ARRESTING NOVELTY based on a traveled experience to chicago, illinois, carved landscape is differed by reference to monumental scenes or structures that have an impact on the city user. an experiential journey is illustrated by relating the scale, time of day and reference. depiction is necessary based on the navigation intakes.
professor: mark stanley
SONIFEROUS INTERIORS
a controlled environment working as a machine to produce interactive sound in order to promote sensual awareness for students ranging in age. working with a range of visual impairments is designed in a space with neighboring intersections and commercialized spaces making it a prime location. the microschool is a communal space inviting agents to mentor one another in open space, such as exaggerated yellow hue signifying the typical last color an agent can see before losing total vision. this project aims to accomodate agents through the controlled environment.
professor: rana abudayyeh
TRANSPORTATION
SUSTENANCE
ED RESOURCES
SITE 35°57'16.3"N 83°56'14.6"W
INVERTED LANDSCAPES On the site exploration process, the area focuses on educational surroundings being that the university is near, but by taking a look at neighboring infrastructure, there is more to infer from regarding what types of resources are accessible to the user going into this space. Being a microschool, it’s important to consider ways of transportation and that can be seen through the direct roads that deposit their overflow into areas concerning the site. Breaking down the system of the site at the scale as such allows a closer look into the adjacencies that prompt needs for program in a microschool.
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DANGER ZONES An essential aspect to understanding the site in terms of the visually impared follows along with familiarizing oneself with areas of danger or areas that might cause a threat to those who can’t see and these areas start to become areas of focus. By using a Grasshopper script, I was able to detect decibel numbers in order to map out and analyze where these higher areas of danger are.
STORAGE PIPES
LIGHT SOURCE
RUBBER INLAY
LISTENING STATION AUDIO UMBRELLAS
Beginning with topographical movements derived from pattern, a form placement, wayfinding, material selection, etc. Further studies suggest dents. The tubes take on the role of being the body of the building, they these pipes derives from the spontaneous pattern selecting an area of new pipes source off of this
MATERIAL CONCENTRATION
BIRCHWOOD
RUBBER
POLYVINYL CHLORIDE
The hardness of birch lends itself well to the manufacture of large, flat sheets of unbroken birch veneer that make excellent and affordable plywood. When the veneer is laminated to plywood, it creates a material that has the creamy, brown and white swirls that give birch plywood its character.
Slip resistance, shock-absorbing qualities and natural acoustic properties that control noise pollution. Provides broadbandacoustic absorption. Installed by gluing-down the rubber floor tile that lays within the Crossville tile.
Durable, dependable, lightweight, these pipes hold reverberation properties as well as electrical and water components. helps conserve energy and water by creating virtually leak-free pipes that are not prone to corrosion and resist environmental stress. When completely hollow, these pipes provide an interactive sound quality when struck by am object.
CONCRETE by keeping the exposed ceiling, it displays the life of the building. The concrete is an effective soundproofing material and absorbs/ retains heat.
GLASS using glass as a material allows for the blind and visually impaired students to be guided by differing shades and tones of light. this helps in wayfinding and identifying one’s location. it gives a sense of placement in the school.
takes on a new shape that influences future moves such as room that music is an outlet of study for the blind and visually impaired stuare the sound of the building, what gives the interior life. Placement of the space to encompass the main source of noise, and from this point, specific, interactive area.
FOAM GRID the space is texturefocused, adding foam adds to the sensory details that entail a soft, squichy texture that also maintains acoustical properties. foam creates an outter wall awareness.
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beginning with topographical movements derived from pattern, a form takes on a new shpe that influences future moves such as room placement, wayfinding,
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COMMUNAL SPACE The environment immediately changes when entering such a space as this microschool. To an agent that is not visually impaired, the space is very tactile, causing one to want to touch the surfaces that line the structure, including the ground plain. To a visually impaired agent, the space is inviting one to become in contact with the surfaces that lead one along the paths of the microschool. This area that is linear to the entrance of the space functions as a waiting area and a communal area for new agents, existing agents and their agencies. This space is defined by the networking it creates as a functioning space and what mesh it’s apart of in the working machine of the microschool.
PIPE ORGAN MACHINE This machine acts as the primary source of music that distributes throughout the school, carrying in areas from where it’s located in the back to tranferring through it’s tubes to the front of the space. The organ is not the only source of music taught and practiced at the school, but it’s position becomes static in being a permenant, tactile functioning property of the microschool.
LISTENING SPACE In a microschool centered around sound, creating it, verbalizing it, listening to it, moments of gathering to share the same environmntal experience to be enveloped in its own way becomes an essential focal point to the school. Agents are able to interact with one another in adjacency, coming together in a forced proximity. This is where the school allows agents of the school and their higher agencies to listen in on what is being produced during the program. The elevated seating promotes a relaxed seating that gives a floating illusion as one might be visually impaired, this feeling is still experienced.
EXPANSION &CONTRACTION this project focuses on urban planning and development, providing a communal area with ofďƒžce spaces. the area in context is seclusive, distant from amenities, but has growing potential through this design project. understanding the need of growth for the area concluded that communal areas are very limited- gathering brings human beings together - spaces account for that. Professor: Whitney Manahan
SINKHOLES
CLAYSTONE
DRY VALLEY
CAVE
UNDERGROUND STREAM
LIMESTONE
caves are formed when rain mixes with carbon dioxide in the atmosphere, that comes from decaying matter in the soil as well, and leads to creating an acidic substance. the acidic substance percolates down into the earth and creates form of passage. in order for this cave formation process to take place, limestone must be present. this is considered a dissolution of limestone. the passage ways of which the acidic substance creates are fractures and joints, bedding planes, some of which become large enough to create caves like the ones in montignac, france.
