Rachel Marie Frail Portfolio by Rachel Marie Frail

PORTFOLIO

Rachel Marie Frail DESIGNER

RACHEL MARIE FRAIL Rachel Marie is passionate about creating environments focused on sustainable practices and healthy living. Through mindful design, RM seeks to merge interior and exterior living spaces to develop thoughtful integration with natural landscapes. Using both physical and visual methods, site integration becomes a focus of each project. Moreover, her work seeks to create emotional experiences for the users, and the psychological impact of space is always considered throughout the design process. With a background in sales and undergraduate degree in business administration, RM capitalizes on her prior career experience by suggesting edits/additions to programming to benefit clients’ overall profitability. This method assists the client in capitalizing on all programming and site opportunities. RM holds a Master of Interior Architecture and Master of Architecture from Arizona State University. She has worked in a range of small, mid, and large-size architectural firms over the last three years and continues to be involved at Arizona State University as a Faculty Associate, ISA Advisor, and an independent researcher.

CONTENTS TRADITIONAL STUDIO PROJECTS (8-11 WEEK PROJECTS) Unification, Professor Horton House of Fashion, Professor Undwood & Smith

6 20

INDEPENDENT PROJECT (14 WEEK PROJECT) CONOMAD, Professor Underwood & Vallerand

DESIGN-BUILD INSTALLATION (11 WEEK PROJECT) CUMULUS, Professor Zingoni

QUICK STUDIO PROJECTS (4 WEEK PROJECTS) Assimilate, Professor Murff

Sequence, Professor Bernardi & Hartman

Factory of Fashion, Professor Underwood

GROUP PROJECTS (8-11 WEEK PROJECTS) Never Alone. Always Connected, Professor Bernardi

Plus Is Greater Than Divide, Professor Santiago

102

MATERIAL EXPLORATION & CREATIVE EXERCISES Crawl Wall, Professor Santiago

110

Artwork, Self-Guided

116

UNIFICATION 9-Week Project; Professor Phil Horton

PHOENIX, ARIZONA With the densification of Midtown by private developers, Unification is a solution to protect permeable ground for rainwater retention and a solution to protect public space for community engagement. The

new Fire

Station #9 merges public service with public amenity.

Site Plan

SITE 8

0’ 8’ 16’

32’

64’

0’ 8’ 16’

32’

64’

North Elevation

Arizona State University

PUBLIC SERVICE + PUBLIC AMENITY

Design Excellence Award Spring 20

The Herberger Institute for Design and the Arts

Rachel Marie Frail Adv Architectural Studio II Faculty: Philip M Horton

The Design School

To unite public servants with the communities they serve. To unite the public with a sense of community. To unite people with experiential design. To unite architecture with the landscape. To unite the landscape with the skyward city.

CONCEPT Unification is an experience of nature, community, and the unifying links between public servants and the people they serve. The site features a public park with a water retention area to service the densifying Midtown Phoenix community and combat the abundance of existing hardscape. The structure is characterized by prefabricated, twisting, concrete columns carrying the loads of a cross laminated timber structural floor and roof system. Whenever the desert is blessed with rain, these prefabricated columns direct water from the roof into the retention area below. The program is separated into the ‘house’ and ‘shed’. The ‘house’ features the community center facilities, fire station offices and living quarters. The ‘shed’ features the apparatus bay, auxiliary spaces, and a large gym spanning the second floor. In addition to being a structural element, the prefabricated, concrete columns also serve to shade the façade of the ‘house’ on the east and west. Large overhangs on the south of the ‘house’ and ‘shed’ assist in creating passive cooling strategies for the summer months while inviting in light in the winter months. Overall, Unification seeks to join public amenity and public service through the integration of a public park and community center with Fire Station #9.

Approaching from Public Space

A NEW FACILITY The experience of Unification is one as complex as the natural world itself. The site is meant to evoke all five senses using the natural world and creates a refuge from the concrete jungle of the densifying city. The exterior is characterized by a progression of natural spaces through the public park as one approaches the building. From the sidewalk, the structure appears camouflaged in a sea of trees; however, the facility slowly emerges as one continues to explore and discover the space. The structure itself opens to the park inviting the public to seek refuge from the sun beneath the deep overhangs of the second floor. The invitation to gather is one of intention as the site seeks to promote community engagement and wellness through the bond and exposure to natural space.

Approaching from Parking Lot 10

THE PUBLIC PARK The public park provides a variety of experiences through pathways, concrete walls, a grassy lawn, a water retention area, and a variety of natural vegetation. The goal of the park is to provide permeable ground and water retention to assist in replenishing the area’s groundwater while providing the public with relief from city life. The park encourages community activities and engagement with the firefighters through shared outdoor space. The park also serves to activate the sidewalk for the southern portion of the site. As the TOD zone requires pedestrian engagement, the park adjacent to the sidewalk provides multiple places of entry to entice the public to interact with the site and encourage foot traffic around the site.

Approaching from Western Sidewalk

Approaching for Eastern Sidewalk 11

7 10 4

12 18

13 19

11 14

15 1 16

Ground

GROUND

1. COMMUNITY ROOM 2. CATERING KITCHEN 3. STORAGE 4. LOBBY 5. RECEPTION 6. COFFEE BAR 7. WATCH ROOM / STATION OFFICE 8. CAPTAIN’S OFFICE 9. RADIO / COMMUNICATIONS ROOM 10. ALTERNATE OFFICE 11. MECHANICAL CLOSET

12. ELECTRICAL CLOSET 13. IDC CLOSET 14. SCBA BOTTLE / HOSE STORAGE 15. MISC. STORAGE 16. EMS STORAGE CLOSET

22. EXTERIOR STORAGE 23. GENERATOR 24. FUEL PUMP 25. EMPLOYEE PARKING 26. VISITOR, ADA & PUBLIC PARKING

17. APPARATUS BAY 18. DECONTAMINATION CARDIO AREA 19. TURNOUT STORAGE 20. LAUNDRY 21. SINK / EYE WASH

0’ 4’ 8’

16’

32’

PROGRAM Unification serves as a fully operable fire station with the added programming of public amenities. The facility is separated into the ‘house’ and the ‘shed’. The ‘house’ features the community amenities, offices, and all living quarters for the firefighters and battalion. The ‘shed’ features the apparatus bay, apparatus accessory spaces, mezzanine storage, and a large gym stretching across the second floor. The ground floor of the ‘house’ is largely public in nature including the community center and the lobby of the fire station. The public park stretches through the exterior shaded spaces of the ground floor creating an intertwined experience between the natural and built environment. The public park stretches across the west half of the site inviting city dwellers to take refuge from their mid-rise residences in the natural landscape below. The site is characterized by layers of discovery. As one moves through the public park from the light rail on Central Avenue, the facility slowly reveals itself in a sea of trees. The structure was not intended to be viewed from afar. The site is meant to spark a curiosity, begin a conversation with the public, and become an invitation for exploration. The design deals with the progression of space and the human experience of space as driving factors in determining scale and form of the overall elements.

