PORTFOLIO by Daniel B. Smith, RA

D A N I E L B R Y A N S M I T H WINTER | 2020

ETHOS I am motivated by a desire to [question limits], to explore the boundaries of our condition. As a creative professional and maker, I strive to interrupt prescribed notions of human experience, providing moments of renegotiation between ourselves and our inherent circumstance. I prioritize the human experience, environmental impact, empowerment, culture, and identity over preconceived, objective generalizations. From the architectural detail to the urban plan, this portfolio navigates the ambiguous spectrum of scale as a [methodological framework for inquiry]. The following series of academic endeavors is as much a personal exploration, a medium to interrogate my own ideals, as it is a manifestation of aptitude in the field. Finally, I am obliged to mention the innumerable classmates, professors, professional colleagues, and authors who have contributed to its assembly. Recognizing that creative work is infrequently done alone, I have taken every effort to credit those along the way who have profoundly shaped my own [sensibility and ethos].

ARCHITECTURE 09 | TYPO_misreading the middle school 32 | CITY

FOR ALL_urban frontier

43 | CATHARSIS_ULI Hines student competition 51 |

ZOO CAMPUS_living building challenge

A R T I FAC TS 66 | NARRATIVE 78 |

+ FORM | LINES THAT ENLACE_lines that intersect

PROCESS + CRAFT | ROBOTIC_ceramics

88 | MATERIAL

+ METAPHOR | TURN_table

ARCHITEC

"A work of art... is not a living thing... that walks or runs. But the making of a life. That which gives you a reaction... Like the 5th Symphony, it presents itself with a feeling that you know it, if you have heard it once. And you look for it, and though you know it you must hear it again. Though you know it you must see it again. Truly, a work of art is one that tells us that Nature cannot make what man can make." [Louis I. Kahn]

CTURE

INSTITUTIONS STUDIO TYPO_misreading the middle school MICHAEL JEFFERSON FALL 2016

Institutions studio approaches the

[middle school]

type through

multiple phases, beginning with a cataloging of mundane schools, exemplary schools, and middle school constituent spaces. Generation of the catalog focuses on a single formal type, the typology],

[voided figure

as the dominant characteristic defining assemblage of a

taxonomy. In the second phase, mistakes, misappropriations, and misreadings dominate the procedure for formal invention. Rigorous iterations in drawing and model making define a technique for superimposition and re-appropriation: an [operational procedure].

site

geometry

object-ness

1-C // HOPEFUL MONSTER ESTABLISHING THE ROOT FORM

1-B // UGLY COUSINS [RE]COMPOSITION OF VOIDED FIGURES social space

1-A // PRECEDENT PERCEIVED VOLUME OF VOID

1 // TYPOLOGY_VOIDED FIGURES

modular growth

teaching space

Study of precedent narrows focus on specific attributes of formal typology including sited-ness, geometric relationships, building envelope, security, programmatic organization, parti, and [institutional character]. Colin Powell Middle School creates a distinction between social space and teaching space.

Shard-like masses contain [archetypal learning] environments that intersect the communal spaces, resulting in elements of [social experience]. Reciprocal external shards intersect to form courtyards. Both superimpositions may be seen as voided figures.

1-C // HOPEFUL MONSTER ESTABLISHING THE ROOT FORM

1-B // UGLY COUSINS [RE]COMPOSITION OF VOIDED FIGURES

1-A // PRECEDENT PERCEIVED VOLUME OF VOID

1 // TYPOLOGY_VOIDED FIGURES

Acquiring a library of exemplary voided figure like-types resulted in a pattern of architectural thinking and a method for working, typologically. Using the catalog as a medium for collage, a series of plan [recompositions] are created in an attempt to illustrate the congruence of dominant traits.

This re-inventive operation chronicles discrete explorations of four pervasive attributes of the typology. By column, the process evaluates [circle, hexagon, triangle and square] as predetermined typological attributes.

Variation by row elaborates upon a less objective set of rules for constructing a base type. Techniques approached include dispersion of primitives, [primitive + interruption], superimposition of figures, and figures interrupted.

primary // SECONDARY

primitive // INTERRUPTION

additive // SUBTRACTIVE

1-C // HOPEFUL MONSTER ESTABLISHING THE ROOT FORM

1-B // UGLY COUSINS [RE]COMPOSITION OF VOIDED FIGURES

1-A // PRECEDENT PERCEIVED VOLUME OF VOID

1 // TYPOLOGY_VOIDED FIGURES

“In the process of comparing and formulating individual forms to determine the type, the specific properties of the individual building are eliminated and all those elements that make up the unity of the series are retained, and those elements alone. The type is thus expressed as a diagram.” [Giulio Carlo Argan]

context // SHEAR

circulation // SUPERIMPOSE

A recipe for generating voided figure recompositions is diagrammed with a sensibility akin to the taxonomical approach of [Jean-Nicolas-Louis Durand]. Reductive in nature, the process leads to a final recomposition, explicit in its dominant typological traits.

solid figure // VOIDED FIGURE

While all recompositions aim to achieve an evocation of the monstrous, certain base types deployed within various contexts may or may not prove successful in later exercises. Beneficial mutations, in the words of [Richard Goldschmidt], may lead to a â&#x20AC;&#x153;hopeful monster.â&#x20AC;?

