COLLECTION OF WORK MAX PETERSCHMIDT, M. ARCH CANDIDATE 2013
I believe in leveraging the power of design to challenge the status quo and simplify the world around us.
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CONTENTS / EXPERIENCE
06 20 1 20 0 A, BF
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07
N VA SA NA H
CUREATING (THESIS)
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HABITAT FOR HUMANITY HOUSING STUDY
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1
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DE RE-DESIGNING FACILITY MANAGEMENT
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STUDIOS VISUALIZATIONS
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T AR
08
F O
LYCS VISUALIZATIONS
VOYAGER OWNERS’ MANUAL
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WASTE IN THE FOOD SERVICE INDUSTRY
HEALTHY PACKAGING INITIATIVE KENNEDY HEIGHTS CULTURAL CENTER CRANBROOK ACADEMY WELLNESS CENTER
ADIRONDACK CHAIR
WORK EXPERIENCE
AWARDS & RECOGNITION
1. ARCHITECTURE INTERN LYCS ARCHITECTURE HANGZHOU, CHINA (3/12 - 8/12)
A. COMBINED HONORS SCHOLARSHIP $40,000
ADOBE ILLUSTRATOR
B. LEED AP (UNDER LEED NC 2.2)
ADOBE PHOTOSHOP
C. SCAD SCHOOL OF BUILDING ARTS OUTSTANDING PORTFOLIO AWARD
ADOBE INDESIGN
D. DAAP SCHOLARSHIP $8,000
AUTODESK 3D STUDIO MAX
E. M. ARCH MERIT SCHOLARSHIP $2,000
AUTODESK REVIT
Contributed to conceptual & schematic design of projects at multiple scales. Worked as one of the few foreigners in a Chinese of�ice and learned to work with and communicate through signi�icant language barriers. Learned �irst-hand many cultural and business customs and acquired a reasonable level of comfort navigating Chinese business culture.
2. ARCHITECTURE INTERN STUDIOS ARCHITECTURE WASHINGTON, DC (1/11 - 9/11)
Worked on a variety of projects, from smallscale renovations to 800k SF developments. Helped put together submittals and presentations, generated presentation graphics, and contributed to development of Studios’ brand and graphic identity. Cultivated ability to understand clients’ mindset and communicate design intent.
3. RESEARCH CONSULTANT HONEYWELL INTERNATIONAL (AUTOMATION & CONTROL SOLUTIONS) GOLDEN VALLEY, MN (3/10 - 3/11)
Worked on a variety of projects studying the interrelationships between BIM, information architecture, data management, human factors and user interface design. Brought in designer’s perspective to a heavily engineering-focused environment and leveraged both intuition and ethnographic user research to promote new ideas.
4. INSTALLER OLYMPIC COMMUNICATIONS 3 SUMMERS, 2006-08
F. SAID UNIVERSITY GRADUATE SCHOLARSHIP $6,000
SOFTWARE
RHINOCEROS MICROSOFT EXCEL
consciously/subconsciously in�luences behavior / desires
validates behavior, lifestyle & habits
ND
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LS
S
HIS BODY
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fig. 1: channels of behavioral influence on an individual
more speci�ic behavioral recommendations
M CH EDIA OI : CE
TV /FI LM AD VE RT ISE NE ME WS NT PA S PE BL OG RS /P S/W RE SS EB
NC UR S E E CE S T S O
respect & in�luence
in�luence behavior & standards as an individual
see as peers & possibly more likely to con�ide in
may listen or not unexpected esperiences (i.e. seeing heart attack on bus)
listen to, ignore, or conceal things
ME NT OR S DO CT OR STR S AN GE RS direct medical device, instructions & prescriptions
may or may not trust based on prior experience
SE DS
OU
IEN
SP
FR in�luence behavior & value standards, esp. as a group
valuable knowledge & authority
respects & in�luences, gives advice & daily presence
give less-binding advice & provide genetic insight
broad behavioral recommendations
BI FA OLO NO MIL GIC AL CH Y: OI CE FA MI LY
NT S
LI N GS
PA RE
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EX TEN DE D
A N D S , A N D R E S PE CT RST S
N DS S I G N A L S , R
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give advice (whether it’s asked for or not), teach habits
give less-binding advice & provide genetic insight siblings: share genetic similarities
may relate to behavior based on lifestyle
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! ONTION! I T ACENTA ENT! LEMWERM P M I PO EM NS
parents: pass genetic characteristics
O C THE MOONNR PE DE EC RSO RA TIO NA BA TE N S L D RR CH : OFIFFERY’S OI INF EN RES CE LU T SOPO E N
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THESIS: CUREATING
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The following pages will introduce the core research insights that have driven the design development as well as the high-level design moves. This section will continue to be updated as the project progresses - for additional information, I encourage you to view the full thesis document.
