRANT HOME DEPOT COMMUNITY IMPACT GRANT

$5,000

PPG FOUNDATION GRANT

$50,000

FUTURE FUND RAISING EFFORTS

- executing components of design including structure and ﬁnishes. - overseeing quality, costing and schedule for work executed by sub contractors. - ensuring quality and compliance as per design drawings

PLAYGROUND EQUIPMENT

- procruing and installing playground equipment components as per design drawings - ensuring quality and safety features of playground equipments as per code

sub contractor 1

EARTH WORK & DEMOLITION sub contractor 2

CONCRETE WORK sub contractor 3

MEP

- demolition of existing structures on site and clearance of debris from site. - execution of basic earth work required to start construction of new components

153 - procurement and execution of reinforced cement concrete structures including foundations, footings, slabs and columns as required.

- procurement and installation of MEP systems as required

sub contractor 4 LANDSCAPE

- procurement and installation of landscape and planting material as per landscape architects design.

sub contractor 5

PRACTICE CHRONICLE

: PHASE 2. Playground Island The Play Island is designed with the idea that playing and learning go hand in hand. Drawing inspiration from the Kaboom Grant concept of â&#x20AC;&#x153;educational landscape,â&#x20AC;? the playground incorporates designed elements that are suitably abstracted so that kids can reinvent and imagine new ways of using the space. From a series of community engagement sessions, we gathered information on what types of activities the community imagined performing in this space. In order to accommodate diverse activities, we designed play elements that create both a sequence of activities, while allowing for parallel activities to co-exist. Thus, both active and calm activities can happen simultaneously.

154

The design takes advantage of the height difference on the site and incorporates play opportunities, such as a mound made out of recycled tires with a slide and a climbing rope made to cantilever from the top level. On the upper level, a sandbox, swing sets, climbing rings and a forest of polls are organized in a circle. The circular structure defines a focal point, while doubling as a path. On the lower level of the playground, mobile poles allow for an adaptable space that can be configured for different events. The playground island allows for the users to generate unique and self designed experiences.

MARIANA ALBEROLA REZZA

PLAYGROUND ISLAND

155

PLAYGROUND ISLAND

PRACTICE CHRONICLE

: PHASE 2. Playground Island Architectural Drawings

+4'6"

+5'6"

9 20

UP +4'6"

+14'6"

+4'6

+14'0"

156 10

+00'

SHEET SIZE: 34" X 22"

MARIANA ALBEROLA REZZA

2 +5' 3-1/2"

1 | A04

3 | A04

+5' 3-1/2"

+4'6"

2 | A04

PHASE 1: THE PHASE 1 OF RETAINING WALL WILL INCLUDE ONLY A SMALL PORTION OF VERSA LOK BLOCKS AS SEATING AS MARKED IN THE DRAWING. REFER PHASE 1 MASTER PLAN FOR MORE DETAILS.

RETAINING WALL

PHASE 2: THE PHASE 2 OF RETAINING WALL WILL INCLUDE DEMOLITION OF EXISTING RETAINING WALL, RECONSTRUCTION OF A NEW RETAINING WALL USING CINDER BLOCKS ALONG WITH BLEACHERS AND STAIRS AND AN ADA ACCESSIBLE RAMP ALONG WITH SEATING ALONG THE RAMP.

PHAS E1 VERSA LOK BLOCKS

+4'6"

LEGEND: LAWN/ GROUND COVER RUBBER MULCH SAND PIT 1.

LEARNING ISLAND

PLAY ISLAND

SAND PIT

157

TIRE MOUND WITH SLIDE

PLANTING ISLAND

FITNESS ISLAND

FUTURE ISLAND

SEATING ISLAND

THE RED PORCH

10. EXISTING RAMP 11. EXISTING RETAINING WALL 12. SLIDING GATE

13. PEDESTRIAN ENTRY 14. DUMPSTER 15. MUSIC BENCH 16. PLAY BENCH 17. PLANTING BENCH

18. QUIET BENCH 19. PEDESTRIAN ENTRY 2 20. RECREATION ROOM

URBAN ACUPUNCTURE | COMMUNITY FORGE URBAN COLLABORATIVE STUDIO

WILKINSBURG PA

SCALE3/32" = 1'0" VERSION: V01 DATE: 05-05-2019

PRACTICE CHRONICLE

TITLE

MASTER PLAN (PHASE 1)

SCHEMATIC DESIGN DRAWING

SHEET NO.

