Moundville Community Pavilion

Moundville Community Pavilion

Moundville Community Pavilion Auburn University Rural Studio Lauren Ballard Kathryn Cantine Emily Lopez Sarah Page

This book is dedicated to the people of Moundville Archaeological Park that gave us refuge, food, and friendship.

This book documents the process of analysis, design, and construction for a community pavilion in Moundville Archaeological Park as part of Auburn University Rural Studio.

Unfortunately, construction of the pavilion was halted in March of 2020 due to the COVID–19 pandemic. Following Auburn University’s orders, Rural Studio was temporarily shut down— including all construction sites. The project was put on hold until it’s safe to return to in-person learning and building. This project research will continue with a new team in the future.

This book includes a section titled unbuilt to compile the final details that the project team designed but, due to safety concerns, were not able to build. These iterations, drawings, models, explorations, and decisions are included to express the original design intention behind the project and to act as a potential guide for the Studio to complete the pavilion.

This publication contains copyrighted images without the direct authorization of the copyright holder. The images were used for educational, nonprofit purposes, constituting a “fair use” of any such materials as provided in Section 107 of the US Copyright Law. Whenever possible, source credit is attributed to the copyright holder.”

introduction the place the people

12 20

context community park campground site

30 46 64 74

schematic design concept analysis and expansion finding a direction

95 96 114

structure developing a form testing the space testing the structure

127 128 140 152

construction preparing the site out of the ground main structure framing the form joist framing detail framing

178 190 210 240 254 272

unbuilt the ground seating cladding cooking area final design

302 322 338 346 356

appendix construction drawings documentation thank you

366 380 422

introduction the place the people

12 20

Moundville Archaeological Park was one of the largest Native American settlements in the 1200s. Currently owned by the University of Alabama, it now serves as an important heritage site to five different Native American tribes, an active archaeological site, and a beloved public park.

Rural Studio was asked to build a community pavilion within the Park’s campground—working with the project’s clients, community partners, Park staff members, the University of Alabama, the archaeological board, and the Native American council. This introduction provides important insight into the background of the project, including the context of Rural Studio, its geographic location and the community partners and clients who we worked with throughout the project.

13

the place What is Rural Studio?

Rural Studio is a design-build program located in Newbern, Alabama where Auburn University architecture students gather in an unair-conditioned barn to understand, learn, and design. The Studio is both an educational model that allows students to gain hands-on experience and a community partner for Hale County and the surrounding area. It began in 1993 when the legendary figures Samuel Mockbee and D.K. Ruth came up with a wild idea that architecture students could apply their knowledge and turn their desks in for hammers to invest in an under–resourced region of Alabama. The Studio consistently strives to answer the question of what should be built rather than what can be built, learning from the people of Hale County. With endless resources of knowledge, students are challenged to live up to an extreme level of rigor and embrace the spirit of Rural Studio. It is a place that empowers students to embrace and impact the future of rural communities.

“We encourage aspiring young architects to address the ethical responsibility for the social, political, and environmental consequences of what they design and build.�

Andrew Freear

The Place

15

What is the history of Rural Studio?

Rural Studio is situated in Hale County nestled within the Black Belt region of Alabama. The area largely consists of farmland and catfish ponds, with residents living in either historical antebellum homes or aging trailers. As a rural area struggling from a lack of many urban resources—particularly housing and community spaces—Hale County is an economically poor region in which many residents live at or below the poverty level. The small population and relatively few resources create deep and meaningful communities of people that must care for each other to survive—a far cry from the isolating nature of dense urban areas. Students are encouraged to become a part of the community to learn from the people the Studio builds for and have the opportunity to experience the beauty and struggles in Hale County. We’ve learned about inequalities in rural areas and the kindness of the people in them. This ultimately drives the rigorous nature of the Studio’s work to support the people that faculty and students have the privilege to connect with on a daily basis.

The Studio began as a few students, wood, and a truck working across Hale County and has expanded to become more rooted in Newbern and the community.

16

Introduction

The first projects under the Studio were mainly houses experimenting in recycled and found materials.

The Newbern Firehouse, built in 2004, was the first new construction in downtown in Newbern in more than 110 years.

Next to the Firehouse, the Newbern Town Hall gives residents a place to meet and vote.

The pavilion at Perry Lakes Park provides an outdoor space in Perry County that mitigates the park’s flooding issues through a raised platform.

The Greensboro Boys & Girls Club responds to a community need for a tutoring space and after-school care.

Serving as the only place with free WiFi in Newbern, the library is widely used for school work, community events, and public presentations.

Rural Studio is deeply rooted in its place; with over twenty–five years of work in a fifty-mile radius, the students are encouraged to study and learn from past projects. When the Studio first began, the projects were mainly experimental houses—quirky spaces that provided shelter but came with a fair share of maintenance problems as they aged. As Rural Studio grew and took on more responsibility with larger community projects, students were pushed to research more and draw more, focusing on built solutions that would last.

All images above are credited to Timothy Hursley.

The Place

17

Where are we?

Hale County is located near the western border of Alabama.

It encompasses Newbern, the home base of the Studio, and Greensboro, the catfish capital of Alabama where many students live. The project site for the community pavilion is in Moundville, a thirty-minute drive from Greensboro north along Highway 69.

Moundville sits along the very northern edge of Hale County, a twenty-minute drive from Tuscaloosa. The county line separating Hale and Tuscaloosa County actually runs through the center of Moundville Archaeological Park.

“The virtue of Rural Studio is that you are here. You eat it. You sleep it. You live it.�

Frank Harmon

Understanding this geography displays a unique challenge of the project. As the first project in Moundville, the community pavilion was the farthest north the Studio has ever traveled to complete a project. Although this presented challenges for the team in attending studio events, acquiring studio resources, and having access to help from the faculty, the community of Moundville and Park employees became an instrumental part of the project.

The challenges in being physically far from the Studio were mitigated by the help, community, and resources given by the Park and town of Moundville.

18

Introduction

Tuscaloosa

20 minute drive

Moundville

30 minute drive

Greensboro

The Place

19

What is the importance of Moundville?

Moundville was a Native American civilization that reached its peak in the 1200s. The map to the right depicts Native American populations during this time, with Moundville outlined in black as one of the three largest settlements. Today, Moundville is a town with a population of 2,456 people (as of 2018) that largely acts as a suburb of Tuscaloosa containing the Archaeological Park which preserves the civilization’s history and unique landscape. The Park’s importance is still relevant and expressed in its multiple, varying functions.

Moundville Archaeological Park is currently owned by the University of Alabama and contains an admissions building, museum, convention center, campground, and interactive, educational elements to learn about the civilization and Native American history. There is also an archaeology lab within the Park that actively analyzes artifacts from the Park’s grounds and areas around the Southeast.

Aside from its role as an educational resource and research institute, the Park also contains amenities for visitors and community members. The campsites and convention center are available to reserve to stay and host events and the Park is open every day and free for community members to use as a backyard.

20

Introduction

Perhaps the most important function of the Park is its role as a heritage site for five Native American tribes—including Chickasaw, Cherokee, and Seminole tribes—who trace part of their ancestry to the original civilization. The Park hosts numerous annual events such as the Native American Festival and Knap–In which attracts visitors from all over the country and allows many members of these Native American tribes to gather and share their history, traditions, culture, and crafts.

The Place

21

the people Who has made the project possible?

Above all, this project would not be possible without the clients, community partners, and network of support from the Park, town, and Studio. The clients, Alex and John, shown to the left approached the Studio with big plans for the Park and ideas for a partnership with the Newbern–based program. They worked with Rural Studio faculty and presented the idea of a community pavilion which set the project into motion.

“Making other people happy is much more sustainable than being a normal architect.”

fur den Architekten The broader goal and purpose of the community pavilion is to lay the groundwork for future projects in Moundville, to continue to design and build for this historical landscape and dedicated community. The clients, community partners, and friends of the Park who have supported the project have also provided a constant source of inspiration and guidance for the pavilion— which undoubtedly would not have been possible without them.

The People

23

24

Introduction

Group photo taken at Rural Studio convocation in 2019, with the army of faculty, staff, and some of the students that supported the team and project.

The project team This book represents entirely original work done by the project team—including the graphics, design, and construction process— unless otherwise stated. However, it is important to note the individual and collective voices who have contributed in many ways throughout the entire process. The student team is responsible for the daily management of the project through design and construction, with guidance and assistance from the faculty and staff of the Studio. Andrew Freear, the Studio’s director, and Steve Long, adjunct professor, met with the team weekly, or as needed, to push the project forward and provide insight. The faculty helped the team manage the Studio’s resources and aided in the construction process; while consultants from architecture firms across the world visited the Studio to help review, push, and refine design decisions and details.

The People

25

Clients, community partners, and friends Dr. Alexander Benitez Director of Moundville Archaeological Park; dedicated dog dad

26

Introduction

John Newman

Kristie Taylor

Maintenance Shop Supervisor; amateur spelunker

community partner; fifth female teammate

James Ford

Neva Newman

the most cheerful volunteer; talented musician

avid Zumba dancer; second mom

Finley

Lilo

the man of the house; loving couch potato

source of constant entertainment and hyper active tendencies

The People

27

context community park campground site

30 46 64 74

community

park

campground

Although the immediate proposed site is relatively small, the project sits within a much larger context. To begin schematic design, four different scales (shown above) were analyzed to understand the role the Park has within the community and how that can be responded to in the design of the pavilion as it sits within the campground.

site

community What connection and physical relationship does the Park have to the town and residents of Moundville?

Since its discovery as an archaeological site, the Park has undergone numerous phases of development. The town has a unique history in its relationship to the Park; the first residences were built to house the Civilian Conservation Corps (CCC) workers who established Moundville as a public recreation area and archaeological site.

Since this initial development, innovations such as the railroad and highway have grown the town and spread it further from the Park’s borders. To determine the pavilion’s role within the Park and community, the history as well as the residents’ current connection and use of the Park was analyzed.

Community

33

1

2 3 6 4

5

Images of downtown Moundville

1. Black Warrior River 2. Moundville Archaeological Park 3. Railroad 4. Housing developed by CCC 5. Highway 69 6. Project site Community

35

How has the physical landscape of Moundville changed?

Known as “the big apple of the Southeast” during the 1200s, Moundville was the largest Native American settlement east of the Mississippi at its height. This is depicted in the drawing on the top right, based on findings by historians and archaeologists to understand the landscape of the Park.

The mounds represent the prominent families of the civilization.

When the head of a household died, they would bury the body in the floorboards of the home and burn it to the ground. Then, new dirt would be brought in and a new home would be built on top. This was an important spiritual and cultural ritual and left an incredibly unique landscape. The height of the mounds show each family’s status; the highest mound is the former site of the chief’s home. Today, the mounds exist in a large, open plaza surrounded by a one-way road, the ring road. This is depicted in the bottom right axon.

Fog in the early morning lends an eerie backdrop to the mounds, enhancing the scale of the structures in the landscape.

36

Context

Community

37

Moundville as a Native American settlement Moundville was originally settled in this particular area for its location on a bluff overlooking the Black Warrior River, highlighted light gray in the map to the right. This became an ideal site as the bluff offered protection as well as an abundance of resources.

It is believed that Moundville was originally settled around AD 1020 and reached its peak in AD 1200. At this time, the civilization had its largest population and became fully fortified with the construction of a wall that bordered the settlement.

This became known as the palisade wall, believed to be part of the downfall of Moundville as a Native American settlement.

The wall required full logs from the surrounding forest; its construction resulted in massive deforestation and a decline in resources. From there, the civilization started declining and largely became a ceremonial site.

The site for the pavilion is depicted by the red square, notably outside of the original walled city, in what is currently the Park’s campground.

Early rendering of the physical landscape of Moundville as it existed as a Native American settlement.

38

Context

1250

1000 1050 1200 1250 1300 1350 1400 1450 1500 1550 Area originally settled

Fortified town Ceremonial site powerful smaller population leaders ruling society

1600 1650 1700 1750 1800 1850 1900 1950 2000 2050

The lost years Between the decline of Moundville in AD 1200 and the early 1900s, the site remained undiscovered. Although the mounds existed, other evidence of the civilization was lost. During this time, the United States was founded. At one point, the landscape was even row cropped, as its significance was unknown at the time.

“As time goes forward, we are trying to catch up with the past.� Tonic Design

Image of row crops following the unique topography of Moundville, oblivious to the origin of the landscape.

40

Context

1700

1000 1050 1200 1250 1300 1350 1400 1450 1500 1550

1600 1650 1700 1750 1800 1850 1900 1950 2000 2050

Area largely abandoned

Europeans discover and explore Southeast

United States of America is founded

The academic discovery of Moundville It wasn’t until the early 1900s that archaeologists and historians discovered the significance of Moundville’s unique landscape and began digging. Clarence B. Moore, Walter B. Jones, and David L. DeJarnette are credited for beginning the immense amount of research collected from Moundville to understand more about the civilization and the history of Native Americans as a whole. Numerous pieces of important artifacts have been discovered, including the Rattlesnake Disc—a clay etching of an open palm surrounded by two rattlesnakes believed to represent a passageway to the underworld— that has since become an icon of the Park.

In the 1940s, the Civilian Conservation Corps (CCC) developed the Park as it exists today, building the ring road, museum, admissions building, and campground—shown to the right. With the introduction of the Crescent railroad connecting New Orleans to New York, housing for the CCC workers was also built during this time, maintaining a strong physical relationship to the borders of the park.

Photos of early archaeological digs as well as key figures in the discovery of Moundville.

Nathaniel T. Lupton 1880s: started investigating in Carthage, (Moundville), AL, spurred interest in Mound builder archaeology

42

Context

Clarence B. Moore 1905: arrived on steamboat and started digging

Walter B. Jones 1930: purchased property for the University of Alabama and led archaeological digs with the CCC

David L. DeJarnette 1930: worked alongside Dr. Jones, instituted archaeological techniques

Christopher S. Peebles 1960s: began studying the results of the digs to learn about social organization and cultural practices

1930

1000 1050 1200 1250 1300 1350 1400 1450 1500 1550

1600 1650 1700 1750 1800 1850 1900 1950 2000 2050 Academic site discovery

Moundville city founded

The designation of Moundville as a historic national landmark Today, the physical landscape of the town of Moundville looks quite different. With the construction of Highway 69, connecting Greensboro to Tuscaloosa, most developments have been built further from the Park. Moundville largely acts as a suburb of Tuscaloosa with the highway easing the commute. However, the importance of the Park in the physical development of the surrounding community cannot be ignored and continues to bring visitors from all over the country. Five different Native American tribes still see Moundville as an important heritage site.

“We robbed the Indians of everything they had, and the least we can do is preserve this wonderful Monument which they left behind.� Walter B. Jones

View of the Park from Mound B, showing the immense landscape of the open plaza.

44

Context

2020

1000 1050 1200 1250 1300 1350 1400 1450 1500 1550

1600 1650 1700 1750 1800 1850 1900 1950 2000 2050 Site is opened to the public

What connection do the current residents have to the Park and how is it used?

Men

Women

After understanding the physical landscape of Moundville, both as a town and as a Native American settlement, a survey of 160 residents was conducted at a Hale County High School football game. The purpose of the survey was to learn if and how the residents use the Park. In addition the survey helped us understand what would make the Park more useful and how they would envision using an outdoor, covered space.

The results of this survey were collected in the graphics shown to the right with the breakdown of the demographics below.

Black

White

Over 50% of residents said they use the Park more than once a month.

25–65

10–25

65+

The demographics shown above represent our survey population which are consistent with the overall demographics of the town, ensuring that an accurate population was surveyed. The driving distance was also noted to ensure that the local community was surveyed.

46

Context

43%

5 min

70%

10 min

98%

30 min

What would make Moundville Archaeological Park more usable?

64

Would you host an event in Moundville Archaeological Park?

What do you want a pavilion to do?

67

63 58

56

59

55

63

43 32 24

fountain

bench

22

shade

access

31

28 20

lighting

party

reunion

graduation reception

picnic

shade

rain protection

seating

gathering

BBQ

Community

47

park How does the Park currently operate?

After understanding the Park’s role within the community, the Park was analyzed in how it currently operates. From this analysis, a master plan was devised focusing on what is currently successful about how the Park works and proposing strategies for minor changes that could enhance how visitors experience it.

Park

49

8

7

9

6 3 4

10 5

11

12

50

Context

2

1

1. Orientation Building 2. David L. DeJarnette Research Center 3. Douglass Nature Trail 4. Mound B 5. Jones Archaeological Museum 6. Indian Village and Craft Pavilion 7. Conference Center 8. Picnic Area 9. Maintenance Workshop 10. Director’s Residence 11. Campground 12. Pavilion Site Park

51

What activities are available at the Park?

The Park offers a wide range of activities and amenities.

Moundville acts as a public park, Native American heritage site, living museum, and active archaeological dig—visitors can experience all of these aspects. activities and events 1. public park for residents 2. event center 3. museum 4. school field trips 5. summer Saturdays in the Park 6. children’s activities 7. nature walk 8. annual festivals 9. camping

The Native American festival offers interactive booths for children, a craft market, and performances of traditional dances and songs.

52

Context

Many residents use the Park as their own backyard; there are almost always people walking, riding bikes, or exercising around the ring road. The Park also hosts yearly events such as the Native American festival, Knap-In for artisans to share their work, a 5K around the mounds, and numerous school field trips.

The museum is also open to visitors year round and a boardwalk allows visitors to walk through the woods and enjoy views of the river. There is an archaeological lab in the Park that people can contact for a tour to understand the Park’s ongoing research and see artifacts not currently on display in the museum.

The project team became more familiar with the culture and amenities of Moundville by volunteering for the festival and camping.

Park

53

Progression of views that visitors see when entering the Park off of Highway 69, with a tree-lined street opening to the grand plaza.

compression and release A term used often in design to indicate a spatial change in scale.

56

Context

How does the Park work spatially?

A series of diagrams were created to understand how visitors experience the Park, focusing on the entrance and progression around the ring road. This contributes to how the pavilion is sited within the Park and begins to identify what is successful in how it currently operates.

The images to the left depict the entrance sequence approaching from Highway 69. Approaching the Park, the visitors travel through a typical Alabama road with trees surrounding both sides, creating a feeling of compression. This emphasizes the unique landscape of Moundville’s open plaza as visitors enter the Park by directly contrasting it.

The entrance into the plaza is one of the most successful aspects of the Park. Immediately, visitors understand the grandeur and scale of the landscape. This is emphasized with the heavy forest line that surrounds the Park and hides most of the built structures. Hiding the amenities from view in the plaza allows visitors to understand the history of the space and aides in imagining Moundville as a civilization 2,000 years ago.

how different groups use the Park 1. The Moundville community uses the Park as a backyard and enjoys walking around the ring road.

2. First-time visitors come to learn about the history and see the mounds.

3. The Native American community hosts numerous gatherings and visit annually as an important heritage site.

View from Mound B illustrating the open plaza surrounded by a dense tree line.

Park

57

How can the experience of a first time visitor be enhanced? master plan 1. change the direction of the ring road 2. add more walkways through the Park 3. create more amenities

While analyzing the Park and how it currently works, the team outlined three issues to be addressed in the proposed master plan. First, enhancing what currently exists with minimal intervention. Second, encouraging a more active visitor experience that expands beyond a quick lap around the ring road. Finally, identifying the best places for future structures in the Park and what functions they would serve.

How can what currently exists be more impactful to a visitor?

The Park is encompassed by the ring road; as a one-way road it controls the views and experience of the visitors, first bringing them past the admissions building and then offering different views of the mounds to understand the scale of the structures. Currently, once visitors pass the admissions building they are offered short views of the mounds and the cars are closest to the mounds when they are driving away. Additionally, the other amenities of the Park feel disjointed and lack a relationship to one another.

The master plan proposes switching the direction of the ring road to reverse the order of a user’s experience through the Park. With the proposed change in direction visitors would view the mounds in close range along the first half of the road. These short, intimate vistas are paired with a longer, sudden view of the Chief’s mound after rounding a sharp turn. This gives a better understanding of the scale of the mound before parking and walking up it.

The image on the left shows how the Chief’s mound is currently viewed. The image on the right shows how it would be experienced if the ring road was switched, offering a more impressive view.

58

Context

key stops along ring road with proposed master plan (in order of approach) 1. admissions building 2. road to campground 3. museum 4. convention center, river bluff 5. Chief’s mound

Not only does changing the direction of the ring road allow for better views of the mounds, it also allows for a better understanding of the Park and its history.

At the admissions building, visitors watch a brief introduction video about Moundville. In the proposed change, the next stop would be the road to the campground where visitors move into the tree line and experience the dense tree canopy. This dramatic change in scale encourages a deeper understanding and appreciation of the grandeur of the mounds.

The next stop would be the museum; here, visitors are offered a deeper look at the history of Moundville and what it would have been like to live in AD 1200. Afterward, visitors can travel to the river and see the Indian Village with dioramas depicting everyday life during the settlement’s peak. The last stop would be climbing the Chief’s mound to offer a different perspective of the landscape and allow the visitors to reflect on everything they have learned and seen throughout the Park.

Park

59

How can a more interactive visitor experience be created?

The team thoroughly enjoyed walking around the Park and gaining a better understanding of its scale.

The next phase of the master plan proposes adding more walkways in the Park to encourage visitors to interact with the Park beyond viewing it from a car.

The nature trail behind Mound B is an incredible amenity of the Park; the soaring tree canopy provides a stark contrast to the long and low landscape of the plaza. Incorporating walkways through the forest with focused views that frame particular areas of the plaza and river could enhance this contrast, continuing the feeling of compression and release that characterizes the entrance into the Park.

There are many informational plaques, such as the one below, currently in the Park. A way to encourage visitors to experience the Park on foot would be to pair an audio tour with these that would provide additional information.

60

Context

These proposed walkways, diagrammed below, would work off of the existing boardwalks and parking lots. The existing parking lots could operate as hubs for visitors where they could begin their journey around the Park. While presenting the master plan to the clients, they even mentioned that a bike share program would be a great addition to the Park. Providing bikes for visitors could make the large loop seem less daunting to travel around.

Park

61

How can the Park begin to grow?

The final phase of the master plan examines how the Park can begin to expand—in its connection to the community and the amenities offered. This can be done by using what currently exists and enhancing the successful aspects of the Park by providing more opportunities for visitors to experience it.

One of the unique things about Moundville is that it is one of the only public parks in the country that is also an active archaeological site. However, the archaeology lab is currently hidden in the trees and not advertised in the Park and many visitors do not even realize it is there. Offering the lab as a more public amenity could give visitors the chance to understand how Moundville is being explored and learned about the history of the Park’s discovery.

The campsite is also an understated amenity that many residents are unaware of, but it offers a chance to experience the forest line and reflect on the Park’s open landscape. This is another amenity that could be advertised and incorporated into the visitor’s experience more.