BARRY VE
This thesis is an attempt to respond to the problem of poor nutrition as a cultural problem rather than as an architectural one. As a result, the final deliverable of this project will be a comprehensive proposal that includes architectural, business, interface, and experience design components. The ultimate goal is to develop a branded experience that addresses the systemic breakdowns identified in the research.
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CUREATING is an ongoing M. Arch thesis project based around understanding the industry and reevaluating it from the ground up with the intent of exploring how the entire experience of purchasing food can be re-designed to make healthy food more accessible to more people.
T AC
How does the modern experience of purchasing food affect what we eat? How can a completely new way of buying food help people build healthy eating habits?
The past 100 years have seen a steady trend of local sources of food gradually consolidating from specialty corner shops to hypermarkets serving large geographic areas. This trend has been driven by several economic factors: • Reducing cost of distribution
• Increased consumer demand for one-stop convenience
COMMUNITY E
COMMUNITY D
COMMUNITY C
COMMUNITY B
COMMUNITY A
research insight 1: the 21st century american grocery means larger stores in fewer locations.
~1910 single grocery store
REASONABLE WALKING DISTANCE
~1960
• Reducing overhead on a per-square-foot basis • Corporate growth & consolidation
• Suburbanization & ease of automotive travel
This trend continues to this day as major retailers continue to introduce larger stores that expand their scope of services (i.e. Kroger Marketplace, Super Target).
drug/convenience store
~2010
NEXT SUPERSTORE: FAR AWAY
fig. 2: store consolidation over time
NEXT SUPERSTORE: FAR AWAY
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research insight 2: far-apart stores incentivize customers to purchase lowerquality food.
research insight 3: most purchasing decisions are made by automatic processing vs. rational thought.
A trip to a larger store that’s farther away is going to take longer, which means you’re going to go less often. (This effect is exacerbated for those who have cars.) As a result, the food you get has to stay good until your next trip, and if you’re only going once every two weeks (or even less often) that means you’ll only have fresh ingredients for the first three to four days of your two-week cycle. The rest of the time you’ll have to eat higher-sodium, higherfat processed foods.
Behavioral economists and cognitive psychologists have shown that people make decisions either by use of reflective processing (rationally & consciously thinking through a decision) or automatic processing (doing something because it’s easier, or because it’s what you’ve always done.) Because most people don’t really like grocery shopping and are looking to finish quickly, they are much more likely to use automatic processing when making decisions on what food they should be eating. This is exacerbated by an in-store environment that’s based around presenting as many options as possible. As a result, by using automatic processing, people stick to their existing habits, only changing incrementally (on the order of a handful of new items each trip, at most).
PLA SPE NNED O CIAL U OCC T, COU ASIO LD B N, Y E BE OU E CAU NJO SE O Y CO F EX OKIN TRA G, E TIME TC. ,
“DIDN’T-BUY” ITEMS
GROCERY LIST
in
ed s ne d i ca t e
e ecid to d
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COMPARISON
E when food runs low, perform a
THOUGHTOUT ITEMS - Better Value - Brand recognition - Best choice based on info available to you
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AUTOMATIC PROCESSING
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UNPLANNED MEALS
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EAT “W EN SP I’VEHY AM IONTANE ALW EAT AYS ING OCUSLY O EATE OLD R H N CO CER ABITU LD C EAL F ALLY ERE ; AL FOR BRE OR B AKFA REA ST? KFAS T.”
