Paper Matters

PAPERMATTERS

Uni ver si t yofVi r gi ni aSchool ofAr chi t ect ur e

SPRI NG 2012UVA

SCHOOL OFARCHI TECTURE

SP

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MATTERS PAPER MATTERS PAPER MATTERS PAPER MATTERS.

UNDERCONSTRUCTI ON

INSTALLATIONS, HOUSES, FOLLIES, OBJECTS, PROTOTYPES, DRAWINGS, ...

For decades the single family house was the space of innovation for architects. Architects used the domestic scale as a testing ground for larger ideas. In the past 20 or so years, however, the installation has assumed this role, presenting opportunities for experiments—tectonic, spatial, material, and technological.

Digital technologies have compelled designers to test tectonic boundaries. Computation has made new modes of thinking and problem solving possible. New digital tools have expanded the imagination, while complementing manual techniques of fabrication. The fabrication lab at the A-school has imagined the world flat, created moving creatures, melted an unimaginable array of materials, advanced laser-cutting to a whole new level, embroidered patterns and formworks, and reconfigured sambó!

This shift in scale has spawned a bottom-up approach, where a specific detail, node or component becomes a starting point. While this is not a new phenomenon, one could argue that with incorporation of computation into our work flow it has become more prevalent, and has found its way back into the larger scale and infiltrated a wide range of design and construction practices.

04 03 02 01

queries 1. What is the feedback loop between the small intervention and the expanded field, the node and the network, the part and whole?

2. What is the role of computation?

3. What are the possibilities of mass customization?

4. How do small interventions make big changes?

01

COMMUNICATE

ASSEMBLE

ANIMATE

ARCH 5590-007

SAMBO RECONFIGURED MARA MARCU Bridging Jeffersonian architecture and Eliadean philosophy, this research full scale fabrication seminar uses Charlottesville as a laboratory, while taking advantage of UVa’s fabrication facilities and using Catia’s versatile parametric environment as a new cognitive opportunity. Computeraided design and manufacturing methods have extensively permeated fabrication environments for the production of architecture. Symbolic representations in architecture, on the other hand, have widely become obsolete in the unanimous understanding of our globalised society, to the detriment of traditions and heritage. This seminar introduces students to the fundamentals of CAD/CAM, with a particular focus on the function of myths and subsequent applications in architecture, tectonic details, interior furnishings and the realm of products.

Who is Sambó?

Sambó, an abbreviation for Shamballa used by the philosopher Mircea Eliade, is a metaphor for the “secret room” which refers to an utopian chamber essential in one’s terrestrial and spiritual life, a road for the spirits to cross over; only fully experienced in its thoroughness and beauty during childhood. As the child steps into adolescence her entrance into the sacred Sambó will one day be denied. The child cannot go back as she does not fit through and into the room anymore, just like clothes once growing up seem to shrink down.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

In the archaic Romanian residential configuration the dining room is replaced by what is called the clean room. The clean room is generally locked, kept clean and only used to receive guests. Children are often denied access, due to maintenance considerations, and tend to manifest an avid curiosity in regards to what lies beyond the locked door. Through

SITUATE

INVESTIGATE

FABRICATE

extrapolation, the clean room becomes a symbol for a lost or denied paradise.

Sambó is composed of a series of secret rooms, programmed with a bed [modulated from a cradle to a coffin], a window [meant to receive the bed, the cradle or the coffin] and a porch [reminding of the platforms of a train station or the side banks of a river, or of the Greek myth of Charon (the one who ferried the dead to the underworld, across the Styx River)], chained in an endless train of life travelling between two platforms: Mourning and Jubilation.

Why Reconfigured?

Mircea Eliade’s theory that hierophanies, which are manifestations of the sacred, “form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential.”

One of his most remarkable contributions to religious studies was his theory of Eternal Return, which holds that myths and rituals do not simply commemorate hierophanies, but, at least to the minds of the religious, actually participate in them. [Doniger, 2004] By stating so Eliade not only defined mythical content as sacred but at the same time, delineated a self-referential, self-swallowing paradoxical environment for the propagation of symbolic content which, consequently, departs form a mere representational status and becomes entirely worthy of function.

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

A symbolic expression is one that is held to be the best possible formula by which an allusion may be made to a relatively unknown “thing,” which referent is nevertheless recognized as existing.

According to Eliade, a window is often associated with epiphanies and is closely linked to the Romanian tradition of using the window, not the door, as a venue for transporting both the cradle and the coffin in and out of a house. [Eliade, 1978] The research speculates on the typology of the Jeffersonian alcove bed, triple hung window, truncated pyramid skylight and octagonal porches; all embedded in a programmatic wall, as the basis for the mythically charged, paradoxical Jeffersonian Sambó. [Eliade, 1978] The installation is part of a series that speculate on the cross pollination between CNC fabrication and utilitarian, landfill materials, between the old and the new, between the avant-garde and the archaic.

Rather pristine synthetic tectonics will be inundated by what some would consider disposable, throw-away material insertions, seen as leftovers of human behaviors that have somehow embedded traces of contemporary mythology and mark time as consumption. The ideas explored encompass the propagation and sustainability of transiency and decay, while creating an archeological site, a repository for the release, or discharge of symbolic content.

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I: Research / Design Development Environments

We are very grateful for the valuable guidance and positive criticism of:

Reading 1: Ball, Philip. “Bubbles”. The Self Made Tapestry - Pattern Formation in Nature. [Oxford Press, 1999]. pp.16 – 49 For Reference: Eliade, Mircea. The Forbidden Forrest. [University of Notre Dame Press, [1978] Neagoe, Peter. The Saint Of Montparnasse. [Chilton Books, 1965]

Peter Waldman Henry Wiencek Sanda Iliescu Michael Beaman Lucia Phinney Robin Dripps Tat Bonvehi Rosich

Assignments:

All material costs are covered by the instructor as part of the research fellowship. `

Week 1_ Jan 24 : Introduction Lecture: Who’s “Sambo’”/ Why “Reconfigured”/ Tutorial: Catia Introduction and Interface

SAMBÓ _[RECONFIGURED Spring 2012 I T 3:30-6:00

Week 2 _ Jan 31: Catia Tutorial 1 Reading 1 Discussion / Tutorial: Catia: Basic Parametric Modeling Techniques

UniversityofVirginia School of Architecture, Sponsored through the Virginia Teaching Fellowship

Taught by

Week 3 _Feb 07: Catia Tutorial 2 Pattern Progress Review / Tutorial: Catia: Parameters and Design Tables

MARA MARCU

, Room 310, marcu@virginia.edu

Week 4 _Feb 14: Catia Tutorial 3 2D to 3D Review / Tutorial: Catia: Products and CAT Drawings Week 5 _Feb 21: Catia Tutorial 4 Cell Development Review/ Tutorial: Catia: Power Copy and UDF

Image from Stalasso by Neri Oxman

02/A

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Image from P_Wall by Andrew Kudless

05/13

Research [10%] Each students is to research exhaustively two dimensional patterns.

Think in terms of the most beautiful prints, ornaments, 2d installations etcetera you have ever seen. You are encouraged to do so while keeping a critical eye to the potential three dimetionalization of the chosen pattern. You are in a sense anticipating the properties and structural traits that the 2d pattern may generate when taken in the 3d translation. This assignment will be concomitant to the Catia tutorials and you are encouraged to start building your 3d cell derived from you pattern research as a way to learn the software.

Analog studies [in this case Rhino and / or paper tests] are also encouraged during this phase.

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Image from Klex by Ruy Klein

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Image from Beast by Neri Oxman.

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Splining

New Base Geometry

What’s Going on with the power copy ?

Making a Cell -- Base the Armature on a Cube

About The Instructor:

Bottom view Scale: 1:10

Bottom view Scale: 1:10

_Caged Geometry

_Cell Wireframe and UDF [User Defined Feature]

_Digital Optimization

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_Inter-Dependent Modulation 05/B

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Image from Monocoque 2 by Neri Oxman.

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Week 13 _Apr 24: Charette Fabrication Week 14 _May 01: Charette Fabrication Week 15 _May 08: Review Week Final Review [tbd]

for consulting on various design and fabrication matters, helping tremendously with work force, storage, providing encouragement and guiding us on how to best use the SHOP’s facilities! .... and to

Spring Break: March 04-09 Week 7_ Mar 13 : Rapid Prototyping Lecture: Bed, Porch, Window / Reading 2 Discussion

Isometric view Scale: 1:10

III: Fabrication [Continuation]

MELISSA GOLDMAN

Week 6 _ Feb 28 : CAD/ CAM Lecture: CAD/ CAM and Historic Origins / Small-Scale Fabrication Tutorials: 3D Printing

12/B

Isometric view Scale: 1:10

Many Thanks To:

II: Prototyping and Optimization Reading 2: Hofstadter, Douglas R. “Introduction: A Musico- Logical Offering”.

Godel, Escher, Bach: An Eternal Golden Braid. [Basic Books, 1999]. pp.

2 – 23 For Reference: Schodek, Daniel. Bechthold, Martin. Digital Design And Manufacturing. [Wiley, 2004]

Bottom view Scale: 1:10

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Isometric view Scale: 1:10

01/B

Isometric view Scale: 1:10

_Base Geometry

Bottom view Scale: 1:10

Besides the Glenn Murcutt International Master Class 2010, Mara Marcu’s education includes a Master of Architecture from Harvard University GSD in 2009 and a Bachelor of Architecture degree, with honors, from University of Houston in 2005, where she won the “Best in Show” thesis award. She is also a graduate of the Brian MacKay-Lyons design build Ghost Laboratory 2005. She has worked in a variety of environments, ranging from educational projects [New York City / Rafael Vinoly Architects] to high end residential [NYC: BKSK, Ed Mills and Associates / Romania: AMMA] to urban design [Houston: DesignLAB]. Beginning with summer 2009 Mara became a registered LEED (Leadership in Energy and Environmental Design) Accredited Professional.

In addition to University of Virginia, Mara Marcu has also taught at Ion Mincu University of Architecture in Bucharest, Romania and at University of Houston, Gerald D. Hines College of Architecture.

Her understanding of space is that it has an ineffable power over people due to an archaic built-in emotional intelligence.Through her work, she has explored this psychological charge by looking into the symbolism and mythology of space, filtered through an interdisciplinary approach, situated at the intersection of industrial processes, architecture, engineering and optimizing complex geometries.

+ How do I fix the armature/inputs so that the p.c. works right?

Solidify

_Final Exhibition to take place in Fall 2012.

Dick Smith

Week 8 _ Mar 20 : Mid Review Production / Presentation Project Discussion

for his kindness and patience in finding the time and space to squeeze us into the building and helping with setting up and storage.

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02/13

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Image from Continua by Erwin Hauer.

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Fabrication [60%] The two initial phases will culminate with all students uniting their efforts to design and fabricate a full scale version of the experiments mentioned above. The modulated design will be exhibited at the end of the semester and in a formal exhibition will be schedules in Fall 2012.

Readings:

ARCH 3240/6240, ARCH 3010 or ARCH 7010 or LARCH 7010 or if none of the above apply, please ask for instructor’s permission.

Requirements:

The seminar will be divided in three parts: Research, Prototyping/ Optimization and Fabrication. The first two parts will comprise of individual assignments, culminating with the third which is a team effort. Attendance is mandatory to all sessions.

Deadlines and reviews will be scheduled so that the are not in conflict with studio reviews and work flow.

ARCH 5500 I Room105 # of Students Authorized to Enroll: 15

Methodology:

Bridging Jeffersonian architecture and Eliadean philosophy, this research full scale fabrication seminar uses Charlottesville as a laboratory, while taking advantage of UVa’s fabrication facilities and using Catia’s versatile parametric environment as new cognitive opportunity. Computer-aided design and manufacturing methods have extensively permeated fabrication environments for the production of architecture. Symbolic representations in architecture, on the other hand, have widely become obsolete in the unanimous understanding of our globalized society, to the detriment of traditions and heritage.

This seminar introduces students to the fundamentals of CAD/CAM, with a particular focus on the function of myths and subsequent applications in architecture, tectonic details, interior furnishings and the realm of products. As a fabrication technique students will be focusing on “contouring”, although a hybrid approach is highly encouraged. No previous knowledge of CATIA is required. Assistance will be provided to all. Previous experience with MasterCAM is a plus.

For Reference: Schodek, Daniel. Bechthold, Martin. “Digital Design And Manufactur ing”. [Wiley, 2004] Beiswanger, William L. “Monticello in measured drawings”. [Thomas Jefferson Foundation, 2011] Iwamoto Lisa. “Digital Fabrications: Architectural and Material Tech niques”. [Princeton Architectural Press, 2009] Eliade, Mircea. “The Forbidden Forrest”. [University of Notre Dame Press, 1978] Neagoe, Peter. “The Saint Of Montparnasse”. [Chilton Books, 1965]

Image from Bow Tie Mock Up 1.

l Hex

http://samboreconfigured.tumblr.com/

Ball, Philip. “Bubbles”. The Self Made Tapestry - Pattern Formation in Nature. [Oxford Press, 1999]. pp.16 - 49 Kwinter, Sanford. “Wildness”. Far From Equilibrium: Essays on Technol ogy and Design Culture. [Actar, 2008]. pp 186 - 191 Hofstadter, Douglas R. “Introduction: A Musico- Logical Offering”.

Godel, Escher, Bach: An Eternal Golden Braid. [Basic Books, 1999]. pp. 2 - 23 Schumacher, Patrick. “Parametricism as Style - Parametricist Mani festo”. at Architecture Biennale.11th [2008]

Prerequisites:

Solving the Spine issue 01/D

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Image from Continua by Erwin Hauer.

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Image from Continua by Erwin Hauer.

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12/D

ERIC KUHN

09/13

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_Pentagonal Core

_Hexagonal Organization

_Point Extrapolation

Bow Tie Systematization is informed by the mythically charged Sambó, and investigates through a full-scale installation, which distinguish itself from architectural models that are usually meant to be scaled up and study predictability, the potential of capturing the behavior or DNA, if you wish, of our present society in a one to one scale representation.

The installation speculates on the cross pollination between CNC fabrication and analogue layers of manufacturing techniques seen as leftovers of human behaviors that have somehow embedded traces of contemporary mythology and mark time as consumption [and consumed] . The ideas explored encompass the recreation of a collection of curiosities, similar to Jefferson’s cabinet of curiosities at Monticello, marked by transiency and decay, while delineating an archeological site, a repository for the release, or discharge of symbolic content.

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_Input Points reconnect to base geometry

PATRICK

SCHOONOVER When the concept of a wall is understood, a continuous vertical surface that encloses or divides, there is structure. Labeling the Jeffersonian bed ensemble a wall is a definition, challenged by the concept of occupying this division. Suddenly, there are no longer only two sides, but a third option of neither one. This can be a porch-like zone, where it is both inside and outside, or neither. If a window is inserted, suddenly the question arises of where the window looks. These are physical questions which can be answer by siting such a structure. Time, light, climate, can all affect how spaces are categorized. A dark tight spot is inherently private in our culture; knowledge of this culture is essential for devising such a space. A seat with a window in front of it implies a view to the outside world; whereas a window behind a seat invites the glances of the passersby. When a bed is introduced, not only are time, light, and climate involved, but a very personal world devoid of contact but intensely connective. Not only is the bed, within a wall, which implies neither here nor there, but the sleeper is both directly contacting their world and purposefully escaping.

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Prototyping & Optimization [30%] As a continuation of the research phase each student will proliferate the designed cell into an structural screen like armature programed with a resting place and a standing or agile definition. During this phase you will flex and test your model to make sure it is constrained yet malleable enough to adapt to different configuration.

The designed will be tested in a minimum of one 3d print prior to the fabrication phase.

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11/13

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TAYLOR SCOTT

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5 2 _1st

_2nd

Harter-Heighway Dragon Curve [Jurassic Park Dragon]

_3rd

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06/13

10/13

The invention of the piano by Bartolomeo Cristofori in the early 18th century brought about a new structure of arrangements within music. Frederick the Great’s love of the “soft-louds” (early pianos) led to a substantial amount of new and innovative arrangements created and preformed by Bach. Bach’s innovative usage of canon, round, diminution, and fugue can be parametrically correlated to form and function. In music, a canon is defined as a single theme played against itself. The most straightforward type of canon is a round. A round could easily be defined mathematically as a repeating function. The definition could be as simple as an exponential function, or a fractal equation.

A fugue is “similar to a canon, but where one theme is played in a either a different voice, key, speed, direction, or all of the above.

Crescendos of a legato style could be recreated as the heights and changing scales of a cell within a power copied model. Quick, staccato articulations of an arrangement could be inferred as rapid, shortened cell manipulations.

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_1st iteration: R _2nd iteration: R R L _3rd iteration: R R L R R L L _4th iteration: R R L R R L L R R R L L R L L. 04/G

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TYLER WHITNEY

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12/G

Section view C-C Scale: 1:1 I C

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Baravelle Tentacles _ 4th Year Undergraduate University of Virginia, School of Architecture I May 2012 B

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Section view B-B Scale: 1:1

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Front view Scale: 1:1

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Baravelle spirals are generated by connecting the midpoints of the successive sides of a regular polygon. Triangles will be formed.

The process of identifying and repeatedly connecting the midpoints is called iteration.

The resulting tentacle aggregation navigates on a spectrum ranging from flexibility to stability, self iterative-ness to randomness, fertility to resiliency, while manifesting no clear inclination to neither one or its positive nor negative aspects.

The result becomes a “strange loop” organizational system, with paradoxical connections. Similar to canons and fugues of ascending and descending scales, the baravelle aggregation is self-referential, self-swallowing, in both its tectonic as well as inhabitable qualities.

Section view A-A Scale: 1:1

Right view Scale: 1:1

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Top view Scale: 1:1

Bottom view Scale: 1:1

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The installation is CNC routed out of 3” thick Precision Board Plus High Density Urethane (PBHT), which is a “closed cell” rigid urethane foam board using a combination of 18 lbs density [donated to us by Harbour Sales] for the base and 8 lbs density for the upper cells.

The high density foam we used is made with certified Green “ecofriendly” urethane components and recyclable, according to a latest study at Yale University conducted in 2012, which operates a Rainforest Expedition and conducts laboratory courses on samples collected in the Amazon - in which a newly discovered Amazon fungus, “Pestalotiopsis microspore”, will digest the plastic material, polyurethane, even without oxygen.

The installation is composed of two sections: one where we attempted to be true to the geometry, yet following the constraints of fabricating a double curvature undevelopable surface assembly on a 3 axis router with a 1/8 step over, and the second where we surrendered to the limitations of the fabrication tool and embraced the unexpected waves resulting in the structure, this time using a more accurate 1/32 stopover and a stratified slicing strategy.

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This project would have not been possible without the help of:

Silas Haslam Will Haynes Brad Schuck Peiwen Deng and without the ad-hoc help of many others involved in moving the structure from the shop to the work court, to the storage and back; among them: Clint Lees,Tareq Khalaf, Luke Gates, Jeff Hines, Michael Stanley, Austin Walker, Lane Arliss Gearhart ,Will Artrip, Anna Rhees and Matthew Gordon.

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Who is Sambó?

Why Reconfigured?

Sambó, an abbreviation for Shamballa used by the philosopher Mircea Eliade, is a metaphor for the “secret room” which refers to an utopian chamber essential in one’s terrestrial and spiritual life, a road for the spirits to cross over; only fully experienced in its thoroughness and beauty during childhood. As the child steps into adolescence her entrance into the sacred Sambó will one day be denied. The child cannot go back as she does not fit through and into the room anymore, just like clothes - once growing up - seem to shrink down.