62

Context

potential development in park 1. boat ramp at river 2. education center 3. archaeology lab tours 4. new admissions building 5. playground 6. community pavilion

1

2

3

5

4

Beyond using what currently exists, the clients have expressed interest in building new amenities in the Park. Shown above, the master plan highlights areas for development that could foster existing connections within the Park. The current success of the park is that most of the built structures are tucked away into the forest line; the master plan tries to continue this by highlighting areas for development along the plaza’s edge.

The goal for the proposed new structures would be to enhance the Park’s relationship with the community. A boat ramp could allow community members access to this section of the Black Warrior River. A new educational center could create the capacity for more school field–trips; opening the lab to visitors could showcase the archaeology of the Park. A playground could serve the neighboring elementary school; while a community pavilion will serve the campers and all visitors.

Park

63

campground What role does the campground play within the Park?

The site for the pavilion sits within the campground which is an important amenity that contrasts the landscape of the Park’s open plaza. Driving into the campground, visitors begin to inhabit the tree line that engulfs the perimeter of the Park. This tree canopy provides a human scale.

This analysis was important to the design of the pavilion as it sought to respond to both the larger context of the Park and the immediate surroundings of the campground. A stated goal of the pavilion by the design team was to create a relationship between the contrasting landscapes and respond to it in the overall form of the pavilion.

Campground

67

1

3

2

4

5

6

7

1. Primitive tent campsites 2. Handicap campsite 3. RV hook–up campsites 4. Sites with no hookups 5. Bathhouse 6. Project site 7. Road leading to ring road Campground

69

What currently exists within the campground?

The project team stayed in the campground to gain a better understanding of the experience of the campers, while also documenting the conditions within the site over a twenty–four hour period.

available campgrounds -5 primitive sites -20 sites with water and electrical -5 sites with water, electrical, and sewage hookups

Throughout the trip, the comfort of inhabiting the tree line in contrast to the views of the open plaza was noted as the most striking aspect of the campground. The camping sites become more secluded moving deeper into the forest, with views of the mounds blocked by trees. However, visitors parked in the outer sites and those that walk out past the tree line are rewarded with grand vistas of the mounds. Campers are allowed to experience the Park “after hours,” which allows the landscape to be experienced without distraction.

Careful analysis had to be done regarding the pavilion site and how the structure was to interact with the surrounding environment. In responding to the campground, it was important to acknowledge the grand view of the landscape without relying on the mounds, as RVs can sometimes block this view. Instead, the pavilion should serve as part of the landscape immediately surrounding it, giving visitors the unique opportunity to experience the forest.

70

Context

Campground

71

Natural and artificial lighting Lighting is an important feature in designing the pavilion—both in terms of safety at night and facilitating daily use. Shown in the plan drawing below, the sun moves along from the southeast to the southwest, lighting the site of the project from behind.

Three flood lights exist within the tree canopy as well as lighting connected to the bathhouse in the center of the campground. This is essential to feeling safe within the campground at night.

Plan drawings representing natural lighting (left) and artificial lighting (right) within the campground.

72

Context

Images of natural and artificial lighting looking towards (left) and away from (right) the pavilion’s site.

Campground

73

Existing campground utilities Site plan showing pavilion’s immediate site (highlighted in gray) in relationship to the bathhouse to the North; existing water line running through the site is shown as the dashed, red line.

View from the pavilion site looking towards the mounds (left), largely blocked by trees and the RV sites; view looking into the site towards the forest (right).

74

Context

Plan diagram showing the existing water drainage prevalent throughout the campground, including the site; the red bands represent ditches lining the road, connected by culverts.

campground water management The water drainage within the campground has been carefully considered by the Park. Drainage ditches exist on both sides of the road, with culverts (large, metal pipes) connecting the ditches under the individual campground sites. The topography is slight sloped towards these ditches to encourage water flow.

Campground

75

site What currently exists on the site and how should the pavilion respond to these built and natural elements?

The site was purposely chosen for its position outside of the Palisade wall to reduce any chance of finding something archaeology significant. Two built structures, a fireplace, and concrete slab exist on the proposed site and are believed to be from the twentieth century.

Analysis of the site focused on developing a strategy for the role of these built structures in designing the pavilion. The project team determined that the existing landscape creates a series of thresholds through the site while the fireplace and slab aren’t precious but do create a sense of place and hint at a small piece of the Park’s history.

Site

77

4

3

2

1

5

1. Campground road 2. Existing campsite 3. Concrete sidewalk 4. Concrete slab 5. Stand alone fireplace *Moving forward, North will be turned downward in drawings. This better reflects how the site is interacted with in person.

Site

79

80

Community

What currently exists on site?

A trailer previously occupied the site and served as the residence of the Park’s educational director. The home was positioned behind a concrete slab and fireplace that still exist today. The origin of these built features is unknown, but it is presumed that they were built by the Civilian Conservation Corps around the 1940s. During that time, two concrete benches were also built on the site.

These elements define boundaries of the site and suggest a history and sense of place. The slab forms an edge to the northern end of the site, contributing to the threshold created by the tree line. These built elements, particularly the bench following the style typical of CCC construction, providing a glimpse at the history of the site.

Civilian Conservation Corps More commonly referred to as the CCC, the Corps was created under Roosevelt’s New Deal program.

It enlisted unmarried men for voluntary public work projects including constructing bridges, fighting forest fires, and working to create and protect Parks in natural and historic areas.

Images showing existing bench and fireplace; a close up of the existing slab; and a second bench and grill tucked into the forest line.

Site

81

Natural conditions Aside from man-made interventions, the existing foliage and landscape begin to create a progression of experiences within the site. In the plans shown to the left, emphasis is given to the tree canopies shown with the dark poche. This begins to show the change in density experienced vertically within the site.

Experiential sketches were made as sections moving through the site and paired with plan diagrams to explain boundaries and conditions created by the natural elements.

82

Community

The two strong thresholds created by the tree lines on the north and south ends of the site form an opening where the fireplace and concrete slab exist. This is emphasized by the forest lines on the east and west as well, enclosing the space and making it feel like a room. This “interior room� has two strong light wells, shown in the section below, created by breaks in the tree canopies.

Moving forward in the design process, understanding these conditions and boundaries became important to consider how the design should respond to, emphasize, or alter the existing conditions. key existing elements of the site thresholds created by tree lines boundaries formed by the forest interior room, referring to the main clearing inside the site light wells formed by openings in the tree canopies

Site

83

The ground

Images depicting the change in ground condition moving back through the site, from the road towards the south end.

86

Community

The sky

Visitors experience open sky and then a dense canopy within the interior of the site, with openings below the identified light wells.

Site

87

documenting the site

The team documented the site in three different way: through drawings, pictures, and measurements. In order to correctly measure the site, the team used a site level and a 10’x10’ grid to accurately map where all trees and existing elements were located. Pictures and drawings were used to understand the spatial quality of the site. Together, these methods of documentation create a complete understanding of the space.

“There’s a lot of benefits to us, as humans, learning more from natural systems.” David Hill

How should the design of the pavilion respond to the site?

The built elements provide a sense of history within the site. This was identified as an important aspect to maintain and preserve, as it relates to the larger context of the Park. These elements offer a short glimpse into a period of development within it. The mystery of the fireplace set in the foreground of the forest offers a microcosm of the sense of wonder apparent in the landscape of the Park and mounds. With the existing natural elements, a strong entrance progression currently exists which begins to establish the site as a separate space. The form and placement of the pavilion should seek to enhance this and allow visitors to experience the site as it exists.

However, some elements of the site that detract from the overall experience, as diagrammed below. Power lines and views of houses in the southeast corner take away from the feeling of inhabiting the forest, serving as a stark reminder of modern civilization that the Park works to avoid. The pavilion should focus on the existing thresholds and views of the tree lines while steering people away from the visible homes and utility structures.

1 Existing positive and negative elements of the site the pavilion should address: 1. View of houses 2. Power lines 3. Access by Park staff 4. Broken sidewalk 5. Existing water drainage 6. Connection to bathhouse with existing path

2 4 3

5 6

90

Community

Views of the housing that detract from experiencing the forest and history of the place.

View of the slab leading to existing fireplace set in the foreground of the strong forest line.

Site

91

After a cold weekend of camping, the team knew the Park like the back of their hands (and feet).

How can research inform design decisions? program list

The team explored programmatic uses for the site through surveys, client meetings, and observations, that require the design to be both flexible and accessible.

relationship to historic landscape The pavilion should contribute to the visitor experience without distracting from the existing landscape or its historical significance.

spatial goals

The design should emphasize the existing spaces, utilize existing resources, and emphasize specific relationships in order to create a space that encourages reflection of the site and exploration of the forest line.

design concept analysis and expansion finding a direction structure developing a form testing the space testing the system

95 96 114 127 128 140 152

concept Moving forward from the research phase into schematic design, an infinite number of options were available in developing the pavilion. The context provided a driving force in identifying the pavilion’s role as a dedicated space for the community within the campground. Developing the form was a process of expanding on ideas and identifying successes and failures of schemes to produce iterations that test as many ideas as possible. These schemes were consistently brought back to the pavilion’s role within the Park, campground, and immediate site.

“You will never have all the information that you need, so just start.” Andrew Freear

97

analysis and expansion How can an infinite number of possibilities begin to be tested?

The infinite number of possibilities is what makes this project both exciting and, at times, overwhelming. Using the tools, strategies, and lessons learned throughout the workshops, the schematic design process involved weeks on end of design charrettes and discussions. Starting with precedent studies and working with nothing but pencils, pens, and multiple rolls of trace, the team worked through iterations while simultaneously categorizing drawings to identify overall concepts and successes. This cyclical process allowed ideas to be tested while pinpointing core design principles to pare down an overwhelming number of schemes; identifying main concepts that accomplish the pavilion’s goals to move forward in design.

Concept

99

a head start Sketches done during David Hill’s workshop showing proposed landscape interventions.

Structural model tests from Anderson Inge’s workshop aimed at providing students with an intuitive sense of structure and points of failure.

Column detail studies from Jake LaBarre’s workshop shown in the compiled workshop book, produced at the end of the six weeks.

Before choosing teams, all twelve students went through a six-week workshop series to collaborate on each project. These workshops were run by visiting consultants and professors, and focused on different aspects of the projects to be used as a starting point in design. Three workshops focused on the community pavilio. With David Hill, landscape interventions were designed along with a preliminary documentation of the site. Anderson Inge facilitated the exploration and testing of structural systems. Finally, detailing of column connections was studied with Jake LaBarre.

100

“One of the things about designing and detailing is to always try to keep learning.� Jake LaBarre

101

102 Design

Sonsbeek Pavilion by Aldo van Eck walls direct space and articulate certain views

Serpentine Pavilion by Sou Fujimoto aggregation of small pieces, artwork

Japanese Pavilion by Tadao Ando strong entry, expression of structure, directed

Roofless Church by Philip Johnson introverted space, relationship to tree canopy

Repsol Gas Station by Norman Foster aggregation breaks up scale, flexible system

Brazil Pavilion by Paulo Mendes da Rocha strong connection to ground

What can be learned from precedents?

Focusing on scale and proportion, precedents were directly implanted into the site and studied experientially in drawing and modeling. A wide variety of projects were studied including a church, gas station, and exhibition pavilions. A handful of these studies are shown here, focusing on scale and proportion.

Studying such an extensive range of precedents allowed for a quick series of design charrettes—talking through the implications, good and bad, and establishing a sense of scale for the site.

Philip Johnson’s Roofless Chapel was successful in creating an introspective, sacred space in which visitors would be encouraged to contemplate the history of the Park and mounds. Norman Foster’s Repsol Gas Station encourages movement in the site by creating clusters of covered space. A structure such as Sou Fujimoto’s Serpentine Pavilion allows the pavilion to flow throughout the site, blurring any boundaries of the space to integrate into the context; while walls similar to those in Also Van Eck’s Sonsbeek Pavilion direct views and pathways to create a directed experience.

Fabrication Pavilion

Lions Park Shade Pavilions

Perry Lakes Pavilion

Rural Studio has a lineage of park projects that served as a starting point of precedents to consider; with the built models inserted into the site, Perry Lakes Park was determined as the most successful scale to introduce into the site in terms of heights, dimensions, and serving the programmatic goals.

Concept 103

How can these design elements be used to define a visitor’s experience?

The team explored many different precedent studies through a series of design charrettes. These quick explorations revealed how using precedents in this process could respond to the previous analysis of the site more directly, creating an articulated experience for visitors of the pavilion that integrates into the experiential qualities of the Park and site. These iterations focused on bringing visitors into the interior of the site and offering views of the mounds and forest through different design elements such as walls, framed space, covered area, and directed pathways.

A portion of these studies are shown with specific call–outs illustrating the process of beginning to define and group schemes with similar attributes. The aspects that were most and least successful in applying certain principles were also identified to begin to categorize schemes moving forward.

Several charrettes resulted in pinning up schemes, beginning categorization, and talking through successful attributes of a myriad of approaches and design elements.

104 Design

Fragmented roofs precedent: Norman Foster’s Repsol Gas Station

In this scheme, self–contained objects congregated into clusters and then spread throughout the site, allowing for separate areas of rest while encouraging circulation. This approach successfully serves multiple user groups while also subtly defining boundaries with the “clusters” framing uncovered space.

Concept 105

Directed Experience

precedent: Sou Fujimoto’s Serpentine Pavilion Interventions such as the introduction of walls, articulated paths of entry and exit, and ramps begin to direct how visitors experience the site. In the scheme above, walls frame entry points to a large gathering area, and gives visitors the chance to experience the forest by pushing into the preexisting boundary created by the forest line. This scheme has less flexibility but encourages exploration of the entire site.

106 Design

Contained Space precedent: Rural Studio’s Hale County Animal Shelter

Exploring the sense of reflection apparent in The Roofless Church and the structural strategy of the Hale County Animal Shelter, a curved lamella provides a contained space. This clearly defines an area of refuge within the site while orientating visitors to the mounds and forest. However, containing the space gives less connection to the natural surroundings once inside.

Concept 107

Which concepts are most successful in responding to the context of the Park, the site’s spatial qualities, and the program of the pavilion? the drum beat Presentations and feedback from visiting consultants shaped and influenced the design process, which also helped the team define priorities for the pavilion.

A list of presentations is given in the appendix.

From these design charrettes, nine categories of approaches were identified to be successful in response to the context, site, and program in different ways. The form diagrams to the right represent these concepts. Focusing on manipulating the topography either creates a directed experience or a strong connection to the ground, whereas directional walls and directed experience focus visitors to outside views, similar to the wrap scheme. Fragmented roofs relate to the changing levels in the tree canopy. In contrast, a continuous roof is more fluid among the tree trunks.

Some of these schemes were combined and four concepts, shown below, were selected as the most successful moving forward.

Iterations were made for each concept, shown on the following spreads, to offer vastly different approaches.

108 Design

wrap

fragmented roofs

Having such a directional form could establish a strong connection between the mounds and the forest both physically and visually. This design element allows a space of rest in a protected space while encouraging visitors to experience the forest and its contrast to the Park’s open plaza.

Fragmenting the roof structure gives a visual relationship to the tree canopy’s changing heights, a powerful element of the site. This system can also form multiple areas of rest which encourages circulation in the site and begins to integrate into the surroundings by framing the secondary, uncovered space.

The most successful schemes developed from iterations of precedent studies were categorized into nine parti diagrams shown.

continuous roof

ground connection

Although a continuous roof contrasts the tree canopy, it provides a stark, horizontal datum line that emphasizes the changing forest.

Similar to the fragmented roofs, this system also lends itself to move fluidly among the tree trunks and encourage movement in the site.

The ground is the most important element of the Park, both for the historical importance of the unique landscape and its role as an active archaeological site. Responding to this in a manipulation of topography would allow visitors to inhabit the ground; a change in levels would also offer visitors a different perspective.

Concept 109

Beacon

“wrap,� directional towards views of mounds and forest

This scheme uses a curved lamella structure as a twisted barrel to create an enclosed space of rest connecting the entrance from the mounds and exit towards the forest. The form creates a strong directionality in the site, as shown in the plan.

Perspectives depicting the structure as a beacon, signifying an entrance into the forest and creating views and circulation paths connecting two spaces.

110 Design

Dissolve

“fragmented roofs,� entry/viewing space with large gathering area

A small cluster of individual structures near the road offers an entrance into the site while allowing visitors to experience the existing natural conditions and thresholds of the tree line and interior clearing. The fireplace and slab act as a hinge and transition point to a larger gathering space against the forest line.

The change in heights of the roof structures create a natural relationship to the surrounding tree canopies, dissolving amongst the forest from a distance

Concept 111

Disappear

“continuous roof,” formally establishes interior room of site

A flat, lamella roof was explored due to its flexibility as a structural system. The ability to “push and pull” the edges allows the boundaries of the pavilion to directly respond to the vertical elements of the site by moving throughout the existing trees. The consistency as a horizontal plane adds a contrast to the tree canopies.

A fluid structural system gives this scheme an amoeba edge that moves through the site and allows multiple points of entry.

112 Design

Perspective

“ground connection,� changing levels offer different perspectives

Using a change in topography and introducing walls, this scheme creates a directed path and experience to offer framed perspectives of the Park and site.

Ramping downwards, visitors enter a depressed area to view the mounds from below the tree canopies before continuing up another ramp to a viewing platform connected surrounding a supplementary courtyard.

Focusing on orchestrating a series of views, this scheme relies on inclined surfaces and walls to direct visitors with an intentional pathway.

Concept 113

George, Thomas, Teddy, and Abe make their debut at Red Barn as Mount Moundville to present schemes at Halloween Reviews.

114 Design

What design elements made these schemes successful or unsuccessful? wrap most successful attributes: -strong relationship with the mounds and forest -possibility for impactful lighting at night -unique wood structure least successful attributes: -tunnel atmosphere may not feel like a place of rest -doesn’t accommodate for multiple user groups

fragmented roofs most successful attributes: -encourages circulation and movement into the woods -multiple covered spaces frame supplementary, uncovered space -site spatial qualities are emphasized but not disrupted -allows comfortable use by many small groups least successful attributes: -significant modification required to build out of wood -space may be disjointed, not comfortable for large groups

continuous roof most successful attributes: -flexible structure -contrasts tree canopy -disappears in the site to provide a subtle change least successful attributes: -doesn’t respond to existing site progression -unresolved maintenance issues (pine needles, drainage)

ground connection most successful attributes: -relationship to the ground relates to the Park -offers different views of the mounds for reflection -multiple spaces can be inhabited simultaneously least successful attributes: -digging down may be insensitive in an archaeological park -heavily divides space; focused on first time visitors

Concept 115

finding a direction How can these concepts be simplified to define the pavilion’s spatial goals in relation to the immediate site?

After exploring countless options and identifying successful strategies, it became clear that there were multiple approaches that could address the goals of the pavilion. The team used these studies and schemes as a starting point in pushing the design forward and responding more directly to the site.

From there, schematic design focused on the form of the roof plane and how its siting could provide spaces for every user group and programmatic requirement as well as emphasize the ethereal qualities of the site.

“If it is cooked well, it will still taste good.

Whichever scheme you choose will be good if you develop it well.� Xavier Vendrell

Concept 117

How can introducing a new roof and ground plane define space? “ground and sky”

A way to describe the overall landscape at the Park. The ground is heavy with the mounds; the sky is wide and expansive above it. In reference to the project site, this refers to design elements introducing on the ground or in the air to encourage interaction with the site.

118 Design

The schemes presented at Halloween Reviews were all studies in how space is delineated with the overall form of the pavilion. In “beacon,” a separated room was created with a wrapping structure; “dissolve” used an aggregation of roofs to create dynamic, informal spaces. Contrarily, “disappear” introduced a cohesive, flat plane to the site with a fluid roof edge. Both encouraged flexibility and movement, whereas “ground connection” composed a directed experience that created intentional views and pathways.

From these schemes, the team took a step back to evaluate each approach in its application to the Park and site. The site analysis at the beginning of the project illustrated how space is already defined with the ground and sky. Thresholds are created as the grass and

The schemes to the left were deemed most successful in engaging the site and orienting visitors; focusing on a raised platform in the first scheme to dictate circulation and focus views or using roof structures as an entryway and gathering space in the second scheme, bringing visitors into the interior of the site.

open sky near the road are overtaken by duff and a dense tree canopy. This transition begins to define the interior room of the site and is a microcosm of the transition from the open plaza of the Park to inhabiting the forest in the campground, allowing visitors to appreciate the grandeur of the landscape while providing refuge at a more human scale.

“Our role is creating a relationship between the sky and the ground.� Kim Clements The following two schemes introduced planes in the ground and sky to engage with the existing conditions of the site and to determine where these elements could define spaces of movement, rest, and gathering.

Concept 119

Viewing platform and raised circulation the ground

Views moving onto the platform and redirecting visitors towards the forest line and fireplace with models focusing on introducing planes on the ground and in the sky.

A raised platform was used to create a series of thresholds on the ground plane. With the ramp to the back of the pavilion, visitors enter the low ceiling and turn towards the forest line with the roof sloping towards it and framing the view to the fireplace. Gathering steps connect the platform to the clearing and can be used as classroom space. The roof line also extends past two sides of the platform to create spaces for smaller groups to gather and begin to incorporate more of the site.

120 Design

Compression and release the sky

Views moving through the site from east to west, towards the forest line with two covered areas framing the site’s interior room.

Focusing on the roof plane, this scheme uses two structures to frame the interior room. The first structure shifts out of the tree line and opens towards the mounds and campground to signal an entrance. The downward slope compresses the visitor as they enter the site before they are released into the interior room, seeking to enhance the transition from the forest line into the clearing. A second plane covers the fireplace and forms a large gathering space sloping back towards the forest.

Concept 121

community feedback

A rainy Soup Roast packed people into the admissions building for a presentation on the project and foreward by Alex.

Presenting at the town council meeting gave publicity to the project, highlighting it as a community partnership between the Park and Rural Studio.

During the entire design process, the team was fortunate enough to have the opportunity to engage with the clients and community for feedback. After the team presented the project’s initial goals and analysis at a town council meeting, Moundville leaders gave insight into what the community needed. Multiple client meetings also ensured that everyone involved in the project was given the chance to provide input. A presentation was also given to the University of Alabama Board of Regents as well as to the entire staff of the Park.

122

“If you are passionate about anything that you do, I hope you take it personally.� Tod Williams

123

124 Design

How can siting, orientation, and entryways contribute to how visitors experience the site?

Continuing to focus on the ground and sky, these studies explore how the site is experienced, connected to the Park, and how it can serve for the various user groups through siting, orientation, and entrances.

Relating back to the schemes in the beginning analysis such as “beacon” and “fragmented roofs,” a strong directionality in the site serves as an important visual connection to the mounds and can be continued through the orientation of the roof plane. However, since the view of the mounds is often obstructed by campers and RVs, the team determined that the pavilion should serve as a place of refuge, using the change in scale and experience of the forest to contrast and reflect upon the prospect of the Park. This drove the decision to place the main gathering space on the east end of the site, oriented towards the forest and redirecting visitors’ views away from the houses on the south end.