2-C // TYPO_149 GESTALT FIGURE GROUND

2-B // OPERATIONAL PROCEDURE ISOLATED INTERSECTIONS

2-A // THE PLAN IS THE GENERATOR TRANSLATIONS TO 3-DIMENSIONAL FORM

2 // ERROR_TECHNIQUES FOR ABSTRACTION

2-C // TYPO_149 GESTALT FIGURE GROUND

2-B // OPERATIONAL PROCEDURE ISOLATED INTERSECTIONS

2-A // THE PLAN IS THE GENERATOR TRANSLATIONS TO 3-DIMENSIONAL FORM

2 // ERROR_TECHNIQUES FOR ABSTRACTION

2-C // TYPO_149 GESTALT FIGURE GROUND

2-B // OPERATIONAL PROCEDURE ISOLATED INTERSECTIONS

2-A // THE PLAN IS THE GENERATOR TRANSLATIONS TO 3-DIMENSIONAL FORM

2 // ERROR_TECHNIQUES FOR ABSTRACTION

VOLUME // void

FIGURE // cut

SLIPPAGE // unit_y

SUPERIMPOSE // unit_x

STUTTER // tessellation

Exhaustive three-dimensional exploration utilized [operational error] through mistakes and misuses. New formal possibilities can now be generated from [typological interrogations] implemented with a heightened level of precision. At the conclusion of the first stage in designing a new middle school for Ann Arbor, [typology + error = TYPO].

STADIUM BOULEVA

3-A // CONTEXT BIAS DEPLOYING THE VOIDED FIGURE TYPOLOGY

3 // TYPO_MISREADING THE MIDDLE SCHOOL

The final stage of the Institutions Studio project involved the design of a middle school for Ann Arbor. Erroneous operations developed in earlier stages would evolve from generic procedures to architecturally specific strategies.

SH A W E

Rules for constructing the voided figure typology as defined in previous exercises are deployed as negotiations with the site. Site relationships have an [affinity toward the voided figure typology] rather than typical considerations.

Constraints imparted upon the operational procedure begin with [three grid systems] inherent to the site: the downtown Ann Arbor grid, the radial system suggested by Stadium Boulevard, and a reference to the stadium located to the west.

3-A // CONTEXT BIAS DEPLOYING THE VOIDED FIGURE TYPOLOGY

3 // TYPO_MISREADING THE MIDDLE SCHOOL

Embracing the [chaotic nature] of morning and afternoon vehicular arrival and departure, the voided figure school allows buses and cars to move freely through the building on the ground level. The concise nature of this drop-off point promotes student security.

To accommodate vehicular circulation on the ground, major pedestrian circulation is lifted to a second level terrace that is complimented by a [lifted landscape] on both the north and south sides. All parking for the school is contained below these elevated outdoor spaces.

3-B // ERRONEOUS APPLICATION [MIS]INTERPRETING ARCHITECTURAL ELEMENTS

3-A // CONTEXT BIAS DEPLOYING THE VOIDED FIGURE TYPOLOGY

3 // TYPO_MISREADING THE MIDDLE SCHOOL

plan // SECOND FLOOR

3-B // ERRONEOUS APPLICATION [MIS]INTERPRETING ARCHITECTURAL ELEMENTS

3-A // CONTEXT BIAS DEPLOYING THE VOIDED FIGURE TYPOLOGY

3 // TYPO_MISREADING THE MIDDLE SCHOOL

Contextual biases and erroneous applications inherent to the voided figure typology allow for the [misinterpretation of architectural elements]. The same rules used to generate typo_149 are misread for their [architectonic potential].

plan // THIRD FLOOR

[Geometrical misalignments] in the y-axis define exterior space and circulation. Slippage between planes also facilitates a double envelope system, enclosing space between the exterior glazing and the thermal mass of an endoskeleton structural system: a misreading of the Trombe wall.

[Superimpositions] in the x-axis become service bars, which

contain accessible and fire safe vertical circulation.

[Tessellations] between figures leave large openings, bringing

light to the ground level and defining informal social spaces.

