2015

knutson MARK STEVEN KNUTSON Architecture and Urban Design

mknutson@umich.edu 303.895.9115 1109 Freesia Ct. Ann Arbor MI, 48105

B 3

“Imagination is the beginning of creation. You imagine what you desire, you will what you imagine, and at last, you create what you will”

– George Bernard Shaw

A

4

B 5

Jun- Aug 2014

Mar, 2014

PROFESSIONAL EXPERIENCE

TECHNICAL SKILLS

George Boyle Architects New York, NY

Revit Architecture 2015 7 Years Academic Experience 2 Years Professional Experience

Prepared drawings/presentation material for Landmarks hearings Prepared drawings from site on-measurements Diagramming

Rhinoceros 5 3 Years Academic Experience

Intern Architect

Steven Yang Architects Spring Externship

Brooklyn, NY Preliminary design Prepared construction documents May-Aug, 2011 May, 2012-Jun 2013

Davis Partnership Intern Architect Denver, CO Prepared Construction Documents (Healthcare) BIM management Design Development and space planning (Healthcare) Prepared Request for Proposals Created artistic and photorealistic renderings for marketing, fundraising, and client communication Prepared Design Proposals for client interviews (Higher Education)

May-Aug, 2010

TRYBA Architects Intern Architect Denver, CO Prepared Design Proposals for competitions Organized and developed Revit, BIM models Surveyed and documented project process

EDUCATION May, 2015

Master of Architecture University of Michigan, TCAUP Ann Arbor, MI

May, 2012

Bachelor of Science, Architecture Arizona State University, The Design School

Construction Documents

Drafting, Modeling, Rendering. Plug-ins

Adobe Illustrator 10 years Academic Experience 3+ Years Professional Experience Formatting, Designing, Diagramming

Photoshop 6 Years Academic Experience 4 Years Professional Experience

Post Production Rendering and photo touch up. Diagramming.

InDesign 6 Years Academic Experience 2 Years Professional Experience,

Preparing, Formatting, Managing Presentations and RFPs

Grasshopper 2 Years Academic Experience 1 Professional project Python 1 Years Academic Experience Google Sketch-up (extensive) 7 Years Academic Experience 2 Years Professional Experience

Interior models, massing studies, diagrams, client presentations.

AutoCAD 7 Years Academic Experience 2 Years Professional Experience Drafting, Site Design.

Tempe, AZ May, 2006

Regis Jesuit High School Aurora, CO

AWARDS AND HONORS

A

6

Honorable Mention, ULI Hines Competition, 2015 Jury Commendation, Thesis Show, 2015 George Davis Scholarship Award, 2011 Paul H. Klett Memorial Scholarship Award, 2011 George Christensen Travel Scholarship Award, 2011 Design Excellence, ASU School of Architecture, 2009, 2011 Eagle Scout, Troop 72 Boulder, Colorado , 2004

REFERENCES

* Available upon request

PROFESSIONAL WORK

LANDMARKS PROPOSALS, NYC George Boyle Architects New York City, New York

8

CHILDREN'S HOSPITAL COLORADO Davis Partnership Architects South Campus, Highlands Ranch CO, 2012-13

10

CESAR E. CHAVEZ MEMORIAL BUILDING 12

David Owen TRYBA Architects GSA Headquarters, Denver CO, 2010

ACADEMIC WORK

AL-10XX: ReCast Masters Thesis University of Michigan, TCAUP, 2015

14

BLOCK 32

The Pioneer and Military Memorial Park Phoenix, AZ. 2009

28

BARRIO CENTRO Tucson Barrio Neighborhood, AZ Community Center, 2010

34

MOTT HAVEN MASTER PLAN, NYCHA Future Growth Master Plan, Mott Haven, Bronx, New York NY, 2014

42

THIRD AVE

Mixed Use Development, Tower Mott Haven, Bronx, New York NY

//////////////////////////////////////

44

ROOM TO BREATHE Chinese Migrant Worker Housing Shanghai, 2013

COMPETITIONS

54

NASA: CENTENNIAL CHALLENGE Advanced: Stage I (currently underway) Team: Mars Terrain Intelligence Collaborative

60

HINES URBAN DESIGN COMPETITION Honorable Mention University of Michigan, 2015

62

MICRO-HOUSING IDEAS COMPETITION Peoples Choice Winner Denver CO, 2013

APPENDIX

64

APPENDIX, PERSONAL WORK Hand drawing, collage art.

66

B 7

HISTORIC PRESERVATION

Landmarks Hearings George Boyle Architects, New York City, New York

“ The Landmarks Preservation Commission (LPC) is the

largest municipal preservation agency in the nation. It is responsible for protecting New York City's architecturally, historically, and culturally significant buildings and sites by granting them landmark or historic district status, and regulating them once they're designated.

”

NYC Landmarks Commission

T

he Chanin Building is a brick and terra-cotta skyscraper located at 122 East 42nd Street, at the corner of Lexington Avenue, in Midtown Manhattan, New York City. Built by Irwin S. Chanin in 1929, it is 56 stories high, reaching 197.8 metres (649 ft) excluding the spire and 207.3 metres (680 ft) including it. It was designed by Sloan & Robertson in the Art Deco style,[2] with the assistance of Chanin's own architect Jacques Delamarre, and it incorporates architectural sculpture by Rene Paul Chambellan.

The building was designated a New York City landmark in 1978, and was added to the National Register of Historic Places in 1980.

Primary Tasks ● Prepared drawings/presentation material for Landmarks Heaings ● Prepared drawings from on-site measurements ● Diagramming and infographics

A

8

Above/Right

Selected Drawing from Landmarks Proposal Set

PROPOSED GATE LOCATION

15'-8"

BENCH

BENCH

13'-5"

BENCH

13'-5"

TELLER CAGE

38'-11" BENCH

PROPOSED W.C.

13'-6"

PROPOSED STORAGE

15'-6"

15'-5"

BENCH

BANK TABLE

PROPOSED GATE LOCATION

PROPOSED ALTERATIONS MAIN FLOOR Scale: 1/4"=1'-0"

SK.2

Apple Bank: 2100 Broadway Preliminary 08.6.14

Left

Chanin Lobby, Art Decco Grille Blissworthy, Bill Wisser

B 9

CHILDREN'S HOSPITAL COLORADO

Healthcare Design FKP, Architects/Davis Partnership, Denver CO

“ When

it was founded in 1908 in Denver, Children’s Hospital Colorado set out to be a leader in providing the best healthcare outcomes for children.

”

Mission, Colorado Children's Hospital

L

ocated in Highlands Ranch, Colorado, this satellite hospital campus will include urgent care, ambulatory care, and outpatient and inpatient beds. The project’s first phase, scheduled to open in late 2013, will encompass more than 175,000 square feet with future capacity to expand as community needs grow.

Children’s Hospital Colorado expects to host nearly 80,000 patient visits at the South Campus during its first year.

Primary Tasks

● ● ● ● ●

●

Prepared Construction Documents, Healthcare.

BIM management Design Development, Healthcare Prepared Request for Proposals Created artistic and photo-realistic renderings for marketing, fundraising, and client communication Prepared design proposals for client interviews,

A

10

Higher Education

Above

Complete Construction Document Set (98%) Children's Hospital Colorado Below

Children's Hospital Colorado Photo: Dressel Martin Media Works

5 5

4 4

3 3

2 2

1 1

WALL WALL SECTION SECTION NOTES NOTES 1. DIMENSIONS AT METAL PANEL TO TOP OF REVEAL UNLESS NOTED 1. DIMENSIONS AT METAL PANEL ARE ARE TO TOP OF REVEAL UNLESS NOTED OTHERWISE. OTHERWISE.