In the archaic Romanian residential configuration the dining room is replaced by what is called the clean room. The clean room is generally locked, kept clean and only used to receive guests. Children are often denied access, due to maintenance considerations, and tend to manifest an avid curiosity in regards to what lies beyond the locked door. Through extrapolation, the clean room becomes a symbol for a lost or denied paradise.

Sambó is composed of a series of secret rooms, programmed with a bed [modulated from a cradle to a coffin], a window [meant to receive the bed, the cradle or the coffin] and a porch [reminding of the platforms of a train station or the side banks of a river, or of the Greek myth of Cahron (the one who ferried the dead to the underworld, across the Styx River)], chained in an endless train of life travelling between two platforms: Mourning and Jubilation.

Mircea Eliade’s theory that hierophanies,” which are manifestations of the sacred, “form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential.” One of his most remarkable contributions to religious studies was his theory of Eternal Return, which holds that myths and rituals do not simply commemorate hierophanies, but, at least to the minds of the religious, actually participate in them.[1] By stating so Eliade not only defined mythical content as sacred but at the same time, delineated a self – referential, self – swallowing paradoxical environment for the propagation of symbolic content which, consequently, departs form a mere representational status and becomes entirely worthy of function.

A symbolic expression is one that is held to be the best possible formula by which an allusion may be made to a relatively unknown “thing”, which referent is nevertheless recognized as existing.

According to Eliade, a window is often associated with epiphanies and is closely linked to the Romanian tradition of using the window, not the door, as a venue for transporting both the cradle and the coffin in and out of a house. [2] The research speculates on the typology of the Jeffersonian alcove bed, triple hung window, truncated pyramid skylight and octagonal porches; all embedded in a programmatic wall, as the basis for the mythically charged, paradoxical Jeffersonian Sambó. [2]

18

[1]. Wendy Doniger, “Foreword to the 2004 Edition”, Eliade, Shamanism, p.xiii [2]. Eliade, Mircea. “The Forbidden Forrest”. [University of Notre Dame Press, 1978] 15/B

16/B

17/B

Image from C_Wall by Andrew Kudless.

18/B

Special Thanks To:

Many Thanks To:

ANNIE LOCKE SCHERER

LAURA BURDEN for her role as the “Air Spray Fairy” and her patience in figuring out how to work the High Volume Low Pressure Spray Rig !

for the second round of fabrication, optimization and overall assembly, which included CNC design strategy and routing, gluing, sanding, priming, painting and a great deal of enthusiasm!

14/C

19/C

III: Fabrication

Prototyping & Optimization [30%]

Reading 3: Kwinter, Sanford. “Wildness”. Far From Equilibrium: Essays on Technology and Design Culture. [Actar, 2008]. pp 186 – 191 Reading 4: Schumacher, Patrick. “Parametricism as Style - Parametricist Manifesto”. at Architecture Biennale.11th [2008] For Reference: Beiswanger, William L. Monticello in measured drawings. [Thomas Jefferson Foundation, 2011] Iwamoto Lisa. Digital Fabrications: Architectural and Material Techniques. [Princeton Architectural Press, 2009]

As a continuation of the research phase each student will proliferate the designed cell into an structural screen like armature programed with a resting place and a standing or agile definition. During this phase you will flex and test your model to make sure it is constrained yet malleable enough to adapt to different configuration.

The designed will be tested in a minimum of one 3d print prior to the fabrication phase.

Week 9 _Mar 27: Aggregation of Performative Cells Lecture: Manufacturing Processes / Large-Scale Fabrication Tutorials: CNC / Woodshop Week 10 _Apr 03: Constructing Parametric Diagrams Field Trip: Monticello / Reading 3 Discussion Week 11 _Apr 10: Creating the 21st Century Facade Lecture: Design for Production: Parametric and 4D Applications in Architecture Week 12 _Apr 17: Customization Lecture: Customization / Reading 4 Discussion 13/D

Image from C_Wall by Andrew Kudless.

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19/D

Image from Klex by Ruy Klein

20/D

Image from Klex by Ruy Klein

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16/E

14/E

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E. KUHN, P. SCHOONOVER, T. SCOTT, T. WHITNEY, A. LOCKE SCHERER

Section view I-I Scale: 1:1

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Isometric view Scale: 1:1

Section view D-D Scale: 1:1

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Image from Raycounting by Neri Oxman.

24/D

COMMUNICATE

ASSEMBLE

ANIMATE

ARCH 5590-09

THE WORLD IS FLAT MELISSA GOLDMAN From sheets of plywood to sheet metal, most of our building materials come flat. We cut, mill, fold, weld, cook, and sew to make habitable spaces, whether a roof or a chair, a circus tent or a hoop skirt. This class will explore material and craft, tectonics and composites through digital and analog fabrication. We will learn various “pop-up” methods to investigate and exploit flat materials to fabricate a portable, collapsible product.

Magellan circumnavigated the Earth proving once and for all that the world is round…however, in our world, as designers dealing with the creation of space and structure, much of the material we use is initially flat. From sheets of plywood to sheet metal, yards of fabric to planes of glass, our media in which we work has to be manipulated, cut, milled, folded, welded, bolted, sewn, and glued to make habitable space, whether it is a roof structure or a chair, a circus tent or a hoop skirt.

This class intimately explored the relationship between material and technique though digital and analog fabrication. We first learned about the methods of “pop-up,” the cut, score, and fold, and then choose one material to study and to produce either a portable structure to hold weight or a kind of covering that can shelter from the elements.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Students were free tooo use whatever modeling programs they wished, but had to get down and dirty in the Shops. The goal of the class is to fully realize a conceptual design idea through material exploration and fabrication experimentation to a final, tangible product.

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

B.BAILEY, C. BROADDUS, H. FENAUX, B. OLIVARI, A. POLINER, M. MCGEE, A. WHALEN

COMMUNICATE

ASSEMBLE

ANIMATE

ARCH 5500

PARAMETRIC THEORY: FOAM DOME HOME

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

SETH DENIZEN ADVISOR: ROBIN DRIPPS

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

COMMUNICATE

ASSEMBLE

ANIMATE

ARCH 5760

DRAWING AND SKETCHING PAM BLACK

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

This course covers the fundamental of drawing with a focus on the human figure. The various assignments address the composition of line, tone, volume, space, scale and proportion. The analysis of the human form is applied to the rendering of still-life, architecture and landscape.

Various media are used to convey the drawing objectives with an emphasis on “process.”

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

COMPOSITE ARCH 5760

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A. VAN DER MEULEN

J. THOMAS

J. THOMAS

A. BROWN

N. KNODT

COMMUNICATE

ASSEMBLE

ANIMATE

AUTOMATED AGRARIANISM OSCAR OBANDO, M.ARCH 2012 ADVISOR: NANA LAST

“In the absence of institutions and education by which the environment is so successfully reported that the realities of public life stand out sharply against self-centered opinion, the common interests very largely elude public opinion entirely, and can be managed only by a specialized class whose personal interests reach beyond the locality. ” –Walter Lippmann

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

By providing an alternative, Automated Agrarianism seeks to question the value judgments latent within current market economic models of synthetic allocation of resources, sustenance, wealth, and the establishment of community amongst groups of individuals. It begins with an idea that a mobile machine shop with skilled technical managers can harness an open-source, do-it-yourself platform for farming, fabrication, and maintenance industries. From there, the mission is to provide training for a variety of needs; from simple maintenance of existing technologies such as bicycles and cars, to more complex fabrication of robotic tools and automated tractors to effortlessly tend farming plots within your own backyard. Learn how to fix a car. Fix or make a bike. Build a house or plant some food. Eat or sell your harvest at your own will. Learn socio-economic maintenance. Through re-imagining the practices of farming and manufacturing, Automated Agrarianism seeks to provide instruments of training to create a bastion of repatriating regional micro-economies.

+ MATERIAL PRACTICES

REPRESENTATION

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

COMMUNICATE

ASSEMBLE

ANIMATE

ecoMOD / ecoREMOD JOHN QUALE

The ecoMOD project at the University of Virginia is a research and design / build / evaluate initiative that works closely with affordable housing organizations to create housing units using rigorous standards for energy efficiency and sustainable design. Since 2004, ecoMOD has been a collaborative effort between the UVA School of Architecture and the School of Engineering and Applied Science. In 2008, a sister project was formed: ecoREMOD, focused on energy efficient and quality of life improvements to low income housing. ecoMOD and ecoREMOD combined have created a total of nine occupied housing units on six sites for Piedmont Housing Alliance, Habitat for Humanity, the City of Charlottesville, Falmouth Heritage Renewal, and most recently, Albemarle Housing Improvement Program. Since 2004, more than 400 architecture, engineering, landscape architecture, planning, architectural history / historic preservation, environmental science and commerce students have participated in at least one phase of an ecoMOD or ecoREMOD project. The designs have targeted LEED for Homes certification, Passive House Standard, Energy Star and net-zero energy.

One of the projects, ecoMOD3, certified at the Platinum level, is the smallest LEED certified building in the world.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

EcoMOD and ecoREMOD are grounded in the realities of clients, budgets and materials, while the project teams strive to address the two most important challenges facing the next generation of designers: the significant environmental impact of the buildings, and the growing economic divide between high-income and low-income individuals.

SITUATE

INVESTIGATE

FABRICATE

REPRESENTATION

+ MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

The ecoMOD designs and curriculum have been recognized nationally and internationally as a model for sustainable architectural and engineering building and building design education. ecoMOD received the first Excellence in Green Building Curriculum Award from the U.S. Green Building Council. In 2009, ecoMOD was a finalist for the UN World Habitat Award -- the only finalist from the U.S. that year. It has been recognized by the AIA Committee on the Environment as one of a few exemplary sustainable design curriculum initiatives in the country.

In 2007 the ecoMOD project received the NCARB Grand Prize For Creative Integration Of Practice And Education In The Academy, the AIA Education Honor Award and the ACSA Collaborative Practice Award – the first time an initiative received all three in the same year. The initiative has also won the ACSA Creative Achievement Award and the AIA / ACSA Housing Curriculum Award. The project has appeared on CNN’s “Global Challenges” show, Virginia Public Radio, and in various publications including Metropolis Magazine, Architectural Record, Dwell, The Washington Post, Environmental Building News, Sustain OSC Magazine (UK), and Hors Serie: Science et Vie (France). Project Director John Quale is the author of Sustainable, Affordable, Prefab: the ecoMOD Project, published by the University of Virginia Press.

COMMUNICATE

ASSEMBLE

ANIMATE

ecoMOD South Project MICHAEL BRITT, M.ARCH 2012 ADVISOR: JOHN QUALE

In 2011, ecoMOD was awarded a generous grant from the Virginia Tobacco Indemnification and Community Revitalization Commission to build three prefabricated, affordable housing units in southern Virginia.

In early 2013, three prefabricated homes will be completed – two for Southside Outreach in South Boston, VA and one for People Incorporated in Abingdon, VA. All three homes will look exactly the same, but two will be built to the exacting Passive House U.S. standard, and the other one will simply meet the energy requirements of the standard building code.

Adapted from the ecoMOD4 home completed in 2009 for Habitat for Humanity of Greater Charlottesville, the ecoMOD SOUTH design converts what was a two-bedroom design to a four bedroom 1,800 square foot home. As part of the grant, the new homes are being commercialized by a modular homebuilder in Southside Virginia, Cardinal Homes of Wylliesburg. Once occupied, the homes will be monitored and evaluated, with the results made available to all community and industry partners, as well as the general public.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

The objective of this project is to develop the manufacturing base in Virginia to produce highly energy- efficient, comfortable housing systems for 20% less than stick-built home construction, and with a minimum 50% reduction in energy usage as compared to conventional housing.

The work represented here is that of ecoMOD SOUTH Project Manager, Michael Britt, a 2012 graduate of the Master of Architecture program.

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+ MATERIAL PRACTICES

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Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction process harm natural habitats?

TECHNICAL

LOW VOC-WATER

RED

PROOFING

UFACTU

D

MAN

ESSE

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: Low Impact

unpainted corrugated sheet is often specified for low-slope roofing applications, where performance is the primary consideration and appearance is secondary. however, this product also provides a bold look for exterior and interior uses. galvalume sheet has clearly demonstrated its outstanding performance as a roof and siding application for over 20 years. it can be perforated for acoustical applications, is available in curved and/or mitered panels, and comes in various widths. while Galvalume may contain recycled aluminum content, due to the manufacturing process the product has a very high embodied energy.

CA

LLY EX

COST

EMBO

DIED

LO

ER

LLY

RVES

EN

AL

LOCALLY

ED

HA

NT

LOCA

UC

OC

TO XINS

ME

Y PR LL

XIN TO

CA LO

TR

ON

VI R

W

LO

OD

PR

ALLY

LOW T

EN

TM

EA

ST

PE

S-

Y PR LL

What is the embodied energy of the material?

How far away is the material extracted?

How far away is the material produced?

How far away is the material processed?

How far away is the material manufactured?

LOW UP FRONT COST

LOW MAINT

ENANCE

NT

CA LO

What is the scale based price of the product?

What is the maintenance/replacement cost?

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

5

4

3

CONTE

ED

YCL

REC

TR

Low Cost: Low Maintenance Cost:

2

APPLICATIO

Y EX

ENERGY

ENANCE

PANT MAINT

1

NS

REUSE

NITIES

RTU

OPPO

LOW OCCU

EN

E

NAL

CATIO

EDU

LATION

LOW IMPACT

LOW MAINT

ENAN

EN

T

EN

PM

LO

VE

L DE

CA

LO

L CIA SO

L CIA DSO

LO W

ED

ESSE

LOW VOC-WATER

ETHIC

CE

UC

OD

LICY Y PO

N

NT

RA

ESPA

TY

WAR

LIF

PATIBILI

Y PR LL

AESTH ETIC

AL

S VENTI

LOW UP FRONT What is the scale based price of theCOST product?

What is the maintenance/replacement cost?

FINANCIAL

ENVIRONMENTAL

Y

LOW MAINTENAN

CE COM

CA

A

NT

GIES

What is the VOC contentACTE ofD the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction process harm natural habitats?

NT

RA

HNOLO

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: Low Impact

ME

FOR LABOR

LO

RW

TEC

ALLOW

5

LLY

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

Does the material require constant maintenance?

BITO

ING

ENANCE

COST What is the embodied energy of theCEmaterial?

How far away is the material extracted?

LOW EMBO produced?

How far away is the material DIED How far away is the material processed?

ENE RGY LO CA material manufactured?

How far LL R away is the

ON

INHI

EMERG

NITIES

RTU

OPPO

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

VI R

Is the material available in a variety of colors/styles?

Is the material used in the local building vernacular?

Does the material contribute to the aesthetic appeal?

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

LD

AR

NAL

CATIO

EDU

Low Cost: Low Maintenance Cost:

L ENVIRONMENTAL

Selection Variety: Local Prevelance: Architectural Appeal:

MO T

PM

LO

VE

L DE

ENERGY

LOCALLY

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

What is the material’s warranty?

What is the material’s average lifespan?

Is the labor force prepared to install this material?

How often does the material require maintenance?

RGY

D

PANT MAINT

4

3

ENE

TE

LOW OCCU

LOCA

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

2

AC

EN

LO

RED

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

Does the material require constant maintenance?

T

EN

TM

EA

PROOFING

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

REC

UFACTU

Is the material available in a variety of colors/styles? ST TR Is the material used in the local building vernacular?S-PE XIN TO Does the material contribute to the aesthetic appeal?

W

MAN

Selection Variety: Local Prevelance: Architectural Appeal:

DIED

TR

FINANCIAL

EN

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

NS APPLICATIO What is the material’s warranty?

REUSE What is the material’s average lifespan?

Is the labor force prepared to install this material? CONTENT ED How often does the material require maintenance?

YCL

1

COST

EMBO

LLY EX

CA

OC

LOW IMPACT

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

LOW MAINT

CA

PR

LATION

LOW VOC-WATER

Y

corrugated galvalume roof/siding - n.b. handy

LOW UP FRONT COST

LOW LO

ER

LLY

AL

NT

LOCALLY

RA

EN

LOCA

LICY Y PO

AR

5

4

3

2

AESTH ETIC

N

NT

SOCIAL

VI R

Y EX

PR

LOW VOC-WATER

RA

AESTHETIC

EN

E

LLY

ESPA

RW

AL

TY

WAR

TO

NT

CE

ME

LIF

TECHNICAL

TY PATIBILI COM

ENAN

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ENANCE

LOW MAINTENAN

ON

VI R

produced by an innovative glass-wood fusion process, TimberSil is available for decks, docks, fences, and children’s playground equipment.

TimberSil is based on a sodium silicate formula that protects wood by surrounding the fibers in a non-toxic barrier of amorphous glass. the patented process uses heat to change a proprietary formula from a soluble solution that is infused into the wood. this treatment protects the wood from rot, decay, and fire, and is gentle to the environment. the finished product is non-toxic, odorless and nonvolatile, is not corrosive to fasteners, does not cause excessive wear on tools, and has a natural clear color.

FORCE

ED

LOW MAINT

CA

PATIBILI

EN

SOCIAL

LABOR

UC

L CIA DSO

ENANCE

PANT MAINT

LO

CE COM

T

TM

TR

LO

LICY

OD

ESSE

CA

EDU

DIED

LLY EX

5

4

3

2

COST

EMBO

CA

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

NS

LOW OCCU

AL

FOR LABOR

AESTHETIC

NITIES

What is the VOC content of the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction process harm natural habitats?

S VENTI

TECHNICAL

1

LOW LO

ER

PANT MAINT

GIES

produced by an innovative glass-wood fusion process, TimberSil is available for decks, docks, fences, and children’s playground equipment.

TimberSil is based on a sodium silicate formula that protects wood by surrounding the fibers in a non-toxic barrier of amorphous glass. the patented process uses heat to change a proprietary formula from a soluble solution that is infused into the wood. this treatment protects the wood from rot, decay, and fire, and is gentle to the environment. the finished product is non-toxic, odorless and nonvolatile, is not corrosive to fasteners, does not cause excessive wear on tools, and has a natural clear color.

Y

EN

AESTH ETIC

Low Cost: Low Maintenance Cost:

NT

EN TM EA TR ST PE LD SXIN TOINHIBI TO RW AR RA NT EMERG Y ING TEC HNOLO GIES

RTU

OPPO

ENANCE

LOW UP FRONT COST

LOW OCCU

HNOLO

ALLOW

AL

LOW IMPACT

YCL

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: Low Impact

EN

TEC

RA

W

What is the scale based price of the product?

What is the maintenance/replacement cost?

CONTE

LD SXIN TOINHIBI

RW

MO

What is the VOC contentACTE ofD the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction process harm natural habitats?

1

PE

W

NT

APPLICATIO

REUSE

NITIES

RTU

OPPO

LOW MAINT

LATION

REC

What is the embodied energy of the material?

How far away is the material extracted?

How far away is the material produced?

How far away is the material processed?

How far away is the material manufactured?

EA

ING

ME

L ENVIRONMENTAL

TO

RGY

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

NT

LO

T

TEC

LO

L TIONA

4

3

2

S VENTI

ENE

Low Cost: Low Maintenance Cost:

NS

EMERG

HIBI

ING

D

ENERGY

APPLICATIO

ST

Y PO NT

Y PR LL

LO

NAL

CATIO

EDU

ENANCE

ENVIRONMENTAL

EMERG

ALLOW

T

LATION

ED

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

MO LD Does the material require constant maintenance?

IN

TE

COST What is the embodied energy of theCEmaterial?

How far away is the material extracted?

LOW EMBO produced?

How far away is the material DIED How far away is the material processed?

ENE RGY LO CA material manufactured?