A03

: PHASE 2. Playground Island Architectural Drawings

WHAT WOULD BE THE IDEAL STRUCTURAL DETAIL FOR ANCHORING THE SLIDE TO THE TIRE MOUND?

3 4" THICK PLYWOOD COVERING

WHAT WOULD BE THE CONNECTION DETAIL FOR THE SLIDE AND THE TIRES AT THIS POINT?

1'-6"

RUBBER MULCH +5' 3-1/2" PLAYGROUND LEVEL +4' 6-3/4" EXISTING TERRAIN

SLIDE EXISTING TERRAIN SOFT RUBBER PADDING FOR SAFETY

EXISTING RETAINING WALL

1'-2"

2'-4" WHAT WOULD BE THE IDEAL STRUCTURAL DETAIL FOR ANCHORING THE SLIDE TO THE GROUND?

SECTION AA' SCALE: 1/2" = 1'0"

SEATING/ BLEACHERS CAP

CAP

RETAINING WALL EXISTING TERRAIN

SECTION CC' - SECTION THROUGH SEATING SCALE: 1/2" = 1'0"

RUBBER MULCH

CAP UNIT ADHERES TO TOP UNIT W/ VERSA LOK CONCRETE ADHESIVE

+5' 3-1/2" PLAYGROUND LEVEL

2.5" FILL

+4' 6-3/4" EXISTING TERRAIN

EXISTING TERRAIN VERSALOK STANDARD BLOCK

EXISTING RETAINING WALL THIS OPTION USES FLUSHED FORMATION OF VERSA LOK BLOCKS

CONCRETE FOOTING

SECTION CC' OPTION 2 - SECTION THROUGH SEATING SCALE: 1/2" = 1'0"

SHEET SIZE: 34" X 22"

MARIANA ALBEROLA REZZA

5" 1'-05" 1'-05" 1'-05" 1'-05" 1'-08 8 8 8 8

158

ASPHALT FINISH

159

URBAN ACUPUNCTURE | COMMUNITY FORGE URBAN COLLABORATIVE STUDIO

WILKINSBURG PA

SCALEAS SHOWN VERSION: V01 DATE: 05-05-2019

PRACTICE CHRONICLE

TITLE

SECTIONS (PHASE 1)

SCHEMATIC DESIGN DRAWING

SHEET NO.

A04

: PHASE 3. Gathering Island + Retaining Wall The Gathering Island was developed in response to community members’ observations about a lack of outdoor seating and gathering space. The Island uses benches to create an opportunity for adults and kids to interact, thereby facilitating a stronger bond between generations. The benches embrace the metaphor of a ribbon undulating from the ground and allowing activity and program to be embedded into its form. The linear formal language was chosen for its contrast from the curved shapes of the islands. The benches will be placed throughout the site not only as a way to promote interaction between various user groups, but also to support places for people to “hang out” and converse. Smaller bench units allow for the seating elements to be reconfigured and moved to be a part of other activities across the site, such as X-Pogo events. 160

MARIANA ALBEROLA REZZA

GATHERING ISLAND

161

GATHERING ISLAND

PRACTICE CHRONICLE

: PHASE 3. Gathering Island + Retaining Wall Architectural Drawings

+4'6"

+5'6"

+4'6"

2 +14'6"

6 | A0

162

PHASE 2 12

5 | A0

2 19

PHAS

+2'3"

+00'

17 15

SHEET SIZE: 34" X 22"

MARIANA ALBEROLA REZZA

+4'6"

+14'0"

3 2 +5' 3-1/2"

PHASE 1: THE PHASE 1 OF RETAINING WALL WILL INCLUDE ONLY A SMALL PORTION OF VERSA LOK BLOCKS AS SEATING AS MARKED IN THE DRAWING. REFER PHASE 1 MASTER PLAN FOR MORE DETAILS.