1 2

Mezzanine

MEZZANINE

1. BATTALION OFFICES 2. LIBRARY / STUDY 3. JANITORIAL / STORAGE 4. MEZZANINE STORAGE 5. MECHANICAL DECK

0’ 4’ 8’

1. BATTALION OFFICES 2. LIBRARY / STUDY 3. JANITORIAL / STORAGE 4. MEZZANINE STORAGE 5. MECHANICAL DECK

MEZZANINE 1

16’

0’ 4’ 8’

32’

16’

32’

3 4

3 2

6 2

5 9

3 8 10

2 7 13

12 13

Second

SECOND SECOND

1. CAPTAIN’S DORMITORY 2. FIREFIGHTER’S DORMITORIES 3. FIREFIGHTER’S LIVING ROOM 4. FIREFIGHTER’S KITCHEN 5. FIREFIGHTER’S PANTRY 1. CAPTAIN’S DORMITORY 6. MEDITATION SPACE 2. FIREFIGHTER’S DORMITORIES 3. FIREFIGHTER’S LIVING ROOM 7. 4. JANITORIAL FIREFIGHTER’S KITCHEN 8. MECHANICAL PANTRY 5. FIREFIGHTER’S 9. 6. ELECTRICAL MEDITATION SPACE 10. LAUNDRY 11.JANITORIAL OUTDOOR DECK 7. 8. MECHANICAL 9. ELECTRICAL 10. LAUNDRY 11. OUTDOOR DECK

12. MEN’S RESTROOM 13. WOMEN’S RESTROOM 14. BATTALION’S KITCHEN 15. MEN’S BATTALION’S PANTRY 12. RESTROOM 16. WOMEN’S BATTALION’S LIVING ROOM 13. RESTROOM 17. BATTALION’S DORMITORIES 18. BATTALION’S BATTALION CHIEF’S DORMITORY 14. KITCHEN 15. BATTALION’S PANTRY 19. CARDIO ROOM 16. BATTALION’S LIVING ROOM 20.BATTALION’S LARGE OPENDORMITORIES GYM 17. 21. WEIGHT ROOM 18. BATTALION CHIEF’S DORMITORY 19. CARDIO ROOM 20. LARGE OPEN GYM 21. WEIGHT ROOM

0’ 4’ 8’

16’

32’

0’ 4’ 8’

16’

32’

STRUCTURE In addition to being characterized by the twisting, prefabricated concrete columns, the facility is largely constructed using a prefabricated cross laminated timber, CLT, system. The interior structural members consist of timber columns and beams. The methods of egress are framed using CLT cores, and the mezzanine floor is supported by CLT bearing walls. The Crosslam CLT structural floor system by Structurlam is used in conjunction with the prefabricated concrete columns to provide a balance between hard and soft structural elements and incorporate a cohesive prefabricated construction strategy. LEFT: Illustration of Crosslam CLT structural floor system being CNC’d to accomodate unique condidtion of the prefabricated concrete column. BELOW: Illustration of the prefabricated concrete column bearing the weight of the second floor and roof spans through the use of integrated floor and roof supports.

COLUMN & RAINWATER MANAGEMENT The concrete columns also assist in celebrating the natural systems occurring on the site. The roof features a drainage deck that directs roof water to the concrete columns on the edge of the structure. The drainage deck is designed to direct rainwater through an opening in the top of the columns to the outward-facing façade. Whenever the desert is blessed with rain, rainwater flows down the concrete columns in a celebration of life persisting in the harsh desert landscape. The rainwater then nourishes the plants at the base of the column and feeds water into the large retention area onsite. The interconnected relationship between the concrete columns and the retention area in the Unification project serves as an example of how cities can begin to address the need for groundwater within the densified cityscape. Applied on a large scale, the implementation of smaller retention areas throughout the city with architectural elements directing groundwater to site could result in faster replenishment of freshwater, the vital resource Arizona so desperately needs. The Unification proposal serves as a small look into how designers can start to combat the most pressing issue of the 21st century.

Community Center

COMMUNITY EXPERIENCE The community center is the heart of the Unification project. The community center includes a catering kitchen, accessible restroom, storage closet, and a large, open two-story multipurpose room. The facility is meant to be accessible to the public after-hours by being self-containing and separate from the fire station. The multipurpose room features an abundance of glazing, protected by the large overhangs from the second floor. The glazing provides views to the park and street allowing for a indoor/ outdoor experience during the summer months. In cooler weather, the front walls of the multipurpose room accordion on a track to open the entire space up to the elements and to the large outdoor, covered patio beyond the interior. This expansion of space between indoor and outdoor allows the facility to host large events or simply to provide natural ventilation for indoor activities during the cooler months.

Indoor/Outdoor Connection

EXPERIENTIAL DESIGN The building itself exists as an invitation for public discovery. The façade features exposed, twisting prefabricated concrete columns seemingly growing from the earth and towering into the sky. The experience of form and scale was inspired by the slot canyons featured across the western half of the United States. The building allows the public to explore the structure from all angles: outside the structure, under the structure, and between the structure, from above and from below. The possibilities of exploration throughout the space provide intrigue and additional layers of the discovery process. .

View Beneath the Colonnade

Inside the Colonnade 19

HOUSE OF FASHION 11-Week Project; Professor Underwood & Smith

FLAGSTAFF, ARIZONA “House of Fashion” focuses on creating an inclusive environment where a career in fashion design becomes accessible to members of the community. Through the use of collaborative work and learning spaces, “House of Fashion” provides makers the opportunity to form networking connections and refine their craft in a homelike setting.

A. North Section

CONCEPT The design deconstructs the concept of the home into three basic elements: the hearth, the house, and the yard. The hearth provides intimate spaces for gathering, including a small catering Existing Site

kitchen

the

basement

where

designers can sit around the kitchen counter to explore ideas over a meal. The house provides plenty of open living rooms where designers can curl up on the couch with their sketchbook and explore their next masterpiece. Finally, the yard provides access to the public as an alternative to the alley and

Flagstaff Scenery

becomes an exclusive environment for fashion shows through the use of large gates at the East and West entrance. “House of Fashion” aims to grow the fashion design community in Flagstaff through

the

design’s

comfortable

nature and accessible resources.

Adjacent Properties 22

Hearth House Yard

PUBLISHED Discipline: ASU Architecture Journal Arizona State University Herberger Institute of Design Spring 2018, Issue 04

Second

C 5

A 4

Ground

Basement

Coworking & Yard

KEY Second 1. Classroom/Indoor Venue 2. Coworking 3. Reception/Gallery Ground 4. Yard/Outdoor Venue 5. Fitting Room 6. Coworking

Context

7. Reception/Gallery Basement 8. Conference Room 9. Computer Workstations 10. Maker Space/Backstage 11. Micro Manufacturing 12. Catering Kitchen/Bar 13. Break Room/VIP 14. Storage

B. South Section

FUNCTION OF SPACE The design features natural materials forming large, open

The hearth combines transient spaces with areas in which to

plans. The space allows for many furniture reconfigurations

gather to maximize the designers’ exposure to one another

to facilitate classes, coworking, and events both indoors

and promote impromptu meetings. The combining of these

and outdoors. The multipurpose space provides a canvas in

spaces caters to FABRIC’s ideal of designer collaboration and

which to construct various theatrical experiences for runway

exposure.

shows on all three floors of the structure.