9 1' - 3"1'B.O. - 3" B.O. STUD STUD - 9 1/8" 2' - 92'1/8"

4' - 8"

RS-PVC1 RS-PVC1

EE ROOF ROOF PARAPET PARAPET TOPTOP OF OF BRICK BRICK 169'169' - 6" - 6"

PWS-MAS1A PWS-MAS1A RS-PVC1 RS-PVC1

5' - 6"

5' - 6"

PWS-MAS1A PWS-MAS1A

PWS-CW1A PWS-CW1A 4' - 8"

1' - 3"1'B.O. - 3" B.O. STUD STUD 2' - 92'1/8" - 9 1/8"

ROOF ROOF PARAPET PARAPET BRICK TOPTOP OF OF BRICK 169'169' - 6" - 6"

GLASS GLASS SLOT SLOT TOPTOP OF OF MULLION MULLION 168'168' - 8" - 8" RS-PVC1 RS-PVC1

9

A5 A5 A-530A-530

WS-MET1A WS-MET1A

ROOF ROOF LEVEL LEVEL 164'164' - 0" - 0"

ROOF ROOF LEVEL LEVEL 164'164' - 0" - 0"

23012301 BlakeBlake Street, Street, SuiteSuite 100 Denver Denver Denver, Denver, CO 80205 CO 80205 303.861 303

02250225 MainMain Street, Street, Unit C101 Unit C Vail Vail Edwards, Edwards, CO 81632 CO 81632 970.92 97

5' - 6"

9

A5 A5 A-530A-530

5' - 6"

9

9

ROOF ROOF LEVEL LEVEL 164'164' - 0" - 0"

084423 084423 STRUCTURAL-SEALANT-GLAZED STRUCTURAL-SEALANT-GLAZED CURTAIN WALL CURTAIN WALL

FKP FKP Architects Architect

084423 084423 STRUCTURAL-SEALANT-GLAZED STRUCTURAL-SEALANT-GLAZED CURTAIN WALL CURTAIN WALL

|

Houston Houston

| Dallas Dalla

16' - 0"

16' - 0"

16' - 0"

16' - 0"

16' - 0"

16' - 0"

16' - 0"

16' - 0"

16' - 0"

16' - 0"

Consultant Consultant

PROGRESS PROGRESS RECORD RECORD DRAD

These These progress progress record record drawings drawing hav prepared prepared by the byArchitect the Architect and Engin and E include include RFI'sRFI's and PR's and PR's issued issued as ofa Progress Progress Record Record Drawings.

Drawings.

Contrac Co verifyverify and track and track all changes all changes post pos pro record record drawing drawing set. set.

D2 D2 A-523A-523

LEVEL LEVEL 4 4 148'148' - 0" - 0"

DD

16' - 0"

16' - 0"

15' - 11 1/8"

15' - 11 1/8"

LEVEL LEVEL 4 4 148'148' - 0" - 0"

16' - 0"

16' - 0"

16' - 0"

16' - 0"

LEVEL LEVEL 4 4 148'148' - 0" - 0"

Issue/Revisions Issue/RevisionsDate Dat A6 A6 A-520A-520

7/8"

1' - 6"

16' - 0" 6' - 6"

6' - 6"

2' - 6"

2' - 6"

16' - 0"

7/8"

2' - 6"

2' - 6" 1' - 6"

CC

9 1/8"9 1/8"

LEVEL LEVEL 2 2 116'116' - 0" - 0"

Children's Hospital Colorado South Campus Children's Hospital Colorado South Campus

4' - 0"

Project Project Information Information

LEVEL LEVEL 2 2 116'116' - 0" - 0"

4' - 0"

4' - 8 1/4"

16' - 0"

16' - 0" 4' - 8 1/4"

2' - 3"

LEVEL LEVEL 3 3 132'132' - 0" - 0" 1

1' - 61'3/4" - 6 3/4"

1' - 81'1/4" - 8 1/4"

4' - 3 3/4"

4' - 3 3/4"

2' - 3"

16' - 0"

3' - 0" 1' - 9" 3' - 0" 1' - 9"

3/4"

-84' 0" - 0" 8" MIN.

075323 - ROOF INSULATION

A2 A2 A-511A-511

WS-EPDM1

LEVEL 2 PARAPET 120' - 6"

RE: BP4 BUILD-OUT CD PERMIT SET 5

074213.23 ALUMINUM-FACED COMPOSITE PANEL

2

D3

084229.23 - SLIDING 3" = 1'-0" AUTOMATIC ENTRANCES

4 4

1 1/2" = 1'-0"

D2

6' - 6"

16' - 0"

079200 - JOINT SEALANT

074213.23 ALUMINUM-FACED COMPOSITE PANEL

084229.23 - SLIDING AUTOMATIC ENTRANCES

1

0225 Main Street, Unit C1 Sheet Sheet Title: Title: Vail

Edwards, CO 81632 970

PROGRESS RECORD DRAWI WALL WALL SECTION SECTIO

These progress record drawings have b prepared by the Architect and Engineer include RFI's and PR's issued as of dat Progress Record Drawings. Contractor verify and track all changes post progre record drawing set.

AND AND A A AXONOMETRIC AXONOMETR D

Houston

WALL WALL SECTION SECTION ATAT EAST EAST A2A21/4" =1/4" 1'-0" = 1'-0"

AXONOMETRIC AXONOMETRIC ATAT EAST EAST A1A1

2 2

072726 ADHESIVE-COATED TRANSITION STRIP

042113 - CAVITY DRAINAGE MATERIAL

PROGRESS RECORD DR These progress record drawings

verify and track all changes post p record drawing set.

COPYRIGHT COPYRIGHT 2012 - DAVIS 2012PARTNERSHIP, - DAVIS PARTNERSHIP, P.C. & FKP P.C. ARCHITECTS & FKP ARCH

054000 - COLD-FORMED METAL FRAMING

3" = 1'-0"

078100 - SPRAYED FIRE-RESISTIVE MATERIAL 072726 - FLUID-APPLIED MEMBRANE AIR BARRIER

084423 - ANCHOR 084423 STRUCTURAL-SEALANT-GLAZED CURTAIN WALL

7"

092900 - INTERIOR GYPSUM BOARD

2 1/4"

REVEALS TO BE PARALLEL TO ADJECENT CURTAIN WALL

079200 - SEALANT AND 076200 - METAL CLOSURE 1 BACKING

084423 - ANCHOR

072100 - UNFACED, 084423 -MINERAL-WOOL BOARD INSULATIONSTRUCTURAL-SEALANT-GLAZED

2 1/4"

CURTAIN WALL 072100 - SPRAY POLYURETHANE FOAM AIR BARRIER 088000 084423 INSULATING-GLASS UNIT STRUCTURAL-SEALANT-GLAZED CURTAIN WALL

WS-MAS1A

088000 INSULATING-GLASS UNIT

PWS-MET1B

074213.23 - SHIM

079200 - SEALANT AND BACKING

SECTION 054000 COLD-FORMED METAL FRAMING

C5

088000 - INSULATING-GLASS UNIT

074213.23 - ATTACHMENT ASSEMBLY

HEAD DETAIL AT "BONNET"

C2

3" = 1'-0"

074213.23 ALUMINUM-FACED COMPOSITE PANEL

HEAD DETAIL AT MASONRY PLAN DETAIL C2 AT ENTRY VESTIBULE 3" = 1'-0"

2 1/4"

3"

2 1/4"

B 11

WS-MAS1A

4

088000 -

084423 - SILL EXTENSION

Date

09/28/20

10/25/20 11/16/20 01/02/20 01/02/20 01/11/20

03/27/20 04/19/20

Project Information

B

3" = 1'-0"

Issue/Revisions

C

072726AND 079200 - SEALANT BACKING ADHESIVE-COATED TRANSITION STRIP

079200 - SEALANT AND BACKING

084423 STRUCTURAL-SEALANT-GLAZED CURTAIN WALL

042113 - CELLULAR PLASTIC WEEP/VENT 042113 - LIPPED FIELD BRICK 079200 - SEALANT AND BACKING

3/4"

3" = 1'-0"

1 1/8"

1/2"

079200 - SEALANT AND BACKING

079200 - SEALANT AND BACKING

B4

2"

054000 - STEEL TRACK

3/4 "

074213.23 - FLASHING AND TRIM

3/4"

079200 - SEALANT AND BACKING

1" PLAN DETAIL AT ENTRY VESTIBULE INTERIOR 3 1/2"

01/11/2013

01/25/2013 1

BP3 CORE & SHELL CD PERMIT SET PR 003 PR 009 RFI 0183 RFI 0184 PROGRESS RECORD Project Information DRAWINGS RFI 0346 RFI 0376

055000 - SHELF ANGLE WS-MAS1A

061600 - WALL SHEATHING

3/4"

3/4"

092900 - INTERIOR GYPSUM BOARD

1/2"

076200 - METAL CLOSURE 2

C

C0f

042113 - CELLULAR PLASTIC WEEP/VENT

054000 - STEEL TRACK

N

054000 - COLD-FORMED METAL FRAMING 042113 - FLEXIBLE 061600 - WALL SHEATHING FLASHING WITH END DAMS

072726 - FLUID-APPLIED MEMBRANE AIR BARRIER

061600 - WALL SHEATHING

072726 - ADHESIVE-COATED TRANSITION STRIP 074213.23 - ATTACHMENT ASSEMBLY

Date 08/10/2012 09/28/2012

074213.23 - 042113 - CAVITY ALUMINUM-FACED DRAINAGE MATERIAL COMPOSITE PANEL

055000 - SHELF ANGLE

054000 - COLD-FORMED METAL FRAMING

BP3 80% CD BP3 CORE & SHELL CD PERMIT SET PROGRESS RECORD DRAWINGS PR 021

D0f

054000 - COLD-FORMED METAL FRAMING

079200 - SEALANT AND BACKING 072726 - FLUID-APPLIED MEMBRANE 081113 AIR - HOLLOW METAL BARRIER DOORS AND FRAMES

078100 - SPRAYED FIRE-RESISTIVE MATERIAL

D

Issue/Revisions

SECTION DETAIL - SLIDING DOOR AT INTERIOR ACM

042113 - FLEXIBLE FLASHING WITH END DAMS

072100 - UNFACED, MINERAL-WOOL BOARD INSULATION

Dallas

by the Architect and En1 DPAprepared DPA Project: Project: 1240 include RFI's and PR's issued as Record Drawings.2802 Cont2 FKPProgress FKP Project: Project:

1 1

074213.23 ALUMINUM-FACED COMPOSITE PANEL

061600 - WALL SHEATHING

074213.23 - ATTACHMENT 088000 - INSULATING-GLASS UNIT ASSEMBLY

D2

D0f

01/11/ 01

|

A-312 A-312

3" = 1'-0"

WS-MAS1A

054000 - COLD-FORMED METAL FRAMING

FKP Architects

PROGRESS PROGRESS RECORD RECORD DRAWINGS DRAWINGS

Sheet Sheet Number: Number: Consultant

PLAN DETAIL AT LEVEL 2 GUARD RAIL

3 3

6

Dallas

Denver, CO 80205 303.8

ALL ITEMS INDICATED IN GRAY TO BE DETAILED IN FUTURE PACKAGE

072726 - FLUID-APPLIED MEMBRANE AIR BARRIER

L

1811 Plaza Drive

6' - 6"

2' - 6" 3' - 0"

LOWER LOWER LEVEL LEVEL 84' -84' 0" - 0"

054000 - COLD-FORMED METAL FRAMING

074213.23 ALUMINUM-FACED COMPOSITE PANEL

E5

SHIM AS REQUIRED

|

Houston

Consultant 2301 Blake Street, Suite 1 Sheet Sheet Information Information Denver

072100 - MINERAL-WOOL BLANKET INSULATION

LEVEL 1 100' - 0"

076200 - METAL CLOSURE 2

055000 - STEEL FRAMING AND SUPPORT

5 5

077100 - SELF-ADHERING, HIGH-TEMPERATURE SHEET

079200 - JOINT SEALANT ATAT AXONOMETRIC AXONOMETRIC EAST EAST WALL WALL SECTION SECTION ATAT EAST EAST A4A4 SECTION DETAIL - BASE BUILD-OUT @METAL A3 A31/4" =1/4" PANEL BRICK TO ACM PARAPET 1'-0" = 1'-0"

0"

120' - 9 1/2"

074213.23 3/4" ALUMINUM-FACED COMPOSITE PANEL

RATED WALL AND DOOR INCLUDED IN BP #4 DRAWINGS

2' - 0"

WS-MAS1A *WITHOUT INTERIOR GYP OR SPRAYAPPLIED AIR BARRIER

A2 A2 A-511A-511

E

ASSEMBLY

055000 - STEEL FRAMING AND SUPPORT MINIMUM 6" OF BEARING TO 057300 - VERTICAL EITHER SUPPORT SIDE OF PARAPET GUARDRAIL 079200 - SEALANT AND 057300 - CONTINUOUS BACKING STEEL PLATE 042113 - COMPRESSIBLE FILLER EDGE OF SLAB BELOW 077100 - COPING

pital Colorado South Campus outh Campus 1811 Plaza Drive

1

4' - 3"

1"

LOWER LOWER LEVEL LEVEL 84' -84' 0" - 0"

075323 - EPDM ROOFING MEMBRANE LOWER LOWER LEVEL LEVEL

072726 - FLUID-APPLIED MEMBRANE AIR BARRIER

FKP Architects

FWS-WP1 074213.23 - ATTACHMENT FWS-WP1

076200 - SHEET METAL FLASHING

075323 - COVER BOARD

054000 - METAL STRAPPING84'

4' - 3"

042113 - CELLULAR PLASTIC WEEP/VENT

3' - 0"

077100 COUNTERFLASHING

7' - 3"

7' - 3"

075419 - METAL TERMINATION BAR

2 LL SECTION SECTION ATLEVEL AT EAST 116' -EAST 0"

16' - 0"

042113 - THROUGH-WALL METAL FLASHING WITH END DAMS EXTENDING BEYOND ENDS OF LOOSE LINTEL

Vail 0225 Main Street, Unit C101 Edwards, CO 81632 970.926.8

1/2"

1/4"

16' - 0"

16' - 0"

042113 - CAVITY DRAINAGE MATERIAL

077100 - FLASHING

072726 ADHESIVE-COATED TRANSITION STRIP

E

1

4"

079200 - SEALANT AND BACKING

2

Denver 2301 Blake Street, Suite 100 Denver, CO 80205 303.861.85

072726 ADHESIVE-COATED TRANSITION STRIP

FWS-WP1 FWS-WP1

16' - 0"

16' - 0"

SHIM AS REQUIRED

16' - 0"

057300 - GLAZING SUPPORT SYSTEM

1' - 81'1/4" - 8 1/4" WS-MAS1A

BB LEVEL LEVEL 1 1 100'100' - 0" - 0"

16' - 0"

3

2' - 6"

4' - 8 1/4" 2' - 3"

LEVEL LEVEL 1 1 100'100' - 0" - 0"

042113 - FACE BRICK WS-MET1A WS-MET1A 042113 - ADJUSTABLE MASONRY-VENEER A3 A3 ANCHOR A-510A-510 057300 PLATE-SUPPORTED RAILING WITH GLASS INFILL

4' - 0"

4

A6 A6 A-521A-521

101

5 3/4"

5

4' - 3 3/4"

LEVEL LEVEL 1 1 100'100' - 0" - 0" FWS-WP1 FWS-WP1

078100 - SPRAYED FIRE-RESISTIVE MATERIAL

2

1

3' - 0" 1' - 9" 3' - 0" 1' - 9"

4' - 8 1/4" 2' - 3"

WS-MET1A WS-MET1A A3 A3 A-510A-510

2

4' - 3 3/4"

1' - 81'1/4" - 8 1/4"

16' - 0"

2 16' - 0"

3

16' - 0"

16' - 0"

4

4' - 0"

3' - 0" 1' - 9" 3' - 0" 1' - 9"

C6 C6 A-521A-521

5

hlands Ranch, CO 80219

16' - 0"

9 1/8"9 1/8"

LEVEL LEVEL 2 2 116'116' - 0" - 0"

3' - 0"

WS-MAS1A WS-MAS1A

WS-MAS1A WS-MAS1A

084423 084423 STRUCTURAL-SEALANT-GLAZED STRUCTURAL-SEALANT-GLAZED CURTAIN CURTAIN WALL WALL

1

3' - 0"

A6 A6 A-523A-523

3' - 0"

2' - 6"

LEVEL LEVEL 3 3 132'132' - 0" - 0"

3' - 0" 1' - 9" 3' - 0" 1' - 9"

1' - 61'3/4" - 6 3/4"

WS-MET1A WS-MET1A

3' - 0"

2' - 6"

1' - 6"

A6 A6 A-523A-523

1' - 6"

WS-MET1A WS-MET1A

LEVEL LEVEL 3 3 132'132' - 0" - 0"

100%100% DD / DD IGMP / IGMP 07/20/2012 07/20/ BP3 80% BP3 80% CD CD 08/10/2012 08/10/ BP3 CORE BP3 CORE & SHELL & SHELL09/28/2012 09/28/ CD PERMIT CD PERMIT SET SET PR 011 PR 011 12/07/2012 12/07/ RFI 0184 RFI 0184 01/02/2013 01/02/ PROGRESS PROGRESS RECORD RECORD 01/11/2013 01/11/ DRAWINGS DRAWINGS

A6 A6 A-520A-520

César E. Chávez Memorial Building

GSA Headquarters TRYBA Architects, Denver CO

“ “Si, se puede !” “Yes we can!”

”

Cesar M. Chavez, March 31, 1927- April 23, 1993

T

he building’s prominent site on Speer Boulevard in the Golden Triangle is a gateway to Denver’s Justice Center Complex and includes a new 377-stall parking garage to the north.

The transformation of the 1984 Federal Office Building includes a high-performing, security-hardened aluminum and glass curtain wall system, which reduces the building’s energy consumption by 30-percent and enhances occupants’ views and fills office space with natural light.

Main building entrance. High efficiency Super T8 light system, harvest daylight. Occupancy sensors also reduce consumption. The interior terrazzo floor is made of 50-percent recycled beer bottles—recovered from local breweries. The 10-story LEED Gold building houses over 200 employees, several federal agencies, a daycare center, cafeteria and fitness center.