SID
HABIT ITEMS
eat
leads to paralysis choose in best interests usu. time & energy intensive best for picking out single items drives most purchasing decisions product of procrastination builds habits over time quick & easy
automatic processing “doing”
- Decision made in past - Assumption that because you’ve always done it, it’s a good idea. - Often “Pantry Staples,” i.e. bread, milk, eggs, pasta, condensed soup, etc.; things you like to have “on hand”
IMPULSE ITEMS e has urc er p t f a ly diate imme
reflective processing “planning”
indeci sion
up
f ts o ten on c es in
REFLECTIVE PROCESSING
pick up
rm te de
(C R ON INFESP CEIV LU ONS E O EN E F CE TO IN ) OU T
THE PANTRY (ACTUAL)
GROCERY STORE
reci pes in f
to ou sy
THE PANTRY (IDEAL)
COMPARISON
HOME m or
new me al
PLANNED MEALS
ions est gg u s
CAR If qty. is high, or if store is far away
SHOPPING CART
CHECKOUT
- Decision made immediately - Often motivated by craving -“Guilty Indulgence”
WALK/BUS
If Qty.& Distance Low If Bike/Bus available
BIKE
fig. 3: the Grocery-Shopping Cycle
BAGS
fig. 4: typological precedents & quantitative analysis
fig. 5: target personas & appropriate typologies
experience: how do I change habits within the existing system? The following three pages illustrate the series of steps someone needs to take when attempting to change their habits shopping at traditional supermarkets. For a more in-depth explanation of these elements, please view the thesis document (link at the end of this section).
E.1: I need to figure out what “eating healthy�
means in terms of my own circumstances, different nutrients, what items those nutrients are in, how they affect my body, and how my own standards might need to change.
E.2: I need to constantly evaluate my pantry and
try to figure out what meals I can make with the different items I have in it.
E.3: I need to figure out how to make specific meals
by identifying recipes and integrating them into my repertoire of dishes.
E.4: For each trip I need to write a grocery list of
items I need, which means figuring out what meals I will be eating until my next trip and translate those to specific ingredients. (Many people don’t shop from a physical, written list - however, if you are breaking your routine, you have to write out a list.)
E.5 + 6: After determining roughly how much food I will be getting, I need to translate that to how long I will be in the store and plan a time to make a trip accordingly. Since the total trip time is fairly long (probably well over an hour, maybe two) I need to reconcile it with my routine for the week.
E.7: Because the store is far away and the quantity of food being purchased is large, non-automotive means of transportation really aren’t open to me.
E.10-17: All of the storyboards here document
the in-store experience at a supermarket, and can be summarized by E.13: In essence, the modern supermarket is functionally identical to a warehouse. It’s a large space where everything is presented on an equal level, and is designed for you to go straight to the items that you need to get instead of browsing casually.
This is incredibly important - because the store experience is designed for you to go straight for what you want, everything about the supermarket experience reinforces existing habits. Everything. Because I need to know exactly what I want when I go into the store, I need to go through all of the planning steps laid out above before I even get inside. This creates a huge barrier for entry for people seeking to build healthy eating habits.
experience: how does cureating make healthy eating easier? What follows is an outline of how the experience of this new type of store might work to make it easier for people to engage in healthier eating habits.
N.x: Because of some features laid out on the next
page, CUREATING eliminates the planning sequence required for people to follow to develop new habits. This significantly reduces the time barrier for entry and also enables people to explore healthy eating consequence-free.
n.1: By using smaller stores CUREATING can
maintain a presence closer to people’s existing routines.
n.2: This means that it becomes much easier for
people to visit the store as part of their weekly routines. Because the trip time is reduced so much, people don’t have to plan it out - instead of it being like a haircut that’s planned in advance, a trip can be more like filling up the car with gas - you can do it on impulse when you need to without disrupting more important activities.
n.3: This also means that more transit options are
open to people in urban areas, who can now walk or bike to the store. Also, because they’re going more often, they’re buying less for each trip, which means they also have fresh items in their pantry more frequently.
n.10: By being placed in a high-visibility location
N.12: Some stores also have a demo kitchen for
N.11: When you walk in you’re greeted by a full-
smartphone apps and account-based checkout, customers can order meal kits ahead of time for instore pickup.
in an urban area, the store maintains a strong presence on the street and is easily accessible by multiple modes of transportation. service counter that sells “meal kits,� which are collections of fresh ingredients packaged together to be cooked into a single meal.
various educational events.
