Organizational Construct [Siteless]
04 58
New School of Making Chicago, Illinois
08
The Essential Dwelling Cincinnati, Ohio Defining Materiality [Sculpture]
32
Design-Build Studio Over-the-Rhine, Ohio
56
44 Health Intervention Charrette [Infographic]
28
Global Rest Area Competition Bonneville, Utah
52
Professor: Therese Tierney, PH.D Partner: Individual School: University of Illinois Year: Fall 2013 Introductory Project to ‘The New School for Making’ The initial organizational sketches of a building are arguably the most influential drawings for an entire project. A single stroke of the pen can signify the edge of a grand atrium or the quiet wall of student study rooms. As powerful as they are, they are limited in the fact that they are 2-D drawings trying to describe 3-D spaces. Organizational Constructs is an investigation of sketching in three dimensions, containing detailed depictions of the organization of a space and allowing for additional, sometimes accidental, patterns to arise. “The whole is greater than the sum of its parts” [Aristotle]. This model investigates a single unit and its ability to be combined with other units, in various ways, to create an overall composition. This organizational model served as the initial stepping stone in the design of “The New School for Making” project. The telescoping studio pods arranged on the facade of the building create a complex composition mimicking the erection [and development] of the city.
2
N TIO A T N PRESE
30
01
3
The primary focus of the present day design studio is presentation. Students work quietly for months creating a project that is proudly displayed for only a matter of minutes before it is filed away forever. The New School of Making shifts the focus from the presentation to the process of making a project. Rather than a 'fish bowl' critique space, the building's program is organized around transparent workshops - continuously displaying the coming together of a project rather than the finished product.
20
SS O PROCE
IN AK M F
G
Studios have the ability to expand or contract according to the classes’ needs and time of semester Studios are organized around central laboratories Studios are intermixed with each discipline to create specialized ‘pods’ of production Each ‘production pod’ is interconnected with one another
Building upon the City of Chicago’s ambitions, the site for the satellite campus is located adjacent to the Merchandise Mart, currently the nexus of Google, Bluescape, Motorola Mobile, and 1871 – an incubator space to many internet and cleantech start-up companies. While the former industrial neighborhood has a rich history of cultural production – art studios, theatres and gallery spaces - today it is a hotbed of innovative and entrepreneurial activity. Land area will continue to become increasingly scarce as cities like Chicago are developed and redeveloped over time. The future will challenge architects to find usable space in unique areas; may it be developing abandoned railways or structures over roadways.
SITE AREA
SITE [MERCHANDISE MART] CHICAGO, IL
Studios fully contracted [no class]
Studios extended at various distances [depending on use]
Studios extended uniformly [announcing a school-wide event]
STUDIO
FABRIC FACADE
North facade of the Merchandise Mart Expanding / contracting studio facade mimicks the formation of the city Fixed glass atrium imatates the Chicago river and formation of buildings up to the water’s edge Raised entry level creates a lifted block that allows direct access to the Brown Line to the East while protecting pedestrians from traffic
NIGHT RENDERING
SECTIONALLONGITUDINAL PERSPECTIVE CUT
Workshops remain the central learning space, around which all studios are both physically and visually connected
Raised level provides direct access to the Brown train line while creating a semi-private quad protected from the traffic below
WOODWORKING
CIRCUITRY
DIGITAL FAB [3-D PRINTING]
METALS
DIGITAL FAB [CNC]
CERAMICS
TELESCOP I N G STRUCTURE STEEL INSULATION LAYER
+00’
+10’
+03’
+13’
+05’
+15’
+08’
+20’
STRETCHABLE STEEL CABLE TRACK FOR BEARINGS TO SLIDE
BEARINGS
CONDUCTIVE WIRE
PROTECTIVE CASING
RESISTOR ELECTRICAL CONNECTION STEEL ALLOY MEMBERS
Shape allows each segment of the beam to completely collapse into one single curve
Current can be adjusted to achieve custom lengths between 2.5’ to 17.5’
CAPACITOR RESISTOR
RUBBERIZED INSULATION CONDUCTIVE WIRE CURRENT MODULATOR
STRETCHABLE STEEL The introduction of electrical current stretches solid material by lengthening chemical bonds, in turn changing the distance between atoms.