3 | A02

+5' 3-1/2"

+4'6"

SLOPE UP

1 | A02

PHASE 2: THE PHASE 2 OF RETAINING WALL WILL INCLUDE DEMOLITION OF EXISTING RETAINING WALL, RECONSTRUCTION OF A NEW RETAINING WALL USING VERSA LOK BLOCKS ALONG WITH BLEACHERS AND STAIRS AND AN ADA ACCESSIBLE RAMP WITH SEATING.

|A 13

PHAS

PHAS E1 VERSA LOK BLOCKS

LEGEND: LAWN/ GROUND COVER RUBBER MULCH

SAND PIT

PATTERN ISLAND

PLAYGROUND ISLAND

SAND PIT

TIRE MOUND WITH SLIDE

PLANTING ISLAND

GYM ISLAND

FUTURE ISLAND

SEATING ISLAND

THE RED PORCH

163

10. ADA ACCESSIBLE RAMP

11. PROPOSED RETAINING WALL 12. SEATING 13. BLEACHERS 14. STAIRS 20

15. SLIDING GATE 16. PEDESTRIAN ENTRY 17. DUMPSTER 18. PLANTING ON SLOPE 19. MUSIC BENCH 20. PLAY BENCH

21. PLANTING BENCH 22. QUIET BENCH 23. PEDESTRIAN ENTRY 2

URBAN ACUPUNCTURE | COMMUNITY FORGE URBAN COLLABORATIVE STUDIO

WILKINSBURG PA

SCALE3/32" = 1'0" VERSION: V01 DATE: 05-05-2019

PRACTICE CHRONICLE

TITLE

MASTER PLAN (ALL PHASES)

SCHEMATIC DESIGN DRAWING

SHEET NO.

A01

: PHASE 3. Gathering Island + Retaining Wall Architectural Drawings

WHAT WOULD BE THE IDEAL STRUCTURAL DETAIL FOR ANCHORING THE SLIDE TO THE TIRE MOUND?

3 4" THICK PLYWOOD COVERING SCREWED TO TIRES

RUBBER MULCH

+5' 3-1/2" PLAYGROUND LEVEL

WHAT WOULD BE THE CONNECTION DETAIL FOR THE SLIDE AND THE TIRES AT THIS POINT?

1'-6"

RUBBER MULCH

CAP

+4' 6" EXISTING TERRAIN

EXISTING TERRAIN

+4' 6" EXISTING TERRAIN

EXISTING RETAINING WALL

SLIDE EXISTING TERRAIN SOFT RUBBER PADDING FOR SAFETY

EXISTING RETAINING WALL

THIS OPTION USES FLUSHED FORMATION OF VERSA LOK BLOCKS

CONCRETE FOOTING

1'-2"

2'-4" WHAT WOULD BE THE IDEAL STRUCTURAL DETAIL FOR ANCHORING THE SLIDE TO THE GROUND?

SECTION AA' SCALE: 1/2" = 1'0"

+7' 11-1/4" WALL TOP

SECTION CC' OPTION SCALE: 1/2" = 1'0"

CAP UNIT ADHERES TO TOP UNIT W/ VERSA LOK CONCRETE ADHESIVE

CAP

WHAT WOULD BE THE BONDING DETAIL TO CONSTRUCT THE PARAPET USING VERSA BLOCKS? CURRENTLY SHOWING ADHESIVE/ MORTAR BETWEEN COURSES.

+5' 3-1/2" PLAYGROUND LEVEL

1" 3'-54

EXISTING TERRAIN CONCRETE FINISH

+7' 11-1/4" WALL TOP

RETAINING WALL

+4' 6" UPPER LEVEL

RAILING CAP

VERSALOK STANDARD BLOCK

PROPOSED RETAINING WALL

STAIRS

CAP

ASPHALT PAVING

2.5" FILL

+1' 1-1/4" SEATING

CAP

+0'0" LOWER LEVEL

DOUBLE STACK TO CREATE BENCH

CAP

63 8"

CAP

1" 2'-14

DRAINAGE AGGREGATE 12" THICK

CAP

+0'0" LOWER LEVEL

CONCRETE FOOTING

SECTION BB' SCALE: 1/2" = 1'0"

+5' 3-1/2" PLAYGROUND LEVEL

CAP

2.5" FILL

+4' 6-3/4" EXISTING TERRAIN CAP

CAP

EXISTING TERRAIN EXISTING RETAINING WALL

CAP

THIS OPTION USES STAGGERED FORMATION OF VERSA LOK BLOCKS

CAP

+0'0" LOWER LEVEL

CONCRETE FOOTING

SECTION DD' - SECTION THROUGH STAIRS SCALE: 1/2" = 1'0"

CAP UNIT ADHERES TO TOP UNIT W/ VERSA LOK CONCRETE ADHESIVE

RUBBER MULCH

CAP

5 5 5 5 1'-05 8" 25'-28" 1'-08" 1'-08" 1'-08"