How far LL R away is the

LOW IMPACT

YCL

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

EN

S VENTI

MO

SOCIAL

PM

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: Low Impact

AESTH ETIC

IN

AC

FINANCIAL

ENVIRONMENTAL

EMERG

REC

Is the material available in a variety of colors/styles?

Is the material used in the local building vernacular?

Does the material contribute to the aesthetic appeal?

LO

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

LOCALLY

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

Does the material require constant maintenance?

REUSE

AESTHETIC

thermally modified wood - ecoPrem

LOW UP FRONT What is the scale based price of theCOST product?

What is the maintenance/replacement cost?

LOCA

Is the material available in a variety of colors/styles?

Is the material used in the local building vernacular?

Does the material contribute to the aesthetic appeal?

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

CA

A

LO

NT

PROOFING

ME

L ENVIRONMENTAL

Selection Variety: Local Prevelance: Architectural Appeal:

treated wood siding/decking - timbersil

Selection Variety: Local Prevelance: Architectural Appeal:

thermally modified wood - ecoPrem

COST

5

4

3

2

ON

NT

DIED

TR

VE

L DE

CA

RED UFACTU

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

What is the material’s warranty?

What is the material’s average lifespan?

Is the labor force prepared to install this material?

How often does the material require maintenance?

ON

MAN

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

EN

TM

EA

ALLOW

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

What is the material’s warranty?

What is the material’s average lifespan?

Is the labor force prepared to install this material?

How often does the material require maintenance?

EMBO

LLY EX

VE

L DE

5

ENERGY

EN

GIES

CA

TR

FINANCIAL

TM

HNOLO

LOW UP FRONT COST

LOW LO

OC

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

Does the material require constant maintenance?

T

VI R

SOCIAL

TECHNICAL

ENANCE

PR

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

ENERGY

REC

LO

LOW VOC-WATER

Is the material available in a variety of colors/styles? ST TR Is the material used in the local building vernacular?S-PE XIN TO Does the material contribute to the aesthetic appeal?

W

LLY

Selection Variety: Local Prevelance: Architectural Appeal:

treated wood siding/decking - timbersil

1

Low Cost: Low Maintenance Cost:

FINANCIAL

EN

AESTHETIC

LATION

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

NS APPLICATIO What is the material’s warranty?

REUSE What is the material’s average lifespan?

Is the labor force prepared to install this material? CONTENT ED How often does the material require maintenance?

YCL

LOCALLY

LICY

TECHNICAL

a properly installed natural slate roof is one of the most environmentally healthy roofing products available, requiring only slate and nails to be assembled. common roofing adhesives can emit harmful gases and VOCs into the air around your home. most roofing products are not manufactured to last more than 20 years; however, Buckingham Slate roofs routinely last five times that long with minimal repair and maintenance needs.

Buckingham Slate is widely considered to be one of the longest lasting products available, and is mined and processed in Buckingham County, VA.

OP

LOW MAINT

Y EX

CA

AL

EA

EDU

ER

LOCA

Y PO

AL

LOW IMPACT

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

EN

AESTH ETIC

N

NT

RA

these metal panel assemblies have been through rigorous testing to ensure optimum performance in a wide range of conditions, including the tough High Velocity Hurricane Zone (HVHZ) performance criteria, both for wind uplift and air and water infilitration. a unique one-piece stainless steel clip design allows for unrestricted thermal movement between layers. side joints are double lock-seamed for weather tightness, and the panels can be factory or field-formed for long panels without end laps. the metal substrate is available as Galvalume 3000 series aluminum or Galvalume (AZ50) steel. virtually every panel that Fabral makes carries the ENERGY STAR approval for energy efficiency, and earns LEED points

SOCIAL

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

REC

LO

ED

CE

ESPA

AL

TY

WAR

LIF

NT

LOW MAINTENAN

VI R

ME

PATIBILI

EN

COM

ON

S VENTI

AESTHETIC

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

Does the material require constant maintenance?

PORTU

ENANCE

FORCE

ALLOW

Is the material available in a variety of colors/styles? ST TR Is the material used in the local building vernacular?S-PE XIN TO Does the material contribute to the aesthetic appeal?

W

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

UC

OD

L CIA SO

LABOR

T

W

TECHNICAL

RA

Y PR LL

CA

LICY

NT

CONTE

EN TM EA TR ST PE LD SXIN TOINHIBI TO RW AR RA NT EMERG Y ING TEC HNOLO GIES MO

LO

these metal panel assemblies have been through rigorous testing to ensure optimum performance in a wide range of conditions, including the tough High Velocity Hurricane Zone (HVHZ) performance criteria, both for wind uplift and air and water infilitration. a unique one-piece stainless steel clip design allows for unrestricted thermal movement between layers. side joints are double lock-seamed for weather tightness, and the panels can be factory or field-formed for long panels without end laps. the metal substrate is available as Galvalume 3000 series aluminum or Galvalume (AZ50) steel. virtually every panel that Fabral makes carries the ENERGY STAR approval for energy efficiency, and earns LEED points

Selection Variety: Local Prevelance: Architectural Appeal:

AR

NAL

E

LO

5

4

3

2

N ESPA

LO

Y PO

N

NS

ED

SOCIAL

PANT MAINT

LOW IMPACT

YCL

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

NS APPLICATIO What is the material’s warranty?

REUSE What is the material’s average lifespan?

Is the labor force prepared to install this material? CONTENT ED How often does the material require maintenance?

YCL

LOW OCCU

APPLICATIO

REC

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

NITIES

CATIO

EN

AL

LATION

PM

L DE

CA

LO

1

What is the VOC contentACTE ofD the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction process harm natural habitats?

1

LOW IMPACT

LO

VE

AL

LATION

REUSE

AESTHETIC

RED

UFACTU

MAN

D ESSE OC PR

What is the VOC content of the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction processENTharm natural habitats?

ENAN

COST What is the embodied energy of theCEmaterial?

How far away is the material extracted?

LOW EMBO produced?

How far away is the material DIED How far away is the material processed?

ENE RGY LO CA material manufactured?

How far LL R away is the

What is the VOC content of the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

T EN PM harm natural habitats?

Does the extraction process LO

WAR

TR

LOW MAINT

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: AESTHETIC Low Impact

LIF

Y EX

ENANCE

PANT MAINT

LOW OCCU

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: Low Impact

TY PATIBILI COM

ED

E

CA

EDU

LOW UP FRONT What is the scale based price of theCOST product?

What is the maintenance/replacement cost?

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

S VENTI

TECHNICAL

NITIES

RTU

OPPO

What is the scale based price of the product?

What is the maintenance/replacement cost?

FORCE

UC

OD

EN

S VENTI

standing seam sheet metal - n.b.handy

ALLOW

a properly installed natural slate roof is one of the most environmentally healthy roofing products available, requiring only slate and nails to be assembled. common roofing adhesives can emit harmful gases and VOCs into the air around your home. most roofing products are not manufactured to last more than 20 years; however, Buckingham Slate roofs routinely last five times that long with minimal repair and maintenance needs.

Buckingham Slate is widely considered to be one of the longest lasting products available, and is mined and processed in Buckingham County, VA.

L TIONA

What is the embodied energy of the material?

How far away is the material extracted?

How far away is the material produced?

How far away is the material processed?

How far away is the material manufactured?

LABOR

Y PR LL

ENAN

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: AESTH ETIC Low Impact

NT

GIES

LOW MAINT

What is the scale based price of the product?

What is the maintenance/replacement cost?

RA

HNOLO

ENANCE

PANT MAINT

What is the embodied energy of the material?

How far away is the material extracted?

How far away is the material produced?

How far away is the material processed?

How far away is the material manufactured?

ESPA

TEC

NITIES

RTU

OPPO

LOW OCCU

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

NT

Y

NAL

CATIO

EDU

Low Cost: Low Maintenance Cost:

TY

RA

VE

L DE

T

EN

PANT MAINT

T

W

RGY

D

CA

LO

LOW OCCU

EN TM EA TR ST PE LD SXIN IN TO HIBI TO RW AR RA NT EMERG Y ING TEC HNOLO GIES MO

ENE

TE

PM

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

CONTE

ED

YCL

REC

AC

LO

Low Cost: Low Maintenance Cost:

APPLICATIO

LO

CA

LO

TR

VE

L DE

ENERGY

NT

Y

DIED

LLY EX

5

4

3

2

EMBO

CA

LATION

REUSE

RGY

T

EN

ENERGY

WAR

AR

COST

ENE

D

FINANCIAL

LIF

RW

RA

LOW LO

ER

COST

FINANCIAL

NS

TE

CA

A

PATIBILI COM

TO

LO

NT

A

LOW IMPACT

PM

What is the VOC contentACTE ofD the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction process harm natural habitats?

ME

ENVIRONMENTAL

EMERG

AC

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: Low Impact

ON

L ENVIRONMENTAL

PROOFING LOW VOC-WATER

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

MO LD Does the material require constant maintenance?

IN

ALLOW

AR

TEC

LOW UP FRONT COST

LOW MAINT

S VENTI

LO

LOW UP FRONT What is the scale based price of theCOST product?

What is the maintenance/replacement cost?

LOCALLY

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

TR

5

LLY LOCA

Is the material available in a variety of colors/styles?

Is the material used in the local building vernacular?

Does the material contribute to the aesthetic appeal?

HIBI

RW

ING

NT

ENVIRONMENTAL

EMERG

ALLOW

ME

NT

DIED

LLY EX

RED

Selection Variety: Local Prevelance: Architectural Appeal:

UFACTU

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

What is the material’s warranty?

What is the material’s average lifespan?

Is the labor force prepared to install this material?

How often does the material require maintenance?

T

EN

TM

EA

MAN

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

REC

LO

ING

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

MO Will the use of this material provide educationalLDopportunities?

IN Does the material require constant maintenance? HIBITO

EMBO

CA

L CIA DSO ESSE OC PR

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

Does the material require constant maintenance?

LOW LO

COST What is the embodied energy of theCEmaterial?

How far away is the material extracted?

LOW EMBO produced?

How far away is the material DIED How far away is the material processed?

ENE RGY LO CA material manufactured?

How far LL R away is the

FORCE

SOCIAL

Is the material available in a variety of colors/styles?

Is the material used in the local building vernacular?

Does the material contribute to the aesthetic appeal?

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

slate shingles - buckhingham slate

LOW UP FRONT COST

LOW MAINT

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

LABOR

AESTHETIC

Selection Variety: Local Prevelance: Architectural Appeal:

GIES

Low Cost: Low Maintenance Cost:

CE

Is the material available in a variety of colors/styles? ST TR Is the material used in the local building vernacular?S-PE XIN TO Does the material contribute to the aesthetic appeal?

W

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

standing seam sheet metal - n.b.handy

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

Does the material require constant maintenance?

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

What is the material’s warranty?

What is the material’s average lifespan?

Is the labor force prepared to install this material?

How often does the material require maintenance?

HNOLO

ENERGY

LOW MAINTENAN

Selection Variety: Local Prevelance: Architectural Appeal:

PROOFING LOW VOC-WATER

TECHNICAL

SOCIAL

ON

L ENVIRONMENTAL

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

ENANCE

ER

4

3

2

EN

TM

EA

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

NITIES

FINANCIAL

VI R

when properly installed, bark siding can last over 75 years without significant deterioration. for wear-testing purposes, Highland Craftsmen monitors homes that were built with Poplar Bark Siding in the 1930’s. in some areas, the patina of the bark is weathered, but still functional. to manufacture the product, cylinders of bark are flattened and cut by hand into standard shingle length. after damaged or cracked sections are removed, the shingles are carefully stacked, and then placed under pressure to prevent curling. the stacks are kiln dried to the proper moisture content, sterilized and then stored in a climate-controlled warehouse until they are ready for use.

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

NS APPLICATIO What is the material’s warranty?

REUSE What is the material’s average lifespan?

Is the labor force prepared to install this material? CONTENT ED How often does the material require maintenance?

YCL

EN

SOCIAL

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

1

LOCALLY

LICY

AL

LATION

LOW IMPACT

EN

AESTH ETIC

LLY LOCA

Y PO NT

RA

AESTHETIC

AESTHETIC

T

VI R

CE

AL

N ESPA

WAR

LIF

NT

S VENTI

TECHNICAL

slate shingles - buckhingham slate

EN

VI R

ME

LOW MAINTENAN

EN

ON

TY PATIBILI COM

ALLOW

when properly installed, bark siding can last over 75 years without significant deterioration. for wear-testing purposes, Highland Craftsmen monitors homes that were built with Poplar Bark Siding in the 1930’s. in some areas, the patina of the bark is weathered, but still functional. to manufacture the product, cylinders of bark are flattened and cut by hand into standard shingle length. after damaged or cracked sections are removed, the shingles are carefully stacked, and then placed under pressure to prevent curling. the stacks are kiln dried to the proper moisture content, sterilized and then stored in a climate-controlled warehouse until they are ready for use.

TECHNICAL

ENERGY

REC

LO

EDU

ENANCE

FORCE

T

W

GeoBoard is a decorative cement board used in both interior and exterior applications, such as exterior rain-screens, ceilings, soffits, trims, countertops, planters, and many specialty applications. the panel has outstanding durability and acoustic properties due to the high density of Portland cement. it installs and fabricates easily using carpentry tools, does not support mold/fungus growth, is resistant to weather, freeze/thaw, and standing water, and provides no food value to insects/vermin. additionally, the panel contains 28% post-industrial wood content.

RTU

OPPO

LICY

LABOR

NT

EN TM EA TR ST PE LD SXIN IN TO HIBI TO RW AR RA NT EMERG Y ING TEC HNOLO GIES MO

SOCIAL

1

Low Cost: Low Maintenance Cost:

FINANCIAL

5

4

3

2

Y PO NT RA

NAL

CATIO

L CIA SO

1

CONTE

ED

YCL

REC

LO

Is the material available in a variety of colors/styles? ST TR Is the material used in the local building vernacular?S-PE XIN TO Does the material contribute to the aesthetic appeal?

W

PANT MAINT

NS

REUSE

Selection Variety: Local Prevelance: Architectural Appeal:

LOW OCCU

APPLICATIO

WAR

L DE

CA

LO

LOW IMPACT

poplar bark siding - highland craftsmen

AESTHETIC

EN

AESTH ETIC

LATION

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

NS APPLICATIO What is the material’s warranty?

REUSE What is the material’s average lifespan?

Is the labor force prepared to install this material? CONTENT ED How often does the material require maintenance?

YCL

VE

AL

LATION

AL

AL

LOW IMPACT

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

ED

What is the VOC content of the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

T EN PM Does the extraction process LO harm natural habitats?

NT

S VENTI

TECHNICAL

UC

GIES

CE

LICY Y

HNOLO

LOW MAINTENAN

Y PO NT

RA

N ESPA

NT

TEC

ALLOW

GeoBoard is a decorative cement board used in both interior and exterior applications, such as exterior rain-screens, ceilings, soffits, trims, countertops, planters, and many specialty applications. the panel has outstanding durability and acoustic properties due to the high density of Portland cement. it installs and fabricates easily using carpentry tools, does not support mold/fungus growth, is resistant to weather, freeze/thaw, and standing water, and provides no food value to insects/vermin. additionally, the panel contains 28% post-industrial wood content.

RED

What is the embodied energy of the material?

How far away is the material extracted?

How far away is the material produced?

How far away is the material processed?

How far away is the material manufactured?

ME

N ESPA LIF

OD

UFACTU

MAN

D ESSE OC PR

PROOFING LOW VOC-WATER

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

S VENTI

VI R

TR

ENERGY

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: AESTHETIC Low Impact

EN

Y EX

ON

TY PATIBILI COM

E

ENANCE

5

4

3

2

ENANCE

FORCE

ED UC

EN

What is the scale based price of the product?

What is the maintenance/replacement cost?

WAR RA

OD

What is the VOC contentACTE ofD the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction process harm natural habitats?

Low Cost: Low Maintenance Cost:

LIF

AR

ING

ENAN

COST What is the embodied energy of theCEmaterial?

How far away is the material extracted?

LOW EMBO produced?

How far away is the material DIED How far away is the material processed?

ENE RGY LO CA material manufactured?

How far LL R away is the

TY PATIBILI COM

RW

EMERG

LOW MAINT

FINANCIAL

ENVIRONMENTAL

ALLOW

ENANCE

PANT MAINT

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: Low Impact

LOCALLY

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

MO Will the use of this material provide educational opportunities?

LD INHI Does the material require constant maintenance?

BITO

CA

LOW OCCU

LLY LOCA

Is the material available in a variety of colors/styles?

Is the material used in the local building vernacular?

Does the material contribute to the aesthetic appeal?

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

NITIES

RTU

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

FORCE

SOCIAL

OPPO

L TIONA

LOW UP FRONT What is the scale based price of theCOST product?

What is the maintenance/replacement cost?

LABOR

AESTHETIC

A

W

LO

CA

EDU

T

EN TM EA TR ST PE LD SXIN TOINHIBI TO RW AR RA NT EMERG Y ING TEC HNOLO GIES MO

T

NITIES

RTU

OPPO

PANT MAINT

1

CONTE

ED

REC

RGY

D EN

LO

NAL

CATIO

EDU

LOW OCCU

NS

YCL

ENE

TE

PM

Y PR LL CA

Selection Variety: Local Prevelance: Architectural Appeal:

poplar bark siding - highland craftsmen

NT

AC

LO

LO

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

What is the material’s warranty?

What is the material’s average lifespan?

Is the labor force prepared to install this material?

How often does the material require maintenance?

ME

ENVIRONMENTAL L

TR

VE

L DE

T

EN

PM

LO

VE

L DE

CA

LO

NT

DIED

LLY EX

RED

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

ON

UFACTU

Was the material produced ethically in regards to people?

Will the use of the material contribute to local economies?

Will the use of this material provide educational opportunities?

Does the material require constant maintenance?

T

EN

TM

EA

MAN

Ethically Produced: Local Development: Educational Opportunities: Low Occupant Maintenance:

ENERGY

REC

LO

AESTH ETIC

AL

APPLICATIO

REUSE

5

4

3

Y

LOW IMPACT

cementitious wood fiber board siding - geoboard

COST

EMBO

CA

L CIA DSO ESSE OC PR

PROOFING LOW VOC-WATER

TECHNICAL

Is the material available in a variety of colors/styles? ST TR Is the material used in the local building vernacular?S-PE XIN TO Does the material contribute to the aesthetic appeal?

W

VI R

SOCIAL

Selection Variety: Local Prevelance: Architectural Appeal:

2

1

Low Cost: Low Maintenance Cost:

FINANCIAL

Can the product be ventilated?

Is the material using emerging sustainable technologies?

Does a mold inhibitor have a warranty?

NS APPLICATIO What is the material’s warranty?

REUSE What is the material’s average lifespan?

Is the labor force prepared to install this material? CONTENT ED How often does the material require maintenance?

YCL

EN

AESTHETIC

LATION

LOW IMPACT

Allows Ventilation: Emerging Technology: Mold Inhibitor Warranty: Warranty Policy: Lifespan: Labor Force Compatibility: Low Maintenance:

LOCALLY

AL

LOW LO

ER

LLY LOCA

LICY

NichiProducts contain over 50% fly ash, a recycled content material generated at coal-burning electric generating facilities. additionally the manufacturing process uses 100% of pre-cured fiber cement Scrap.

The Nichiha manufacturing facility in Macon, GA, includes an on-site water treatment plant, which not only recycles 95% of the water used in the manufacturing process, but also treats the 5% water discharged back into the system.

90% of the materials used in the manufacturing process are acquired less than 200 miles from the factory, and the Macon plant releases odorless emissions totaling less than 90 tons of VOCs per year, within all state, federal , and local regulations for outdoor air quality.