C. East Section

Coworking

BRANDING The branding for “House of Fashion” promotes the inclusivity of FABRIC’s mission in a traditionally exclusive industry. The branding is reflected both in print and architecturally through the homelike atmosphere of the structure.

ADDRESSING PRIVACY Despite the design’s open plan, the layout still allows for the necessary element of privacy. The conference room provides the facility with a professional atmosphere in which to broker deals and capitalize on new talent. The glass cube forming the conference room allows for a view of the manufacturing floor, or curtains can be drawn to create a private environment for negotiation. This room also doubles as a backstage dressing room for fashion shows by utilizing the curtains for privacy. With its adjacency to the VIP section backstage, the translucency of the curtains provides an environment of exclusivity and mystery as the shadows move behind the draped fabric.

Conference Room

Classroom / Indoor Venue

LEARNING ENVIRONMENT The mobility of the furniture allows for classroom spaces to pop up throughout the structure. The FABRIC community intends to provide young designers with a place to teach and an environment in which to learn. This

function

emerging

of space

designers

supports

by providing

them the necessary facilities in which to host classes of all sizes or attend classes by experienced professionals.

FASHION SHOWS FABRIC often showcases local talent through frequent fashion shows. “House of Fashion” supports this vision through the flexibility to create event spaces on all three floors of the structure including the outdoor Yard. By closing the gates in the Yard, the space transforms into an exclusive outdoor venue. The various circulation patterns available throughout the site allows each fashion show to take on its own identity as the catwalk can be redesigned many times.

BEHIND THE SCENES Through the privacy of the conference room, the placement of the break room, and the accessibility of the kitchen, the basement transforms effortlessly into a backstage and VIP lounge. The VIP guests can mingle in the backstage action of models and designers whilst enjoying refreshments. The space redefines the VIP experience to include the networking afforded through backstage access and further promotes the inclusivity of the “House of Fashion” in Yard / Outdoor Venue

the exclusive realm.

Maker Space / Backstage 33

CONOMAD 14-Week Independent Project; Professor Underwood & Vallerand

JOSHUA TREE, CALIFORNIA & NASHVILLE, TENNESSEE An independent project exploring the shifting cultural norms leading to vehicle dwelling communities, and the opportunities for public programming and transformable interior architecture to assist in supporting these individuals. Based on extensive character studies of two vehicle-dwelling users, the project calls for a new vision of architectural practice, founded on co-creation, temporality, and inclusion, that extends far beyond the traditional scope of the common professional practice is more pressing than ever, embracing social, environmental and technological change.

3434

HOW CAN ARCHITECTURE AND INTERIOR ARCHITECTURE ASSIST IN PROVIDING FOR THE UNDERSERVED NEEDS OF THE VEHICLE-DWELLING, NOMADIC COMMUNITY? AND HOW CAN THESE DISCIPLINES ASSIST IN G R OW I N G T H E M O V E M E N T BY P R O V I D I N G S TA B I L I T Y A N D O R G A N I C COMMUNITY CONNECTIONS BETWEEN VEHICLE DWELLERS? 3535

AN ALTERNATIVE In response to stagnate wages and the increasingly high cost of living, many individuals have started to think creatively about living on the road. This is happening all over the world, fueled by a shift of values and social change, which are emergent, selfcorrecting, self-regulating and empowered by instant communications and internet connectivity.

BATHROOMS & SHOWERS KITCHENS & REFRIDGERATORS

SAFE & WELCOMING SPACE

COMMUNITY

STABLE INTERNET

LIFESTYLE DRAWBACKS Many people may associate this emerging culture

with

the

buzzwords

vanlife

movement, digital nomad, or RV living. Vehicle dwelling may seem unappealing to some, and many in the mainstream public may find it difficult to understand this lifestyle as a choice and as a freedom. It simply does not fit into their belief structures. But this movement toward frugal living is attracting more and more members every day, and people – young and old – are living on the road to increase their overall quality of life. And then there are those who watch from the sidelines, wishing they too could live this alternative lifestyle. So, what is holding them back? The underserved needs of those living on the road are the reason for hesitation. The most pressing physical needs are kitchens and refrigerators, bathrooms and showers, and locations with stable internet. Social needs are also prevalent among users including the needs for safe and welcoming spaces and a community presence among those who live vehicle-dwelling lifestyles.

TRAVELING COUPLE Novel Kulture is a brand created by Lovell and Paris, a couple Marine vets approaching their late twenties. When they found themselves in $50,000 of consumer debt in undergrad, they opted to move into their cargo van in order to aggressively pay off debt and save money for future investment. The two spend most of their time working on entrepreneurial ventures including product creation, vending machine ownership, and building their online brand presence.

Mapping Novel Kulture’s Travels

THE SOLO TRAVELER Katie Carney began her vehicle-dwelling journey in 2013 when she found herself involuntarily homeless for ten days at the age of 26. She has since found vehicledwelling to be a freeing lifestyle that allows her to travel at her leisure and maintain her autonomy while building an online brand, a copy writing and editing service,

Mapping Katie's Travels

and a hand-knit Esty shop. She travels in a compact Toyota Yaris hatchback and plans to continue living on the road for the foreseeable future.

Case study users’ travel patterns were used to select locations for nomadic interventions.

A sightline analysis was performed to determine optimal location for nomadic intervention onsite. The analysis sought to avoid hindering the views of the commercial signage from both of the conplex’s entrances.

3 Four locations on site were evaluated based on the sightline analysis. Locations 1, 2, and 3 were found to cause no obstruction to entrance views of commercial signage. For this reason, the project tackles the most challenging of the locations, location 3. The challenges of this location assisted in determining the form of the structure.

REST ROOM AT M ME R CH ANDISE STAND

DESK K IT CH EN SE RVICE WIN DOW

Aerial

Plan

BELLEVUE POP-UP WEST NASHVILLE, TENNESSEE The Bellevue program focuses on providing the local community with a space for small business to grow following the damage of the pandemic restrictions. The space features a kitchen where food-truck size businesses can rent space to promote awareness of their brand and sell their products. The kitchen features a large refrigerator, a sink, and a large amount of counter space where cooktops can be plugged in to the electrical supply. The kitchen also features a walk-up window for ordering and enough space for two people to successfully work in the small kitchen. The pop-up also features a single restroom with a small shower. A desk and sink sit just outside the restroom. This set up becomes perfect for pop-up medical services, such as vaccinations or mental health services. Just outside, a merchandise stand provides an excellent opportunity for flower vendors or other small businesses to sell their products to passing vehicles. The pop-up is supported by an ATM which activates the space when not in use and brings additional financing to the community space through local bank support. A large canopy covers three parking spaces just outside the facility. This cover provides shaded parking when not in use or becomes activated through the use of the transformable platforms and partitions.

P L AT FO RM / PA RT IT IO NS D ES IG NE D TO B E TRA NS FO RM A B L E T H RO U G H T H E IR F U NCT IO N A ND STACKA B L E TO CRE AT E VA RIO U S L E V E L S O F F LO O R H E IG H T.

