Studio Collective Volume II Fall 2014 by STUDIO Collective

STUDIO

Des ig n ed in the Ap p a la c h i a n Mo u n t a i n s. Fir s t editio n . ÂŠ 2 0 1 4 St u di o C o l l e c tive Co pyr ig ht 2 0 1 4 Al l r ig hts res er ve d . No p a r t o f t h i s p u b li c a t i o n may be copied o r repro d u c e d w i t h o u t p e r m i ssi o n . Fo r a req ues t: con ta c t@s tudio co lle c t i ve . o r g st udio c o l l ec tive. o r g

STUDIO COLLECTIVE

Volume II, Fall 2014

Welcome. St u d io C o l l ec tive is a re se a rc h p ro j e c t a i m e d a t creat i ng an ongoi ng arch i ve of convers at i ons about des i gn in this time a n d pl a c e. Goo d d e si gn i s a b o u t p e o p le , so t h i s p roj ect i s really about p eop le and t h e communi t i es t h ey cre ate in CAU S , Vir g in ia Te c h , Bla c k sb u r g, Ap p a la c h i a , and beyond. Th rough many long ni gh t s and lat e meet i ngs , we have produc ed s o m ethin g weâ&#x20AC;&#x2122;re p ro u d o f o n t h e fo u n d at i on of t h e works of our p eers , and we want t o s h are i t with you . T he o pen f o r m a t o f st u d i o e n c o u r a ge s i n t e r a c t i on and collaborat i on. Unfor t unat ely, mos t maj ors are i n diffe re nt bu ildin g s w here pro j e c t s c a nâ&#x20AC;&#x2122;t b e se e n by p e o p le out s i de of t h at maj or. Th i s i s a p lace for t h os e p roj ects to be displa yed f o r ever yo n e t o e x p e r i e n c e a n d t o st a r t convers at i ons . We go beyond s t udent work by feat uri ng facu l ty bios, s tuden t in ter v i e w s, c ove r a ge o f c u r re n t e vent s , and anyt h i ng we fi nd i nt eres t i ng t h at i s rep res ent at i ve of the presen t. T he jo ur n al w i ll b e re le a se d a t t h e e n d o f each s emes t er t o s h ow recent , relevant cont ent t h at can be a he l pfu l referen c e a n d s o urc e o f i n t r i gu e t h a t c a n n o t b e found els e wh ere. You c a n f in d in f o r m a t i o n o n h ow t o c o n t r i b u t e to our s p ri ng i s s ue at s t udi ocollect i ve.org

CAUS 50

THE VERTEBRAE

CORRESPONDENCE

CHOREOGRAPHING DESIGN

DRILLFIELD INTERACTIONS

NIKKI GIOVANNI

MAXWELL RUNKO

INSTAGRAM IN A NEW LIGHT

IMPROVISED STRUCTURES

THE BAND CONCORD

HELVETICA IS DEAD

PLAY IN THE WORKSPACE

TRANSPARENCY STUDY

STUDENT PROJECTS

PLAY IS CONTAGIOUS

MEET THE TEAM

CLOUD

ACKNOWLEDGMENTS

CAUS 50 WRITING BY STEPHEN GOOD

INTERVIEW BY STEPHEN GOOD AND AUSTIN LEDZIAN PHOTOS FROM BOB DUNAY’S EXHIBIT FOR THE 1980 ACSA TEACHERS’ CONFERENCE AT CRANBROOK ACADEMY

ESSAY + FACULTY INTERVIEW

h ere’s a s et o f i m a ge s t h a t h a ve b e e n d i sp layed i n Cow g il l a f e w t i m e s i n t h e p a st ye a r. T h e se large, bord er l es s , b l a c k a n d w h i t e p h o t o gr a p h s li n e d t h e walls of t he l o b by a n d e a c h p i e c e o f t h e h e a d - h e i ght ri ng feat ured w o rk f ro m a fo r m e r st u d e n t . T h e lo b by was qu iet l y c ur a ted a n d, c o m b i n e d w i t h t h e la c k o f wri t i ng, left l ittl e to in dic a t e w h e re t h e w o rk c a m e fro m . Bei ng analog ue pho to g r a p h s – t h e i r a ge w a s d e li n e a t e d, but nothin g el s e. T he so le i n d e x t o t h e i r p u r p o se was t h e 50th A n n iver s a r y ic o n t h a t w a s p i c t u re d a lo n gs i de t h e 20x20 b o a rds .

Oli v i o Ferrari’s t enure at t h e college s aw Ulm S chool i deals t rans ferred acros s t h e At lant i c. Th e Ulm conside re d des i gn t o be a s er v i ce t o t h e us er and a condu it for communi cat i on. Th e i nt erdi s ci p li nar y nat ure of ou r fi rs t -year s t udi o and much of t h e p edagogy of t he col l e ge i s clearly i nfluenced by Ferrari’s t i me at t h e Ulm S chool . Burch ard and Ferrari’s i nt ent i ons s ynt h es i zed to form a s ch ool of excep t i onally ardent des i gners . Ferrari u se d v i s i t i ng p rofes s ors (e.g. Kennet h Framp t on) and se minars t o develop an admi rable cult ure wi t h i n t h e School of A rch i t ect ure. Di s cus s i ons were i nces s ant t h roug hou t the s ch ool. E ach morni ng, facult y would convene and share p rogres s from t h ei r res p ect i ve s t udi os . Commu nicating i deas act s t o s t rengt h en t h em and wi t h each lobby pinup, a s t ream of convers at i on op ened up ne w me thods for ex p lorat i on.

Of thes e, the m o s t c o m p e lli n g p h o t o gr a p h s se e med t o reach b eyo n d the wa lls o f t h e i r m o d e l o r b o u n d ari es of their c o n s tr uc tio n t o t o u c h o n so m e t h i n g e lu si ve . Some tau gh t a b o ut the c a p a b i li t i e s o f a m a t e r i a l. Ot h e r s p erh ap s focu s ed o n f in din g a n o rd e r t o t h e c o m b i n a t i o n o f p i eces . A desig n is a t its be st w h e n i t’s d i d a c t i c . Ex p o si ng t h e explo r a tio n tha t g ive s li ve li n e ss t o o n e’s w o rk i s i n sp i ri ng, bu t the des ig n er m ust b e w i lli n g t o w o rk w i t h gre at ri gor to con tro l thes e q uali t i e s. T h e i m a ge s i n t h e lo b by, s ome almos t f if ty yea r s o ld , m a n i fe st e d t h e k i n d o f c are and ded ica tio n tha t ha s fo u n d a h o m e w i t h i n t h e Co ll ege.

Th ere are a lot of analogi es t h at could ch aracte rize the College’s excep t i onal fi rs t 50 years but looki ng at the college as a for um t ouch es on t h e op en, unre stricte d nat ure of t h e act i v i t y wi t h i n i t s walls . Conside r the s ch ool’s aux i li ar y p rograms – t h e woods hop, the darkroom, t h e p ri nt maki ng and p ot t er y s t udi os – al l of t h es e offer addi t i onal means and met h ods of making. Ferrari h i red t wo res i dent ar t i s t s (Ellen Braate n and Rengi n Holt ) t o t each des i gn. He unders t ood that p ri nt maki ng and p ot t er y, among ot h er p urs u its, we re cap able of i mbui ng s t udent s wi t h exci t ement for the ir work by cont ri but i ng a ne w medi um for expre ssion. Th at you creat e i s more i mp or t ant t h an wh at you cre ate h as been a fundament al t enant of t h e college. De sign can i nfluence and be i nfluenced by more than ju st i deas cont ai ned wi t h i n arch i t ect ure and a vari ed we b of connect i ons h ave been formed us i ng t h i s ap p roach. The 50t h anni vers ar y celebrat i on s h owcas ed t h e s t re ngth and dep t h of t h es e as s oci at i ons , mos t p oi gnant ly throu gh ret urni ng alumni . Fi ft y-s i x p res ent at i ons were made by former s t udent s wh i ch revealed t h ei r unders t anding of des i gn t h rough s i ngular cont ex t s . Ferrari unde rstood t h at each s t udent offered t alent s t h at were t o be adde d t o, rat h er t h an s up p res s ed, a p aragon t h at h as give n the College an aus p i ci ous 50 years .

T he C o l l eg e o f A rc h i t e c t u re i n i t s i n fa n c y w a s s mall. Cowg il l Ha l l ( b uilt i n 1 9 6 8 ) p rov i d e d a m p le s p ace for t he c o l l eg e to g row a n d t h e u r b a n st u d i e s t ag was soon a dded to the n a m e t o b e t t e r re fle c t i t s i n t e nt i ons . T he C o l l eg e l a ter sp e c i a li ze d , e st a b li sh i n g i n d i v i dual progr a m s f o r In dus t r i a l De si gn , In t e r i o r De si g n, and Land s c a pe A rc hitec t u re . T h e c o lle ge h a s u se d a d di t i onal bu ildin g s a n d c a m p u se s t o a m p li fy i t s re a c h a n d forge a tr u l y in c redib l e ra n ge o f c o n n e c t i o n s. L o o k i ng back to the ea r l y yea r s of t h e Co lle ge , yo u se e h ow C h arles Bu rch a rd dre w o n h i s e x p e r i e n c e s a t Bla c k Mount ai n Colleg e a im in g to m a k e a st u d e n t - fo c u se d s ch ool. T he exper im en ta l st r u c t u re s m a d e by st u d e n t s here i n Black s b ur g em pha s ize t h e i m p o r t a n c e o f i n d i v i d u a li z at i on and dis c over y throu gh c re a t i o n . Bu rc h a rd i n t roduced proje c ts f o r the m ed i c a l fi e ld a n d w o rk e d w i t h a lt ernat i ve energy s o urc es – pr i o r i t i z i n g t e c h n o lo gy - d r i ve n d es i gn.

ESSAY + FACULTY INTERVIEW

Our new director, Henri de Hahn, has come to us at an opportune time in our school’s history. We asked him about what he sees for the next 50 years. What d oe s t h e fu t u re o f A + D lo o k like ? Prom is in g . I ’d l ik e t o k n ow h ow t o e d u c a t e o u r s t udent s t o be able t o p ract i ce t oday i n t h ei r own way, bu t al so t o k n ow how to pre p a re t h e m t o e n ga ge i n a n e ver-evolv i ng world wh ere t h e i dea of p ract i ce i s ch angi ng. How do I eng a g e c ha n g e w i t h i n t h e c u r r i c u lu m so t h a t st udent s are p rep ared t o ult i mat ely s olve p roblems t h at do not ye t ex ist ? T ha t’s c er ta in ly m y a m b i t i o n a s a n e d u c a tor and A +D ’s Di rect or. For t h at p urp os e, I am looki ng at how al l t he d is c ipl in es w o rk i n d i v i d u a lly, a n d w h a t – for ex amp le, are t h e relat i ons h i p s bet ween arch i t ect ure and inte rior d esign o r l a n ds c a pe a n d i n d u st r i a l d e si gn ? T h e ques t i on i s h ow t o t h i nk about t h e acqui s i t i on of knowled ge both h orizo n ta l l y a n d ve r t i c a lly. Fo r e x a m p le , h ow c o uld we ret urn t o an unders t andi ng t h at ver t i cal s t udi os can provide a syne r g y b etween , f or e x a m p le , se c o n d a n d t h i rd year s t udent s i n arch i t ect ure, or even bet t er, i f we can develop su btl e learnin g o utc o m es , t o p rov i d e a ve r t i c a l st u d i o b et ween di s ci p li nes ? W h at I fi nd wonder ful i s t h at s eni or stu de nts beco m e m en to r s f o r j u n i o r st u d e n t s – a m o d e l t h at was a ch allenge for me duri ng my t enure as a s t udent i n L au sanne , bu t retro s pec tivel y p e r h a p s a c r i t i c a l m o m e n t fo r me t o learn about wh at I was t r uly about . Another idea tha t I w o u ld li k e t o i n ve st i ga t e i s h ow Vi rgi ni a Tech can p ar t ake i n creat i ng a s eri es of op p or tu nitie s for a l l VT s tuden ts – p e r h a p s p rov i d e a se r i e s o f clas s es t h at are i n as s oci at i on wi t h ot h er Vi rgi ni a Tech classe s that promo te idea s a b o u t so c i a l su st a i n a b i li t y, t h e b ui lt env i ronment , ar t , t h e h umani t i es , all t op i cs t h at t h e Col l e ge of Arch itec ture a n d Ur b a n St u d i e s d o e s ve r y we ll. I s t ar t from t h e p remi s e t h at we cont i nue t o us h er i n ex t raordinar y t alent, b ut tha t m o st c li e n t s o f o u r a lu m n i m i gh t not fully unders t and t h e i nt ellect ual cap aci t i es of our grad u ate s to cont r ib ute to im prov i n g o u r e n v i ro n m e n t . I b e li e ve t h at we need t o p ar t i ci p at e i n a bi gger p i ct ure t h at wi ll ultimate l y secu re c l ien ts f o r ou r st u d e n t s. W h a t I re a li ze i s t h at many s ch ools s t r uggle becaus e t h ey favor t h e i nt egration of t he l a tes t tren ds . At A + D we a re we ll a w a re o f c urrent t rends , but our i dent i t y i s t o mai nt ai n an educat i on base d on fu nd a m en ta l s tha t w i ll le a d o u r st u d e n t s t o b e w h ole-s ys t em t h i nkers and li fe-long learners , wi t h out relyi ng on tre nds. Do you t hi nk i t wi ll be d if f ic u lt to br in g a v is it in g prof e s s or he re ? No. Wel l , I s a y this i n a k i n d o f a u t h o r i t a t i ve w a y, but we all know t h at key t o creat i ng s uch a learni ng env i ronme nt is t he m a tter o f f in a n c e . I b e li e ve t h a t we h a ve a s t rat egy. Typ i cally, t o enli s t a v i s i t i ng gues t p rofes s or, you ne e d to create a n en dow m en t t h a t c re a t e s a fi n a n c i a l m o del t o generat e yearly revenue for t h e Sch ool. However, I am finding t hat b ec a us e we ha ve a n u m b e r o f fa c u lt y li n e s – as a cons equence of recent facult y ret i rement s t h at we have not conver ted to ten ure - t r a c k li n e s, I c a n u se t h o se f unds t o bri ng s omeone ver y s p eci al t o t each our s t udent s and share t heir in tel l ec tua l a n d p ro fe ssi o n a l e x p e r t i se . Id eally, I would li ke t o s ee more t h an one gues t p rofes s or. As of this u pcom in g s pr in g s e m e st e r, I w i ll a sk m e m b e r s o f t h e curri culum commi t t ee t o s eek facult y i np ut i n order t o de ve l op a series o f rec o m me n d a t i o n s a s t o h ow, w h e n , and wh o we s h ould bri ng t o A+D . Of cours e, I h ave s everal ide as about w ho m ig ht s e r ve i n t h i s ro le , a n d i f I h a d to recommend gues t p rofes s ors for t h e arch i t ect ure p rogram, I wou l d cu rren tl y f a vo r Spa n i sh a rc h i t e c t s. I j u st t h i n k t h at t h ey are well balanced p rofes s i onally and bri ng an i nt e l l e ctu al d iscour s e to their p r a c t i c e . I look f o r w a rd to i n fu si n g t h e Sc h o o l w i t h so meone Fall 2015. W h en I was s t udyi ng arch i t ect ure i n L au sanne , I rem em b er vividl y t h e li st o f gu e st p ro fe sso r s t h at came year aft er year. Th e energy, i nt ens i t y, and p res t i ge t hat we re brou g ht to the in s ti t u t i o n we re m a gi c a n d m e m orable. It i s my unders t andi ng t h at model was i n effect at t h e S chool some tim e a g o , a n d I b e li e ve t h a t i t i s t i m e ly t o bri ng back t h i s t yp e of energy. A ver y ni ce comp lement t o what we already do s o wel l . Did you ever p r a c tic e ? I did a n d en j oyed it ve r y m u c h , b u t b a la n c i n g a c ademi a wi t h a creat i ve p ract i ce s eems a model t h at t ends t o not work like in Euro pe. I th i n k o f t w o t h i n gs t h a t c o m e t o my mi nd. Fi rs t , I ver y qui ckly unders t ood t h at I di dn’t want to leave a c a dem ia in ord e r t o w o rk o r b e c o m e a p r i nci p le i n an arch i t ect ural offi ce. Ironi cally I di d t r y wh i le te aching in Zur ic h, b ut it d i d n o t i n t e re st m e , a n d I re a l ly do not know wh y. Not s ayi ng t h at I ’m not cap able of engaging wit h the c o m pl ex w o r ld o f p r a c t i c e – I b e li e ve t h at I was ver y well p rep ared t o do t h at , and di d for s everal years, bu t when I c a m e to A me r i c a I t a st e d so m e t h i n g e lse , my p at h brough t me unex p ect edly i nt o t h e academi c env i ronme nt. Seco n d, w hil e en g a gi n g i n p r a c t i c e a n d w o rk i n g t owards becomi ng a t enured facult y member, i t was made cl e ar to me t ha t it w o ul d b e ve r y d i ffi c u lt t o b e a n a c a d e mi c and p ar t ake i n t h e p ract i ce of arch i t ect ure. It was a reality che ck t hat ul tim a tel y w a s o n e o f t h e re a so n s t h a t b ro u g h t me t o h old academi c leaders h i p roles i n a vari et y of i ns t itu tions. I wan ted to b e s ure t h a t I c o u ld c re a t e a c li m a t e for my colleagues and p romot e t h at t h ei r academi c p urs ui t s and the practic e o f their a r t we re n o t m u t u a lly e xc lu si ve . I am h ap p y t h at I h ave never wavered i n t h i s mat t er.

CORRESPONDENCE A CONVERSATION WITH DONNA DUNAY, AKI ISHIDA, MITZI VERNON, AND HELENE RENARD ABOUT THE PAST AND FUTURE OF CAUS DISCUSSION GUIDED BY KEVIN GARCIA, AUSTIN LEDZIAN, AND DANIEL PERRY PHOTOGRAPHS AT RIGHT BY LUISA LACSAMANA PHOTOGRAPHS ALSO FROM BOB DUNAY’S EXHIBIT FOR THE 1980 ACSA TEACHERS’ CONFERENCE AT CRANBROOK ACADEMY

CORRESPONDENCE

Au s t i n: Over th e ye a r s, h ow h a ve yo u w i t n e s s ed t h e c ul ture a t C AU S c h a n gi n g? Donna : It’s c h a n ge d i n t o o m a n y w a y s, a nd t h en c ha n g ed b a c k a ga i n . I w o u ld sa y t h a t o f cours e w hen Burc ha rd w a s o r i gi n a t i n g t h i s sc h o ol t h ere were pr im a r y d i sc u ssi o n s w i t h h e a n d Fe r r a r i . Th ere were pr im a r y d i sc u ssi o n s a m o n gst e ve r yo n e . I can rem em b er o n e t i m e r i gh t b e fo re t h e fi r st d a y of fi rs t yea r we ha d a d i sc u ssi o n t h a t la st e d t i ll 6 a . m. i n t h e m o r n in g . Fir s t ye a r i s a t 8 a . m . T h e d i sc u ssi on was w ha t w il l b e the a ssi gn m e n t o f t h e fi r st d a y. Bas i cally ever yo n e c ha n ge d t h e i r a ssi gn m e n t b e fo re t h e end o f the even in g . I w o u ld sa y t h e d i sc u ssi o ns were w ider a n d m o re i m p ro m p t u a n d p ro m p t e d by works o f the s tuden ts. A lw a y s by w o rk s o f t h e st udent s . T he s tuden ts we re t h e c e n t e r o f e ve r y t h i n g. So wh at a s tuden t w o ul d p u t i n t h e lo b by w o u ld c a us e t h e w ho l e b uil din g t o c o m e a li ve . It d i d n’t m ake any dif f eren c e how i t go t t h e re o r w h a t fa c u lt y i t came f ro m . It w a s i n t e re st i n g. We e x p e c t e d t h at . For in s ta n c e, s c hed u li n g ro o m 3 0 0 w o u ld n o t h a ve been po s s ib l e, b ec a u se i t c o u ld h a ve b e e n n e e d ed at a m o m en t’s n o tic e t o m e e t fo r a n i m p ro m p t u meet i ng, c o m in g to g ethe r t o d i sc u ss so m e fi n d i n g. Maybe i t w o ul d b e em pty. So a lt h o u gh ove r t h e ye a r s we h ave tr ied to k eep th i s sc h e d u le a w a y, i t i s a m u c h bi gger s c ho o l n ow. Or ga n i z a t i o n se e m s t o b e m o re p res ent n ow. Or g a n iz a t i o n we a r s t h i n gs o u t i f yo u don’t ha ve a s tr uc ture t h a t re v i ve s i t . T h e w o r ld i t s elf i s c ha n g in g , s o th a t i s p o ssi b le .

comi ng h ave t o be fai rly s p eci fi c about wh at the y are doi ng. Our s t andards are s o h i gh t h at i t’s ve r y di ffi cult for s ome s t udent s wh o would ot h er wi se be h ere. I t h i nk we’re mi s s i ng a s p ect r um t h at we u se d t o h ave.