PROGRAMMING a cave is more than just a dark tunnel with noise defects that draw a sense of eeriness to the atmosphere. caves, the important ones, have been affected my humans, of whom have gone in and made an imprint on such grounds. in particular, this project focuses on creating work environements for the users, makers and community. the spaces open up in varying levels of ceiling height to deďƒžne separate areas with more than just a door. restrooms elevator atrium
workspace meeting areas
restrooms elevator atrium
fabrication area
mechanical room restrooms elevator atrium private entrance
production area restrooms elevator atrium
public amentities lobby/public entrance
WORKSPACES WORKSPACES the ofďƒžce space is one that promotes collaboration, creative thinking and an open work space environment. Tables are grouped together in order to gather designers that are on the same project(s). The surrounding walls are used as pinup space in order to communicate ideas with fellow designers as well as others. A visually divided area carries causal furniture to promote a new environment of thinking and across the room exchanges in a place within the ofďƒžce.
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FABRICATION
RETAIL LE R H K O
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LER H O K LER H O K
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LOUNGE
RETAIL
CAFE UP
KITCHEN
the building is divided into private and public spaces keeping the community and workers seperate within their functional environments, but the cirulation allows for exchanges. the multifunctional amenity space is a development in this project that beame the determining factor for design moves, including a double height space.
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FORMAL
PLAY
FALL 2019: OSCILLATING SUBSTRATUM
this project takes exploration to uncover the unknowns. therefore, I aim to bring the curiosity from underneath the concrete surfaces of the site to the levels above exposed vs. hidden has an extensive load on this question of how architecture starts to become more curious. how can architecture develop into a synopsis of inquisitive brain activity? By exploring kinetic, everchanging functions, manipulated by seen and unseen interactions, the curiosity of this site will grow. by developing a site with built question, new attention will be brought to the area. this is about thinking futuristically. professor: tim dolan
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OBSCURED
DEVIATION Deviations based on the software grasshopper are developed based on their reactions to a script that has the same input variables, but obscuring their controls. (Above) The idea of a standardiazed grid starts to deviate based on control points and disruptions within. (Below) Grids start to not only respond within themselves based on obscured inputs, but they start to affect one another shoing signs of forced vaiances. These relate to grid deviation and the ability to obscure the standardized.
PHASE 01
PHASE 02
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PIR SENSOR
DETECTION BOUNDARY
A passive infrared sensor (PIR sensor) is an electronic sensor that measures infrared (IR) light radiating from objects in its field of view.
HUMAN RADIUS
EXTERIOR RAILING: BOUNDARY
INFARED SENSOR
ARDUNIO UNO BOARD
POLYMER PIPING: LOW-DENSITY POLYETHYLENE PIPE
the radius of a human entity’s infared radius indicates the reaction of sensor detection by breaking the boundary.
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CONTROLLED LOCATION The existing site at it’s bareskin consists of a structural grid system that speaks to it’s underground. When deciding where the activation variances are placed, their relation to each other and to the site begins to develop a common path that relates to the underground grid. The deviations not only take place within the variances, but also in their ability to corrupt the pathways in their own structural being. The pathways create an organized route that becomes obscured when interacting with the variances.
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above
ACTIVATION VARIANCES
On the site is a number of activation variances. In order to influence the underground and above ground, variances such as the one illustrated are impactful based on human interaction creating a cause and effect scenario. As members are pushed and pulled, human users see the relationship created by an above or below user, indirectly forcing moments of questioning what is happening above. Once users interact with this activation variance, they are able to leave knowing they had an impact not only of how the site begins to become active, but also with a questioning motive as to who they have impacted based on their actions.
M. ARCHITECTURE [4+2]
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FUNICULAR FORM FINDING
Structures are formed to respond to the flow of forces, therefore the sandwiching of panels needs to be tight enough to withold a bond in between one another. Without one piece of the shell, the form falls. Moving forward analyzation of different structures based on topology and optimization took place in order to experiment and research how arching forms start to affect tension in structural shells. A mass that carries over a large span that has pieces that rely on one another requires the thicknesses of the pieces to line up. Partners: Blair Bickman Kristin Pitts Maya Pavon Professor: Maged Guerguis
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Plaster models: Kristin Pitts
PLASTER
The process of working with plaster dealt with using a scaled drawing of the site in order to place material where there is support and flipped it in order to create its form. We knew we wanted to have supports that intrude the site, so we made study models and ended with the two forms above. (Left) Onepinched supports. (Above) Two pinched support.
3D Prints: Annie Phillips
3D FABRICATION The form finding process was in order to consider the sight and get a better understanding of how we wanted to impact the site. We printed out scaled drawings of the existing site and manipulated cloth, plaster and glue in varying ways. By pinching material where the existing supports are and creating our own foundations, we were able to decide on a form that was best for our site based on entryway, manipulation, ratios, stress and tension. We created digital models that analyzed the forces and allowed us to create 3D models.
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Render: Annie Phillips
FORCE ANALYSIS Once we found the form by exploring physical models, we were able to take the information we had found and concluded on and take it into the digital world. By using different softwares including Rhino, we were able to create the form we had found physically. In order to translate this digital form finding into a large-scaled model, we needed to manipulate grasshopper scripts in order to finding a shape that we wanted our peices to be 3D printed in. We found that the vornoi script, working with hexagon tiles worked.
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Render: Annie Phillips