N.13: By linking the pre-packaged meal kits with
N.14: Meals are categorized by time of preparation. N.15: Shelved products are organized so items are
easily found and are nearby other ingredients they are prepared with rather than other items in their category.
N.16: Design of packages connects ingredients to other lifestyle activities.
Distribution: building a smaller store makes it easier to improve fresh food access in urban areas. The flagship store developed for this project is approximately 2,500 square feet in size, putting it at approximately 1/40th the size of a typical new suburban hypermarket, which makes it much easier to place the stores in dense urban areas that would otherwise lack convenient access to fresh food items. The prototype flagship store is located in the Clifton/Gaslight neighborhood of Uptown Cincinnati, Ohio, which is an ideal target area for this store for several reasons: • Density - 1500 people live within a five-minute walking distance.
• Demographics: It’s home to a broad range of incomes and education levels, ensuring that there’s enough of a market to support the store initially while also retaining significant potential for growth. • Multi-modal access - the store is located at the intersection of two major automotive arteries which also carry several bus lines. There is also an abundance of pedestrian traffic.
• No food! While there is a small Indian grocery up the street, it’s tucked back in an alleyway and isn’t frequented by the mainstream population. Since the IGA supermarket closed due to tax issues, the only nearby sources of food have been a pair of convenience stores and a CVS drugstore. Of these, only the Indian grocery carries fresh produce, and even there the options are limited.
CVS
JAGDEEP’S INDIAN GROCERY
IGA (CLOSED)
UDF
CLIFTON GENERAL STORE
outside approach
demo kitchen
Sensible, clear product display
Packaging: portion control & connection to exercise
When you walk in....
Variation on customer-worker interaction
meal kits categorized by time
environment: everything about the in-store experience reinforces the brand message and drives the brand narrative. The key components of the brand experience (as laid out in the storyboards above) are implemented into the store design in very specific ways that communicate the brand message to the customer. employees For example: • The small size of the store means there can be many more of them, located in places that specifically target certain individuals’ routines, giving the stores more presence in customers’ daily lives.
• The meal kits are prepared by staff at the front of the store, visible to customers and passers-by on the street, communicating both how the meal Pre-order & account-based checkout kits work and fostering trust and authenticity. • The demo kitchen, on the second floor, opens up onto the street via a retractable wall, creating a direct visual/aural/olfactory connection between the store and the street.
• A double-height space makes the entire content of the store easily visible, accessible, and browsable, bringing different options to the forefront of the product display and allowing them to maintain a stronger presence in the customers’ mind.
chinese (southern china)
char siu fan (叉烧饭)
90MIN.
Oyster Sauce (2 tsp) Maltose (2 tbsp) Hoisin Sauce (1 tbsp)
CLOSED BACKSTOCK
PRODUCE BINS (W/ INTEGRATED LIGHTING)
DRY SHELVING
DISH/INGREDIENT SIGNAGE (STOCK BEHIND)
ROLLING LADDER FOR STOCKING
OPEN SHELVING
CUISINE SIGNAGE
Dark Soy Sauce (1 tbsp) Shaxing Cooking Wine (2 tbsp)
Bak Choi (for garnish) Five-Spice Powder (1/2 tsp)
Jasmine Rice (3 cups)
user interaction: the shelving system helps eliminate the mystery around creating new dishes. The product display along the walls (sample 48” module shown at right) is designed to organize product by cuisine (and therefore flavor profile) rather than by product category. Signage at each display (above) shows how to make sample dishes and provides a graphic index for required items on shelf, connecting them to the dish recipe. This eliminates the separation between figuring out what to make, finding the recipe for that item, and then tracking down the ingredients at the store everything is right there, drastically simplifying the process and making it easier for people to experiment more easily with their meals. Over time, they start to gain an innate sense of what flavors go well with one another and hopefully will no longer need the guidance of the store infrastructure. The modular nature of the shelving system allows staff to easily change up recommended dishes so people get exposed to a wider array of foods over time.
THIS PROJECT IS STILL IN PROGRESS AND IS SCHEDULED TO FINISH UP IN APRIL 2013
BUT
TO LINK TO A REGULARLY-UPDATED WIP VERSION OF THE DOCUMENT YOU CAN
CLICK HERE
The purpose of this studio was to explore how Vitruvius’ Ten Books on Architecture could be re-interpreted for the modern era. Each of us was assigned a book and, through the process of the studio, developed our own interpretations of the different texts.