PLATFORM/PARTITION DESIGN The platforms/partitions each site allow the exterior spaces to manifest the feel of interiority through a reconfiguration of partitions. When in the platform position, these elements are stackable and create various platform heights onsite. This becomes valuable in create stages for events and performances, but also the differences in elevation create an implied division of spaces. Once these spaces are programmed with people and objects, the activity occurring within the space determines the level of privacy of that space.

ARTISTRY FAIR

KATIE USES AMENITIES

N OV E L K U LT U R E A R R I V E S 44

SETTING UP PLATFORMS

VANLIFE WORKSHOP

RETURN TO COMMUNITY 45

Case study users’ travel patterns were used to select locations for nomadic interventions.

K ITCHEN RESTROOM S DES K

WATE R FIL L STAT ION WATE R & BAT TERY L AUN DRY

Aerial

Plan

COTTONWOOD TRAILHEAD JOSHUA TREE, CALIFORNIA Located just South of Joshua Tree National Park off the I10, the South Joshua Tree BLM land provides an oasis for vehicle-dwellers and vacationers alike. The BLM land is busy year-round and has many well-established camp sites dispersed throughout the area. The clearing off Cottonwood Springs Road provides an excellent location for a small trailhead. The area features hiking opportunities and a large influx of vacationers coming off the I10. A trailhead at this location would be ideal for the tourist population in order to refill their water bottles, use the restroom, and head out on a short hike before entering the park. The facility contains much of the same functionality as the Bellevue Pop-Up. The space features two restrooms to accommodate a higher volume of travelers, a kitchen, a desk, laundry, and water-fill station. The facility is off grid will water being delivered to the site, and energy being collected through solar panels. The facility is aimed more toward everyday domestic activities; however, this facility can also host a medical professional for mental health services or vaccinations and support a catering service for an event through the kitchen amenities. The architecture is oriented with a natural ‘stage’ to the south with views looking out toward the desert and the expansive mountains beyond. The structure invites in the eastern sun while blocking out the harsh western exposure allowing evening events to take place in comfort while still providing views to the landscape.

A NEEDED FACILITY Similar to the Bellevue Pop-Up, the Cottonwood Trailhead is a highly flexible facility where a large number of different activities can occur in the space. The same partition/ platforms are used to adapt interior space throughout the day in order to accommodate the flux in programming between hikers, events, and nomadic individuals. The facility is meant to provide vehicledwelling individuals and tourists the access to needed facilities that are not readily available on this highly populated site, while also provide opportunities for revenue through the adaptability to a wide range of paid events. California is already known for many of their desert music festivals, and this site would provide a new location for smaller, more frequent productions.

MUSIC FESTIVAL

SETTING UP PLATFORMS

PHASE 1

PHASE 2

PHASE 3 50

A TRANSFORMATIVE INTERIOR The ingenuity of the nomads again takes hold as the space transforms through their objects and creative spirit. With a grid of ceiling hooks, the nomads hang objects to create partitions and through this making process, discoveries are made. The designs evolve. The beauty of the nomad spirit is taking a singular item and finding a multitude of ways to transform that one singular object. Everything one owns must have multiple uses in order to be considered valuable enough to store and haul around. And this process of making together allows them to find more and more ways to use the items they already have in order to enrich their domestic lives and support their alternative lifestyle. These spaces facilitate this creative energy, just as the CONOMAD application does for the virtual world. And these interiors continue to change by the people who best know how to adapt them. This evolution teaches designers how this community uses space and objects to facilitate various levels of privacy, and how these spaces created assists in strengthening the communities initiatives.

HIKERS RETURN

NOMADS RETURN TO THE ROAD

A CRITICAL REFLECTION Throughout the process of studying the vehicle-dwelling nomads, I learned their most pressing need is not derived from the built environment. I have found acceptance, understanding and inclusion in the public realm to be the nomads’ most pressing need. I learned that sometimes the solution to a design problem is not a building at all. But instead, a new architecture – founded on co-creation, temporality, and inclusion. This begins with the education of and acceptance from the public which would allow vehicle dwellers to overtake already existing underutilized public and private space – filling the gaps in not only our physical infrastructure, but also our social structure. There is still much work to be done in the development of the architectural detailing of this project. Both sites need to be completely off grid; therefore, the systems must be evaluated and integrated into the overall design. Moreover, the materials and construction methods need further investigation to find the optimal solution that can resolve the programming of the site while being sensitive to cost and environmental impact. Overall, the project addressed the user’s needs and programmatic issues quite well. Although these aren’t strickly architectural issues, it is important the profession expand the definition of architectural design beyond that of systems and structure to encompass the social systems and social impact of programmatic decisions. A vast majority of my time and effort was focused on educating the viewer on who the modern, vehicle-dwelling nomadic user is. Despite the relevant nature of the topic in today’s society, there remains a lot of bias and assumptions made about these individuals; therefore, before I could even begin digging into the design of this project, I needed to find ways to educate the viewer on the background of this community of individuals living alternative lifestyles. This became my most important issue in executing this project - whether that was correct or not - I found educating the public to be the vehicle-dwelling individuals most pressing need; therefore, I first addressed this issue before adding architectural value to the project. For this reason, the projects are lacking a significant amount of detailing, for which can be completed at a later date. Overall, the vision, ideas and co-design strategies of the CONOMAD project are very strong. My position and argument is for a new vision of architectural practice, founded on co-creation, temporality, and inclusion, that extends far beyond the traditional scope of the common professional practice is more pressing than ever, embracing social, environmental and technological change. The nature of the designs proposed offered simple solutions for providing community, small business, and nomadic resources to the United States following the COVID-19 pandemic, allowing the country to bounce back socially and economically. The project also questions the common professional misconception, that architecture is a professional service controlled by a single architect or design team, through the proposal of a new combination of public and professional co-design and crowd sourced adaptive and resilient design strategies. Especially when dealing with user groups for which the design world is unfamiliar, it is imperative that the user be involved in the design process, as to provide optimal design solutions for these individuals.

CUMULUS 11-Week Group Project; Professor Milagros Zingoni

SCOTTSDALE, ARIZONA Cumulus seeks to define the relationship between water and community in the context of the Sonoran desert. Interdisciplinary collaboration with ASU’s undergraduate industrial design students allowed the installation to become not only a spatial experience but also a series of micro-interactions at an up-front, personal scale. To further explore the community’s perception of Arizona’s limited resource, we also initiated a participatory collaboration with Tonalea K-8 to design an installation directly reflecting the voice of Scottsdale’s youth. Working with Tonalea resulted in a playful, interactive installation inspired by the students’ excitement and anticipation of water in the desert.

Photo Credit: Rachel Frail

THE TEAM Assistant Professor Milagros Zingoni + Shahrina Afrin + Amanda Ahlman + Dania Alarfaj + Susan Clay + Rachel Frail + Ji Hyuk Hong + Adetoniola Osarieme Rebecca Makinde + Kara Moncada + Neha Vikas Tendulkar + Ziging Zhao

Photo Credit: Nicole Neri

CANAL CONVERGENCE Scottsdale Public Art’s annual confluence of water + art + light, Canal Convergence, provides South Scottdale with an authentic and immersive experience in and around Scottsdale’s canal. The ten day festival features interactive artwork, workshops and performances at the Scottsdale Waterfront. International and local artists showcase large-scale, cuttingedge installations celebrating technology through light. Canal Convergence also offers the public free educational activities, a series of artist talks, poetry readings, and live music.