3-B // ERRONEOUS APPLICATION [MIS]INTERPRETING ARCHITECTURAL ELEMENTS

3-A // CONTEXT BIAS DEPLOYING THE VOIDED FIGURE TYPOLOGY

3 // TYPO_MISREADING THE MIDDLE SCHOOL

SYSTEMS STUDIO CITY FOR ALL_urban frontier JOEL SCHMIDT FALL 2017 team // DAN CLUNIS

Systems studio called for an approach to

[medium density housing]

utilizing innovative needs for the future of Detroit and an evocation of the

[simple life].

The studio course worked in conjunction

with a building systems course, providing an integral discourse of architectural design, social and urban aspects, and environmental and economic concerns associated with complete building design. This work will contribute to

[Detroit Design 139],

a biannual exposition

focused on 139 square miles of urban re-development, under the overarching theme of

[A City for All].

context // ROSA PARKS BOULEVARD

site // URBAN FRONTIER

B-4 and After[math] Originating on July 23, 1967 on the corner of 12th Street and Clairmount, five days of violence erupted in Detroit, causing the loss of 2,000 buildings and 43 lives. Following these events, the 12th Street corridor, from Clairmount to Grand Blvd, was converted to

[Rosa Parks Boulevard]

in an effort to erase this event and reinvent the district.

Evaluating this neighborhood as an

[urban frontier],

the primary design intention

recovers the lively dynamic destroyed by Rosa Parks Blvd and attempts to incorporate notions of

[simple living]

to the unchanged B-4 lots.

plan // GROUND FLOOR

Drawing inspiration from literature, this scheme redefines the notion of [the slow life], as suggested by Ray Bradbury in his science fiction work [Fahrenheit 451]. This life is first suggested by absorbing half of Rosa Parks Blvd, redistributing this land back to the B-4 zones, and slowing traffic amid commercial activity between Grand and Clairmount.

The ground level directly engages public activity while the residential floors respond indirectly. This semi-privacy is constructed through the massing. Formally, the residential blocks behave like a [bisected point tower] as evidenced by the structural cores in elevation and plan. Abundant light and opportunities for interaction are a result of this massing.

plan // SECOND FLOOR

plan // THIRD FLOOR

BLOCK "The area bounded by four streets in a town or suburb."

This is the most [public] realm of the project, where the community can come together in a highly [active and energetic] district. Any individual might stop to interact with or avoid any other.

YARD "A piece of ground adjoining a building or house."

Manifested in this project as a [lifted landscape], the yard is transformed into a [semi-public] space, oriented towards abundant daylight, and only partially connected to the adjacent commercial realm.

STOOP "A porch with steps in front of a house or other building."

The stoop is an integral part of egress. Linked by external paths, it becomes a threshold between the semi-public space of the 'yard' and it's own [semi-private] space where [chance encounters] may occur.

DWELLING "A house, apartment, or other place of residence."

The individual dwelling is the [private] space in the promenade within which the gradient of public to private recurs. In the reading nooks, one finds a perch, for [reticence] or 'dwelling,' visually connecting realms.

archetypal block

inverted block

regenerative block

CATHARSIS ULI HINES STUDENT COMPETITION honorable mention // 2017 adviser // JEN MAIGRET team // ADITI CHOUDHARY, VANDHANA BALACHANDRAN, ARJUN CHOUDHARY, YEJI MOON

This proposal for the North Industrial Corridor strives to construct [an adaptive neighborhood that provides opportunities for local expression through social, economical, and physical strategies].

provide relief to the neglected site, Catharsis exploits the idea of a Chicago block and its alley. It takes on the role of a social space that encourages interaction. The landscape design addresses storm-water collection, rising river levels, and filtration. [The Divergent] is utilized as a lung, purifying the environment the residents occupy.

site // MASTER PLAN

THE 606

+ W NORTH AVE

ON LST

UPPER RIVER WALK CENTRAL GREEN SPACE

AVE

LOWER RIVER WALK

PRIMARY ROADS SECONDARY ROADS PROPOSED ROADS PROPOSED BRIDGES PROPOSED BUS STOPS PROPOSED TRAIN STATION

POCKET GREENS MAJOR AVENUES BIKE TRAILS

EXISTING BUS STOP

site circulation

open space analysis

MARKET-RATE TOWNHOMES

THE VIBRANCY CENTER THE SHED

[COLLABORATION FORUM] KE

TECH BOULEVARD

[+AFFORDABLE HOUSING]