A k i : Studen ts e x p e c t a t i o n s a re c h a n gi n g.

A ki: Yeah I h ave been h ere for les s t h an 3 years , and I ’ve s een a ch ange t h i s year, and t h e year before.

Donna : Wel l pro b a b ly. T h i s e c o n o m i c h i t w a s p ret t y s evere to a l o t o f fa m i li e s a n d a lo t o f fi r m s. Peop le

Mit zi: You mean j us t gradually becomi ng more di vers e?

CORRESPONDENCE

A k i : Mo re in tern a t i o n a l.

Towa rd Ne w Arc h it e c t ure , h e’s drawi ng i ns p i ration from i ndus t ri al des i gn, i ndus t ri al bui ldi ngs , and the aes t h et i cs of t h e engi neer.

Mi t z i : O ver ju st t h e la st 1 9 ye a r s, I t h i nk i t’s s ig n if ic a n t. No t t o m e n t i o n j u st t h e b a la n c e o f women a n d m en . T ha t i s si gn i fi c a n t . We h a ve p ro b a bly h ad a t l ea s t 5 0 % w o m e n i n t h e la st 3 - 4 ye a r s i n t h e in dus tr ia l des ig n st u d i o s, a n d o n e o f t h o se years i t w a s s l ig htl y m ore w o m e n . We h a d m a y b e 2 5 % wh en I f ir s t s ta r ted t e a c h i n g I D. Di ve r si t y h a s b ecome m o re a c c epted a n d e x p e c t e d a m o n g st u d e n t s . I s ee tha t a s ver y n o rm a l fo r t h e m e ve n t h o u gh we mi gh t ha ve s een the c h a n ge b e c a u se we’ve b e e n h e re for s o l o n g . But I c a n e a si ly i m a gi n e t h a t w a s n o t t h e cas e in the 1 9 6 0 ’s .

A ki: I don’t t h i nk we li ve i n a moderni s t e ra anymore. But I t h i nk t h e p edagogi es t h at came ou t of moderni s m are s t i ll relevant t oday. I t h i nk the p edagogi es may be t h e mos t relevant p ar t whe n you t alk about t op i cs of des i gn s ch ools : h aving Foundat i on h ere be cros s -di s ci p li nar y by h aving arch i t ect ure, i ndus t ri al des i gn, i nt eri or design, lands cap e s t udent s t oget h er. I t h i nk t h ere are ve r y fe w s ch ools , at leas t i n t h e U.S., t h at do t h at we l l . A nd I know t h at’s wh at dre w me h ere wh en I came t o v i s i t . I us ed t o t each at des i gn s ch ools , li ke the Rh ode Is land Sch ool of Des i gn (RI SD ) and Pratt, and I di d not know t h ere was a land grant uni versity t h at di d t h i s s o well. To me, t h at’s t h e legac y of Bauh aus and Ulm s ch ool t h at affect s us t h e most.

Donna : I thin k t h e re i s a p e rc e n t a ge o f st udent s tha t n eed to b e i n - st a t e st u d e n t s. In a rc h i tect ure, b ec a us e it’s s uc h a h i gh d e m a n d , we c a n go out s i de tha t perc en ta g e . Mi t z i : I w a n t t o sa y, 3 sc h o la r s h a ve v i si t ed and pa r tic ipa ted in t h e I D p ro gr a m fro m Ch i n a . Th ere’s a hug e m ovem e n t t o h a ve Ch i n e se st u d e n t s c ome t o the Un ited Sta t e s, p e r i o d . I se e t h a t we a re j us t one o f tho s e m a n y u n i ve r si t i e s a c c e p t i n g t h e se v i s i t ors . I rem em b er w hen I t a u gh t a t A r i zo n a St a t e Un i vers i t y in the l a te 8 0 ’s we h a d m o re A si a n st u d e n t s becaus e we were n ea r th e We st Co a st . T h a t w a sn’t u nus ual there, b ut I do re m e m b e r t h a t t h e re w a s a d i s t i nct c ul tur a l dif f ere n c e t h e n t h a t I d o n’t se e n ow. I s ee it m uc h m o re u n i fi e d a c ro ss t h e st u d i o n ow. It’s l ik e ever yb o dy sh a re s t h e sa m e d e si re s a n d t h e s ame dr ive a n d m o ti va t i o n . T h e sa m e k i n d o f c uri os i t y, w herea s w hen I w a s t e a c h i n g a t A r i zo n a St at e t h e A s ia n s tuden ts we re j u st fa r m o re d i sc i p li n e d , more f o c us ed.

Don n a: It’s a t r ue foundat i on. You s h ouldn’t le ave t h e fi rs t year. So t h ere are s t udent s t h at make that mi s t ake, of leav i ng t h e fi rs t year, but maybe the y come back i n 10 years . We’ve h ad di s cus s i ons that p erh ap s t h e fi rs t year s h ould be t h e fi ft h ye ar. Facult y s eri ous ly ent er t ai ned t h i s . Th ere h ave be e n ot h er ex p eri ment s wh ere t h e fi rs t year, and s ay the four t h year, are clos e. We h ave i t s li gh t ly becau se t h e fi ft h years are s cat t ered about . It h elp s i n a way, t o h ave t h at relat i ons h i p, but I t h i nk Foundation means t h at i t’s always avai lable t o you. He le n e : I t h i nk t h at get s back t o t h e Bauh aus ide a t h at t h i ngs are really i nt egrat ed, t h at des i gn i s not comp ar t ment ali zed. One of t h e t h i ngs t h at I t hink i s i mp or t ant , and h op efully s t udent s do as wel l , is

I thin k tha t’s re a lly p o si t i ve b e c a u se i t keep s ever yo n e o n the sa m e p la y i n g fi e ld . It w a sn’t always a g o o d thin g , th e h i gh d i sc i p li n e , b e c a u se I want ed them to l ig hten u p a b i t , a n d t h a t w a sn’t s o eas y s o m etim es . Au s t i n: Our s ch o o l i s ve r y ro o t e d i n m o d e rni s m, b ut how is tha t c h a n gi n g? Or i s i t ? He l ene : Mo dern i sm i s o ft e n fr a m e d a s a res p ons e to Wo r l d Wa r I . So m e a rc h i t e c t s we re lo o ki ng t o a rc hitec ture a s a w a y t o c h a n ge w h a t t h e y sa w as a way o f l if e the l ed to w a r. T h e b e a u t i fu l fu n c t i o nali t y of o c ea n l in er s a n d t h e p ro m i se o f m o d e r n t e c h nology w a s a w a y to pu ll so c i e t y o u t o f t h a t . So t h e re was a s o c ia l a g en da th a t t h e y h a d a s we ll; i t w a sn’t s i mp ly a es thetic o r a b ou t m a k i n g, b u t a lso a b o u t i m prov i ng the hum a n c o n d i t i o n t h ro u gh o rd e r i n g p r i nci p les . In m o der n is m , t h e re w a s a n a p p ro a c h t o a rc h it ect ure a n d a r t tha t pr i v i le ge d v i si o n a s t h e p r i m a r y s ens e. At the Ba uha us t h e re w a s a n a p p ro a c h t o c r a ft and t o des ig n w hic h revo lu t i o n i ze d t h e re la t i o n sh i p b et ween des ig n a n d in d u st r y. If yo u lo o k a t L e Co r b us i er’s

CORRESPONDENCE

the c o n ver s a tio n t h a t h a s t o h a p p e n b e t we e n all t h e s ta k eho l der s in a p ro j e c t . T h e m o re yo u u n d ers t and a b o ut w ha t’s go i n g o n w i t h t h e o t h e r d i sci p li nes tha t a re a l l ied w i t h yo u , t h e b e t t e r yo u’ll b e able to m a k e a f ul l y - i n t e gr a t e d d e si gn a s a t e a m. And how do yo u thi n k a b o u t t h i n gs i n a w a y t h a t t h ey’re a c tua l l y rel eva nt t o t h e w h o le c o n c e p t o f, i n t h i s c a s e, a s pa c e? Mi t z i : It s er ves a s k i n d o f a re m i n d e r, a re ference po in t, o f w here yo u’ve c o m e fro m . A n d I re member this to o w hen I w a s i n gr a d u a t e sc h o o l, I was i n the s ec o n d year gr a d u a t e a rc h i t e c t u re gro up, but we s a t im m edia t e ly n e x t t o t h e t h i rd ye a r graduat e g ro up. A l l o f th o se p e o p le we re c o m i n g fro m ever y pl a c e in the w or ld : p syc h o lo gy, so c i o lo gy, Engli s h , yo u n a m e it, all t h e d i sc i p li n e s fro m t h e i r earli er educ a tio n . T he y we re a ll re m a rk a b ly d i ffe re nt and their a rc hitec t u re e d u c a t i o n w a s fo u n d at i onal. W ha t I rem em b e r i s h ow w o n d e r fu l i t w a s t o s ee t h e q ues tio n s they we re st r u ggli n g w i t h . It h a d a h uge in f l uen c e. It remi n d e d yo u , o r i n sp i re d yo u , to t h i nk dif f eren tl y f ro m t h e p ro m p t i n yo u r ow n studi o. I tho ug ht tha t w a s e x t re m e ly i m p o r t a n t a n d I t h i nk this is the s a m e p h e n o m e n o n t h a t we t a lk a b o ut wh en yo u a re a s k ed to d o so m e t h i n g fo u n d a t i o n a l i n your f o ur th o r f if th ye a r. Fo u n d a t i o n e x i st s o n i t s own, as a tr uer, m o re imp o r t a n t re a so n fo r d o i n g w h a t you’re do in g . It’s n o t j u st t h a t yo u d o Fo u n d a t i o n a nd t h en s ec o n d yea r b ui ld s j u s t o n t h i s. Eve r y t h i n g b ui lds on it. Fo un da tio n st u d i o i s n o t a p re a m b le . It’s a t h i ng un to its el f f ro m w h i c h yo u c a n j u m p o ff a nd do a n um b er o f thin gs, i t’s gi v i n g yo u a w a y o f mov i ng thro ug h yo ur de gre e . A n d I t h i n k t h e o t h e r years are n o t l ik e tha t. I m e a n , t h a t i s a re a lly u n i qu e moment in yo ur educ a t i o n a n d I w o u ld d a re sa y t hat was c er ta in l y tr ue at t h e Ba u h a u s.

of di gi t al t ech nology. It’s not j us t t h at i t’s t he re , i t’s t h at you h ave t o deci de wh i ch of t h os e t hings are relevant and h ow t h ey i nfluence des i gn p roce ss. It’s a cons t ant i s s ue, and I worr y t h at t ech nological met h ods may begi n t o i nfluence t oo h eav i ly the abi li t y t o i magi ne. We were j us t h av i ng a di s cussion about t h i s i n s t udi o. Th e las t t h i ng we want i s for t h e s t udent s t o deci de t h at t h ey can do a cer tain t h i ng becaus e t h e t ech nology i n t h e s h op wil l enable t h at , as op p os ed t o fi guri ng out wh at the y want t o do fi rs t . Not bei ng wi lli ng t o ch ange the des i gn becaus e t h e s oft ware or t h e L as erCamm can only do i t a p ar t i cular way. Not bei ng dri ven by the t ech nology, I t h i nk, i s more p aramount now. Don n a: Wi t h t h i s t ech nology, wh at are you leaving beh i nd? Th e s p li t bet ween Bauh aus and Ulm was a world war. Th i ngs ch anged, t i mes ch anged. It was p os s i ble t o gi ve p eop le a ne w li fe by giving t h em a camera. Th ey could go and s t ar t t o become p h ot ograp h ers i n a ver y s i mp le way. Get the ir li fe back t h rough p h ot ograp h y. And alt h ou gh t ech nology i s di vers e, i t can be really monoli thic. It’s overbeari ng almos t i n h ow monoli t h i c i t is. Th ere’s a s p li t i n t i me wh ere you can s ee bui ld ings made wi t h CA D and bui ldi ngs not . And i t’s re al l y amaz i ng i f you go i n t h e li brar y and s ee t h e s he e ts of drawi ngs , t h es e s h eet s t h at were, i n fact , drawn. Th es e CAD p rograms h ave t h ei r r ules and you have t o p lay by t h ei r r ules . If you go agai ns t any of the se p rograms t h ey wi ll p uni s h you for doi ng t h at . The CA D r ules are s o p res cri p t i ve, and drawi ng i s not p res cri p t i ve, drawi ng i n i t s elf calls from you.

Donna : T he th i n gs t h a t p e o p le we re i n t e re s t ed i n, a n d the tr a dition , t h e t e c t o n i c i s st i ll p re se nt . Th e rel a tio n to c r aft , t h e re la t i o n t o i n d u st r y i s s t i ll pres en t, we a re st i ll i n t e re st e d i n m a t e r i a ls. Someone w ro te in a l ett e r re c e n t ly, “ Oh yo u r st u d e nt s s t i ll m a k e dr a w in g s ! ” We ll ye a h . W h y w o u ld n’t you want to do tha t? W hy w o u ld yo u gi ve t h a t a w a y ? He l ene : I thin k i t’s i n t e re st i n g j u st t o lo o k a t wh at i s m o tiva tin g peo p le . I w a s t r y i n g t o c h a r a c t e r i ze h ow C o r b us ier a n d ot h e r s we re re sp o n d i n g t o Wo rld War I a n d if yo u th i n k a b o u t o t h e r h i st o r i c a l e x amp les , it is in teres tin g t o c o n si d e r w h a t m o t i va t e s t h em. W ha t is their m o d e o f i n qu i r y ? A n d t h a t’s wh at we a s k s tuden t s a b o u t i n Fo u n d a t i o n De si gn L ab, r ig ht? A l o t o f t i m e s, t h e qu e st i o n t h a t so meone i s in teres ted in pu r su i n g i s i n flu e n c e d by t h e t i me i n w hic h they l ive d , t h e c i rc u m st a n c e s a ro u n d t h em, w hether tho s e b e so c i a l o r c u lt u r a l.

Th ere was ago. Th e t h ey were I brough t

Mi t z i : With m o t i va t i o n t h e re i s i n flu e n c e . I would s a y o n e o f the k e y i n flu e n c e s i s j u st t h e r a p i d ch ange

an ex amp le i n t h e lobby about t wo we e k s p roj ect s i n t h at group were beautifu l , really ni ce. It was a s econd year grou p. my clas s down and we h ad a wonde r fu l

CORRESPONDENCE

dis c us s io n , b ut I t h o u gh t t h e re w a s o n e t h i n g t h at I n eeded to s a y to t h e m . T h e re w a s o n e p ro j e c t wh ere the per s o n ha d m a d e a d i gi t a l re n d e r i n g. T h e re was a s c a l e f ig ure, a n d t h e n a d j a c e n t t o i t w a s a n e l evat i on dr a w n in Il l us tra t o r o r so m e t h i n g. T h e p a r t th at was c l ea r a s a b el l t o m e w a s t h a t t h e re w a s a t ree and a per s o n . A n d I c a lle d m y gro u p ove r a n d I s ai d t o them , ‘ C a n tha t p e r so n d r a w, o r n o t ? Te ll m e.’ And a s tuden t s a id ‘No.” A n d I sa i d ‘How d o yo u know?’ A n d they s a id ‘ We ll lo o k a t t h a t t re e .’ A n d I s ai d ‘ Do yo u thin k t h e y lo o k e d a t a t re e w h e n t h e y dre w tha t tree? No.’

If you let t h e h ammer dri ve, ever yt h i ng looks lik e a nai l! So t h at’s t h e s ame p ri nci p le i f you ap p ly that logi c t o anyt h i ng ne w t h at comes up. I t h i nk s ocial medi a i s a t ool, t oo. If you ap p ly t h at s ame logic t h en you develop a value s ys t em t h at let s you mak e deci s i ons about all of t h at . So I t h i nk t h at get s back t o Donna’s p oi nt about drawi ng. Don n a: Th ere was a s t udent wh o came t o me first year, h e h ad t h ree t o four years ex p eri ence i n Re vit, and i t’s li ke draft i ng. I ’ve h ad draft i ng. It real l y i s n’t ver y i nt eres t i ng t h at you’ve h ad draft i ng. And i t’s li ke okay, t h at’s ni ce, but t h e p roblem with draft i ng i n h i gh s ch ool i s you’re not draft i ng with t h e i magi nat i on. A nd CAD carri es t h at s ame t h ing.

We’re a l l hum a n , we a ll m a k e m i st a k e s. How do you do wel l ? Tw o wo rd s, yo u m a k e go o d d e c i si o ns . How do yo u do tha t? On e w o rd , e x p e r i e n c e . We ll h ow do yo u g et exper ie n c e ? Tw o w o rd s, b a d d e c i si ons . So here’s this per s o n w h o m a d e a p re t t y b a d d e ci s i on. But w ha t I s a id t o t h e st u d e n t s w a s ‘ W h y di d t h at s tuden t ha ve a w h o le c la ss a ro u n d t h e m , h e or s h e, b ut he ha d n o f ri e n d t o t e ll h i m w h a t w a s b e t t er t h an this ? ’ T heir eye s we re n’t w o rk i n g. How u n fo r t unat e tha t he w a s pu t t i n g fo r t h a n e ffo r t a n d n o b ody i s tel l in g him that i s re a lly b a d . If t h a t p e r so n dre w, o r w a s tr yin g to d r a w, t h e y w o u ld n e ve r h a d drawn a per s o n o r a tree li k e t h a t . Bu t w h y we re t h e fri ends s o s il en t?