VISUALIZATION: BOOK STUDIO
I was assigned the tenth book, which covers Machines. The original text is one of the most comprehensive historical sources on Roman engineering and reads like a how-to manual for anyone wishing to re-construct an ancient Roman device.
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Keeping with the DIY nature of the original work I decided to utilize the same techniques to illustrate the inner workings (and complexity) of a piece of modern engineering. The Voyager Space Probe was picked not only because it utilized nearly every major technological breakthrough of the last 150 years (wireless communication, nuclear power, jet propulsion, microprocessing, etc.), but also because of our cosmological connection to the spacecraft in the form of the famous golden record that summarizes the history, identity, and aspirations of our species.
The product of the studio - shown here - was a series of owners’ manuals, in saddle-stapled newsprint booklet form, that indicate the how-to’s of assembly and operation of a Voyager spacecraft. Nearly all information was sourced from Wikipedia and re-interpreted graphically by me.
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WAR
GROUNDED HORIZONS
SHOES
PENNIES
WHAT MATTERS
MEMORY
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TIME & POSESSION
SCHMO’S CLOTHES
DE ARCHITECTURA [TEN BOOKS ON ARCHITECTURE]
256
256
INVENTIONS
PUBLIC SPACES
256
ARCHITECT AS GENERALIST
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256
256 [256]
SCALE OF UNIVERSE
TRACES OF MAN
Collect 256 images related to a “book” on architecture.
9 MACHINES
8 ASTRONOMY
7 WATER
6 CLIMATE & SITE
5 PUBLIC BLDGS.
4 COLUMN STYLE
*DOWNSIZED TO NINE BOOKS ON ARCHITECTURE
3 TEMPLES
TEN BOOKS ON ARCHITECTURE*
2 MATERIALS
From Wikipedia: “...a treatise on architecture written by the Roman architect Vitruvius and dedicated to his patron, the emperor Caesar Augustus, as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments).” The Ten Books is considered the �irst treatise on architecture and is generally credited with establishing architecture as a recognized profession.
1 EDUCATION
INTERDISCIPLINARY: BOOK STUDIO EXHIBIT
SL
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T ID HM
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LINKS
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HI
C RS TE PE
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LOR
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C VI
SCHNEID
CAY
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SE ILO
IELLE
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M
MOIRA
DAN
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Y NN
Do not use computer for any of this work.
NG
IRA
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No more than two images may be placed on a single spread.
Y TE
ERE
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EMIL
AP
KU
EY
ILE
SH
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32 [32] Collect thirty-two images that matter and place them in a book.
X MA
SU
BA JO ME
DS
My role for the project, in addition to helping out with the actual fabrication of the space, was to develop the exhibition’s graphic identity and design an overall visual scheme that would tie the many different books together. This included, first, designing a printed introductory graphic (see near right) that summarized the relationships between these different books being exhibited and served as a navigational tool. In this graphic, each colored line represents a person (and their assigned Vitruvius book), and each circle represents a book that they designed. The text in each circle indicates the assignment and topic of the book (to indicate the broad spectrum of topics covered in the studio,) and the line between circles along each line represents the topical deviation between books in a series.
36 BOOKS ON ARCHITECTURE
LI N
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The last several weeks of the book studio were spent working as a group to design and assemble an exhibition of the thirty-six books created by the nine of us in the studio over the course of the quarter. The exhibition occupied a conference room in the DAAP library, and was organized around the original arrangement of the ten books in the Vitruvius text. The exhibition itself was put together in two weeks on a prohibitive budget.
256
Sequence them in a meaningful way.
1/2 of the images must be full bleed.
256
1+
1970S DIVERGENT THEORIES
PHASES OF WATER
1+
SACRED VESSELS
FORUMS
1+
INVENTIONS CONT’D
ONE THING AFTER ANOTHER [1+]
256
Select & diagram 12 interlinked Wikipedia articles related to your thesis topic.
256
MATERIALS
Set the text & images of these articles in a 5 1/2” x 8 1/2” format.