Site

MIA STUDIO The objective of our studio was to create an interactive installation for Canal Convergence while learning the design-build process. We investigated many

interior

architecture

issues

including construction, technology, programmatic

and

determinants.

Assistant

Milagros

Zingoni

environmental

also

Professor introduced

us to design concepts, framework, and methodologies relative to living environments. The design-build process called for an effective combination of technique, creativity, and resiliency in order to produce an interactive installation on a tight timeline and minimal budget. Overall, we sought to communicate our

understanding

scale

and

human behavior while engaging in participatory collaboration with the industrial designer students and the community.

57 Photo Credit: Shahrina Afrin

INTERDISIPLINARY COLLABORATION In order to participate in valuable interdisciplinary collaboration, our studio shared the opportunity of the design-build with undergraduate industrial design students. The goal of this partnership was to create a complete experience for visitors at Canal Convergence. We were responsible for developing a spatial experience where people interact with and within a created space. Our task included the integration of all elements onsite and the cohesive story associated with the installation as a whole. The industrial design juniors were tasked with generating micro-interactions between objects and the users. Between the thirty-four industrial design students, the project consisted of sixteen ‘objects’ each producing a unique interactive experience. We often referred to the relationship as ‘the hive and the bees’. Our work consisted of ‘the hive’, and the work of the industrial designers represented ‘the bees’. However, this analogy continued to transform as the concept underwent development. Together, we sought to produce a seamless installation through fluid communication and open-minded collaboration.

PARTNERING WITH TONALEA K-8 As Canal Convergence takes place in South Scottsdale, our team sought to learn about the community for which our installation would live. We desired a mutually beneficial relationship where we could give back to the participants while also collecting valuable data about the atmosphere of South Scottsdale. Principal Sr. Priniski at Tonalea K-8 was integral to our collaboration process and the enthusiasm generated among the 6-8th grade teachers. Tonalea K-8 exists as a Title I school where 74% of the attendees qualify for government subsidized meal plans, and many of Tonalea’s students will be the first in their families to pursue university degrees. As budget cuts often eliminate the arts from public schools, we wanted to introduce design education to the school’s demographic. We strongly believe in exposing all populations to design at a young age to allow for exploration in the vast world of design. The school provided us an amazing opportunity to connect with 120 of Scottsdale’s youth while providing us access to the open-minded imagination that comes with adolescence. Partnering with the diverse students of Tonalea K-8 provided valuable insight into the community of South Scottsdale. We visited Tonalea three Fridays between August and September to engage the students in hands-on exploration related to the topics of community and water. Photo Credit: Eduardo Robles

Photo Credit: Rachel Frail 59

CONCEPT Community and water became the overarching themes of the installation. We began with analyzing our personal experience with our communities and the value derived from those relationships. Our studio explored these ideas through a crafting exercise where we constructed headdresses representing our discoveries. During our early explorations, the City of Scottsdale launched “Scottsdale for All”, a new community diversity campaign seeking to increase the inclusivity of the city. As a studio comprised of individuals from across the globe, we recognized the value of our differences in the context of a team. We quickly gravitated toward the ideology of the strength of a community stemming from unification. Moreover, as Canal Convergence celebrates the waterways of Scottsdale through art and light, we dissected our relationship with water and the importance of the natural resource to the desert community. We built rough, conceptual models to aid in the exploration of water and provide preliminary exploration on the installation’s form. As the studio progressed through our explorations on the topics of community and water, the overarching question of ‘What is water to a community in the context of the desert?’ continued to emerge. Through our work with Tonalea, we found the common denominator between the 120 students was the recurring theme of the desert monsoon. The students described the celebration and anticipation of water that comes with monsoons characteristic of the valley. Despite the students’ desire to play in the downpour, they often described how their parents would not allow them to remain outside during the storm. From these conversations, the concept of the cloud viewed through the context of windows came to fruition. Using the combined themes of community and water, our project came to be known as Cumulus. Just as a cloud exists as an accumulation of water molecules, communities exist because of the members themselves. With students from all over the world, our studio found strength in our diversity throughout the design process as we explored first person accounts of a vast array of cultures and communities from members of our team. Although we all came from different backgrounds, the team unanimously found diversity to be a strength in each of our homelands. We continued to reiterate the idea that unity among diversity is what strengthens our community. Moreover, the work with the Tonalea students brought a youthful and playful nature to the project. The industrial design work, The Drops, scattered the site to produce a complete sensory experience of the monsoon. Each of the sixteen pieces provided a different interaction of the senses in order to evoke the nostalgia of our desert Photo Credit: Rachel Frail 60

storms.

Early Rendering By Ji Hyuk Hong

Model Iterations of Cloud 61

Model Iteration 06

Model Iteration 05

Model Iteration 03

05 02

03 01

Model Iterations of Bench

BENCH EVOLUTION F R O M 1 S T T O 5 T H G E N E R AT I O N

Photo Credit: Amanda Ahlman

Photo Credit: Rachel Frail 64

Photo Credit: Amanda Ahlman

FABRICATION On October 10th, the first delivery of birch plywood arrived at The Design School’s shop signifying the beginning of fabrication. For twenty-seven days, the shop supervisor, Jesus Orozco, allowed us to store materials and construct the installation’s components in high bay. The shop’s power tools and CNC router, coupled with the vinyl cutter in ASU’s makerspace, provided essential resources during construction. The

fabrication

process

afforded

many lessons in problem solving, budgeting,

communication,

and

Vinyl Patterns Designed By Amanda Ahlman

time management. Our team worked overtime to complete the installation for Canal Convergence, and the resulting experience exceeded our expectations.

Photo Credit: Amanda Ahlman

A2.00

7' - 0 3/4"

1 A2.11

A2.00

8' - 9"

A2.00

ASU MIA Canal

Window Bench Plan View 1/4" = 1'-0"

Window Bench 3D View 1

FAL

A2.00

T Prof. Mila

Rac Shah Aman Dan Sus Kara Neh Te Zijin Adetonio Rebec

5' - 0"

7' - 0"

A2.00

INT521 ARCHI ADVANC

Window Bench 3D View 2

Dec.

7' - 0 3/4"

4 A2.00

Window Bench East 1/4" = 1'-0"

5 A2.00

Window Bench North 1/4" = 1'-0"

6 A2.00

Window Bench South 1/4" = 1'-0"

GENERAL NOTES: Material for window bench is 3/4" birch plywood unless specified otherwise. All layered plywood will be glued and nailed. All member connections will be based on lap joints. All plywood surfaces will be sanded with 150 grit sandpaper and coated with Varathane Ultimate Spar Urethane (water-based, crystal clear semi-gloss) three times. Specified surfaces will be covered using vinyl patterns with painted accents. Additional surfaces will receive two coats of BEHR Exterior Semi-Gloss Enamel in green, blue or pink where noted.