Mit zi: Have any of you ever done s omet h i ng lik e ... L ocki ng a door and you needed t o go back and do s omet h i ng before locki ng t h e door and you t hink t o yours elf ‘Can I j us t undo t h at ?’ We’ve become s o accus t omed t o t h at abi li t y t h at i t dri ves decision maki ng. If we get anot h er CAD p i ece of s oft ware we t h i nk i t s h ould beh ave i n t h e s ame way as t h e l ast one we us ed, li ke we’re h ardwi red. A ki: I t h i nk growi ng up, bei ng educat ed t o be able t o us e di gi t al and analog i s li ke growi ng u p bi li ngual. I t h i nk t h ere are s ome t h i ngs t h at are bet t er unders t ood and rep res ent ed t h roug h a cer t ai n language vers us anot h er, and you lear n to nav i gat e bet ween t h os e t wo languages . I dre w my undergraduat e t h es i s i n i nk on mylar, but t wo ye ars lat er wh en I went t o graduat e s ch ool I went t h rou gh wh at t h ey called ‘p ap erles s s t udi o.’ It was s u ch a radi cal i nt roduct i on i nt o t h at s t udi o env i ronme nt, t h ey s ai d ‘no draft i ng.’ I di dn’t even i ns t all my Mayli ne duri ng my graduat e s ch ool years . So i t was a full i mmers i on i nt o cult ure t o learn a brand ne w language by not s p eaki ng your mot h er t ongue. Bu t now we don’t h ave t o do t h at , we can t each b oth, I t h i nk, more s eamles s ly. It was s o di v i ded t hat I s t raddled t h os e t wo worlds , and t h ey di dn’t come t oget h er unt i l a fe w years lat er.

Kev i n: Do yo u t h i n k t h a t , w i t h d i gi t a l t e c h nology tha t there is a se n se o f p r i va c y a s o p p o sed t o a dr a w in g b o a rd t h a t i s o n d i sp la y ? How c a n we creat e a c o n ver s a tio n i f t h a t p e r so n d o e sn’t a llow u s t o? Donna : Exa c tl y. We a re so fo r t u n a t e t o h ave t h i s b uil din g tha t is so o p e n , b u t i t i s st i ll se a le d. Even tho ug h o n o n e flo o r yo u m a y h a ve d i ffe rent age g ro ups o r c l a s s e s. I t h i n k t h a t’s w h e re ro o m 300, a n d the l o b by th a t i s so n o t p re c i o u s, b e c o m e p laces w here we ta l k a b o u t i t . Mi t z i : T his g e t s b a c k t o t h e p o i n t I w a s t r yi ng to m a k e, a n d I w a n t t o m a k e a b i gge r p o i nt of i t . C hr is Ta yl o r a n d I t a lk e d a lo t a b o u t t h i s, about how we w a n t s t u d e n t s t o ge t t h e i r i d e a o u t in s ome w a y, s o tha t the y c a n m a k e so m e d e c i si o n s a bout i t . T hey’ve g o t to ge t i t o u t . Bu t w h a t yo u w a nt t h em to do is thin k ab o u t a ll t h e w a y s t h e y c a n mani fes t tha t. W hen we m o d e l i n t h e I D st u d i o , we can us e in expen s ive in s u la t i o n fo a m a n d p u t i t o n o ur lat h e dow n s ta ir s a n d h a c k a w a y a t i t o n t h e b a n d s aw and s udden l y s tude n t s h a ve so m e t h i n g t h a t b e ings t o s pea k to the f u ll sc a le . So e ve n i f yo u d o n’t h ave o ther s k il l s o r o t h e r m a t e r i a ls, t h e re’s a way t o m a n if es t the ide a . Wh a t yo u w a n t t h e st u d e nt t o do is piec e to g ethe r t h e i d e a , a n d so m e o f t h a t i s di gi t al a n d s o m e o f th a t i s a n a lo g. A n y t h i n g d i gi t a l i s s t i ll a to o l . A pen c i l i s a t o o l, a la se r c u t t e r i s a t ool, a ha m m er is a too l, a 3 D p r i n t e r i s a t o o l. You want to us e s o f tw a re a t i t’s b e st . Bu t yo u d o n’t w ant i t t o dr ive. Yo u do n’t w a n t a n y o f t h o se t h i n gs t o dri ve.

He le n e : I di dn’t learn h ow t o draft on a compu te r unt i l aft er I graduat ed. But I remember bei ng real l y s t uck on a p roj ect and a fellow s t udent t old me to j us t go down t h e s t reet t o t h e s t ore t h at’s li ke mish mi s h for you guys , and get a really beaut i ful pie ce of p ap er, and j us t bri ng i t back and s t ar t drawi ng. I t h i nk t h ere was a real enj oyment i n t h e p h ys i cal ity of t h at . You’re i nt eract i ng wi t h a mat eri al, t h e l e ad p enci l, t h e s mell of t h at , t h e t ex t ure of t h e pape r and t h e fact t h at you are craft i ng s ome v i s i on of your i dea. It was s uch an enj oyable ex p eri ence that way, and I cannot s ay t h e s ame t h i ng at all abou t CA D draft i ng. So I h op e t h at t h e s t udent s s t i ll have acces s t o s ome of t h at ex p eri ence. Mit zi: I can’t even i magi ne t each i ng an I D s tu dio

CORRESPONDENCE

PHOTO BY MITZI VERNON

tha t w a s n’t ta c ti le . I si m p ly c a n’t i m a gi n e o n ly doi ng C A D dr a w in g , I d o n’t t h i n k i t c o u ld b e su c ces s ful. I rea l l y do n’t.

t h ey are engagi ng t h i s , more s o t h an t h e des i gne rs. A ki: Engagi ng us you s ay? Don n a: Engagi ng t h e world, and t h e p os s i bi litie s of wh at we’re uncoveri ng i n Foundat i ons . Th e f irst years are really i mmers ed i n t h i s all t h e t i me. A cl e ar one would be Ch ri s t o and Jean-Claude and what t h ey di d i n Cent ral Park. He gre w up i n Romania, a communi s t count r y at t h e t i me, and h i s j ob whe n h e was n’t goi ng t o ar t s ch ool was worki ng for the government t o t i dy up t h i ngs along t h e t rai n rou te s s o wh en forei gners came t h rough i t looked li ke the count r y was okay, even t h ough i t was n’t , obv i ousl y. And t h en h e went t o Pari s and t h at’s wh ere h e me t h i s wi fe. He made all t h es e p rop os als , one was wrap p i ng t h e Rei ch s t ag. Th e German governme nt h ad fi nally s ai d okay aft er t h e uni fi cat i on. The fabri c was deci ded and des i gned s o t h at t h e of fice workers could look out t h rough i t . It ch anged the count r y comp let ely. One of our graduat e s t ude nts Pat i na went t o s ee i t and wh en s h e came back she s ai d, “It’s never s unny i n Berli n. But duri ng t h at two week p eri od of t h e op eni ng, i t was s unny ever y day.” Peop le were p i cni cki ng all around t h e Rei ch s t ag and s h e s ai d t h ey deci ded t o keep i t up longer, and the s h op s s t ayed op en p as t fi ve. Th e ci t y was ali ve.

A k i : I D is s o m u c h a b o u t c o m i n g t o c o n t a ct wi t h tha t m a de pro d u c t t h o u gh , e ve n m o re so t h an a rc hitec ture. Mi t z i : I thin k so t o o. Bu t t h e re’s e ve n le ss model b uil din g in I D n ow t h a n e ve r. I w o u ld sa y t h ere’s bet t er m o del b u i ld i n g t h o u gh . Be fo re , t h e re were n o 3 D pr in ter s so t h e re we re ‘lo o k s li k e , does n’t w o rk l ik e’ m o d e ls. It w a s a ll a b o u t su r fa ce, but n ow it’s b etter b e c a u se we sp e n d le ss t i m e on t h at a n d m o re tim e o n flu e n c y a n d i t e r a t i o n . So t h at’s a w a y o f s epa ra t i n g t h e b e a u t y o f a low - fi deli t y m o del o r a m o re a n a lo g m e t h o d . Bu t I a lso love t h at o ppo r tun ity f or a st u d e n t t o se e a b e a u t i ful p i ece o f pa per, a n d se e so m e t h i n g e m e r ge t a c t i li t y, li ke in f o a m . T here m a y b e a w a y t o se e t h e a n alog as a prec ur s o r to t h e v i r t u a l t o o ls. A n d m a y b e t h at’s a b etter w a y to la n d . I d o n’t k n ow i f t h a t’s t r ue in a rc hitec ture b u t I st i ll t h i n k m o d e l b u i ld i ng i n a rc hitec ture ha s t o b e so i m p o r t a n t . Donna : Wel l t h a t’s w h e re lo o k i n g a t w h at fi rs t yea r do es , the fi r st ye a r w o rk n e e d s t o c h allenge the f if th yea r wo rk , a n d i f i t d o e sn’t we d o n’t h ave m uc h g o in g o n h e re . Be c a u se n ow I w o u ld say t h e w o r l d o uts ide t h e sc h o o l i s so d i ve r se , a n d you h ave a c c es s to this mu lt i t u d e o f i n fo r m a t i o n . It’s a maz i ng w ha t c a n ha ppe n . T h a t’s w h a t I t h i n k t h e a r ti s t s are f a s c in a ted w ith , li k e i n yo u r w o rk A k i . In m a ny ways

Mit zi: Th e s now j us t made t h e gat es s p ect acular. I h ave a p h ot o of Ch ri s t o wi t h h i s bi g furr y h at on, h e was t h ere t h e day I t ook s t udent s . It was ju st fas ci nat i ng t o s ee t h at wh ole t h i ng h ap p en. Don n a: Th e p ark was ali ve, i t was really ali ve. 15

DRILLFIELD INTERACTIONS PROJECT LED BY CHRISTINE YEN MAP BY CHRISTINE YEN AND LUISA LACSAMANA DATA COLLECTED BY CHRISTINE YEN, JEFF RYNES, YASMIN HUSSAIN, AND STEPHEN GOOD PHOTO BY LUISA LACSAMANA

T he Dr i llfi e ld a c t s a s a sp a c e fo r ga t h e ri ng bet ween p ers onal li fe and academi c li fe on camp us . It is a pl a c e t o st u d y, p la y so c c e r, o r n ap i n a h ammock regardles s of your maj or, year, gender, o r o ther w i se . T h i s m a k e s i t p o ssi b ly t h e bes t p lace on camp us for s p ont aneous i nt eract i on, es pec ia l ly d u r i n g h i gh - t r a ffi c t i m e s bet ween clas s es or s unny days . We ai m t o map t h es e in ter a c ti o n s i n t h i s c a r t o gr a p h y p ro j ect by recordi ng overh eard convers at i ons . Th e s ubj ect i ve n a ture of t h e d a t a i s w h a t we h a ve found s o i nt eres t i ng. We cat egori zed t h e convers at i ons as AUSTIN LEDZIAN im per s on a l a n d p e r so n a l a s a n i n i t i a l s t ep for quant i fyi ng t h e dat a.

I’LL PROBABLY BREAK MY BONES.

TAKE GOOD CARE, SIR.

1 DOLLA. 2 DOLLA.

SUPER CHRISTIAN PEOPLE OVER THERE.

I DON’T GET ENOUGH SLEEP AS IT IS.

I NEVER WEAR UNDERWEAR BECAUSE OF LEGGINGS.

I’M SUPER THIRSTY RIGHT NOW.

THIS GRASS DOE.

PAY A DOLLAR TO SPRAY THE HELL OUT OF THAT GIRL.

GOD IS UNITY.

FACEBOOK IS OVER.

DUDE, SHE’S PREGNANT.

MAN, I GOT SO MANY LIKES ON THAT PICTURE.

BAD DESIGN.

WHEN IS YOUR MOM GOING TO VENMO ME THAT MONEY?

WE LITERALLY LIVE IN THE MIDDLE OF NOWHERE.

DON’T RESPECT ME.

LOOK AT THOSE DUMBASSES.

HOPEFULLY THEY DO GET SICK.

SOCKS JUST GET IN THE WAY, AM I RIGHT?

A POTATO. I WANT TO BE A POTATO.

YOU BETTER TAKE THESE BEADS.

WOW THEY’RE SO OLD.

WHY DOES GOD DO THIS TO ME?

IF IT’S MONDAY, DON’T TALK TO ME BEFORE NOON.

SALAD OR BURGER? WHO AM I KIDDING, I’M GETTING A BURGER.

I DON’T WANNA GIVE THEM A DOLLAR.

I’M EATING FLIES.

I DIDN’T REALIZE HOW BAD PEOPLE WERE.

MY HAIR HURTS.

HER CURVES ARE PRETTY HOT, BUT CURVES ON MY EXAM WOULD BE EVEN HOTTER.

I CAN’T WAIT FOR PEOPLE TO RAIN ON MY PARADE.

YOU DO EVERYTHING WAY TOO SLOW!

SUPER AWKWARD.

BUT MOM... I’M GOING OUT TONIGHT.

WATCH OUT FOR THE...

DUDE, DID YOU SEE THE GREEN MAN YESTERDAY?

POLICE OFFICERS WHO PUT THEIR HANDS IN THEIR PANTS PUT THAT THERE

THAT CLASS IS LITERALLY HELL.

THIS IS SO STUPID.

I CAN’T WAIT FOR HALLOWEEN!

WINTER IS COMING.

YOU KNOW THOSE BUZZERS AT TURNERS? I USE THEM FOR COASTERS AT HOME.

IF I GO TO THE GYM LATER I CAN EAT CHICKFIL-A.

I HATE PEDESTRIANS EVEN THOUGH I AM ONE.

8AM - 11:59 AM PERSONAL NOON - 3PM IMPERSONAL 3:59 PM 6 PM

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GUEST INTERVIEW

MAXWELL RUNKO INTERVIEW BY AUSTIN LEDZIAN AND LUISA LACSAMANA PHOTOGRAPHS BY MAXWELL RUNKO

We had coffee with sculptor and photographer Maxwell Runko, a student at VCU, as he reflected on black holes, the beauty of dryer lint, and the evolution of relationships.

So I always h old t h at i n t h e back of my h ead. But on a cer t ai n level I feel t h at I need t o t r ust mys elf and be fi rm about wh at I s ee i n my h e ad and i n wh at I ’m maki ng. Ri gh t now I ’m doi ng a lot of i nt ui t i on-bas ed work. Th e leg p i ece was my fi rs t p roj ect and I found my s ket ch book from fi rs t s emes t er of s op h omore year and I wrot e down ‘i ni t i al i deas : legs float i ng, of glas s , i n t h e cri t i qu e room.’ And i t’s funny t h at I was worki ng i n t hat way becaus e I don’t work li ke t h at anymore.

W ha t med i u m d id yo u g e t in to f ir st? I s ta r ted in 10 t h gr a d e w i t h p h o t o gr a p h y and t h at w a s m y jum p i n g o ff p o i n t . I go t i n t o Fli c kr s up er ha rd. I w a s in t o p h o t o gr a p h y a n d t h a t se gu ed i nt o b ein g in terest e d i n a r t i n ge n e r a l a n d t h at was w hen I to o k m y fi r st a r t c la ss. It w a s a b as i c ar t c l a s s w here yo u d r a w a se lf p o r t r a i t a n d all t h at . T hen I wen t t o t h e p re - c o lle ge p ro gr a m at VCU a n d it s o l idif i e d w h a t I w a s i n t e re st e d i n – ar t . But it rea l l y s ta r t e d i n 1 0 t h gr a d e w i t h p h o t o grap h y.

Do you s t ill t ake phot os ?

Wou l d you s a y yo u r w o rk is n o s ta l g ic or i nformed by n e w e x p e r ie n c e s ?

Somet i mes I do. I t ook a p h ot o clas s las t s emes te r and I t ook t h es e p h ot os of my mom, wh i ch I h ave yet t o s h ow anyone. My fami ly i s wh at I ’m really i nt o ri gh t now, j us t t h e dynami cs and the relat i ons h i p I h ave wi t h t h em. I ’ve been doing t h es e p or t rai t s wh ere I ’ve been t aki ng a p i ct ure of my mom or my brot h er t h en t h ey t ake a p i ct ure of me and t h en I p ri nt i t out and weave t h em t oget he r (s h own left ). Th ey become t h es e h uge obj ect s t hat p ut t h i s relat i ons h i p front and cent er, really j ust bei ng 50/ 50. Th at’s h ow I s ee my p h ot ography ri gh t now. It’s more of a means t o an end.

I w o ul dn’t sa y m y w o rk i s n o st a lgi c . I’m not ta l k in g a b o u t m y c h i ld h o o d , I ’m t a lk i n g about m y pres en t- d a y re la t i o n sh i p w i t h m y p a re nt s and the dyn a m ic s o f i t , c o m i n g o u t t o t h e m over t h e s um m er a n d t h a t e x p e r i e n c e . T h a t w h o le d ynami c o f the rel a tio n sh i p i s w h a t I ’m re a lly i n t e re st ed i n. So I w o ul d s a y i t’s b a se d o n n e w e x p e r i e n ces . For exa m pl e, I us e d t o p a i n t m y n a i ls a lo t a s a ch i ld. So w ith m y m o m , we d i d t h i s v i d e o p e r formance w here we put o n n a i l p o li sh a n d m a sc a r a, and I over l a id them t o i n d i c a t e t h a t re la t i o n shi p. So tha t w a s b a s e d o n n o st a lgi c e ve n t s b u t I don’t thin k it w a s re a d i ly a p p a re n t . Fa m i ly i s s uch an in teres tin g id e a fo r m e b e c a u se e ve r yo n e h as a f a m il y, w heth e r b lo o d re la t e d o r n o t . If you us e c er ta in thin g s li k e a m o t h e r a n d a fa t h e r, t h os e idea s a re s o m e t h i n g t h a t p e o p le c a n se e t h e ms elves thro ug h.

Doe s your phot og raphy in f orm your s culpt u re w ork? It’s all relat ed for me. Even t h ough i t’s a di ffere nt medi um i t s t i ll t rans lat es my i deas . I ’m more i nt eres t ed i n bri ngi ng my p h ot ograp h y i nt o my s culp t ure work t h an bri ngi ng s culp t ure i nt o my p h ot ograp h y, t h ough . But I don’t t h i nk t h ey’re t wo s ep arat e worlds t h at can’t meet i n t h e mi ddle. I ’ve been doi ng a lot of p i ct ure s t uff, li ke t h os e wove n p or t rai t s , wh i ch I feel are more of a s culp t ure t han j us t a p h ot o s i nce t h ey h ave an ev i dent t race of my h and.

Do you u s u a lly ite r a te o r g o w ith yo u r f irs t i ns t i nc t ? It depen ds . I h a d a t e a c h e r, Mi c h a e l Jo n e s McKean, w ho to l d m e ‘t h e fi r st i d e a i s a lw a y s t h e wors t .’

GUEST INTERVIEW

PHOTO BY LUISA LACSAMANA

Ou t of a l l t he p ro j e c ts yo u’ve w o rke d o n , do you h a ve one t ha t s p e a ks th e m o st to yo u ?

You us e a lot of un ique mat e rials in your work, like dr ye r lin t . How do you de cide w hich mat e ri al s t o us e ?

My tea c her a s si gn e d a ‘c o lle c t i o n’ p ro j e ct las t s em es ter. She s a i d , ‘c o lle c t i o n . T h a t’s a ll I ’m goi ng to s a y.’ I s ta r te d t h i n k i n g o f t h i s i d e a o f c o llect i ng o b jec ts a n d th a t re la t i o n sh i p p e o p le h a ve wi t h c o l l ec tio n s o f ob j e c t s, w h i c h le a d i n t o m e maki ng o b jec ts w ith m y i d e n t i c a l t w i n b ro t h e r. I m ade fi ve o b jec ts a n d ha d h i m m a k e t h e m ‘i d e n t i c a lly’ (s h own o n pa g e 2 0 ) . T h a t’s w h e re t h e w h o le fa m i ly i dea c o m es f ro m . It w a s a ga m e c h a n ge r fo r m e becaus e I c o ul d ta l k a b o u t m y fa m i ly, t h i s su p e r p ers onal rel a tio n s hip, b u t i t c o u ld b e d i slo c a t e d a n d able t o rea c h a vie wer a n d a llow t h e m t o h a ve t h e i r own un der s ta n din g a n d p e rc e p t i o n o f i t . T h a t was a rea l l y pivo ta l m o m e n t i n m y c a re e r a s a n a r ti s t . If I a m a n a r tis t.