AESTHETIC IDEALS
2:1
TRACING THOUGHTS
2:1
SPACE AND CYBERSPACE
1+
2/3, 1/3 [2:1]
LAWS OF UNIVERSE
Continue the development of your thesis with content of your choice in a format of your choice.
2:1
Books will generally be 2/3 text to 1/3 images, or vice versa. Use one of those to guide the development of your book.
1+
1+
This language is carried through to the place markers and students’ cards (see opposite, left), each of which was placed along with the exhibited books to provide more detailed information on the specific projects. These cards also included the students’ own statements on their work.
VOYAGER HOW-TO
1+
TROPICALIZATION OF IDEALS
MANDANGERED SPECIES
1+
LIGHT PHENOMENA
CONSCIOUS
2:1
MEASURE OF MAN
2:1
HUMAN NATURE
2:1
BODY ABSTRACTIONS
1+
2:1
ON BOOKS AND ARCHITECTURE
For architects, the book has been a necessary (if not essential) tool for clarifying, extending, and promoting their ideas and projects. This studio examines the phenomenon of the book in architecture as both an array of organizational techniques (what it is) and as a Mediator (what it does).
The book has been the preferred mode of discourse, outside of building itself, architects have chosen to express their intellectual project. Lasting impression relies partially upon durability of message, and symbolically at least, the book remains the objet par excellence among media. In addition to this usefulness, the book �inds itself in a privileged position as an instrument of discourse, a position established by Vitruvius's 10 Books on Architecture, considered the progenitor. Despite claims that it is an antiquated tool among an expanding world of media alternatives, it is exactly the book’s resistance, weight, displacement, its old-fashionedness, which seems to safeguard its value as an instrument of thought. Simultaneously, there is a natural af�inity between the objects of the book and architecture; they can be seen as analogs. Each is a medium that organizes material using spatiality and temporality; a progression through a group of pages proceeds just as a sequence of spaces are navigated.
ACKNOWLEDGEMENTS
Luke Bulman, Studio Critic Vincent Sansalone, Studio Critic Jennifer Krivickas, Head of the DAAP Library Jen Breitbarth, Senior Executive Assistant The SAID of�ice, �erox machine providers
ANIMATION
WORK + LIVING
2:1
FILM AND SPACE
2:1
MONUMENTALITY & TIME
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ARCHITECTURE: CRANBROOK ACADEMY WELLNESS CENTER
SITE: Cranbrook Academy for the Arts Bloomfield Hills, Michigan
PROGRAM: Wellness center including pools, saunas,
massage, etc. as well as overnight accommodations and support spaces
USERS: Teachers and graduate students, as well as miscellaneous visitors and guests of the Academy.
KEY IDEAS:
1. Separation and mental wellness are fundamentally linked. People rehabilitate themselves mentally by distancing themselves from sources of stress - if you are getting burned out by work, you take a walk, or go on a vacation. This project focuses on evoking that feeling even when sources of stress are only a short walk away. 2. People seek mental health in different ways. The traditional program of a wellness center is based around spa-like functions -- baths, massage, saunas, and the like. While these are nice, they may not be attractive to all users. What are other ways architecture can help people pursue mental well-being?
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3
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6
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4
5
8
1. Bridge / Gate 2. Entry Court 3. Turnaround 4. Entrance Plaza 5. Water Feature 6. Williams Gardens 7. Patio / Stage 8. Lawn
SITE PLAN The building positions itself on the border between the campus and the forest. Because the forest creates privacy, the architecture doesn’t have to.
The bridge/gate element signifies the point of entrance. Subtle scale and material differences (i.e. coarse brick pavers for the road) slow traffic down to transform the turnaround from a racetrack into a plaza. Dividing the Grande Allee into different “rooms” with distinct characters continues historic expansion of the Cranbrook campus and creates a framework that can be built and expanded upon in the future.
BUILDING LAYOUT The concept of separation is explored here as a seven-foot thick service wall that runs the length of the south facade facing Academy Way. Separating the building visually and acoustically from the campus, the wall also serves as a strong organizational element and a plenum for MEP and egress routes.
The spindly, distended plan of the building separates different program elements at the building level as well as defining discrete outdoor spaces at the site level.