Concept 125

Committed to excellence, team member Emily Lopez captures real daylighting in the site model.

126 Design

How did these studies inform siting decisions?

Moving forward, these schemes identified the siting for the covered event space on the site’s eastern edge. Orienting visitors towards the forest offers the best view of the site and frames the interior room as a secondary gathering space. A small supplementary gathering space pushed into the back forest edge encourages circulation and allows multiple user groups to comfortably occupy the site at one time. Parking across the road can connect to the ADA path of the bathhouse without blocking the entryways into site.

Design schemes led to decisions on siting of different programmatic elements, parking, flexible space, and a fluid entry. small gathering area

covered event space additional seating

outdoor cooking area

“How do we weave our interventions into the preexisting system?� David Hill

Concept 127

structure The design goals of the pavilion were identified after analysis of the context, exploration of different experiential strategies, and studies of various roof and ground planes within the forest. The team aims to create:

1. An emphasis on community gathering and events 2. A place of refuge within the prospect of the Park 3. Allowing visitors to experience the forest, to emphasize the contrast between the Park and campground 4. Flexible spaces that accommodate various user groups 5. Siting strategies that fulfill the stated program while encouraging circulation 6. Fluid entry points balanced with a directionality that establishes a dialogue between the mounds and forest

The project team used these established goals to develop a structural system that achieves these concepts.

129

developing the form How can the form and structure of the pavilion express the concept?

Simplifying the pavilion’s roof as a flat plane helped to define its placement as well as its interaction with the surrounding site. The next step took a deeper dive into possible structural systems to evaluate the implications on scale, roof thickness, and relationship to the ground with column placement.

“What looks welcoming? What looks elegant? What looks appropriate?” Anderson Inge These studies focused on drawing and model building to explore possible systems that the team could build from the Park’s existing supply of wood.

Structure 131

What experiential qualities are created by different structural forms?

The design schemes focusing on the ground and sky were built as different structural systems shown below. To test how the structure would inform the experience of the space, the models explored vastly different solutions. Tests included everything from a forest of thin columns, very few wide columns, the thinnest roof forms possible, and an inverted truss system that forms the inhabitable space.

“Explore how engineering is your friend, not your enemy.” Julie Eisenberg Building these models gave an intuitive understanding of each system’s limits and the effect on delineated space and circulation.

Although schemes with strong column lines created a protected space to focus on the forest, the separation from site doesn’t allow for flexibility. The lamella structure could become thin enough to disappear amongst the trees, whereas the inverted trusses shown to the right successfully frame the interior site while forming boundaries visitors could still pass through. forest of columns repetitive columns close the pavilion on two sides

Some of the structural models made out of basswood sticks scaled to resemble the available wood at 1/2” =1’0.”

asymmetrical trusses

wide columns in two rows define boundaries to the space opening towards forest

132 Design

thin roof, fat columns

light roof structure contrasts with the columns as heavy vertical elements

lamella a thin structure requiring three column lines that define and divide space along the platform

inverted trusses trusses used to create ceiling conditions that redirect visitor’s circulation paths and views

post and beam

tunnel effect created to achieve slope in two directions

Structure 133

consultant spotlight: Anderson Inge

A long time visitor of Rural Studio, Anderson Inge teaches structure courses at the Architectural Association in London. He worked closely with this project using his background in architecture, structural engineering, and sculpture to encourage the consideration of structure as an integral part of the design process instead of an afterthought. The project team and Anderson spent four days exploring how the design concept and spatial goals of the pavilion could be achieved through the pavilion’s structure and overall form.

134

“We’re in a predicting career. We predict and tell people how a building should perform.” Anderson Inge

To test structures, Anderson brings a unique approach of using “small architecture” to gain an intuitive understanding of structure apart from calculations. In this method, structural models are built to a known scale with appropriately scaled materials representing materials that would actually be used. The necessary loads for the structure are calculated, scaled down, and applied. To apply the loads, human weight is used by walking along a lever arm that distributes the load evenly to sixteen points.

135

Can the form of the roof achieve the spatial goals explored in schematic design?

Anderson Inge crossed the pond from the UK to visit Newbern for an intensive four-day workshop intended to develop a form and structural system. The first two days focused on round-table drawing discussions, such as the one shown to the right. After presenting Anderson the analysis and goals for the pavilion, he directed the team through different studies by presenting ideas, asking questions, and letting the team respond through drawings of their own.

Focusing solely on the ceiling plane, quick models were made out of foam core to test some of the drawn ideas.

Can the ceiling plane encourage circulation while also providing a place of rest?

The model shown on the bottom right is rectangular in plan with a diagonal ridge along the ceiling plane, connecting two low corners.

Overall, the shape forms two triangles sloping upwards to two high corners and meeting at the low ridge.

This model shows an inverted take on a “traditional� pavilion project seen in many parks built by the CCC that are triangular in shape, forming a space similar to a tent. By flipping the point downwards and creating a bend in the ceiling plane, the form balances the desired goals for the pavilion. The initial high corner facing the road signifies an entrance from the mounds into the pavilion. Once visitors enter, the low ridge provides a feeling of compression to create a comfortable place of rest while the diagonal form redirects their view and path towards the site’s interior room, fireplace, and forest line. Apart from the directionality, circulation, and flexibility, the form also encourages more daylight to enter the space.

136 Design

Structure 137

single slope

overwhelming for the scale of the site; entry from the mounds isn’t celebrated

downward bend in ceiling

breaks up the space; two high corners serve as entry from Park and exit towards the forest

What form is created by the desired ceiling and roof conditions?

Although a downward bend in the ceiling plane achieves the spatial goals for how visitors experience the site, it also creates a maintenance problem for the roof. To shed water and pine needles, the roof must slope downward as shown in the diagram above.

The simple combination of these conditions forms a diamond structure, with the two planes acting as inverted versions of each other. However, if the ridge of the roof plane follows the same diagonal as the ceiling plane, the structure would appear very thick, giving the pavilion a certain heaviness. To avoid this, Anderson and the team developed a unique system with the roof ridge running opposite the ceiling, to connect the two high corners with a ridge beam, forming two triangles sloping down towards the ceiling’s low corners. This also aids in constructibility as the low ridge can be formed by inverted trusses mirrored on both sides of a center diamond truss that intersects the roof and ceiling ridge.

138 Design

necessary roof condition

with the pavilion situated in a forest, the roof needs to shed water and pine needles

overall structural form

to achieve the desired ceiling condition and necessary roof, a diamond structure is created

Anderson works with the team to take a “Post-it note sketch� of the proposed structural system and turn it into a conceptual foam-core model.

Structure 139

Using Anderson’s method of round– table drawing discussions, the team works out different detailing methods of the form.

140 Design

What are the next steps in developing the form?

With a general form that clearly expresses the concepts explored in the design phase—balancing rest and circulation while remaining open to the surrounding site—the next steps are detailing both the space and structure.

Working with the idea of mirrored, inverted trusses, the depth of structure determines the low ceiling ridge and the height of the tall corners. Simultaneously, the column placement and design begins to inform how open the structure remains to the surrounding site and defining circulation paths.

Structure 141

testing the space What are the spatial implications in detailing the structural elements of the form?

Working with the general form developed through the workshop with Anderson, detailing the structure focused on assessing its impact on the space. These decisions focused on scale concerning the pavilion’s high and low points, depth of structure affecting the lightness or heaviness of the pavilion, and column placement to either explicitly direct or subtly imply circulation paths.

Testing these ideas through on–site discussions, physical models, and drawing allowed a deeper exploration in how the structure impacts the overall experience of the pavilion and can further address the goals and concepts developed in schematic design.

“There is a notion these days that architecture is increasingly becoming lighter. But I don’t believe it one bit. It’s just an illusion of lightness. Buildings are heavy. I haven’t met a building I could lift.”

Tod Williams

Structure 143

How can the heights at the low ceiling ridge and high corners balance rest and circulation?

The success of the form relies on the ability to respond to the scale of the site and create a ceiling outline that successfully balances rest and circulation. The heights of the ceiling ridge and the tall corners impact the space dramatically. The low ridge should create enough compression to signify a comfortable place of rest without making visitors feel claustrophobic; whereas the high corners want to encourage movement without being overwhelming.

“Proportion and scale don’t cost anything.”

Marlon Blackwell

A detail shot of the eyelet hook holding up a corner of the landscape fabric, creating the ceiling dimension after being zip– tied together, shown to the right.

144 Design

Additionally, these decisions dictate the depth of structure with the middle, diamond truss occupying the space between the low ridge and high roof corners. A mock–up was constructed on site to test these decisions. Six posts were held by buckets of gravel and temporary braces to create the ceiling outline with three eyelet hooks on each column (shown above). Landscape fabric was then zip–tied together to create the correct ceiling dimension and a carabiner at each corner of the fabric allowed the mock–up to be moved between the hooks on each column to test different height combinations. Four combinations were documented to represent the deepest and thinnest structure, at 10 and 6 feet, and the scale between the low ridge and high corners.

10’ – 16’; 6 foot depth

10’ – 20’; 10 foot depth

10’ – 18’; 8 foot depth

12’ – 20’; 8 foot depth

minimum structural depth tested; ceiling ridge successful in creating a space of rest, however, the tall corners feel compressed at 16’

structural depth feels like an appropriate balance of lightness while still maintaining a presence in the site

maximum structural depth tested; structure feels heavy at a 10’ depth; tall corners at 20’ successfully engage the site

low ridge and tall corners encourage movement into the space and into the site while creating a comfortable place of rest in the interior

A 12’ ceiling ridge and high corners reaching 20’ was determined as the most successful in balancing rest and circulation while achieving a feasible structural depth of eight feet.

Structure 145

Using photos of the mock–up in the site, renderings were created to present to the clients and community partners; approach from the bath house shows the depth of structure at its most prominent angle.

146 Design

The ceiling ridge creates a comfortable interior space, opening up towards the interior room of the site, while the height at the tall corners is only visible after moving past the low ridge.

Structure 147

How should the pavilion meet the ground?

“dancing columns”

One of the ideas developed while designing the overall form was encouraging movement and flexible space by not having a clearly defined column line.

This became known as “dancing columns” that moved laterally along the north and south ends of the pavilion.

148 Design

Designing the column placement was a critical structural and experiential consideration. Since the pavilion is a wood structure, different ways of incorporating lateral stability was incorporated into physical model studies. Creating a “wall of columns” was meant to balance the need for lateral stability in the structure while still maintaining a certain degree of openness to connect with the site.

The concept of “dancing columns,” refers to blurring column lines with movement in the column placement. This originally helped to drive the development of the form and was further explored in these studies to create a dynamic space with the combination of angled and straight columns moving along the diagonal truss lines.

The iteration shown to the right uses angled columns at the low corners to encourage rest along the ceiling ridge and tall, single columns at the high corners to encourage circulation. This version was chosen as the most successful in its clear expression of the form’s concept of rest and circulation and flexible space as well as the visual balance having angled and straight columns on both sides.

The most successful iteration emphasized the roof form with the angled column pairs clustered at the low corners and the high corners kept open for circulation with single, 2�x12� columns.

Can the column arrangement relate to the roof structure?

Apart from balancing rest and circulation, the above column arrangement becomes an expression of the roof structure. With the diamond, middle truss and mirrored truss profiles on either side, the columns follow the same format. Therefore, there are only three unique truss and column profiles, with two of them flipped on either side.

Structure 149

150 Design

What impact do decisions concerning structural depth and column placement have on a visitor’s experience?

Although the pavilion’s height, depth, and column placement were all results of designing the structure, these decisions have a significant impact on the experience of the pavilion. Designing these structural necessities in tandem with conceptual design decisions allowed the project team to use structure to clearly articulate the conceptual goals of a flexible, open space.

These sketches helped present the form and column decisions to the clients to explain the form and structure in creating a unique visitor’s experience that responds to the surrounding context.

Structure 151

Building a mock–up on site allowed a lot of conclusions to be made concerning scale and proportion as well as a chance for the clients to approve the overall form.

152 Design

What are the next steps in developing the structure?

Adhering to the goals set forth in context analysis and schematic design, the team’s work with Anderson led to a form and structural system that was tested spatially to detail different elements that inform the experience and structure. From here, combining all of the decisions made from various studies and testing the structure will verify the constructibility and strength of the roof using the prescribed wood available giving the ability to move into construction documents.

Beginning to detail how paving, a cooking area, and benches can be added into the site with the decisions made from spatial tests of column placement and roof dimension.

Structure 153

testing the system What structural system can be built with the existing wood supply and how can it be tested?

Structural tests using basswood stick modeling allowed the team to explore and push the limitations of the material available with the Park’s existing supply of lumber. Since the form of the pavilion is entirely unique, testing physical models allowed the structure to be tested as a complete system before engineering specific connections. It also provided a more intuitive understanding of the structure to address weak points that became apparent throught before completing the design.

“We test everything to destruction; nothing leaves the room.” Anderson Inge

Structure 155

How can a wood structure achieve lateral stability?

A wood structure requires a significant amount of lateral stability to protect the pavilion from failure due to wind loads. Rural Studio’s Fabrication Pavilion uses sheer walls and post tensioned cables to provide lateral stability; however, spatially, the pavilion is designed to provide flexible spaces and a visual and physical connection to the site. To balance these structural and spatial needs, “small architecture” explored different column profiles to resist wind load. definitions

lateral stability: a structure’s ability to resist horizontal, wind load bypass: a system in which members of the columns alternate between the truss chords or beam, forming a strong connection between the two structural members deflection: the amount a structure moves when load is applied “V” column: profile tested with an angled column paired with a straight column to resist wind load

A series of design charrettes focused on developing possible column profiles that could provide lateral stability. Pinwheel profiles and the addition of an angled member were explored to resist twisting as well as a bypass system to provide stability with a moment connection between the column and truss.

How can these column profiles be tested?

Different models were built to test column profile, thickness, arrangement, and connection to a beam. The method shown to the right uses wooden blocks clamped to the table to simulate pin connections and the column foundation. Basswood sticks represent dimensional 2x6s, 2x8s, and 2x12s at 1/2” = 1’ scale.

A string loops around the column’s connection to the simulated beam and down to the other end of the table. Using a glass bottle as a roller joint, water bottles are loaded into a bag tied at the end of the string to simulate wind load.

Each column test was documented for strength at design load, where failure occurred, and deflection in the column as it was loaded. These studies were important moving forward in developing the structure, particularly by testing the idea of a “V” column that uses an angled column paired with a straight member to resist deflection laterally.

156 Design

Structure 157

2”x12” paired columns

appeared very clumsy with such a large width; similar success in deflection was achieved with smaller members

three, 2”x6” members

in the next two models, the middle member of the column bypasses into the beam, simulating a truss chord, achieved minimal deflection at design load

158 Design

five, 2”x6” members deflection past design load was minimized as compared to columns with three members; however, the profile is unnecessarily thicker with the same success in deflection at required design load

spacing at beam connection for both the 3-ply and 5-ply models, two spacings were also tested at 18” and 36”; both achieve minimal deflection with 36” as the most successful with zero deflection

Results After testing multiple profiles to combat wind load, the “V” columns shown to the left were the most successful in achieving lateral stability. The angled member provides a necessary moment of resistance to brace the structure and greatly reduces deflection. Distance between the two columns in these pairs did not affect the results drastically with all of the built models achieving a displacement of one inch or less at design load; however, a spacing of three feet or more resulted in zero deflection at design load.

The “V” columns succeeded with 2”x6” boards as the members but in testing single columns, 2”x12” boards were necessary to achieve the required design load.

Table made during testing to keep track of profiles tested, deflection at design load and past, and point of failure.

Structure 159

What are the main structural elements?

The model to the right was built using basswood sticks scaled to 1/2” = 1’0” to provide a detailed built form of the low ceiling ridge framing with inverted trusses along a diagonal. Using the results of the column structural tests with the spatial studies of column placement, 3-ply 2”x12” columns are placed at each high corner and paired 3-ply 2”x6” columns connect the low corners.

Two “V” and two “A” column pairs are assumed to provide enough lateral stability, with pairs both parallel and perpendicular to the trusses to resist wind in all four directions. Each 2”x6” and 2”x12” column is composed of three members in a bypass system in which the outer column members connect to the truss top and bottom cords.

With the column arrangement chosen in the spatial studies, the high corners remain open for encouraged circulation as compared to the angled columns clustered in the low corners to emphasis areas of rest. X bracing formed by scaled 2”x6” boards are modeled connecting each truss, with additional bracing connecting the small corner trusses to tie the lateral stability at the low corners into the overall structure.

Detail shot of “A” column pair with the straight member bypassing into the truss and the angled member terminating into the straight member.

160 Design

Structure 161

How can the primary structure be tested?

required loads structure’s required loads design load: 47,250 lbs. wind load: 8,000 lbs. model’s required loads scaled to 1/2” design load: 120 lbs. wind load: 20 lbs.

The scale model was tested to ensure that, as an overall system, it could withstand the required design load and lateral wind load.

Walking along a wood plank on a roller joint, classmate Jacob Elbrecht applies his weight to a wood block that distributes the load evenly among the structure to sixteen point loads. This structure was tested with only the primary elements built—foundations, columns, trusses, and X bracing—to test the minimum as an extra safety precaution; joists and sheathing will add to the overall strength.

The actual structure needs to take thirty pounds per square foot for a total design load of 47,250 pounds, including a factor of safety of twenty-five percent, as well as 8,000 pounds of wind load. The model took more than the scaled design load of 120 pounds (sixty-six percent of Jake’s weight needed, seventy percent tested successfully) with twenty pounds of scaled wind load added simultaneously with no visible or audible cracking and no deflection measured in the overall structure. paired columns

“V” and “A” columns loaded with wind load as a unit to test role in overall sheer strength; verifies the ability to use 2”x6” boards for paired columns

lateral wind load twenty pounds of wind load were added filling four bags with water bottles over a roller joint (glass bottles); tape is attached to the underside of the bottles to reduce friction

162 Design

deflection in trusses a wooden arm touches the underside of the middle truss and a pin connection on the opposite end to note any deflection in trusses

column bending

foundations

wind load is applied at each column’s midpoint to test bending at the weakest point

foundations are represented with wood blocks covering the bottom two feet of the columns

Structure 163

low corner framing

edge beams

due to the diagonal truss lines, the low corners require unique engineering; cantilevered edge beams begin to form the final corner and allow joists to continue

beams installed in between trusses meet the angle of the structure and form the rectangular edge

ridge beam since the inverted trusses only create the bottom ridge, a ridge beam for the roof had to be built to connect the two high corners

166 Design

joists

running perpendicular to the truss faces, the joists on the roof are sloped and skewed to create a ridge and planes mirrored from the ceiling while the ceiling joists follow the bottom chords of the trusses

What are the secondary structural elements?

The next challenge in designing the structure was to turn the diagonal truss lines into a rectangle sloping in four directions, with two triangular planes on the ceiling and roof. Half of the physical modeled was used to test framing strategies.

Beams begin to form the initial edge by connecting the trusses to form a rectangle with ninety-degree corners. These “edge beams” serve as the termination for both the ceiling and roof joists. Since the ridge of the roof runs opposite the ceiling’s bottom ridge, the roof joists run into a ridge beam that connects the two high corners. The ceiling joists are oriented perpendicular to the truss lines following the slope of the bottom chords. Modeling allowed the team to understand that framing the cantilevered low corners, the bottom ceiling ridge, and the final pavilion edge were important structural and aesthetic detailing decisions.

“It’s not building models; it’s small architecture.” Anderson Inge

Structure 167

consultant spotlight: Joe Farruggia Joe flew down for one day for an emergency brainstorm session to frame the low, cantilevered corners.

Serving as the on–staff structural engineer for Rural Studio, Joe Farruggia is everyone’s first call when there’s a problem. Joe brings many years of experience in structural engineering and currently practices in Chicago, IL. He likes to think outside of the box to help the students come up with new ways to engineer their projects while keeping the design concept and integrity in tact. Joe was a critical part of the team and helped run conventional calculations.

His dedication went beyond Skype and phone calls to weekend sessions and on–site visits.

168

169

How can we double check the primary structure?

After testing the physical model and gaining an intuitive knowledge about how the structure works, the team also tested the structure in a more conventional manner. With the help of Joe, the team inputted the structure into ENERCALC. This is a structural engineering software that is used for a myriad of structural types. Although a unique system, the structure is simpler than at first glance with truss bends supported by columns on either end.

In order to confirm what was learned with Anderson, each truss was built in ENERCALC. By specifically labeling each joint as part of the webbing, truss chord, or column, it was possible to isolate certain loads which were used for more in depth calculations, as shown on the right. The detailed ENERCALC outputs can be found in the appendix. In these calculations the team figured out the overall load on each column and used adjustment factors to account for lateral loads. With these loads we were then able to calculate the necessary foundation areas along with the necessary steel for our column to ground connection.

170 Design

Truss #1 || Truss #5 Using the data from ENERCALC, load calculations were done for each column to size appropriate foundations and steel footers.

Truss #1 || Truss #5

crunching the numbers A more detailed look at the calculations can be found in the appendix.

Structure 171

Another way the ENERCALC numbers were used was to spec the appropriate fasteners and hardware for all connections.

172 Design

Beyond finding an adequate ground connection and foundation, the ENERCALC numbers were used to find the proper fasteners and hardware for all connections. Because timber construction is many small pieces put together, it was important to make sure all connections would hold up to the loads they were going to receive.

Maximum loads on truss chords were used to spec splice plates, joint reactions were used to calculate how many bolts were needed at the truss to column connections, and webbing loads were used to spec how many and what type of nails would laminate the trusses.

The team got to know and love the Simpson Strong-Tie catalog. Products were picked based off of calculated loads.

Structure 173

The team celebrated at Pig Roast because the form and structure were approved by the clients and structural engineers. The team is ready to begin designing the details.

174 Design

What are the necessary elements to ensure the structure will stand?

3-ply column

Structural tests proved that 3-ply columns of 2”x6” or 2”x12” lumber would be sufficient to hold the necessary loads.

lateral stability

Utilizing diagonal columns creates the necessary lateral stability without needing sheer walls. This will be done by coupling “V’ and “A” columns both perpendicular and parallel to the trusses.

bypass system

In order to create a strong moment connection between the trusses and columns, a bypass system will be used where the outer 2-plys of the column slip between the three truss chord plys.

Structure 175

construction preparing the site out of the ground main structure framing the form joist framing detail framing

178 190 210 240 254 272

178

Reaching the construction phase of the project was a huge reason to celebrate. Not only did the project team have to pass Rural Studio’s stress test, but presentations and documents had to be prepared to receive approval from the Native American tribal council, the Park’s archaeological board, and the University of Alabama’s facilities manager. Building in such an historical context and important Park for both tribe members and Moundville residents was a large responsibility that was not taken lightly. Even though on–site construction began, the team balanced building and studio design work to continually revise details, constantly working with consultants on solutions for framing and finished materials.