I was j us t doi ng laundr y one day, and I t ook the li nt t rap out and I was li ke ‘wow none of my roommat es h ave t aken t h i s out aft er t h ey dr y the ir clot h es !’ It was s o t h i ck, i t s h owed h ow much time was i nves t ed i n t h i s mat eri al. Th ere was t h i s t hre ad s t uck i n t h e dr yer li nt , wrap p ed around on itse l f and goi ng i nt o t h e i nfi ni t e, i t was s o beaut i fu l . I j us t can’t h elp mys elf s omet i mes . Th i s i s j us t a re al l y beaut i ful t h i ng t h at’s h ap p eni ng ri gh t now. I al so t h i nk mat eri als and s ur face h ave a lot of cultu ral s i gni fi cance. L i ke i f you us e an i Ph one i n your work, i t’s goi ng t o h ave wei gh t . So I t h i nk a lot about that i n my work and h ow t h e mat eri als i nform v i e we rs of wh at you’re di s cus s i ng and h ow you can control

GUEST INTERVIEW

wha t they’re s e e i n g. I u se a lo t o f Du r h a m’s rock h a rd w a ter putt y. I j u st li k e t a c t i li t y, I w a n t t o t ouch t hin g s w ith m y h a n d s. Sc h o o li n g h a s t a u gh t me a lo t a b o ut m a te r i a ls, b u t i t’s a lso a b o u t b e a ut y and attr a c tio n . So m e t i m e s I ’m li k e , ‘t h i s i s so beaut i ful I n eed to us e th i s. I n e e d t o c ove r t h i s i n res i n and p a in t it o r a n g e.’

How do you han dle crit icis m? Cri t i ques [p i n up s ] are s o fun and i mp or t ant for me becaus e wh en you’re i n a cri t i que you’re not t h ere to be s omebody’s fri end. It’s not even li ke i t’s a gal l e r y and you’re a v i e wer, you’re t h ere t o t ell t h em what i s worki ng and wh at i s not . We’re t h ere t o h elp e ach ot h er reali ze wh at wi ll be good i n an act ual gal l e r y. I t h i nk cri t i ci s m i s s o v i t al ri gh t now. I ’m 20 and I ’m j us t doi ng t h es e act i ons and moves , maki ng the se deci s i ons . So h av i ng op i ni ons from p eop le outside and i ns i de my clas s i s s up er p i vot al for any you ng ar t i s t . Wi t h out i t I ’d j us t be float i ng i n t h i s obli vion. It’s one t h i ng t oo, wh ere you look at your work and t h en you h ave s omeone els e look at your work. You may s ee t h i s wh ole anecdot al di alogue t h at t h ey don’t s ee. I ’m s o t h ankful I h ave t h e op p or t uni t y t o have cri t i ques . It’s a really neces s ar y as p ect of s ch ool .

Wha t’s you r op in io n o n ‘ Do No t To u c h’ s ig n s ? Bul l s hit. I m a k e m y w o rk t o b e t o u c h e d , b u t nobody t o uc hes it. A n d I ’m n o t a b o u t t o p u t a si gn t h at sa ys ‘to uc h m e! ’ Wh e n we go i n t o a c r i t i q u e p eop le so m etim es g et re a lly c lo se t o m y w o rk a n d t h ey’re lik e ‘ I w a n t to t o u c h i t so b a d .’ A n d I ’m li ke, j us t t o uc h it this isn’t a m u se u m ! I j u st love t ouch i ng t hin g s , un der s tan d i n g t e x t u re s a n d su r fa c e s a n d t h ei r d yn a m ic s . Br in gi n g i n o b j e c t s t h a t a re m a tt e wi t h ob jec ts tha t a re glo ssy a n d h ow t h a t a ffe c t s p eop le. Shin in es s el ic its t h i s we i rd a t t r a c t i ve n e ss t h at makes p eo pl e w a n t to t o u c h . So I p la y a lo t w i t h fi ni s h i ng an d how it a f f e c t s t h e le ve l o f v i e we r i n t e r a c t i on. So i f s o m eo n e a s k s m e i f t h e y c a n t o u c h so m e t hi ng I ’m lik e o f c o ur s e! I ’ve t o u c h e d i t a m i lli o n t i m e s before, i t’s n o t l ik e o n e m o re fi n ge r w i ll d o a n y t h ing. My h ig h s c ho o l a r t t e a c h e r t o ld m e t h i s st o r y a b out h ow on e tim e s he we n t u p t o t h i s p a i n t i n g i n a ga ller y and lic k ed it. She j u st h a d t o b e c a u se i t w a s b e aut i ful. A n d tha t’s s o me t h i n g t h a t I t h i n k a b o u t . Touch i ng i s im po r ta n t.

Do you t hin k Richmon d is a de ve lopin g ce n t er of coun t e r-cult ure ? Ri ch mond i s a ground for cult i vat i ng young ar tists and t h ey h ave a lot of good t h i ngs t o s ay and a lot of good work t o make. But I don’t t h i nk i t wi ll ever be li ke Ne w York, L A ., or Europ e i t’s j us t t oo i nt i mate and t h ere’s not enough revenue t o make the se i mp act ful s p aces . However, my fri end Evana Roman j us t op ened t h i s s p ace on Grace St reet called At lantis Galler y. It’s p eop le li ke h er t h at are really get t i ng the ball rolli ng by t r yi ng t o h elp out t h e undergrads and s h ow t h at we act ually h ave t h i ngs t o s ay. Th rou gh t h e ar t s ch ool and VMFA t h ere’s a lot of great ar tists and ar t h ere, and t h ere’s a lot of ar t i s t s comi n g in from out s i de of Vi rgi ni a wh i ch I love becaus e it’s a wh ole ne w walk of li fe. In a coup le years Ri ch mond could be s omet h i ng, but I know for me at leas t whe n I graduat e I ’m not goi ng t o s t ay.

You ga i ne d a l o t o f f o llowe r s th ro u g h Tu m blr an d Fl i c k r. Ha s t h a t c u ltu re a f f e c te d yo u a t a ll? Tum b l r is a really b i z a r re t h i n g b e c a u se i t gi ves t h i s wa r ped per s pec t i ve o f w h a t m a k e s w o rk go od. If I h a ve m o re n o te s d o e s i t m a k e i t b e t t e r ? If i t h as les s i s it n o t g o o d a r t ? T h a t’s w h y I st o p p e d u si n g Tumblr b ec a us e I g et f re a k e d o u t by i t . T h e i n t e r n e t s t ri kes a c ho rd w ith me t h o u gh b e c a u se t h e re’s so much oppo r tun ity. If yo u w o rk h a rd e n o u gh t h e re i s s o muc h po ten tia l , I h o n e st ly b e li e ve i n t h a t a n d I t h i nk yo u c a n j us t m ak e so m a n y c o n t a c t s a n d m e e t so many p eo pl e vir tua l l y a n d p h y si c a lly. Bu t t h e i n t e r net als o sc a res m e b ec a u se i t’s li k e t h i s b la c k h o le . It get s me a n xio us tha t I ’m a d d i n g t o t h i s d e t r i m e nt al orb. On the in ter n e t , i f o n e t h i n g h a p p e n s i t’s a t ri ckle e f f ec t a n d then yo u se e a ll t h a t st y le a n d aes t h et i c h a ppen in g . So t h a t’s t h e we i rd re la t i o n sh i p I h ave with it. I f in d my se lf lo o k i n g a t i t le ss a n d l es s and rea din g m o re a r t t h e o r y a n d p h i lo so p h y.

How do your s urroun din g s in s pire you? For me Ri ch mond really began t h e convers at i on of mat eri ali t y becaus e wh erever you look t h ere’s so much mat eri al. Even ri gh t h ere t h ere’s a bench and concret e wi t h ci garet t e but t s on t h em wi t h ashe s and h uge wi ndows . A ll t h at s t uff i s s o i ns p i ri ng to me. W h en I walk around by mys elf I ’m obs er ving ever yt h i ng. I j us t t ake ever yt h i ng i n. I remember one t i me las t year I p as s ed t h i s beer bot t le t h at was t i e d in a p las t i c bag, and I t h ough t , ‘t h at’s really beaut ifu l .’ I t r y t o not i ce t h es e mi nut e det ai ls , wh i ch re al l y t rans lat ed i nt o my work. Ri ch mond makes me re al ize s mall moment s and h ow large t h ey act ually are .

PHOTO BY NICHOLAS SCARPINATO

STUDENT COLLABORATIVE

IMPROVISED STRUCTURES PHOTOGRAPHS AND GRAPHICS BY AUSTIN LEDZIAN AND LUISA LACSAMANA

You can find out how to do something and then do it, or do something and then find out what you did. ISAMU NOGUCHI

Us ua l l y b r a in s t o r m i n g, sk e t c h e s, a n d re se a rch p relude model-maki ng. But wh at i f we made models wi t hou t even k n ow in g w h e re we we re go i n g, a s a t e c h ni que for brai ns t ormi ng? We as ked Max well Runko t o mak e a l is t o f m a ter ia l s a n d we d i d t h e sa m e . T h e n , as an exerci s e i n maki ng, we as ked a fe w of our fellow s t ud e nts to us e m a ter ia ls fro m o n e o f t h e se li st s t o m ake a model i n only t h i r t y mi nut es . We p h ot ograp h ed t h ei r work a n d then a s k ed t h e m fo r t h e i r re fle c t i o n s a fe w weeks lat er. AUSTIN LEDZIAN

Tim e us ua lly a c t s o n t h e b u i lt e n v i ro n ment i n a s l ow, c o n si st e n t w a y, li k e i n we a t h e ri ng or c o r ro s io n , b u t i n t h e se i m p rov i se d st r uct ures , tim e m a k es a n a c u t e i m p a c t o n t h e act of c o n s tr uc tio n . A vo la t i le c o n d e n sa t i o n of t i me o c c ur s w ho se e ffe c t s a re a b le t o se e n i m m e di at ely a f ter the s tr u c t u re’s c o m p le t i o n . Pro c es s is w h a t m a t t e r s. Pro c e ss i s more im po r ta n t t h a n t h e o u t c o m e , i f we know the o utc o m e we sh o u ld m ove o n . We need t o expl o re, th a t i s w h a t d e si gn i s, e x p lorat i on. We exper ime n t . We a llow t h o se e x p e ri ment s to ta k e us t o u n k n ow n p la c e s a n d we love each a n d ever y o n e o f o u r e x p e r i m e n t s, e ve n t h e ugly

ones . Some ex p eri ment s ans wer ques t i ons we h aven’t even as ked ours elves yet , we mus t allow t h i s , we mus t recogni ze t h i s , we mus t cult i vat e t h i s . We li ve and work i n a world of organi zed ch aos and we embrace t h i s . We mus t allow our work t o li ve i n t h i s world wi t h us . If we are t o make wi s e deci s i ons we need t o make numerous qui ck deci s i ons . ‘Qui ck’ i n t h e p op ular s ens e of meani ng ‘s p eed’ and als o i n t h e ori gi nal meani ng of ‘endowed wi t h li fe’. Qui ck models are models wh i ch are endowed wi t h li fe, endowed wi t h p ot ent i al. Pot ent i al i s wh y we des i gn. We mus t be unencumbered by t h e need t o ap p ear as i nfalli ble. Great des i gn comes from t h e i nt rep i d i ndi v i dual wh o needs not p rot ect t h ei r s t at us . CHRIS PRITCHETT

MAXWELL RUNKO’S MATERIAL LIST

TOOTHPICKS

SPIT

WATER PUTTY

COLORFUL CANDY

FOUND OBJECT

DIRT FROM THE GROUND

STUDIO COLLECTIVE’S MATERIAL LIST

BRISTOL

WOOD BLOCKS

FOAMCORE BOARDS

WOOD DOWELS

THREAD

WOOD VENEER

STUDENT COLLABORATIVE

KATE BROWN 2ND YEAR ARCHITECTURE

It was s t range worki ng wi t h t h es e mat eri als be cau se I h ad never worked wi t h t h em before. My first ide as wouldn’t work wi t h t h e li mi t s of t h e mat eri al s, which made me reli ant on an adh es i ve (bot h t h e wate r pu tty and t h e bubble gum) but I ’m not s ure now t hat it was neces s ar y. I t h ough t t h e mult i p li cat i on of one stick becomi ng a wh ole h ad p ot ent i al, t h ough .

adhesive

STUDENT COLLABORATIVE

BRITTANY STINGER 4TH YEAR INTERIOR DESIGN

line of symmetry

I was ques t i oni ng op ennes s and clos ednes s wh il e pl aying wi t h t h e i dea of s ymmet r y. W h i le t h e s t r uct ural e l e me nt on t h e left (s andi ng block) i s di fferent from t h e str u ctu ral element on t h e ri gh t (t oot h p i cks ), t h ey creat e s ymme trical s p aces .

STUDENT COLLABORATIVE

SHANNON CAIN 2ND YEAR ARCHITECTURE

I found t h e p i ece of foamcore t o be ver y p lanar so I want ed t o bri ng s ome ver t i cali t y t o i t . I h ad neve r worked wi t h veneer s o I was nâ&#x20AC;&#x2122;t s ure wh at i t s breaking p oi nt would be. My us e of i t was more ex p lorat i onal t h an for an i nt ended p urp os e. I i ni t i ally i nt ended to us e t h e t h read as t h e connect i on for t h e dowel and t h e wood p i eces , but i t looked mes s y s o I t ri ed a di fferent connect i on wi t h t h e bri s t ol.

compression

STUDENT COLLABORATIVE

ALYSSA PERNA 2ND YEAR INTERIOR DESIGN

held up by tension

I op t ed t o us e (cr ude) j oi nt s becaus e I felt t h at p i ercing the foamcore was t oo v i olent of an act i on. Th e wooden block sl otte d i nt o t h e foamcore on t h e left act ed as a s t r uct ural eleme nt, whil e t h e block on t h e ri gh t creat ed a canop y ex p lori ng li gh t and shadow. Th e p i ece of veneer fi t s i nt o t h e j oi nt i n t h e foam p i ece on the right and res t s agai ns t t h e s i de of t h e foam p i ece on t h e left .

HELVETICA IS DEAD Long Live [trans-]serif! ESSAY BY B. CASEY MCGRATH

Casey McGrat h gra du ated f ro m Virg inia Te ch in 201 3 wit h a du al d e g re e in A rc h itec t u re a n d E n gl i s h. He now wor ks a s a n a rc h itec t at Ge nsle r and do es per so n a l pro je c ts in p hotog ra phy, a r t , a n d wr it in g .

s t and 4mos t , let me make t h i s t rans []p are nt— t h e followi ng di s cours e h as li t t le, i f anything, t o do wi t h font , t yp eface, et c. out s i de of the “grap h i c” [double ent endre, bot h i nt ent i onal and referenced t h rough out ] layout . Ins t ead, con side r t h i s t angent [rant ] more of a eup h emi s m for cultu ral i dent i t y [cri s i s ], s p eci fi cally i n regard t o the cont i nui ng debat e of modern v s . p os t moder n vs. cont emp orar y (and wh at t h e fuck all of t h at means). So, wh at does all of t h at mean?? Keep reading... Si mp ly p ut , we (t h e Royal “we”...?) as a s oci et y l ove t o label: bot h p as t and p res ent , and us ually wi t h l ittl e concern for wh at t h e fut ure i s or wi ll be. Hi s t orical l y s p eaki ng, t h i s h ap p ens i n-order [t i meli ne] t o de fine , well, h i s t or y—i .e. t i me + p lace = event (or h i stor y, i n-li ne). W h y t h e need t o defi ne t i me and p lace (of a p res ent or p as t )? Us ually t o communi cat e t o “futu re .” But wai t , t h at cont radi ct s t h e aforement i oned lack of concern for s ai d “fut ure,” does n’t i t ? St i ll t h e question s t ands —wh ere are “we” goi ng wi t h all of this? Th at abi li t y t o communi cat e t h e p as t and p re se nt reli es almos t ent i rely on t h e vernacular or vocabu l ar y of t h at t i me p eri od—and h ow could i t not; or

ESSAY

co n ver s el y, how c o u ld i t re ly o n so m e t h i n g t h at does no t yet exis t? We u se t h e la n gu a ge we we re gi ven, t h e on e we’ve k n ow n m o st o f o u r li ve s, t o c o m m uni cat e t hes e idea s . W h e n p e n i s p u t t o p a p e r ( r a re ly relevant t hes e da ys ) , f i n ge r s a re p re sse d t o k e y b o ard, or t hum b s a re m a sh e d t o p h o n e /t a b le t /p h a b le t /s mar t [?] p o c k etdevic e, t h a t la n gu a ge i s n o lo n ge r li v i ng—i t’s d ea d [ how dr a ma t i c ] , i t’s h i s[ o r h e r ] st o r y. A nd now t ec hn o l o g y per si st s t o re c o rd n e a r ly e ve r y means of c o m m un ic a t i o n o r t r a n sp o r t a t i o n o f t h ough t .

I know]. It’s li t erally an ep i demi c t h at can’t se e m t o mus t er up enough s t rengt h t o ki ll off i t s -ce l l .f or i t s -t i .me: as k any des i gner, ar t i s t , wri t er—he l l , anyone wh o’s ever v i s i t ed a maj or ci t y or had t o us e a means of t rans p or t at i on t h at require d t h e us e of s i gn:age. It’s (almos t ) ever ywh ere you look! Th os e damn Sw+s s ...? No, t h os e damn sans s er-F ’s ! Talk about des i gn(i ng) wi t h i n a box— t h e t h ough t of t h i nki ng out s i de of t h e box was t h rown out of s ai d box ri gh t before modern:ism’s cas ket was allowed t o drop (ca. 1957—R.I .P.i ece s).

O M G , D O E S T H I S M E A N W E ’R E A L L STO RYTE LLE RS ? !? ! ( Pro b a b ly n o t , b u t I ’ll ge t t o t h at .)

So wh y i s i t s t i ll around?—Well, i t’s ki nd of [fi nal l y] on i t s way out , and s o t oo are t h e s ubj ect s t h at / who’ve s ub[n]j ect ed generat i ons t o i t s cri s p and cleanline ss for far t oo long. Th e nouns of nuance [or v i ce ve rsa] are no longer a nui -s ance, no[i ]r are t h ey[?] neglige nt of Ti me’s p ers i s t ent [cont emp orar y] cons i ste nt mi s s i on—t h at M.A rch keep s march i ng on-war(d) and t o t h e beat of i t s own t i ck-t ock verb:age. TO: verb I S t o: age. Th erefore, t o [t rans -]s ©end Time may mean t o gi ve ]i n[t o t h e v i s -age of i t s [making] s er+F ’s . See wh ere i +we are [h op efully] going?