Primary Tasks ● Prepared Design Proposals for competitions ● Organized and developed Revit, BIM models ● Surveyed and documented project process

A

12

Above Cesar E. Chavez Design Proposal Commissioner's Book Below Cesar E. Chavez Memorial Building

TRYBA Architects

B 13

A

14

Above Ascetalyne torches were used to coat the inside of each mold with a layer of pure carbon prior to pouring the metal. The carbon acts as a lubricant, allowing the aluminum to flow more easily.

Assumptions

AL:10xx-ReCAST

Thesis, Spring 2015, Jury Citation University of Michigan Project Currently on exhibition in the THESIS HONORS PROJECTS: TOP HONORS SHOW at the Taubman College Gallery, Ann Arbor MI.

[too] are in large part the managers ” Architects processes they do not and cannot fully understand. ”

W

of

Reiser + Umemoto, Atlas of Novel Tectonics

hile civilization has extracted resources from the earth for millennia, much of the energy expended in acquiring these materials still remains embedded therein. Of these materials, aluminum, now ubiquitous, was once more rare and valuable than gold. Because aluminum can be cast at relatively low temperatures, using simple equipment and inexpensive mold-making materials, it is an ideal material for a small scale industrial process where no hierarchical separation exists between designer, craftsman, and producer. Additionally, recasting existing metal requires only 3% of the energy used in smelting, and can be executed at a small scale in the likes of atelier studios and design schools.

With a self-constructed foundry, we explored a design process highly dependent on tangible physical restraints, without utterly eschewing digital influences. The range of physical processes involved in the creation of a single aluminum artifact includes: wood frame constructs, sand cast molds, robotic burnishing, robotic scratching/milling, pouring molten aluminum, and post-production work. By employing the 7-axis robot at the intersection between primordial elements (sand and clay) and cutting-edge software, we navigated the gap between the digital and the analog, while still allowing for creative expression.

Our research is intended to serve as a precursor to future creative manufacturing processes. Where others might intervene in the age-old process of sand casting to increase its efficiency, reliability, or economy, our intent was to produce novel effects. As we reconciled such paradoxes as the aesthetically perfect vs. imperfect, and the designed vs. the emergent, we came upon some truly unique results. Such discoveries suggest a new possible role of the architect/designer: that of the “digital craftsman” as well as the “chaperon of natural processes”.

Albertian visions of perfection and control created the modern-day Architect, driven by the need to maintain a high level of fidelity in the design and construction of buildings. This lead to standardization of design documents and other modes of representation. This marked the schism between designer and craftsman [re: designer and maker] through the 20th century, industrial processes necessitated increased reliability and consistency of the worker or maker. These technological processes have since expanded into the fields of design and architecture, allowing for precise reproduction of works, artifacts, structures, and details.

As an ideal: digital fabrication has taken the place of the craftsman, allowing for perfect physical realization of any design.

Digital fabrication in Architecture proliferated in the 1990's at the academic level where creativity and novelty are paramount, but are beginning to be adopted in commercial practice.

Proposal

The research focuses on a historic craft: sand casting-a process that contains a high probability for imperfection (even in highly engineered industrial applications, it requires a great deal of precision and post-processing to achieve perfect reproductions).

Digital tools are employed in the design of geometries, and in the translation of these geometries into the physical sand molds. During the mold making and casting process (which is done by hand) there naturally exists a degree of imperfection, which is expressed in spite of the perfection of the digitally designed/ fabricated artifact. Somewhere between the design as it is visualized in the computer and the final artifact that can be held, there is room for interesting and serendipitous imperfections to express themselves in unpredictable ways.

The goal of this project is to carefully modulate these conflicting aesthetics (the perfect and the imperfect, the designed and the emergent) in a way that produces a unique object. By the merging of two production methods--one precise, one imprecise-we seek to re-position the role of the architect as the "digital craftsman", “guider of natural processes”, re: the "chaperon of process”.

The proposal posits that the material (aluminum) has inherent characteristics, and while it can take literally any form in its molten state, there are certain limitations and opportunities built into the process of sand casting which will give the final artifacts structural strengths and an unreproducible form and aesthetic.

Andrew Delabovi, Grant Heron, Mark Knutson, John Larmor, Shan Sutherlan

B 15

A

16

Above Rendering of the compiled toolpaths

[Abridged] Technical Process

Following 2 months of research, a global form was generated in Rhino with considerations made based on our findings - The physical limitations of our team (ability to lift x lbs. etc.), economical limits, time, etc... The form needed to be structurally dynamic, formally interesting, logistically challenging and pose broad material demands; requiring the aluminum to perform as both a linear and surficial element. The aluminum components would be leveraged to perform as efficient structural members while simultaneously providing a medium for emergent aesthetic expression and calculated process failure. A flouted, flaring column was selected.

The form was analyzed and sectioned to achieve efficiencies in production and assembly. [Max part size=3'x4'x2' or roughly a 400lb. mold) Surfaces were modeled in rhino via grasshopper and corresponding burnish toolpaths were generated using a second set of grasshopper scripts. The digital surface geometry was translated into the sand mold via a specially developed burnishing operation utilizing a robot and custom made tooling. A python-based, algorithmic code (in continued development at the University of Michigan) was used in translating toolpaths from rhino to the .src code used by the robots.

Processing Scripts were adapted to generate tool paths along a generative fractal geometry for the etching and milling operations.

Of these, primary tool paths were selected and optimized in rhino via grasshopper to define the boundaries of each part. A grasshopper script was developed to translate these linear toolpaths into orderedreference planes that would dictate the complex, interlocking edges of each piece.

Secondary tool paths were identified and optimized based on the technical behavior of molten aluminum within a sand mold. These are milled into each mold using a robot and specialized tooling and form the distribution network for distributing aluminum throughout each part (sprew system). Tertiary tool paths are selected based on aesthetics and continuity and etched into each mold utilizing a robot and specialized tooling. These fine geometries are intentionally machined at the limit of the sand mold to perform optimally. The calculated failure at this level will produce the pseudo-organic character of the artifact.

Crawler 1 - Primary Tool Paths Defines Significant structural divisions in the form, milled by robot as sweeping, interlocking planes (swarf cuts)

Crawler 2 - Secondary Tool Paths Establishes the sprew network for distributing metal across the piece, milled by robot as tapered profiles perpendicular to the surface.

Crawler 3 - Tertiary Tool Paths Provides fortifying geometry, linking edges, sprews. Etched by robot along linear toolpaths

The final form shown in the photographs is comprised of 12 parts at a 15% failure rate. It was completed in 10 days and assembled in 11 hours. It is 14'-0" tall and weighs only 80lbs.

The project was successful in producing an artifact fabricated with high degrees of precision, allowing for the rapid assembly of an extremely complex form, while emerging from that same fabrication process with an entirely unexpected, and unreproducible, aesthetic.

Below Structural Gothic traceries Organic capillaries in an oak leaf

Crawler 4 Dictates the delicate capillary geometry - has a calculated failure rate resulting in continuous surfaces. Etched along linear paths.

B 17

Above Robot milling the "swarf cuts" around the perimeter of a single piece. A jug was built to position the molds at a 45 degree angle to accommodate limitations in the robot's articulation

A

18

form

form Form Derivation

form

Funicular Structure + Hexagonal Division + Twist

Formal Unitized Component

Doubly-Curved 1/6th Vertical Surface

form Formal Division

Alternating Vertical Components / 5

Scripted Patterning

Swarf Cut Joint Ornamental Integration

form Structural Joint Strategy

Integrated Swarf-Cut Joint and Structural Unit

Scale: 1� = 1’

B 19

OPPOSITE From Top Left to Bottom Right

A

20

1. Rejected cast aluminum automotive parts 2. Skimming slag from the crucible 3. Priming the crucible 4. Preparing the mold line 5. Mixing sodium silicate sand compound 6. Parting a mold 7. Forced CO2 curing of the molds 8. Calibrating the robot 9. Still calibrating the robot 10. Milling secondary geometry 11. Milling perimeter Swarf cuts 12. finished negative 13. Burnishing operation produces surface 14. Milling tests 15. Priming the crucible.

9. Mold is split 10. Primary (swarf) geometry milled into positive via robot.

Standardized Recycled/Reorganized/Reprogrammed/ 1-4.

Specializedparts tools and necessary 11. Secondary (sprew) geometry etched Mass production foundry supplies: fabricated Re-imagined and into positive via robot. resourced.

12. Final geometry etched and mold Post industrial waste 5. Sand Tamped into half of a mold. prepped for pour.

6. Robot burnishes surface into sand 13. Pour cups installed 7. Negative is filled and 2nd half placed 14. Sizing the molds on mold.

15. Piece anatomy 8. CO2 cures the sand mixture 16-18. Pouring







ABOVE From Top Left to Bottom Right

Specialized parts Craft production

B 21

A

22

Left 2015, Taubman M.Arch Thesis Show Liberty Annex, Ann Arbor MI

B 23

A

24

B 25

A

26

B 27

A

28

BLOCK 32

The Pioneer and Military Memorial Park Phoenix, AZ. 2009

“

He who rejects change is the architect of decay. The only human institution which rejects progress is the cemetery.