Due to their durability, NichiProducts carry a lifetime replacement warranty.

TECHNICAL

LOW UP FRONT COST

LOW MAINT

Y PR LL CA

Y PO NT RA

AESTH ETIC

S VENTI

NichiProducts contain over 50% fly ash, a recycled content material generated at coal-burning electric generating facilities. additionally the manufacturing process uses 100% of pre-cured fiber cement Scrap.

The Nichiha manufacturing facility in Macon, GA, includes an on-site water treatment plant, which not only recycles 95% of the water used in the manufacturing process, but also treats the 5% water discharged back into the system.

90% of the materials used in the manufacturing process are acquired less than 200 miles from the factory, and the Macon plant releases odorless emissions totaling less than 90 tons of VOCs per year, within all state, federal , and local regulations for outdoor air quality.

Due to their durability, NichiProducts carry a lifetime replacement warranty.

EN

LO

WAR

AL

NT

LATION

LABOR

NT

N ESPA LIF

ME

CE

ON

VI R

ALLOW

LOW MAINTENAN

EN

T

W

TY PATIBILI COM

CONTE

EN TM EA TR ST PE LD SXIN TOINHIBI TO RW AR RA NT EMERG Y ING TEC HNOLO GIES MO

RA

GIES

ENANCE

FORCE

NT

ED

YCL

REC

AR

HNOLO

S VENTI

5

4

3

2

LABOR

NS

LO

RW

TEC

ALLOW

L CIA SO

L CIA SO

LOW IMPACT

APPLICATIO

REUSE

BITO

ING

ENANCE

LOW OCCU 1

INHI

EMERG

NITIES

RTU

PANT MAINT

LATION

cementitious fiber board plank siding - nichiproducts

LD

OPPO

NAL

CATIO

EDU

S VENTI

LICY

L DE

CA

LO

MAINTENANCE

MO T

EN

PM

LO

VE

AL

Y PO

Y

NT RA

NT

N ESPA

RA

WAR

AR

GIES

LIF

AESTH ETIC

LICY

RW

HNOLO

TY PATIBILI E COM

Y PO

BITO

MAINTENANCE

NT RA

INHI

TEC

ALLOW

N ESPA

WAR

LIF

LD

ING

TY PATIBILI E COM

MO

EMERG

FINANCIAL

Low Cost: Low Maintenance Cost:

What is the scale based price of the product?

What is the maintenance/replacement cost?

ENERGY

Low Emodied Energy: Locally Extracted: Locally Produced: Locally Processed: Locally Manufactured:

What is the embodied energy of the material?

How far away is the material extracted?

How far away is the material produced?

How far away is the material processed?

How far away is the material manufactured?

Low VOC-Waterproofing: Low VOC-Shellac: Low VOC-Stain: Ethically Harvested: Low Toxins-Mold Inhibitor: Low Toxins-Pest Treatment: Recycled Content: Reuse Applications: Low Impact

What is the VOC content of the waterproofing layer?

What is the VOC content of the shellac?

What is the VOC content of the stain?

Was the product ethically harvested?

Does the mold inhibitor contain toxins?

Does the pest treatment involove toxic chemicals?

Was the material made from recycled content?

Can the product be reused, recycled, or biodegraded?

Does the extraction process harm natural habitats?

ENVIRONMENTAL

RS N - BU ILDE ATIO

TH EA

LT H

EDUC

AN

ILDE RS

IAL IAL

FIN

ANC UCTURE

LT H EA TH AN

ENT

AL TH HE

69.1 OP EVEL IC D NOM ECO LIZATION CAL LAR COMMERCIA LOMODU

L CIA SO

29.8 39.6

IAL ANC IAL

ANC

ILDE RS ATIO N - BU

AL TH HE PA NT CU

LT H HE A

EDUC

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OC

EDUC AT

ION

LOCALL Y PRODU CED-ST RUCTUR E ED-STR UCTURE

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N

OD U

ATIO

PR

UL

LLY

NS

LOCALL Y PRODUC

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NT

LOC A

CE D-I OD U PR ALLY

Y

IAL

29.8 LOW

ANC

E N VI R

34.8

IAL

ANC

RN

ON

FIN

20.3 10.6 10.4 20.2

5.6 30.1

upstairs hallway

34.9 34.9 44.754.5 49.6

LOW 54.4 64.2 INITIAL COST INV ES TM EN T

RE54.5 TU 59.3 64.2 RN ON INV ES

30.1

5.7

54.5 54.5 59.3 64.2

34.9 34.9 44.754.5 49.6

69.1

TM

T

10.6

10.6

0.8

20.3

64.2

39.8 49.6

20.3

59.3 30.1

29 8

top of stair 49.6

10.5 20.2

39.8 49.6

59.3

59.3

10.5 20.2

AL TH

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airflow modeling simulations

CU

PA

NT

HE

BUIL

EDUC

10.5 20.2

DERS

N - BU

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RS

39.8

0.8

64.2 54.5 54.5 59.3 64.2

5.7

EN

30.1

30.1

C

BIL

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CATI ON -

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AB

PATI BILITY COM PATI RCE COMBOR FO LA

T UC

TR

EMERGING TECHNOLOGY EMERGING TECHNOLOGY

LOCALL Y PRODU CED-ST LOCALL RUCTUR Y PRODUC E ED-STR UCTURE

ION

UL AT NS D-I

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MODULAR COMM INITIAL COST

GY

PR

54.4 44.7

5.6

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PERTIES

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R Y NE RG DE NE DIE DE BO DIE EM LOW

BO

PRO TIESTIVE PER INSULA

LOC

EM

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LABO

NS CO

L-

ENERGY

LOW

L

above main entry door

WEL

TU

35.0 44.754.5

OC

TA

LY

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HIC

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EN

onment?

ON

VIR

EN

D-

CE

DU

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59.3 64.2

5.6 30.0

34.8 44.654.4

RE

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ENERGY

mini-split locations

44.7

ENT

PM ELO DEV 69.1 MIC

NO ECO CAL LIZATION LOMODU LAR COMMERCIA

L T

59.3 64.2 airflow5.6modeling simulations 54.4

69.1

30.0

30.1

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29.9

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10.4 20.2 10.2 20.0

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EN

ment?

PR

29 8

59.3

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10.2 20.0

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in bedroom

OD

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59.3

39.6 49.5

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49.5

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10.4 20.2

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69.1

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29.9

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10.5 20.3

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s? nt? on?

34.8 44.654.4 29.8

COST

10.2 20.1

nities?

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LOW MAINTENANC

EMERGING TECHNOLOGY EMERGING TECHNOLOGY

HED

TY

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TAB

0.4

BIL

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20.1 10.3

29.8

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54.4

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TIES PROPER

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0.5 34.7 44.554.4

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LOW

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FIN

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29.8

FIN

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ENERGY

69.1

29.9

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59.3 44.654.4

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29.9

5.3

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L

HIC

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69.1 5.3

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CU

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PR

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30.1

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ENERGY

59.3

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49.5

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29.9 59.3

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29.8 39.649.4

10.1

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LOW MAINTENANC ITY E TOXIC LOW

59.3 44.654.4

20.1 10.3

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29.9

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10.5 20.3

nities?

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0.5

54.4

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EMERGING TECHNOLOGY EMERGING TECHNOLOGY

PATI Y BILT COM PATI RCE COM BOR FO RCE LA

T UC

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10.1 20.0

TIES PROPER TIES TIVE PROPERINSULA

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TAB

29.9

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ENERGY

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54.4

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29.9

5.234.7 44.554.4 59.3

L

onment?

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INITIALLAR COMM MODU COST

FIN

TA

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29.8

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5

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5

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T

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ment?

T

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LOW MAINTENANC ITY TOXIC E LOW

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nities?

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29.8 39.649.4 10.5 59.3 20.3

10.5 20.3

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59.3

10.1 20.0

59.3

10.5 20.2

T UC

L-ES TAB LIS HED TE LOW MAINTENANCCHNO E LOG

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29.8 39.649.4 0.3

49.6

39.8

0.3

Y

TR

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WEL

es?

L ICA HN

BILT

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TAB

EMERGING TECHNOLOGY EMERGING TECHNOLOGY

E CO FORC

NS

L-ES

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20.3 10.6

TIES PROPER

R LABO

CO

WEL

ENERGY

INV

RG NE

PR

LY

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HIC

ET

TIES ULATIVE VE PROPER INS

-E

ED

UC

OD

onment?

NT

cooling methods

basline - closed

HVAC doors - closed

ventilation doors - closed

window heat gain analysis abingdon site

total heat gain : all windows

north bedroom window: worst summer gains

17 july

16

12 :00 pm

july

15

12 :00 pm

july

14

12 :00 pm

july

13

12 :00 pm

july

17 july

16

12 :00 pm

july

15

12 :00 pm

july

14

12 :00 pm

july

13 july

abingdon, virginia - summer afternoon

12 :00 pm

east bedroom window: second worst summe summer gains

individual window heat gains for upper level

window heat gain analysis

south boston site

northeast bedroom window: worst summer gains

total heat gain : all windows

east bedroom window: second worst summer gains

individual window heat gains for upper level

17 july

pm :00

16

12

july

pm :00 12

pm :00

15 july

12

pm

14 july

:00

13

12

july

17 july

pm :00 12

16 july

pm :00 12

15 july

pm :00

14

12

july

pm :00 12

july

13

south boston, virginia - summer morning

17 july

16

12 :00 pm

july

15

12 :00 pm

july

14

12 :00 pm

july

13

12 :00 pm

july

17 july

16

12 :00 pm

july

15

12 :00 pm

july

14

12 :00 pm

july

13

12 :00 pm

july

abingdon, virginia - summer afternoon

individual window heat gains for upper level

window heat gain analysis

south boston site

northeast bedroom window: worst summer gains

total heat gain : all windows

east bedroom window: second worst summer gains

individual window heat gains for upper level

17 july

12 :00 pm

16 july

12 :00 pm

15 july

14

12 :00 pm

july

13

12 :00 pm

july

17 july

16

12 :00 pm

july

12 :00 pm

15 july

12 :00 pm

14 july

13 july

12 :00 pm

south boston, virginia - summer morning

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ALAR 7020 NATIONAL PARKS JOINTS, HUTS AND THE VALLES CALDERA

ED FORD

We all design the same way. We begin with the large and go to the small. We begin with the ecosystem and work our way down to the detail. We decide on the form then we select the material. We solve all the big problems and them we figure our how to put in columns and beams and what to make them out of and how to join them together.

Could you design a building in the opposite direction? Could you begin with the small and go to the large? Could you begin with a material and determine the form? Could you begin with a joint and grow a building out of that joint? The intent of the semester exercise is to do the latter. To study a joint, to study the material through the joint, and to determinate the building out of both. The first exercise will be to generate forms from joints drawn from vernacular architecture and architectural history. The structures will be similar to buildings but will have no functional purpose. The second step will be to generate larger scale structures from these joints. These structures will all be small huts needed in park or wilderness areas for information, access, admission control, and overnight trail shelters.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

The lessons of the first two exercises will be applied to the design of new facilities for the proposed Valles Caldera National Park in New Mexico.

A Caldera is a bowl shaped depression caused by the collapse of a land surface after a volcanic eruption. One of the most dramatic and the most beautiful is the Valles Caldera in New Mexico. Although located north of Santa Fe and west of Los Alamos, it is much higher, greener and more isolated than the surrounding arid landscape. In 2000 the large ranch that occupied the Caldera became the Valles Caldera National Preserve, a unit of the National Forest System. Congress is considering legislation which would create the Valles Caldera National Park, an action that

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REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

would require the construction of a great deal of infrastructure and the end of hunting and cattle grazing. Some are opposed to this, fearing that the increase in visitation and corresponding development will destroy its essential character. Over the coming years, the National Parks will be best served by a non-standard approach to the placing of buildings on the land, an architecture that is smaller in scale, more flexible in it use, and movable in location. Such an architecture would make less of a mark on the land, consume little or no energy, produce little or no waste and could be removed or relocated with changing conditions. It would have foundation systems that were minimal and adaptable, use construction systems that allowed for a minimum of heavy equipment, be constructed of sustainable materials, and use energy systems suitable for remote locations. It could be closed, moved or compacted in off-season and inclement weather. It might be prefabricated; it might be modular. It might be lightweight and retractable. It might be collapsible and portable. The studio will explore facilities that will be less permanent and more flexible, structures that would in all locations make the smallest intervention, and that might, in time, disappear altogether. The intent is not to design a universal, standardized, context-indifferent prototype.The proposed structures would need to respond to extreme variations of climate and topography, and they would need to respond to historical and cultural contexts in ways that respect and learn from those contexts without imitation. Present conditions also suggest that the Park Service would be better served by a radical rethinking of the “Visitor’s Center” tradition. The very act of placing a structure may be in conflict with the goals of preserving the landscape and a program of construction should be undertaken with the potential for not building structures at all.

A. GAHR

T. GIBBONS

bins

J. WILKS

Spring 2012/Studio 7020/Edward Ford

f modular, partially pre-fabricated cabins at a national preserve. cess began with the development of an assembly system for an ar unit that accomodates interior and exterior spaces of various ating site plan uses the topography of a hill to accomodate a structures while providing solitude for each cabin.

steel substructure

wood modular frames

Steel ribs

Concrete footings and steel support structure ON-SITE ASSEMBLY SEQUENCE

Wood and steel frames

1

2

1 2 3 4

6-person cabin 4-person cabin 2-person cabin Shared bath and kitchen structure

8

16

32

32’

Ste

eel ribs

1

1

SIP modules

steel substructure

wood modular frames

SIP modules

Wood and steel frames

glazing and wood deckglazing and wood deck 2

SIPs with standing seam copper cladding enclosure

2

SIPs with standing seam copper cladding enclosure

Glass sliding doors and wood decking

Glass sliding doors and wood decking 1

3

3

3

4

2 4

2

3

4

4

2

1 2 3 4

6-person cabin 4-person cabin 2-person cabin Shared bath and kitchen structure

JESSE WILKS

8

16

32

32’

JESSE WILKS

OVERNIGHT CABINS AT BANCO BONITO, VALLES CALDERA, NM

OVERNIGHT CABINS AT BANCO BONITO, VALLES CALDERA, NM

SP 2012

SP 2012

STUDIO 7020/FORD

STUDIO 7020/FO

L. SHUMATE

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ARCH 4020

PARADISE CREEK PARK + PAVILIONS BUILDING GREEN STRUCTURES ON THE ELIZABETH RIVER PHOEBE CRISMAN The design research studio investigated the complex relationship between human inhabitation, environmental restoration, and sustainability education through the design of a 40-acre public wetland park along a tributary of the Elizabeth River in Portsmouth, VA. The studio collaboratively designed several small park structures that engage urban kids in hands on exploration and learning, including two classroom pavilions, a children’s playground, treehouse, kayak launch, and a landing stage for the Learning Barge. The park site, containing one of the river’s last stands of mature forest, co-exists with “Superfund” industrial cleanup sites and the economically challenged, racially diverse neighborhood of Cradock. We collaborated with the non-profit Elizabeth River Project, City of Portsmouth representatives, and community partners to design a place with the power to inspire environmental stewardship in neighborhood residents and visitors.The studio continued a six-year study that produced the award-winning Learning Barge and Money Point Sustainable Revitalization projects.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

The Paradise Creek Nature Park will provide a place that physically and spiritually reconnects the urban community of the Elizabeth River watershed with its home river. There are several goals: to create a green place that increases the sense of well-being, economic vitality and opportunity for outdoor exploration for all ages in the watershed; to design green pavilions, children’s playground and other structures that holistically educate visitors about sustainability; to make a place where citizens may rediscover the healing respite of a healthy, living river; and to create strategies for industry and natural ecosystem to coexist in harmony. During the semester students worked individually and in teams to create a research publication to communicate with various

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collaborators and consultants. The studio worked across the intertwined scales of the Chesapeake Bay and Elizabeth River watersheds, City of Portsmouth, Cradock neighborhood, Park site, individual architecture structures and the architectural detail. We considered complex social, economic, ecological and architectural issues. In studying the didactic potential of architecture, we examined how physical design can teach about the inextricable links between water and land, tidal river ecology and wetland restoration, specific properties and impacts of building materials, and the balance between human activity and the environment.

By studying what and how might one teach about this place, we were able to manifest an inventive educational agenda in the Park design and its architecture.

REPRESENTATION

+ MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

Once built, the relationship between natural and constructed systems will be revealed in architecture designed to work with sun, wind, water, earth and biology. Photovoltaic panels will provide power, rainwater and wastewater will be collected and filtered, and recycled industrial materials may be used. We also considered programmatic complexity and studied how the architecture will perform. For instance, Wetland Learning Lab pavilion is an outdoor classroom, a picnic pavilion, an event space, a place to directly experience the River and engage all the senses, a generator of energy, a collector of water, a cistern, an assemblage of didactic surfaces and spaces, a habitat for migratory butterflies and birds, and a constructed wetland for water filtration and habitat. We studied spatial and material invention through the investigation of old and new materials, technologies, and several constructional systems. The Park groundbreaking occurred in March 2013 and pavilion construction will commence in summer 2013.

First Review at UVa | 2.29.2012

C

Early Iterations | January-February

Conference Call | 3.22.2012

Ground Breaking | 3.28.2012

Iterative Design Process | Wetland Learning Lab Pavilion Design Studio Crisman | A. Darab, R. Davis, A. Filipour, S. Kohlhepp, R. Lewis, A. Milner, B. Olivari, K. Pierson, S. Saunders, K. Smith, M. Steppan, K. Vitullo, W. Xu

A. DARAB, R. DAVIS, A. FILIPOUR, S. KOHLHEPP, R. LEWIS, A. MILNER, B. OLIVARI, K. PIERSON, S. SAUNDERS, K. SMITH, M. STEPPAN, K. VITULLO, W. XU

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ARCH 2020

STRAND CITY BEAST MARA MARCU + ALEXANDER KITCHIN StrandCITIbeest is the second architectural design course in a series of 6 studios leading to the Bachelors of Science in Architecture and proposes a shift in curricular attention form that of the scale of the body to the building to the urban block to the scale of the city .

Departing from a core understanding that our society’s most acute architectural dilemma is its indefinite urban augmentation in an otherwise limited Natural context, this studio proposes to further develop the understanding of the complex relationship between form, space, structure, materiality and the senses. While reinforcing research as a design exercise, students were asked to brainstorm, question and frustrate on various architectural taxonomies with the intent to give new life to a critically reconsidered synthetic ecology, direct and define it, wind it up and start it on a path – one that will predict, but not control.

The material covered in this course is presented through a series of projects, pecha-kucha presentations, parametric software and fabrication tutorials, workshops and reviews, which involve the students in the thoughtful application of fundamental, yet comprehensive design principles, various techniques of representation and fabrication, and critical thinking.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

We will begin our journey with the scale of the superinhabitant [responding to the scale of the urban block where the 2011 semester left], while investigating the architecture of the seam as a barrier blender.

After a short drift in disciplinary attention towards technology, students will revisit the discussion of the urban scale equipped with a new

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set of tools and a thorough conceptual framework, while collecting data from our superinhabitant satellite sent to explore and transgress the city of Lynchburg.