7 A2.00

Window Bench West 1/4" = 1'-0"

Window Bench

1 A2.00

Vinyl Pattern with Painted, Color Accents

02-C01 Vinyl Pattern with Painted, Color Accents 02-C06

Color Paint

02-C02

02-C07

02-C03

Bench 3D View 2

Vinyl Pattern with Painted, Color Accents

A2.07

02-C04

75 .0 0°

02-C05 02-C01 One side angle cut

10 5.0 0

Sim

8 5/8"

A2.11 °

A2.07

5.0 0

Sim

Bench 3D View

.00 °

6 3/4"

A2.11

INT AR ADV

6 3/4"

6" 1' -

Sim

Prof.

A2.11

S Am

6 3/4"

02-C02 Two sides angle cut

.00 °

A2.11

1' - 6"

Ade Re

5.0 0

8 5/8"

11 A2.11

2 A2.07

Bench East 3/4" = 1'-0"

A2.07

Bench Plan Detail 3/4" = 1'-0"

Photo Credit: Amanda Ahlman

Photo Credit: Rachel Frail

Photo Credit: Rachel Frail Photo Credit: Amanda Ahlman

Photo Credit: Rachel Frail

A1.00 3 5' - 4"

A1.00

1' - 6"

A1.00

2' - 4"

1' - 6"

3' - 0"

GENERAL NOTES: BEHR Exterior Semi-Gloss Enamel applied where indicated in blue, pink or green. Vinyl pattern applied where specified. The 1/4" clear acrylic is two 3'-7" x 1'-8" recycled panels each fastened on each side of the box frame using Phillips head wood screws spaced approximately 6" apart. All layered plywood is joined using wood glue. No nails are used.

A1.00

1 A1.00

Crowdsourcing 3D View

A1.00

1' - 0"

1' - 2"

1' - 8 1/2"

1' - 2"

1' - 3 1/2"

Crowdsourcing Plan View 1/2" = 1'-0"

2' - 10"

7' - 0"

3' - 10"

7' - 0"

1' - 6"

1/4" Clear Acrylic Panel

1' - 6"

Vinyl Pattern with Painted, Color Accents

4' - 4" 2' - 4 3/4"

3 A1.00

Crowdsourcing North 1/2" = 1'-0"

4 A1.00

Crowdsourcing East 1/2" = 1'-0"

5 A1.00

Crowdsourcing South 1/2" = 1'-0"

6 A1.00

Crowdsourcing West 1/2" = 1'-0"

CROWDSOURCING A crowdsourcing piece was designed and constructed near the end of the fabrication process using scrap pieces of wood, acrylic and vinyl. The crowdsourcing

component

added

another layer of community interaction to the installation while also allowing the fabrication team to minimize material waste.

Photo Credit: Rachel Frail

Two 1" Star Screws in each location

01-C04

Photo Credit: Rachel Frail

01-C05 2' - 3"

4 A1.05

01-C01

Acrylic Panel

5' - 10"

01-C02 01-C03

4 A1.05

2' - 0"

01-C07

Sim

01-C06

7 1/2"

Two 1" Star Screws in each location

3D View 11

A1.05

Section 6 3/4" = 1'-0"

2' - 3"

1 A1.05

1" Star Screw 2 A1.05

3 A1.05

3D View 12

4 A1.05

Detail 5 3" = 1'-0"

5 A1.05

Box Plan 3/4" = 1'-0"

Painted Green

1' - 3 1/4"

Painted Blue

1 A1.03

5 A1.03

1' - 4 3/4"

3/4"

1' - 5"

90 .0 0°

1' - 6"

1" Pocket Screw

Bench 3D View 1

3/4"

Bench Section 1 1" = 1'-0"

A1.03

Bench Section 2 3/4" = 1'-0"

01-B01

1' - 6"

01-B05

Sim

1' - 5 3/4"

01-B02

A1.03 8"

01-B06

5 1' - 5 1/2"

4' - 4"

A1.03

01-B03

Sim 10 1/4"

A1.03

1' - 4"

01-B04

1' - 6"

2 A1.03

Bench 3D View 2

A1.03

4 A1.03

Bench Plan View Detail 3/4" = 1'-0"

Photo Credit: Rachel Frail

INSTALLATION Our team installed Cumulus onsite at the Scottsdale Waterfront between November 5-7, and the installation opened to the public on November 9th. Canal Convergence experienced 208,000 visitors during the ten days of the festival. Our team spent time on site interacting with the installation’s participants and sharing the story of Cumulus. Following Canal Convergence, Cumulus found a permanent home at Jacob’s Mission Community Center in Mesa, Arizona. A new facility focused on providing supportive and preventative services to the foster and adoptive community, ASA Now’s Jacob’s Mission is expected to open their doors January 2019, and Cumulus will continue to inspire light interaction and community play for many years to come.

Photo Credit: Amanda Ahlman

Photo Credit: Eduardo Robles

Photo Credit: Rachel Frail 73

A. North Section

ASSIMILATE 4-Week Project; Professor Scott Murff

TEMPE, ARIZONA “Assimilate” is a micro-dwelling experiment in Papago Park where lines between interior and exterior living blend together to create a seamless living experience within the desert landscape.

CONCEPT “Assimilate” challenges the disconnect between modern homes and the desert landscape by proposing an integrated approach to building and living. The design connects the interior of the dwelling to the surrounding landscape using glazing and large-scale doors. Situated between two boulders, the structure invites nature to assimilate into the dwelling by exhibiting raw rock throughout the living spaces and showcasing this resource of the site. Moreover, the dwelling assimilates into the desert by remaining discreet and adapting to the natural landscape.

Plan

THE SITE The site exists in Papago Park where natural desert can be exhibited within the city of Tempe. The goal of the project is to create a functional living space with maximum site integration. The design celebrates the boulders at this location both inside and outside the structure.

Existing Site - South

Moreover, the micro-dwelling creates plenty

spaces

both

indoors

and outdoors in which to view the natural landscape in a relaxed living environment.

Existing Site - West

Context

Outdoor Living

CONNECTION TO NATURE As accessibility to nature increases individual

wellbeing,

the

design

capitalized on the location. From each room of the micro-dwelling, one can see both the exterior desert environment

through

strategically

placed windows as well as the rock for which the dwelling is comprised.

EMBEDDED EXPERIENCE The experience of the design is one of submersion and perceived seclusion despite being on Tempe Town Lake and near the urban environment. The

micro-dwelling

serves

model for how small desert dwellings can achieve a healthy and highly memorable experience.

Living Room

Kitchen

Bedroom 79

SEQUENCE 4-Week Project; Professor Bernardi & Hartman

TEMPE, ARIZONA

A satellite student center for Arizona State University’s Campus, SEQUENCE creates a functional space for student activity in the heart of campus. The additional amenities provided by the facility aim to improve the overall student experience at ASU.

B. East Section

Existing Site - West

Existing Site - South

Context

A SATELLITE STUDENT CENTER SEQUENCE focuses on creating flexible spaces available for and by ASU students. The satellite student center houses a grab-n-go coffee shop complete with an outdoor pick-up window for online orders, a multipurpose room rentable to organizations and student groups, a relaxation room for students to recharge inbetween classes, and computer workstations for last minute printing needs. In addition to providing student services, SEQUENCE aims to become a fully studentoperated business model. While working toward their degree, students from all disciplines have the opportunity to gain relevant work experience by managing the daily operations of the project.