”

Harold Wlson, 1916-1995

T

he Pioneer and Military Memorial Park is the official name given to seven historic cemeteries in Phoenix, Arizona.

The cemeteries were founded in 1884 in what was known as Block 32. The Phoenix City Council decided to purchase Block 32 [in what archaeologists have now determined were the ruins of a pre-Columbian Hohokam community which they named “La Villa”] with the intention of relocating existing cemeteries that were deemed “unsightly near a new train station”.

The families had their loved ones moved to the new location, and the city also reburied the nearly 3,000 unclaimed bodies in a common grave in the new cemetery.

The Pioneer Memorial Cemetery lies in a neglected area of Phoenix’s urban core. The grounds have been reclaimed by desert; the earth is bare Sanorian soil, punctuated by weathered memorials to the past.

Though the cemetery itself has been largely ignored for over 100 years, it represents the most significant collection of stories and artifacts, instrumental in the development of the Phoenix valley - an area that grew from a sparse population of ranchers, Native Americans and traders to a sprawling metropolis of over 2M in less than a century.

The project strives to connect [literally and figuratively] the lives of the individuals buried on the site and their contributions to the establishment and development of the Phoenix Valley.

Many of those buried in the cemetery played significant roles in the development of the original state government and other fraternal and social organizations - constituting the backbone of a developing Phoenix. This underpins the aspirations of the project.

The site will celebrate the lives and contributions of those that built the city of Phoenix and posture optimistically toward the future in a spirit of diversity, cooperation and tenacity.

Source: Pioneers’ Cemetery Association Left Rendering 1. Above the reflection space Above Concept Sketch Series: Convergence/Intersection

B 29

A

30

Theory

In order to capture the ephemeral, tangible and spiritual qualities of the site and synthesize them into a constructed environment that occupies moments in non-linear time. The project is organized around the design principles of Landing, Grounding, Finding and Founding. These provide the framework by which the design facilitates the experience of discovery and reflection. These are manifest in a series of concentric thresholds that guide visitors through a designed experience.

Landing is the first act of site acknowledgment, and it marks the beginning of the odyssey of the experience. Landing, therefore, invokes the passage from the unknown to the known, from the vastness of the outside world to the more exact boundaries of the specific project. Grounding has to do with orientation and rooted-ness, both in the literal and figurative sense of the word.

Grounding is more about reading and understanding the site through repeated visits and studies. The project and its history contain both a residue and promise; its surrounding context, its soil, climate, water, ecology, and history are unique and special. It is not necessarily what remains visible to the eye that matters most, but those forces and events that under-gird the evolution of the place.

Finding entails the act and process of searching, as well as the outcome; the thing discovered. As such, findings escape design invention and import; they are something unique (though hidden) that definitely belong to a place and contribute durably to its identity.

Founding comes at the moment when the prior three acts are synthesized into a new and transformed construction of the site; a moment of clarity, convergence and gravity.

θ

R 1 2

3

4

5

n

Right Top to Bottom 1.1 Ground Plane

Carving, Framing

1.2 Bearing Angle

Radial site connections

1.3 Angle of Decline

Spherical Tangent

1.4 Site Diagram

Design Logic

Left Rendering 2. From the point of convergence

B 31

1.5 Country of Origin Scotland, Ireland, London, Switzerland, Russia, France, Mexico, Japan

Process

The site is excavated to a depth of 12’-0” in a move to draw the visitor into the earth, cooling the site and eliminating views of surrounding buildings; thus stabling a strong visual connection between pan-mortal elements of earth and sky. Creosote trees populate the site permeating the space with their aroma, similar to fresh rain; a smell that is uniquely Sonoran. The walls and constructs within the landscape are a board-formed concrete, intended to weather patina in the desert environment. The horizontal nature of the formwork alludes to the “layers” of history buried beneath the earth. Paths are lined with decomposed granite, a material that “crunches” as it is stepped on, narrating the movement of visitors throughout the site, echoing off the concrete and merging in ambient auditory sense of presence.

The site is organized around a geometric structure of tangential lines and angles, derived from geographic birthplaces and converging at a singular point within a solemn reflection space.

A

32

The angle of a line, tangent to the spherical surface of the earth is projected through the ground; linking the capitol city of each of the countries of origin, and a point within the site. This “angle of depression” dictates the angle at which the northern most wall on the site is canted toward the earth. In this way, vertical elements of the site draw a direct connection to earth, time and space.

Likewise, the angle of bearing was recorded for each country, and plotted relative to magnetic north (0 degrees). This converging geometry manifests as polished steel ribbons, set flush with the ground plane. The geometry dictates movement, lines of sight and the location of the reflection space. The steel ribbons converge at a single point on the site; representing the unification an emerging Phoenix offered these pioneers.

Middle Concept Sketch Series: Full size in appendix

n

Above Light studies through physical models placed at site location

B 33

Above Rendering , Artist Studio Space

A

34

BARRIO CENTRO COMUNITARIO

Tucson Barrio Neighborhood, AZ Community Center

“ Barrio Neighborhood means free zone, and in earlier times was allowed to remain without legal restraints or the presence of a policeman. Here, the mescalian could imbibe his fill, and either male of female could, in peaceful intoxication, sleep on the sidewalk or in the middle of the streets, with all their ancient rights respected.

”

B

City Directory, 1881

arrio Centro is focused on a historical and cultural sensitivity to place. The site chosen in a vacant lot in Tucson’s Barrio neighborhood and has played significant role in the development of the city and the southwest region. The programming focuses on community service and cultural celebration.

The barrio neighborhood in Tucson was one of the first settlements in the region. Throughout its history, the neighborhood has undergone significant changes as populations moved and Tucson grew. The area now sits in relative disrepair although recent interest has sparked redevelopment; primarily renovation and restoration.

During the latter part of the 20th c. the neighborhood became neglected and many of the original structures fell into disrepair. Unfortunately, due to the predominant use of adobe, most damaged structures were not able to be salvaged.

The goal of Centro is to embrace this neighborhood and celebrate its colorful past. The project strives to provide a design solution that is considerate of the cultural legacy of its place, while expressing, formally, excitement and optimism toward the continued evolution of the Barrio.

Above On-site sketch, Typical Barrio Street Front

Because of the unique location of the site, a robust collection of research was compiled in order to accurately represent the cultural, demographic, environmental and aesthetic character of the Tucson Barrio. The City of Tucson as well as the Arizona Department of Urban Planning were instrumental in providing historic data on growth and development. Fire insurance maps, produced in 5 year intervals at the turn of the 19th century clearly showed the gradual decline in neighborhood residency, and later, the vanishing of structures due to lack of upkeep. Photos taken of the area during the early 1900’s show a dirt road with adobe buildings set just off the street – a unique strategy for maximizing private courtyard space.

In order to develop an appropriate aesthetic vocabulary, traditional modes of construction, planning and craft were of paramount consideration during the initial design phases. The goal was to achieve a dynamic dialogue with the street edge, a characteristic endemic to the older structures in the area. Walking through the Barrio, one catches glimpses – through an open door, window, or hole in a fence, of the world beyond the street -- a shared courtyard.

B 35

b.

a.

n.

c.

m.

d.

UP

l.

e.

DN

k.

DN

j.

f.

g. i.

DN

a.

A

36

a. Winter Gallery b. Print Admin c. Theatre Admin d. Lobby e. Classroom f. Spring Morning Gallery g. Morning Gallery Reception

DN

h.

h. Fall Morning Gallery i. Student Studio Space j. Classrooms k. Receiving l. Back of House (R) m. Stage/Theatre n. Back of House (L)

n

North/S

Spring/Mor

F

Massing and Program

The project grew from a manipulation of the unique architectural identity of the Barrio. A courtyard strategy was deconstructed in order to reinforce programming relationships and loosely define interior spaces, while maintaining an open, unobstructed courtyard that plays host to a myriad of evolving activities.

The architecture maintains calculated view corridors from the street to within the courtyard. This provides a playful dialogue between the building, its users and the passerby – feeling connected was key to the design. Each program element shares a direct and intentional connection with one another; art studios are across from the gallery, classrooms are oriented toward the southeast to maximize morning light, the gallery is transparent, providing a filtered visual relationship between the courtyard and the street.

The primary dimensions of the building’s plan and elevations are derivative of those found in surrounding historic structures. The building height, openings, passages are all designed in a way that preserves this unique urban “grain”. a. Winter Gallery b. Print Admin c. Theatre Admin d. Lobby e. Classroom f. Spring Morning Gallery g. Morning Gallery Reception

Winter/No

Winter/Sunset

b

Program

c d

a

e n

m

f g

j

l

h

h. Fall Morning Gallery i. Student Studio Space j. Classrooms k. Receiving l. Back of House (R) m. Stage/Theatre n. Back of House (L)

i

k

Program

Expression Summer/Sunrise

The goal is to connect the building to its neighbors, to have dynamic expression; one that would constantly change effect and be affected. That, both remembers the architectural legacy of Barrio and excites ambitions for the future. The architecture exhibits its character through the folded, expressive structure of the roof.