ED YE

FINKL SITE

LOCAL RESTAURANTS + RETAIL SPACE THE 606

INNOVATION HUB + INCUBATOR SPACES

BOUTIQUE RENTAL + INNOVATION HUB

THE DIVERGENT

GOOSE ISLAND

CTA LINE

HI-TECH STREETSCAPE

KENNEDY EXPRESSWAY PRIMARY ROADS METRA LINE PARKS

L STATIONS

+ ON LST

BUS STOP

AVE

WORKFORCE HOUSING

W NORTH AVE

[+SOCIAL ENGAGEMENT]

METRA STATION + UBER HUB

regional context

CL YB

AV E

URBAN CONNECTORS

GRIDS + BLOCKS

The site is stitched within the existing [urban fabric] connecting with the adjacent FINKL and Goose Island sites. Nearby bus stops and close proximity to the 'L' provide a walkable, transitoriented system, while the new Metra station serves to [increase connectivity] beyond the manufacturing district.

Maintaining a neighborhood setting with a humane scale is achieved by creating a compact grid. The nature of the grid system makes it possible to host a diverse set of activities, creating a [heterogeneous and culturally rich development].

EXTENSION OF THE 606

BOULEVARD + PLAZA

A continuous loop of landscape and water fits itself between the proposed River-walk and the [606 Linear Park]. Two tiers of landscape create public access to the river and private open space above. A neighborhood storm-water collecting body known as the Divergent becomes the centralized open space.

Circulation spines are generated from contextual input of the North Branch Corridor. These streets are designed to be active day and night, making the neighborhood [a safe and lively place] to live, work, and play. The scheduling of events is distinct for each social boulevard and the riverfront plaza.