“When you make stuff, you see the best and worst in people.” Los Eldos

179

180 Construction

preparing the site Before construction for the structure could begin, the site needed to be cleared and prepared. Planting was done to give the new trees time to grow and become more incorporated into the site.

To place the pavilion in the site, batter boards were constructed to run strings giving the outline of the pavilion’s roof, the diagonal truss lines, and the center points of columns so that footings could be defined, dug, and poured.

Since the Park is an active archaeological site, before any site work could be performed the ground needed to be “shovel tested” for potential artifacts. This gave the team a hands–on and in–depth experience with the archaeological aspect of the site. This also helped prove that the project site has been previously disturbed and that building the pavilion wouldn’t be disruptive to anything historically significant.

Preparing the SIte 181

Archaeological testing Only around fifteen percent of Moundville Archaeological Park has been excavated as most of the mounds have been preserved to respect the tribes’ ancestors. Since this is an active archaeological site, the ground is treated with the utmost reverence and delicacy as to not disturb or damage any artifacts.

The site for the pavilion was chosen for its location outside of the Palisade wall in the hope that it contains nothing of archaeological significance. However, precautions had to be taken to prove this and present findings to the archaeological board to that show the site has been previously disturbed.

(Above) the process of the shovel tests with hand digging, sifting for artifacts, and documenting soil composition with John Newman (right) explaining what to look for during the tests.

182 Construction

Shovel testing with a wooden sifter to carefully check soil for any potential artifacts.

For any disturbance in the ground, John Newman (client, head of land management for the Park) was present to monitor and look for any Native American features. At the beginning of the project, thirteen holes were dug at a two-foot depths with the composition of the soil documented and any objects found documented and bagged to be included in a report to the archaeological board.

This documentation of shovel tests marked each hole and paired it with the soil composition and found objects. Since only modern features were found (Coke cans, ceramics, bottle caps, etc.), a report was able to prove that the site most likely contains no historic artifacts and is cleared for construction.

definitions features: indicators in the soil in terms of composition, outlines, or change in color that may be evidence of a Native American artifact shovel test: digging holes by hand and shifting every shovel of dirt to check for artifacts

Preparing the SIte 183

Existing view from the fireplace looking east towards the houses.

View with Pine trees planted in the northern edge of the site and Junipers in front of the houses.

Rendering of the predicted view in ten years with foliage growing on the east end and matured pine trees.

184 Construction

Planting plan The site’s relationship within the forest in contrast to the open plaza was a driving factor in the concept and design of the roof form. In order to emphasize the pavilion as a place of refuge within the forest, a planting plan was developed to expand the forest towards the road and in the south east corner of the site.

Pine trees are found in an abundance on site and in the campground which is what led the decision to plant a majority of them. White oaks were chosen to provide high succession, hard wood trees that contribute to a healthy forest.

Junipers are clustered along the eastern edge for their thick foliage and low canopy to hide the view of the homes and fill in gaps within the forest line. To the south of the site, more pines and hardwoods are planted to encourage the forest to expand and further hide views of the surrounding neighborhood.

White Oak height: 12’ quantity: 3

Juniper height: 6’ quantity: 5

Long Leaf Pine height: 8-10’ quantity: 15

Preparing the SIte 185

Planting and site clearance In order to plant before the last freeze of the year, developing the planting plan, presenting to the clients for approval, and ordering the trees all happened very quickly: about three weeks.

The trees were then picked up and planted in one day. The Pine trees were small enough to be transplanted by hand while the White Oaks and Junipers, weighing around 300 pounds, were moved into place and dropped in with the clients’ tractor. An existing and broken concrete sidewalk was also demolished and removed, making the site ready for batter boards.

Picking up Junipers and White Oak trees at Plantation Tree Company.

Planting the trees involved hand digging the holes, moving the trees into place, mixing in fertile soil, and bracing the planted trees.

186 Construction

Removing the deteriorating concrete sidewalk.

tree nurseries Plantation Tree Company in Selma, Alabama: Junipers at $150, White Oaks at $150 each Thurlow Tree Nursery in Auburn, Alabama: Long Leaf Pines at $45 each

Preparing the SIte 187

Batter boards The challenge involved in constructing a rectangular roof form from diagonal truss lines became very apparent with the batter board plan. Since the roof outline is intended to relate to the existing slab and follow the northern edge, it was important to build batter boards to form the roof outline.

Setting up batter boards involved sledging two posts into the ground and setting a horizontal 1�x4� board at a consistent height using the site level before setting screws to pull strings.

A skewed rectangle forming the diagonal truss lines for trusses one and five was based off of the roof outline. Additional batter boards were then constructed to form the diagonal truss lines and the center point of each column running perpendicular to these lines.

Once a rectangle was formed with each corner at ninety degrees within 1/16 of an inch, the truss lines were pulled at a diagonal based off of the roof outline.

188 Construction

Preparing the SIte 189

out of the ground Once the trees were planted and debris was cleared from site, the top soil was stripped under the general roof outline of the pavilion. This soil is full of organic matter which makes it too soft for the footings.

After this organic layer was removed, the ground work began to place and pour foundations to anchor the column footings. This was an important milestone in the project; since working in the ground is sensitive in an archaeological park, construction until the completion of this stage required careful monitoring. Placing the threaded rod moved construction out of the ground which gave the pavilion official approval from the archaeological board since no artifacts were found.

Out of the Ground 193

Meeting the ground in an archaeological park Designing how the pavilion would touch the ground was an important detail considering its location in an archaeological park in which the ground carries such importance. The footing details came down to two options that responded to the ground in both similar and vastly opposite ways.

The first detail, shown below, exposes the steel connecting to the top of the foundations. Aesthetically, the steel plates read as feet with the columns visually “placed� on top of the ground,

194 Construction

giving it a light touch. The second detail allows the steel plate to disappear below the ground treatment.

“Make some decisions you can live with and get on with it.” Anderson Inge Although both strive to delicately touch the ground and appear “placed” upon it to respect its importance within the Park, the second detail was chosen because it visually appears light while the exposed steel plate adds visual noise to the ground plane.

Out of the Ground 195

steel blade

the thinnest steel profile tested as a single blade, held off from the wood on both sides by spacers

steel 2”x6”

taking cues from the Newbern Firehouse, replacing the column’s middle member with a steel tube

Building 1:1 details One of the biggest benefits of using the Park’s existing supply of lumber was having wood available for mock–ups at no additional cost. After exploring various column details through drawing, many of the small decisions were difficult to decide on paper. This led the team to construct column footings using Park’s wood with 3/4 inch plywood spray painted to represent galvanized steel.

196 Construction

gap size

to visually show that the load is translated through the bolts connecting the wood and steel, a gap was tested to show the middle member stopping short

distance of steel inset

the relationship between the edge of wood and steel was tested to find how much of the steel should be shown to appear structurally “comforting”

These mock–ups were designed to test a wide variety of options by testing multiple details including: 1. Steel profile, width, and thickness 2. Relationship of steel to column 3. Distance from bottom of wood to ground 4. Bolt placement, size, and number

Out of the Ground 197

Investigating the construction process From the 1:1 mock–ups, successful elements of the versions below were refined and combined to create the final footing, shown to the right. The design uses two 1/4” steel plates hugging the inside of the column’s outer plys. They are separated by steel spacers that encloses the bolts.

This was meant to visually express the transfer of loads at the footing. The column’s middle ply stops one inch above the steel which is expressed as two plates, the minimum structure, in order to show the transferring of load through the sheer faces and bolts. The thinness of the steel hints at the strength of the steel in comparison with the wood, disappearing below the finished ground surface with the footing connection kept hidden.

“Can a section begin to tell us how it’s built?” Jake LaBarre This detail was refined as the construction process was understood, showing a small patch of gravel surrounding the footing base to allow drainage and prevent rust. The top of the footing is located at the level of the ground after stripping the organic soil top layer. This also gives a practical and literal delicate relationship to the ground to prevent digging further than necessary. From there, the ground is built with compact gravel and concrete paving to reach the level of the existing concrete slab.

198 Construction

Out of the Ground 199

2

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

1

PRODUCED BY AN AUTODESK STUDENT VERSION

Final column design

Each 2”x6” column has one row of three bolts; the 2”x12” columns have two equal rows. This is meant to maintain a similar language between the two column types and is structurally possibly due to the 2”x6” boards being paired.

The angled columns paired with each straight 2”x6” column effectively takes half of the point load being received from the truss, visually shown in the bolt pattern of each column as compared to the 2”x12”s.

200 Construction

3

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

“A” columns

PRODUCED BY AN AUTODESK STUDENT VERSION

detail 1

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

2”x12” columns detail 2

“V” columns detail 3

PRODUCED BY AN AUTODESK STUDENT VERSION

Out of the Ground 201

Developing the steel The bolt spacing, size, and number was specified with the loads from ENERCALC with Joe Farruggia. Once these dimensions were developed, the ANSI steel construction manual was consulted to create the necessary spacings between the outside edge of the steel and the holes for the threaded rod connecting the plate to the concrete foundations. The base plates were calculated to require a minimum thickness of 1/4” and was increased to 1/2” for additional weight to combat uplift.

Inventory_Typical Condition

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

1’ - 4”

2'-9"

A36 41" Steel Plate

A36 41" Steel Plate

= 4 Each 2'-9"

9"

2’ - 9” 2'-9"

Weld

A36 38" Steel Plate

A36 38" Steel Plate

CL

9"

Typical 2_Piece D

9”

Vertical O.C.

PRODUCED BY AN AUTODESK STUDENT VERSION

1'-4"

= 4 Each

11 2"

41 2"

9"

1'

PRODUCED BY AN AUTODESK STUDENT VERSION

2'-9"

Vertical O.C.

PRODUCED BY AN AUTODESK STUDENT VERSION

Typical 2_Piece C

2’ - 9”

4 -1/2”

11 2"

1’1’-0” - 0” 1'

= 2 Each

9” 9"

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

= 2 Each

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Typical 2_CD

PRODUCED BY AN AUTODESK STUDENT VERSION

= 4 Each

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Typical 1_AB

PRODUCED BY AN AUTODESK STUDENT VERSION

Sheet No. 3

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

1'

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

9” 9"

PRODUCED BY AN AUTODESK STUDENT VERSION

Brace 3_Piece H

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

30°

2’ - 8” 2'-8"

2'-01 8"

G

4-1/2”

41 2"O.C.

4-1/2” 41 2"

1’ - -10”10” 1’ 1'-10"

PRODUCED BY AN AUTODESK STUDENT VERSION

= 2 Each

PRODUCED BY AN AUTODESK STUDENT VERSION

Brace 3_GH

= 2 Each

PRODUCED BY AN AUTODESK STUDENT VERSION

30

2’ - 1/8”

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

1’1’-0” - 0”

1 916"

PRODUCED BY AN AUTODESK STUDENT VERSION

120°

3 516"

5-3/16”

= 4 Each

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

9 - 1/16”

Brace 3_Piece G

PRODUCED BY AN AUTODESK STUDENT VERSION

9 2'-1116"

PRODUCED BY AN AUTODESK STUDENT VERSION

3'-21 8"

2’- 11-9/16”

= 2 Each

= 2 Each

3’- 2-1/8”

PRODUCED BY AN AUTODESK STUDENT VERSION

Brace 3_EF

41 2"

PRODUCED BY AN AUTODESK STUDENT VERSION

Brace 3_Piece F

= 4 Each

PRODUCED BY AN AUTODESK STUDENT VERSION

4-1/2”

PRODUCED BY AN AUTODESK STUDENT VERSION

Brace 3_Piece E

PRODUCED BY AN AUTODESK STUDENT VERSION

Sheet No. 4

202 Construction

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

All of the steel—including the column footings, nails, and Simpson Strong-Tie products— were donations from Turnipseed International in Birmingham, Alabama, which greatly reduced the overall cost of the project for the clients and studio.

Inventory_Brace Condition

PRODUCED BY AN AUTODESK STUDENT VERSION

shout out

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

91 4"

PRODUCED BY AN AUTODESK STUDENT VERSION

9-1/4”

PRODUCED BY AN AUTODESK STUDENT VERSION

Typical 1_Piece B

= 8 Each

PRODUCED BY AN AUTODESK STUDENT VERSION

Typical 1_Piece A

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

AutoCAD drawings and a PDF set of drawings was developed to explain the pieces and assembly of each footing to be fabricated by Turnipseed International. These drawings were separated into two categories of the typical and braced condition.

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Sheet No. 13

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

1’- 6-1/4”

C L

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Sheet No. 13

(J) (J)

1” Long 3/16” Fillet Weld on Outside Edges

Axon_CD Scale : 1-1/2” = 1’-0”

Sheet No. 15

(K)

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Plan_IJK CD Scale : 1-1/2” = 1’-0”

CL

(I) (I)

(K)

Axon_CD Scale : 1-1/2” = 1’-0”

IJK

Axon_IJK Scale : 1-1/2” = 1’-0”

PRODUCED BY AN AUTODESK STUDENT VERSION

(D)

9"

CD

Plan_IJK Scale : 1-1/2” = 1’-0”

(J) (J)

PRODUCED BY AN AUTODESK STUDENT VERSION

IJK

2"

O.C.

C L

Axon_AB Scale : 1-1/2” = 1’-0”

2”

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

1" O.C. 1-1/2” 12

(K)

AB

1" 42 4-1/2”

IJK

CL

ASSEMBLY

PRODUCED BY AN AUTODESK STUDENT VERSION

(B)

2" 2”

1" O.C. 12 1-1/2” O.C.

CL

9"

1" 2'-62

2" 2”

9"

(J) (J)

PRODUCED BY AN AUTODESK STUDENT VERSION

O.C.

415 4-15/16” 16"

1” Long 3/16” Fillet Weld on Outside Edges

13 4"

7" 8

PRODUCED BY

an_CD ale : 1-1/2” = 1’-0”

2" 2”

1” Long 3/16” Fillet Weld on Outside Edges 1-1/2” 1" O.C. 12

C L

(I) (I)

Typical / Minimum Bolt Conditions from Edge

O.C.

PRODUCED BY AN AUTODESK STUDENT VERSION

1” Long 3/16” Fillet Weld on Outside Edges 13 4"

(C)

2"

1" O.C. 1-1/2” 12

PRODUCED BY AN AUTODESK STUDENT VERSION

O.C.

(A)

(C)

PRODUCED BY AN AUTODESK STUDENT VERSION

1'

(A)

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

Axon_AB Scale : 1-1/2” = 1’-0”

AB

2”

(D) PRODUCED BY AN AUTODESK STUDENT VERSION 1’- 6-1/4” C C L L

ASSEMBLY

Plan_CD Scale : 1-1/2” = 1’-0”

1" 42 4-1/2”

1" O.C. 12

9"

7" 8

PRODUCED BY AN AUTODESK STUDENT VERSION

Moundville Community Pavilion uburn Rural Studio atie Cantine (917-414-9543) MAPP@auburn.edu

CD

2" 2”

1” Long 3/16” Fillet Weld on Outside Edges

13 4"

C L

ASSEMBLY

Plan_AB Scale : 1-1/2” = 1’-0”

PRODUCED BY AN AUTODESK STUDENT VERSION

AB

2" 2”

415 4-15/16” 16"

PRODUCED BY AN AUTODESK STUDENT VERSION

C L

1" 2'-62

2" 2”

1” Long 3/16” Fillet Weld on Outside Edges

1" 12 O.C.

9"

7" 8

(I) (I)

Typical / Minimum Bolt Conditions from Edge

PRODUCED BY AN AUTODESK STUDENT VERSION (C) 1-1/2” O.C. 1-1/2” O.C. CL PRODUCED BY AN AUTODESK STUDENT VERSION (B) (D) (K)

1" 12 O.C.

1" 4-1/2” O.C. 42

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

13 4"

13 4"

BY AN AUTODESK STUDENT VERSION

O.C.

PRODUCED BY AN AUTODESK STUDENT VERSION (A) CL 1-1/2” O.C. (B) PRODUCED BY AN AUTODESK STUDENT VERSION

DENT VERSION

1” Long 3/16” Fillet Weld on Outside Edges

1'

1" 4-1/2” O.C. 42

Typical / Minimum Bolt Conditions from Edge

N

13 4"

(C)

PRODUCED BY AN AUTODESK STUDENT VERSION

O.C.

(A)

(C)

PRODUCED BY AN AUTODESK STUDENT VERSION

1" 94 9-1/4” O.C.

(A)

ASSEMBLY PRODUCED BY AN AUTODESK STUDENT VERSION

1” Long 3/16” Fillet Weld on Outside Edges 1'-4"

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

ASSEMBLY

Sheet No. 15

Sheet No. 21

Out of the Ground 203

Defining the footings Once each column’s center point was located, the footing edges were defined and dug to the required depth of two feet. A site level was used to set a consistent height for the top of each foundation and achieve the necessary dimensions. Due to the sensitivity of the ground as an archaeological site, the footings for the 2”x12” columns had to be hand dug and monitored for features. However, since the footings for the “A” and “V” columns were much wider a tractor was used to slowly and carefully dig the respective footings.

204 Construction

sizing the footings

The footings actually only needed to be one cubic foot based off the calculated loads. However, the footing steel plates were designed as 12” x 18” to fulfill requirements for hole spacing and distance from edge for the threaded rod. To maintain a six-inch border between the edge of the steel plates and the edge of concrete, the footings were oversized to 24” x 36”.

The “A” column foundation was dug as a continuous footing with rebar to strengthen the connection between the straight and angled column and provide weight in the ground to resist wind.

Out of the Ground 205

Pouring the footings Once the footings were dug, rebar placed, and grade pins set at a consistent height for the top of concrete, a truck was sent to pour the foundations. Since the footings will not be exposed, the finished surface of the concrete wasn’t a large concern beyond being flat and smooth enough to place the steel plates.

A site level was used to check the heights of each footing. It was important to ensure that the footings never went above the base height to allow for the appropriate amount of space for the leveling nut and structural grout below the steel plate, without raising the hight of the column.

206 Construction

shout out The project design, details, and schedule was presented to Tim Leopard, associate vice president for construction at the University of Alabama (UA), to show a level of competency and understanding for approval to build. Meeting and presenting to Tim was UA’s first introduction to the project and led to an important partnership with the university donating all of the concrete used for the footings.

Steve Long was the guiding light on concrete day, helping the team direct and communicate with the truck driver with the appropriate hand signals.

Designing the footings to be covered gave a lot of freedom in pouring the foundations without worrying about the finished appearance.

Out of the Ground 207

Placing the steel To place the base plates of the steel footings, each piece was set focusing on perfectly centering the gap between the steel blades along the truss line string. This was prioritized due to the bypass system with the truss chords. If the columns on each end of a truss are out of plane with each other, attaching the truss would pull the columns out of level. Once the piece was set, plumbed, and then re–plumbed to check placement, the holes were outlined to then be drilled using the hammer drill to a minimum depth of ten inches calculated with Joe for structural requirements. Galvanized threaded rod was then set into the concrete with epoxy, twisting the rod to ensure there were no air bubbles for full contact.

208 Construction

Once the steel footings were placed, the holes outlined and drilled, and the threaded rod set into place, the actual steel piece was put onto the threaded rod to ensure that the rod didn’t get knocked out of place as the epoxy dried.

Out of the Ground 209

main structure The columns and trusses that comprised the main structure were pre–fabricated in the Park’s wood shop, opposite the museum along the ring road. This gave the project team a clean, flat space to work on as well as easy access to the wood stacked outside of the shop.

Transporting the columns and trusses then had to be coordinated with volunteer help; the columns were erected by the project team while the trusses needed to be staged on site for a boom truck to lift.

Main Structure 213

Family of details The columns are the only exposed part of the main structure so it became important to treat them, in Andrew’s words, as “pieces of furniture” that the visitors will interact with at the ground level. The bolts set a pattern for all fasteners along the column, with the splice plates connected through galvanized lag screws that mimic the bolt spacing but is offset to connect from both sides. Visually, the team wanted the columns to appear light to blend in with the forest and emphasize the scale and dynamic movement of the form. The aesthetic concerns were balanced with expressing the how the columns work structurally with how the loads are transfered and the relationship between the columns and truss chords.

Constructing the columns also focused on the crowning of the boards. Since the middle member would be continuous, having the two outer boards cup inward with the middle board facing either direction was chosen to prevent the boards from pulling apart.

the “tongue”

The middle board, referred to as a “tongue,” is offset from the other two column members to extrude on one edge and be inset on the other. This provides a unique contrast in shadow to give the column visual interest.

It also aids in the construction process. Since the wood has aged quite a bit, they have dried to slightly different widths. This allows the edge to vary instead of trying to achieve a flat plane.

214 Construction

+

+

+

+

+

+

+

+

+

+

+

+

Structurally, the middle piece of each column is blocking but it is kept as a continuous member to reduce visual noise while stopping short of the steel at the bottom and the ceiling cladding at the top to hint at the bypass structure. The middle member is also offset from the outer two boards to aid in constructibility, provide aesthetic interest, and further identify it as blocking.

The steel is inset from the edge of the wood to emphasize the change in material while the bypass system of the columns entering the truss is mirrored with the steel plates continuing along the inside of the column.

7"

PRODUCED BY AN AUTODESK STUDENT VERSION

6"

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

5"

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENTPRODUCED VERSION BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSIONPRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Each column connects to both the top and bottom chords of the truss to create a double moment connection with the bypass system, providing additional structural stability.

Lag screws attach the wood at the splices from both sides of the column. The splice in the boards is offset by seven inches to prevent a weak moment in the column.

Green #4 screws were chosen from the wood construction manual using the column loads.

Aesthetically, green was chosen to blend into the tones of the wood and surrounding forest.

The inset steel accounts for any variety in the width of the wood and emphasizes the change in material.

Main Structure 215

PRODUCED BY AN AUTODESK STUDENT VERSION

Constructing the columns Before building the columns, the wood was laid out in the wood shop to dry out. The pieces were carefully chosen from the existing supply. The team focused on finding boards with one clean face (no stamps, abraisions, etc.) and intact edges while discarding any extremely warped pieces.

The 2”x6” boards were the most challenging to position perfectly.

Due to the thinness, they were more likely to warp than the 2”x12” boards and required significant clamping to straighten.

216 Construction

Using the template allowed pilot holes to be drilled before attaching the boards with screws. At the splices, temporary screws were placed to secure the entire length of the column before drilling the lag screws.

A template was made using the drill press and a one-by board to achieve consistent spacing and placement. The template was lined up to the edges of the column to pre–drill 1/16� holes that were later replaced with screws.