The folding strategy is both structurally efficient and allows for a careful calibration of environmental factors within interior spaces.

The form modulates and regulates light in the interior during the day, providing a soft, indirect light that varies in exposure depending on program. During dark hours, light spills out from the building expressing it’s geometry in the building’s elevation.

Spring/Morning

Fall/Morning

Winter/Noon

Winter/Sunset

Program

Above Pueblo Bonita.

Chaco Culture National Historical Park, New Mexcio

b

c d

a

e n

m

l

f g

j

h

South Section

k

i

Program

B 37

Facing Each program space was planned with special consideration of light and atmospheric factors. Each program element [classroom, gallery, performance space] utilizes light differently. The building’s mass responds to this by orienting itself in response to daily and seasonal solar patterns.

Shaping The masses are split at the roofline and voids are created where the space will accept light. In some areas, like studio space, ample diffused natural light is desirable, in others like offices, a consistent low level light is provided. The voids provide a diagram to inform the structural layout and formal development of the roof system.

Forming The solar data gathered from Climate Consultant™, and the BIM model are synthesized and overlaid onto the structural grid produced from the program requirements. A python script then generates appropriate geometry based on a series of operations that incorporate structural constraints and area considerations.

n

Left 2.1 Program Orientation Right Top to Bottom 2.2 Program Orientation

Solar considerations

2.3 Roof manipulations

Void diagram Scripted design operations

2.4 Formal Development

A

38

Derived curves from roof manipulations Solar considerations

Formal Operation 1 Geo-specific solar patterns are generated in Climate Consultant™ then analyzed within the BIM model. A series of curves are derived and modeled in Rhino™ to guide the later scripted process.

Formal Operation 2 A Python script generates rough geometry based on a regular structural grid and a single curve (in plan) derived from the solar exercise

Formal Operation 3 A second Python script manipulates the rough form based on a series of curves (in elevation) derived from the solar exercise. The resulting mass is exported to Revit where the mass is translated into building structure with appropriate parameters.

B 39

The Street

The building presents a strong visual presence in its eclectic context. It is playful and engaging. Variations in porosity and transparency, mass and void provide a multiplicity of momentary experiences from the street. The proportioned, rectilinear masses (echoing the architectural language of the Barrio) juxtaposed with the aggressive dynamism of the roof convey an ethos of energy, activity and optimism. Notions of heritage, creativity, and ambition are filtered (figuratively and literally) through the architectural medium, connecting inside to outside, public to private, past, present and future.

Above On-site sketch, Shops and Homes in the Barrio Right The entrance to the site is announced to the street in a dramatic upheaval of the faceted roof system. Layers of transparency modulate interior/exterior communication

A

40

B 41

MOTT HAVEN Contributors

Comprehensive Design Studio Bronx, New York

        

   

R

evisiting Modernism: Mott Haven is a collaborative studio effort of eleven students of the University of Michigan to propose a future for the city of Mott Haven, New York. The proposals include an overall city master plan and a series of neighborhood/housing development alterations. These concepts recognize the current physical, social and economic situations of public housing, institutions and several local assets within the community. The purpose of this plan is to promote connectivity to the surrounding contexts, activate central nodes, and identify districts within the overall community. The series of proposal strategies are intended to strengthen rather than eliminate existing opportunities for Mott Haven residents and businesses. The studies also attempt to enhance the community’s existing buildings, structures and spaces by encouraging quality construction and urban design.

Mott Haven’s optimal connectivity to downtown New York City offers great opportunities for the current and future residents of the community. This studio’s proposal aims to activate the city of Mott Haven’s spirit, culture and accessibility by increasing a variety of identity-driven concepts, community activity spaces, as well as local amenities all can enjoy.

Main concepts include: • • • • • • • • •

A

42

Subdividing oversized super-blocks for an efficient walkability system Activating current and new green spaces for community gathering Providing ownership and program to vacant lots Linking connections from housing to educational and healthcare facilities Improving current NYCHA Housing Campuses Strengthening community connectors to the city, waterfront, hospital and park Creating city-wide hubs (commerce, culture, transit) Identifying neighborhood districts for a sense of wayfinding and pride Proposing altered street corridors, additional bicycle transit paths and walkability opportunities

Link to complete report

Joe Cernugel Yuva Chang Matthew Joniec Mark Knutson Eldo Mathew Dustin Murphy

Carmen Petersen Xutao Wang Jaclyn Zaborski Alexandra Ziemba Jody Zimmer

This summary report for Mott Haven, New York will first narrate the current conditions which include the geographical, physical, social, and historical analysis. Following the analysis, the studio introduces the proposals for Mott Haven, presenting work of individual design teams as an overall collective intervention. Then the report will begin to zoom into specific areas where individuals designed architectural projects across the site. These projects focus on topics such as housing, education, commercial, culture, and connectivity, yet there is an overall consistent vision of physical and programmatic approaches that create a unified design approach.

The University of Michigan’s studio design team envisioned this proposal as a way to activate and strengthen the community of Mott Haven, New York. The intention is to heighten the cultural energy and pride in the neighborhood while providing ideas for efficient transit connections and economic opportunities, which will enable Mott Haven to become a leading neighborhood in the Bronx and the greater New York area.

B 43

A

44

Above Rendering: Courtyard Cafe. Porous street edge, continuous tree canopy, engaging service tenant (Cafe)

2576 THIRD AVE.

Mixed Use Development 3rd and North 138th Mott Haven, Bronx, New York THIRD AVE. was developed in concert with the Mott Haven Future Master Plan Proposal [pg. 14] during a three month intensive studio lead by Roy Strickand.

The plan proposed a series of focused development projects along and adjacent to the North 3rd Ave. corridor in the south Bronx. Projects included a facility for community lead higher education, a food co-op and grocery store, a cultural center and a number of creative housing strategies.

Mott Haven Report

T

he Third Ave. Development project seeks to revisit issues of mixed income housing, by examining the ideas of ownership, privacy and access within a midrise, podium style residential tower. At the same time, leveraging the revenue from presold luxury units to jumpstart acomapnying public programs in the neighborhood and provide a continued source of revenue for a proposed neighborhood improvement comission.

The podium tower typology was selected because of its recent proliferation throughout American cities. The tower provides an ideal solution to growing demand for housing a relatively low cost to developers. However, it is the tower that plays the bastion, not only, of modernisms failure to deliver safe and healthy housing to those families and individuals who endured the turmoil of social housing during the 60s, and 70s, but the success these tower projects had in inhibiting positive community development at a larger scale.

The goal of Third Ave is to create a climate of cooperation and community within a traditionally private and solitary building typology. Jacobian practices are incorporated in the planning of building’s program, circulation, various levels of access and circulation. Transparency is deployed as both an architectural metaphor and proven agent of improving the safety of a place.

Public programming is distributed throughout the first few levels of the building in order to encourage foot traffic through the interior of the building. Opening the building up to public programs also dismantles negative notions of ownership

that arise from physical (re: architectural) agents of exclusivity - or condemnation - both are common in residential tower communities at all income levels.

The premise is by folding and weaving public program into a traditionally private typology, carefully staging various thresholds of privacy and access and encouraging active exploration and engagement, many of the problems associated with tower housing can be greatly mitigate if not emilinated.

The main challenge with Third Ave. was producing a design that is at the same time marketable as high-end and sensitive to the cultural and economic realities of the Mott Haven Neighborhood. 138th would not be the first of this type of development in the area, but while similar tower projects present a hard perimeter at the street edge; indicating a defined private threshold, Third Ave. would strive to be porous and inviting, encouraging exploration.

Above Concept sketches for street condition, canopy, filtered views, refuge and prospect.

B 45

k. h.

g.

f.

d. j.

i. c.

e.

k.

a.

l.

b.

a. Rehabilitated Row Houses b. Parking Entrance c. Walk-Up Condo Units d. Commercial Corner

e. School f. Gymnasium g. Medical Office Building Lobby h. Gym Lobby

PROGRAMMING

THE NUMBERS Site Area: 29,315 sf

Residential: 102,200 sf Commercial: 8,813 sf

Total Building Area: 17,194 sf

Type 4: 11,462 sf

TOTAL PROGRAM AREA: 193,458 sf

A

46

BRONX, NY 10454

T3.

T2.

T4.

T1.

Type 5: 24,127 Type 6: 25,391 sf

T5.

T6.

TOTAL RESIDENTIAL AREA: 193,458 sf Square Footage.