Openings filter artificial light onto the streetscape below
3” - 24” DIAMETER RANGE
PERFORATED SCREEN STUDIO EXTENSION DIAGRAM
RAW MATERIAL
Spatial requirements for a project fluxuate with the different stages of the assembly process; While students require a great range of space depending on the number of students in a studio or the size of teams
ASSEMBLY PROCESS
SPATIAL REQUIREMENTS
SINGLE USER
SPATIAL REQUIREMENTS
STUDIO MEETINGS
COMPLETED PROJECT
SPATIAL REQUIREMENTS
INTERDISCIPLINARY CHARETTE
The ‘New School of Making’ is designed to react to the unique needs of each studio and classroom without wasting space or crowding students into a small space SPATIAL REQUIREMENTS
SPATIAL REQUIREMENTS
SPATIAL REQUIREMENTS
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THE PROBLEM on average, Americans are 23 LBS overweight - approx. weight of a car tire
THE SOLUTION the average adult is recommended to elevate heart rate for 30 mintues per day to maintain a helthy weight
NEW YORK POST STUDY
WEB MD
a moderate intensity bike ride can burn 298 calories over 6.5 miles
Cincinnati commuters spend an extra 37 hours on the road due to congestion ANNUAL URBAN MOBILITY REPORT
this congestion caused cars to produce an extra 421,000,000 LBS of carbon dioxide in the area ANNUAL URBAN MOBILITY REPORT
equivalent to the absorbtion rate of 8,770,833 trees NC STATE, DEPT. OF HORTICULTURAL SCIENCE
the average commute distance is 8 miles to downtown cincinnati for city residents
US CENSUS: 2010
Cincinnatians could burn 734 calories per day biking to work each day
equivalent to
PORDUCT NUTRITION FACTS
THE MEANS Cincinnati is home to the largest abandoned subway project in the US
abandoned subway tunnels can be retrofitted as bike paths
FORGOTTEN OHIO
abandoned in 1926, the 4.1 mile - 4 station system was never used
the proposed bike path would serve 16 neighborhoods system map
EXISTING communters could save 37 hours drive time per year; enough time to circle Ohio 2.83 times
Downtown Over-the-Rhine West End CUF Fairmont Camp Washington Millvale Cumminsville Northside Clifton Winton Place Paddok Hills Bond Hill Norwood Oakley Hyde Park
serving 148,470 residents, the bike path could remove 29,000 cars from the road
US CENSUS
PROPOSAL
CINEMA PARADISO [1990] GIUSEPPE TORNATORE
Mini : anything of a small, reduced, or miniature size Thesis : a statement advanced for consideration and maintained by argument
Light can transform a stodgy surface into a spectacle; creating artificial sense of space or elaborate compositions at the flip of a switch.
Too often, urban infill projects replace worn out lots with static, impermeable façades that do not lend any indication of activity inside or out. Despite the pristine sidewalks and colorful buildings, the gated entryways of urban dwellings lack any form of life other then the occasional scurry of a stray cat.
Also called canted angle, a Dutch tilt has the camera leaning sideways, transforming the horizon into a slope. A Dutch tilt changes horizontal and vertical lines into diagonals and creates a more dynamic composition.
Low angles are captured from a camera placed below the actor’s eyes, looking up at them. Low angles make characters look dominant, aggressive, or ominous.
Used to point to the continuity editing practice ensuring the logic of the look or gaze. When a character looks into off-screen space, the spectator expects to see what he or she is looking at. The eyeline match creates order and meaning in cinematic space.
A film innovation which shows several images shifting simultaneously on panes, some panes containing a single image and others forming part of an image completed by other panes.
a basic film editing guideline that states the camera should move at least 30 degrees between shots of the same subject occurring in succession. If this rule isn't followed a jump cut occurs and there is a risk that the audience starts focusing on the filming technique instead of the story that is being narrated.
The way in which subjects and objects are framed within a shot produces specific readings. Size and volume within the frame speak as much as dialogue.
Using cinema as a precedent, the Cinema Dwelling utilizes reflected light as a means of filtering between the private home and public space without the need of an opaque, lifeless façade. The transparency A basic guideline regarding the on-screen spatial If you were to divide a TV screen into thirds using A cut in film editing in which two sequential shots of gives the block senseandof another depth, allowing passersby abilitypoints to mentally place themselves in the relationship between aa character lines, you'd find, where those the lines crossed, the same subject are taken from camera positions character or object within a scene. An imaginary line that the eye is naturally attracted to. Objects that fall that vary only slightly. This type of edit gives the building lending to a much more interactive and interesting design. called the axis connects the characters and by on these lines are more likely to draw attention than effect of jumping forwards in time. It is a manipulation keeping the camera on one side of this axis for every shot in the scene.
The term usually used to denote that part of the cinematic process that takes place on the set, as opposed to editing (which takes place afterwards). Literally, the "putting-in-the-scene"
An establishing shot introduces a new location – a church, a city street, a rooftop, a hospital room – from a vantage point that allows the audience to see all the relevant characters in the filmic space.
if they didn't, and objects that fall on the points where these lines cross will draw the most attention.
of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead.
A painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is nonexistent in real life or would otherwise be too expensive or impossible to build or visit.
The redecoration of an existing movie set, so that it can double for another set. This saves the trouble and expenses of constructing a second, new set, though they face the difficulty of doing it so the average viewer does not notice the same set is reused.
An establishing shot introduces a new location – a church, a city street, a rooftop, a hospital room – from a vantage point that allows the audience to see all the relevant characters in the filmic space.
Insert shots don’t focus on people. They are employed to emphasize a relevant object, such as a letter, an envelope with money, or a gun that would otherwise be lost in the grand mise-en-scène. Insert shots are tight shots in which objects fill most of the frame.
Floor Plans Fourth Level Studio / Workspace Third Level Living Room Bedroom Balcony
FOURTH LEVEL
Second Level Entry Way Dining Room Kichen First Level Garden Meditation Space
THIRD LEVEL
Elevated one story off of the ground, each volume is suspended in its own uniquely formed screen creating the impression of large volumes floating in space. The multiple screens not only serve to reflect light, they also create a layered effect when viewed from the street or the rear, further creating a sense of depth to the building. SECOND LEVEL
In much the same way as cinema, light brings life to the facade - creating countless compositions that dance across the screen. Light grazing each side of the screen creates very different compositions depending on the angle of the light in relation to the screen. The changing composition creates a focal point for the block, bringing life to the sidewalk all the while a ‘curtain’ of light provides dwellers a sense of privacy.
SCREEN DEVELOPMENT DIAGRAM The development of the screen begins with a flat plane, just as the cinematic screen begins as a mere flat plane until projected light gives the 2-dimensional plane the illusion of spatial depth.
Each structural and spatial plane is uniquely shaped to create depth in the facade and structure. This allows users to visually place themselves in the dwelling without actually crossing the threshold - in much the same way as the ‘Depth-of-Field’ technique used in cinema.
Divided evenly, each gridline is extruded to control views from outside in and inside out. WIth the introduction of artifical light [from the sides] and sunlight [from above] alike, each metal ‘Slat’ creates a unique composition dependent on the angle of incidence of the light source.
Vertical slats rotated at 20 degrees off center paired with horizontal slats rotated at 10 degrees work to resist moment forces at each ‘Slat’ intersection, eliminating the need for diagonal bracing to stabilize the structure.
Program is then suspended in the structural screen further developing depth by creating a foreground, middle-ground and background for outside spectators as well as inhabitants inside.
Additional slats are introduced based on the structural diagram of the inserted programmatic spaces - reinforcement is added where gravity loads are maximum while less critical areas of the structural system are left less dense.
The screen is re-introduced into the void to serve as an interior division of space. The smaller scale interior screen better relates to the human size, serving as shelving, storage space and diffuser of light.
Interior screens are carved away and refined in accordance with the interior space usage and circulation requirements.
8"
8"
9 6' 816 "
W4x13
E A7
3 4"
SQUARE STEEL TUBING
WALL CAVITY
WELD 1' 358"
WALL
F A7
WELD
1121"
F A7
A A7
1' 813 16"
OPP.
WELD 5' 1181" 4' 538"
5' 221" 1 6' 416 "
H2 A7
1' 11"
9"
D A7
TYP.
1' 681"
2' 34"
2' 34" 10' 734"
4"
2' 34"
1' 11" 4"
4'
12'
1 2"
G A7
WELD
Puncturing through an already present void, the awning cantilevers from the building, requiring no physical connection to the facade, therefore preserving the 1890’s architecture. The arms of the awnings extend deep into the interior to counteract the forces of the cantilevered design.
8' 621"
Even when standing directly beneath the awning, mesh louvers allow for a full view of the facade and its historic detail while allowing 20% of the direct sunlight to pass through for improved interior day lighting. VINE STREET SIDEWALK 13'
HCB APPLICATION
HISTORIC CONSERVATION BOARD
CERTIFICATE OF APPROPRIATENESS
APPLICATION 1300 Vine Street BUILDING ADDRESS: ___________________________ CC-P District DISTRICT NAME: _______________________________ (if applicable)
HCB USE DATE RECEIVED BY HCB: ________________ PERMIT/APD NO:_________
Over-the-Rhine Community Housing OWNER NAME: ________________________________ 114 West 14th Street ADDRESS: ____________________________________
513-XXX-XXXX PHONE NO: __________________
Miami University Design/Build Studio CONTRACTOR NAME: __________________________ ADDRESS: ____________________________________
513-XXX-XXXX PHONE NO: __________________
ARCHITECT NAME: _____________________________ ADDRESS: ____________________________________
PHONE NO: __________________
MINOR ALTERATION HCB USE ONLY
NEW CONSTRUCTION REHABILITATION
ADDITION DEMOLITION OTHER _________________
The project was fully documented and presented to the Historic Conservation Board of Cincinnati at their monthly meeting. The awning design was later approved and the ‘Certificate of Appropriateness’ was issued.