In reconsidering mapping and research as a design act, a new city can be seen and described or even rethought and rearranged to intensify the urban relations. Issues such as connectivity, sustainability, density, infrastructure, form, function, community will be tackled from your own strandbeest’s perspective. This will allow for a feed-back connection between the surveying device and the space being measured, meaning that there is a live update connection between your strandbeest and the city – you must find a way for the beast to survive in Lynchburg by adapting not only the creature, but also the habitat. In a similar way to how Borges let his imaginary beings become informed by a variety of external factors, you are to release your beast into the unfamiliar, let it explore, collect, find its nitch and mature. As a result, you will mutate it to be your own living instrument; nurture and provide for it during its expedition. The standbeest will have to change and readapt to the place that it inhabits similarly to how the city will have to morph and transform to receive the inhabitant.

REPRESENTATION

+ MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

The semester will end with the scale of a discreet, yet rigourous insertion in the urban fabric addressing the social, ecologic, economic and programmatic conditions previously defined.

INTERSECT | GRASSHOPPER ZONES ARNOLD LEE

L. LEE, B. LAWSEN, M. WHEELER, K. BRANDY, L. GEARHART, A. LEE, E. TURNIP, S. SMID, A. WALKER

BUILDINGS, URBAN INFILL, GARDENS, ...

Perhaps the most conventional of the architect’s field of intervention, the building, has been most impacted by the fast pace of change in technology, as well as socio-cultural and economic conditions. While the imagination of the architect extends well beyond the building, it is perhaps the very thing that most defines the built environment and our relationship to it. From the primitive hut, to the cultural institutions of today and the skyscrapers that have changed our landscape and defined the way we occupy it, we have redefined cities and whole territories.

In recent years, however, certain disciplinary discourse has brought to question the position of the building as the primary constituent of the city. Expanding on the premise that our current modes of existence are no longer sustainable socially, economically and ecologically, urban formation is reconceived as resultant of networks, processes, and patterns. To this end, other urbanisms have been imagined landscape, infrastructural and ecological—all with claim to viewing the built environment systematically, rather than formally. Buildings can no longer operate at the level of object, independent of their environment, and must be viewed as nodes in an extended network, an increasingly volatile field of operation, whose morphology defines more than ever the extent and boundaries of all disciplines of design.

04 03 02 01

queries: 1. How have building practices changed?

2. Is the way people occupy space different as the result of new technologies?

3. How has the way we perceive our environment changed?

4. What is the role of socio-cultural, economic and political conditions in design theory and practice?

5. What is the role of social media in the way we occupy space?

6. To what extent the building type, typological morphologies and hybridities define our practice?

02

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ARCH 3020 CITY AS LIVING LABORATORY ERIN HANNEGAN + KAREN VAN LENGEN The 3020 Studio was collaboration with New York City artist Mary Miss, on her project City as Living Laboratory: Broadway 1000 Steps. The mission of her project is to establish Broadway as the “green corridor” of New York City by creating site-specific installations and proposals for urban transformations that are intended to make sustainability personal, visceral, and tangible, as a means to empower city residents to take positive action in their own habitat.

The studio was part of the CALL Academic Partnership (directed by Karen Van Lengen) that included the University of Virginia, Penn State University, Parsons School of Design, MIT School of Architecture, Boston Architectural Center, Rhode Island School of Design, NY City College, and Fordham University. Each school was assigned one or two sites to investigate. Each studio followed a similar format for researching the various hubs along Broadway, creating site documents for Mary Miss Studio and finally designing programs and proposals to engage the public. The comprehensive results of all of the students’ work will be presented at an exhibition sponsored by AIANYC in 2013.

We began our studio with significant contemporary precedents that are shaping our global public realm. The students then researched two individual sites: 168th Street / Broadway and Madison Park/ Broadway,

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Their urban and thematic analyses served as a comprehensive background for their own individual site proposals. Next, the students formed groups to make 3 Campbell Hall installations; one on water usage, one on energy usage and one on waste management in order to demonstrate our own habits of resource utilization at our own School

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REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

of Architecture. Finally, and drawing on the background of these studies, students developed their own programs related to one or more of the overall themes; Land, Energy, Water, Waste, Air. Using one of the two specific sites, they developed a range of responses from urban bridges and paths, to new building infrastructures and strategic installation proposals.

V. BADAMI

model scale | 1” = 8’

model scale | 1” = 8’

section a

section a

N

N

model scale | 1” = 8’

model scale | 1” = 8’

OADWAY 1,000 STEPS

section b

section b

RSITY of VIRGINA | school of architecture | studio VAN LEGNGEN + HANNEGAN | V.BADAMI II

OADWAY 1,000 STEPS

food 4 THOUGH

grow local + ea

V. DENEKE

mitchell square park nypd precint 33 ps.8

V. BADAMI

17

5T HS TR EE

T

OA DW AY

ms.319 marie teresa mckenna square

BR

morris-jumel house higb bridge vacant lot - new park

17

0T H

ST RE

ET

16

8T H

ST RE

ET

16

ST RE E

T

BR

OA

DW AY

HA RL

EM

RIV

ER

5T H

[re] DEFINING THE

ST. N

ICHO

LAS AV ENUE

PUBLIC ADDITIO

OPEN GARDE

FUTURE URBAN PLO

WATER COLLECTION + FILTRAT

GROW + LEARN | COOKING SCHO

GROW + LEARN | COMMUNITY CEN 1” = 256’

EDUCATIONAL H

P. BRENNAN

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ARCH 4020 reCOVER ANSELMO CANFORA Studio reCOVER brings together academic, civic and professional organizations to work collaboratively to benefit the common good. In partnership with the University of Virginia’s Water and Health in Limpopo (WHIL) project; the University of Venda (UNIVEN) in Thohoyandou, South Africa; the Mukondeni Pottery Cooperative; FilterPure, Inc.; and the Arup Cause Program, Studio reCOVER will focus on a multi-phased, multisectorial implementation strategy of a ceramic water filter factory prototype design. The study and enhancement of an existing facility in Thohoyandou will provide a starting point for the development of a replicable design for ceramic water filter factories and landscape interventions in the province of Limpopo and additional rural provinces of South Africa. The design of a replicable educational facility to support the mission of the UNIVEN-affiliated Vuwani Science Resource Center, which provides training to secondary school teachers in the region, completes the scope for Studio reCOVER 2012.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Defined as a translational research project, the central goal of Studio reCOVER is to develop an adaptable building and landscape design strategy for implementing multiple ceramic water filter factories which support a long-term sustainable impact on the local, regional and national health, education, and economic development of South Africa. The well-established partnerships with institutional programs, non-governmental organizations, and companies assisting marginalized communities in South African are vital to the successful design, research and development of this project. Aiming to assist disenfranchised communities in improving their built environment while advancing building technologies and practices is inextricably linked to the educational purpose of this studio – to focus directly on applied research through real world experience as an important part of comprehensive

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REPRESENTATION

+ MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

architectural lessons and internationally engaged scholarship. To this end, the objective for Studio reCOVER is to generate new knowledge in the area of building design and construction research while emphasizing the importance of understanding indigenous customs and advancing local building traditions and practices.

1/16” = 1’-0” 1” = 4.82 meters

OMMUNITY CENTER AND GALLERY

Propogation Water Demand for 600 trees:

5 mm per tree per month (evaporation rate) 345 mm per tree per month minimum 930 mm per tree per month maximum

October

207000 liters per month minimum 558000 liters per month maximum

TOTAL: 558000 L/month

Surface Area of Site: 24,5000 m2

AMOUNT OFRAINWATER TREES THATCOLLECTION CAN BE IRRIGATED 14,904 L

14,904 L

LATRINES

25,200 L

9587

9942

10000 L

57,960 L

COMMUNITY CENTER

KITCHEN

43,718 L EXISTING BUILDING

FACTORY

maximum amount of trees that can be irrigated

9516

12000 L

70,000 L

average amount of trees that can be irrigated

60,000 L

minimum amount of trees that can be irrigated

5150

October

November

TOTAL: 4,200 L/month

2699

Demand:

July

1460

1001

423

781

20,000 L

290

576

1065

4 L for wet-forming 1 filter membrane (4 L/pot) 800 L/month for 200 pots at low capacity production *ideal Community Space Water 1600 L/month for 400 pots at medium capacity production 20 L/person/day December January February March April May June 3200 L/pot for 800 pots at high capacity production 600 L/person/month 15 L/pot flow rate (200 pots requires 3000 L/month 33000 L/month for 55 people WET SEASON DRY SEASON

395

538

369

994

2486 1345

922

Factory Water Demand:

0L

CISTERNS

August

September

ROOF RUNOFF

Latrine

55,440

55,860

57,960

Community Center Factory Existing Building

October

November

December

March

April

WET SEASON DRY SEASON

May

June

July

15,120 11,404

August

3,888 6,480

972 1,620 3,780 2,851

1,404 2,340 5,460 4,118

5,040 3,801

2,160

0L

1,296

13,860 10,454

3,564 5,940

21,840 16,473 5,616 9,720

February

16,200

January

9,720

14,256

23,760

28,512

37,800

41,817

42,134 23,940 14,364

14,904

25,200

40,320 10,368

17,280

26,040 19,641 6,696 11,160

20,000 L

10,000 L

30,412

40,000 L

30,000 L

Kitchen

43,718

50,000 L

10,000 L

0L October

TOTAL: 33,000 L/month

70,000 L

60,000 L

26,040

3835 2424

2075

1423

3536

3530

CISTERNS

30,000 L

6,696 11,160

5188 3556

40,000 L

2582 1686

2460

4000 L

3688

3766

4545

5380

6000 L

2000 L

50,000 L

6533

6959

8000 L

September

plant grow harvest

wood and brick outdoor classro

RAINWATER COLLECTION

Propogation Parameters:

OPTIONS FOR PROPAGATION | SQUARE PLOTS + THE TEMPORAL LANDSCAPE WATER INFRASTRUCTURE

7.5 liters per tree per day minimum 25 liters per tree per day maximum 5 mm per tree per month (evaporation rate)

APPLICATION TO A PROPAGATION GRID

option 1 - five smaller cisterns dispersed along the site boundaries option 2 - one large cistern at the site’s base that travels via a hose to different plots

Propogation Water Demand for

THE LANDSCAPE’S TEMPORAL LIFE CYCLE

207000 liters per month minimum the landscape becomes part of a ten-year rotation, where different propagation plots take on 558000 liters per month maximum different programmatic functions

345best mmutilize per tree month minimum the placement and orientation of square propagation plots on site to theper site’s grading 930 mm per tree per month maximum

the use of gravity and groundwater runoff to propagate the site

composting

TOTAL: 558000 L/month

Surface Area of Site: 24,5000 m2

RAINWATER COLLECTION

AMOUNT OF TREES THAT CAN BE IRRIGATED RAINWATER COLLECTION

12000 L

14,904 L

25,200 L 9516

10000 L LATRINES

9587

9942

14,904 L

KITCHEN

43,718 L maximum amount of trees that can be irrig

57,960 L

COMMUNITY CENTER

EXISTING BUILDING

FACTORY

average amount of trees that can be irrigat

minimum amount of trees that can be irrig

6533

6959

8000 L

October

November

TOTAL: 558000 L/month

Surface Area of Site: 24,5000 m2

AMOUNT OFRAINWATER TREES THATCOLLECTION CAN BE IRRIGATED

October

November

TOTAL: 4,200 L/month

July

August

September

55,440

Latrine Community Center Factory Existing Building

October

November

December

March

April

WET SEASON DRY SEASON

May

June

July

15,120 11,404

August

3,888 6,480

972 1,620 3,780 2,851

5,040 3,801

2,160

1,296

0L

1,404 2,340 5,460 4,118

21,840 16,473

13,860 10,454

3,564 5,940

5,616 9,720

28,512

37,800

41,817 23,760 February

16,200

January

9,720

14,364

23,940

42,134

43,718 14,904

25,200

40,320 17,280

26,040 19,641

55,860

57,960

Kitchen

14,256

10,000 L

6,696 11,160

20,000 L

10,368

30,000 L

30,412

40,000 L

423

290

1065

781

576

538

395

2486

994

922

2424

2075

1423

3536

3835

5150 55,440

September

November

December

March

April

May

July

972 1,620 3,780 2,851

5,040 3,801

2,160

1,296

June

1,404 2,340 5,460 4,118

21,840 16,473

13,860 10,454

3,564 5,940

9,720

February

16,200

23,760

28,512

37,800

41,817

42,134 January

5,616 9,720

14,904

25,200

40,320 30,412 17,280

26,040

Existing

WET SEASON DRY SEASON

70,000 L

50,000 L

Latrine

Commu Factory

0L October

TOTAL: 33,000 L/month

ROOF RUNOFF

60,000 L

10,000 L

6,696 11,160

1460

1001

423

781

20,000 L

290

576

Demand:

19,641

2699

4 L for wet-forming 1 filter membrane (4 L/pot) 800 L/month for 200 pots at low capacity production *ideal Community Space Water 1600 L/month for 400 pots at medium capacity production 20 L/person/day December January February March April May June 3200 L/pot for 800 pots at high capacity production 600 L/person/month 15 L/pot flow rate (200 pots requires 3000 L/month 33000 L/month for 55 people WET SEASON DRY SEASON

395

369

538

1065

2486 1345

Factory Water Demand:

0L

994

922

2075

1423

2424

30,000 L

CISTERNS

10,368

3835

3530

3536

2582

3556

5150

5188

5380 3688

40,000 L

CISTERNS

Kitchen

43,718

50,000 L

55,860

60,000 L

6533

6959 3766

4545 2460

1686

2000 L

3530

70,000 L

average amount of trees that can be irrigated minimum amount of trees that can be irrigated

4000 L

5188

maximum amount of trees that can be irrigated

8000 L

6000 L

August

Demand:

ROOF RUNOFF

43,718 L EXISTING BUILDING

23,940

9587

9942

57,960 L FACTORY

14,364

25,200 L COMMUNITY CENTER

CISTERNS

July

TOTAL: 33,000 L/month

14,256

14,904 L KITCHEN

57,960

14,904 L

LATRINES

Factory Water Demand:February December January March April May June 4 L for wet-forming 1 filter membrane (4 L/pot) 800 L/month for 200 pots at low capacity production *ideal Community Space Water WET SEASON DRY SEASON 1600 L/month for 400 pots at medium capacity production 20 L/person/day 3200 L/pot for 800 pots at high capacity production 600 L/person/month 15 L/pot flow rate (200 pots requires 3000 L/month 33000 L/month for 55 people TOTAL: 4,200 L/month

9516

12000 L

10000 L

3556

2582

CISTERNS

0L

Propogation Water Demand for 600 trees:

207000 liters per month minimum 558000 liters per month maximum

369

7.5 liters per tree per day minimum 25 liters per tree per day maximum 5 mm per tree per month (evaporation rate) 345 mm per tree per month minimum 930 mm per tree per month maximum

1345

2000 L

Propogation Parameters:

1686

2460

4000 L

3688

3766

4545

5380

6000 L

August

Propogation Para

OPTIONS FOR PROPAGATION | SQUARE PLOTS + THE TEMPORAL LANDSCAPE

7.5 liters per tree per day m 25 liters per tree per day m 5 mm per tree per month 345best mmutilize per tree mont the placement and orientation of square propagation plots on site to theper site’s gra 930 mm per tree per mont

WATER INFRASTRUCTURE

APPLICATION TO A PROPAGATION GRID

the use of gravity and groundwater runoff to propagate the site option 1 - five smaller cisterns dispersed along the site boundaries option 2 - one large cistern at the site’s base that travels via a hose to different plots

Surface Area of Si

RAINWATER COLLECTION 12000 L 14,904 L 10000 L LATRINES

8000 L

4545

6000 L

2460 2000 L

Propogation Parameters:

7.5 liters per tree per day minimum 25 liters per tree per day maximum 5 mm per tree per month (evaporation rate) 345 mm per tree per month minimum 930 mm per tree per month maximum

1686

4000 L

0L

Propogation Water Demand for 600 trees:

October

207000 liters per month minimum 558000 liters per month maximum

TOTAL: 558000 L/month

Surface Area of Site: 24,5000 m2

AMOUNT OFRAINWATER TREES THATCOLLECTION CAN BE IRRIGATED 14,904 L

14,904 L

LATRINES

25,200 L

9587

9942

10000 L

57,960 L

COMMUNITY CENTER

KITCHEN

43,718 L EXISTING BUILDING

FACTORY

maximum amount of trees that can be irrigated

9516

12000 L

70,000 L

average amount of trees that can be irrigated

60,000 L

minimum amount of trees that can be irrigated

5150

October

November

TOTAL: 4,200 L/month

July

1460

1001

781

423

August

26,040

2699

Demand:

20,000 L

290

576

1065

4 L for wet-forming 1 filter membrane (4 L/pot) 800 L/month for 200 pots at low capacity production *ideal Community Space Water 1600 L/month for 400 pots at medium capacity production 20 L/person/day December January February March April May June 3200 L/pot for 800 pots at high capacity production 600 L/person/month 15 L/pot flow rate (200 pots requires 3000 L/month 33000 L/month for 55 people WET SEASON DRY SEASON

395

538

369

994

2486 1345

922

Factory Water Demand:

0L

CISTERNS

19,641

3835 2424

2075

1423

3536

3530

CISTERNS

30,000 L

September

10,000 L

6,696 11,160

5188 3556

40,000 L

2582 1686

2460

4000 L

3688

3766

4545

5380

6000 L

2000 L

50,000 L

6533

6959

8000 L

0L October

TOTAL: 33,000 L/month

ROOF RUNOFF 70,000 L

55,440

55,860

October

November

December

March

April

May

June

July

15,120 11,404

August

3,888 6,480

972 1,620 3,780 2,851

1,404 2,340 5,460 4,118

5,040 3,801

2,160

0L

1,296

13,860 10,454

3,564 5,940

21,840 16,473

February

5,616 9,720

January

9,720

14,256

16,200

23,760

28,512

37,800

41,817

42,134 23,940 14,364

14,904

25,200

40,320 10,368

17,280

26,040 19,641 6,696 11,160

20,000 L

10,000 L

30,412

40,000 L

Latrine Community Center Factory Existing Building

43,718

50,000 L

30,000 L

Kitchen

57,960

60,000 L

September

WET SEASON DRY SEASON

A. BERNETICH , P. MAYFIELD, J. LLOYD, E. BROADWELL , W. PAUL, E. ROOT

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ARCH 4020 DOWNEAST SOUTHWEST STUDIO EARL MARK The 89,000 acre Valles Caldera National Preserve in north central New Mexico encompasses an extinct volcanic crater, now a grazing area “on top of the world” at 9000 feet and ringed by the Jemez Mountains.

The project re-envisions the place for buildings, campsite and signage where the need for shelter is often in conflict with continuous change in building requirements and an open landscape. Small park structures provide an opportunity to prototype building components and to adapt local building traditions. Each student is to consider their design’s visual impact, adjacency to recreation, the environmentally protected use of the preserve, and the cultural legacy of the region. The challenge is to develop an eco-tourist alternative for camp visitors, especially children and researchers that stay at these locations over varied lengths of time.

Field trips to the preserve, a Pueblo, fabricators, and to other nearby sites occurred over spring break.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

VALLES CALDERA At above 9000 feet elevation, Valles Caldera Preserve borders important Pueblos that operate as independent sovereign nations and figures significantly into their cultures and traditions. In a region marked

by Albuquerque to the south, Jemez Pueblo to the southwest, Taos to northeast, and Los Alamos and Santa Fe to the east, the “valles” preserve is surrounded by the Jemez mountains at southern portion of the Rocky Mountains. Lined with bicycling, hiking and cross-country skiing trails, the preserve is also the focus of extensive biological and archeological research. Nearby Pueblos, such as Jemez Pueblo have deep connections with the preserve predating the arrival of Europeans.