1 A

3 2 4

Plan

A. North Section

Key 1. Coffee Shop 2. Multipurpose Space 3. Relaxation Room 4. Computer Workstations

Coffee Shop

VERSATILE SPACES Because the satellite student center is meant to enable students to gain work experience, the design allows for many multipurpose spaces to accommodate a wide range of majors. The gallery easily transforms into a venue or guest lecture hall, and the outdoor shaded area can be utilized for farmers markets and job fairs.

AN EXPERIMENT IN SHAPE The design exists as an experimental massing of the articulated cube. The design begins as a simple sequence for the enclosed volumes which then repeats to form the outdoor shade structure.

Relaxation Room

Workstations

Outdoor Shaded Area 85

FACTORY OF FASHION 4-Week Project, Professor Underwood & Smith

TEMPE, ARIZONA “Factory of Fashion” transforms a former public theater into a contemporary fashion incubator.. The design addresses many needs of FABRIC Tempe’s manufacturing hub by bring functionality back to a unique structure while continuing to maintain the character of the building’s history.

A. South Section

C. West Section

CONCEPT The ‘Factory of Fashion’ renovation focuses on simplified, open spaces where function adapts to accommodate each stage of the design process. Machines are celebrated as works of art and create backdrops for fashion shows hosted in the venue. Fashion and machines are showcased in the design through the use of lighting and partition elements: fabric and frosted glass. Each floor is designed to encourage an open, collaborative atmosphere where designers can focus on continuous learning and skill development. ‘Factory of Fashion’ aims to assist in the refinement of FABRIC Tempe’s primary product: Arizona fashion designers.

PUBLISHED State Press Magazine Arizona State University Volume 18, Issue 2 October 11, 2017

KEY Second 1. Sound Studios

6 8

2. Media Office/Storage 3. Green Room

4. Photo/Video Studio 5. Classroom 6. Flexible Offices 7. Coworking Space 8. Dressing Room 9. Conference Room 10. Kitchen Ground 11. Storage

Second

12. Classroom 13. Dressing Rooms 14. Bar 15. VIP Section 16. Fabric Store 17. Sourcing Library Basement 18. Manufacturing 19. Screen Printing 20. Backstage

18 19

21. Storage 22. Venue 23. Catering Kitchen

18 21

25. AAF Scholarship Office

26. Fabric Storage 27. Maker’s Space

27 26

Basement

24. CAD

C 11 12 13

13 14 B

17 C

Ground

A COLLABORATIVE ENVIRONMENT “Factory of Fashion” utilizes an open plan in the coworking and maker space in order facilitate a collaborative, inspiring environment. As FABRIC’s Tempe location is their primary manufacturing

hub,

the

structure

also

houses

Context

screen

printing, sound studios, and a green room to further promote interdisciplinary collaboration across the arts. The design also features a substantial venue for fashion shows. The runway is ever-present as a form of inspiration and anticipation throughout the makers’ typical workday.

Existing Site

B. North Section

A CELEBRATION OF FASHION DESIGN “Factory of Fashion” presents a lobby resembling that of a

The design further celebrates fashion through translucent

museum. The entrance is grand and creates an environment

panels of frosted glass penetrating each stairwell. As one

of excitement through discovery. The design alludes to the

walks the stairs, others see the shadow of the individual

idea that a fashion design under construction becomes a

and the movement of their clothing’s fabric. This feature

viewer’s paradise.

celebrates the dynamic art of fashion through continuous movement.

Backstage

A FACTORY FOR GROWING The fashion incubator functions as a micro-manufacturing hub to allow local designers

develop

their

brands. However, the most important product of FABRIC is the Arizona fashion designers who work within the space. The networking connections FABRIC provides their members remains vital to the development of new fashion brands. The connections becomes possible through the dynamic design of “Factory of Fashion”.

A VENUE TO INSPIRE The design maintains the existing square footage of the original theater’s venue space which allows FABRIC to continue to collect additional funds through external rental fees. Although versatile, the design of the venue caters effortlessly to a runway experience with minimal set up required. The classroom on the ground floor doubles as a dressing room for models. To further create an atmosphere of interest, fashion show attendees can see the shadows of the models preparing to walk to the runway.

Markerspace

Fashion Show

Classroom 95

NEVER ALONE. ALWAYS CONNECTED. 11-Week Group Project, Professor Jose Bernardi

TEMPE, ARIZONA “Never Alone. Always Connected.” gives new life to an outdated clinic for Southwest College of Naturopathic Medicine (SCNM). This redesign is a group effort by a team comprised of Rachel Frail, Susan Clay, Kara Moncada, Jason Vetsch, and Zijing Zhao.

A 4

7 2

13 6

27 20

Plan

HEALING THROUGH CONNECTED ENVIRONMENTS Connected to your Fellow Patients Connected to your Community Connected to your Clinical Team Connected to your Friends & Family Connected to your Natural World

KEY 1. Hydrotherapy Pool 2. Hydrotherapy Prep 3. Private Hydrotherapy 4. Treatment Room 5. Sauna 6. Steam room 7. Locker Room 8. Classroom 9. Laundry/Janitorial 10. Consultation 11. IV Private 12. IV Prep 13. Community IV 14. Reception & Billing 15. Waiting Room 16. Juice Bar 17. Medicinary 18. Physical Therapy 19. Janitor Closet 20. Kitchenette 21. Multipurpose 22. Lab 23. Phlebotomy 24. Consult Room 25. Telemedicine/Exam 26. Exam Room 27. Family Exam Room 28. Clinical Integration 29. Shared Workspace 30. Director’s Office 31. Lab Offices 32. Classroom 33. Lounge 34. Storage 35. Equipment 36. Clean Utility 37. Dirty Utility 38. EVS 39. Electrical 40. Mechanical

Existing Site - Northwest

Existing Site - Southwest

Context

Physical Therapy

NATURE A connection with nature remains present

throughout

the

design.

The design capitalizes on natural daylighting greenery

and

abundance

through

large

glazing

elements and outdoor spaces. Designed

Jason

Vetsch,

the

furniture and millwork featured in the waiting room uses natural shapes and materials to further reinforce the theme of nature.

100

HEALING TOGETHER The

Community

Center

remains

added programming to the project. The

team

felt

SCNM’s

current

program only addresses the physical recovery without supporting mental and spiritual recovery. Mental and spiritual recovery often derives from community involvement; therefore, the team added the Community Center to facilitate complete wellness. Through the mental and spiritual support provided through various group therapy sessions, community events, and physical therapy, the goal of the Community Center remains to accelerate physical recovery and address each patient’s needs.