1/16 MLK FILM AND ART FESTIVAL 1/23 CHICAGO BIKE-A-THON

BIKE - A- LONG EVENT RUN-THE-LOOP MARATHON NEIGHBORHOOD MARKET

1/26 -1/31 LOCAL FOOD FESTIVAL 2/7 SUPER BOWL GALA 2/12 MANUFACTURING EXPO

STRETCH - AT - PLAZA FM FM

NEIGHBORHOOD GAME DAY

2/18 - 2/21 CHICAGO THEATRE FESTIVAL 2/26 GLOBAL ENVIRONMENT CONFERENCE

ZUMBA - AT - PLAZA

3/4 INNOVATIONS TECH FAIR 3/17 PATRICK’S PARADE

NEIGHBORHOOD GAME DAY NATURE BIKE HIKE WOMEN’S RUN

3/22 - 3/29 SCIENCE + INDUSTRY CONFERENCE 4/2 CHICAGO MODERN ART EXPO 4/12 WOMEN’S WELLNESS PARADE

CLEAN THE RIVER EVENT

4/19 GLOBAL PRODUCTION FORUM

COMMUNITY OPEN EXHIBITION FM

LOCAL COLOR RUN

APRIL

MARCH

RUN ALONG RIVER MARATHON FM

FEBRUARY

1/6 INDUSTRIAL TECH FAIR

ECO-RIVERWALK DAY YOGA FOR ALL DAY

MORNING

AFTERNOON

EVENING

JANUARY

WELLNESS MARATHON

MANUFACTURING EXPO // at the shed

4/28 NATIVE INDIAN CUTURE WEEK

ACCEPTANCE PARADE ECO-RIVERWALK DAY YOGA FOR ALL DAY FM

5/3 INTERNATIONAL STUDENTS INDO-CONFERENCE MAY

5/11 GREEN LOOP MARATHON 5/29 MEMORIAL DAY MARKET

BIKE - A- LONG EVENT RUN FOR CHARITY

6/2 SUMMER DANCE AND MUSIC FESTIVAL

BIKE SHOW

BIKE - A- LONG EVENT FM

6/27 GOOSE ISLAND BEER GALA

WATER FRONT ACTIVITIES STERTCH - ALONG - RIVER NIGHT - RUN

7/4 4TH OF JULY CELEBRATIONS

7/10 RIVERFRONT MUSIC FESTIVEL

7/15 SUSTAINABLE PRODUCTION CONFERENCE 7/27 UNIVERSITY TECH FAIR

NEIGHBORHOOD BBQ EVENT FM

WELLNESS MARATHON

8/6 INDUSTRIAL OPEN WEEK EXPO YOGA FOR ALL DAY BIKE THROUGHCOLORS

8/16 STUDENT EXPRESSION FESTIVAL 8/17 - 8/25 WELLNESS AWRENESS WEEK

WELLNESS MARATHON

YOGA FOR ALL DAY COMMUNITY MARKET

WIND BIKE SHOW

10/31 CHICAGO HALLOWEEN FEST

BIKE - A- LONG EVENT

11/3 INDUSTRY + COMMUNITY COEXIST FORUM 11/11 WARMTH IN THE WIND NIGHT FESTIVAL

STRETCH - ALONG - THE - RIVER BIKE - A- LONG EVENT

11/18 - 18/23 THANKSGIVING WEEK MARKET + CUISINE 12/5 INTERNATIONAL INDUSTRIES FORUM

WINTER TRI- A - THON NEIGHBORHOOD HOLIDAY MARKET

12/15 FROZEN WATERS HOLIDAY FESTIVAL 12/17 FOOD + WINE MARKET

WINTER COLOR RUN FM

HOLIDAY MARKET

12/18 - 12/23 KWANZAA + XMAS CELEBRATIONS

WEEKLY EVENTS

DECEMBER

NOVEMBER

10/14 365 FLAVOURS FOOD FESTIVAL

WINTER RUN MARKETS OF THE WIND

LOCAL FOOD FESTIVAL // on the boulevard

10/2 INDUSTRIAL TRAINING WORKSHOP

RUN THROUGH WINDS YOGA FOR ALL DAY

9/12 LIGHT AND WATER FESTIVAL

OCTOBER

9/12 HYBRID ENVIRONMENTS EXPO

SEPTEMBER

9/5 LABOR DAY LOCAL FEST

ECO-RIVERWALK DAY

AUGUST

FALL COLOR RUN FM

JULY

6/11 CHICAGO INDUSTRIES EXPO

CANCER AWARENESS RUN

JUNE

FARMER’S MARKET

INSTITUTIONAL

INDUSTRIAL

COMMUNITY

NEIGHBORHOOD MARKET // community engagement

SCHEDULE OF EVENTS The mixed-use development adheres to a carefully considered time-line of events. Throughout the year, regularly scheduled [social and cultural time-line] accommodates frequent community engagement. With the help of our financial team, and in line with the expectations of the Urban Land Institute, we constructed a thorough and financial justified [development time-line].

2,744K sf

Gross Builtout

$ 969M

Development Cost

52% LTV Infrastructure

Public 77%

736K Market-rate Rent

Affordable Rent 237K

528M

Institute Retail 209K 72K 252K

724K Office

Multi-Purpose

Infrastructure 23M

514K Pariking Finance 185M

232M Land /Preparation

Buildings

Sources 152M 48M Developers PrivateEquity

172M City of Chicago

415M Loan

3M 178M Reinvestment Proceeds

Housing

Education

Equity

Affordable 24%

Workforce Institute 209,409sf

City of Chicago 46% Crowd funding 0.9%

CAPSTONE STUDIO ZOO CAMPUS_living building challenge G. THOMAS BIBLE SPRING 2016 team // THU DO // KEVIN GOLDSTEIN // JOSHUA SKINNER

Capstone studio allowed for the highest level of flexibility to pursue individual interests. Seeking exposure to sustainable practice, my undergraduate studies culminated in a studio designed to function like an office. The resulting design teams included four [architecture] students working in collaboration with two and an

[electrical engineering]

[horticulture]

students

student. Concept design served to

generate ideas for a real client interested in long-term potential of the Avondale neighborhood: the [Cincinnati Zoo and Botanical Garden].

ZO O [mission statement]

promote sustainability engage the community educate the public conserve nature

WATER

ENERGY

HEALTH + HAPPINESS

MATERIALS

EQUITY

BEAUTY

GREENHOUSES_zoo regulated

EDUCATION_semi-private

BIOSWALE_landscape buffer

COMMUNITY KITCHEN_semi-public

PUBLIC SPACE_unregulated

PLACE

The site is located on an underutilized hillside on the northern edge of the Cincinnati Zoo and Botanical Garden. Characteristics inherent to the land are respected by abundant natural garden space and the cascading campus form, which doubles as a hierarchical system of user [safety and privacy]. Greenhouses provide fresh food and jobs for Avondale while the community campus fosters new and unique social opportunities.

LBC Forefront throughout all stages of design is the philosophy of the [International Living Future Institute] and the twenty imperatives they propose in the Living Building Challenge to envision communities that are [socially just, culturally rich, and ecologically restorative]. Imperatives are sorted among seven â&#x20AC;&#x153;petals,â&#x20AC;? which define the highest level of building performance.

WATER

ENERGY

HEALTH + HAPPINESS

MATERIALS

EQUITY

BEAUTY

Organically formed bioswales interrupt the organizational grid system, distinguish project phasing and [manage 100% of storm-water on site]. Rainwater is captured along this path and returned slowly to the ground. Additionally, water collected off roofs is treated and used by campus inhabitants and plants.