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FABRICATE

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

PROGRAM The primary focus is lightweight, retractable sleeping and lab structures with a small visual and environmental footprint. For this review, the studio is to consider circulation through Valles Caldera National Preserve. More generally the program calls for 1) four lodging units at 750 to 1000 square feet each with space for up to eight overnight guests, 2) a visitor center at 8,000 to 10,000 square feet, and/or 3) trail amenities. Parking is to be provided at 150 to 200 spaces. Inclusion of the later type structures varies according to the discretion of the students. Each of the four lodging units should accommodate from two to eight occupants. The units may be placed adjacent to the visitor center or at more remote locations. WC, Cooking and Dining facilities are not generally included, although some students may elect to incorporate plans for these. The visitor center may be addressed according to a highly flexible interpretation of the program, either as a minimal configuration using alternative methods of creating a center virtually or as a fully realized structure. The third type structure can be smaller enclosures, resting stations, and other more transitory amenities located along the varied hiking trails and other circulation routes.

K. BANCROFT

C. NGUYEN program

cable cla

rolled al

A. SCHERER

section 1

section 1

dera

section 2

section 2

site plan

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ALAR 6020 CULINARY INSTITUTE

ONE PLACE TO MUSE ON THE CITY & AN URBAN FEASTING HALL, or ONE GOOD TABLE/ONE GOOD HEARTH, PLEASE PETER WALDMAN

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Eleven Distinct Urban Culinary Institutes Cast of Characters: A Butcher, a Baker, a Candlestick Maker, & 28/29 Apprentices The Institute teaches classes by day and provides feasting halls by night. The Institute has many doors, but few windows. There should be distinct portals for daytime class as well as evening dinners; the journey to their destinations should whet their appetites. The Institute is a Public Entity in a merit-based culture. Shortly after Calvino’s death or was it Widow Carr’s passing, a state competition selected three young masters of their crafts to have lifetime tenure to explore lightness and multiplicity.

That was some time ago. Recently the Slow Food Institute has proposed a permanent location for these culinary legends at the height of their vigorous maturity. The three wish to dwell on site and to share a southfacing terrace joining their three laconic cells: each with two doors (one for going in, the other for going out) and only one window (one facing east, one facing west, the third facing north). There are 28 some say 29 apprentices who train by day and serve by night. They live off site, need lockers, and are rumored to skateboard home since the vaporetto closes down at midnight. The Institute has many doors, but few windows. There should be distinct portals for daytime class as well as evening dinners; the journey to their destinations should whet their appetites. Exiting may be a substitute for dessert. You should find yourself somewhere else after all that time and effort. The Kitchen for the School and the Feast Halls is the same but faces two different directions. Service lifts should accommodate routine deliveries from the Pescheria as well as quail eggs from on site rookeries. Garbage is constant. Drains are everywhere; the entire building is scrubbed down with the regularity of the tides. It is rumored that since Phoenician times, the people of Venice as well as the Piedmont have delighted in three spatially distinct feasting halls: the grotto hidden within a hearth (Torcello & Monticello)

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the generic celebratory piano nobile/and the roof terrace (Altana). All should be available here determined by season as well as by reason.

Three institutional laboratories are dedicated to each maestro: one for butchering milk-fed calves as well as an occasional Chingale alongside the culinary consequences of a Spritz Bar on the street level, one for baking and a small retail shop on a garden court, and finally the studio of the candlestick maker facing the best place to catch the setting sun. Stairs are everywhere. The maestros keep trim bustling from Attic to Basement, some say there are countless secret stairs, others go on and on about the grandest promenade or is it a conveyor belt, since Napoleon cut the Strada Nuova.

REPRESENTATION + MATERIAL PRACTICES

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GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

PEDAGOGIC STANCE IN THE MIST OF FLUX This institute is a cooking school by day and an eating establishment by night. It is the residence of three luminary culinary artists who have come home from years abroad to re-engage themselves with the vigor of their place of origin. Though familiar to some, they are curiously strange and bear a resemblance to Berendt as Butcher, Barkan as Baker and Brodsky as the Candlestick maker. They keep distinct hours; precisely active during three distinct diurnal cycles, three distinct growing seasons but collaborating as equals during the harsh months of winter. Only the Clementine and the Artichoke punctuate the sparseness of the fallow months. Twenty eight youthful apprentices, many former architecture/ landscape architecture students attend class from sun-rise to sun-set; then don other aprons and serve the fat cats, the homeless, the weary traveler and/or the tentative tourists equally or apart depending on your political posture or ironic capacity for an architecture of Serlian tragic, comic and satiric significance.

B. DOAK

P. SMITH

SECTION C 1/16” = 1’-0”

SECTION B 1/16” = 1’-0”

CUCINA ROMANA: ADAPTIVE INTEGRATIO

SECTION D 1/16” = 1’-0”

CHAPEL INTERVENTION: ROOF PASSAGEWAY

STEEL COLUMNS

EXCAVATE FOUNDATION

GLAZING SYSTEM

SECTION E 1/16” = 1’-0”

FINISH SLAB STEEL COLUMNS

WOODEN BENCHES/ ALTANA

GLU-LAM BEAMS

DRYWALL KALWELL ROOFING

SITE CAST CONCRETE SLAB FINISH SLAB STEEL COLUMNS GLU-LAM BEAMS

IN CONTEXT OF CHAPEL

JOISTS

SITE CAST CONCRETE SLAB FINISH SLAB

FINISHED ADDITION

ST

N. KNODT

A CULINARY INSTITUTE IN ROME ON IN DEEPLY SETTLED URBANITY

POLLY SMITH

tion

on

n

L. JIANG

cluster

mimesis

outreach

philosophical involvement

defense

(establishment) penance (invasion)

citizens in exile

fragmentation

centralization

(restoration)

city pride

(destruction)

high density

tourism

excavation and preservation

urbanization

suburbia

green roof light tower feating space kitch exhibition space amphitheatre

light tower

green roof

kitch

feating space

amphitheatre

exhibition space

green roof light tower feating space kitch exhibition space

transformation

amphitheatre

prototype

outreach

construction

philosophical involvement

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ALAR 7020 FLUIDITY 2

FERMILAB: ARCHITECTURE, SCIENCE, MATTER, TIME NANA LAST The aim of this studio is to consider the challenges to architecture that have emerged from the developments in science over the past century and which have been in the past two decades increasingly brought into the realm of architecture and architecture theory. These concerns include a focus on relations between dynamic systems, time, matter and space. The locus of the work of the studio is on Fermilab, the National Accelerator Laboratory located outside of Chicago, Illinois, which is the site of what had been the world’s largest particle accelerator. The laboratory’s aim is to advance the understanding of the fundamental nature of matter and energy. Fermilab itself is currently undergoing a set of challenges stemming from its accelerator having been surpassed in size by that at the CERN accelerator complex in Switzerland. In response Fermilab has proposed several new accelerator construction projects on site. Which is to say, that Fermilab and science are regularly engaged in spatial and architectural issues.

FERMI NATIONAL ACCELERATOR LABORATORY IN BATAVIA, IL

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

The lab’s founder and first director, Robert Wilson, developed the 6800 acre Fermilab site in the late 1960’s and early 1970’s, with the goal of creating “an architecturally significant center, a place to which physicists will be attracted by the physical beauty as well as by the beautiful facilities for research in particle physics.” The site was designed to make the temporal-spatial operations and the functioning of the laboratory complex, visible. Buildings on the site are situated according to time-based relations to the underground processes of the particle accelerators. For example, buildings are located nanoseconds apart along the three main linear accelerators - as measured in relation to the distance needed to accelerate particles for certain areas of research.

This set of rules produces a site marked by the site’s various operations.

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REPRESENTATION + MATERIAL PRACTICES

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GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

Another example is how the below-ground tevatron is made visible above ground through a collection of service roads, pipes and circular cooling ponds. The three main underground linear accelerators that traverse the site and define the location of lab buildings are themselves marked by raised mounds that run along their length something that has functional correlate beyond that of visualization.

What makes the Fermilab site of particular interest, then, is that it shares a number of aspects with design processes in architecture, most notably a reliance on visualization as a critical component in the production of knowledge. This happens at Fermilab both with the site and at the subatomic level where visualization is necessarily a critical component of the scientific research as the construction of information is completely reliant upon the visualization of data and processes, including, for example, the plotting of particle movements and behaviors.

Visualization, data collection and spatialization thus provide shared processes between the scientific research, the architectural research and the design solutions. While Fermilab’s original director embraced the arts and architecture the site did so based on now outdated models of representation, - more akin to illustration rather than shared processes - for example with sculptures that represent science with a double helix. Rather than illustrate the products of scientific research this studio has proposed ways to work more directly with the sciences and their thought processes, uses and generation of data, algorithms, mapping processes, predictions of behavior and so on.

STRATEGIES The work presented here was produced in several graduate and undergraduate studios. The studios had 4 components: research, theory readings, a short conceptual project and the main studio project– intervention at the site.

The projects developed a range from designing a new building for the lab to rethinking the site’s future development and new research goals.

Towards this, the students were given a series of prompts to focus upon such as : speed, time, space, flows, scales of production, entropy, systems, interchanges and incompatibilities. Out of this emerged a range of strategies and responses to the Fermilab site:

1. Individual buildings based on emerging research agendas at Fermilab.

2. Projects based on the types of shared visualization

and mapping processes related to subatomic particle physics.

3. Large scale site interventions that redefine the direction of fermilab’s development.

The impetus for using Fermilab as the basis of an architecture design studio was twofold:

1. To consider the challenges to architecture that have emerged from the developments in science over the past century, including a focus on relations between dynamic systems, time, matter and space.

2. The studio’s use of this research allows their design process to engage specific content and methodologies typically understood as outside the range of architecture

practice. In this case, to engage the realm of particle physics and with it the politics of large scale scientific research. This process allows specific subject matter to be generative of architecture form and design solutions at multiple scales.

The various projects layout possible ways of forming relations to that content. The hope was to produce a set of responses to relations variously: between particle physics and spatial processes; between science and architecture; and finally to examine the role and potential for different forms of research in architecture - a composite synthetic order resulting from the integration of multiple systems according to a specified hierarchy and a specific set of logics that made the results unpredictable yet rule driven.

M. BAUM

M. BAUM

research center

Q. WU

surface circulation

auditorium

interior circulation

star & vector

flow integration: water system circulation view connection

water system

S. CHEN

W. XU

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ALAR 7020 CONTEXT MICHAEL BEAMAN

In 1911 the Computing Tabulating Recording Corporation was founded; by 1922 it had become IBM. In 1985 at the age of 22 Garry Kasparov became the youngest World Chess Champion. Along with being an important year for chess, it was an important year for technology: First Compact Discs are released for public sale, First version of Windows released, Nintendo sells its first home gaming system, Steve Jobs resigns from Apple and starts NEXT (creating Apple’s operating platform), The first domain name “symbolics.com” is created. Just 12 years later in 1997, the fates of Kasparov and IBM would be forever intertwined. Deep Blue, an IBM Super Computer, and Kasparov faced off in a series of six Chess matches, asparov lost. Deep Blue can calculate 200 million chess moves per second (approx. 11.38 GigaFLOPS) or 11,380,000,000 point calculations per second. The fastest super computer currently being built (Fujitsu K) runs at 10.51 PetaFLOPS, or approximately 10,510, 000,000,000,000 calculations per second – about I million times faster than Deep Blue. Super Computers today take up entire buildings and require their own heating, cooling and ventilation infrastructure, support staff and maintenance technicians. Watson, IBM’s proto-AI computer which competed on and won Jeopardy in 2011 is small in comparison.

Rather than taking an approach of massively parallel hardware, it ushered in an era of software development that more intelligently utilized computational capacity through contextual analysis. Deep Blue crunched massive amounts of data to search for solutions to closed set problems, Watson on the other hand establishes conditional parameters to address open ended questions.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Both of these approaches continue to be developed and employ thousands of scientist, programmers, researchers, and technicians worldwide. However, they currently have no implications on our

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REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

understanding of the spatial and programmatic relationships they create. This studio will examine this situation. We will design for the impact these computers have on those who work with and create these computers, the public who consume its information, the landscape that is created by their production and use and the buildings built to house, use and maintain them. We will address this situation through the creation of contexts, contextonomies, and postscripts. In 1961, IBM moved from its research facility in a renovated house near Columbia University, which it had occupied since 1945, to the T.J. Watson Research Center in Yorktown Heights, New York. The center, designed by Eero Saarinen, is the home of advanced research including the development of the super computers Blue Gene, Deep Blue and Watson. This is our site. Through the creation of a comprehensive contextual analysis we will define our design problems.

M. PINYAN

er op pr

R. LEWANDOWSKI

ty e lin

saarinen model

reality

generate

shuffle

inscribe

adapt

boolean

overlay new model

program

= 3

3 2 1 3 2 1

1

3

2

1 3

2

2

1 3 1

2

3 1

2

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ALAR 7020 LIVING IN TOWN W.G. CLARK

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

All architecture is an addition; the best reveres and intensifies its place. This studio will contemplate additions to Charlottesville in the form of living spaces. The emerging trend to leave suburbia in favor of city dwelling will result in much higher residential density. We will each choose under utilized sites and propose a dwelling type that fits.

The design projects may range in scale from a house to apartment building to a neighborhood; sites may vary from a backyard to a vacant lot to instrustrial acreage. Daniel Bluestone’s Community History Workshop has spent the Fall semester researching housing patterns in Charlottesville. They will aid in the research of the selected sites and their histories, and serve as consultants for the projects.

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

J. CHANG + W. NEWTON

S. SCHOLER

C. BARKER

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PHOTOTROPHIC ARCHITECTURE METABOLISM FOR A NEW CITY BLOCK JACK COCHRAN, M.ARCH 2012 ADVISOR: BILL SHERMAN

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Phototrophic Architecture is a food production/preparation typology sized to a block in New York City that provides food for all residents one day per week and harvests all human and other organic waste from the block. Borrowing its name from a type of photosynthetic organism that generates its food (troph) from light (photo), the facility aspires to operate as a small ecosystem, generating food from light and waste and connecting to all buildings on the block in terms of services and program. Imagined as an intricate part of the social life of the block, the facility provides a farm, grocery store, restaurant, and community kitchens, allowing residents and visitors to purchase and prepare food in an integrated, publicly accessible space. Providing an alternative to the lack of transparency, long transportation distances, and large unconnected energy inputs that currently characterize the food system, Phototrophic Architecture develops synergies between the different food, energy, and waste needs and inputs that characterize much of human settlements. The facility houses two primary systems, an aquaponic farm and biodigesters, which can treat all organic waste from the block, generate food, run gas stoves, and provide thermal comfort to the facility when placed in combination with one another. Unlike most foodoriented facilities such as grocery stores or restaurants, this typology allows for residents to be within close proximity to where some of their food is grown, providing transparency and education. Block residents can farm the fish and plants themselves; community kitchens allow for residents to prepare meals together. By bringing together residents from the block, recipes and other cultural knowledge can be shared, and experimentation with different plant and fish varieties provides the opportunity for distinct food cultures to be developed on each block. As a whole, Phototrophic Architecture aspires to fundamentally change food production to provide an immersive, integrated system that advances environmental, economic, and social agendas.

+ MATERIAL PRACTICES

REPRESENTATION

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

REGIONAL ELECTRICITY AND HEAT

REGIONAL FOOD

MUNICIPAL TAP WATER

SINKS

SHOWERS

TOILETS WASTE

GREYWATER

WASTEWATER

FERTILIZER

VEGETABLES

FOOD PROCESSING ALGAE

WASTEWATER

CLEAN WATER

FOOD

FISH TANKS

STOVE

FOOD SCRAPS

REFRIGERATION

FOOD

FILTERED WATER LOCAL HEAT AND ELECTRICITY

FISH FEED DEWATERING

ALGAE DRYING

BIODIGESTER BIOMASS

CLEAN WATER

FERTILIZER

TO EXTERIOR GARDENS, STORMWATER SYSTEM

TO REGIONAL FARMS

LANDSCAPES, URBANISMS, INFRASTRUCTURES...

It has been suggested that the current economic constraints and environmental crisis—seemingly impeding the various disciplines of design—actually have had a positive effect on the discipline and the environment at large, as they have spurred innovation. Designers have started to work in multi-disciplinary modes and have taken a greater role in forming and sustaining the built environment. The more successful projects that we see today perform more than one task, serve more than one purpose and operate at multiple levels of building, urbanism, ecology, infrastructure, planning, etc. at once. Where in the past civil engineers were designing large infrastructural projects, now landscape architects, architects and urban designers have to be involved. New multidisciplinary modes of practice have emerged that pursue seemingly utopian visions and a more holistic and systemic approach to engaging the environment.

04 03 02 01

queries: 1. What is the role of multi-disciplinary modes of practice today?

2. What is the role of designers in responding to the current environmental conditions we are faced with?

3. What are the boundaries of infrastructure and public space?

4. How has the way we perceive our environment changed?

5. How could remediation processes become part of our standard practice?

6. How effective are conventional modes of practice and how could they be improved to respond to issues we are facing today?

7. What are the possibilities and potentials of collaboration with disciplines outside the field of design?

03

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ANIMATE

ALAR 7020/8020

URBAN MATTER: BARCELONA MARGARITA JOVER Studio Barcelona is a studio abroad for graduate students offered at the Departments of Architecture, Landscape and Urban Planning. The main purpose of Studio Barcelona is to work on an urban project in Barcelona, which has invested many years building a democratic public space as a political way to increase the quality of life and even the notoriety of the city.

With the reestablishment of the democracy in Spain in 1978, Barcelona began a continuous process of urban transformation starting with the smaller to a bigger scale. After the Olympic Games on 1992, the Forum of the Cultures on 2004 and the transformation of the main industrial district of Poblenou into a new productive area for knowledge and technology called 22@ district; Barcelona started its last big project consequence: the high speed train connecting Spain with France which is called Sagrera project.

The High Speed Train Line will have a main station in La Sagrera which is an important area into the city of Barcelona to transform and develop. La Sagrera, on the north part of the city, will be the subject of a transformation with the construction of the new transportation hub (high speed, regional and local trains, metro, bus) and the covering of the rail tracks that have cut neighborhoods around since the XIX century.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

The urban operation includes the intermodal station, important developments of housing, offices and facilities in the recovered land of unused tracks and a new park (Comtal Park) over the structure of the rail tracks which will communicate several districts along the trace.

Studio Barcelona will work with the Comtal Park Project, which is the largest project nowadays in the city. Furthermore, Studio Barcelona will

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FABRICATE

work concerning urban issues such building neighborhoods, constructing building on old industrial sites, and specially designing a path and the public or collective space from Comtal Park to the Mediterranean sea.

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

Studio Barcelona will also teach students about features of this city, such population density, public transportation, water management, cultural identity and recent history. Studio Barcelona focuses these types of urban issues as a background to create their own design project such emphasize on public space, landscape and architecture. Studio Barcelona’s methodology provides tools or frames that allow students to understand the complexity of this dense city and to manage their own urban project.

