ROSHELLE BORN
Roshelle Born
414.916.0175
roshelle.born@gmail.com
Chicago, IL
learn(work).
M. ARCH UW-MILWAUKEE CONCENTRATIONS Social Research, Critical Theory, Data Visualization, and Narrative Mapping. STUDIOS The Palimpsest of Urban Memory: India; The City as an Artifact: W. Europe; Distinguished Chicago Design Critic Studio; Visible Certainty: Diagramming & Mapping AWARDS Graduate School Fellowship selected as 1 of only 14 campus-wide GRADUATE TEACHING ASSISTANT Architectural History and Theory Composed a seminar on 20THc. art and architecture, and critiqued both written and design work, drawing out valuable ideas and refining their communication. 3D Modeling Instructed weekly courses, focusing on the language, processes, and tools as well as the generation of beautiful and informative perspectives, renderings and diagrams.
B.A. ART HISTORY, CERT. MARKETING UW-MADISON CONCENTRATIONS 20THc. Art + Architecture, and the exile of beauty. AWARDS Graduation with Distinction; Porter Butts Creative Arts Award, granted annually to 1 graduating student exhibiting exceptional leadership in the arts.
work(learn).
CORPORATE COMMUNICATIONS COORDINATOR PERKINS+WILL Perkins+Will Firmwide Monograph Images Publishing Group, expected publication date Dec 2010 Ideas + Buildings Vol.03 Perkins+Will, expected publication date Nov 2010 • Compiling source material and archival research. • Liaised with publishers and designers on project narratives. Ralph Johnson on Modernism Documentary Short, released Jul 2010 • Collaborated with a creative agency and media team on a series of short films highlighting firm strengths, leadership and relationships. www.perkinswill.com Launched September 2010 • Development and coordination of a central content strategy; Selected projects that contributed to the brand message, producing images and copy.
DESIGN WRITER FRANKEL+COLEMAN Activity Settings: Collaboration in the Workplace Client: Confidential furniture manufacturer, 2010 • Synthesized raw interview material into a comprehensive design brief and visual presentation, extracting insights and key challenges prime for further investigation. Experiential Transaction: Designing the Future of Financial Institutions Client: BCI Credit Union, 2010 • Unpacked consumer perceptions of financial service institutions, dissecting and reshaping the credit union business model to identify key insights and opportunities. • Translated strategic insights to a design response. • Captured the range of design responses in an aesthesis format. Design Research Case Study Documentation • Co-writing a series of hypothetical case studies for a design research textbook, providing context for embedding research in the design phases.
DESIGN RESEARCH INTERN BRUCE MAU DESIGN In Good We Trust Biennial of the Americas Client: City of Denver, 2009 • Developed cultural cartography methodologies to streamline the research, collection and presentation of new now innovators • Strategized 7 exhibition experiences and cultural programming for 7 themes over 7 weeks in Denver to launch 7 possibilities for the 21st century Launch Possibility July 2009 • Produced, mediated, and documented a think-tank of 40 innovators across disciplines, three international ambassadors for two days of innovation and collaboration, serving as the launch of In Good We Trust.
VOLUNTEER COORDINATOR BACK ON MY FEET (2010) •
Participated in the Chicago Launch and currently running 3x/week with a local homeless shelter as a way to build confidence, reliability, strength and self-esteem.
BRUCE MAU DESIGN : IN GOOD WE TRUST Whitney Gellar
Design + Research Lead
312.813.7433
geller@brucemaudesign.com
Chicago, IL
Massive change, cultural possibility, positive innovation, and audacious action. Last summer, I was selected through a competitive design charrette for a Research and Design Internship with the global arts and design services firm Bruce Mau Design. During this experience, I focused on visual identity and branding, environmental graphics, exhibition development and design, and cultural and business programming. In collaboration with a group of smart, interdisciplinary designers we developed cultural cartography methodologies meant to streamline the research, collection, and presentation of <New Now> innovators, technologies and processes. Using the information and visualizations we constructed 7 exhibition experiences and cultural programming were strategized for 7 themes over 7 weeks in Denver to launch 7 possibilities for the 21st century. The project culminated in the launch of In Good We Trust: Denver Biennial of the Americas, a momentum building lecture series and workshop produced, mediated, and documented by BMD for an international community of ambassadors and innovators.
