RIC FOLEY
ARCHITECTURAL PORTFOLIO
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DETROIT M-1 TRAM CENTERAL STATION MODULAR SUSTAINABILITY ZENITH PROSPECTIVE MOCKBEE ROBOPINCH
DETROIT M-1 TRAM CENTERAL STATION 2015 U of M Taubman College Construction II Professor Lars Graebner
PROJECT TEAM
Ric Foley, Roger Salinas, Ian Ting
The exoskeleton plays a crucial role in the structure, because a network of steel beams are strung between it and the core, holding up the concrete slab making up the office floor plate. The concrete is cast on site with a series of structural crenellations in the underside. On site casting also allows for service cables and other systems to be integrated into the floor slab, as is done in Christian Kerez’s Leutschenbach School. However, the building envelope, a continuous glass curtain wall system, is suspended in between the edge of the floor plate and the exoskeleton. Because of this, the transverse truss primary structure, as well as the structure holding the floor plates, pierces the glazing. This situation resolved with a rubber pass-through gasket which prevents moisture infiltration as well as air loss through the penetration. The floor plates occupies only the space between the exoskeleton truss frame and the inner core. This means that there is a continuous void vertically at the center of the building. A gantry system can be installed onto the structural core occupying this space. In addition, it allows for a large central skylight in the roof to bring light directly into the ground floor, which is the work floor. The work pit beneath the tram rails is also in this core space. The use of an all-glass facade also brings in a huge amount of natural light to both the work and office floors. The exoskeleton structure provides the framework for installing shading systems. In addition to work space, the ground floor features a fully enclosed loading dock to the rear of the building. Two egress stairs, an elevator, and a main stair serve circulation needs to the office floor, which is a completely open floor plan.
NORTH ELEVATION
SOUTH ELEVATION
EAST ELEVATION
WEST ELEVATION
The main stair is a folded steel construction and is bolted to the primary structure. It features glass treads, and is the centerpiece of the interior space. The building has a simple structural diagram. A cluster of steel columns at the center transfer the material loads into the ground. These eight columns are tied together to act as a set of four portal frames configured into a space truss. This is the core of the building, and the point where the primary structure meets the foundation and is secured with bolts. Atop it are a series of large transverse trusses which cantilever the structure in every direction about the core. With this strategy, the ground floor area occupied by structural columns is minimized. The trusses cantilever fifty feet each side. To their ends are welded an exoskeletal truss. Therefore the structural diagram is a pair of concentric rectangles linked by transverse truss members, creating through its subdivisions a fifteen square grid in plan. The primary structure is made entirely from welded hollow steel members. Two concrete service cores for egress stairs and an elevator also provide structural buttressing for the building. They serve as large shear blocks in the long dimension.
CONCRETE FLOOR PLATE
STRUCTURAL SYSTEM
TRANSVERSE TRUSSES
CORE STEEL STRUCTURE
SECTION 1/A101
SECTION 2 /A101
GROUND LEVEL PLAN
SECOND LEVEL PLAN
MODULAR SUSTAINABILITY 2014 U of M Taubman College Sustainable Systems Professor Lars Junghans
PROJECT TEAM
Mitch Roessing, Ric Foley, Joe Diamond
DESIGN STRATEGIES MATERIAL USE Maintaing a cohesive implentation of materials that enhances our design
THE MODULAR SYSTEM Seperating our program into independently functional modules
WIND CURCULATION Staggering our modules to optimize wind circulation in the summer months and block the wind in the winter months
SUN EXPOSURE Developing a shading system that both lets in an optimal amount southern exposure during the winter, and blocks large amounts of radiation during the summer.
While considering the wind patterns of Ann Arbor, we have employed an oset organization to each of our modules. This organization, allows each successive module to sit slightly farther into the site then the last. As a result this will allow us to maintain a primary south facing facade while achieving optimal cross-ventilation for maximum air transmission. From west to east we have created intake vents located in the bottom southwest corner followed by exhaust vents above each passage way. This cross-ventilation system will draw cool air from outside high pressure zone and circulate through the modules to create a homogeneous temperature while exhausting excess heat due to a low pressure zone located just outside the east facing window.
Section thru Living Room on Summer Solstice (June 21 - 12 noon)
SUMMER MONTHS A roof overhang acts as a shading device to shade the south facing façade over the summer season. This prevents solar heat gain and eliminates excessive heat transmission to the thermal mass of the internal floor of each module. A linear shading system was also incorporated on the connecting passages to combat the influx of solar heat gain.