EXPANDING MARKET

MANAGING STREET Ensuring of Public Space / Continuous Plating Plan Existing Condition

Improving N

Proposal Plan

W. JUNG

Remodeling & Modernization

Rehabilitation of Market

Urban Renewal Plan of Mark

B-B’’ Section

A-A’ Section

New Type of City Market in Barcelona (o E

EXPANDING MARKET

MANAGING STREET Market Transformation

Reacting s

New Parking Lot System

PRESENT

A A’

O AG AR

ST. CLO T

MERIDIANA

Remodeling & Modernization

Rehabilitation of Market

STRE ET P ARK ING

Urban Renewal Plan of Market

NEW HO

IA NV RA G

New Type of City Market in Barcelona (open spacec and services)

Existing: car+human+parking

MANAGING STREET New Parking Lot System

A-A’ S

PARKING LOT(290) B

A

B’

O AG AR

RIDIANA

RIDIANA

A’ O AG AR

Circulation Programs

M

E

E

E

M

T E

Legend Dog playground Comtal route Bicycle trail Relax

Masterplan

Fountain

Legend

Children playground

Road Trainway

Sports

Subway

Viewing tower

People T

Train station

Flee market

M

Metro station Elevator

Outdoor gallery

E

LOUHAN

e3 N 0m

100m

+ 5.0 m

+ 5.0 m

+ 12.2 m

B

+ 12.2 m

20.0 m / 65’-6”

SITE PLAN - STREET LEVEL SITE VIEW - C 1: 1000

0.0 m / 0’-0”

100.0 m / 328’-0”

looking west from tower

H. JAIN

multi-event space

railwa

bars / restaurants walkway

glories circle torre agbar

Av. MERIDIANA

L

ONA

AG Av. DI

1

2

3

Ca er rr D e Lo sC AS TIL JO LE

AN eT

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MODALITY AND INTER-CONNECTIVITY METRO STATION BUS STOP TRAM STATION BICYCLE STAND

FUNCTIONAL PROGRAM - BUILT BARS / RESTAURANTS / SHOPS

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SPORTS

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MULTI - FUNCTIONAL / ICONIC

4. HOLY OAK

GALLERIES / EXHIBITION MULTI - EVENT SPACE CONVENTIONS / LECTURE HALLS

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ARCH 4020 VOIDS CHARLIE MENEFEE Increasingly, voids are becoming the sites for architectural invention and intervention. In America in particular where we feel we have unending amounts of land and other resources, there have been created, primarily by default and/or lack of attention, gaps between and voids around our built structures. Now that we as a culture are coming to realize the expense of this wasteful practice of treating buildings as stand alone objects rather than considering them as forming a more dense and less resource-intensive sets of systems, voids are being reconsidered.

Not necessarily being filled but addressed as useful and, importantly for us, designed space. Part and parcel when dealing with voids is addressing the nature of boundaries. I have always appreciated the Janus-like nature of boundaries as they by definition both separate and connect. And of course they can simultaneousely be crossed by some systems while keeping others apart. This means that identifying and developing a knowledge of the systems involved is paramount to developing strategies that address space, structure, infrastructure, and environmental concerns - the “stuff” of architecture.

The semester consisted of three parts. Part One [two weeks] involved making several proposals for a retirement community in Roanoke that approached the School to help them conceive of a connection between two buildings across a “void.” Part Two [two weeks] was an alldepartment workshop designed and run by Eduardo Arroyo who clearly is adept at proposing programs and architecture for voids at the building and urban scales.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Part Three [ten weeks] pulled together the lessons of the first two projects to address making the “void” of the typical American suburban yard the genesis or “center” of a new housing prototype that I call the MAXmin house.

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e 3 levels

A. BRENNAN

Mid - rise 6 levels

Roof plan

H. MEDLIN

Mid - rise 6 levels

Level 2

Roof terrace

3 levels

T. WHITNEY

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VORTEX 01 BELMONT BRIDGE IÑAKI ALDAY This is the result of an innovative pedagogical and experimental workshop for 10 days engaging almost the whole School of Architecture of the University of Virginia. It has been a unique experience in the collaboration between the city, the community and the school, an incredibly powerful potential resource for Charlottesville. The departments of Architecture and Landscape Architecture have been fully involved with 319 students organized in 29 teams with one or more faculty in each of them as advisors. Architectural History and Urban and Environmental Planning, also joined the experiment. All teams benefited from the overall leadership of one of the most outstanding Spanish architects, Eduardo Arroyo.

The Belmont Bridge crosses over rail tracks and connects Belmont and downtown, and is part of a larger network. And it has to be efficient for motor vehicles in local traffic and larger scale traffic, as well as being comfortable, safe and pleasant for pedestrian and bicycles. But a bridge, or let’s say just a crossing, can be much more than a complex traffic infrastructure, especially in such an interesting and delicate context.

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A bridge is also a place to look from and to look at, a place to stay and enjoy. One cannot understand some of the most beautiful cities in the world without enjoying their bridges: Venice, Paris, Prague, Amsterdam…

Bridges are buildings themselves that can be used for more purposes (Ponte Vecchio in Florence, Rialto in Venice but also recent ones as the bridge-pavilion of Zaha Hadid in Zaragoza) and should always be public spaces. The Belmont Bridge is the welcoming gateway to Belmont and to the Downtown Mall, the most important pedestrian transformation in the United States at that time, designed by Lawrence Halprin in the

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mid ‘70s. And the renewal of the bridge is an enormous opportunity for rethinking this link, the end of the mall and what happens to the east, the potential of the vacant spaces to the south of the rail tracks and perhaps to spread and expand the powerful civic space of the mall, increasing the density and the urban condition. Infrastructures are, today, proven to be the key places of opportunity in European and American cities of all sizes. And nowadays, tracks, bridges, coverings and everything related to the technological changes in railroad transportation, are allowing the development of new concepts in architecture and public space.

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The workshop has also been a way to participate in the Belmont Bridge Gait-way competition, organized by members of the local community led by Brian Wimer. The outcome of the workshop: 29 proposals that are completely reframing the initial problem addressed by the City. From now on, there is much more than a bridge.

WILBER - WEB INFRASTRUCTURE LINKING BELMONT

ONCE UPON A TIME

BELMONT PARKWAY

THE SQUISHY JOINT

CVILLACTIVE SURFACE

X-ING

MULTI - NODAL NEXUS

WEAVE BRIDGE

SUDDEN FOREST

HUG IT OUT CVILLE

PATH PROGRAMS PLACE

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ARCH 3020 SUBURBIA 01 INAKI ALDAY + TAT BONHEVI with REUBEN RAINEY + CATHERINE LASSEN The suburban growth for the last decades brings an impossible and unrecognizable ‘popular’ style in erased landscapes, applying standard solutions rather related to a funny combination of Disney and the Simpsons than to any urban, landscape or architectural thought. Urged by the economic and ecologic crisis, the studio ventures a design research into alternative concepts of suburbia.

Forney located in the Sunbelt state of Texas, the fastest growing state, offers the opportunity to think other models of growth and city making. Related to real (state) concepts as economical interests and immigrational fluxes, a new development can also respond to infrastructures and transportation, to landscape and productive ground, to water and topography, to health and culture, to complexity and mixed uses or to density and urban condition. The new city of Forney will include different kinds of dwellings, of course, as well as commercial offices and urban scale facilities such as medical center, court, school, hotel and sports. And it is linked to infrastructures such as roads and railway, with the possibility of implementing a light train and, subsequently, a new urban polarity area.

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DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

The typical North American growth of new suburbia produces joker communities with little differences in any variations across different latitudes. New developments are generated through methods of subdividing land on a white sheet of paper. The territory is deprived of its qualities and distinctive traces in order to be easily transformed in some kind of chess board (while lacking its abstract isotropic beauty).

In response, this studio researches in the design of a new city in which public space and landscape become the driving forces to develop an identity and urban quality. We have a ‘place.’ We don’t want it to become

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a nowhere land ready for the work of heavy bulldozers. The existing fields, micro topographies, water systems, agricultural production and forests provide conditions and constraints, thus opportunities and new demands. The goal of proposing a new way of developing a city is related to the understanding of the existing landscape and the creation of a new layer of landscape, to the mobility inside the area and the metropolitan links, and to the density and the mixture of uses.

Elements of larger scale (road, bridge and railway, but also water and energy supply, sewer systems‌) are key topics of design understood in their territorial implications. The railway gives us the opportunity of considering a new station in the area, linking the new Forney to Dallas and Fort Worth with a urban light train. A new station immediately creates opportunities for denser developments as well as facilities and commercial growth linked both to the new area as well as to a larger scale. Green areas in a comprehensive strategy, at the scale of the development but even in a territorial and geographic scale, are a key element of the masterplan, as well as the whole range of public spaces.

The new Forney will have a strong identity linked to the quality of the public and open spaces and to the structural role of the park system.

Teams of 4 students have developed several Master Plans, each with specific responsibilities in respect to ecological strategies, public space, housing and the public and commercial buildings.

MASTERPLAN STRATEGIES

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FILTERING FORNEY Water is a scarce resource in Forney, Texas. Thus, the basis for our design proposal is focused on maximizing the usage of water present on the site. By creating a network of water filtering channels, which utilizes,

FILTERING FORNEY P. HARRIS, M. RAHMATULLAH, N. RATCLIFF, K. BADLATO

CONSTELLATIONS H. JIN, J. EPLEY, T. HERRING, A. AMENYAH

PIXELS OF FORNEY V. AZEVEDO, I. KIM, J. MOORE

TEXAGON A. BERNDT, T. O’NEILL, R. HIGHTOWER, K. FAJARDO

filters and carries all the run off-waste water on the site, we attempt to provide a system that decreases waste water.

Through the analysis of the existing topography and the surrounding watershed system, the water flow organization is interpreted to generate a system of natural filtration water beds based on the existing site conditions and the Living Machine system. These waterbeds ensure that the greywater and run-off water f to larger wetlands. The water purifies along these paths by natural filtration plants to make it potable water, which ends in a communal pond or pool that also acts as a reservoir.

After arranging the water flow scheme on the natural low points along the site, the roads were all placed on the high points to decrease the points of intersection between the two systems. This organization is to promote more unique public space that is pedestrian and bike friendly, and at the same time providing a shaded environment to mediate the Texas heat and give the community a sense of a unique identity.

CONSTELLATIONS Our proposal for the site is as such to develop a series of interdependent eco-districts that will not only encourage the exchange of products, ideas and resources, but also foster community between its members.

There are currently five constellations, which include an elementary school, library, train station and retail area, water recycling, and medical districts. The goal of creating “constellations� is to avoid the centralized downtown typical in Texas, and to create multiple centers to encourage a more dynamic flow of exchange of resource and circulation. In analyzing our site and the larger Forney, major proposals for the existing green cover, road infrastructure, and networks were made. A proposal was made to extend and thicken the existing plant cover to reinforce the connection that once existed on the site. The grid of larger Forney was also analyzed and extended into our site, to create an infrastructural frame for our network of streets. The intersection of these two systems was key in setting up the locations of the five constellations. The overlay of our green proposal over the infrastructural grid was then adapted to weave through the site, and to create a continuous green belt of

circulation that connected all five constellations, which provides a framework for the growth of the city.

PIXELS OF FORNEY The city of Forney, Texas, is an overly flat and insular environment. There is a clear and bold separation of residential and public areas; public meaning civic and commercial. Our proposal aimed to create a more integrated kind of town that moved away from the typical suburban development. Based on a precedent design by Spanish Architect Eduardo Arroyo called “Plaza Del Desierto�, we decided that this vast site needed a similar approach. Arroyo divided the site of the plaza into smaller parcels that he called pixels. Each pixel had a different ambiance; one was just green, one had water features, the other was hard floored and had benches and so on. We felt this strategy was highly compelling due to its ability to change and the many configurations it could take overtime. We assigned different colors to each programmatic element, that would be placed on site following a certain rule.

TEXAGON Team TEXAGON believes that water can bring people together. Water fosters healthy communities, and this trait is something that Dallas and Forney tend to overlook. We discovered that when community pools and recreational areas are added to every neighborhood, serpentine communities could begin to form with housing that faces the central area rather than the roads. The hexagon shape facilitates the creation of these neighborhoods, as it tessellates easily and generates a type of space that promotes social interaction and healthy lifestyles. The hexagon shapes of our plots help to minimize the roads, and the various lanes for pedestrians and bikers encourage outdoor activity. Using both porous asphalt and water tanks to aid with water filtration and conservation, the sparse water that comes into the area is recycled. All of our communities have at least one pool to share, and with each size comes different program. The pools become the central gathering space for the residents.

P. HARRIS + M. RAHMATULLAH

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HEDONISTIC ECOLOGIES

STRATEGIES FOR GOOD CLEAN FUN KATHERINE TREPPENDAHL, M.ARCH 2012 ADVISOR: NANA LAST While architecture often produces ecologies, it is not often produced by ecologies. What would happen if we allowed this idea to drive and dictate architectural design? The intersection and overlapping of forms (geometry) or function (program) would then become merely the manifestation of existing and inserted relationships between processes.

The resulting architecture would act not as a mere figure, but as a machine, a conduit regulating relationships, feeding off of them and producing new ones.

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ADAPTIVE INFASTRUCTURES

This project is a place-driven, process-driven machine, and a representation of what ecological design can produce. It takes as its starting point the relationships between the underutilized and polluted water of the James River, the citizens of Richmond, the abandoned industrial landscape, the site’s discrete barley storage/shipping industry, and the floodwall. They are related by proximity, but also through process. For example, the citizens dirty the river, the river threatens to flood the citizens, the citizens desire to play in the river but pollutants in the river are harmful and kill plant and animal species, which, in turn, affect the environment and food chain of the citizens, and so on. The machine begins here. Starting with these inputs, it adds layers. In this case, wetlands, mussels and ultraviolet lights clean the water. Paths connect the citizens to the cleaned water. Fish are cultivated to feed the citizens and birds. Peat is produced to smoke the barley. Slowly, the machine is being formed into a more robust and valuable one, and from these overlapping ecologies, an architecture grows.

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SM

:

the pursuit of pleasure

HEDO

:

the study of the interaction of people with their environment

ECOL

Hedonistic Eco nding existing

Thinking, as a design strategy, works by nections- and linking them together into s starting point the relationships between polluted water of the James River, the the abandoned industrial landscape, the orage/shipping industry, and the oodwall. ere, and adds layers. In this case, wetlands, ghts clean the water. Paths connect the water. Fish are cultivated to feed the is produced to smoke the barley. Slowly, ormed into a more robust and valuable verlapping ecologies, industries grow bs and cultural identities)-- and hedonism.

machine. It tak And the outcome is a pleasure machine. By feeding the initial ecologies the underutilize citizens of Rich a proscribed and diet, it is able to take the existing relationships and site’s discrete b The machine b mussels & ultra restructure them into new, delightfulHones.

In this case, a distillery and citizens to the E D O N I S M : the pursuit of pleasure citizens and bir a poolhouse. This is the trick of ecological design. While sustainability the machine is andinitial fromst E C O L O G Y : t h e s t u d y o f t h e i n t e r a c t i o n o fone,The territory arot (bringing with often deploys the language of ascetism, hedonisticp e ecology o p l e w i t hcan t h e i r e n v i r o n m e n t and sculptin Manchester. responsibly capitalize on overlapping processes, finding unforeseen riparian buff

:

the pursuit of pleasure

COLOGY

:

the study of the interaction of people with their environment

donistic Ecological Thinking, as a design strategy, works by ding existing disconnections- and linking them together into chine. It takes as its starting point the relationships between underutilized and polluted water of the James River, the zens of Richmond, the abandoned industrial landscape, the ’s discrete barley storage/shipping industry, and the oodwall. e machine begins here, and adds layers. In this case, wetlands, ssels & ultraviolet lights clean the water. Paths connect the zens to the cleaned water. Fish are cultivated to feed the zens and birds. Peat is produced to smoke the barley. Slowly, machine is being formed into a more robust and valuable e, and from these overlapping ecologies, industries grow E X cultural ISTIN G D I Sand CO NNECTIONS Pnging A T with H S them jobs and identities)-hedonism.

james river

WA ET WILDLIFE & QLUAANCDUSL T&U RR IEP A R I A N B U F F E R S

cso cl eaning pond

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EDONISM

both river w combined se is given its o water can b shing pond poolhouses.

Hedonistic Ecological Thinking, as a design strategy, works by nding existing disconnections- and linking them together into machine. It takes as its starting point the relationships between the underutilized and polluted water of the James River, the citizens of Richmond, the abandoned industrial landscape, the site’s discrete barley storage/shipping industry, and the oodwall.

The machine begins here, and adds layers. In this case, wetlands, mussels & ultraviolet lights clean the water. Paths connect the citizens to the cleaned water. Fish are cultivated to feed the citizens and birds. Peat is produced to smoke the barley. Slowly, the machine is being formed into a more robust and valuable The initial stategy is the redesign ecologies, of the one, and from these overlapping industries grow territory around thejobs river:and reopening, expanding, and hedonism. (bringing with them cultural identities)-and sculpting the defunct industrial canal in cso cleaning pond Manchester. Several acres of wetlands and riparian buffers create a new loop that cleans both river water, stormwater runoff and the combined sewage overow water. The CSO is given its own separate loop, but the other water can be siphoned into different programs: shing ponds, mussel beds, peat beds, distilleries, poolhouses.

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james river

REPRESENTATION

P

WF IRLADSLTI FREU C & TAUQRUE A C U L T U R E POOL IN

+ MATERIAL PRACTICES

D I S T I L L EPRAYT H I NS D U S T R Y

S DUSTRY D I S T I L L EP AT R Y HI N

REGENERATE

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W EATQLUAANCDUSL T&URRIEP A R I A N B U F F E R S WILDLIFE &

STILLERY PROCESSES & byproducts

growing & reaping

X B U F S

shipping

storage

malting

germinating

roasting

grin

james river richmond

M E Z Z A N I N E

EHORZ SRRO SDWK

germinating kiln

manchester reservoir

EDWKURRP

ing

INDUSTRIAL LANDSCAPE

PORT OF RICHMOND

barley storage

RAIL NET WORK river pool

brewing distilling distilling

RICHMOND

RIèFH

PDVKLQJ malt

barley storage

OLJKW well

distillery plaza

bar & worker’s cafe

barley silo skyline

ageing

loading area

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commerical skyline

RIVER settling pool

C S O O U T L E T S : C H E S A P E A K E BAY

JAMES RIVER pollutants: nitrogen, phosphorus, sewageCHMOND

ON EAST / WEST

wetland

CSO OUTLETS : RICHMOND

STRATEGY: expand canal between railroad & floodwallND

MANCHESTER

STRATEGY: create riparian buffers, marshlands, settling poolsND

RICHMOND

STRATEGY: create paths connecting important nodes

W E T L A N D P AT H W A Y S

ENTRANCE PLAZA

SETTLING POND

NORIA

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grinding

X B U F S

Z F B T U

steeping

brewing CATTLE FEED

distilling & condensing

aging

bottling & enjoying

BEER ENERGY

T O P F L O O R

roasting RIèFH reservoir

grinding

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bathroom

sunbathing deck

changing room

sauna

bar & dance

light well

bathroom

covered deck

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distilling & still safe

pool

pool

light well drin

ageing

king

ageing

R O O F D E C K / W AT E R T R O U G H

BARROOM

DISTILLERS

GRINDERS

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POOL R I V E R WA L K / R I V E R P O O L

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View from the poolhouse deck. The deck stretches over the floodwall and looks out over the James Riv

ver toward Richmond.

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DYAMIC INFRASTRUCTURE WATER + WHISKEY ON THE RIVER

SARAH CANCIENNE, M.ARCH 2012 ADVISOR: NANA LAST This design critiques ageing 1970’s industry as short sighted, shortlived, deadly to public space, and environmentally exploitative. Instead it proposes the integration of public and industrial space, designed to work symbiotically with natural systems. The program is a public pool combined with a distillery, located on the southern bank of Richmond in an industrial area known as Manchester. The building is sited between a 1970’s floodwall, an old rail line, and a historic canal that had previously been used for electricity generation but now lies stagnant. Initial site readings suggested that the most productive use for the canal was to generate potable water (as opposed to electricity, the original use of the canal). The only active industry on the site is a large barley storage facility, containing the primary ingredient in single malt whiskey.