1. Outdoor Space 2. Circulation 3. Utility 4. Office 5. Residential 6. Commercial 1.

6

Type 2: 8,813 sf Type 3: 21,435 sf

Circulation: 25,391 sf

7

Type 1: 102,200 sf

Office: 11,462 sf

F.A.R. (.58)

5

THIRDAVE

UNIT TYPES

Outdoor Space: 21,435 sf Utility: 24,127

2

i. Cafe j. Cafe Patio k. Public Courtyard l. School Pick-up loop

T1. T2.

2.

3.

4.

5.

T3.

T4.

T5.

T6.

6.

f

5

e t at

facin

South

Public, Semi-Public

tt ha

an

an

South

h an g/ M

facin

an g/ M

Utility

4

Outdoor Space

facin

an g/ M

tt ha

an

tt ha

an

South

South

facin

an g/ M

d

Circulation and Cores

a

3 c

b 2

1

The Site

The site is located at the south end of the 3rd avenue corridor making it an important landmark opportunity; serving not only to provide a strong vertical element amongst the adjacent midrise housing projects, but also as a defining entry point to the Mott Haven neighborhood project area. The building entrance is located across the street form the Number 5 and 6 metro stops that link the Bronx to upper Manhattan offering relatively low commute times to anyone working in the city. The block is roughly 3k feet from the Harlem River, and it was determined that units above ~40' - 0" would have direct views of the Manhattan skyline. North 138th is a full block, mixed use project incorporating historic rehabilitation, and the new construction of a mid-rise tower.

Weaving Program, Access and Privacy

transportation services

amenity

river front services

roof gardens

The Program

In order ensure the community feels welcome and are able to take advantage of the resources the building provides, each program element was careful evaluated in its relation to one another, each user group, adjacent program elements and Neighborhood as a whole. These programs were then woven into the architecture of the building, establishing a series of thresholds between public and private uses. In this was the definite architectural barrier between private and public, inclusive and exclusive is eroded, resulting in a more organic experience to the user.

work

school nightlife parks

home

restaurants

gym

sport cafe

Neighborhood, Program Network

B 47

A

48

Manhattan - Harlam River

to w

P

ate

St.

9th

13

drop off loop

.

Ave

th

0 14

0t

14

Ale

Ale

xan

der

xan

Ave .

The Street Edge

dler

bik e

Ave .

l

an

St.

es

drop off loop

t. hS

es

St.

nt

3rd

13

r fro

an

ate

9th

nt

P

.

Ave 3rd

to w

r fro

bik e

high amenity

Another important consideration is providing an active, engaging street edge. At the Southwest corner of the site, facing a major intersection, metro stations and pedestrian corridor, is a large, transparent, commercial space. The building's roofline is folded up and out toward the sidewalk and is brightly lit from the interior. This establishes a clear dialogue between interior activity and the street, encouraging participation, or simply, casual observation. This type of language is intended to convey an important message to the community; that this development is not afraid of Mott Haven and that residents need not fear the building. The lobby is intended to receive a fully public user group, patronizing the gym, restaurants, or studio spaces located on the

high amenity

upper floors of the building. Locating these amenities on upper floors directs traffic through the lobby and pulls pedestrian street traffic up and into the podium, encouraging passersby to enter and explore. mid amenity/mec.

Top Left 3.1 Views

All units are south facing receiving views mid amenity/mec. of Manhattan

Top Right 3.2 Traffic Patterns and Site access

Streets are narrowed, dedicated bike lane Is added and sidewalks widened

Left and Bottom 3.3 Commercial Corner

Large, transparent, bright space welcomes project users duplex unit

duplex unit

upper unit

lower unit

228,800 sf.

(Public) Gym

housing

9.700 sf. public program

139th St. Lobby

upper unit lower unit

228,800 sf.

(Public) Gym

housing

9.700 sf. public program

139th St. Lobby

B 49

1

T1 Storage

15 count 3 bedroom 2200 sf large balcony preferred views

Office 2

Gym

Storage

Elevator 1

Elevator 3

Elevator 2

Admin

Lobby/Front Desk

Office 1

Stair 2

Stair 1

Staff Room Lounge

Cafe

Back of House

Dining

Studio

Terrace

Studio

Lower Amenity Level / Gym

2

T2 MASTER BED

MASTER BATH

T6

15 count 1 bedroom 800 sf private balcony southern views

T1

MAIN ELEVATOR

ELEVATOR 2

LIVING

BED 2

ELEVATOR 3

GREAT ROOM

KLITCHEN

BED 1

STAIR 2

STAIR 1

KITCHEN

T5 STUDIO

BED 3

BED 2

W.C.

KITCHEN

W.C.

W.C. KITCHEN KITCHEN DINING LIVING BEDROOM

LIVING

T2

BEDROOM

T3

LIVING

BEDROOM

T4

Typical Tower Floor Plan

3

T3 22 count 1 bedroom 900 sf large balcony view of 138th

Elevator Lobby

Terrace

Upper Lounge

Stair 1

Stair 2

Game Room

Dining Room

Kitchen Terrace

Bar

Terrace

Upper Amenity Level

4

T4 T6 ELEVATOR 2

LIVING

BED 2

ELEVATOR 3 KLITCHEN

22 count 1 bedroom unit 1100 sf eastern exposure corner unit

BED 1

STAIR 2

T5 STUDIO

W.C.

W.C. KITCHEN KITCHEN DINING LIVING BEDROOM

T3

BEDROOM

Typical Tower Floor Plan

5

T5

DW

6

A

50

22 count 2 bedroom unit 300sf eastern exposure

T6 22 count studio unit 300sf eastern exposure

LIVING

T4

365’ -0”

penthouse level

upper tower units upper amenitiy level/mec

125’ - 0”

tower units office floor terrace level

lower amenity level

public gym

lobby

B 51

A

52

B 53

A

54

ROOM TO BREATHE

Juiting District, Shanghai, China Chinese Migrant Worker Housing

“ Chinese factories are oppressive and it is our desire for

cheap goods that makes them so. The simple narrative equating western demand and Chinese suffering is “appealing”, but it’s also inaccurate and disrespectful. Chinese workers are not forced into factories because of our insatiable demand for iPhones, they choose to leave their homes to make money, to learn new skills and to see the world. [Western media has grossly misrepresented the reality of working in Chinese factories.]

”

- Lesli Chang, Wall Street Journal 2010

T

he world of the Chinese migrant worker is one of constant movement; from the farming villages in rural China, to the manufacturing centers in the east. From one factory to another, back to the farms, and back to the cities. They spend long periods of time away from their families, and devote the majority of their adult lives to hard, factory labor.

From a western perspective, this life style is seen as impoverished, disenfranchised and unimaginably inhumane.

The reality is that China, home to nearly one fifth of the world’s population, has experienced unprecedented growth over the past four decades due mainly to widespread globalization and international trade. China’s migrant workers have mobilized in response to the demand for cheap labor necessary for this growth.

The living and working conditions of the Chinese migrant population, although unimaginable to the western observer, are in many cases, an improvement over the rural conditions from which the majority of the migrants come. The rapid expansion of the Chinese economy has afforded these marginalized farming populations an opportunity that would have seemed unimaginable just a generation ago – the chance to become (truly) upwardly mobile.

“One of the misconceptions is that these workers feel oppressed, that they are bound to the products that they can never afford for people an ocean away. But they see these products as just that, products. They see them as tools, and they see their jobs as jobs; as opportunities to better their lives and pursue their own course in life.” - Lesli Chang

China Percent of Population 1.351 Billion People 262 Million Migran Workers

19%

Jiuting Town Percent Population 50,507 People 31,384 Migrant Workers

62%

B 55

UP UP

UP

UP

DN

0 -1

-2

-3

n

West Elevation

A

56

Our project stands to provide an economical, efficient housing strategy centered around a community ethic and a focus on individual development and well-being. The problem of Migrant migrant Worker worker housing occurs at the intersection of globalization and a growing, upwardly mobile labor force. Just as their jobs are seen as no more than tools, worker’s housing is, itself, no more than that: a tool. The requirements are basic: a place to lay down, toilet facilities, a sink to wash clothes in, a roof and walls to keep the rain out.

The units provide only the bare essentials to the individual. The unit planning and construction methods deployed are intended to be simple, universal and adaptable; considered specifically for the unique social and economic context of Chinese worker housing. By divesting the individual dwellings of nonessential private space and personal amenities, larger community oriented facilities are able to be developed, occurring as voids at the intersections of the dense housing program. These spaces provide essential program elements to the project as a whole. Laundry facilities, dining halls, classrooms and gathering spaces serve to anchor the community at its knuckles – and allow for a space to breathe.