Main Structure 217

218 Construction

On–site installation After discussing multiple strategies for raising the structure, the team decided to place the columns and trusses separately rather than erecting them as one piece due to the limitations of the site in terms of size and the tree canopies. The columns were raised first with the steel feet attached before hand so that the columns didn’t have to float in the air while the bolts were threaded. Although this made the columns heavier, it allowed them to be slid on the threaded rod using the weight.

The images to the left show the templates made for drilling the bolt holes at the end of the columns.

The steel footings were attached to the columns once they were moved to site.

The project team was able to place the 2”x6” columns by pivoting the columns on the base plates and lifting it up to someone on scaffolding. The 2”x12” columns required help from the clients using a tractor with a bucked and a ratchet strap.

The columns were strapped to the bucket and lifted onto the threaded rod.

Main Structure 219

Once all of the columns were secured to the base plates, the plates and columns were leveled and set at a consistent height with the leveling nuts then grouted to the concrete foundation.

220 Construction

Main Structure 221

1 2"

bolts, 2" washers 9 1'-716"

1 2"

bolts, 2" washers 9 1'-716"

HRS416Z Simpson Splice plate (typ. for truss)

11'

TRUSS 3 ALL6'-LAYERS 10 3 16 16 8" = 1'-0"

12'

11 7'-1016"

9 1'-716"

11 "

1'-7 9 "

13 " 4'-216

6'

10'

10'

8'-6"

TRUSS 3 ALL LAYERS 3 8" = 1'-0"

7'

5'-213 16 "

9'-5"

11 10'-416"

9 1'-716"

9'-5 11" 16

9 1'-716"

1'-7 9 " 16

2" 7'-6"

12' 8'-6"

TRUSS 3 LL LAYERS 3 8" = 1'-0"

9'-213 16 " 8'-6"

13 " 5'-2 16

9'-5"

TOP CHORD LAYER

11 10'-416"

9 1'-716"

9'-5 11" 16

9 1'-716"

1'-7 9 " 16

2" 7'-6"

12' 8'-6" 9'-213 16 " 11 9'-1016"

9'-5 11" 16

10'-6"

9'

9 1'-716"

1'-7 9 " 16

MIDDLE CHORD LAYER SECOND WEBBING LAYER

13 " 5'-2 16 8'-4 11" 16

1'-7 9 " 16

2"

2"

7'-6"

RD LAYER 224 Construction NG LAYER

10'

12'

11'-213 16 "

MIDDLE CHORD LAYER SECOND WEBBING LAYER

13 " 9'-216

BOTTOM CHORD LAYER FIRST WEBBING LAYER

Designing and building the trusses Designing the trusses was a puzzle in trying to arrange the splices and all three layers of the top and bottom chords. The splices were offset to avoid creating a weak point in the truss; however, each splice needed a Simpson Strong-Tie splice plate specified with structural calculations with Joe using the Simpson Strong-Tie catalog loads. Due to the thickness of the Simpson Strong-Tie products and the respective connectors, the webbing could not overlap the splices plate. The columns also needed room to slide in between the chords. All of these factors were important considerations in creating the final construction documents.

Simpson Strong-Tie connectors used The HTP37Z strap tie was used at all splices for trusses 1, 2, 4, 5 while the HRS416Z strap tie was used on truss 3 due to its heavier load requirements at the splice joints.

Main Structure 225

A platform was built in the Park’s wood shop to build the trusses by carefully measuring out and taping each outline to lay the chords against. The time lapse above shows the process of laying out each chord and layer of webbing with blocking for bolts that act as clamps throughout.

226 Construction

Main Structure 227

Moving day Moving the trusses from the wood shop to the site truly took an army. With the largest truss weighing around 1,750 pounds, man power and a flat bed trailer was the only way to transport them due to the constrictions of the wood shop and difficulty in maneuvering a tractor in it. weight of trusses

trusses 1 and 5: 600 lbs trusses 2 and 4: 1,400 lbs truss 3: 1,750 lbs

The Park was able to supply a group of volunteers to join the team as well as a few other Rural Studio students for a day of moving trusses. To reduce stress on the truss and allow people to safely walk forward with the truss, steel pipes were threaded through the chords for a person to grab on either end.

The trusses were then walked onto a flat bed trailer to be driven to the campground where the volunteers again lifted and walked the truss to be staged on site, ready for the boom truck to lift.

228 Construction

Main Structure 229

designing the construction process

Due to the numerous trees on site, the team had to carefully choreograph how the trusses were going to be raised. This was done by a series of plan and axon drawings that had all possible obstacles drawn in, proving what path was available for the boom truck to take. Another obstacle to be considered were the braces for each column that greatly reduced the open space for the truck. These drawings were shared with the boom truck operator ahead of time to ensure everyone was on the same page and that it was going to be a successful day.

Truss raising A boom truck was used to raise the trusses in one day—perhaps the most stressful day of the entire project. Raising the trusses was similar to the final exam for the first half of construction. For everything to go smoothly, the footings needed to be correctly located, the steel feet need to have been placed within a small variance to line up with each respective partner column, and the trusses needed to be constructed correctly for the column to fit properly in between the chords.

In order to prepare for the big day, the project team worked through every possible detail. The first three trusses were stacked

232 Construction

in order and staged in the center of the pavilion to allow the boom truck to lift each individually into place. The last two trusses were off to the side to then allow the boom truck to reposition and reach the back corner. Sliding the truss in the column varied in difficulty for each truss. Contrary to predictions, the largest truss was able to use a significant amount of gravity to slip onto the columns. However, the small trusses (1 and 5) proved to be more difficult. Since these trusses sit on the “V� column, the angle was difficult to achieve with both columns in the correct position.

Crowbars and sledge hammers were used to help separate the columns and get the trusses to the correct height.

shout out The boom truck and the operator’s assistance was donated by West Alabama Mechanical (WAM) just down the road from the project along Highway 69 in Moundville. WAM is a long standing partner of Rural Studio who has helped on numerous projects.

Main Structure 233

234 Construction

After significant trial and error, the team discovered that it was important to carefully position the boom truck straps to hold the trusses as evenly as possible to ease installation.

Main Structure 235

Bracing and cribbing

PRODUCED BY AN AUTODESK STUDENT VERSION

Joe Farruggia was again consulted to approve and help develop the bracing for the project. The plan shown below depicts the bracing added to each column, working in each direction but aiming to limit the braces reaching into the interior of the pavilion to allow for access with the boom truck and staging the trusses. The bracing was constructed with two 2”x10” boards forming an “L” with a 2”x6” board attached to the end and screwed into three wooden stakes anchoring the brace to the ground. At the column, a box was constructed as tightly as possibly around the truss, screwing only into the ends of the pieces and not the column to avoid any holes or damage. The PRODUCED BY AN AUTODESK STUDENT VERSION braces were attached to these “friction boxes” in a pinwheel fashion.

PRODUCED BY AN AUTODESK STUDENT VERSION

236 Construction

The bracing was attached to the box in a pinwheel and was constructed into an L from two, 2�x10� boards.

Since the trusses needed to be installed with the boom truck in only one day, cribbing was designed to guide the trusses onto the columns during installation and to hold the trusses to be bolted later on. This cribbing was installed so that the outer two pieces followed the angle of the truss and was set at the correct height for the bottom chord. This allowed the cribbing to be used to place the trusses. These boxes also avoided screwing into the trusses by attaching into the end grain with a middle piece that rests on the middle member of the truss for added support and stability.

The cribbing boxes held the trusses until they could be bolted to the columns over the course of the next few days.

Main Structure 237

238 Construction

Images of the structure after truss raising, showing the tip of the inverted trusses beginning to form the low ceiling ridge along a diagonal that connects the two low corners.

Main Structure 239

framing the form Once the main structure was up, the framing for the final form was completed using a scissor lift to move between truss bays.

These secondary structural elements form the rectangular edge, top ridge of the roof and the cantilevered corners off of the two end trusses.

This phase of construction required a high level of precision as it starts to form the final roof, ceiling, and edge conditions.

Throughout this stage of framing, the strings run on the ground from the batter boards were projected up to the structure as the team transitioned from the ground to the air.

Framing the Form 243

X-bracing Boards connecting the top and bottom chords of each neighboring truss are infilled with an X to provide additional stability to the overall structure. Made out of 2”x6” boards, this x–bracing provided necessary stability to the structure to remove the column braces except for one on each 2”x12” column extending out of the pavilion. The x–bracing is also an important component of the finished structure that ties the two small trusses (1 and 5) to the overall system. Bracing the trusses together further allows the “V” and “A” columns to provide lateral stability for the entire structure.

To manipulate the truss bays into a uniform width, the x–bracing was measured on site to achieve the correct angle and length.

244 Construction

With the inherent inconsistencies in wood, the spacing between trusses was not equal to each other or along the entire bay.

Achieving similar widths that are consistent between bays would be important for the cladding. If the cladding was to follow the grain of the trusses, any inconsistencies would be noticeable as baords would need to be tapered to account for variety. Adding x–bracing allowed the trusses to be pushed or pulled as needed to make the spacing consistent across the length of each truss and changed the bay widths to be within 1.5” of each other.

Framing the Form 245

Edge beams Once the structure was secured with the x–bracing, most of the columns braces could be taken down to give the scissor lift more freedom to move throughout the structure. The next step for the project team was constructing and installing edge beams that connected the diagonal trusses into a rectangular form. These beams proved to be one of the biggest challenges to overcome in framing the structure.

“No matter how many things you try to solve for there will always be that ‘Oh Shit’ moment once you get on site.” Jake LaBarre

Since the edge beams intersect the trusses along a diagonal and slope along the pavilion edge, the cuts needed to be sloped and skewed.

This was particularly challenging for the short side edge beam that required two laminated boards cut at an angle to large for the skill saw.

A two step process was developed using the jigsaw and circular saw and clamping the wood upright.

246 Construction

Careful documentation was taken to create an “as built assessment” of the columns and trusses. However, using measurements from these elements was difficult due to the variance in wood and the angles of the truss lines. The edge beams needed to form a straight line along the edge of the pavilion but also needed to meet at the corners. Since using measurements from the raised structure created inaccuracies, the team devised a method of running strings forming the edge beam lines off of the existing batter boards forming the roof outline. This allowed the corners to be checked for squareness; the intersections of these strings were translated up to the structure by using a plumb bob and heights from a digital 3D model. Strings were then run in the air to line the beams up to, ensuring a straight line and consistent height.

Framing the Form 247

Corner framing Framing the low corner involved installing edge beams to a specific point in the air, without anything to grip or build to other than the intersection of the batter board string running along the ground. This double cantilever needed to maintain a straight line to continue the slope of the edge beams on both sides of the pavilion; however, it also needed to meet at a very specific point in relation to each other to combine the two slopes into a ninetydegree corner projected onto a flat plane.

Since the boards support each other, the project team had to hold a 2”x12” board in the air at the corner while both boards were attached at the truss and could be screwed together. To attach the end hitting the truss, a “bridge” was attached to the top or bottom of the neighboring edge beam which gave a plane to rest the corner edge beam against and quickly toe–screw into place. To achieve the desired height and location of the corner, the boards were plumb bobbed down to the ground strings for the correct placement. Once the location was known, the height was measured using the height specified in the 3D model.

Finally, the boards were cut at an angle to form a ninety-degree corner that would be in plane with all other geometries.

248 Construction

Framing the Form 249

Ridge beam Two laminated 2”x12” boards form two ridge beams that connect the high corners of the pavilion to the apex of the diamond truss. This beam creates the ridge of the roof, forming two flat planes instead of a parabolic shape. Since the beam weighed over 150 pounds, the scissor lift was used to help lift the beam above the desired height.

To give the ridge beam more to grip than the diamond truss would allow, a joist was installed on both sides of the truss with two laminated 2”x8”s in a joist hanger specified for the required load.

250 Construction

The team then lowered each side onto a “ledge” constructed out of scrap 2”x12”s to alleviate the weight and allow the boards to be adjusted to the correct placement and height set by a string running along the entire ridge. Once the beam was set on the ledges, each end was adjusted along the string and temporarily screwed into place. This allowed the joist hanger to be bent according to the correct angles and nail gunned into place, further adjusting the height, to finish securing each ridge beam.

Framing the Form 251

252 Construction

Completing the edge beams was a big milestone and finally allowed the rectangular form to be shown.

The low corners are constructed from a double cantilever while the tall corners intersect the ends of trusses 2 and 4.

Framing the Form 253

254 Construction

Images of the structure after framing the final four planes of the roof and ceiling with edge beams forming a cross section of the rectangular edge and an additional beam connecting the two high corners to form the roof ridge.

Framing the Form 255

joist framing Once the form was framed, roof and ceiling joists were infilled between the truss line and edge beams. While installing the joists, particular attention was given to achieving the correct heights and form four flat planes on the roof and ceiling.

Due to the nature of the geometry, this was particularly important for the edge. Since the roof and ceiling planes become connected at the soffit, the joists needed to meet at a consistent depth along the edge beams to extend at the soffit and form an equal, straight pavilion edge.

Joist Framing 257

Scaffolding platform The scissor lift was essential for framing the rectangular form in order to use the ground strings and project them up into the structure. However, due to the limited space in truss bays, particularly as more framing elements were added, the scissor lift became a large impediment to the project. Additionally, the scissor lift only allowed the team to work in one area of the pavilion which significantly would have decreased productivity moving forward.

Andrew suggested the use of a scaffolding platform that would essentially create a raised ground plane under the pavilion

258 Construction

structure. The system could also fairly easily work around the unique column arrangement and bracing. Installing the scaffolding was a turning point in the project, officially ending all of the ground work.

Crimson Insulation & Scaffold put up the entire platform in just two days, including a tiered section at each high corner.

The flexibility of the system was ideal for the complexity of the project’s footprint and form.

shout out Crimson Insulation & Scaffold put up the scaffolding platform in two days. They were a very helpful group that were able to listen to what we needed to do and help edit the scaffolding plan accordingly to be more functional.

Joist Framing 259

Product Type Inventory 6 4

2

7

1

5

Product Type Inventory

12 8

13 14

3 10

17 15

11 LSSJ

18

LSSR

LSSJ

HU

LSSR

16 9

I. Edge Beams and Ridge Beam

HU

Total Products needed: 552 minimum load for 10’ member: 340 minimum load for 20’ member: 680

Sheet No. 4 Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

Roof Joist to Long Side Edge Beam 12 Sheet No. 4quantity: 28 Moundville Community Pavilion HU210X SKR60 SLU25 Auburn Rural Studio height: 7 1/8” load: 685 Katie Cantine (917-414-9543) MAPP@auburn.edu

HU28X SKR60 SLU25 height: 5 1/4”

load: 510

sloped down left 10 degrees

13

Roof Joist to Short Side Edge Beam quantity: 32

LSSJ210LZ height: 8” connectors

Sheet No. 5

Sheet No. 13

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

load: 795

sloped down left 13 degrees

Cataloging joist conditions With so many unique conditions combining various angles throughout the structure, an extremely detailed 3D model was built in SketchUp. This model, shown top left, included the main structural elements, edge and ridge beams, and roof and ceiling joists. This allowed measurements to be taken for each angled connection and then matched with a product from the Simpson Strong-Tie catalogue, using the specified loads calculated with Joe. A sample of this categorization is shown above, with sheets created to validate with Joe and show to Jim Turnipseed of

260 Construction

II. Roof Joists

10

Roof Joist to Truss- top connection quantity: 84

LSSJ210RZ height: 8” connectors

11

load: 795

Roof Joist to Truss- bottom connection quantity: 68

LSSJ210RZ height: 8” connectors

Sheet No. 11

Sheet No. 12

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

III. Ceiling Joists

17

load: 795

Ceiling Joist to Long Side Edge Beam quantity: 28

HU210X SKR60 SLD 25 height: 7 1/8”

load: 685

HU28X SKR60 SLD 25 height: 5 1/4”

load: 510

sloped down left 10 degrees

18

Ceilng Joist to Short Side Edge Beam quantity: 34

LSSJ210RZ height: 8” connectors

Sheet No. 15

Sheet No. 17

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

Moundville Community Pavilion Auburn Rural Studio Katie Cantine (917-414-9543) MAPP@auburn.edu

load: 795

Turnipseed International who donated all of the joist hangers and brackets used from Simpson Strong-Tie. Since the roof joists needed to be cut at both a slope and skew, LSSJ joist hangers were ordered that were adjustable in both directions. This allowed the hanger to be manipulated by the project team as needed. However, the joists hitting the edge beams were at an extreme angle that required more substantial hangers set at an exact angle.

sloped down right 13 degrees

final joist hanger order quantities LSSJ210RZ — 194 LSSJ28RZ— 230 LSSJ210LZ — 34 LSSJ28LZ — 40 LSSR210-2Z — 8 HU210X SKR60 SLD25 — 32 HU28X SKR60 SLU25 — 29 A66 — 4 4-A35 — 14 A total of 585 joist hangers ordered.

Joist Framing 261

Setting strings for height To ensure that the roof and ceiling would form entirely flat planes, strings were run around the length of the pavilion to determine the depth of existing structure. From there, strings were run along each face of the trusses. Since the roof was following a slope established by the ridge beam and not in plane with the truss chords, these strings helped establish the slope jumping over the truss lines.

Blocking was inserted and nailed into the top chords set to the height of the strings with one end mitered to not protrude into the roof plane. Strings were also run to form the edge of the pavilion, past the built structural edge, at the low and high corners by building temporary posts with screws holding strings extended from the roof and ceiling ridge.

262 Construction

Joist Framing 263

Roof joists Once the blocking was set, the roof joists were set by first bending the hangers to the correct angle and then temporarily screwing them into place sixteen inches on center. Once the angle of the sloped cut was determined, a small piece of wood was used as a jig to set the hanger at the correct height after checking the top of the wood to the string.

From there, the joists were all field measured to account for any variance in the wood or main structure. The spacing was obsessively checked to ensure that the seams of the plywood sheathing would always land on a joist. The heights were verified by laying a 2�x4� board across the joists to ensure a flat plane.

Blocking between each joist mitigates any bowing to keep the correct spacing.

264 Construction

Joist Framing 265

Edge and ridge beam condition Another challenge presented itself with the roof joists that meet the edge beam. Since the edge beam dissects the form along a diagonal, the spacing could not accurately be measured along the beam. Jigs were made, shown top right, to place the joist hangers. After determining the angle of cut along each edge beam condition, a small piece of wood is cut to the correct angle to place the hanger over. Another piece of wood is attached as a temporary 16-inch blocking piece, as well as a 2”x4” board along the top. This 2”x4” allows the jig to be laid across the previously installed joists to ensure the correct height while the blocking piece continues the 16” on center spacing.

266 Construction

Since the edge beams on either side of the pavilion and ridge beam all have a different relationship to the plane of the joists, three unique jigs had to be made with the appropriate angled cuts.

Blocking had to be added to the edge beam since the beam is a 2”x12” but the structure’s depth at the respective cross area is 18”.

The 2”x4” on top of the jig allows the previously set roof joists to be used for height instead of the string which is set along a diagonal, far from the end of the joist.

The joist hanger on the truss side can be set by measuring along the top chord. Once the jig sets the edge beam hanger, the joist can be field measured and set in place.

Joist Framing 267

268 Construction

Progress and completed photos of the roof joists connecting the two low corners to the ridge beam, shown bottom right.

Joist Framing 269

Ceiling joists Installing the roof joists first allowed the process to be refined before beginning the ceiling; this was intentional since the ceiling would not be sheathed and any imperfections in the flat plane would be more noticeable. Since the ceiling joists are perpendicular to the trusses and follow the slope of the truss bottom chords, installing them went much quicker. Strings were again run along the truss faces to achieve the correct heights and ensure the planes were meeting along the low ridge; however, the blocking did not need to chamfer and the joists could be installed directly along them. All of the joists between bays were installed to then run strings to the edge beam blocking which allowed the joists to be measured and placed more accurately.

270 Construction

Running strings for the ceiling joists required an extra step in ensuring that the two planes of the ceiling met along the low ridge.

Strings run along two partner joists to the edge beam to more accurately install the ceiling joists at the correct height and reduce errors in measuring.

Joist Framing 271

nailed it

approximately 6,500 nails were used to hang 266 joists

272 Construction

Progress and completed photos of ceiling joists showing the “belly of the beast� formed by the four planes and two independent forms of the roof and ceiling.

Joist Framing 273

detail framing This stage of framing was the culmination of all of the construction done to this point to form the final, visual elements of the pavilion. Detail framing included constructing the final corners and pavilion soffit. Completing the ceiling joists also gave the project team a chance to build and test 1:1 column reveal and cladding details.

Detail Framing 275

detail design The first round of detailing was done on graph paper so the team could easily and quickly draw to scale.

Detail inspiration can strike anywhere; up in the air drawn along x-bracing or jotted down in a notebook corner

The detailing process was one that started when the form was designed and ended only when an element was built. The first round of detailing was done to explore every crazy connection and condition in the pavilion. Once those were worked through, the team kept them in their back pocket and revised them as they learned more through the construction process. Ultimately, the final details were usually drawn on a piece of scrap wood with a Sharpie while on site figuring it out.

Cladding study Framing the ceiling allowed the team to test cladding materials 1:1 that simultaneously required coming to a decision concerning how to frame around the column. Blocking was added to the face of the bottom truss chord to keep the joists separated from the column face, creating a 1.5� reveal around the column. This reveal allows the columns to read as separate objects from the cladding, forms a unique shadow condition, and hints at the structure by subtly revealing the bypass system of the column and truss chords.

278 Construction

Detail Framing 279

Ceiling ridge As possibly the most important framing element of the project, detailing the ridge was continually revised and evaluated for conceptual cohesion and constructibility. The proposed solution defines the ridge with a bent, metal piece to ensure a straight line and allow the wood cladding to stop 1/2� from it. This is meant to account for the wood shifting or expanding over time.

Since the ceiling ridge intersects the grain of the trusses and cladding along a diagonal, the boards meeting at the ridge need to be sloped and skewed. Angling the cut inward hides the end grain from view when standing below so that the ridge is read as a straight, uninterrupted line.

280 Construction

Moving from construction sketches to built form, the ridge line is formed from parallel running joists and inserting plywood pieces cut to follow the ceiling slopes to a defined point.

Detail Framing 281

282 Construction

To make the template, strings were run equidistant from the ridge line string on both sides. Additional joists are constructed following these strings that run parallel to the diagonal ridge instead of perpendicular to the truss faces. These joists allow a consistent template to be used to create plywood inserts forming the fold in the ceiling plane. To make the template, 2”x4” boards were attached to the joists to determine the angle of the cuts so that the plywood could be directly attached to the boards, shown below.

Once the outer edges of the plywood pieces were perfected, lines were projected following the slope of the existing ceiling joists to the ridge line string. This template was then made to fill each bay; furring strips made from 1”x4” boards give the cladding a point of attachment while allowing the fastener pattern to continue.