164

RAILING CONCRETE SLAB ON GRADE VERSALOK STANDARD BLOCK ASPHALT FINISH PLANTING ALONG SLOPE DRIVEWAY

SECTION CC' OPTION 1 - SECTION THROUGH SEATING SCALE: 1/2" = 1'0"

SHEET SIZE: 34" X 22"

MARIANA ALBEROLA REZZA

SECTION EE' - SECTION THROUGH RAMP SCALE: 1/2" = 1'0"

2.5" FILL

CAP

VERSALOK STANDARD BLOCK

CAP

5 5 5 5 1'-05 8" 1'-08" 1'-08" 1'-08" 1'-08"

CAP UNIT ADHERES TO TOP UNIT W/ VERSA LOK CONCRETE ADHESIVE CAP

ASPHALT PAVING

SECTION CC' OPTION 2 - SECTION THROUGH SEATING SCALE: 1/2" = 1'0" +7' 11-1/4" WALL TOP

CAP

SOFTSCAPE

RAILING CONCRETE SLAB ON GRADE

CAP

RAMP

CAP

RETAINING WALL

CAP

DOUBLE STACK TO CREATE BENCH

CAP

CONCRETE FOOTING

CAP

ASPHALT PAVING +0'0" LOWER LEVEL

PLANTING ALONG SLOPE DRIVEWAY

THROUGH STAIRS

SECTION FF' - SECTION THROUGH RAMP SCALE: 1/2" = 1'0"

165

+7' 11-1/4" WALL TOP

DOUBLE STACK TO CREATE BENCH

CAP

5" 1'-08

RAMP

2'-23 4"

CAP

ASPHALT PAVING +0'0" LOWER LEVEL

CONCRETE FOOTING

THROUGH RAMP

URBAN ACUPUNCTURE | COMMUNITY FORGE URBAN COLLABORATIVE STUDIO

WILKINSBURG PA

SCALE1/2" = 1'0" VERSION: V01 DATE: 05-05-2019

PRACTICE CHRONICLE

TITLE

SECTIONS (ALL PHASES)

SCHEMATIC DESIGN DRAWING

SHEET NO.

A02

: PHASE 4. The Red Porch The proposed Red Porch aims to establish a direct physical and visual connection between the Community Forge building and the outdoor space, via the second floor. Acting as the new â&#x20AC;&#x153;frontâ&#x20AC;? of the building, it will complement the outdoor landscape and strengthen its ability to function as an extension of the interior spaces, allowing Community Forge to truly take ownership over it. In order to navigate the seven-foot grade change between the second floor and the ground, the porch incorporates two levels connected by a wooden staircase. The upper level of the porch acts as an outdoor recreation area. In addition to facilitating a valuable connection between the seating island and the kitchen, the lower level of the porch incorporates seating and a built-in grill, creating an opportunity for large-scale gathering.

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: PHASE 5. Fitness Island The proposed Fitness Island is designed to facilitate a range of physical activities, using simple and abstract geometry on a predetermined grid. These forms are inspired by traditional gym equipment so that standard exercises may be performed on them. At the same time, their abstract nature allow for them to be used in other games or activities, keeping the island highly flexible. The construction of the Fitness Island would entail building the form out of wood and coating it with poured-inplace rubber to ensure safety and usability. `

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REFERENCES

All chapter b/w pictures taken by Mariana Alberola Rezza. Commission drawings in collaboration with Urban Acupuncture Studio.

1. Pallasmaa, Juhani. “Identity, Intimacy and Domicile”. The Concept of Home: An Interdisciplinary View -symposium at the University of Trondheim, August 1992, pp. 14. 2. Bell, Bryan. “The State of Public Interest Design”. Public Interest Design Practice Guidebook, 2016, pp. 11. 3. Abendroth, Lisa and Bell, Bryan. “Defining a field of practice”. Public Interest Design Practice Guidebook, 2016, pp. 1.

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4. Marks, Kate. “Guide to architecture practices”. RIBA Appointments. April 2018, https://www.ribaappointments.com/article/differenttypes-of-practices/ 5. The American Institute of Architects. “2012 Code of Ethics & Professional Conduct”. Ethics from the Office of General Counsel. 2012, pp. 1. 6. Spector, Tom. “ The Ethical Architect”. Princeton Architectural Press, 2001. pp. 07.

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THANK YOU

Ghalya, Rachel, Shari, Mounica, Gautam, Ritchie, Scarlet, Fon, Christine, Chitika and Stefan Jackie and Coop Community Forge friends This project is a team effort still in progress.

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