Fir s t, l et’s dea l w i t h t h i s “c o n t e m p o r a r y” b u s i nes s . Un f o r tun a tel y, b e c a u se o f i t s ove r u se a n d m i sh andli ng [o r f um b l in g a lt o ge t h e r ] t h ro u gh ge n e rat i ons , mo s t pres um e “m o d e r n” t o b e sy n o n y m o u s wi t h “c o n tem po r a r y” a n d u su a lly m i st a k e i t t o mean “of t he n ow.” In f ac t , i f yo u lo o k - u p “m o d e r n” i n t h e d ic tio n a r y ( o r o n li n e ) yo u’ll fi n d t h a t i t vali dat es j us t tha t. [ Wa i t , d o e s t h i s m e a n yo u’re s ayi ng t he dic tio n a r y i s w ro n ggg?! — Ye s, so r t o f.] L i ke mo s t l a b el s ( or d e fi n i t i o n s) , t h e y’re a lw a ys op en t o in ter preta tion . A n d fo r t u n a t e ly, fo r t h i s t op i c of deb a te— s pe c i fi c a lly i n re ga rd t o d e si gners — t he w o rd “mo d e r n” h a s a n e n t i re ly d ifferent mea n in g a n d o n e w h i c h d i vo rc e s i t se lf almos t e n tirel y f ro m t h a t o f t h e w o rd “c o n t e m porar y.”

Sweet , s i nful s eri fs ...and now back t o t h i s Stor yTelli ng non-s (c)ent s —I mean&us e ‘s (c)e nts’ s p eci fi cally becaus e of t h e di s t i nct i ve odor of the OVE Rus e of t h e [s eemi ngly] s elf-ap p oi nt ed t i t le . If i t gi ves a des i gner [or any-1] a s ens e of en-titl e me(a)nt , h e/ s h e wi ll cer t ai nly offer up h i s / h e r 2 cent s . Don’t beli eve me?...Remove your t h i nk ing [h ard]h at , p lace i t on an emp t y s t reet , and s ee what you get . It’s not “p roblem-s olv i ng” i f s um of natu ral lands cap es + di gi t al t errai n = bet t er off avoide d.

Fo r the s a k e o f a r gu m e n t , le t’s a gre e t h a t “modern” d ea l s w ith a r t, a rc h i t e c t u re , w r i t i n g, e t c . p roduced so m etim e b etwe e n t h e m i d 1 9 t h c e n t u r y a n d mi d 20t h cen tur y; theref o re , “c o n t e m p o r a r y” [ n o t “m odern”] typically per tains to anything that is produced in closer p roxim ity to , or, “o f t h e n ow” — w i t h “p o st modern” b ein g m o re o f t h e c o n fu se d , a d o p t e d c h i ld b et ween. E . g . m o der n -- > p o st m o d e r n - - > c o n t e mp orar y.

It’s t h e CHA RACTE R of t h es e s er(i )F ’s ; the ir cur ves deci dedly s ex ually ex p li ci t ; t h e nat ure of t h ei r [t urn]on-t ologi cal p ornograp h i c ex i s t e nce ; t h e map p i ng of t h ei r [di r t y] p ros t h et i c li mbs; al l of t h i s bei ng wh at gi ves meani ng t o t h ei r [non] fi ct i onal des cri p t i venes s . It was once belie ve d t h at t h es e s urri p s es [s urri p h s ]—or “p roj ect i ons”— were us ed t o mi mi c or follow t h e br us h marks of Roman let t er out li nes p ai nt ed ont o s t one, flari ng at s t roke ends and corners . Th i s i nh erent ly makes the s eri f [agai n, us ed as an analogy for cont emp orar y cult ural i dent i t y] an anach roni s m of i t s own Stor yTelli ng. And t h at’s not t o s ay t h at t h e p as t s hou l d be forgot t en or i gnored— qui t e t h e cont rar y, it becomes a t h i ng of bui ld[i ng] t h rough act i on or movement [a commi t ment t o t h e t urni ng of the wh eel...wi t h h omage t o t h e maki ng of t h e whe e l ].

This m a k es it sa fe t o a ssu m e t h a t “c o n t e m porar y” wil l a l w a ys b e [ i d e a lly ] t h e m o st current an d up- to - da t e m e a n s o f a r t i st i c e x pres s i on or c o m m un i c a t i o n [contra / d ict i on]. Sin c e thes e a re h i st o r i c a l t e r m s o f re fe re n c e bei ng appl ied to a l ite r a r y c o n t e x t , le t’s t a k e t h a t i dea one step f ur ther a n d m o d i fy t h e i r a p p li c a t i o n t o fi t p ar t s of s peec h. If we t h i n k o f “c o n t e m p o r a r y” as bei ng mo re s yn o n ym o u s w i t h a ve r b ( o r gro u p o f verbs , e xpres s in g a c ti o n o r m ove m e n t ) a n d “modern” with a n o un (o r gro u p o f n o u n s, fu n c t i o ni ng as t he s ub j ec t: re fe r r i n g t o p e r so n s, p la c e s, t h i ngs , sta tes , o r q ua l i t i e s) , p e r h a p s o n e c a n m ove clos er t o un der s ta n d i n g t h e d i st i n c t i o n . Meani ng, “c o n tem po r a r y” i s a lw a y s m ov i n g a n d c h angi ng, or, o n - g o in g ; a n d “m o d e r n” se r ve s i t s p urp os e as a l a b el o r t o d e fi n e [ h i st o r i c a lly sp eaki ng].

Th e Ph i los op h er’s St one begs for br us h s t rok e s of i t s own des i gn and Ti me, t o be drap ed in t h e ornament at i on of careful [and i ndi v i d u al ] cons i derat i on. Th i s t ech nology we li ve i n may not be t h e bes t , and cer t ai nly not t h e mos t h on e st; h owever, i t does s ugges t a p aradi gm s h i ft . If we are to p res s agai ns t t h e re:evolut i onar y[nes s ...t ] of [t rans-] s (c)i ence, let us not forget t h at wi t h wh i ch we pre ss.

Hel vetic a — here u se d a s a n a n a lo gy o r m et ap h or fo r m o der n is m — i s a t y p e + fa c e t h a t’s nearly i n es c a pa b l e fo r “m o d e r n” times ( Webs t er’s d ef in itio n ) , i. e . c o n t e m p o r a r y c u lt u re . . . [Ironi c,

TRANSPARENCY STUDY Representing a three-dimensional object on a flat surface asks certain things of the imageâ&#x20AC;&#x2122;s author and reader. First year students in Jim Bassettâ&#x20AC;&#x2122;s studio examined the structure and intensity of these requests in collaged eight-inch cubes.

SOPHIE COLLE Within my piece, I aimed to gain an appreciation for the relationship between solid and transparent objects. With that in mind, I represented this interplay by overlapping shapes, geometries, and several hues of two different colors, all working to imply a solid 8â&#x20AC;? cube. 37

SOFIA RAMOS I imagined light being shown through the back of my cube that contrasts the scale of each face. In this project, I explored the transparency of a cube and how it is affected by light and space. Through the study, I realized the importance of space, specifically the whitespace, while further developing my understanding of transparency.

ALI HERMSMEYER I wanted to understand how the opacity acted to orient and give depth to my cube. Light radiates from the center of the cube and the frontmost prism anchors the piece. I explored how the presence of light affects the hue, value, and chroma of various colored cubes, specifically those that are “transparent”. I also experimented with placement–how I could organize 1”, 2”, and 4” cubes to imply one cohesive 8” cube. 39

SYDNEY SISK Light shines onto my cube from above and into the negative space within center of the cube. I explored the transparency of a cube and how it is affected by light and space.

SEAN MCGILLICUDDY The weight and variance in color makes a dynamic cube but I wanted to retain a sense of balance. I was exploring the ways in which a color changes when overlapped. In this piece, I tried making the overlapping section darker and less saturated. 41

ARTICLE

PLAY IS CONTAGIOUS RESEARCH BY CHRIS MORGAN EDITED BY STEPHEN GOOD AND AUSTIN LEDZIAN PHOTOS BY OSCAR SALGUERO

t’s n o t o uts i d e o f Osc a r Sa lgu e ro’s o r I D E O ’s c ha r a c ter to ge t e m p loye e s t o fi n d ro o ft o p games by dr a w in g a l l ove r t h e i r o ffi c e w i n d ow s, wh i ch pa r tl y expl a in s h ow t h i s m a t c h w a s m a d e . Fo r mut ual in s pir a tio n , Osc a r w a s i n v i t e d by I DE O B os t on to jo in their t w o we e k re si d e n c y p ro gr a m. Hi s c o m pel l in g a pp li c a t i o n p ro p o se d a re c o n si d erat i on o f the f o o s b a l l t a b le , w h i c h h e w a s i n sp i re d t o do w hen ref l ec tin g o n h i s c h i ld h o o d i n Pe r u , wh ere “ever yo n e g row s u p w a t c h i n g so c c e r o n p e r fe c t green f iel ds .”

p i p e cleaners . Wi t h i n t h e h our, t went y-fi ve wil d i t erat i ons of t h e world’s mos t p op ular s p or t stood nex t t o each ot h er wi t h i ndex -card s ummarie s. “ War Zone Foot ball” p layed on a concret e cou r t wi t h p os s i ble land mi nes , i llus t rat es a s t rate gy common t o many of t h e ot h er ex p lorat i ons : ne w obs t acles t o exci t e p lay. On anot h er fi eld, ai r ve nts made t h e game i nt o a s ynt h es i s wi t h p i nball. This exerci s e demons t rat ed h ow p eop le s earch for ne w op p or t uni t i es wi t h i n gi ven li mi t s . Th e des i re t o creat e forces you t o adap t . A mountain, a ci t y s t reet , or a ch urch can be t h e s occer fie l d. Os car s p ent a week p rot ot yp i ng ne w i deas abou t foos ball, s uch as bei ng able t o ch oos e your t eam of cus t omi z able p layers at t h e begi nni ng of ever y match, or us i ng modular obs t acles on t h e fi eld, i nv i t i ng the audi ence t o affect h ow t h e game unfolds .

Os c a r, a n in du st r i a l d e si gn gr a d fro m 2 0 1 2, now w o rk s a t Kid O a n d w a s i n v i t e d t o a d e d i c a t e d h our o f expl o r a tio n a t I DE O , w h e re h e p ro m p t ed t h e des ig n er s to c re a t e t h e so c c e r fi e ld o f t h e i r d reams . Os c a r ha d s et m o m e n t u m a ro u n d t h e p e r i p her y of the o f f ic e. W hi le m a k i n g i n t ro d u c t i o n s a ro und t h e s tudio , he w a l k e d I DE O st a ff ove r t o t h e i r wi ndows a n d a s k ed them t o i m a gi n e , w i t h d r y e r a se markers o n g l a s s , a s o c c e r m a t c h u n fo ld i n g o n t h e ro ofs cap e. Sl o ped ro o f s , a lle y w a y ga p s, p a r a p e t s a n d fences were a da pted to fo r m n e w re la t i o n sh i p s b e t ween t h e pl a yer s , g o a l s , fa n s a n d d i e h a rd fa n s.

By i ncludi ng ot h ers i nt o h i s des i gn p roces s , he p ract i ces wh at any p layful obj ect mus t do: i nspire ot h ers t o p lay. Aft er t h e For t ni gh t fellows h i p, Oscar ret urned t o des i gni ng t oys for K i d O i n Ne w York Ci t y. To follow Os car’s work and s ee t h e foosbal l t able p rot ot yp es , v i s i t www.os car-s alguero.co

Tea m s s ta r ted p ro t o t y p i n g w i t h le go s, m a r b les and

ARTICLE

P H OTO BY J E F F GOL F B E R G / E STO

CLOUD W R ITIN G BY C A R LY LANDERS I NTE RVIE WS BY AU STI N LEDZ I AN, MEGHAN KOLCUM, A N D C A R LY L A N DE RS

n e o f the g re a t e st t h i n gs a b o u t b e i n g a des i gner is pus hin g t h e b o u n d a r i e s e ve r yd ay and exper im en tin g t h ro u gh a m e d i u m t h a t gi ve s way t o b ea utif ul , c rea tive e x p re ssi o n . A k i Ish i d a , a p rofes s or in a rc hitec ture an d Iv i c a Ic o Bu k v i c , a p ro fe s s or i n co m puter m us ic , a lo n g w i t h a t e a m o f st u d e n t s , h ave crea ted a pl a yf ul i n st a lla t i o n o f li gh t a n d so u nd t h at do es jus t tha t. Th ro u gh t h e u se o f d o ze n s o f L E D s , spea k er s , a n d the st r a n ge st r a sp b e r r y p i e s yo uâ&#x20AC;&#x2122;ve ever en c o un tered, Is h i d a a n d Bu k v i c li t u p o u r su r ro u ndi ngs an d o ur im a g in a t i o n s w i t h w h a t t h e y c a lle d T h e Cloud .

t h at emi t s ound and mult i -colored li gh t i n res ponse t o t h ei r env i ronment . E ach cloudlet i s mad e of acr yli c and alumi num h oneycombs t h at form a p ri s mat i c ves s el. Th e t ri p od-s up p or t ed ves s el might conj ure t h ough t s of Th e Wa r of t h e Worlds , but the cloudlet sâ&#x20AC;&#x2122; s i ze and h es i t ance t o move s ugges t s the y h ave a more benevolent t emp erament . E ach vesse l is equi p p ed wi t h t h ree colored L E D s , a s mall s p e ak e r, li gh t s ens or, a mi crop h one, and a Ras p berr y Pi. Not t h e deli ci ous ki nd you eat wh en you v i s i t you r grandmot h er, but t h e vers at i le mi cro-comp ut er that can be p rogrammed t o make s ounds wh i le emitting var yi ng levels of li gh t . Th i s may s eem comp li cate d, but Bukv i c t augh t dozens of p eop le h ow t o u se t h e i nt er face i n a s event y-fi ve mi nut e workshop.

Or ig in a l l y l o c a t e d i n We lb u r n Sq u a re , r i gh t out s i de of Wa s hin g to n D . C. , T h e Clo u d i n st a lla t i o n cons i s t s of f if ty in depen d e n t m e m b e r s k n ow n a s c loudlet s ,

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P H OTO BY J E F F GOL F B E RG/ E STO

Buk vic f el t tha t T h e Clo u d w a s a n e n t i re ly i n t e ract i ve exper ien c e, r ig h t d ow n t o t h e p ro gr a m m i n g of t h e cl o udl ets . In hi s ow n w o rd s, h e “e x p e r i e n ced t h e C l o ud in a w a y s i m i la r t o t h o se h e w a s t e a c h i ng.” He foun d tha t the Clo u d “m a n i fe st e d w i t h [ h i m ] weari ng m ul tipl e ha ts - - t h a t o f a n e n gi n e e r, c omp ut er pro g r a m m er, a so u n d a r t i st , i n t e r a c t i o n d e s i gner, an d per ha ps m o st i m p o r t a n t ly c o lla b orat or.” In a s ea o f c l o ud le t s, e a c h o f t h e fi ft y t e a m s p res ent were g iven o n e t o c a ll t h e i r ow n . T h e t e a m s could pro g r a m their clo u d le t i n a n y w a y t h e y saw fi t , even g ivin g it a n a m e . A s A k i e x p la i n e d , “ Teams co ul d m a n ipul a t e w h a t k i n d o f so u n d [ t h e c loudlet ] m a k es a n d the s p e e d a t w h i c h t h e so u n d a nd li gh t are em itted. So , e a c h gro u p, t h ro u gh t h e soft ware, deter m in ed the b e h a v i o r s o f e a c h o n e .” It b e came a co m m un ity- dr ive n p ro j e c t w i t h p a r t i c i p a n t s rangi ng fro m s even to s e ve n t y ye a r s o ld , c r a ft i n g a d reamli ke en viro n m en t w i t h i n a c i t y b lo c k o f gre e n s p ace.

Th i s net worked ar t i ns t allat i on requi red an i ncredibl e amount of res earch and ex p eri ment at i on. A ki , Ico, and t h ei r t eam of Tech s t udent s engaged t h e commu nity: bus i nes s es , out reach organi z at i ons , even a group of mi ddle s ch ool s t udent s . Th e Cloud s p arked more than j us t a fe w L E D s , i t s p arked i magi nat i on, curiosity, and creat i v i t y wi t h i n t h e communi t y. Aki s aid, “I t h i nk i t di d s er ve a curi os i t y. It looked li ke t h ere was s omet h i ng i n t h ere t h at p eop le di dn’t unders t and, and s o many came t o as k about i t .” On t h e s ame not e , Ico t old us , “ Th ere was a lot of exci t ement i n s eei ng the i ns t allat i on grow and unfold i nt o a s elf-s us t aining ecos ys t em, a reflect i on of t h e communi t y t h at buil t it.” A ki even t old us about a gi rl wh o was s o excite d about h er cont ri but i on t h at s h e came t h e fi rs t night wi t h h er mot h er, and t h e s econd ni gh t wi t h h er dad. “ Th e cloudlet s were p laced i n t wo conce ntric ci rcles . Th e ci rcles were cut op en at t h ree points of ent r y s o t h at p eop le could meander and i mme rse t h ems elves i n t h e Cloud t o s ee and h ear the cloudlet s communi cat i ng from mult i p le di rect ions.” Vi s i t ors could meander t h rough t h e net work of cloudlet s and li s t en as t h ey s p oke t o each othe r, and t h e cont ri but ors were doubly i nt ri gue d by wh at t h ey h ad creat ed. Ico t old us , “Becaus e the y h ad s uch a p rofound effect on t h e fi nal out come , many ret urned t o our s i t e over t h e nex t cou pl e of days t o s ee h ow t h ei r creat i on p ros p e re d... Th ei r cloudlet became t h ei r own p rox y, and the Cloud became a mani fes t at i on of t h e community.”

“On c e they were p ro gr a m m e d … t h e y c o u ld , wi t h t h e guida n c e o f o ur s t u d e n t s, fi n d a sp o t fo r t h e i r cloudlet to b e pl a c ed in t h e la n d sc a p e . A ll fi ft y sp ot s were m a rk ed the da y b e fo re , b u t i t w a s u p t o t h e t eam t o dec ide exa c tl y wh e re t h e y w o u ld p la c e i t ,” A k i s t at ed. With f o ur va r ying h e i gh t s, c o lo r s, so u n d s, a n d p i t ch es fro m ea c h c l o ud le t , t h e p a rk b e c a m e a n u n dulat i ng exper ien c e, eb b i n g a n d flow i n g i n re sp o n se t o t h e so un ds a n d l ig ht s. T h e so u n d s a n d li gh t s we re gent le an d a m b ien t, c re a t i n g w h a t A k i c a lls a n “ i m mers i ve oa s is ,” a s ur rea l re fu ge fro m t h e c h a o t i c , sp r a w ling ci t y.

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PH OTO BY J E F F G O LF B E R G/E STO

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P H OTO BY L I Z R O LL

P H OTO BY J E F F GOL F B E RG/ E STO

T he m ea n der in g a sp e c t o f T h e Clo u d ga ve s ound a s pa tia l q ua l i t y t h a t e n ga ge d t h e se n se s i n a un iq ue w a y. Vi si t o r s we re b e n d i n g d ow n t o h ear them m o re c l ose ly, o r st a n d i n g m o t i o n le ss , h eld in s pa c e by a gro u p o f p a r t i c u la r ly h a r moni ous in ter a c tio n s . C h i ld re n we re d r a w n t o t h e c l oudlet s cl o s es t to their h e i gh t b e c a u se t h e y c o u ld h ear an d s ee them b e st . T h e Clo u d’s i n t e r a c t i ve nat ure pl a yed w ith the c o m m u n i t y o n a n e x p lo r a t o r y level: how m a n y w a y s c a n we e x p e r i e n c e t h i s s ound?