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THE WELLNESS WING The main spaces in the program are located in the northeastern wing of the building, facing Lake Jonah. What follows is an explanation of the major design decisions made in this portion of the project. A. Separating the program. This makes the “Dry” program - the meditation spaces - more accessible to people seeking to use the building for shorter periods of time. Doing so opens use of these spaces up to lunch breaks or spare time in between classes. 1. Reception 2. Changing 3. Sauna/Plunge 4. Massage Therapy 5. Baths 6. Meditation 7. Terrace
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B. Program Alignment. Linearizing the program provides a “recommended” sequence of experiences, making initial visits and experimentation less intimidating for first-time users without impeding regulars who know exactly where they are going. C. Lift & Wrap. Wrapping the sequence into a helix condenses the footprint while placing program that benefits from openness (pools and meditation spaces) along the outside and program that benefits from enclosure (massage, saunas, and changing rooms) against the solid mass of the service wall. A shaft punctures the floor plates in the center between the different levels, bringing light into the lower floors and creating a powerful passive ventilation device.
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THE MEDITATION ALCOVES The eight spaces are all sized for individuals or small groups, and have varying arrangements of built-in furniture. The spaces do not necessarily inform one activity over any other, instead serving as open rooms that can be used to read a book, catch up on homework, or take a nap.
Each space is cantilevered out four feet, with five sides of the cantilever enclosed in glass. This, combined with austere decoration in the room, frame the view and project the inhabitant out into nature. The experience of hovering thirty feet above the forest floor in a glass box enhances the sense of separation and getaway, stimulating the senses and creating a space for passive introspection, reflection, and relaxation.
A. B. C. D. E. F. G. H. I. J. K. L. M. N. O.
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6” Nom. structural steel tubing Light-gauge metal studs Continuous drainage channel 8” x 72” Steel mounting plate Roof support fittings (3) Side support fittings (8) End support angle fitting (11) Structural glass sides, load-bearing (2) Structural glass end, load-bearing Structural glass roof, 1:8.5 slope Structural glass fins (2) Bolted fin support fittings (2) Laminated safety glass floor HVAC Register Laser-cut, bent, finished sheet metal drop ceiling
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ARCHITECTURE: HABITAT FOR HUMANITY HOUSING STUDY
SITE: A poor neighborhood in Savannah, Georgia, but
ideally any community in the South where inexpensive shelter is needed.
PROGRAM: A 1300 SF, three-bedroom residence. USERS: A working-class family that meets HFH
qualifications. Statistically, in Savannah, this is most likely to be a single mother, African-American, with three to four children.
KEY IDEAS: 1. Systems design can make complex forms economical. Digital fabrication methods, when applied to inexpensive, readily available materials, can be used to create modular systems that are, by their nature, cheap and easy to construct. This project is based off of the design one such system, which uses the 4’ x 8’ plywood sheet.
2. A livable, sustainable house can be created with the constraints of said system. While the design is formally rich in comparison to typical homes, the it can still respond to, meet, and exceed the user’s requirements for a place of living. The design is based off of a digitally fabricated, modular plywood structural system (see far right) that gives the design an incredible amount of technical flexibility. Parametric modeling allows the exact proportions of the individual panels to be modulated across a lofted surface to create complex curves and shapes. The system is also designed to be prefabricated and easily assembled on-site by unskilled labor and with simple hand tools.
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Habitat homes are usually found in low-income neighborhoods, which often requires a certain level of security. However, it is also important that the house maintain a level of connection with the community. In this sense, the house can function as a valve that controls how much family and community interact with one another (see far left).
Applying the valve idea to interior spaces leads to the creation of different space combinations by enclosing different rooms with moveable partitions (see near left). Combining these concepts with the constraints of the structural system, along with a response to environmental needs and common-sense livability issues, leads to the housing form (right).
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INTERDISCIPLINARY: HEALTHY PACKAGING* 46
This was a ten week studio project done at the Livewell Collaborative at the University of Cincinnati. The Livewell Collaborative is a collaboration between the College of Design, Architecture, Art, and Planning (DAAP), the College of Business, and a consortium of Fortune 500 companies. The collaborative is a forum for students from different disciplines to do real projects in the context of an academic studio. Opposite is a general diagram of the process used at the Livewell. The studio was based around developing brand & packaging proposals for a major snack foods producer with an angle towards improving personal health. The studio ultimately presented about twenty concepts, and at right is an example which I worked more closely with. The design is for a new type of sauce packaging that combines an ergonomic precision grip with an integrated portion gauge, giving the customer both more awareness and more control over the amount of product they are dispensing. At the same time, the volumetric gauge also helps the user develop a cognitive association between volume (which is tangibly measured) and nutritional units, such as servings, calories and grams of fat (which are not tangibly measured).