Rainwater

Filtration / Treatment

Storage

Greywater recycling

Community Campus

Kitchen Sinks Appliances

PLACE

Bathrooms & Showers

Greenhouse water recovered

Greenhouse System Flushing

Toilets Ground

exposure

exposure sunlight

zoo

noise

sunlight

zoo

view

capacity

exposure

noise

view

capacity

active

noise

view

capacity

active

security

[cultivate]

[engage]

[reflect]

2,500

2,000

$18,120

1,600

median household income

2,000

1,200

1,500

800

1,000

400

500

[income]

< $10,000

$10,000 $19,999

$20,000 $29,999

$30,000 $39,999

$40,000 $49,999

$50,000 $59,999

$60,000 $74,999

$75,000 +

less than 9th grade

[education]

5,000

10,000

20,000

15,000

some high school

30,000

$33,681

20,000

median household income

40,000

25,000

WATER

sunlight

zoo

50,000

ENERGY

HEALTH + HAPPINESS

MATERIALS

EQUITY

BEAUTY

high school diploma

pr o gr vid oc e eri es

FO R

ES T

2a nat i] cin cin ate r [gr e

att rac

isit or

EE T

ST R

[av on da l

co m

nit

incline

AV E

tra pr nsp od or uc t o f e

VI NE

3c 2c

1b lim

ite

se arr nse o iva f l

vis

cc es s

lc on

cti

zo o

ac ce ss

MAIN AXIS

[CINCINNATI ZOO & BOTANICAL GARDEN]

1,000

800

600

400

200

some college

associate degree

bachelorâ&#x20AC;&#x2122;s degree

graduate degree

[age]

< 10

10-19

20-29

30-39

40-49

5,000

10,000

15,000

20,000

25,000

PLACE

The community campus scheme developed from an understanding of the Avondale neighborhood in relation to greater Cincinnati. The analysis presented led to a complex that provides recreational spaces and educational spaces [for all members of the community]. The campus provides [human-scaled spaces] that promote social interaction. Campus areas are open at all times and the spine provides security for the production facilities.

50-59

60-69

70+

P3 // A PLACE FOR REFLECTION 9-10 YEARS

The third phase includes open space to reflect upon Cincinnatiâ&#x20AC;&#x2122;s robust history. As a narration of the past, the project proposes an extension of the [streetcar] system on Vine Street. Additionally the proposal constructs a new entrance, accessible by [funicular]. Finally, and [amphitheater] is incorporated into the natural topography and sized to accommodate the vibrant schedule of activities at the Zoo.

P2 // A PLACE FOR ENGAGEMENT 6-8 YEARS

Phase two adds the necessary programmatic elements to give back to the surrounding area in the form of a [community campus]. New programs unique to the campus and lacking in the neighborhood include a recreational space, a kitchen studio, educational programs and a space that caters to community groups.

P1 // A PLACE FOR CULTIVATION 3-5 YEARS

Included in the first phase of project development is a program designed to promote growth. The three components of growth include [production greenhouses] to prepare meals for local institutions, a [neighborhood greenhouse] with communal gardening space, and [exhibit greenhouses] for visitors to the zoo.

WATER

ENERGY

HEALTH + HAPPINESS

MATERIALS

EQUITY

BEAUTY

PLACE

STORAGE

PLOTS

STRAWBERRY

TOMATO

ONION

CUCUMBER

CARROT

SPINACH

KALE

LETTUCE

BIRDS

TROPICAL

92,750 GSF

LARGE MULTIPURPOSE

JOB TRAINING

COMMUNITY COUNSEL

SMALL MULTIPURPOSE

KITCHEN STUDIO

LARGE AUDITORIUM

SMALL AUDITORIUM

MOVIE

ACTIVITY elementary

ACTIVITY middle

ACTIVITY high

TENNIS COURTS

BASKETBALL outdoor

BASKETBALL indoor

OUTDOOR AMPHITHEATER

INCLINE zoo

INCLINE street

TRANSIT HUB

MARKET

4,000 NSF

2,750 NSF

2,000 NSF

8,750 NSF +25% INCREMENT +50% OUTDOOR

15,312 GSF

11,208 NSF

6,020 NSF

4,250 NSF

21,478 NSF +25% INCREMENT +50% OUTDOOR

37,586 GSF

20,000 NSF

27,000 NSF

6,000 NSF

53,000 NSF

+25% INCREMENT +50% OUTDOOR

EUI

WATER

ENERGY

[baseline concept]

multi-tiered growing space with storm-water collection

[double envelope]

capture heat and insulate south facade

[sun shading]

[passive cooling]

control greenhouse lighting conditions

release excess heat and provide natural insulation during hot summer months

[reduce angle]

reduce solar heat gain

[bury]

[passive heating]

utilize consistency of ground temperature

capture and distribute solar heat gain by thermal mass during cold winter months

HEALTH + HAPPINESS

MATERIALS

EQUITY

BEAUTY

PLACE

Terracotta is utilized for its thermal capacity and tactile quality and is exposed in the projectâ&#x20AC;&#x2122;s circulation cores. These cores become multi-functional: a [spine] separating public from private, a [lung] enriching air quality, a [switch] balancing airflow between spaces, and an [educational experience], celebrating the passive strategies at work.