Waiting Room & Juice Bar 101

102

PLUS IS GREATER THAN DIVIDE 8-Week Group Project, Professor Karin Santiago

SAN JUAN, PUERTO RICO A adaptive re-use project situated in Puerta De Tierra, San Juan. The project abstracts the traditional Spanish colonnade to honor San Juan’s unique history and provide the people of Puerta De Tierra with a space unique to their location. Group members: Slade Sheaffer & Yuandi Wang

103

TOURISM GOVERNMENT

UNDERSERVED

LEGEND FORMAL ART SITE IMPRESSIONS GENERAL IMPRESSIONS CHURCHES

COLOR MAPPING THE BUILT ENVIRONMENT COLOR MAPPING THE NATURAL ENVIRONMENT TEXTURES OF DECAY STREET ART & GRAFFITI DEPICTIONS OF NATURE DEPICTIONS OF RELIGION DEPICTIONS OF HISTORY DEPICTIONS OF IDENTITY

104

CONNEC

NA T

HISTORIC BUILDING FEATURES

ABUNDANCE OF WINDOWS

COMM U

WEALTH

NITY A CCES S

ARTISTIC EXPRESSION

ORANGE ACCENTS

VALUE MAPPING THROUGH ART: PUERTA DE TIERRA, SAN JUAN Outside the tourism in Old San Juan, Puerta de Tierra presents three main divisions: government property, the underserved community (“the abandoned”), and the wealthy district. Through the process of mapping the artwork, both formal and informal, in Puerta de Tierra, four key values of the community were revealed: nature, religion, history, and identity. The community’s value for the natural environment is evident throughout both formal and informal works of art. Moreover, the beauty of the island and its color diversity throughout both the built and natural environment remains striking. Religion appears often throughout the island in both imagery and physical places of worship. The value for the history of the island is prevalent in the preservation of Old San Juan and the many fortresses across the small island exhibiting beautiful representations of decay. Finally, identity becomes the most important and encompassing of the values, as religion and history are deeply embedded in one’s identity. The value of identity appears most prominent through the graffiti and street art depicted in the underserved region of Puerta de Tierra. Most of the informal street art exists as artist tags and messages about fighting hate in the community. The people are seeking a voice, and they wish to be heard.

105

AERIAL

SECTION A (WITH PLANTS)

ELEVATION

CONTOUR DIAGRAM

106

Aluminum Funnel

Aluminum Frame

Aluminum Branches

Cast-inPlace

EXPLODED DIAGRAM

CISTERN

SECTION B 107

CONCEPT “Plus is Greater Than Divide” focuses on the unifying links of the “inbetween”, spaces of transition and spaces of common ground. The strategy focuses on eliminating borders to establish fluid connections between the plaza and adjacent structures, interior and exterior, private and public, formal and informal. As a reimagining of the traditional Spanish arcade, the “inbetween” offers a moment of reprieve from the social contract, where one is neither included nor excluded in space. Instead, users experience a succession of transitional spaces open to the public, sheltered from the elements, inviting the user to slowly acclimate their senses. “Plus is Greater Than Divide” seeks to unify through its connective nature impacting the physical and the social environment of Puerta de Tierra.

Beneath the Colonnade

108

Approaching the Colonnade

Second-Floor, Outdoor Gallery

109

110

CRAWL WALL ‘Shark Tank’ Pitch, Professor Karin Santiago

By 266° With a sustainable future in mind, 266° (comprised of Rachel Frail & Toni Makinde) dedicated their mission to eliminating plastic waste and finding long-term uses for recycled, single-use plastic products. The Crawl Wall provides a perforated, partition system ideal for crawling plants while providing recycled HDPE plastic with a long-term, usable form. Because there are no additives to the HDPE plastic, the Crawl Wall remains 100% recyclable to adapt to the continuously evolving consumer market.

111

Freestanding Configuration

Images provided by National Geographic & CNN.

The Plastic Problem: The North each year. Adding to the enviro matter comprising the Great P durability, low cost, and mallea recycled plastic The Plastic Problem: The North each year. Adding to the enviro matter comprising the Great P durability, low cost, and mallea recycled plastic

Images provided by National Geographic & CNN.

A SOLUTION TO PLASTIC WASTE The Northeast Recycling Council claims, “The world produces almost 300 million tons of plastic each year. Adding to the environmental burden, one-half of the plastics produced are for single use.” The majority of matter comprising the Great Pacific Garbage Patch comes from plastic due to the material’s inability to biodegrade, durability, low cost, and malleability. Inspired by The Ocean Cleanup, 266° aims to find long-term uses for single-use recycled plastic to prevent further pollution and assist in utilizing current ocean waste. Through the process of melting down and reshaping HDPE plastic bags, 266° presents a long-term solution to utilize former single-use plastic products and capitalize on the material’s benefits. HDPE plastic becomes a highly adaptable material with great durability. Moreover, reshaped HDPE plastic also can be cut and fastened similar to wood products making HDPE plastic a viable building material The Crawl Wall becomes 266°’s first building product offered using this method; however, there are no limits to what the HDPE plastic can become.

Single-Use Plastic Outlives Initial Use

Process

Process 1. Selecting HDPE Plastic

112

2. Shredding Pl

heast Recycling Council claims, “The world produces almost 300 million tons of plastic onmental burden, one-half of the plastics produced are for single use.” The majority of Pacific Garbage Patch comes from plastic due to the material’s inability to biodegrade, ability. Inspired by The Ocean Cleanup, 266° aims to find long-term uses for single-use Image Source: National Geographic Image Source: CNN c to prevent further pollution and assist in utilizing current ocean plastic. heast Recycling Council claims, “The world produces almost 300 million tons of plastic onmental burden, one-half of the plastics produced are for single use.” The majority of Pacific Garbage Patch comes from plastic due to the material’s inability to biodegrade, ability. Inspired by The Ocean Cleanup, 266° aims to find long-term uses for single-use c to prevent further pollution and assist in utilizing current ocean plastic.

lastic

Plastic Sorted HDPE From LDPE & Shredded PLASTIC

Plastic Sorted HDPE From LDPE & Shredded

Heat Plastic PLASTICUsing Double-Boiler Method & Press to Form

Collection Containers Provided at Large Retailers

OIL

Lives as a 266° Building Product for 30+ Years

Heat Plastic Using Double-Boiler Method & Press to Form

Lives as a 266° Building Product for 30+ Years

3. Heating Oil

4. Melting Plastic

5. Pressing Plastic

113

2’-0”

Type B

Type A

0’-6”

Plan - Standard Configuration

1’-0”

0’-3”

Type B

Type A

Exploded Configuration

Exploded Diagram

Elevation - Standard Configuration

CRAWL WALL The Crawl Wall is an exterior partition system with two offered configurations, the standard built-in and the freestanding configuration. The systems use the same components; therefore, manufacturing costs remain low due to standardization. 266° also aims to establish HDPE plastic collection centers at large retailers which will provide completely free raw material for manufacturing. The design of the Crawl Wall seeks to create useable outdoor spaces that are cooled in the summer months and offer a balance of privacy and neighborhood transparency.

114

Plan - Freestanding Configuration

SCALE: 1/2”=1’0”

Maintaining Neighborhood Visibility

SCALE: 1/2”=1’0” Creating Usable Outdoor Living Space

SCALE: 1/2”=1’0” Standard Configuration

115

Artwork Color & Composition Experiments I often experiment with color and composition through drawing and painting exercises. The following are just a few examples of these exercises in various stages of completion. Paintings are completed using acrylic paint on canvas.

116

117

Rachel Marie Frail DESIGNER 636-226-6662 rfrail@asu.edu