Section thru Passage on Summer Solstice (June 21 - 12 noon)
Section thru Kitchen on Summer Solstice (June 21 - 12 noon)
WINTER MONTHS South facing windows will provide daylighting throughout the winter months, which will also create solar heat gain to warm the interior of each module. The concrete walls and oor will act as a thermal mass, storing the heat to maintain comfortable temperatures in the winter months.
Section thru Bedroom on Summer Solstice (June 21 - 12 noon)
ZENITH
2014 U of M Taubman College UG 3 Jaffer Kolb Studio
MARQUETTE BUILDING
56 W Adams St, Chicago, IL 60604
LONGITUDINAL SECTION
The objective was to increase the square footage of the Marquette building by implementing a vertical addition to create a dynamic juxtaposition between the formal approach to the first Chicago school and contemporary building techniques. This modern addition will be cladded with a highly reflective surface to optically translate the surrounding environment and aid in the act of preserving the iconic elements of early office typology.
While researching the first Chicago school it became evident that designers where looking towards the future, not only in the scale of the building, but the scale of city. Density has a pivotal role in the equation that led to the verticality of the Chicago skyscrapers. While the horizontal building plane of Chicago has become occupied, the relationships in the current environment are between viewer, street, building and sky.
The existing Marquette building embodies many properties of what we think about in the first Chicago skyscrapers and was considered quite tall of the late 19th century. In contrast, contemporary office buildings soars over the original Marquette structure making it feel obsolete in the eyes of mega corporations looking to occupy buildings that employ new tactics in building. While attempting to create a marriage between old and new, the Marquette building will play the role of the root. As a root the Marquette is physically attached to the ground plane and visually starts the conversation down the path of preservation. While the addition will reflect the root and play the role of a perceived intermediary between, viewer, street, building and sky.
Due to the importance of the angle of incidence of a reflection, the viewer’s perception of the building will truly be individual. While strategically placing these planes the design will begin to create a dynamic narrative which will continually render intrigue for each set of eyes that gaze upon the building. When considering the office typology of the late 1800’s, the Marquette building has help defined the architype of what a modern office building should be. Although, vision of modernity has changed since the original ground breaking, the footprint should last the test of time.
PROSPECTIVE MOCKBEE 2015 U of M Taubman College UG 4 James Michael Tate Studio
WALLENBERG STUDIO
Shown above is a clear bottle light. The lights are fabricated from recycled bottles, large washers, wire and LEDs. These physical lights hang over the drawing while emitting small warm bursts of light from within clear vessels. These elements evoke the sensation of catching a glimpse of a shimmering bottle from underneath the southern summer sun.
The depiction of the bottle tree in the drawing is shown as a medium sized sprawling tree that emanates thin rods as they are reminiscent of antennas perfectly positioned to each and every particular spirit frequency. Conversely to the drawing, the bottle light focuses on one particular spirit vessel.
ROBOPINCH
2015 U of M Taubman College Research Through Making Exhibition
PROJECT TEAM
Karl Daubmann with Ric Foley, Zhujing (Stella) Zhang
Additional support by Patrick Ethen, Claire Matucheski and Luis Orozco
Translation does not always result in a 1:1 exchange. Instead, new discoveries can be made through translations. Within a discipline that historically relies on others to execute designs, translating from digital to physical becomes one more exchange. In response, new technologies allow for refinement to communicate instructions for construction. Desktop and industrial tool equivalencies allow scale to increase for a given process – as water-jet cutting large sheets of steel does for
a laser cutter in modeling. The connection between digital tools and computer-controlled output gives architects the opportunity to speculate on form, material, and the process of making. Robots offer an opportunity for this speculation with the confidence that decisions can later be translated to larger processes. Fabric-formed plaster models offer a rich territory for exploration as the volume and weight inevitably distort flexible formwork. The phase change from fluid to solid allows for
distortions, sags, and wrinkles while freshly cast plaster can still be modiďŹ ed through cutting, carving, and drilling. This project proposes to develop a robotic process of creating malleable plaster molds to be precisely and robotically distorted during casting, and post-processed robotically to further modify form and volume.
~ the words of Karl Daubmann
http://archinect.com/blog/article/125207236/2015-research-through-making-interview-series-robopinch https://www.behance.net/gallery/19920725/RoboPinch-Pull-Push http://www.daub-lab.com/Robo-Pinch-Pull-and-Push https://taubmancollege.umich.edu/research/research-through-making/2015/robopinch