From ex act ly wh at color L E D s t o us e t o gi ve the ri gh t ambi ance, t o t h e s p aci ng of t h e cloudlets, to form t h e bi gger cloud – ever y deci s i on was made wi t h t h e i nt ent i on of p rov i di ng a p layful ex p erie nce . A n ent i re communi t y got i nvolved i n an i ns t allation t h at was bi gger t h an any i ndi v i dual. Th e Cloud was a beaut i ful, t rans i ent ex amp le of h uman-centric des i gn. It was a s ymbi ot i c i nt eract i on betwe e n t ech nology and lands cap e; nei t h er was overs h ad owe d and bot h were enh anced by t h e ot h er’s ex i s te nce .

T his is the k in d o f e x p e r i e n c e yo u d o n’t ge t i n galler y ar t. A k i expl a i n e d w h a t i n t r i gu e s h e r so much ab o ut pub l ic a r t , so m e t h i n g sh e h a s b e e n i nvolved w ith s in c e her t i m e w o rk i n g a t t h e o ffi c e o f James C a r pen ter a f ter gr a d u a t e sc h o o l. “ How p e o p l e come in c o n ta c t w ith t h e w o rk i s le ss c o n t ro lle d t h a n i n t h e ga l l er y, it j us t h a p p e n s. Yo u c a n’t a lw a y s b e th ere t o tel l peo pl e how t o se e i t a n d h ow t o h e a r i t , s o you ha ve to a n tic ipa t e h ow p e o p le m i gh t i n t e r a ct wi t h it .” Bein g a b l e t o a n t i c i p a t e h ow so m e o n e w ill react is n ea r l y im po s s i b le . T h e Clo u d w a s b e a u t i fu l i n j us t tha t w a y: it w as u n p re d i c t a b le , e c c e n t r i c , and was given n e w l if e w i t h e a c h p e r so n w h o e x p e r i e nced i t . A f ter its tim e in We lb u r n Squ a re , T h e Clo u d t raveled a f e w b l o c k s to Gle b e Ro a d , w h e re i t fo u n d a h ome in the l o b by o f t h e Vi r gi n i a Te c h Re se a rc h Cent er.

DESIGN CO-DIRECTORS IVICA ICO BUKVIC ASSOCIATE PROFESSOR IN MUSIC TECHNOLOGY AKI ISHIDA ASSISTANT PROFESSOR IN ARCHITECTURE DESIGN TEAM SUZANNE BERRY ARCHITECTURE CIARA BUCCI ARCHITECTURE HYUN-JUN CHO ARCHITECTURE COREY CRIST ARCHITECTURE LUKE DALE ARCHITECTURE ZIHAN HAFIZ ARCHITECTURE ZICHUN HUANG ARCHITECTURE CHRISTINA LOCONTE ARCHITECTURE RUNYU MA SIYU ZHANG ARCHITECTURE GE ZHOU ARCHITECTURE ZACHARY MILLER ENGINEERING SCIENCE AND MECHANICS OMAVI WALKER COMPUTER SCIENCE UNDERGRADUATE SUPPORT TEAM ALEX CLEVELAND ENGINEERING (ALUMNUS) SPENCER LEE COMPUTER SCIENCE (PH.D STUDENT)

THE VERTEBRAE WRI TI NG AND P H OTOS BY B RYC E B E C KWI T H

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DMCO T E AM B RYC E B E C KW I T H T Y L E R L AFONTAI NE MAT T YOU NG COL L AB ORATOR ZAC H DOW NE Y ( PAR A B OX LA B S ) CONT RIB U TORS E T H AN B I NGE MAN NI C K COAT E S B RI AN KATO CORE Y C RI ST ADAM B U RKE J U DI T H J OH NS ON J ONATAN ANDE RS KE V I N GARC I A GE ZH OU H ANNA J OS E C K AL E X H E L MS MI C H E L L E PANNONE H AB E E B MU H AMMAD S E AN Oâ&#x20AC;&#x2122;MARA RE B E CC A PANTS C H YS C H A K MART I N ANGST E RI N YOU NG

h e Ver t ebrae funct i ons as an i nt er vent i on u sing fe l t t o addres s t h e cent er ci rculat i on ai s le of Bu rchard Hall and ques t i ons i t s p res ence as a s p ace for me e ting and collaborat i ng. By t h e s us p ens i on of t h e undulat i ng ribs, the i ns t allat i on i mp li es and p roj ect s s p at i al bound arie s, and t h e reverberat i on and res onance of s ound wi t h in diffe re nt locat i ons of Burch ard Hall i s decreas ed. Th e ad dition of a s oft i nt eri or cei li ng p lane encourages s p ace for conve rsation and a s ens e of p ri vacy and creat es a h ome for the De sign/ Bui ld collaborat i on t able.

Zac h Dow ney g ra du ated f ro m A rchi te cture in 20 0 5 a n d h a s sin ce wor ked at SHoP a rc h itec t s a s t h e D i gi t al De sig n Sp ec ia list a n d t h e D i rector of Ap p lied Tec h n o lo gy. H e now works at Para box , a co m pa ny he co-found e d th at develo ps au tom ation tools fo r a rc h itec t u re, e ngi ne e ring , and co n st r u c t io n f ir m s. Thes e tools increa se t h e ef f ic ien cy o f workflows so t h at get t in g to t h e e nd prod uct is faster a n d ea sier. He i s also an ad ju n c t pro fesso r at Col umb ia and th e N ew Yo r k C it y Col l eg e of Te chn o lo gy.

In collaborat i on wi t h Zach Downey of Parabox Labs, this p roj ect was des i gned t o i ns t i gat e t h e us e of p arametric de sign t ools . Not neces s ari ly for t h e p roces s of form mak ing, bu t for unders t andi ng t h e role of t h es e t ools as i nstigators of s p eed, effi ci ency, and accuracy i n our met h ods of de signing. By us i ng gras s h op p er s oft ware, t h e p h enomena of cate nar y cur ves were eas i ly s i mulat ed i n order t o manipu l ate the cur ves as s umi ng grav i t y as a key comp onent within the i ns t allat i on. In us i ng grav i t y, not neces s ari ly as a l imit to the des i gn, but as a dri ver for t h e language of t h e i ns t al l ation, we became i nt eres t ed i n creat i ng an i nt er vent i on t h at was sol e l y s t r uct ured on t ens i on. Relyi ng up on t h e cont ext in which we were des i gni ng, t h e columns became t h e compre ssive s t r uct ure t h at allowed for a comp let ely t ens i le i n te r ve ntion. Th e works h op s t h at were h eld i n order t o de sign the i ns t allat i on were an i nves t ment i n t h e p ower of col l aboration wi t h di gi t al t ools as a met h od of worki ng t o enhance spe e d and quali t y i n des i gn di s cours e. O ver t h e cou rse of two works h op s wi t h i n t wo days , t h e i ns t allat i on deve l ope d from mere i deas t o a s et of document s for maki ng. The mate rial s were fabri cat ed and t h e i nt er vent i on was as s embl e d ove r the followi ng t h ree days , allowi ng t h e p roj ect t o exist within one week. In all, t h e i nt er vent i on i s dri ven by t h e i nt ent of the Digital Ment ors h i p Collaborat i ve as a s t udent led and su staine d res earch and demons t rat i on group wi t h i n t h e S chool of A rch i t ect ure + Des i gn. Th e group funct i ons as a think t ank for di gi t al t ools and p roces s es , beli ev i ng in working collect i vely t o s h are worki ng knowledge and i d e as of the di gi t al world wi t h our p eers and colleagues . 49

PHOTO ESSAY

CHOREOGRAPHING DESIGN WRITING BY KEVIN GARCIA AND MEGAN MYKLEGARD PHOTOGRAPHY BY AUSTIN LEDZIAN AND LUISA LACSAMANA WITH MODELS FRANCIS NGUYEN AND HALEY LITTON

ights are dimmed in the concert hall and a spotlight illuminates the stage, revealing a ballerina, undulating with formalized and precise movement. Laced within the pantomimes of dance are characteristics of design principles, thus the analysis and developed acumen in dance cultivates a keener insight to the design process. Through instruments of creation, the designer synchronizes a link between imagination and object. Both the choreographer and designer are visual communicators, relaying messages through sinuous parallels. In the expression of dance, design is distilled. Choreographers are the designers of dance – they methodize emotions. A choreographer hoping to communicate joy would not attempt to relay this emotion to the audience using a position such as a hunch in the back. Dance uses the motion of the body as a language, a language that requires appropriate use. Designers use material to reveal a specified sentiment within a space. Tadao Ando’s Church of Light saw sections of the wall removed to create a cruciform focalpoint. The subtraction of concrete allows for a beam of light to filter through the altars of the church and to the tenant. The dark enclosed concrete structure and the illuminated cross seeks to produce a spiritual link, thereby founding a connection between the material and the celestial. The relationship between the dark enclosure to the intense beam of light allows for the space to feel solemn, just as slow sedated movements would bring melancholy to a dance. Being mindful of connection is crucial for designers to communicate emphatically. Connections are what transforms design and dance from prosaic to beautiful. In a wooden construction, lap joints serve as a capable link relying on each individual point of contact. If one piece were to fail to withstand the force exerted upon it, the other would fail in consequence. When preparing a performance, the choreographer scrutinizes the synchroneity between the dancers so as to transmit unity and thus expresses a coherent image. Each dancer’s movement contributes to the design and by effect, coordinating subtleness becomes crucial. If one dancer in a performance or one part of a product performs incorrectly, the product as a whole fails. In order to effectively acquaint audience and consumer to their creation, choreographers and designers alike must decisively particularize connections between the individual parts. Urban dance competitions use choreographed sets comprised of multiple songs, sometimes in contrasting styles. The

transitions from song to song become points of interest in the set, as it blurs the start and end of a song. That connection brings opportunities of special change and subtle variations in choreography to transition to the next piece. Architecturally, the transition between inside and outside allows a shift in the experience of the building’s relationship with its site. Dancers play with the rhythm of music to find a break that accentuates this contrast; a deliberate decision. Dance carves patterns of movement from empty space, while architecture anticipates prospective movement through the development of boundaries and the establishment of spatial structure. Our comprehension of space is indicative of the dynamics within the interactions of power and constraint. Just as a dancer’s body is moved by the music, we recognize implied behavior through composition. The way a chair is built, for example, dictates how one sits in it, their level, and their incline while music determines a dancer’s tempo, emotional portrayal, and style. Settings can similarly be imagined according to movement, as surfaces inscribe connections between bodies and objects in the setting. Choreographies compile a series of movements that relates to the music, setting, and other dancers. The dimensions of the stage, the number of dancers present, and the existence of props affect the composition of choreography and the choreographer must adjust to these limitations. An architect choreographs the movements of people through the formation of walls or columns which delineate space; one must move through a space in accordance to its construction. These sequences create a physical form, a visual that’s engaging and changing as a result of the boundaries incurred by designer and choreographer. The consideration of several variables constituted as a whole is the fundamental parallel between the work of choreographers and designers. The designer connects materials and parts and the dancer connects the pas de bourrée to the pirouette to make vibrant constellations from independent movements. Choreography is approached with the whole in mind, with each instruction purposeful in its contribution to an integral image. A product must be designed in similar fashion, with a concentration of the collective parts aligning harmoniously into one. Through the process of creating, both choreographer and designer create a vernacular in their product, each part revealing a relationship to its counterpart.

NIKKI GIOVANNI INTERVIEW BY CHRISTINE YEN AND LUISA LACSAMANA PHOTOS BY LUISA LACSAMANA POEMS BY NIKKI GIOVANNI

FACULTY INTERVIEW

Wh a t ma d e you g e t in to w r itin g ? I lik e s to r y- tel l in g , a n d n i n e t y p e rc e n t o f a ll w ri t i ng i s s t or y t elli ng. And I li ke h i s t or y. My mot h er was an Engl ish maj o r s o I didn’t w a n t t o b e a n En gli sh m a j o r becaus e I want ed my own t h i ng. And my s i s t er was a p s yc hol ogy maj o r, s o I didn’t w a n t t o d o t h a t e i t h e r. I j u st love wri t i ng, but i n any ot h er world I couldn’t do i t , couldn’t e arn a li vin g . Wh a t k i nd of a d vic e w o u ld yo u g ive s o m e o n e w ho n e e ds mot ivat ion ? I wa s a m a zed w he n p e o p le t a lk a b o u t m o t i va t i on, becaus e fi rs t of all i t’s really j us t i nt eres t i ng bei ng ali ve . And t here a re pro b a b l y re a so n s t h a t p e o p le w i t h d r aw from t h e world. But wi t h draw does n’t neces s ari ly mean you’re not in teres ted. I love m y c o r n e r h e re w i t h m y map le t ree. How could you s i t h ere and look over at Blacksbu rg, esp ec ia l l y in the fa ll, a n d n o t b e t h r i lle d t o b e ali ve? Don’t you j us t love t h e fall? It’s j us t beaut i ful. I j us t sit he re wit h m y f l ower s , s o m e o f t h e flowe r s t h a t I ’ve kep t ali ve from my mot h ers funeral s o I ’m p leas ed about t hat. It’s sentim en ta l b ut it’s ve r y n i c e . Spea k i ng of Bl a c k sbu r g , is th e re a n y th in g yo u par t icularly love about t his are a? It’s b ea utif ul . A n d I re a lly d o li k e t h e p e o p le . Th i s i s a walk around, bi cycle t own. I don’t ri de t h i s bi cycl e , this was a g if t f ro m m y p u b li sh e r b e c a u se I w ro t e a book called Bi cycles and t h i s i s t h e bi cycle t h at we p h ot og raphe d wit h. But I do r id e a b i k e , i t’s a t e n sp e e d . I li ve i n Ch ri s t i ans burg s o I ’m not goi ng t o ri de from Ch ri s t i ansbu rg t o Bl a c k s b ur g b ut I r i d e o n t h e t r a i ls so m e t i mes , i t’s j us t ni ce. A nd we’re t h e ki nd of t own t h at can d o that. Som etim es I pa rk a t K ro ge r a n d w a lk t o c a m p us , wh i ch i s ni ce becaus e i t gi ves me s ome t i me t o t h i nk and ge t some f res h a ir. How d o you fi nd a ba la n c e be twe e n se r io u s n es s an d playf uln e s s ? I thin k , l ik e m o s t w r i t e r s, I a m p re t t y se r i o u s p ers on. But t h at does n’t mean you can’t laugh . Mos t t h i ngs are fu n n y! I l a ug h a t m o st t h i n gs, b e c a u se m o st t hi ngs are abs urd s o I don’t let t h em get on my ner ves . And I’m a wri ter s o I da ydrea m a lo t . T h e o t h e r d a y, I sa w t h e fog comi ng off t h e mount ai ns , and I was wri t i ng a p oem abou t it. A n d I w a s s a yi n g t h a t we c a ll t h e m t h e ‘Smoky Mount ai ns’ but wh at i t really i s , i s t h e bi rds waki ng u p and mak in g up their b e d s, a n d so a s t h e y’re flu ffi n g up t h ei r beds , t h at fog i s act ually t h e dus t comi ng off i t [lau ghs]. I ju s t l ik e to l o o k a t t h i n gs a n d w o n d e r a b o u t t h em. I ’ve always unders t ood ‘t h e early bi rd cat ch es t h e worm’ bu t I ’ve n ever un d e r st o o d w h y t h e w o r m go t u p ! If I was t h e worm I would j us t ki ck back for a bi t , h ave a l ittl e bre a k f a s t, a n d l et e ve r y t h i n g se t t le ! Wh a t’s a t yp i c a l m o rn in g ? If I ha ve m y w a y, I li k e t o ge t u p a n d w r i t e . Yo u know, j us t make s ome coffee and I h ave my fres h dreams , whate ve r was o n m y m in d. I ’m w o rk i n g w i t h N A SA r i gh t now becaus e we want t o t ake s ome wri t ers down t o A nt arctica and I’m thr il l ed! W ha t I w a n t a s t h e e x p e d i t i o n le a der i s t h e blogs . I want t o wake ever ybody up t o s ee t h e midnight su n , yo u k n ow, it’s n e ve r re a lly li gh t a n d i t’s n ever really dark. And I want t h em t o blog, t o li t erally come from t heir drea m s to th e i r c o m p u t e r s. I t h i n k i t w o uld be fun. A s a p rofes s or yo u w o rk a lo t w ith th e yo u n g er g e n e rat ion s . How do t hey in f lue n ce you? I’m a l w a ys in terest e d i n w h a t k i d s a re t h i n k i n g. I t each creat i ve wri t i ng, s o i t’s a di fferent level of di s cipl ine . You’re n o t a l l owed t o m a k e p re j u d i c e d st a t e m e nt s becaus e res earch i s avai lable, you j us t h ave t o go and l e arn somethin g . On e o f t h e a d va n t a ge s o f b e i n g i n Engli s h and i n creat i ve wri t i ng, i s t h at we can ex p and our minds. I t hin k it’s a l o t o f fu n b e c a u se I t e a c h t h e e i gh t o’clock and I got t o t ell you, wh en I wake up a s i x i n t h e morning I tel l m ys el f ‘ I g o t t o st o p t h i s! ’ A n d t w o ye a r s ago I di d, I was t i red and I di dn’t t each t h e ei gh t o’clock, bu t I so miss ed it. Fo r the sa m e re a so n I w a s t a lk i n g a bout Ant arct i ca. Th ere’s s omet h i ng about waki ng up, get t i ng a cu p of c o f f ee a n d c o m i n g t o t a lk t h a t i s so n i c e . It really i s . So I ’m back t o my ei gh t o’clock. How i mp or t a nt do yo u f e e l it is to re m a in p layf ul in t he f ace of hards hip? I t hin k tha t yo u h a ve t o b e h o n e st w i t h yo u r se l f. A lot of wh at p eop le want t o do i s feel s orr y for t h ems elve s. Al l of u s ha ve s o m eth i n g t h a t h a s h u r t u s, o r t h a t has up s et us , and we’ve all los t fri ends or fami ly. Sh i t h ap p e ns and t here’s n o w a y a ro u n d t h a t . A n d yo u k i n d o f h ave t o p ut i t i n t h at p ers p ect i ve: ‘I ’m not t h e only p ers on hu ngr y, I’m n o t the o n l y p e r so n c o ld , I ’m n o t t h e o ld p ers on t i red.’ A nd you’re not . You h ave t o deal wi t h t h e p ers pe ctive . You’re tr yin g to d o t h e sa m e t h i n g t h a t e ve r yone i s t r yi ng t o do: be h ap p y, loved, learn s omet h i ng, i mprove you r s el f, yo u k n ow? Yo u w a n t t h e sa m e t h i n gs t h at ever yone els e want s .