Detail Framing 283

Framing the pavilion edge Terminating at the edge beams, the joists bring the pavilion to an 18� edge. However, one of the goals of the pavilion was to achieve a balance between light and heavy. With the eight-foot depth of structure, the lightness was achieved in creating a thin edge. The soffit needed to follow the existing planes of the ceiling and roof to reach a consistent edge around the pavilion.

Multiple drawings explored how to accomplish this; the 18� depth of structure meant that the available nominal lumber was not wide enough to create the final edge. The final solution used plywood to extend the roof past the edge beams to a four inch final edge.

284 Construction

Sketches explored a variety of options for constructibility and detailing of the final soffit. The solution to the left proposes wrapping the edge with an interlocking, pre–fabricated metal piece with the roofing extending slightly past to further diminish the appeared thickness.

Detail Framing 285

shout out Scotch Plywood in Fulton, Alabama, graciously donated all of the plywood for the soffit wedges, roof sheathing, and sheathing along the ceiling edge and ridge. The total donation amounted to: 100 sheets of 3/4” plywood 90 sheets of 1/2” plywood for a total of $4,045

286 Construction

Unique templates were made for each side of the pavilion to form the final pavilion edge. To meet the roof plane, the wedges are installed at an angle to the edge beams. Once the angled cut was made along the depth of the plywood where it meets the joists, the length was determined and cut to meet the edge string. Then, straight edges were used to continue the roof and ceiling planes to a four-inch edge at the string line. Structurally the wedges needed to be two layers of plywood so the process of mass producing the 100 wedges needed for the entire pavilion was fairly time consuming. Luckily, the project team was able to use student helpers during the Studio’s neck down week to create the wedges in the wood shop and transport them to site and onto the scaffolding platform.

Detail Framing 287

installing the soffit wedges After talking with Joe, a spacing of at least every two feet was determined for the wedges to prevent the pavilion edge from sagging. Since the plywood will provide a structural diaphragm to the pavilion, the sheathing will be run longways across the edges to attach to the soffit and as many interior joists as possible.

Therefore, the wedges were installed following the direction of the plywood sheathing to provide a point of attachment; parallel to the roof joists at a 16” interval along the short ends and perpendicular to the joists at a 24” interval along the long ends of the pavilion.

Jigs were created to install the wedges at the correct angle and set to the height of the existing roof joists. The jig for the long end of the pavilion, shown above, uses a blocking piece to create a plane to temporarily attach the wedge to; it follows a flat, 2”x4” board screwed into the joists for a consistent height.

Another blocking piece is perpendicular to the 2”x4” board and screwed into the roof joists to attach the soffit pieces at the appropriate angle.

288 Construction

Detail Framing 289

The soffit wedges running along the long edge of the pavilion (top left) are installed perpendicular to the joists while the short edge wedges (bottom left) are in line with the roof joists; this is intentional to catch the seams of the plywood sheathing.

290 Construction

The wedges were carefully installed to reach the final edge string. Over time, unfortunately, the soffit wedges began to sink without being sufficiently nail gunned into place and tied to the structure with the sheathing. However, since the soffit wedges were important to achieve ninety-degree corners and a finished edge, the project team felt that it was important to install all of them to check the finished corner before permanently attaching them to the edge beams. To solve this, 2�x4� boards were screwed intermittently along the top of the plywood and the neighboring roof joists to provide temporary bracing, similar to the plywood.

Once all of the wedges were installed and placed within a 1/4� of the string, Simpson Strong-Tie strapping was added to attach the top of the wedges to the roof joists as well as brackets that attached the plywood pieces to the edge beams.

Overall, four different templates were designed and 96 wedges were constructed and installed along the pavilion edge. This transformed the pavilion by reducing the eighteen-inch edge to a four-inch edge.

Detail Framing 291

Engineering a double–cantilevered corner As the team began framing the soffit for the low corner, it became clear that additional structure was needed to hold up the low corners. Since the edge beams and joists for the roof and ceiling hinge on the small trusses at the low corners, a double cantilever is created. This is a tricky structural feat for a wood structure without introducing steel. After brainstorming possible solutions with the project team,Andrew and Steve brought in Joe for a last-minute trip to Hale County.

292 Construction

Unfortunately, Joe’s visit also brought rain. Armed with waterproof jackets and umbrellas, the current framing for the corner was shown and possible solutions were discussed. These ideas were further shown in sketches over the current conditions as well as highlighted sections of products from Simpson StrongTie catalog. These drawings and documents were used to verify and communicate the solution with Joe once he was back in the Windy City.

Detail Framing 293

Stiffening one side of the corner would simplify the structure to a single cantilever. This was achieved by introducing a beam to the short side cantilever that attaches to three soffit wedges and extends to the far string line that the fascia board on the opposite side will attach to directly.

With the wedges in place, a string line was snapped to place the beam. Notches were then cut out to accommodate two, 2�x6� boards laminated together. The beam was tapered at the cantilevered end where it intersects the ceiling ridge, ending in a four-inch edge along the outside string line.

Additional strapping was added to further tie this corner to the overall structure. Simpson Strong-Tie hurricane ties were added from joist to joist in the neighboring bay, over the additional beam, and from the soffit wedge to the roof joist.

294 Construction

Detail Framing 295

Framing the tall corners After completing the soffit wedges along the pavilion edge, a 2�x4� was attached to the ends to form the tall corners of the pavilion. This was the final proof of the work done to this point to achieve ninety-degree corners, sloping in two directions, that intersect the roof and ceiling ridges. Achieving this step finally completed the overall form of the roof, beginning to show the overall form pointing towards the entrance and forest.

296 Construction

Detail Framing 297

298 Construction

View of the pavilion’s entry and a view looking from the interior room towards the structure; the high corners begin to express the overall scale of the ceiling’s slope.

Detail Framing 299

unbuilt the ground seating cladding cooking area final design

302 322 338 346 356

The completion of the framing marks the end of the team’s direct involvement with the project. Immediately following the construction of the two tall corners, the project site was closed down under orders from Auburn University due to the COVID-19 pandemic.

The final elements of the project include the ground surface, seating, cladding, and the cooking area. This section is included to serve as a resource and knowledge base, as well as to explain the original design intentions for the completion of the project.

the ground What is the role of the paving in defining how visitors experience the space?

Designing the ground surface focused on creating a usable space that responded to the form of the pavilion and contextually fit the existing landscape of the Park. Before a permanent slab can be poured in the Park, extensive archaeological testing must be performed to ensure that no artifacts are being covered. Therefore, design iterations for the ground surface focused on ways in which pavers could be aggregated to define space. This would navigate the archaeological requirements and allow for a flexible system to work around the existing natural elements and irregular column lines.

“How do we engage the ground?� David Hill

The Ground 305

Can the paving further blur the pavilion’s boundaries?

The form of the pavilion was designed to create a flexible space; useful for the different user groups and respective programmatic requirements. The initial paving strategy focused on continuing to encourage circulation and engagement with the site by dissipating past the pavilion edges. Breaking up the edges of the paving aimed at mimicking the column structure by avoiding any formal boundaries. The studies shown below aimed at exploring different size, scale, and grain of the paving. grain and texture These studies focused on creating a directionality in the paving by following a particular grain or exploring more fluid shapes, such as the study on the bottom left. The project team used drawing to explore the paving’s relationship to the structure. For example, the first study shown mirrors the diagonal ridge of the ceiling while the second study follows an orthogonal grid to contrast the structure. The middle two studies explore translating the truss lines to the ground plane, visually connecting the columns to hint at the covered structure.

306 Unbuilt

The dissipated paving was also translated into digital 2D drawings and 3D modeling to understand the true dimension and scale of the system as well as the spatial implications.

These renderings focused on understanding how the paving could create an entrance threshold and a place of rest within the pavilion.

The Ground 307

How can the ground surface serve all of the pavilion’s programmatic goals?

The aggregation of small pieces allowed the system to easily become modified around the irregular column lines, potential bench seating, and the existing concrete slab. Additionally, the dissipated paving system successfully served the programmatic requirements requested by the clients, surveyed community members, and Park employees by extending past the roof outline and formalizing uncovered space. The plan studies, shown to the right, were used to explore how different groups could use the space with this paving.

308 Unbuilt

event with stage, Native American festival

field trip, classroom setting

wedding reception with seating

multiple groups of campers

designing with David From Red Barn pinups to discussions on site (with lunch and a design charette at Moundville’s Big John BBQ restaurant in between), Hill pushed the team to consider the landscape as an integral part of the design.

Hill suggests creating “white noise� on the ground level with a busy paving strategy, rich with texture, that serves as a backdrop to the landscape.

David Hill is a landscape architect and professor from Auburn University. In his work, Hill specializes in using the good aspects of a landscape as a design element while not being afraid to intervene and change the negative. An intensive two-day workshop explored the ground surface with Hill and allowed the team to be honorary landscape architecture students to learn some of the basics in designing outdoor spaces.

310

“Architects would do horrible in landscape architecture classes.� David Hill

311

Can the paving subtly delineate different spaces?

A workshop with landscape architecture professor David Hill pushed the project team to explore more organic paving patterns, adding texture and tone to the ground plane. 3D renderings were developed to explore paving solutions inserted into the site. These studies focused on delineating different areas of rest with the aggregation of small and large pavers. The strategies shown to the left focused on creating fluid boundaries that pushed past the pavilion’s edges while implying paths of circulation and places of rest with the grain, orientation, and size of the aggregated pieces.

The Ground 313

How can the ground plane relate to the structure?

To contrast the strategies explored in the renderings and work shop with David Hill exploring “white noise,� these interventions focused on using pads of paving to imply directionality, circulation, and rest while responding to the pavilion’s structure.

These paving pads could be made from an aggregation of smaller pieces or perceived as concrete slabs; however, in response to the previous studies, they introduce boundaries used to slip throughout the columns. Different orientations are used to emphasize the ceiling ridge, follow the truss lines to visually connect the columns, or combine both strategies to imply a circulation path.

314 Unbuilt

The Ground 315

Pads of paving maintain a perpendicular relationship to the slab while also working around the pavilion’s irregular column lines.

Following the grain of the low, diagonal ceiling ridge, this paving strategy focuses on redirecting a visitor’s path and perspective.

Smaller blocks of aggregated pavers allow flexibility in layout and a sense of randomness that creates “white noise” texture on the ground plane.

316 Unbuilt

How can the built structure be used to test ideas at a 1:1 scale?

All of the previous studies were explored through hand drawing, digital renderings, and physical modeling; simultaneously, the main structure was being engineered, built, and constructed on site. This allowed the project team to take advantage of the design–build process and use the actual structure and space to test ideas. To combine and test what was successful of the different strategies, butcher paper was used to mock–up solutions on site at a 1:1 scale, shown above. These images were then rendered to show texture and an implied ceiling plane, shown to the left.

The Ground 317

How can the site continue to drain successfully with the proposed paving?

The Park has successfully integrated drainage throughout the campground, including the site, with culverts and swales along the road. The site is very gradually sloped towards the road to drain properly, with the exception of two low areas towards the forest. In order to ensure that the pavilion would not disrupt the current drainage flow, rainfall data was collected and a civil engineer was consulted to develop a solution that incorporates French drains underneath the proposed paving and around the pavilion edge.

20’ To understand how water would shed off of the roof, the slopes and heights of the low and tall corners were assessed over the length and calculated below according to the rainfall data for the area.

12’

20’

12’

35’

45’

Rainfall information

A. Heaviest rain (data from past year) 1” in 24 hours B. Average rain (data from past year) 0.3” in 24 hours

Rainfall calculations

320 Unbuilt

A. Surface area of our roof – 1,633 sq ft B. Roof area (sq in) x inches of rainfall / 231(1 gallon is 231 cubic in) 117,820 sq in x 1 in rain / 231 = 510 gallons – Total onto site 1,020 gallon (Heaviest Rain) 117,820 sq in x 0.3in rain / 231 = 153 gallons – Total onto site 306 gallons (Average Rain)

french drain drip edge

surface outlet

surface gravel

French drain

A. 1,020 gallons = 137 cu ft B. The French drain location is proposed on the perimeter of the roof outline in addition to spouts in between each concrete slab.

C. The French drain is proposed at approximately 2’0” wide and 8” deep (shown in hatch).

D. The French drain will divert water to the front and rear of the site at a 0.5-1 degree slope.

The Ground 321

PRODUCED BY AN AUTODESK STUDENT VERSION

20'

8”

9"

Section A

A. The bottom of the french drain is slightly sloped towards the road B. The top soil slopes down 8” over 20’ around entire pavilion

PRODUCED BY AN AUTODESK STUDENT VERSION 322 Unbuilt

PRODUCED BY AN AUTODESK STUDENT VERSION

20’

PRODUCED BY AN AUTODESK STUDENT VERSION

A. In two locations the drain connects the two perimeters B. Bottom of drain slopes towards the road

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Section B

The Ground 323

seating What is the role of the seating within the overall site design?

An important programmatic requirement of the pavilion was to provide seating to accommodate Park visitors, educational programs, and the campers.

Design iterations introduced seating as different elements within the site—whether the benches should become part of the structure, tied to the pavilion, or separate landscape elements that move fluidly throughout the site. The ceiling mock–up was also used to test location, focusing on framing views, defining zones, and creating circulation boundaries.

Seating 325

How can the seating be part of the structure?

The pavilion is designed to touch the ground lightly to respect the sacredness of the ground in Moundville. However, these studies focused on incorporating seating into the structure of the pavilion to provide a visually heavy connection to the ground at certain moments in the pavilion while also physically limiting the disturbance to the ground. In this scheme, the benches act as extruded footings that lift the columns and provide weight to anchor them above ground. As shown below, only the ends of the bench would be dug into the earth to reach undisturbed, compact soil.

326 Unbuilt

The benches on the pavilion’s northern edge are orthogonal to the roof line to serve as an entrypoint. In contrast, the seating pointing towards the interior room of the site sit at a diagonal to follow the truss lines and orient visitors towards the forest.

Benches were attached to the tall, 2�x12� columns to anchor the pavilion to the site and provide seating along the implied entry into and exit from the pavilion. This was also aimed at mitigating the height of these columns by lifting the columns from the ground to shorten the members at the high corners.

Seating strategies were explored in 2D drawings, 3D digital modeling, physical model building, and on site mock-ups to assess the implied circulation paths, constructibility, and spatial implications.

Seating 327

How can the seating be part of the landscape?

To contrast incorporating the benches into the structure, these charrettes focused on incorporating seating as a powerful landscape element. The benches are embedded in the earth to allow visitors to experience the ground.

These studies paired a bench with a change in topography to visually and literally ground the elements in the landscape.

Although this allowed the site to mirror the heavy and powerful landscape elements of the Park, the scale and flatness of the site did not allow for enough contrast to give it the same prominence and power as the mounds.

328 Unbuilt

A bench frames the entry of the pavilion; a change in topography grounds the seating and implies a back to it that focuses visitors views towards the site.

Two benches are positioned in front of the north tree line to capitalize on the view to the mounds for the outdoor classroom space requested by the clients.

Seating 329

330 Unbuilt

Where should seating be introduced into the site?

The design and form of the seating was simplified to linear elements to explore its location within the site. Using the mock– up of the pavilion’s ceiling plane, 2”x10” boards were positioned throughout site in different combinations, orientations, and locations.

This mock–up on site allowed the team to assess the spatial and experential qualities of the seating while focusing on the views provided, the relationship to the site and roof structure, the circulation paths implied, and the creation of secondary spaces to serve multiple user groups.

Seating 331

community feedback Boards throughout site provide background on the project for Park visitors and Native American tribe members to explain the design intentions of the pavilion.

A family from Birmingham, AL, explored the space and participated in the survey to vote for their favorite bench.

The 2019 Native American Festival provided an opportunity to show the progress of the structure, provide some of the project’s background to visitors, and get feedback from the community.

Boards were created and put up throughout site to explain different aspects of the project—from the research and design phase to engineering and constructing the structure. Mock–up benches were also built out of wood and placed throughout site with a board for visitors to vote for their favorite design and location.

332

“Architecture can be personal to everyone, I want people to feel like they’re discovering something.” Billie Tsien

333

How does the seating’s form contribute to it’s relationship with the site?

Different configurations and forms for the seating were tested through model building to insert them into the site. These models study iterations that read as both heavy objects in the site, with a strong connection to the ground, as well as light and thin planes that minimize point of contact with the ground.

Introducing long, linear landscape elements into the site allows the seating to create boundaries that frame outdoor space and circulation paths. Choosing a design language similar to the pavilion, shown above, allows the seating to relate to the structure.

334 Unbuilt

Many types of benches were explored through model making to better understand what would best fit the context of the site and the language of the pavilion.

Seating 335

How can the seating follow the language of the pavilion?

Once a plan showing the proposed locations for seating was finalized from the mock–ups, the details for the design and construction of the benches was developed and refined. The drawing to the right shows a detailed section of the bench design that was built on site to test at 1:1, shown below.

Long, linear benches, as well as “stumps” that could serve individuals or be aggregated for groups were built to develop a similar language between the two elements.

In order to mirror the bypass relationship of the columns interacting with the truss chords and steel footings, steel pieces bypass into the bench composed of seven 2”x6” boards with 3/4” spacers in between each board. This provides an adjusted interpretation of the column–to–steel connection of the pavilion.

The wood is turned on its side to take advantage of its strongest orientation while the end grain is left exposed. The process of “threading” the boards onto threaded rod with the spacers was designed to allow the boards to be replaced by the Park should they rot over time.

Constructing the bench on site allowed the width, number of boards, design of the steel piece, and space between each 2”x6” board to be refined and tested for comfort, durability, and aesthetics.

“Reality is a tremendous thing.” Dan Wheeler

338 Unbuilt

Seating 339

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED PRODUCED

BY AN AUTODESK

BY AN AUTODESK STUDENT STUDENT VERSIONVERSION

" 6"

"

"

6" 6"

"

3"

"

1"

6"

1" 54

1" 54

1" 1'-54 1'-3" 1'-3"

1'-3"

cladding How can the ceiling cladding enhance the space and reveal the structure?

With such a unique form, choosing the ceiling cladding was extremely important. The cladding should enhance the feelings of circulation and rest that the ceiling is creating; however, the project team also wanted to chose a cladding material that wasn’t overpowering in the site but would allow the pavilion to blend in with its surroundings.

“If there are eight different materials before we get to the door, we are doing it wrong.”

Marlon Blackwell Due to the slight discrepancies between trusses and the chords not following the same slope of the ceiling, literally and visually revealing the structure would not be possible. Therefore, cladding strategies explored subtle ways to expose the truss lines and hidden structure.

Cladding 341

How can the ceiling capture light?

Metal was tested for its ability to capture and deflect light in the space, emphasizing what the form of the ceiling is already doing. With so many subtle color variations in metal, samples were tested on site with the existing materials. Neutral colors were chosen to allow the pavilion to blend into the forest from a distance. Blue and gray tones were the most successful in relating to the ground surface as well as the column’s steel footings and galvanized connectors.

Since the appearance, coloring, and tone of the metal changes drastically in different lights, the samples were held at the angle of each ceiling slope. These pieces were then used to render how the pavilion would appear at the entrance and the interior, shown to the right.

Although the metal successfully creates two different tones along the ceiling ridge, it appears overwhelming at the entrance as a single plane. The main concern with a metal roof is that the structure with its unique form will appear very out of place in the forest.

342 Unbuilt

Cladding 343

Samples were also held up in the site to test roof color. The goal of the roof is to become as invisible as possible, to reduce the heaviness of the structure and to hide any pine needles. The two samples shown above, black and a dark brown, were most successful in reflecting the forest and disappearing into the landscape.

How can the ceiling blend with the landscape?

Wood material was tested through renderings and a mock–up on the built structure. In contrast to metal, wood allows for a finer texture to be introduced to the ceiling. The boards allow for flexibility in working around the columns by following the truss chords, providing a hint to the diagonal structure underneath.

Overall, wood was chosen as the finish material for its spatial qualities in the landscape. Whereas there were concerns with the metal for appearing out of place, the wood responds to the surrounding forest, retains a similar language to structures throughout the Park, and represents the hidden wood structure.

346 Unbuilt

Cladding 347

cooking area Where should an outdoor cooking area be introduced into the project to serve the community?

From the surveys during the research phase of the project, an outdoor cooking area was identified as an important amenity for the community. 3D rendering and hand drawing explored strategies to introduce a supplementary, cooking area into the site with a ground or roof covering containing a small counter space and additional grill. Mock–ups on site refined where to place the cooking area, focusing on creating a usable space without interfering with the covered area to serve multiple user groups simultaneously.

Cooking Area 349

Could the fireplace be usable as a cooking area?

The fireplace was identified as an important element of the site by suggesting a history and creating a sense of place. Since the chimney is in working condition, initial studies focused on using the fireplace as an additional cooking area. Incorporating a roof plane or a wall of vegetation could define the space and suggest a boundary to this end of the site.

These studies successfully incorporated the fireplace; however, introducing a second roof also cluttered the space and visually competed with the pavilion on the opposite end. Moving forward, a long linear counter was used to subtly define the cooking area.

352 Unbuilt

Cooking Area 353

How can linear elements subtly delineate a cooking area?

The next iterations focused on incorporating a long bench for seating and a linear counter top for an outdoor sink, grill, and prep space around the existing fireplace. Using Lowe’s buckets, 2”x12” boards, and plastic sheets, different locations were tested.

The above option was chosen as the most successful because it subtly adds a secondary space behind the fireplace. Seating near the slab, engages the interior of the site while allowing the cooking area to remain separate. With the counter as a bar sliding to the north of the fireplace towards the road, the cooking area can easily be accessed by campers and cars without disrupting the pavilion space.

354 Unbuilt

Since the cooking area will serve a practical and not visual purpose, this scheme tested hiding it behind the fireplace. However, this closed it off from the site and brought up security concerns.

Pushing the counter to be centered behind the fireplace detracts from the view as a “found object� against the forest line.

Orienting the counter parallel to the slab and road creates a hard edge instead of encouraging circulation around the space.

Sliding the counter among the trees successfully moves the cooking area towards the road while engaging the interior of the site. However, it pushes the seating away from the fireplace.

Cooking Area 355

Where should the cooking area be located?

Combining everything learned from these studies, the project team concluded that the cooking area would best serve the campground and pavilion as a secondary space easily accessed by pedestrians and cars from the road. Positioning it near the forest edge also allows it to be used without disrupting any groups gathering under the pavilion.

Placing seating around the fireplace will emphasize its ethereal quality as the hearth of a home in which people can gather and even light for warmth. However, introducing a counter and grill near it contradicts this sense of rest by associating it with a busy

356 Unbuilt

and active program. Therefore, the final siting for the cooking area was with one of the existing CCC picnic tables near the road, in the northwest corner of the site. This allows the bench to be used as a preparatory or eating space, while still providing a separate and usable amenity for the campers and Park visitors. The design is also simplified to two stand alone grills, like the ones found at every campsite, and a small gravel pad to define the space and use what exists—the CCC picnic table.