WATER

ENERGY

HEALTH + HAPPINESS

MATERIALS

EQUITY

BEAUTY

ARCHITECTURE “A great building must begin with the immeasurable, must go through measurable means when it is being designed, and in the end must be unmeasured.” [Louis I. Kahn]

PLACE

ARTIFACT

â&#x20AC;&#x153;We are more likely to fail as craftsmen due to our inability to organize obsession than because of our lack of ability.â&#x20AC;? [Richard Sennett]

NARRATIVE + FORM LINES THAT ENLACE_lines that intersect AARATI KANEKAR FALL 2015 team // CALEB LANG

Translation of

[narrative into form across media]

is an architectural

affinity exhibited by many works including Terragni’s Danteum and Eisenman’s Moving Arrows, Eros, and Other Errors. This 15-week project focused on three works of literature including Calvino’s Invisible Cities, [If on a winter’s night a traveler]

by Italo Calvino, and The Garden of

Forking Paths, by Jorge Luis Borges. It also consisted of three phases: diagramming the fictions’ structure,

[developing a 3-D game]

and

designing a narrative architecture. ENLACE_intersect is a game, an artifact that translates Calvino’s narrative into form.

NARRATIVE _CONTENTS

If on a winter’s night a traveler is a post-modernist trap-novel that follows parallel narratives. Numbered sections follow a [reader] discovering Calvino’s book, If on a winter’s night a traveler. Stories in between are fragments of other books, each one written by a different [author].

By the middle of the work, in the “enlace” and “intersect” stories, the reader discovers that a [translator] is the source of confusion. ENLACE_intersect is a game that focuses on the [triangular relationship] of these three and the journey of the reader to find an ending.

OR AT

NA SILAS FLANNERY

MA R

NARRATIVE _CONSTITUENTS

As in Calvinoâ&#x20AC;&#x2122;s narrative, the objective is to conclude the readerâ&#x20AC;&#x2122;s story. A network of [lines that intersect] represent the reader, which always occupies some point within a space defined by a network of [lines that enlace]. Movement and spatial parameters are manipulated using a library of cards.

Reader cards exhibit [linear, internal motion], movement throughout the story. Author cards jam the machine and prevent an ending by adding [physical interruptions] to the story. Translator cards alter the construct of the story itself by allowing [axial, external motion].

the reader cards account for eighteen cards in the thirty card library and there are three of each value

THE READER 2 5

“You can move in all directions, as in space, always finding stories that cannot be told until other stories are told first.”

move the indicated number of spaces in any one axis

there are six author cards in the library, three for adding disruptions and three for removing them

[+]

THE AUTHOR [+] [-]

[-]

[+] [-]

[+]

“Literature is more worthwhile the more it consists of elaborate devices, a complex of cogs, tricks, traps.”

[-]

add/remove an obstruction only one writer’s block per axis

there are six translator cards in the library, two for each possible axis of disruption

180°

THE TRANSLATOR 180° 90°

90°

180°

90°

180°

90°

“He will break off his translation at the moment of greatest suspense and will start translating another novel.”

90°

revolve the cube in either direction about the axis indicated on the card

FORM

_MEANS OF MAKING

The first model iteration provided a quick, easy, and cost effective medium to develop the rules of play. The [primitive] version is still preferred by many for its accessibility. The second model iteration utilized a face with thickness as a means to create negative space where an edge used to be.

The [thickened] faces would eventually be necessary to house a series of complex mechanical components. The third model iteration introduced the [mechanical] functions of the final design. Conceptually, this version acts as three distinct 3-axis device pairs operating in parallel.

â&#x20AC;&#x153;Reading is going toward something that is about to be, and no one yet knows what it will be.â&#x20AC;?

[Italo Calvino]

FORM

_ASSEMBLY OF PARTS

Rigorous digital modeling allowed the team to create a kit of parts including [3] acrylic dowels, [12] 3-D printer belts, [96] injection molded acrylic fasteners, and [606] custom laser cut acrylic parts.

Assembly of the parts followed a rigid diagram of â&#x20AC;&#x153;weldingâ&#x20AC;? the acrylic parts into components including, gears, spinners, sliders, and spacers. All components were attached freely to an inner base-cube, tensioned with 3-D printer belt, and enclosed with a 7x7x7 grid: a [343] cubic inch playing field.