FACULTY INTERVIEW

You s ee this f l y here ? Yo u sh o u ld se e i n t h e Sp r i ng t h ere are j us t a mi lli on of t h em. But t h ere’s not h i ng t o be done wit h the f l ies b ec a u se t h e y’re j u st fli e s. Yo u’ll p oi s on yours elf t o deat h t r yi ng t o ki ll a fe w fli es . You’ll end u p with some a w f ul l un g c an c e r t r y i n g t o k i ll a fe w fli e s wi t h Rai d, and t h e fli es wi ll end up eat i ng you i n t h e end anyway. My cl a s s l a s t week wa s t a lk i n g a b o u t h ow t o e r a d i cat e Ebola. A nd I s ai d, no, you need t o t alk about h ow t o l ive with Ebol a . It’s a vir us so i t’s j u st go i n g t o e vo lve i n t o s omet h i ng t h at i s res i s t ant t o wh at ever you h ave develop e d to ge t rid of it. It is preve n t a b le w i t h c le a n w a t e r a n d clean ai r. In t h e end we’re all j us t food for worms ! You’ve work ed a l o t w ith c iv il r ig h ts , c o u ld yo u t alk about your e xpe rie n ce s ? Well this c er ta in l y i sn’t so m e t h i n g t h a t i s go i n g t o go away, I mean look at Fergus on and all t h e p oli ce s hootings. It seem s l ik e a b o ut e ve r y t e n ye a r s we h a ve t h i s s p at e of p oli ce s h oot i ngs . I ’m from Ci nci nnat i , and we h ad a whol e bu nc h o f them a n d t h e m a yo r c a lle d m e u p a n d sa i d ‘ W h y don’t you come over and t alk t o t h e p eop le?’ And I said ‘And say w ha t? ’ a n d he s a i d ‘we ll yo u k n ow, a sk t h e m t o calm down,’ and I s ai d ‘you’ve got t o be ki ddi ng. If I come ove r t o t a l k to the peo pl e I ’ll su gge st t h a t t h e y a r m t h ems elves and s h oot back! And I don’t t h i nk you want me t o do that.’ How d o you s e e s oc ia l j u stic e tr a n s f o rm in g ? We c er ta in l y ha ve m a d e p ro gre ss. Eve n b la c k p eop le i n t h e s t at e of Vi rgi ni a at one t i me couldn’t marr y. In orde r t o d ef ea t tha t, b l a c k p e o p le st a r t e d t o d o so m e t h i ng called ‘j ump t h e broom’ and t h e coup le was recogni zed in the comm un ity a s b ein g a c o u p le . T h a t’s p re t t y c o o l. We’ve come t h rough a lot , and we h ave a lot t o go t h rough. The re was a tim e tha t the re w o u ld b e n o qu e st i o n o f t h e s up reme cour t r uli ng on gay marri age becaus e i t j us t wou l dn’t h ave c o m e up. We h a ve qu e st i o n s o f w h y we se n d drones i n wh en we s ay we are enh anci ng li fe, but by wh at, kil l ing peopl e? How c a n yo u h a ve w a r a s we h a ve w a r ? T h e US h as been p erp et ually at war. If you ki ll t h at many p e opl e and pu t tha t m uc h b l o o d i n t o t h e so i l w h a t a re yo u g oi ng t o h ave? Vi r us es . You can’t s p end all of your t i me and mone y makin g wea po n s to k i ll p e o p le a n d se n d i n g d ro n e s and t h en s ayi ng ‘we’re t r yi ng t o keep t h e p eace.’ One doesn’t ke e p t he p ea c e by w a r. A n d w a r, by a n y o t h e r n a m e , i s murder. Now we ha ve a rea l p ro b le m b e c a u se Eb o la i s se r ious . We h aven’t h ad anyt h i ng t h i s s eri ous , I t h i nk, s i nce t h e pl agu e . We h a ve to do s o m e t h i n g. I ’m a b i g fa n o f c le a n ai r and wat er. We dri nk bot t led wat er h ere but t h ere are p eopl e who are b a thin g in w a te r t h a t o t h e r s h a ve d e fe c a t e d i n. My s t udent Kwame A lex ander does a li t eracy p rogram in Ghana and I wen t over a c ou p le o f ye a r s a go w i t h h i m . You can go up i n t h e count r y and p eop le don’t h ave wat er. I k now we can do s o m ethin g a b o u t t h a t . We c a n fi n d a w a y t o creat e s ome res er voi rs , t o clean s ome wat er, we can do it. That’s where the en er g y s h o u ld b e . Wa t e r a n d a i r a re i n t ernat i onal. So the q ues tio n w a s c i v i l r i gh t s, b u t yo u d o n’t h ave any ri gh t s i f you can’t li ve. So we h ave t o s t ar t wi t h h ow to mak e a liva b l e s itua tio n . Be c a u se so m e p e o p le t h i n k t h ey s h ould h ave all of t h e ai r, all of t h e wat er, all of t h e mone y. Any fr u it yo u c o ul d w a nt a n y t i m e o f t h e ye a r. We d on’t want t o get us ed t o t h e fact t h at we s h are t h e p lanet . If you bu y a t om a to this tim e o f ye a r i t t a st e s li k e sh i t . I d o n’t care wh ere you fly t h em i n from, you h ave t o wai t for s ome thing calle d Spr in g .

Migrations W hen the s un re t u r n s to the a r ti c c i rc le

L et’s not j udge t oo h ars h ly

f ro m its wi n t e r re st Salmon s wi m up s t ream T he g r a s s es sp ro u t s educ in g t h e w i n ge d

j ump i ng falls and gri z z ly bears

a n d the hoo fe d Gras s h op p ers Po l a r b ea r s a n d t h e i r c u b s m us t f l ee Bef o re the ic e b rea k s up

i gnori ng t h e adv i ce Of ant s make mus i c t o celebrat e Wi nt er’s end

A l tho ug h o th e r s b e gi n a n o r ther n j o u r n e y

Monarch but t er fli es leav i ng t h e s afet y

T he Sn ow Goo se fli e s f ro m the Gu lf o f Me x i c o to m a te a n d b i r t h h e r yo u n g

Of Zi h uat anej o forge nor t h Begi nni ng t h e longes t wi nged j ourney of Sp ri ng

Tw o m il l io n Mo n go li a n Ga ze lle s m ove over the tu n d r a w h e re e a c h gi ve s b i r t h a t the s a me t i m e d e fy i n g the w il l o f p re d a t o r s

Wi t h only t h e h op e of warmt h and t h e p romi s e of gras s es Th ey unfli nch i ngly face:

w ho w o ul d c o n su m e

Hunger

the g a zel l e s’ fu t u re

Th i rs t Predat ors

T ho ug h o n l y, o f c o u r se ,

Wi nds

to provide n o u r i sh m e n t

Rai ns

f o r their ow n

Uncer t ai nt i es

yo un g pre d a t o r s As would I For you

Cotton Candy on a Rainy Day Do nâ&#x20AC;&#x2122;t lo o k n ow I â&#x20AC;&#x2122;m f ad i n g a w a y In to t h e gr a y o f m y m o r n i n gs Or the b lu e s o f e ve r y n i gh t Is it th a t m y n a i ls k eep b re a k i n g Or m a y b e t h e c o r n o n m y se c i n d li t t le p i ggy T hin g s k e e p p o p p i n g o u t o n m y fa c e o r o f m y li fe It s eem s n o m a t t e r h ow I tr y I b e c o m e m o re d i ffi c u lt to ho ld I a m n o t a n e a sy w o m a n to w a n t T hey h a ve a sk e d the psyc h i a t r i st s . . . p syc h o lo gi st s . . . po l itici a n s a n d so c i a l w o rk e r s W ha t t h i s d e c a d e w i ll b e k n ow n fo r T here i s n o d o u b t . . . i t i s

ESSAY

iPhone+Instagram

INSTAGRAM IN A NEW LIGHT

WRITING AND PHOTOS BY RYAN PATTERSON

Ryan Patte r so n gra du ated wit h a d e g re e in A rc h itec t u re in 20 0 9 from Virg inia Tec h . H e wen t o n to work for K PF, a n d n ow Olso n Kund ig . Lig h t a n d t im e a re t h eme s p re se nt thro u gh o u t h is wo r k in archite cture a n d ph o to jo u r n a lis m . The p op ular it y o f h is I n st a gra m and exce llen ce in ph o to gra phy l e d to this correspo n den ce wit h C hr i s Pritche tt. H e em a iled R ya n to ask for ad vice o n a lec t u re a bo ut instag ram. R ya n sen t h im t h is.

Ch ri s , At fi rs t I was t ot ally agai ns t Ins t agram. I h ad vag u e l y h eard of i t and j us t as s oci at ed i t wi t h ot h er ap p s that ap p li ed s up er fi ci al “v i nt age” looks t o camera p hone p h ot os . I was agai ns t camera p h one p h ot ography i n general – I ’ll admi t I was s ome wh at of a p urist – but t h en agai n I was n’t s h oot i ng analogue ei the r. I di dn’t even t ake p h ot os wi t h my older p h ones , bu t wh en I got an i Ph one I reali zed t h at t h e camera was act ually good enough t o cap t ure decent quali ty of li gh t , s o I s t ar t ed s nap p i ng away as I would with my dSL R. I never t h ough t of p os t i ng t o Ins t agram, i t was n’t even on my radar. Ins t ead I j us t di d my us ual Fli ckr up load wi t h t h e s h ot s from my p h on e . I reali zed at s ome p oi nt t h at I was mos t ly t aki ng i Phone p h ot os , my dSL R was bei ng out moded. W h y? Si mpl y

N i ko n D 70 0 0

GUEST INTERVIEW

iPhone+Instagram

b ec a us e m y ph o n e w a s a lre a d y w i t h m e . It’s much s m a l l er a n d req u i re s le ss c a li b r a t i o n a n d a d j u s t ment f o r a dec en t s na p. So b e ga n m y ro u t i n e o f scout i ng a ro un d N YC a r m e d w i t h m y sli m gla ss s creen.

Th e met adat a was es p eci ally us eful as I be gan t o document t h e v i e w from my offi ce wi ndow in Manh at t an wh ere I s nap p ed not e wor t h y weathe r condi t i ons from t h e s ame locat i on. Th i s s eri es rel ie d on t h e t i me and dat e t o gi ve a bet t er i mp res s i on of t h e ex p eri ence of t h e ci t y. Sh ari ng t h os e i mages at t h e t i me t h ey were t aken allowed me t o gi ve othe rs a wi ndow i nt o my world at t h at ex act moment – a s or t of a v i s ual t weet , an i mage-bas ed s t at us up date .

A s I c o n tin ued t o sh o o t a ro u n d t h e c i t y wi t h t h e iPho n e, I rea l i ze d t h e si n gle gre a t e st a d vant age o f a s m a r tpho ne p h o t o w a s t h e a b i li t y t o up load it im m edia tel y, li n k i n g t o a sp e c i fi c p la c e . A long w ith m y Go o g le m a p, i t b e c a m e a p i n b oard of pl a c es tha t I c o u ld re t u r n t o la t e r, o r a cat alog o f q ua l ities . Go o d fo o d , go o d li gh t , go o d s t reet s , g o o d w a l l s . T h e m o m e n t s we re n a t u r a lly arch i ved c hro n o l o g ic a l l y i n a m o re i n st a n t w a y t h an wh at I w a s a b l e to d o w i t h t h e d SL R . In fa c t , i n t h e b a c k o f m y m i n d , I w a s a w a re o f m y fr i e n ds wh o ha d previo us l y d o n e a si m i la r “ Ti m e st a m p” p h ot o pro jec t w ith t h e i r p re - sm a r t p h o n e p h o nes . So this tim e- b a s ed , ge o lo c a t e d i m a ge b e c a m e more im po r ta n t to me t h a n t h e qu a li t y o f t h e i m a ge i t s elf.

A ft er s ome t i me, I remembered Ins t agram again, p robably from h eari ng about i t more and more from ot h er p h ot ograp h ers . It s p op ulari t y made i t h ard t o i gnore. I act ually remember s ee ing a ver y t rendy ad camp ai gn for a lux ur y t rave l comp any t h at us ed i ns t agram p h ot os from exotic locales as p ar t of t h ei r onli ne “di ar y.” Jus t t otal l y s cri p t ed j ourneys wi t h i mp os s i bly beautifu l models , but i t s uddenly s eemed li ke an ar t form. It became clear t o me t h at i t really i s all abou t

ESSAY

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c rea tin g a s to r y, n o m a t t e r w h a t m e d i a yo u h ave. A f ter tha t I jo i n e d o n ly i n t e n d i n g t o t r y i t out f o r a l ittl e w h i le . My fi r st p h o t o w a s o f a p ai r o f b in der c l ip s u n d e r a h a r sh o r a n ge fi lt e r wi t h a n a po l o g etic c a p t i o n m a k i n g i t c le a r t h a t I was un s ure o f m y ow n p h i lo so p h y o n fi lt e r s. In my m o re “pro f es s i o n a l” d i gi t a l p h o t o s, I c e r t a i nly us e c o l o r c o r rec tion a n d t o n a l a d j u st m e n t s, so I ’m not s ure w hy I w a s so a ga i n st t h e fi lt e r s. I t h i n k i t was b ec a us e it w a s so b la t a n t i n i t s a t t e m p t t o ch ange the rea l ity o f t h e p h o t o. T h e re w a s a n a u t h ent i ci t y I a dm ired in my fi r st i Ph o n e p h o t o s t h a t s eemed to b e l o s t – t h e u n a p o lo ge t i c p i xe l gr a i n of a c a m er a pho n e, n o t t r y i n g t o b e so m e t h i n g it i s n’t .

s ome of t h e more s ubt le fi lt ers . Th ere’s a vari et y to t h e p res et s t h at s eemed t o p rov i de a look t h at s u ite d ever y mood and li gh t i ng condi t i on. Th ere was al so t h e op t i on t o p ubli s h t h e p h ot o wi t h no fi lt er at al l . Wi t h Ins t agram, I als o found a communi t y of p eop le doi ng wh at I was doi ng: s i mp ly documenting ever yday t h i ngs . Th e s oci al as p ect of t h e ap p se t i t ap ar t from ot h er i mage-maki ng ap p s i n t h at it connect ed you t o a h uge group of us ers wi t h the ex act s ame t ool and t h e ex act s ame format . Becau se of t h i s unp recedent ed s t andardi z at i on of ar t, it became clear t o me wh o h ad a good eye and wh o was les s cons i derat e wi t h t h ei r s h ot s . Th e ubi qui t y of t h e s quare crop made i t eas y t o v i e w on t h e p h one , but i t als o gave me a ne w p rop or t i on t o compose . I h ad never us ed t h e s quare before i n di g ital p h ot ograp h y (only wi t h my Holga and Polaroid – wh i ch I ’m s ure Ins t agram i nt ended t o emulate ) s o t h ere was a refres h i ng ch allenge for me t he re .

With In s ta g r a m , t h e re a re m a n y fi lt e r s t h at bat h e pho to s in f il m- i n sp i re d c o lo r s, fa lse v i g net t es , a r tif ic ia l texture a n d fa k e fr a m e s. A ll o f t h i s p us h ed a g a in s t m y g ut fe e li n g t o st a y t r u e t o m y m e d i a, but s o m ehow I w a s st i ll d r a w n t o t h e fi n a l i m a g e from

i Ph o n e + i n s ta g r a m

i P ho ne+ I nst a g ram

But m o s tl y it w a s t h e va r i e t y o f v i e w p o i n t s comi ng a c ro s s m y f eed , fro m d i ffe re n t u se r s i n d ifferent pl a c es a t dif f e re n t t i m e s u si n g d i ffe re n t fi lt ers , b ut a l w a ys in t h e sq u a re a n d a lw a y s c h ro n ologi cal.

i nt o t h e communi t y of s mar t p h one us ers acros s the globe. Th i s s p eci fi c ex amp le ep i t omi zed for me the s i mp li ci t y of cont ent i n t h e t yp i cal Ins t agram photo – t h e ordi nar y and us ually frequent and rep et itive cat alog of s omeone’s dai ly ri t uals and rout ine s.

It b ec a m e us efu l fo r m e t o se e w h e re p e o p le h ad g eo ta g g ed their p h o t o s, w h i c h b ro u gh t u p a map of the s po t a n d ot h e r p h o t o s t a gge d t h e re . Has h t ags in the c a ptio n o r c o m m e n t s o f t h e p h o t o allow f ur ther s o c ia l c o n n e c t i v i t y by gro u p i n g p h o tos i nt o tren din g c a teg or i e s. On e n o t a b le o n e t h a t I was un k n ow in g l y alre a d y d o i n g i n m y p re - In s t agram da ys w a s the tag # fro m w h e re i st a n d , w h i c h i s always a s ho t o f the p h o t o gr a p h e r’s fe e t i n a sp e c i fi c and us ua l l y in teres t i n g p la c e . A b row se t h ro u g h t h at ta g’s pho to s g ive s a se n se o f t h e e x t re m e va ri et y of peo pl e a n d pl a c e s ( a n d sh o e s) t h a t h a ve b e e n brough t

I ’m not s ure h ow long p h ot o p roj ect s li ke the se would las t wi t h t h e ex p ens i ve and t i me cons uming p roces s of fi lm p h ot ograp h y, but wi t h t h e p h one and s p eci fi cally t h e Ins t agram communi t y, t h e mome nt s eems i mmedi at ely s h arable and allows ot h er us ers to res p ond wi t h ap p reci at i on, comment s , or wi t h a photo of t h ei r own. I h ad never s een t h i s s cale of p rol ific, ori gi nal cont ent bei ng p roduced and I want ed to be p ar t of i t , t elli ng my own s t or y i n my own p l ace . I h ave admi t t edly become addi ct ed. I can’t stop

ESSAY

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ta k in g pho to s t h e se d a y s a n d t h e m a j o r i t y of t h em c o m e f ro m In s t a gr a m . I h a ve n ow st a r t e d to look a t it a s a m etho d o f p h o t o gr a p h i c “p r a c t i c e” wh ere the g o a l is to s h o o t a s m u c h a s p o ssi b le . In t h e old da ys , pho to in st r u c t o r s w o u ld h a ve t h e i r student s s ho o t up to 5 ro lls a we e k fo r a ssi gn m e n t s, many tim es jus t do c u m e n t i n g t h e i r w a lk t o c la ss or ot h er m un da n e m o me n t s i n t h e i r e n v i ro n m e n t . Th i s is w ha t I ’m tr y i n g t o d o. In t h e e n d , I w i ll h ave c a ptured a pa r t o f m y li fe w i t h t h e m e d i a of t h e er a , a n d I ’m n o t a t a ll a sh a m e d o f t h a t . My i nner pho to - pro f es s io n a l t e lls m e t h a t i t’s j u st a n e xt ended s er ies o f “s k etc h e s” t h a t a re a llow i n g m e t o fles h o ut idea s f o r m o re se r i o u s p h o t o s. Bu t i f I ’m bei ng ho n es t, I rea l l y j u st w a n t t o sh ow w h e re I am at a s pec if ic s pec ta c u la r o r o rd i n a r y m o m e n t , a nd h ave m y ow n vis io n u p w i t h t h e st o r i e s o f t h o u sands of

ot h er us ers doi ng t h e s ame t h i ng. I ’ve become a bet t er p h ot ograp h er becaus e my camera h as become more of a s t andardi zed t ool and les s of an exclusive t ool. I ’ve ch os en a fas t er met h od of i mage captu re t o comp et e wi t h t h e frenet i c and s oci al as p ects of t h e urban condi t i on wh i le s t i ll requi ri ng at t ention t o comp os i t i on, color, and p at i ence for wh at He nri Car t i er-Bres s on referred t o as t h e “deci s i ve mome nt.” Hop e t h i s h elp s ! Ryan instagram: @rypat @olsonkundig website: rypat.com

A conversation with

THE BAND CONCORD INTERVIEW BY KEVIN GARCIA, AUSTIN LEDZIAN, AND BROOKE WARRINGTON PHOTOGRAPHY BY LUISA LACSAMANA AND AUSTIN LEDZIAN

STUDENT INTERVIEW

THE BAND CONCORD Local folk-pop band The Band Concord sat down with us to chat about their creative process.

Eve r yone i n t h e ba n d is f ro m V ir g in ia . How do you t h i nk t h e a re a h a s in f lu e n c e d o r in s p ire d you i n wa ys you mig h t n o t h a ve be e n liv in g e lse w he re ?