“The vernacular is what you do when you can’t afford to get it wrong.” Marlon Blackwell

Cooking Area 357

final site design How do all of these elements create the final space?

The treatment of the ground surfaces, seating throughout the site, and the ceiling cladding material were all designed to compliment and emphasize the existing spatial qualities of the immediate site and pavilion’s roof form.

Overall, these elements were designed to delineate space and provide rest within the site as well as under the covered area. Creating a level ground plane with subtle thresholds and transitions allows the paving to respond to the unique structure of the pavilion, providing a texture to the surface that enhances the ceiling’s form. The seating uses a similar language to the pavilion so that the interventions throughout site touch the ground with a visual lightness. The wood ceiling establishes the pavilion as a wooden structure, an important element of the design as it sits among the forest.

Final Design 359

The final wood, ceiling cladding will allow the structure to fit contextually within the surrounding landscape and the Park. Following the grain of the truss lines, the cladding will provide a hint of the diagonal structure.

360 Unbuilt

The three shifting concrete pads will encourage circulation while providing a usable gathering space along the low ceiling ridge. A gravel rectangle connects these surfaces to the existing slab at the same ground level, while the south end is kept open—receiving enough daylight for grass to grow.

Final Design 361

appendix construction drawings documentation thank you

366 380 422

This section contains the project’s construction drawings and the final documentation for the project, including a schedule of consultants and reviewers during the design phase and a construction calendar highlighting important decisions, events, and accomplishments.

367

final drawings Due to the unique form and structural system many measurements and decisions were made on–site by the project team. Although construction drawings and documents were carefully created in studio, it seemed that there was always an unknown factor or angle when constructing the project. This is inherent in using wood as the main structure with its natural variance in width, sizing, and straightness. The unique diagonal truss lines and angles with the intercepting rectangular edge provided a challenge. The 3D model and construction drawings were an extremely important part of the process to begin to tackle how to frame the form; however, the team found much more success in using these documents as a starting point but basing the construction on the actual built structure.

Construction Drawings 369

foundations/steel footings

370 Appendix

main framing

roof joists

plywood roof sheathing

reflected ceiling plan

raised columns

trusses

ceiling joists/bottom ridge

edge wedges/fascia

sheet metal roof cladding

Construction Drawings 371

372 Appendix

elevation | scale: 1’:1/4”

Construction Drawings 373

374 Appendix

section looking west | scale: 1’:1/4”

Construction Drawings 375

376 Appendix

batter board plan | scale: 1’:1/8”

Construction Drawings 377

PRODUCED BY AN AUTODESK STUDENT VERSION

378 Appendix

PRODUCED BY AN AUTODESK STUDENT VERSION complete framing | scale: 1’:1/8”

Construction Drawings 379

380 Appendix

Details of low corner condition and condition around columns.

PRODUCED BY AN AUTODESK STUDENT VERSION reverse ceiling plan | scale: 1’:1/8”

Construction Drawings 381

documentation This project wouldn’t have been possible without the people who brought their own perspective and expertise to it. From design reviews with visiting architects to running structural calculations with Joe Farruggia, the design and construction of the community pavilion was truly a collaborative process.

The final documentation of design reviews, milestones in project approvals, presentations, and construction schedule represent the two–year process of this phase of the project. It also highlights each voice that contributed to the final design, including the structural calculations to engineer the main structure.

Documentation 383

design reviews and consultants workshops: fall 2018 Danny Wicke | Prospect Studio David Hill | HILLWORKS; Auburn University Dan Wheeler | Wheeler Kearns Architects Frank Harmon | Frank Harmon Architect Paul Stoller| Atelier Ten Anderson Inge | Anderson Inge Building Workshop Julia Capomaggi | University of Illinois at Chicago Emily McGlohn | Auburn University Rural Studio Jake LaBarre | BuildingWork; University of Washington

fall 2018 halloween reviews

soup roast

Marlon Blackwell | Marlon Blackwell Architects Mike Newman & Katrina Van Valkenburgh | SHED Studio; CSH Pete Landon | Landon Bone Baker Architects Kim Clements and Joe Schneider | JAS Design Build Julie Eizenburg and Hank Koning | Koning Eizenberg Architecture Jake LaBarre | BuildingWork; University of Washington Steve Badanes | Jersey Devils; University of Washington Jim Anderson | Jersey Devils; Yestermorrow; University of Miami David Hill | HILLWORKS; Auburn University

spring 2019

structure workshop structural consultant

stress test

pig roast

James Shen | People’s Architecture Office Dan Wheeler | Wheeler Kearns Architects Ada Tolla and Giuseppe Lignano | LOT-EK Peter Gluck | GLUCK+ Anderson Inge | Anderson Inge Building Workshop Steve Badanes | Jersey Devils; University of Washington Joe Farruggia Moundville Town Hall Meeting University of Alabama Board of Regents Christian Dagg | Auburn University, School Head of APLA* Rusty Smith | Auburn University, Associate Director of Rural Studio Cheryl Noel and Ravi Ricker | Wrap Architecture Tim Leopard | University of Alabama Facilities Project Manager Moundville Archaeological Park Staff Tod Williams and Billie Tsien | Tod Williams and Billie Tsien Architects Moundville Site Advisory Board Jim Turnipseed | Turnipseed International Inc *Architecture, Planning and Landscape Architecture

384 Appendix

Documentation 385

March 2019 monday

sunday

3

tuesday

4

5 stress test

10

thursday

wednesday

6

friday

saturday

1

2

7

8

9

planted trees on site

11

12

13

14

15

16

18

19

20

21

22

23

29

30

spring break

17

constructed ceiling plane mock–up

24

25

26

constructed ceiling plane mock–up

386 Appendix

27

28

April 2019 sunday

monday

1

thursday

wednesday

tuesday

2

friday

saturday

3

4

5

6

10

11

12

13

19

20

tested soil strength

7

8

9

explored column spacing

14

15 confirmed column profile

21

mock–up analysis with column layout and bench placement

16 formatted mock–up photos

22

23

28

18

truss construction documents

designed mock–up truss 28

17

24

built truss construction platform 25

built mock–up truss and moved to site

26

27 Pig Roast

30

site design and column study

Documentation 387

May 2019 monday

sunday

tuesday

thursday

wednesday

1

friday

2

saturday

3 graduation

graduation celebration with family

5

6

7

8

column detailing

12

13

20

14

388 Appendix

27

11

15

17

18

23

24

25

30

31

16 constructed structural model

21

off–the–self paving studies 26

10

paving and bench model explorations

made column system and layout decisions 19

9

4

22 model structural test #2

28

29

June 2019 sunday

monday

thursday

wednesday

tuesday

friday

saturday

1

2

3

4

5

6

7

8

11

12

13

14

15

18

19

20

21

22

25

26

27

28

29

model study of framing system

9

10 structural calculations on ENERCALC

16

17 construction documents for steel footings

23

24 batter board construction documents

broke ground and started demolition

batter boards and strings

Documentation 389

July 2019 monday

sunday

tuesday

1

2

batter boards and strings

7

8 prepped prepped footfootings with ings with rebar rebar

14

poured concrete footings

built and moved truss #2

picked up steel footings

28

23 built and moved truss #1

29 column construction

390 Appendix

18

24

25 built truss #3

31

6

12

13

finalized truss construction documents

column construction documents

built and moved truss #5 30

11

17

5 cut rebar and set depth of footings

built and moved truss #4

decided on column connectors

saturday

4

10

16

22

friday

hand–dug footings

built mock–up column

21

3

9

15

thursday

wednesday

19

20

year level trip to the beach

26 purchased column connectors

27

August 2019 sunday

monday

tuesday

thursday

wednesday

friday

1

saturday

2

3

9

10

16

17

column construction

4

5

6

7

8

prepping footings: drilling holes into foundations, placing threaded rod, and leveling steel

11

12

13

raised, leveled, and braced columns 18

19

25

26

14 moved trusses to site

20

bolted and grouted columns

moved columns to site 15 truss raising

much needed break

21

22

23

24

28

29

30

31

convocation

27

neck downs: built X-bracing and took down column bracing

Documentation 391

September 2019 monday

sunday

1

tuesday

2

3

9 site conditions design

15

10 bench mock–ups

16

17

23 finalized structural box design

29

30 ran strings for framing

392 Appendix

saturday

6

7

13

14

5

11 ceiling material mock–ups

cleaned columns and column connections 22

4

friday

paving paper mock–up under structure

structural box design

8

thursday

wednesday

consolidated analysis 12

consolidated analysis, created joist hanger order, and designed framing details 18

19

20

21

27

28

made trusses parallel using joist placement 24

25 constructed structural box

26

leveled ground, covered footings with gravel

October 2019 sunday

monday

tuesday

thursday

wednesday

1

friday

saturday

2

3

4

5

9

10

11

12

17

18

19

24

25

26

framing strings

6

7

8

edge beam tests

13

14

Native American Festival

15

edge beam construction documents 20

21

16 edge beam construction and installation

22

23

edge beam construction and installation 27

designed drainage with civil engineer 28

ridge beam construction and installation

29

30

31 Halloween Reviews

Documentation 393

November 2019 monday

sunday

tuesday

thursday

wednesday

friday

saturday

1

2

explored corner framing

3

4

5

corner edge beams

10

11

6

7

8

9

ran strings for roof joists

12

13

14

15

16

19

20

21

22

23

29

30

ran strings for roof joists

17

18

moved to Moundville

roof joists test joist construction documents 24

Thanksgiving break

394 Appendix

Rural Studio Christmas Party

25

26

27

28

we beat bama

December 2019 sunday

monday

1

tuesday

2

3

ran and adjusted strings to prep for scaffolding 8

9 moved lumber onto platform

15

friday

4

5

scaffolding erected

saturday

6

7

13

14

Soup Roast

gravel for parking leveled 10

11

12

set strings along trusses installed blocking along truss chords 16

17

roof joists

22

thursday

wednesday

18

19

20

21

25

26

27

28

client Christmas party 23

24

Christmas break

29

30

31

Documentation 395

January 2020 monday

sunday

tuesday

thursday

wednesday

1

friday

saturday

2

3

4

9

10

11

Christmas break

5

6 picked up steel for bench mock–up

12

7

8

set edge strings

tested wedge construction

created wedge templates

13

14

15

16

17

18

22

23

24

25

29

30

31

Neck downs: wedge construction, moved wedges onto platform, roof joists

19

20

21

roof joists design and test bottom ridge framing

26

27 roof joists

396 Appendix

28

bench mock–up

wedge installation tests

February 2020 sunday

monday

tuesday

thursday

wednesday

friday

saturday

1

2

3

4

5

6

7

8

14

15

construction documents for roof sheathing

really bad rain week

plywood order for roof sheathing

9

10

11

12

13

ran ceiling strings

vacation weekend

block the bottom of trusses

16

17

18

19

20

21

22

27

28

29

ceiling joists framed bottom ridge

ceiling fastener mock-up

23

24 ceiling joists ceiling sheathing mock-up

25

26 bench mock–up edits

installed wedges

Documentation 397

March 2020 monday

sunday

tuesday

1

2

3

installed wedges

8

9 moved plywood onto scaffolding

15

16

thursday

wednesday

10

friday

4

5

met with Joe: corner reinforcement

corner framing

11

12

installed wedges

saturday

6

7

13

14

framed tall corners

reinforced framing of bottom corners

notified about Coronavirus

17

18

19

20

21

25

26

27

28

closed site

398 Appendix

22

23

24

29

30

31

good luck. things men have said to us (or about us) at Lowe’s “Does your daddy know how much this costs?”

“What vehicle do you have to transport this?”

“They have a ton of wood and four girls.”

“Can I have your card? We’ve never seen lady roofers before.”

“Are you building a deck?”

“Do you want us to load that for you?”

“Do ya’ll have a tape? You look prepared, like you might have a tape.”

“What are ya’ll doing? You don’t look like you’re in a hurry to get back to it.”

Documentation 399

notable budget items mock–ups ceiling plane

$572.03

off–the–shelf paving tests

$142.25

scaled models

$433.79

mock–up truss

$215.07

column mock-ups

$188.23

ceiling cladding

$152.38

bench final design and test

$928.28

complete budget

landscape

The full budget with complete line items is on Rural Studio’s server.

trees gravel foundations

total: $2,536.19 $1,924.85 $611.34 total: $1,942.14

concrete

$500.00

fabricated steel footings (material only)

$700.00

rebar material to anchor footings to foundations columns screws to laminate splice fasteners steel spacers fasteners at connection to footing trusses

400 Appendix

total: $2,632.03

$57.90 $684.24 total: $521.90 132.00 $118.80 35.00 $236.10 total: $1,990.16

platform for construction

$561.66

splice fasteners

$780.80

fasteners for column connection

$647.70

framing

total: $11,313.22

plywood

$4,044.30

joist hangers

$7,268.92

lumber

total: $8,169.06

purchased

$1,077.29

provided by park

$7,091.77

machinery rental scissor lift

total: $19,471.11 $6,180.00

man lift

$641.80

boom forklift

$754.31

scaffold platform general

$11,895.00 total: $1,213.54

deck screws

$609.89

drill bits

$115.66

string

$166.38

nail gun nails

$321.61

all other expenses

total: $3,827.96

project total: $53,617.31 total spent: $22,962.60 total donated: $30,654.71

Documentation 401

structural calculations

Truss #1 || Truss #5 trusses 1 and#5 5 Truss #1 || Truss

402 Appendix

Documentation 403

Truss #1 || Truss #5 trusses 1 and#5 5 Truss #1 || Truss

404 Appendix

Documentation 405

trusses Truss #2 || Truss #4 2 and 4 Truss #2 || Truss #4

406 Appendix

Documentation 407

ss #4

408 Appendix

trusses Truss #2 || Truss #4 2 and 4

Documentation 409

Truss #3

410 Appendix

truss 3

Truss #3

Documentation 411

Truss #3

412 Appendix

truss 3

Truss #3

Documentation 413

ENERCALC calculation sheets Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 Joints...

Joint Label 01 02 03 04 05 06 07 08 09 10 11 12 13

Joint Coordinates X Y ft ft 0.0 13.380 12.510 14.690 3.990 12.240 3.390 13.730 12.260 14.660 5.130 13.910 5.80 12.760 6.850 14.090 7.360 13.210 5.840 13.990 4.990 12.530 7.320 14.140 6.670 13.010

X Translational Restraint

Y Translational Restraint

Fixed Fixed

Z Rotational Restraint Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed

Fixed Fixed

.

Members...

Member Label 001 top 002 top 003 top 004 top 005 top 006 top 007 top 008 bot 009 bot 010 bot 011 bot 012 bot 013 bot 014 web 015 web 016 web 017 web

Endpoint Joints Property Label I Joint J Joint chords chords chords chords chords chords chords chords chords chords chords chords chords web web web web

01 04 06 10 08 12 05 01 03 11 07 13 09 06 08 10 12

04 06 10 08 12 05 02 03 11 07 13 09 02 07 09 11 13

Member Length ft

3.408 1.749 0.714 1.015 0.473 4.967 0.252 4.150 1.041 0.842 0.905 0.718 5.358 1.331 1.017 1.689 1.304

Member Stress Check Data...

Member Label 001 top 002 top 003 top 004 top 005 top 006 top 007 top 008 bot 009 bot 010 bot 011 bot 012 bot 013 bot 014 web 015 web 016 web 017 web

Joint Temp deg F 0 0 0 0 0 0 0 0 0 0 0 0 0

Unbraced Lengths Lu : z ft Lu : y 3.408 1.749 0.714 1.015 0.473 4.967 0.252 4.150 1.041 0.842 0.905 0.718 5.358 1.331 1.017 1.689 1.304

3.408 1.749 0.714 1.015 0.473 4.967 0.252 4.150 1.041 0.842 0.905 0.718 5.358 1.331 1.017 1.689 1.304

Releases Specify Connectivity of Member Ends to Joints I End J End x y z (rotation) x y z (rotation) Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed Pinned Fixed Fixed Pinned Fixed Fixed Pinned Fixed Fixed Pinned Fixed Fixed Pinned Fixed Fixed Pinned Fixed Fixed Pinned Fixed Fixed Pinned .

Slenderness Factors K:z 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00

K:y 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00

AISC Bending & Stability Factors Cm Cb 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000

1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 1.000 .

414 Appendix

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 Only Load Combinations giving maximum values are listed

Extreme Joint Reactions Joint Label

Joint Reactions Y k

X k

Z k-ft -0.2463 +D+Lr

Min 10

0.9728 +D+Lr

Max

-0.002003 W Only

Min 11

0.001545 W Only

Max

-0.2004 +D+Lr

Min 12

0.6774 +D+Lr

Max

-0.001435 W Only

Min 13

0.01070 +D+Lr

Max

-.0000240 W Only

Min

Only Load Combinations giving maximum values are listed

Extreme Member End Forces Member Label 001 top Max

001 top Min

002 top Max

002 top Min

003 top Max

003 top Min

004 top Max

004 top Min

005 top Max

005 top Min

006 top Max

006 top Min

007 top Max

007 top Min

008 bot Max

008 bot Min

009 bot Max

Axial k -0.03273

Member " I " End Forces Shear k 0.1694

Moment k-ft -0.09056

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

+D+Lr

+D+Lr

+0.60D+0.60W

-0.1674

0.03409

-0.4431

0.06003

0.2297

-1.175

+D+Lr

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

+0.60D

+D+Lr

1.701

-0.005864

2.386

1.894

0.1391

-0.3516

+0.60D+0.60W

+D+Lr

+D+Lr

+D+Lr

+0.60D+0.60W

+D+Lr

-0.07067

0.4873

0.3870

0.01990

-1.724

0.3475

+D+Lr

+0.60D+0.60W

+0.60D+0.60W

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

0.02038

1.407

0.4707

0.01342

-0.2319

0.4386

+D+0.750Lr+0.450W

+D+Lr

+D+Lr

+D+Lr

+0.60D+0.60W

+D+Lr

0.003486

0.2872

0.09610

-0.005502

-1.138

0.08950

+0.60D

+0.60D+0.60W

+0.60D+0.60W

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

1.181

0.5342

0.009085

0.03551

-0.1620

+D+0.60W

+D+Lr

+D+Lr

+D+Lr

+0.60D+0.60W

+D+Lr

0.000511

0.2407

0.1090

-0.000944

-0.7969

0.09565

+0.60D

+0.60D+0.60W

+0.60D+0.60W

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

0.004266

0.7751

0.1691

0.4693

0.03890

-0.1205

+0.60D+0.60W

+D+Lr

+D+Lr

+D+Lr

+0.60D+0.60W

+D+Lr

-0.01990

0.1572

0.03428

-0.000366

-0.5965

0.03139

0.1550

+D+Lr

+0.60D+0.60W

+0.60D+0.60W

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

0.1340

0.8360

0.5223

0.06364

1.041

-0.2118

+D+Lr

+D+Lr

+D+Lr

+D+Lr

+D+Lr

+0.60D

0.02750

0.1701

0.1068

0.004406

0.2137

-1.032

+0.60D

+0.60D+0.60W

+0.60D+0.60W

+0.60D+0.60W

+0.60D

+D+Lr

0.2035

0.2054

0.02188

-0.03943

-0.02267

0.01789

+D+Lr

.

Member " J " End Forces Axial Shear Moment k k-ft k 0.3004 1.119 -0.2407

+D+Lr

+D+Lr

+0.60D

+0.60D

+D+Lr

0.04177

0.04212

0.004491

-0.1921

-0.1104

0.003672

+0.60D

+0.60D+0.60W

+0.60D

+D+Lr

+D+Lr

+0.60D

0.2184

-0.01947

-0.04039

-0.04306

0.09495

-0.04039

+D+Lr

+0.60D+0.60W

+0.60D+0.60W

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

-0.1970

0.04306

-0.09495

-0.1970

-0.2184

0.01947

+0.60D+0.60W

+D+Lr

+D+Lr

+D+Lr

+0.60D+0.60W

+D+Lr

0.1345

-0.03938

-0.02050

-0.02612

0.1965

-0.02050

+D+Lr

+0.60D+0.60W

+0.60D+0.60W

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

Documentation 415

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 Materials...

Member Label

Youngs ksi 1.00 1,400.00

Default Southern Pine - 2013 Adde

Density kcf 0.000 0.034

Thermal in/degr 0.000000 0.000000

Yield ksi 1.00 0.00

Wood Material Data...

Southern Pine - 2013 Adde, Southern Pine - 2013 Adden, Density= 34.330pcf, FbT= 1100psi, FbC= 1100psi, Fv= 175psi, Ft= 675, Fc= 1450psi, E Bend XX= 1400ksi, E BendMin XX= 510ksi, E Beny YY= 0ksi, E BendMin YY= 0ksi, E Axial= 0ksi, Species= 2"-4" Thick, Grade= No.2: 2" - 4" Thick : 2", Class= 2"-4" Thick .

Member Sections...

Prop Label 2x6 3-2x10 Default

Group Tag Material web Southern Pine chords Southern Pine Group Default

Area 8.250 in^2 41.625 in^2 1.0 in^2

Member Distributed Loads....

Member Label

Load Direction

001 top

Global Y

001 top

Global X

002 top

Global Y

002 top

Global X

003 top

Global Y

003 top

Global X

004 top

Global Y

004 top

Global X

005 top

Global Y

005 top

Global X

006 top

Global Y

006 top

Global X

007 top

Global Y

007 top

Global X

Width 1.50 in 4.50 in 0.0 in

Depth 5.50 in 9.250 in 0.0 in

Ixx 20.797 in^4 296.79 in^4 1.0 in^4

Iyy 1.547 in^4 70.242 in^4 1.0 in^4

Note: Loads labeled "Global Y" act downward (in "-Y" direction)

Load Extents Start ft End 0.0 Start Mag : 3.408 End Mag : 0.0 Start Mag : 3.408 End Mag : 0.0 Start Mag : 1.749 End Mag : 0.0 Start Mag : 1.749 End Mag : 0.0 Start Mag : 0.7145 End Mag : 0.0 Start Mag : 0.7145 End Mag : 0.0 Start Mag : 1.015 End Mag : 0.0 Start Mag : 1.015 End Mag : 0.0 Start Mag : 0.4727 End Mag : 0.0 Start Mag : 0.4727 End Mag : 0.0 Start Mag : 4.967 End Mag : 0.0 Start Mag : 4.967 End Mag : 0.0 Start Mag : 0.2518 End Mag : 0.0 Start Mag : 0.2518 End Mag :

Dead Roof Live 0.130 0.130

Load Magnitude Live Snow

Seismic

Wind

Earth

0.250 0.250

k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft k/ft

-0.0260 0.0260 0.130 0.130

0.250 0.250

0.130 0.130

0.250 0.250

0.130 0.130

0.250 0.250

0.130 0.130

0.250 0.250

0.130 0.130

0.250 0.250

-0.0260 0.0260 -0.0260 0.0260 -0.0260 0.0260 -0.0260 0.0260 -0.0260 0.0260 0.130 0.130

0.250 0.250 -0.0260

IBC 2015

Stress/Strength Load Combinations Load Combination Description +D+H +D+L+H +D+Lr+H +D+S+H +D+0.750Lr+0.750L+H +D+0.750L+0.750S+H +D+0.60W+H +D+0.70E+H +D+0.750Lr+0.750L+0.450W+H

416 Appendix

Cd 0.9 1 1.25 1.15 1.25 1.15 1.6 0.9 1.6

Dead 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0

Load Combination Factors 0.2*Sds* Seismic Roof Live Live Snow Wind Seismic 1.0 1.0 1.0 0.750 0.750 0.750

0.750 0.60 0.70

0.750 0.750

0.450

.. .