AUTHOR

PLOT

ATMOSPHERE

1 9 2

5 11

10 4

7 12

READER

TRANSLATOR

DESIRE

FORM

_MANIFESTATION OF NARRATIVE

Exploding the diagram reveals the nature of the game’s conception: [the experience of reading]. Within the context of ENLACE_intersect, the theoretical reader moves about a space as the reader of Calvino moves about a story, manipulated by both internal and external forces.

“What you would like is the opening of an abstract and absolute space and time in which you could move, following an exact, taught trajectory; but when you seem to be succeeding, you realize you are motionless, blocked, forced to repeat everything from the beginning.” [Italo Calvino]

PROCESS + CRAFT ROBOTIC_ceramics MARK MEIER SPRING 2018

Central to the coursework for this robotics project is the utilization of

[secondary and tertiary processes].

While the robot can simplify

complex tasks, carving ruled surfaces into EPS foam,

[the hand]

required for casting plaster, slip, and glazing. Programming the robot utilized Grasshopper + Kuka|PRC, and required an understanding of the mechanics of both the 6-axis manipulator, a hot wire attachment, and the fixturing of the foam on the 7th axis, a rotary. The process leveraged [radial symmetry] to expedite the operation of both.

PROCESS

_ROBOTIC HOT WIRE CUTTING

PROCESS _MOLD CASTING

PROCESS _SLIP CASTING

PROCESS _GLAZING

MATERIAL + METAPHOR TURN_table MARK MEIER SPRING 2018

Coursework for

[Advanced Digital Fabrication]

fulfilled a personal

need: storage and enjoyment of music. The envisioned piece would creatively incorporate audio components and provide vinyl storage in a contemporary adaptation of early turntable consoles. Aesthetic inspiration came during material acquisition, a slab of curly walnut distinguished itself from a collection of exotic woods, conjuring images of guitars designed in the same era. The resulting project would be

[inspired by the resonance, hardware, materiality, detailing and

shear weight of the iconic Gibson Les Paul].

MATERIAL _ACQUISITION

MATERIAL _BOOKMATCHING

CURLY WALNUT // 49" x 16" x .656"

CURLY WALNUT // 18" x 16" x .750"

MATERIAL _OPTIMIZATION

CURLY WALNUT // 18" x 16" x .750"

CURLY WALNUT // 18" x 16" x .453"

EBONIZED BIRCH PLYWOOD // 96" x 24" x .690"

EPS FOAM // 24" X 16" X 2"

ROBOTIC BENDING // 3/8" cold rolled round steel bar

MATERIAL

_DIGITAL MACHINING

CNC WATER JET CUTTING // 14 gauge plate steel

CNC 3-AXIS MILLING // 3/4" plywood . curly walnut

EBONIZING // steel wool, vinegar, india ink

ENHANCING // tung oil

MATERIAL _FINISHING

LAMINATING // vacuum press

SOLDERING // audio components

TIG WELDING // cold rolled steel bar . plate steel

MATERIAL _ASSEMBLY

METAPHOR _FRETBOARD

LAMINATION Walnut and plywood, which have been finished separately, are laminated using a vacuum press and utilizing dowels for accuracy. Finished components use [cross lap and comb joints] to ensure strong connections and create three distinct frames, which appear to intersect. One final lamination is made to provide relief of the piece from the ground.

100

METAPHOR _AMPLIFIER

101

RESONANCE Powered speakers are housed in speaker cabinets constructed to resemble guitar amp cabinets, which [enhance the depth of sound] and provide storage space for tools. Plywood components are assembled using comb joints and finished cabinets slot into the laminated frame.

102

METAPHOR _BODY

103

CONTINUITY Curly walnut forms the central and most prominent frame of the completed piece while [mitered waterfall edges] provide continuity. The steel, and consequently the vinyl, is removed an inch from the wood, like the strings from the body. The hierarchy provides an illusion that vinyl floats within a space, untouched, in celebration of the music.

104

METAPHOR _BRIDGE

105

VINYL STORAGE Three [strings] on the left and three on the right converge at the bridge. The strings support the vinyl while the bridge provides a prominent display for the music thatâ&#x20AC;&#x2122;s playing. The turntable is removed from this surface and reinserted into a carriage of foam, which isolates the needle from harmful reverberation.

106

107

ARTIFACTS â&#x20AC;&#x153;Craftsmanship names an enduring, basic human impulse: the desire to do a job well for its own sake.â&#x20AC;? [Richard Sennett]

dbsarch@umich.edu +1.434.962.3463 danielbryansmith.com