The scope of this proposal depends on an urban-scale intervention of large constructed wetlands as a water-cleaning machine. These wetlands are fed by the canal, which runs through the distillery/pool house and is released back into the James River at a small tidal wetland and fish nursery. The site strategy closes a large gap in Richmond’s vital park system and also repurposes an old rail line that crosses the James River as a new critical pedestrian connection to downtown Richmond.

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DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

The building weaves together overlapping programs of water cleaning, whiskey distillation, swimming pool, park, and whiskey tasting bar; it terraces and ramps up and over the 30 foot floodwall providing access to the river to views north of downtown Richmond, and south towards the Manchester water park. The tectonics and geometry of the building reflects a braided response to the linear infrastructure of the site, using the floodwall as a platform for public space.

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NETWORKS, REGIONS, TERRITORIES, ECOLOGIES, CULTURES, THE GLOBE, ...

With the advent of globalization, hyper-urbanization, and the ensuing environmental crisis, there is an urgency for innovation in the mega-scale.

In the Planning and Urban Design disciplines, where in the past projects were primarily considered at the metropolitan, state, or, occasionally at the national level, now global issues are at stake. Today governmental bodies in the Far East the Global South are planning urbanisms with whole territories in mind. Architects, Landscape Architects, Urban Designers, and Planners alike are being challenged to operate in a new domain.

This shift has spurred new modes of operation, that cross disciplinary boundaries and expands our field of practice. Design is no longer focused on loci. We are designing systems, patterns, and processes that form an extended network. Our domain of practice is the node, its relationship to the field and the extended field.

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queries: 1. What are some of the more effective strategies for engaging this new domain?

2. What is the role of design?

3. How does this new domain impact our work flow?

4. What is the feedback loop between the node and the field?

5. Where is the place of the more conventional modes of practice in this new domain?

6. Are social agendas to replace design agendas, or complement them?

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ARCH 2020

CATS, RATS AND CREATURES ZANETA HONG + KAROLIN MOELLMAN The introductory architectural design studio explores comprehensive and foundational design principles, skill sets, and critical thinking. The material covered throughout the semester is presented through a series of projects, workshops, lectures, and reviews which involve the beginning design student in the application of fundamental design principles and critical design strategies. This course fosters the development of a design methodology founded on thoughtful, creative, ethical, sustainable, and rigorous work practices in service of exploring meaningful expressions of the built environment.

With the understanding that one of our most pressing architectural questions is the inefficient, static growth of our constructed urban environments in an otherwise limited natural context, we want to think towards a different understanding of site, system, and building integration; and we are challenged to take on a more integrated approach reevaluating and imagining the interconnection between constructed form, infrastructure, technology, and space. To begin, we are free to open the core of the profession to look beyond known typologies of architectural and systematic scales to let new connectivity emerge.

Therefore a new way of working, one that is not descriptive, but taking on a distributing expertise and responsibility, is required.

Thestudioinvestigatesthereading,diagramming,abstracting,speculative mapping, and transforming of cities operating between constructed fragments and their transformational interchange, responsiveness, and feedback into larger systematic layers.

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DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

This course offers a single design project with three phases. The series of phases throughout the course will help implement and guide

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the development of skill sets; and are designed to act as integral and complementary component to the studio design project.

Agent, Indicator, Lens of the City, in - phase 1 - We approach the urban environment through a character (apple, exhaust/fog, criminal, mold, mushroom, newspaper, pigeon, rat, skateboarder, tire, weed) who becomes the agent through which we interpret and imagine an urban context. To begin, we will abstract the nature, logic, operations, and parameters of the character. This will give us the opportunity to step out of our own understandings of the systems surrounding us, and will sharpen our knowledge beyond the interconnected layers of a diverse and robust urban context.

Fabric, Layer, System, Network of the City - phase 2 - Which parameters are involved in constructing an urban fabric and how do certain processes transform the city over time? We will begin by researching and measuring the city of Lynchburg, Virginia. We will immerse into identifying the networks that define the city’s fabric by analyzing the environmental, social, cultural, economical, political, infrastructural and technological parameters and their historical, current and future impact upon the urban condition. We will be investing in the observation of various patterns of occupation, densities, and building typologies along with their interconnection with one another.

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The research, knowledge, and focus explored in phase 1, and phase 2 will individually layout the foundation for phase 3 investigations : design strategies, explorations and conclusions.

C. XU

A. MCMILLEN

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ARCH 2020

SYSTEMS OF URBAN CONNECTIVITY ROBIN DRIPPS + BRAD SCHUCK Working within the context of Lynchburg, students will develop inventive ways to deconstruct the myriad relationships that make up the structure of the city. Different approaches to surveying, mapping, and diagramming will reveal potential fields of action as well as critical seams, fissures, gaps, and disjunctures where interventions might act catalytically towards reestablishing, or in some cases establishing for the first time, hybrid infrastructural social, economic, and ecological networks. Work will cycle between analytic procedures and synthetic propositions with these becoming increasingly intertwined as design ideas begin to reveal unknown potentials requiring further explorations.

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DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Diagramming, within this context, becomes a speculative, inventive act. A diagram is not neutral but presents a particular position or point of view. The successful diagram is less a description of reality and more a revealing of potentials not yet seen. As such a diagram is both analytical and synthetic in that its revelations include possibilities for design action. Within the spatial discourses of architecture, the diagram must be spatial and even hint at temporality. Diagrams are best understood as a sequence articulating the development of an idea so that the process of decision-making is embedded in the diagram.

This, however, is not a historical account of process but a more reflective explication that reveals the hierarchical nature of decisions going from initiating concepts to detail. A diagram can be both precise and suggestive. Mathematical and geometric logics are typical analogues to spatial mapping and provide a necessary frame or reference to more vague propositions (the root meaning of geometry is earth measure and many of its postulates are derived from how the human relates to the earth.) Diagrams can be either topological, topographical or even a hybrid of these. Topological diagrams deal with the structure of relationships absent any topographic consideration, while topographic

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diagrams take into account the specific geometries and dimension of the world. Mapping a territory, a political landscape, or even an idea is an imaginative act of substance. This is not a process of tracing what is known but instead of discovering what ought to be known.

It is an act of fiction as much as fact. Here it is helpful to understand the distinction made by Andre Gide relative to fiction and history where fiction describes history that has yet to take place and history is realized fiction.

Mapping comes closer to the values of design than those of description. At its best, we become aware of possibilities, of potential relationships among things previously only thought of as being different. Mapping can also be a subversive activity. It can reveal processes, and connections that are hidden and yet exist as the foundation of thought and action so that otherwise unexamined relationships of power can be better evaluated. A history of mapping is an excellent lens to view and then understand culture in its many complex and contradictory manifestations.

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GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

As should be now evident, your interventions into the city begin with your first mapping of relationships. These interventions, however, will gradually take more shape with the accumulation of specificity consistent with the growing particularity of your mapping until the project itself is so embedded within the synthetic account of this place that it achieves the apparent anomalous condition of being alien and thus necessitating a critical reevaluation of things thought to be already settled while at the same time possessing a quality of familiarity that makes its existence seem inevitable.

E. ASHBY + K. LAI

E. CAVELIER

velopment Lynchburg has been Lynchburgof has been lizing people and resources e and resources the logic and ortinto the account logic and orthe existing natural real. The natural real.

The o Lynchburg demanding for a new demanding for a new xisting city where where she/he can she/he can deal life.

Initially demanding nitially demanding ves and food, will the turtle will , the turtle yzer rmingtransforming the city of the city of ew where re space turtles and turtles and oy city as a public, social as the a public, social e place.

Once the Turtle allowed me to find a potential site of activity I came back to the initial idea of the Reptile City in order to intervene using the lenses of the turtle

exagon grid as the most able and manipulative one

From th

The intervention of the territory became a new different infrastructure for the basic needs of the turtle, which became new possible responsive paths to and interaction in urban spaces.

Lynchburg as a turtle Lynchburg as a turtle Lynchburg as a turtle network network network

From the Human Grid to the Turtle Grid From Grid the Human Grid to the Turtle Grid From the Human to the Turtle Grid

At the end of the conceptual process the Turtle in the Grid became an intervention that proposed an adaptable infrastructure that would create the possibility to transform the city into a new civic space of participation, unique urban character, and free circulation. A space based on what is found available and renewable. The infrastructure sets rules but allows unplanned events and spontaneity. It proposed to reduce the gap between design and its impact. It is supposed to become a viable quick fix urban architecture that functions as a life support system fo developing changing city cultures in need for new available solutions.

The model suggests the characterization of Architecture as an event. As an action that requires certain conditions in order to happen, where the only possible realization is based on the active involvement of its participants.

the city that derived from o the crisis of human living

Every rule needs to be broken

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ANIMATE

ALAR 7020 PARADOXCITY JORG SIEWEKE

The history of Venice is the history of a successful water-bound trading post: A port city. The lagoon siting and management and modification of that territory allowed the Venetians to succeed economically, ecologically and culturally and rise to the Most Serene Republic. The cultural artifacts of this time are admired by 20 million visitors today.

The Arsenale were producing one ship a day in assembly line fashion centuries before Henry Ford. At the same time the city is sinking and shrinking. In the process of modernization Venice has lost its capacity to successfully maintain a state of stability in the “swampy ground” of the lagoon. The territory of mudflats and salt-marshes that supported and protected the city from intrusion of the aggressors and the sea itself, turn into an open bay and allow aqua alta to intrude the city.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

In the future the Port of Venice plans to become the largest in Italy. Like all ports they dream to be the greatest and represent an unquestioned paradigm of infinite growth. The future ambitions of Venice Port include new scales of terminals for Cruise-ships Container, Oil and Roll-on Rollof lorry ferries. The PR material claims to act in the economic tradition of Venice; the new port would be a “Green Port” “Ethical Port” and an “Open Port.” Critics are concerned that implementing the scale of the contemporary port facilities and operation will not be the future of the city but its end. Can the lagoon territory accommodate the late-fordist scale of production and trade or would it be better advised to move ahead to a post-fordist economy based on knowledge and information services? The studio will take a critical look at recent proposals for the next iterations of adaptations to modernize the lagoon. How can barge

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INVESTIGATE

FABRICATE

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

shipping through inland channels create a next iteration of a productive and meaningful relationship between the Venice lagoon and terra firma of the Veneto. How can large volumes of contaminated dredge material from navigation channels in the lagoon be managed?

LA B ORAT O R Y + B O TAN I C AL VALLONE MORANZANI

ARCHITECTURE + LANDSCAPE ARCHITECTURE LANDSCAPE urban design emergence from the+ rural landscape

ISLAND OF MURANO, VENICE ITALY OF MURANO, demandsISLAND of site = demands of patrons VENICE ITALY

urban design emergence from the rural landscape

TOURISM

TOURISM

demands of site = demands of patrons

INDUSTRY INDUSTRY

1. SITE EVAULATION + CONTAMINATION SORTING

CIVILIZATION CIVILIZATION

DELIZIE

DELIZIE

PLANTING AREA

PLANTING AREA RESIDENTIAL PAVILION

RESIDENTIAL PAVILION LOGGIA

LOGGIA

FARM AREA

FARM AREA FOOD STORAGE

BARCHESSE

ANIMAL STORAGE

BARCHESSE FOOD STORAGE

ANIMAL STORAGE

AGRICULTURE AGRICULTURE

LANDSCAPE = PRODUCTIVE LANDSCAPE = PRODUCTIVE civilization of the villa civilization of the villa

2. SITE SEGMENTATION + REMEDIATION PREP

CULTURAL CONSIDERATIONS

SITE CONSIDERATIONS

+ MANUFACTURED LANDSCAPE REMEDIATION LABORATORY INTERACTIVE EDUCATION CENTERS PUBLIC PARK + VISITOR CENTER WALKING + BICYCLE PATH

L A B O R AT O RY + B O TA N IC A 3. SLURRY INSTALLATION

VALLONE MORANZANI

LA B ORATORY + B O TAN I C AL PAR K ISLAND OF MURANO, VENICE ITALY

ITALY TOURISM

TOURISM

OF MURANO, demandsISLAND of site = demands of patrons VENICE demands of site = demands of patrons

VALLONE MORANZANI

+ SITE CIRCULATION SLURRY ROUTE CLOSED LOOP DRAINAGE SYSTEM 4. DREDGE DELIVERY

RE + LANDSCAPE TECTURE LANDSCAPE gence from the+ rural landscape

ISLAND OF MURANO, VENICE ITALY

ITALY TOURISM

TOURISM

OF MURANO, demandsISLAND of site = demands of patrons VENICE demands of site = demands of patrons

gn emergence from the rural landscape

INDUSTRY INDUSTRY

+ DIVISION OF LANDFILL INDUSTRY INDUSTRY

REMEDIATION CELLS

1. SITE EVAULATION + CONTAMINATION

CIVILIZATION CIVILIZATION

CIVILIZATION CIVILIZATION

DELIZIE

POPULATION 61,261,254 LAND AREA 301,340 km2

DELIZIE

PLANTING AREA

PLANTING AREA RESIDENTIAL PAVILION

LOGGIA

DELIZIE

RESIDENTIAL PAVILION LOGGIA

BARCHESSE

DELIZIE FARM AREA

FARM AREA FOOD STORAGE

PLANTING AREA FOOD STORAGE

+ MALCONTENTA, VENTETO

AGRICULTURE AGRICULTURE + EXISTING LANDFILL

AGRICULTURE AGRICULTURE

1. SITE EVAULATION + CONTAMINATION SORTING

5. REMEDIATION PROCESS

G R U P P O MORANZANI

A. BROWN, B. FLYNN, R. HORA

J. FOX

COMMUNICATE

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ANIMATE

THE URBAN LABORATORY OF PARIS AND THE INSTITUT DU PAYSAGE

CHARLES SPARKMAN, M.ARCH 2012 ADVISOR: PETER WALDMAN For nearly three millennia, Parisians have persistently reconstructed The Beaubourg Plateau, an Urban Laboratory1 at the “Heart of Paris,” to reflect their utopian imaginations and to project the identity of their capital city. However, with the construction of the Forum les Halles and the Jardin les Halles, the site has fallen dormant, caught within the selfreferential loop of the “Beaubourg Effect” and neglected by its current generation of inhabitants.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Currently, 800,000 people pass through the site every day, making Les Halles the most trafficked transit node in Europe. This population largely consists immigrants from Northern Africa and Eastern Europe who occupy the peripheral banlieues of the city and use the RER// Metro node of Les Halles to access Paris’ historic core and navigate the periphery. While this population represents the transforming identity of Paris and the greater European Union, they remain invisible (only 20% of visitors who pass through the Beaubourg Plateau ascend to the city surface). On the surface, the site remains vacant and detached from the larger city, lending little support to its fragile, transient population—some of whom have just arrived to the European Union for the first time.

The proposal for an Institut du Paysage defines a space where the city’s inhabitants will contend with the shifting identity of the Paris, France, and the greater European Union. The proposal reconsiders the surface subsurface binary of Paris and reconnects the site—currently an urban island—with the greater city and its geologic history. The Institut, comprised of a vocational school, performance spaces, and the Marche des Champeaux manifests the nascent population’s agency in the city and reconsiders the role of an Urban Laboratory in transforming the identity of Paris and the greater European Union.

+ MATERIAL PRACTICES

REPRESENTATION

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

AIS DE RER | LOOKING SOUTH TOWARDS IN

NSTITUT DU PAYSAGE

COMMUNICATE

ASSEMBLE

ANIMATE

ARCH 5590 - 001

SPECIAL APPLICATIONS OF TECHNOLOGY ERIC FIELD

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

The course is essentially a group/independent study, structured and collaborative,and oriented toward problem-solving through the use of advanced technologies. Each participant in the seminar identifies a specific problem and technology to apply to thestudy of that problem.

The semester is spent working through the problem with advice from the instructor and other participants, and collectively as a group reviewing, discussing, and collaboratively learning approaches and solutions. Past topics include: Computational Fluid Dynamics; Energy Modeling and Simulation; Information andProcess Flow Mapping; GIS web systems; Web and Information services; Generative and Parametric Modeling; Spatial/Visual Comfort Assessments; Fabrications & Prototyping; Chinese Torture Boxes; Advanced Rendering; Building Information Modeling; Video and Animation; and more. A wide variety of topics are feasible and encouraged.

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

M. BRITT

H. BASSETT

H. HENDRIX

COMMUNICATE

ASSEMBLE

ANIMATE

ARCH 5500 - 002

ENERGY PERFORMANCE WORKSHOP ERIC FIELD

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

This is a workshop on developing energy performance analysis for buildings and sites. Using a range of building simulation and climate study software, this workshop teaches and applies the principles and practice of building performance simulation, with a focus on passive design and passive vs. active energy optimizations. Our intent is to assess, understand, and develop an intuition for energy performance issues in design. Software include predominately Ecotect, and Energy Plus, with portions of IES Virtual Environment, and Tas Ambiens introduced, each for their individual strengths. We also look at thermal imaging and related technologies for a broad range of study of energy performance issues.

REPRESENTATION + MATERIAL PRACTICES

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

B. DAVIS

H. BASSETT

COMMUNICATE

ASSEMBLE

ANIMATE

LAR 6010

FORM FOLLOWS FLOW

KRISTINA HILL The primary questions of this course are (1) whether can we propose forms by starting with an understanding of flows? And (2), does it make a difference in our proposals if we conceive of flows before forms?

This course challenges students to use an understanding of the flows of organisms, materials, and energy in landscapes as a point of departure for proposing a civic landscape, the public park, in the context of an urbanizing field pattern.

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

This year, the studio will begin by exploring the Dutch strategy of using artificial islands or spits that are built with dredged sand as a way of expanding the sand dunes along their coastline for storm protection.

The flows involved are first the flow of material to the island site via dredge boats. Second, the wind and wave effects that alter the island and redistribute its sand to other locations (including tidal forces, wave action, seasonal winds, storm events, and increasing rates of sea level rise). Third, the flow of organisms: colonization by plants and animals, migratory use by animals, and predation by carnivores. And finally, the flow of human organisms that come to the island /spit for recreation and as part of a culturally-mediated aesthetic experience.

+ MATERIAL PRACTICES

REPRESENTATION

REGENERATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

SITUATE

INVESTIGATE

FABRICATE

G. MCGINN

BP

H. JAMESON

Bank of America

Laskin Road

Lifetime Treasures

Jody’s

V

F’

E’

D’

A’

C’

King Neptune Park

B’

A

C

B

E

D

F

Vacation Market

Hilton Hotel

Atlantic Ave

1” = 20’ 40’

12

10 8

6

4

2

0

-4

-6

-8

80’

COMMUNICATE

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ANIMATE

THE EIGHTH APPROXIMATION SETH DENIZEN, MLA 2012 ADVISORS: INAKI ALDAY, NANA LAST, JORG SIEWEKE

DESIGN + HEALTH

DESIGN + COMMUNITY ENGAGEMENT

ADAPTIVE INFASTRUCTURES

Completed in 1972, the Seventh Approximation created a system for mapping and classifying soils that has since been adopted around the world. The curious limitation of this system is its inability to classify urban soils or soils that are produced as the result of human action.

This hole in its taxonomy appears larger and larger as the part of the world that can be convincingly called ‘non-urban’ gets smaller and smaller. The Eighth Approximation is the unwritten update to one of the world’s largest taxonomic projects, which takes human intervention as a precondition for classification, rather than a disqualification. In the Eighth Approximation, soils are defined as the geological product of cities and the humans who build them.

+

REGENERATE

+

REPRESENTATION

+

+ MATERIAL PRACTICES

SITUATE

INVESTIGATE

GLOBAL CULTURES + CONSTRUCTED ENVIRONMENTS

FABRICATE

+ 1

+

+

+

+

+