CITATION 2.0 AUTHOR / ARTIST TITLE MEDIUM YEAR CITY
COMPRESSED CITATION WILSON, EDWARD O. (1998). CONSILIENCE. NEW YORK: ALFRED A. KNOPF, INC.. PP. 26-27, 269. ISBN 0-67945077-7.
EMBED/LINK
PUBLISHER
WWW....
EDITOR SERIES TITLE
CREDIBILITY + RELEVANCY
VOLUME TITLE
flocking pigeons
VOLUME #
http://cite.cc.eo98
parametric design native american weaving patterns cyclic universe
TRACKING THE BUZZ BUZZ = (Popularity how many people viewed the citation) x (Credibility function of the rating score) x (Relevancy function of its release date and the date it was cited.)
algorithms
buzz tracking
clickstream data
Through the creation and mass implementation of a standard web citation process, we can increase the credibility of casual web conversation in venues such as blogs, tweets, digs, etc., as well as track the popularity of citations, who is citing them, rate the credibility of users, and the dates when the citation was posted, thereby being able to quantify and track the fleeting “buzz.”
Through a sophisticated recruitment process, choose a focus group of 100 innovators across a diverse range of fields and locations throughout the world and record their clickstream data through an application installed on their computer. The resulting data and maps will be suggestive of initial interests in ideas across disciplines.
IN GOOD WE TRUST INNOVATORS
Proof: Gives tangibility to a movement- a visible spirit of innovation
“EVERYWHERE I GO I SAY ‘YOU GOTTA COME TO DENVER’.” When we show people what we are doing here, consistently, almost to a person, people say “Oh my goodness, we have to go to Denver, how do we do this.” It has been an extraordinary experience over the last few months as we have focused on finding the extraordinary people to be part of this. At right is a list of a number of those people. It is an unorthodox list, of course. One of the things we are focusing on is the notion of “Artscientist.” There is a great book called “ArtScience” that describes how art and science diverged and developed their own specialized cultures and languages, but are now reunifying to create a new kind of dialog. If you think about design, everything we do must be about both art and science. It must be about making things beautiful and compelling, but it also must stand on a foundation of innovation and technology.
Possibility: Provides a launch platform for global change
THE REPRODUCTIVE ISOLATION OF ALASKAN THREESPINE STICKLEBACK Dr. Jeffrey McKinnon, University-Wisconsin at Whitewater
Seward, AK
Iâ&#x20AC;&#x2122;m crazy curious--from business to culture, art and science. So when I saw a flier in college for an opportunity to travel to Alaska on a research grant, I bit. Alongside a team of Evolutionary Biologists, I researched the Reproductive Isolation of Alaskan Threespine Stickleback. Over the course of this adventure--diving in calved-in glaciers and snorkeling through marshes in drysuits, collecting and analyzing field work and lab data--I first learned the value of hard work, collaboration, and the rigor of scientific research, but more importantly I developed a reverence for the complexity and dynamism of the biological systems around us. [Research published in Trends in Ecology & Evolution, Volume 17, Issue 10, 480-488, 1 October 2002]
Anadromous
White Japan Pacific
Lake Resident
Freshwater Stream Resident
VANCOUVER IS, B.C.
Limnetic
Benthic
VANCOUVER IS, B.C.