The approach was based on careful examination of the current status of Migrant migrant worker housing in Shanghai, emergent trends in the Chinese cultural dynamic, evaluation of basic human needs, quality of life considerations, and the unique socio-economic demands of this housing typology. The project is intended to be a viable, alternative approach to the Migrant migrant Worker worker Housing housing problem by functioning above all as a tool of social advancement within the complex and dynamic world of the Chinese labor market.

To economically provide shelter and security while actively fostering a culture of community. Providing the resources necessary for personal development and well-being.

Courtyard

Wing

Neighborhood

Unit

Bedroom

Courtyard Public

Stair Corridor Units

Right From Top 4.1 Spatial Hierarchy

Private

Establishes a series of spatial domains moving from outside/public to bedroom/ private

Exterior

4.2 Building Typology Low rise bar allows for ease of vertical circulation and light penetration. The surpantine mass encloses a semi-private courtyard,defining a spatial domain 4.3 Layered Circulation The bar is ascribed a duality of public and private faces. (Top to bottom) linear stair atria (public) move into a corridor then to the individual rooms (private) 4.4 Orientation

Public stair atria face the courtyard, dorm rooms face outward to maintain privacy, acoustic dampening and natural light

East Elevation

B 57

2

2

3 1

3

1

1) EPDM Roof Membrane 2) Flashing 3) Blocking 4) Metal Cap 5) Rigid Insulation 6) 3/4" Sheathing 7) 5/8" Fiber Board 8) 5 7/8" Steel Framing 9) Sealant and Backer Rod 10) 6" HSS 11) Sealant and Backer Rod 12) Curtainwall Head 13) Firestop 14) Curtailwall Anchor 15) Steel Angle 16) 10" Steel Channel

1/2" / 1'-0"

1/4" / 1'-0"

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Typical Roof Drain 4� Connection 1/2" / 1'-0"

1/ 4" / 1'-0" 1/4" / 1'-0" 1/4" / 1'-0"

4 5 3 6 7 3 2 8 1 9

Structure

Partitions and Weatherproofing

(1) The building sits on large concrete footings to accommodate shifting loads in the sandy shanghai soil. (2) The structure is made from reinforced, cast in place concrete. It is rigid, has positive thermal qualities and allows the building to be easily re-purposed when low cost housing is no longer the highest and best use. Waste material used to construct the formwork will be recycled later in the construction process as an exterior fin system, providing both solar protection on the west faces of the building and additional privacy for the occupants.

(1) Secondary walls and partitions are masonry. This is common practice in high density, residential construction. It requires little maintenance and can be accomplished without a need for skilled labor.

(2) The roof is constructed of insulated light gauge steel with welded connections to limit the need for specialized fasteners and other hardware (3) All exterior faces are wrapped in a weather resistant membrane. This ensures continuity and ease of application.

Unit Distribution Units are designed to be adaptable based on fluctuating demand in the labor market. 3 standard unit types provide essential living components to a variety of residents.

Currently the largest demographic group present in the workforce are males, age 21-30. (32%) Requirements of this user group are met with a specific unit type. For this particular demographic group that unit type is defined as: a large, shared bedroom (8-12 beds) 1 toilet facility per 4 residents, 1mÂł storage space per resident, one single bed per resident and 1 operable, exterior window per 8 residents.

Additional unit types are available and can be converted to meet the demand of residents from other demographic groups.

A

58

15%

(>50)

26%

(41-50)

22%

(31-40)

1.03 M to FM

32%

(21-30)

5%

(16-20)

A

16%

B

42%

C

38%

D

4%

2

2 1

3 1

Fig a

1. Cast in place concrete Primary structure 2. Masonry in-fill with framed openings 3. 2� HSS furring 4.Standardized fiber-board siding panel 5.Reclaimed formwork (solar fin) b. flat-pack fin bracket

1

2 b

3 4 5

Additive Elements

Assembly

(1) A standardized, universal panel system is affixed to the exterior faces of the building functioning as a rain screen and mitigating solar gain from afternoon sun. (2) A light weight frame is hung on the interior face of the building, enclosing the stair atria and providing nominal protection from the elements. (a) Fasteners to fix vertical fins to the exterior cladding system are manufactured in an adjacent factory specializing in light gauge steel fabrication. The product can be produced in a simple 2 part process from a standard 4x8 sheet of steel.

The cladding system is designed to be efficient, universal, low maintenance and cost effective. By standardizing and limiting the number of components, the system provides economy in both capitol and labor while delivering robust environmental protection and a desirable aesthetic.

Below study model: potential knuckle condition

B 59

*CURRENTLY IN DEVELOPMENT Stage II Submission: Aug 3rd, 2015

A

60

NASA's CENTENNIEL CHALLENGE: 3-D Printed Habitat

Advanced: Stage One Team: Mars Terrain Intelligence Collaborative

“ MTIC

is comprised of continued creative research and design of John Larmor, Mark Knutson and Timothy Sutherland, recent graduates of the Master of Architecture program at the Taubman College of Architecture and Urban Planning at the University of Michigan.

“

Intent to Participate

T

he NASA Centennial Challenge is call to design and build a 3-D printed habitat for deep space exploration, including the agency’s journey to Mars. NASA and the National Additive Manufacturing Innovation Institute, known as America Makes announced the competition in 2014 and registration took place in May of 2015. On Jul 21st MTIC was notified of their nomination to advance to stage II of the competition.

The multi-phase 3-D Printed Habitat Challenge, part of NASA's Centennial Challenges program, is designed to advance the additive construction technology needed to create sustainable housing solutions for Earth and beyond.

John Lormer Timothy Sutherland Mark Knutson Link to press release

Left NSSDCA Photo Gallery: Mars Viking 1 panorama of the Martian surface.

B 61

A

62

ULI HINES 2015

Honorable Mention New Orleans, Louisiana

“ “Rooted” has been recognized by the jury in particular for

“its clear and cogent schematic process, and for a cohesive and thorough healthy environment vision.”

Jury, 2015

T

he ULI Hines Competition is an urban design and development challenge for graduate students. The competition engages multidisciplinary student teams to devise a comprehensive development program for a real, large-scale site. Teams of five students representing at least three disciplines have two weeks to develop solutions that include drawings, site plans, tables, and market-feasible financial data.

Rooted mimics the Louisiana mangrove forest to cultivate deep and broad community networks, ensuring a resilient and fortified future for New Orleans.

Erin Bozarth Greg DiRienzo Justin Ping Justin Kubassek Mark Knutson

Link to press release

B 63

A

64

MICRO HOUSING IDEAS COMPETITION A HOME BASE DWELLING FOR THE ADVENTUROUS UNIT DOUBLE UNIT GROUND PLAN 1/8” = 1’-0”

GROUND

2 UNITS 12’-6” WIDE

People’s Choice Denver, Colorado

RELAXING COMMUNAL DINING PRIVATE DINING RELAXING

P

SLEEPING

DOUBLE UNIT STORAGE/LAUNDRY PLAN 1/8” = 1’-0”

Basecamp is designed to be just that; a base. With all that Denver and the surrounding areas have to offer the avid outdoorsperson, Basecamp caters to the young and active.

The unit provides basic living necessities, storage for gear, and a parking space for your smart car!

2

82sf DOUBLE UNIT PUBLIC PLAN 1/8” = 1’-0”

3

Qian Dong Mark Knutson

Y

oung Denver urbanites are exploratory.

Available to them a nearby, walkable, downtown atmosphere, public parks, bike trails, waterfronts and the rocky mountains.

Although at a mere 350 square feet per unit, Basecamp is less about spatial compacting, and more about the guaranteed availability of users in the Denver metro area. The functional dwellings contain living elements for basic living necessities of food cultivation, rest, living essentials and resources with an emphasis on equipment storage, encouraging a continued active lifestyle and engagement with he outdoors.

With the reparial alley lightly amended and the building oriented toward the dock and Platte river, users enjoy a relatively untouched experience of the natural waterfront.

142sf DOUBLE UNIT PRIVATE PLAN 1/8” = 1’-0”

LOFT

128sf A DUPLEX WITH A SHARED WET WALL RUNS A WIDTH OF 12.5 FEET, MAKING THESE DOUBLE UNITS IDEAL FOR INFILL IN A TIME OF RESIDENTIAL EXPANSION.

UNIT SECTION 1/8” = 1’-0”

COMMUNAL ROOF GARDENS

SLEEPING

PROJECTOR

COMMUNAL DINING

SCREEN

LIVING

ELEVATOR

BATHROOM KITCHEN

PRIVATE DINING RELAXING

PRIVATE STORAGE ACCESS

STORAGE

LAUNDRY

PARKING

KAYAK STORAGE IN THE WAVE FLOATING DOCK

Rendering Competition Submission: North Facade. Platte River

B 65

A

66

B 67

A

68

B 69

A

70

B 71

A

72

B 73

A

74

B 75

A

76

Thank you.

B 77

A

2

mknutson: issuu.com