LOUVER MESHING 1 7 8" 8" 3 8"
EXISTING FLOOR JOIST
1 4"
LAG SCREW
1 4"
BEARING PLATE
CEILING DRYWALL WOOD SHIM
John Blake Department of Architecture, Miami University Alumni Hall Oxford, OH 45056 (513) 330-1712
1 8"
7 8"
158" E2 A7
1 4"
Miami University Center for Community Engagement in Over-the-Rhine 1300 Vine Street
BOLT
BOLT SPACER
E1 SECTION
E ARMATURE BEARING PLATE
A LOUVER TO ARMATURE DETAIL
3 4"
C1
3 4"
3 4"
C2
C3
1300 VINE STREET CINCINNATI, OHIO 45202
EQUAL 521" EQUAL
1 4"
3 4" 1 4"
STEEL PLATE
1 4"
BOLT
1 2"
EYE BOLT
SQUARE STEEL TUBING BOLT
1 4"
BOLT
1 4"
STEEL PLATE
1 2"
EYE BOLT
ALTERATIONS TO BUDDY'S PLACE
LOUVER BRACKET REFER TO DRAWING H2
C LOUVER FRAME DETAILS
DETAIL DRAWINGS DRAWN BY: MFH/MTS/RAW DATE: 11/20/2009
3 3 116 " 16"
8
3 16"
3 16"
8
3 16"
3 16"
8
3 16"
3 16" 1 4"
3 16"
13 116 "
BOLT
158" 3 4" 3 4"
538"
9"
H2
REVISIONS
DATE
2 38"
117째
3 4"
381"
8
3 16"
H LOUVER MOUNTING BRACKET TO ARMATURE H1
9" 13 3'-3 16 "
9"
538"
3 4"
A7
GRADUATE DESIGN EXCELLENCE AWARD [1ST PLACE]FEBRUARY2014 Voted by a jury of faculty and outside professions, the New School of Making project (page 8) received first prize in the school’s annual Graduate Excellence Award and an opportunity to represent the Univ. of Illinois in the regional Chicago Prize competition. ALPHA RHO CHI BRONZE MEDALAPRIL 2011 The professional architecture fraternity and Miami University recognized me as a top graduating senior who has shown an affinity for leadership, performed willing service for the school or department, and gives promise of real professional merit through my attitude and personality MASTER OF ARCHITECTURE with Construction Management focus UNIVERSITY OF ILLINOIS : Champaign, Illinois August 2012 - May 2014 BACHELOR OF ARTS IN ARCHITECTURE with Departmental Honors MIAMI UNIVERSITY : Oxford, Ohio August 2006 - May 2011
IALD EDUCATION TRUST SCHOLARSHIPMARCH 2011 I was 1 of 6 students from around the world to receive this stipend award to attend the world’s largest annual architectural lighting conference, LightFair International 2011 in Philadelphia, PA. SUMMER SCHOLAR RESEARCH AWARDMAY 2010 I was awarded this competitive scholarship to research and identify patterns present in the design of a successful environmentally, economically, and socially sustainable community. OUTSTANDING FRESHMAN SCHOLARSHIPDECEMBER 2007 Based on studio dedication, craft, and overall quality of projects, I was one of two in my architecture class of 72 students to receive this award.
TEACHER SCHOLAR CERTIFICATEAPRIL2014 The certificate is designed to encourage instructors to become scholars of teaching by providing a structured process for the exploration of pedagogy from a discipline-based perspective while developing a deeper understanding of the scholarly duties required in an academic position. MATTHEW TIMOTHY SCOTT, LEED GA mattscott.mu@gmail.com 513.320.0202 35 West Elm Street Chicago, Illinois 61001
GRADUATE TEACHER CERTIFICATEAPRIL 2013 Designed to encourage TAs to develop their teaching skills and reflective practice, the certificate provides opportunities to document teaching experience, professional development, and the constructive use of student and professional feedback. LEED GREEN ASSOCIATENOVEMBER 2011 I attained this designation by demonstrating the knowledge and understanding of green building practices and principles needed to support the use of the LEED green building rating system.