Red
Black
PENINSULA, WA
SEWARD, AK
Typical Marine
NOVA SCOTIA
Sea of Japan
HOKKAIDO, JAPAN
MADHAVPURA MARKETPLACE, AHMEDABAD, INDIA Manu Sobti, PhD, University-Wisconsin at Milwaukee
mpsobti@alum.mit.edu
Ahmedabad, India
How do you approach design in a foreign context? For a site entrenched in history and memory? For a people struggling to come to terms with the need for new infrastructures and subsequent loss of familiar space? Established 4 centuries ago, Madhavpura Market is entrenched in history despite the rapidly changing urban environment in which it exists. The wholesale market obstinately survives in the midst of an urban legislation that cares little for history or memory. The once advantageous location on the axes of 2 majors streets outside the city wall has been engulfed by the growing congestion of the old city, + the emergence of digital clearinghouses for goods has the potential to revolutionize the marketplace, or even eliminate its necessity completely. An intervention in Madhavpura Market must deal with the conflict, contestation, adjustment + reconciliation between the past, present + future; it must concurrently esteem, embrace + innovate. The proposal has no intention of streamlining or making â&#x20AC;&#x2DC;efficientâ&#x20AC;&#x2122; the perceived chaos of the market, and through the application of a range of design processes, dissected the western perspective of chaos as a means to understand a complex foreign environment.
india ahmedabad Population City: 4,269,846 Density: 58,205/sq mi Metro: 5,680,566
1
goods are transported from the countryside to the city
goods are stored and 2 sold at the madhavpura wholesale market 3
4
taxes applied only on the trucks entering the walled city
1
goods are transported from the countryside to the city
2 all trucks are taxed prior to entering the city ever morning; by law, trucks are no longer allowed to drive the city streets from 9 am to 5pm 3 multiple trucks navigate the congested city streets 4 goods are stored and sold at the madhavpura wholesale market; drivers remain at the market until 5pm when they are able to leave 5
goods are distributed throughout the city
trucks transport the goods to the city center
then.
now.
MADHAVPURA MARKETPLACE, AHMEDABAD, INDIA
In collaboration with architecture and urban planning students from CEPT University, we compiled and made visual historical research, interviews, movement patterns, inherent hierarchies, embeddedness, incremental growth, urban edges, spaces and activities, formal characteristics, and climatic responses. In response to this project, I devised a book of patterns and diagrams as a means to comprehend the complex, dynamic foreign environment and create a framework through which design strategies could be developed, layering on new patterns of sustainability and adaptability.
MAKE CHANGE: CREDIT UNION SERVING THE GREATER GOOD Neil Frankel, FAIA
312.697.1620
neil@frankelcoleman.com
Chicago, IL
650 people were asked in January 2009 words to describe financial institutions.
Greedy, impersonal, opportunistic and distant, the financial services industry needs a design bailout. Last spring, I was selected as 1 of 14 students for a Distinguished Critic Design Studio in Chicago with Neil Frankel, FAIA, that focused on the connection between social research and design excellence for the architectural interior environment. The studio served as consultants for a credit union design-build firm, unpacking consumer perceptions of financial service institutions in the wake of the recession, dissecting and reshaping the credit union business model to identify key opportunities within this context and addressing these in comprehensive brand experience. Make Change confronts current issues in the financial industry by designing a credit union that serves the greater good. Through a unique combination of both financial + philanthropic endeavors, Make Change strengthens relationships between members, and with the physical space, reestablishing a lost connection between communities and their financial institutions. At the gateway to Chicagoâ&#x20AC;&#x2122;s financial district from the major commuter networks, Make Change is a highly visible, optimistic vision for the future of the industry.
GREEDY IMPERSONAL 32%
32%
OPPORTUNISTIC
26%
DISTANT
22%
TRUSTWORTHY
15%
HONEST10% ETHICAL 5%
3% TRANSPARENT 3% SYMPATHETIC
Cohn & Wolfe Financial Confidence Survey, “New U.S. Consumer Survey Shows High Distrust of Financial Services Companies.” Business Wire. Jan 2009
MAKE CHANGE: CREDIT UNION SERVING THE GREATER GOOD
ORG
MAKE CHANGE.