* Group Project - Indicates that all research, concepting, etc. was done in active collaboration between group members. However, all images shown are my original work, unless otherwise noted.
DIAGRAM CREDIT: LIVEWELL COLLABORATIVE
OUR
PRODUCT DESIGN STUDIO PROCESS
Identify
Research
Lead-In
Ideate
Understand
1
PHASE 0 Before the project During the planning stage of a project the member identifies the problem space and collaborates with the LWC on the project brief.
Conceptualize
2
PHASE 1-3: During the 10 week Quarter The research team focuses on obtaining knowledge about the topic, translates insights to concept ideas and tests and refines concepts to meet the needs of the member.
Refine
Test & Detail
3
Inspirational & Experiential Research
Team and Problem Orientation
Secondary Consumer & Product Research
Aftermath Continue
4
Primary Consumer Research
Consumer and Client Feedback
Synthesis and Activation
5
PHASE 4: After the Project Possible future opportunities regarding the project results for the member and LWC. This should also be discussed in Phase 0. 速
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INTERDISCIPLINARY: RESTAURANT WASTE* 48
This project was done in a group of five, as part of a course on user research methods. We interviewed real people out in the field at their places of business. As a condition of the informed consent agreements we made, the names of the restaurants we visited are kept confidential. The scope of our research was to understand the commercial food preparation process and identify opportunities for waste reduction.
Research was done in the form of interviews and task observation, done at two local restaurants. Sessions were recorded, transcribed, and analyzed with a variety of analysis and modeling methods. Data from the interviews was first laid out in an affinity diagram, then a series of models was developed to illustrate the process as a system (opposite). User personas were also developed based on research findings (opposite, top).
The most significant observed breakdowns were in the inventory & delivery process. Our stated design opportunities focused on developing a reusable product packaging system and integrating information already present to create an automated supply chain management system.
* Group Project - Indicates that all research, concepting, etc. was done in active collaboration between group members. However, all images shown are my original work, unless otherwise noted.
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PROFESSIONAL: STUDIOS ARCHITECTURE 50
On this spread are examples of work I did while working for Studios Architecture in Washington, DC, during the winter and summer of 2011. In addition to the visualization work shown, I also worked extensively on design development, construction documentation, code analysis, and submittal preparation. Nearly all of the projects I worked on were interior design projects. this page: Stair Section/Money Shot, FHFA
opposite, left: Amenity Spaces, Central Place
opposite, right: Concept Visualization, Canal Park
WASHINGTON CANAL PARK
1 2 3 4
RESTAURANT PLAZA / ICE RINK STAGE RAIN GARDEN
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PROFESSIONAL: LYCS ARCHITECTURE 52
This spread includes examples of work done for LYCS Architecture during the spring and summer of 2012. In addition to creating many visualizations in addition to the ones shown, I also was heavily involved in building concepting, schematic design, and design development.
this page: concept diagram, Sky Condos competition opposite page: ecological diagram, Hangzhou Social Housing proposal
ECO.2
SPATIAL TREATMENTS
THROUGH-UNIT LAYOUT (NATURAL VENTILATION)
= INDIRECT LIGHT (CLERESTORY) = DIRECT LIGHT
THROUGH-UNIT LAYOUT (NATURAL DAYLIGHTING)
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The collage studio was an elective studio intended to explore the ways collage can be utilized in architecture. All building elements had to be collages of elements or ideas from other projects.
VISUALIZATION: COLLAGE STUDIO
As the project developed into an expression of industry and the artifact machine, it became clear that the project needed to be represented in a way that reinforced the conceptual framework of the design. As a result, the Russian Constructivist-style propaganda poster became the graphic typology of choice.
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PHOTOGRAPHY
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Š Max Peterschmidt 2012 3414 Telford St., Apartment 2 Cincinnati, OH 45220 m. 763-232-9194 max.peterschmidt@gmail.com