Rho

Earth 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0

.

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 Only Load Combinations giving maximum values are listed

Extreme Member End Forces Member Label 009 bot Min

010 bot

Axial k 0.02612

Min

011 bot Min

012 bot Max

012 bot Max

013 bot

+D+Lr

+D+Lr

+D+Lr

+0.60D+0.60W

+D+Lr

-0.01970

-0.01850

0.2328

-0.01970

+D+Lr

+0.60D+0.60W

+0.60D+0.60W

+0.60D+0.60W

+D+Lr

+0.60D+0.60W

0.01850

-0.2328

-0.09803

-0.09717

0.04679

-0.09803

+0.60D+0.60W

+D+Lr

+D+Lr

+D+Lr

+0.60D+0.60W

+D+Lr

0.01117

0.1040

0.04707

-0.001072

-0.02135

0.04707

+D+Lr

+D+Lr

+D+Lr

+0.60D+0.60W

+0.60D

+D+Lr

0.001072

0.02135

0.009661

-0.01117

-0.1040

0.009661

+0.60D+0.60W

+0.60D

+0.60D

+D+Lr

+D+Lr

+0.60D

-0.04139

-0.02078

-0.007464

0.2016

0.1012

-0.007464

+0.60D

+0.60D

+0.60D

+D+Lr

+D+Lr

+0.60D

-0.2016

-0.1012

-0.03637

0.04139

0.02078

-0.03637

+D+Lr

+D+Lr

+D+Lr

+0.60D

+0.60D

+D+Lr

-0.04254

-0.0160

-0.04286

0.2072

0.07834

-0.04286

+0.60D

+0.60D+0.60W

+0.60D+0.60W

+D+Lr

+D+Lr

+0.60D+0.60W

-0.2072

-0.07834

-0.2099

0.04254

0.0160

-0.2099

+D+Lr

+D+Lr

+D+Lr

+0.60D

+0.60D+0.60W

Min

014 web Max

014 web Max

015 web

0.0

0.0

0.3478

0.0

0.0

+D+0.750Lr+0.450W

D Only

+D+Lr

+D+0.450W

D Only

-0.3478

0.0

0.0

0.07048

0.0

0.0

+D+Lr

+D+0.450W

D Only

+0.60D+0.60W

+D+0.750Lr+0.450W

D Only

-0.004942

0.0

0.0

0.02408

0.0

0.0

+D+Lr

D Only

+D+Lr

+D+0.750Lr

D Only

+0.60D

-0.02408

0.0

0.0

0.004942

0.0

0.0

+D+Lr

+D+0.750Lr

D Only

+0.60D

+D+Lr

D Only

Min

016 web

0.05339

0.0

0.0

-0.01088

0.0

0.0

+D+Lr

+D+0.750Lr+0.450W

D Only

+0.60D+0.60W

+D+Lr

D Only

0.01088

0.0

0.0

-0.05339

0.0

0.0

+0.60D+0.60W

+D+Lr

D Only

+D+Lr

+D+0.750Lr+0.450W

D Only

Max

016 web Min

017 web

0.2958

0.0

0.0

-0.06072

0.0

0.0

+D+Lr

+D+0.750Lr

D Only

+0.60D

+D+Lr

D Only

Max

017 web Min

0.06072

0.0

0.0

-0.2958

0.0

0.0

+0.60D

+D+Lr

D Only

+D+Lr

+D+0.750Lr

D Only

Only Load Combinations giving maximum values are listed

Extreme Member Forces Mmbr Label 001 top Max 001 top Min 002 top Max 002 top Min 003 top Max 003 top Min 004 top Max 004 top Min 005 top Max

+D+Lr

-0.07048 +0.60D+0.60W

Min

015 web

Member " J " End Forces Shear Moment k-ft k 0.03938 -0.1023

-0.04679

Min

013 bot

Axial k -0.1345

0.09717

Max

011 bot

Moment k-ft -0.1023

+0.60D+0.60W

Max

010 bot

Member " I " End Forces Shear k -0.1965

Axial

Dist from "I" Joint

0.3004 k

3.408 ft

Moment

0.03273 k

0.0 ft

-0.4808 k-ft

0.1391 k

1.749 ft

-1.119 k

0.0 ft

-1.701 k-ft

0.7145 ft

0.4707 k-ft

0.0 ft

2.386 k

1.749 ft

0.3516 k

0.0 ft

1.407 k

-0.02038 k

0.0 ft

-0.4386 k-ft

0.03551 k

1.015 ft

0.7145 ft

0.5342 k-ft

0.2319 k

-0.009085 k

0.0 ft

-0.4693 k-ft

0.4727 ft

0.1691 k-ft

0.0 ft

1.181 k

+D+Lr

0.0 ft +D+Lr

1.015 ft

0.1620 k

0.0 ft

0.7751 k

+D+Lr

+D+0.60W

0.7145 ft

+0.60D+0.60W

+D+Lr

+D+Lr

0.0 ft +D+Lr

+D+Lr

+D+0.750Lr+0.450W

1.749 ft

+0.60D+0.60W

+D+Lr

+D+Lr

0.0 ft +D+Lr

+D+Lr

+0.60D+0.60W

3.408 ft +D+Lr

+D+Lr

0.005864 k

0.0 ft +D+Lr

0.4173 ft

1.894 k-ft

+D+Lr

+D+Lr

Dist from "I" Joint

Shear 0.1694 k

+D+Lr

+0.60D+0.60W

0.03890 k

3.408 ft +D+Lr

+D+Lr

0.01342 k

Dist from "I" Joint

1.175 k-ft

.

1.015 ft

+0.60D+0.60W

0.0 ft +D+Lr

Documentation 417

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 IBC 2015

Stress/Strength Load Combinations Load Combination Description +D+0.750L+0.750S+0.450W+H +D+0.750L+0.750S+0.5250E+H +0.60D+0.60W+0.60H +0.60D+0.70E+0.60H

Cd 1.6 1.15 1.6 0.9

Dead 1.0 1.0 0.60 0.60

Load Combination Factors 0.2*Sds* Seismic Roof Live Live Snow Wind Seismic 0.750 0.750 0.450 0.750 0.750 0.5250 0.60 0.70

+D+H +D+L+H +D+Lr+H +D+S+H +D+0.750Lr+0.750L+H +D+0.750L+0.750S+H +D+0.60W+H +D+0.70E+H +D+0.750Lr+0.750L+0.450W+H +D+0.750L+0.750S+0.450W+H +D+0.750L+0.750S+0.5250E+H +0.60D+0.60W+0.60H +0.60D+0.70E+0.60H D Only Lr Only L Only S Only W Only E Only H Only

Earth 1.0 1.0 0.60 0.60 IBC 2015

Reaction Load Combinations Load Combination Description

Rho

Dead 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 0.60 0.60 1.0

Roof Live

Load Combination Factors Live Snow Wind Seismic 1.0

1.0 1.0 0.750 0.750 0.750

0.750 0.60 0.70

0.750 0.750 0.750 0.750

0.750 0.750

0.450 0.450 0.5250 0.60 0.70

..

Earth 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 0.60 0.60

1.0 1.0 1.0 1.0 1.0 1.0 ..

418 Appendix

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 Only Load Combinations giving maximum values are listed

Extreme Member Forces Mmbr Label 005 top Min 006 top Max 006 top Min 007 top Max 007 top Min 008 bot Max 008 bot Min 009 bot Max 009 bot Min 010 bot Max 010 bot Min 011 bot Max 011 bot Min 012 bot Max 012 bot Min 013 bot Max 013 bot Min 014 web Max 014 web Min 015 web Max 015 web Min 016 web Max 016 web Min 017 web Max 017 web Min

Axial

Dist from "I" Joint

-0.004266 k

0.0 ft

0.06364 k

0.4727 ft +D+Lr

4.967 ft

1.032 k-ft

Dist from "I" Joint

Shear 0.1205 k

-0.1340 k

0.0 ft

4.967 ft

-0.4024 k-ft

0.8360 k

0.2518 ft

0.02188 k-ft

0.0 ft

-0.01789 k-ft

2.230 ft

-1.041 k

0.0 ft

0.1970 k-ft

-0.2184 k

0.0 ft

-0.1970 k-ft

0.0 ft

0.1023 k-ft

0.0 ft

-0.1023 k-ft

0.0 ft

-0.09717 k

0.0 ft

-0.09803 k-ft

0.0 ft

0.04707 k-ft

0.0 ft

0.2016 k

0.03637 k-ft

0.0 ft

-0.03637 k-ft

0.0 ft

0.0 ft

-0.2328 k

0.0 ft

0.1040 k

0.0 ft

0.0 ft 0.0 ft +D+Lr

0.02135 k

0.0 ft +0.60D

0.7184 ft

-0.02078 k

0.0 ft

-0.1012 k

0.0 ft +0.60D

0.0 ft +D+Lr

5.358 ft

-0.2099 k-ft

0.0 ft +D+Lr

+D+Lr

-0.0160 k

0.0 ft

+0.60D+0.60W

0.0 ft

-0.07834 k

+D+Lr

+0.60D

0.3478 k

-0.04679 k +0.60D+0.60W

0.9052 ft

0.2099 k-ft

0.0 ft +D+Lr

+D+Lr

+D+Lr

0.04254 k

-0.1965 k

+D+Lr

+0.60D

0.0 ft

+0.60D+0.60W

+D+Lr

0.0 ft

0.0 ft +D+Lr

0.8420 ft

-0.04707 k-ft

+D+Lr

0.2072 k

-0.03938 k

+D+Lr

+D+Lr

0.04139 k

-0.09495 k

+D+Lr

+0.60D+0.60W

-0.01117 k

0.0 ft 1.041 ft

+D+Lr

+D+Lr

0.0 ft

+0.60D+0.60W

0.0 ft

0.09803 k-ft

+0.60D+0.60W

0.2518 ft +0.60D

+D+Lr

+D+Lr

-0.001072 k

-0.01947 k

+D+Lr

+0.60D+0.60W

-0.01850 k

4.150 ft

0.0 ft +D+Lr

+D+Lr

+D+Lr

-0.1345 k

0.2054 k 0.02267 k

+D+Lr

+0.60D+0.60W

-0.02612 k

0.0 ft 0.2518 ft +D+Lr

+D+Lr

-0.04306 k

4.967 ft +D+Lr

+D+Lr

+0.60D

-0.2035 k

0.0 ft +D+Lr

+D+Lr

+D+Lr

0.4727 ft

+0.60D+0.60W

+D+Lr

+D+Lr

-0.03943 k

Dist from "I" Joint

-0.1550 k-ft

+0.60D+0.60W

0.0 ft +D+Lr

0.0 ft

0.0 k-ft

0.0 ft

0.0 k

0.0 ft

0.0 ft

0.0 k-ft

0.0 ft

0.0 k

0.0 ft

0.0 ft

0.0 k-ft

0.0 ft

0.0 k

0.0 ft

0.0 ft

0.0 k-ft

0.0 ft

0.0 k

0.0 ft

0.0 ft

0.0 k-ft

0.0 ft

0.0 k

0.0 ft

0.0 ft

0.0 k-ft

0.0 ft

0.0 k

0.0 ft

0.0 ft

0.0 k-ft

0.0 ft

0.0 k

0.0 ft

0.0 ft

0.0 k-ft

0.0 ft

0.0 k

0.0 ft

+D+Lr

0.07048 k +0.60D+0.60W

0.02408 k +D+Lr

0.004942 k +0.60D

-0.01088 k +0.60D+0.60W

-0.05339 k +D+Lr

-0.06072 k +0.60D

-0.2958 k +D+Lr

Member Stress Checks...

Member Label 001 top 002 top 003 top

Moment

Section Label chords chords chords

Stress Checks per AISC 360-10 & NDS 2015

.

Max. Axial + Bending Stress Ratios Max. Shear Stress Ratios Status Dist (ft) Load Combination Ratio Status Dist (ft) Load Combination Ratio +D+Lr +D+Lr PASS Wood 0.168 3.41 0.184 PASS 3.41 PASS Wood +D+Lr 0.260 0.00 +D+Lr 0.393 PASS 0.00 PASS Wood +D+Lr 0.064 0.00 +D+Lr 0.232 PASS 0.00

Material

Documentation 419

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 IBC 2015

Deflection Load Combinations Load Combination Description +D+H +D+L+H +D+Lr+H +D+S+H +D+0.750Lr+0.750L+H +D+0.750L+0.750S+H +D+0.60W+H +D+0.70E+H +D+0.750Lr+0.750L+0.450W+H +D+0.750L+0.750S+0.450W+H +D+0.750L+0.750S+0.5250E+H +0.60D+0.60W+0.60H +0.60D+0.70E+0.60H D Only Lr Only L Only S Only W Only E Only H Only

Dead 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 0.60 0.60 1.0

01

1.0 0.750 0.750 0.750

0.70 0.750 0.750 0.750 0.750

1.0 1.0 1.0 1.0 Only Load Combinations giving maximum values are listed Joint Displacements Y in .0000080

Z Radians 0.0 0.0

W Only

+D+Lr

W Only

0.0

0.0

0.0

W Only

W Only

+D+Lr

-.000010

-.0000020

0.0

+D+Lr

+D+Lr

W Only

0.000972

.0000070

0.0

+D+Lr

W Only

+D+Lr

-.0000070

-0.004182

0.0

W Only

+D+Lr

W Only

0.0

0.0

0.0

Max

+D+Lr

W Only

W Only

0.0

0.0

0.0

Min

W Only

+D+Lr

+D+Lr

0.0

0.0

0.0

Max

W Only

W Only

+D+Lr

0.0

0.0

0.0

+D+Lr

+D+Lr

W Only

0.000430

.0000050

0.0

+D+Lr

W Only

W Only

-.0000030

-0.003788

0.0

W Only

+D+Lr

+D+Lr

02 Min 03 Max 03 Min 04 04 05 05 Min 06 Max 06 Min 07

0.000894 Max

07 Min 08 Max 08 Min

0.5250

1.0

W Only

Max

0.450 0.450 0.70

-0.006494

Min

0.750 0.750

0.60

+D+Lr

02

0.750 0.60

-.0000090

Max 01

420 Appendix

X in 0.000505

1.0 1.0

Earth 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 1.0 0.60 0.60

1.0

Extreme Joint Displacements Joint Label

Load Combination Factors Roof Live Live Snow Wind Seismic

+D+Lr

.0000060

0.0

+D+Lr

W Only

+D+Lr

-.0000060

-0.004075

0.0

W Only

+D+Lr

W Only

0.000486

.0000060

0.0

+D+Lr

W Only

W Only

-.0000070

-0.004304

0.0

W Only

+D+Lr

+D+Lr

.. .

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 Member Stress Checks...

Member Label 004 top 005 top 006 top 007 top 008 bot 009 bot 010 bot 011 bot 012 bot 013 bot 014 web 015 web 016 web 017 web

Section Label chords chords chords chords chords chords chords chords chords chords web web web web

Stress Checks per AISC 360-10 & NDS 2015

Max. Axial + Bending Stress Ratios Max. Shear Stress Ratios Status Dist (ft) Load Combination Ratio Status Dist (ft) Load Combination Ratio PASS Wood +D+Lr 0.073 0.00 +D+Lr 0.194 PASS 0.00 PASS Wood +D+Lr 0.024 0.00 +D+Lr 0.128 PASS 0.00 PASS Wood +D+Lr 0.142 4.97 +D+Lr 0.172 PASS 4.97 +D+Lr +D+Lr PASS Wood 0.003 0.00 0.034 PASS 0.00 PASS Wood +D+Lr 0.027 4.15 +D+Lr 0.016 PASS 0.00 PASS Wood +D+Lr 0.014 1.04 +D+Lr 0.032 PASS 0.00 +D+Lr +D+Lr PASS Wood 0.013 0.84 0.038 PASS 0.00 PASS Wood +D+Lr 0.006 0.00 +D+Lr 0.017 PASS 0.00 PASS Wood +D+Lr 0.011 0.00 +D+Lr 0.017 PASS 0.00 +D+Lr +D+Lr PASS Wood 0.034 5.36 0.013 PASS 0.00 PASS Wood +D+Lr 0.050 0.00 N/A 0.000 PASS 0.00 PASS Wood +D+Lr 0.003 0.00 N/A 0.000 PASS 0.00 +D+Lr N/A PASS Wood 0.005 0.00 0.000 PASS 0.00 PASS Wood +D+Lr 0.023 0.00 N/A 0.000 PASS 0.00 .

Material

Documentation 421

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

Lic. # : KW-06011758

DESCRIPTION:truss #1 Only Load Combinations giving maximum values are listed

Extreme Joint Displacements Joint Label 09 Min 10 Max 10 Min 11

X in -.0000050

Min 12

W Only

+D+Lr

.0000060

0.0

+D+Lr

W Only

W Only

-.0000050

-0.003948

0.0

W Only

+D+Lr

+D+Lr

Min 13

.0000060

0.0

+D+Lr

W Only

+D+Lr

-0.004116

0.0

W Only

+D+Lr

W Only

.0000060

0.0

+D+Lr

W Only

W Only

-.0000080

-0.004329

0.0

W Only

+D+Lr

+D+Lr

0.000899 Max

13 Min

.0000060

0.0

+D+Lr

W Only

W Only

-.0000060

-0.004101

0.0

W Only

+D+Lr

+D+Lr

Only Load Combinations giving maximum values are listed

Extreme Joint Reactions Joint Label

W Only

-.0000060 0.000492 Max

12

Z Radians 0.0

0.000448

0.000923 Max

11

Joint Displacements Y in -0.004080

X k

Joint Reactions Y k

01

Z k-ft 0.000727 W Only

Max

-0.6401 +D+Lr

Min 02

0.000406 W Only

Max

-0.1920 +D+Lr

Min 03

0.000920 W Only

Max

-0.2993 +D+Lr

Min 04

0.01190 Max Min

05 Min 06

0.7191

W Only

+D+Lr

+D+Lr

-0.1318

-0.001651

-0.002178

+D+Lr

W Only

W Only

1.270

-0.000703

0.1318 Max

3.509

+D+Lr

+D+Lr

W Only

-0.008628

0.001651

-1.010

W Only

W Only

+D+Lr

2.172 Max

+D+Lr

-0.003686 Min 07

W Only

0.000813 Max

W Only

-0.05096 Min 08

+D+Lr

0.6384 Max

+D+Lr

-0.001858 Min 09

0.000246 Max

422 Appendix

W Only W Only

.

Project Title: Engineer: Project ID: Project Descr: Printed: 7 JUN 2019, 7:22PM

2-D Frame Lic. # : KW-06011758

Software copyright ENERCALC, INC. 1983-2019, Build:10.19.1.27 .

Licensee : Joseph Farruggia, KW-06011758

DESCRIPTION:truss #1

Documentation 423

thank you Rural Studio gifted us with the extraordinary opportunity to do something very few architects get to do, let alone students. Living in Hale County and becoming a part of the community we were serving taught us to listen and building the project we designed pushed us to become better architects. But Rural Studio wouldn’t be what it is today, and this project wouldn’t have been possible, without the army of people behind the scenes who guided and supported us throughout the entire process.

We also want to thank the students who became our family in Hale County. Thank you to our fellow classmates–Jed, Madeline, Quan, Ayomi, Preston, Jake, Anna, and Fergie–that took on this wild journey with us, the leftovers that became our mentors, the 3rd-year students that gave us new people to talk to and the 5th-years a class below us who showed up and helped move our trusses before they even met us. And a special shout out to Caleb Munson, for always being the only one (besides ourselves) who thought we were funny.

To the faculty and staff, it’s no secret that you are the back bone of any completed Rural Studio project. Thank you for believing in the pavilion and believing in us.

We can never fully convey the depth of our gratitude to the staff members, visitors, and Moundville residents that accepted us into the incredible community surrounding the Park. From a cold beer after a long work day to a delivery of hot hands for frigid mornings, we are immensely grateful for the support, kindness, and generosity we received. To the residents and community members of Moundville— thank you for welcoming us into your town and entrusting us to design and build the appropriate space for events both big and small.

Thank you to each visiting consultant and professional who believed in Rural Studio enough to freeze and sweat in Red Barn and help us push the project forward.

Thank you to Anderson Inge whose unique way of looking at structures forever changed how we design; it’s safe to say the roof wouldn’t have been what it is without you. To Joe Farruggia—thank you for your willingness to tackle any challenge we threw at you and for always having a story to share. To David Hill—although you’re a bush–loving, tree–killer, you always challenged us to consider the landscape which made our design better after each visit, so thank you (if we had been able to have an opening, we would have invited you).

We could write a book with nothing but praise for our clients, Alex, John, and Kristie. Thank you for your willingness to listen and contribute, your fearlessness in saying yes to our craziest ideas, your drive to serve your community, and your love of the Park and commitment to preserving its history. There is no doubt that this project

was only possible because of your vision, determination, and hard work.

Thank you to the Park volunteers who became our second family and close friends.

To Rosa—thank you for keeping us fed and high on sugar; we will always think of you whenever we see a Krispy Kreme. To James—thank you for your willingness to do any task; but above all, thank you for your kindness and company. To Neva—we couldn’t have asked for a better “Moundville mom” and we wish we had an infinite number of Zumba classes left together. To Wayne, Bell, and Norris—thank you for showing us the kindness of strangers by readily welcoming us into your family for a home cooked meal.

To Carlton—thank you for making us laugh.

The commitment to this project a year past graduation also took an immense amount of sacrifice from some of the most important people in our lives—our parents. Thank you for supporting us in so many ways, even when the project went past deadline again, and again. We wouldn’t be here without you.

It’s difficult to express how hard it was to walk away from the project without being allowed to finish. Although none of us foresaw a global pandemic, we feel fortunate to have incredibly understanding clients and are grateful to the future Rural Studio students who finish building the pavilion, which the Park deserves. We can’t wait to see it used by the community.

“Architecture is about your relationships with other people. It’s a very personal way of interacting with the world.” Billie Tsien

424

425

426