A CREDIT UNION SERVING THE GREATER GOOD
Toss the “ATM inside sign.” Through Custom-designed personal finance kiosks, individuals interact with financial professionals 24/7, in accordance with Gen Ys needs. In addition to traditional financial transactions, individuals have the power to plan and communicate volunteer opportunities and donate time or money, which is then translated to dynamic LED red line “graphs” projecting from each kiosk out into the street. This dynamic line serves as a graphic representation of each respective kiosks’ contribution to the greater good, increasing visibility of the kiosk, Greater Good Projects, and Make Change as the new face of the financial services industry.
MELTWATER: CARBON +/- HOUSE CHRIS CORNELIUS
SOLAR DECATHLON COMPETITION 2009
WASHINGTON, D.C.
MELTWATER IS: MILWAUKEE.
UW-Milwaukee was selected as 1 of 20 colleges to participate in an international competition hosted by the U.S. Department of Energy to design, build, and operate the most attractive and energy-efficient solar-powered house. The project is carried out over the course of 6 semesters, culminating in the construction of the home on the National Mall in Washington D.C., October 9, 2009. Following the competition, the home will be re-constructed at a site in the Menomenee River Valley, Milwaukee, WI as a educational facility.
MELTWATER IS: EARTH-SHAPING STRENGTH.
The concept of the home is wedded to our region, as meltwater landforms makeup much of our recognizable landscape. Using nature as a model, the form of the roof signifies the carving away of the earth’s surface while the facade represents the layers of subsurface stratification. The sustainably harvested white pine from the Aldo Leopold Foundation forms the topographical façade sweeping across the front of the building, reminding us where the building and its makers come from, an indelible tie to our region. The powerful change-of-state involved in melting the glaciers during the Wisconsin Glaciation Period provided the model for the home’s many multifunctional components that adapt to the changing needs of its inhabitants. The form and potential of the home takes on the strength characterized by the natural processes that reworked our regional landscape.
MELTWATER IS: ENERGY COLLECTION, RELEASE + RECIPROCITY.
Using nature as a resource, Meltwater harnesses infinite solar power and fosters the collection of our finite freshwater supply. The distinct valley of the roof and the prominent placement of the photovoltaic panels communicate the value placed on these resources in the functioning of the home and our environment. Additionally, each material was carefully chosen with respect to the location of origin and quality in order to create a home that is both sustainable and has the ability to capture the essence of our region. Created of our region and for our region, Meltwater addresses the resources and needs specific to our place.
summer
w
at
er
sh
ed
winter
MELTWATER: CARBON +/- HOUSE
0 1’
3’
6’
SHEAR
extra seating television dishwasher
stove
sink
sliding door
OGIVE
cooling g
murphy bed
MORAINE
din din ining ing ng g tta able ble e
FLOAT
island
washer+dryer
BERG
wardrobe do not disturb
fridge+freezer
polycarb l 72
door lass ing g 0 fold 1,25
ws + doorss 1 winnndows 186
su sta ina bly ha rve ste dl um be r1 13
55 50 m mi 100 m mi
200 mi m
300 mi m
400 mi 4
500 mi
construction costs
lifecycle financial trends
0.6%
Division 2—Site Work
$725
9.5%
Division 3—Concrete
12,000
6,000
Division 12—Furnishings
12,000
Division 15 & 16—Mechanical & Electrical
20,000
Division 22—Plumbing
7,000
projected costs
re
5.5%
((-)) of
7,000
Division 11—Equipment
ro
15,000
Division 9—Finishes
alt
Division 8—Openings
ph
9.5% 15.8%
20,000
as
4.7%
27,000
Division 7—Thermal &Moisture Protection
ce
5.5%
0
Division 6—Wood &Plastics
vin yl sid in g
11.8%
Division 5—Metals
pla
15.8%
re pla ce
0.0% 21.3%
1,000 1 000 mi
Sub Total: 10% Contingency
780 S.F. 1 bedroom, 1bath
126,725 12,673
Total:
$139,398
0.4% 5.0% 2.2% 11.8% 10.0% 13.2% 5.2% 6.9% 4.7% 37.5% 3
Division 2—Site Work
$716
Division 3—Concrete
10,072
Division 5—Metals
4,427
Division 6—Wood &Plastics
23,592
Division 7—Thermal &Moisture Protection
19,890
Division 8—Openings
26,399
Division 9—Finishes
10,297
Division 11—Equipment
13,725
Division 12—Furnishings
9,360
Division 15 & 16—Mechanical & Electrical 3.1%
Division 22—Plumbing
6,469
Sub Total: 10% Contingency on Hard Construction
780 S.F. 1 bedroom, 1bath
PV System: $44,098.36
Solar Hot Water System: $17,246.00
Total:
74,844
199,791 6,899 $206,690
$265 per sq ft
$ g 11, pa ove 025 yb rn ac me k n t
$179 per sq ft
((+)) projected revenue
ing mb plu
es tur fix
27 73 s.i.p. p.. panelss
AN | ARCHITECTURE : CATALYTIC UN-MAKING Mark Sexton, FAIA
M. Arch Thesis Advisor
312.787.0056
msexton@ksarch.com
Chicago, IL
Waterview Tower
Chicago, IL
Currently there are over 100 stalled building projects worldwide. Unfortunately, a vast majority of our architectural inquiry focuses on successive stages of growth, ignoring the opportunities in the interludes and un-making. The intervention proposes a phased sculptural deconstruction and material reutilzation of an unfinished super-tall, reversing the fundamental object-centered hubris of the mega-project to that of an integrated cultural catalyst, in service to the surrounding urban context. The phased sculptural deconstruction serves as a sensitive receptor to changes over time and space, simultaneously activating the current framework and unlocking the site for future development. A cultural catalyst, curiosity and script for the reutilization of building materials, the intervention challenges conceptions of architecture, art and growth. As the building is sculpturally deconstructed the circumstances of the project and demolition are no longer viewed as a negative process but a celebration for cultural creation, urban revitalization, identity building, and positive momentum, opening up the site to future possibilities.
26
story urban ruin
142 stalled projects worldwide 1000m
500m
250m
er w To t’l In lm 3 e Pa rr p To m 1 ru 201 ma 1 e T ai na 01 e 2 Th ub Pa y 2 orr t os D e Ci a T nd sd a m 1 ro am na 01 Co Fa an Pa y 2 el + P e it t C o sd a H ro am ns 1 Fa an so 01 P ea k 2 S r ur Yo Fo ew N on ne si a Vi risb B ra er w ne To ta r M a i os I& ub e C 10 owe D rr 20 T To o de an iag Tra Gr ant t’l S In 10 0 jin 2 an jin Ti ian 10 T a 20 II si w ra co um i Eu os ar 11 M et 20 an ity Pl C er e a rr am ow T To an P ew vi r2 er o e at ag w W hic a To C ar r T m a i pe La b ra Du ysc Sk e ai Th b I Du m l iu ra ar 11 nt et 20 Ce an ity re Pl C or e a rr am aT To an am011 wer P n Pa 2 To e City al s d a pit ro am Ca 10 0 Fa n e Pa r 2 ua ity S q C er 1 e ait Th uw Tow r K ra Ct Ta on m ai nti e La b Du nv Co 012 ha a 2 Do oh ire D Sp 14 o 20 ag o ic ag Ch ic er Ch w To el 20 he i 20 ak a N ub D
ll 20 buildings b ildi ld id on hold h ld tallest worldwide (Council on Tall Buildings and Urban Habitat)
AN | ARCHITECTURE : CATALYTIC UN-MAKING
1
speculation//spectacle
25’
an-ar-chi-tec-ture [an-ahr-ki-tek-cher] noun
1. A response to ‘surface’ design 2. Completion through removal 3. Completion through collapse 4. Completion through emptiness. Quote from notecard 1146, undated, estate of Gordon Matta-Clark, on deposit at the CCA, Montreal.
2
disintegration//integration
MONDAY, SEPTEMBER 22, 2012
THE RECESSION IS OVER!!!!
3
conclude//continue
NROB ELLEHSOR