The s on g s in “ Yout h” have a n os t alg ic un de r tone. How doe s a ban d craf t t he ir me morie s in t o a song t hat on ly las t s a f e w a min ut e s ?

A nd rew: It’s re a lly h e lp e d b e i n g i n t h e Ne w Ri ver Va l l ey b ec a us e a lo t o f p e o p le a re i n t o fo lk mus i c a n d b l ueg r a s s . T h e y se e a b a n j o , t h e y se e a v i oli n, a n d they s ee a b a ss a n d t h e y a re i m m e d i a t e ly drawn tow a rds it, w hi c h h e lp s u s ga i n a t t e n t i o n . We h ave tha t m o re po pp y so u n d , b u t we c a n a lso st r i p down a n d b e the f o l k b a n d t h a t p e o p le a lso e n j oy. Th e p op a s pec t o f o ur mu si c i s ge a re d m o re t ow a rd s p eop le o ur a g e – m o re t ow a rd s a c o lle ge c rowd .

Spe n ce r: Th at’s t h e di ffi cult y i n s ong wri t i ng. You could wri t e a j ournal or a book about your life – t h ere’s j us t s o much t o s ay. In a s ong you’re k ind of li mi t ed – you h ave t o be s p eci fi c, and I always want t o s h are t h e memor y i n a way t h at p eop le can relat e t o.

A l e x: We’re n e st le d i n t h e m o u n t a i n s, a n d as we s ta r ted to pl a y sh ow s a n d p la y o n t h e a i r, we could s ee w ha t peo pl e re sp o n d e d t o b e t t e r, a n d we s t ar t ed to s teer tow a rds t h a t . Ja s on: To ha ve a b a se li k e a u n i ve r si t y t o work off o f, it’s rea l l y easy t o st a r t so m e t h i n g li k e t h i s . I can jus t im a g in e tr y i n g t o st a r t so m e t h i n g li k e t h i s at Vir g in ia Bea c h, o r R i c h m o n d , o r n o r t h e r n Vi rgi ni a… there’s s o m uc h t h e re , i t’s so d e n se , w h e re a s here you ha ve a f res h pl a t e . A p h ot og r a p h o f a yo u n g g ir l g r a c e s th e f ron t c ove r of you r n e w a lbu m , “ Yo u th . ” Is th e re a s t or y b eh i nd t h a t d e s ig n ? Sp e nc e r: T ha t’s m y si st e r. We we re t r y i n g to t h i nk o f w ha t we w a n t e d a s a t h e m e fo r t h e a lb u m. Th e n a r r a to r in tho se so n gs w a s yo u n ge r. “ Yo u t h” made s en s e. I tho ug h t t h a t i t w a s fu n n y, m y si st e r s t andi ng there, pr a c tic in g t o b e a flowe r gi r l – a b i g day for tw o peo pl e g ett i n g m a r r i e d , a n d su c h a h u ge th i ng i n a rel a tio n s hip – ye t sh e p ro b a b ly h a d n o i d e a wh y s h e w a s dres s ed l ik e t h a t o r h o ld i n g p e t a ls. I t h ough t i t w a s iro n ic , this li t t le gi r l w h o h a s n o i d e a w hat s h e’s do in g , w ith s o m u c h go i n g o n a ro u n d h e r. And s o, tha t w a s the ide a b e h i n d t h e p h o t o gr a p h fo r Yout h .

Jas on: W h en you wri t e s ongs , i t’s not neces s aril y j us t about you and wh at you want t o p ut down on t h e p age for t h e s ong. It’s about wh at you wan t to h ave p eop le relat e t o i n your ex p eri ence. Spe n ce r: Th at’s really been my mai n goal s i n ce I was younger and s t ar t ed wri t i ng: t o gi ve p eopl e a di fferent v i e wp oi nt on s i t uat i ons , t o h elp t h em in any way I could. W hat is t he cre at ive proce s s in craf t in g n e w s o ngs? A le x: At fi rs t , you j us t h ave a ver y mi ni mal s kele ton of wh at’s goi ng on, and t h en you h ave t o t r us t that ever yone i s goi ng t o fi ll i n t h ei r p ar t . A n dre w : It’s up t o ever ybody i n t h e band t o ste p for ward and p ut t h ei r own quali t y t owards i t . It’s great t oo becaus e we’ve h ad s ongs t h at we’ve b e e n p layi ng for a year and s omeh ow t h ey s t i ll j us t ch ange . From week t o week, we all fi nd s omet h i ng else to ki nd of s h ap e i t . Jas on: You bui ld up on ever yt h i ng you’ve he ard and ever yt h i ng t h at’s come before you. It’s j ust in t h i s li t t le mi crocos m. You li ke s omet h i ng, and you li s t en t o i t , and i t becomes a p ar t of your musical vocabular y. A le x: It’s als o really i nt eres t i ng becaus e we come

fro m comp let ely di fferent mus i cal backgrounds , rangi ng fro m ver y clas s i cally t rai ned t o free folk. We’re get t i ng t o a p oi nt now wh ere we all agree on i deas . It j us t ki nd of h a p p ens nat urally. Th ere’s not much di s agreement . Do you de s ig n me rchan dis e be caus e you e n joy it , or be c aus e it’s impor t an t ? Sp e nce r: Oh , i t’s ver y i mp or t ant . A n dre w: I do enj oy doi ng i t , but i t’s s up er i mp or t ant . I t h i nk one of t h e bi gges t t h i ngs about bei ng a mus i ci an i s b e i ng able t o s t ay relevant wi t h t h e p eop le and t h e t i mes a s well. If you look at mus i c t rends , you s ee t h at folk and fo lk p op h ave a really s t rong p ower i n li ke 2012, and t h en i t star t ed goi ng on decli ne. It kep t t h e s ame feel, but i t w o u ld t wi s t i n order t o s t ay relevant , and s o we h ave t o do t h e s ame t h i ng, but we h ave t o do i t wi t h des i gn t oo. You c a n’t j us t h ave a webs i t e t h at’s out dat ed. Sp e nce r: Font ch anges s t yle, t yp es of p i ct ures ch ange st y le, and h ow you edi t p i ct ures ch anges s t yle. A n dre w: It’s cons t ant ly ch angi ng. W h at has be e n your e xpe rie n ce w it h de s ig n ? Ja son : It’s a wh ole ot h er element of h ow you can reach p e o ple. A n dre w : Sp encer and I are more on t h e des i gn s i de. Th e b a n d p os t ers and p h ot ograp h y from our fri ends h elp s us i n d es i gni ng p roduct s , wh et h er i t’s t -s h i r t s , logos , or t h e we bs i t e. I would love t o look back on our fi rs t coup le o f webs i t es . I was s o p roud of t h em, and t h ey were s o b a d . I t h i nk our colors were li ke p urp le and yellow for t h e webs i t e? And t h ere’s a cover p h ot o of s omeone walki ng i n t o t h e s unli gh t at t h e duck p ond. It’s j us t a really bad p i c t ure, j us t a really bad cover i dea. Now, I ’m cons t ant ly lo o ki ng for ne w t h i ngs t o t weak, i f not j us t revamp t h e w h ole t h i ng. A le x: He ch anges t h e webs i t e li ke ever y t wo mont h s . W h at is t he f ut ure ? A le x : Th e fi rs t year, we defi ni t ely found our root s . We fo u n d our comfor t on s t age. We h ave a good foundat i on, a n d now i t’s about growi ng and s t ep p i ng out s i de of our c o mfor t zone. It’s about goi ng t o ci t i es we h aven’t been t o b e fore, t o fans we’ve never met before, p lan s ome weekends a n d s h ows , recordi ng i n Tennes s ee… Ja son: Th e nex t s t ep i s mov i ng out of t h i s area. We’re i m medi at ely i n Blacks burg. Now, i t’s all about growi ng b e yond wh ere we are. THE-BAND-CONCORD.COM

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PLAY IN THE WORKPLACE

h en we glance back t o t h e generat i on of Tradi t i onals wh o are now ret i rees, we s ee t h em as h ard-worki ng and loyal. A man went t o t h e offi ce, worked di li gent l y, and ret urned h ome aft er an 8-h our day to h i s wi fe and ki ds . Hi s re ward was s t eady emp loyment . Aft er t h i r t y years of s er v i ce, he ret i red wi t h a p laque and p ens i on.

W R ITIN G BY JA NET DAVI S IM AG E S P R OVID ED BY STEELCASE

Baby B oomers want ed s omet h i ng di fferen t. Unli ke t h e Tradi t i onals wh o worked for t h e bet t erment of t h ei r comp any, t h e Baby B oomers worked for t h e bet t erment of t h ems elves . Th ey were bus y focus i ng on work, and t h ei r ch i ldren gre w t o be s el fs uffi ci ent .

Jane t Davis wa s a st u den t o f The Colle g e o f Willia m & Ma r y fo r he r Bache lor â&#x20AC;&#x2122;s in B u sin ess a n d G eo rg e Mason Un iver sit y fo r h er Ma ste r s in Busine ss Adm in ist rat io n . S he is now a Wo r kpla ce Co n su lt a nt at Ste e lcase, wh ere sh e h a s been fo r a hap py 23 yea r s, a n d wo r ks dire c tl y w ith clie n t s a n d t h e Steelc a se inte rior design er s.

Tradi t i onals and Baby B oomers frowned up on h av i ng fun at work. Work was once a comp ar t ment ali zed env i ronment wi t h ou t facebook and emai l, but t h e world has ch anged. Ret i ri ng at 60 wi t h a p ens i on i s no longer p os s i ble, we mus t i nves t more i n ou r own ret i rement and work t o an older age .

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Ba by B o o m e r s we re c o n t e n t t o p u nch t h e c l o c k a n d w a i t u n t i l t h e y re t i re t o se e k li fe’s f ul f il l m e n t , b u t fo r Ge n e r a t i o n X a n d now Y, w o rk in g a t a j o b t h a t’s u n fu lfi lli n g a nd ones ided is i n c o m p re h e n si b le .

doi ng more t h an maki ng money, t h ey want t o cont ri but e t o s omet h i ng meani ng ful. Gen X and Gen Y began t o redefi ne t h e p urp os e of a workp lace by unders t andi ng t h at work i s i nfluenced by ot h er t h i ngs – ch angi ng t ech nologi es , i ncreas ed acces s t o i nformat i on, ne w global market s . A ll of t h es e h ave di s s olved workp lace comp ar t ment ali z at i on.

T he o n e - si ze - fi t s- a ll m e n t a li t y t o p l anni ng a ppea l e d t o fa c i li t i e s m a n a ge r s a n d re al es t at e tea m s f o r i t s e a se o f o r ga n i z a t i o n . Unt i l rec en tl y, c o r p o r a t e sp a c e s we re p la nned by s en io r m a n a ge m e n t . Sp a c e w a s h a n d l ed as a prem ium i n m o st o ffi c e s t o re w a rd s ucces s , a n d deve lo p e d a r i gi d h i e r a rc h y w i t hi n t h e o f f ic e. Bu t t o d a y, e m p loye e s w a n t to h ave m o re c o n t ro l ove r h ow a n d w h e re t h ey w o rk . Th e i n t e r n e t h a s c re a t e d c o n n ect i ons f o r w o rk t o b e c o m e m o re c o lla b orat i ve; a pl a c e t o sh a re i d e a s o p e n ly w i t h ot h ers a n d f a c i li t a t e a n e w m e t h o d o f worki ng b ec o m es i m p e r a t i ve . Sh ow i n g u p m e n t ally i s m a n da tor y, b u t b e i n g p h y si c a lly p re se nt i s n’t n ea r l y a s i m p o r t a n t .

My colleagues s h ared t h ei r t h ough t s : collaborat i on, laugh i ng, bei ng s oci al, and bui ldi ng relat i ons h i p s at work i s es s ent i al. St eelcas e’s We ll-Be ing In Th e Work p la c e St udy i ndi cat es t h at emp loyees wh o are t h e mos t s at i s fi ed wi t h t h ei r work env i ronment are t h e mos t engaged. Engaged workers collaborat e, i nnovat e and h elp t h ei r comp ani es grow. So h ow do we make all of t h at h ap p en i n workp laces ? Th ere are t wo areas t o focus on – corp orat e cult ure and p h ys i cal s p ace. Corp orat e cult ure i s s h ap ed by t h e beh av i or of emp loyees over an ex t ended p eri od

Em pl oye e s w a n t t o fe e l a s i f t h ey are

o f tim e. T h u s, we m u st m a k e dec is io n s tha t i m p a c t b e h a v i o r. At Dis n ey Wo r l d , a c la ssi c e x a m p le o f a ug m en ted re a li t y, yo u’re gi ve n per m is s io n to la u gh , t o r u n , t o h a ve f un , reg a rdl es s o f a ge . T h e Di sn e y exper ien c e has a lo t o f p owe r t o s ha pe o ur b e h a v i o r a n d m a k e u s ha ppy. T ha t’s wh y we k e e p re t u r n i n g. A phys ic a l pl a c e c a n t r a n sfo r m u s a n d in f l uen c e o u r e x p e r i e n c e s. It’s c ur io us t h e n , t h a t so m a n y o r g a n iz a tio n s m i ss t h i s o p p o r t u n i t y to s ha pe em p loye e b e h a v i o r. A c o m pa n y’s c u lt u re m u st su p p o r t b etter ha b it s i n e n v i ro n m e n t s w here w o rk er s a re a llowe d t o w o rk in a r a n g e o f sp a c e s t h a t m e e t t h e i r n eeds . W ha t m ig ht t h e se sp a c e s t h a t a llow us to ha ve “f u n” a t w o rk fe e l li k e ? T hey a re e n v i ro n m e n t s w h e re em pl oyees c an fo c u s, c o lla b o r a t e , s o c ia l ize, l ear n a n d re j u ve n a t e . T his s pa c e n e e d s t o a llow u s t o b e a uthen tic a nd fe e l c o n n e c t e d t o o ther s in the c o m p a n y. T h e se a re n either ho m e n o r t h e w o rk p la c e . T hird- pl a c e e n v i ro n m e n t s (not ho m e a n d n o t w o rk ) a re li k e yo u r f a vo r ite c o f f e e sh o p o r a p r i va t e s pa c e tha t prov i d e s a h e a lt h y d o se o f in tro s pec ti o n . Prov i d i n g o p t i o n s o f pr iva c y wi t h i n t h e se sp a c e s i s b es t. T hes e s p a c e s p rov i d e a r a n ge o f po s tures a s we ll – so m e lo u n ge heig ht, s o m e se a t e d a n d so m e s ta n din g . Gi v i n g c o n t ro l o f t h e s pa c e to the e m p loye e s t o b e st su i t their n eeds w i ll su p p o r t p o si t i ve w o rk ha b its .

In order for employees to collaborate, t h e y need t o bui ld t r us t , and t o b u i ld t r us t t h ey need t o s p end t i me ge t t i ng t o know each ot h er. Soci al sp aces s h ould not be s een as p laces t o goof off, as s ome Tradi t i onals m i g h t beli eve t h em t o be. Rat h er, p o si t i ve s oci al engagement s p rov i de a needed boos t t o t ackle t h e nex t c r i s i s at work. Play i s i ndi cat i ve of a h e alt h y workp lace env i ronment . T h e offi ce can be s t res s ful. It’s t wi ce a s li kely t o be i dent i fi ed as s t res s ful r a t her t h an i nnovat i ve or aut h ent i c, a c cordi ng a St eelcas e s t udy. L et’s u se t h es e i ns i gh t s t o creat e p laces t h at are t r uly des t i nat i ons des i gned t o augment h uman i nt eract i ons . L e t’s ret h i nk h ow we unders t and w o rkp laces , and i ns t ead of creat i ng o ffi ces , let’s creat e ecos ys t ems o f i nt erdep endent p laces t h at su p p or t our p h ys i cal, cogni t i ve and e m ot i onal needs . Once we creat e t h i s ecos ys t em, t h e o ffi ce wi ll h ave s p aces t h at act ually fo s t er emp loyee i nt eract i ons a n d offer a balance bet ween c o llaborat i ve work and i ndi v i dual fo cus – des t i nat i ons t h at p rov i de t h e t ools , t ech nology and s h ared c o ns ump t i on of res ources t h at p e op le can only fi nd at work. W h en p e op le h ave t h es e connect i ons , t h e y become more engaged. Rat h er t h an work bei ng a p lace p eop le b e g r udgi ngly go t o each day, i t h as t h e p ot ent i al t o be a p lace wh ere p e op le t r uly want t o ret urn.

ESSAY

STUDENT PROJECTS

SKETCHES JONATHAN H. KIM, FOURTH YEAR INDUSTRIAL DESIGN EYE TO PAPER ALEC YUZHBABENKO, FIFTH YEAR ARCHITECTURE MARK BOONE COMPETITION EMILY BICKEL, FOURTH YEAR INTERIOR DESIGN HAND VESSEL GABRIELLA JACOBSEN, THIRD YEAR INDUSTRIAL DESIGN REI DC FLAGSHIP STORE DESIGN LEIGH ANN SOISTMANN, FOURTH YEAR INTERIOR DESIGN CHARLOTTE ARTS DISTRICT AUSTIN CHASE, THIRD YEAR LANDSCAPE ARCHITECTURE REDMOON THEATRE: THE CONTRAPTIONIZED ENVIRONMENT ERIN YOUNG, FIFTH YEAR ARCHITECTURE ISSAC CURREY, FIFTH YEAR ARCHITECTURE JOHN STURNIOLO, FIFTH YEAR ARCHITECTURE RACHEL MONTAGUE, FIFTH YEAR ARCHITECTURE PROCESS ART & ARCHITECTURE SETH MCDUFFIE, THIRD YEAR GRAPHIC DESIGN CRAIG COUNTY PUBLIC LIBRARY ROBIN RODOWSKY, THIRD YEAR GRADUATE ARCHITECTURE POTOMAC WATER TAXI STATION: WATER GATEWAY FOR THE MALL MATT HILL, FIFTH YEAR LANDSCAPE ARCHITECTURE

STUDENT PROJECTS

SKETCHES

I u su ally s ta r t m y da y o ff by c re a t i n g a sk e t c h p a ge . It h elps m e w a r m up f o r t h e d a y a n d st a y sh a r p w i t h p e n and pa per. T he f ir s t sk e t c h w a s i n sp i re d by m y f a s cinat ion w ith b io l o g y a n d h ow we c a n le a r n fro m n atu re in des ig n . T ha t th o u gh t p ro c e ss le d m e t o a br i ef ex plo r a tio n in how we c a n t a k e c u e s fro m a n i n sect (in this c a s e the go ld e n sc a r a b b e e t le ) a n d tr anslat e phys ic a l c ha r a c t e r i st i c s li k e se c t i o n e d bo dy par ts , a r m o red pl a t i n g a n d c o lo r i n t o va r i o u s p rod u ct s. Th e second s k etc h w a s in s p i re d by a c o n ve r sa t i o n t h a t I h ad wit h a n o l d m en to r. We we re t a lk i n g a b o u t t h e di f ference b etween in dus t r i a l d e si gn a s a p ro fe ssi o n and as a dis c ipl in e. T he disc i p li n e go e s b a c k t h o u sa n d s o f years t o w hen hum a n s c re a t e d t h e fi r st st o n e h a n d to ol. I sketc hed this pa g e w h i le re fle c t i n g o n t h a t co nversat ion a n d dec ide d t o c o m b i n e t h e i d e a o f ancient st o n e to o l s w ith mo d e r n m a t e r i a ls a n d gr i p s. Jonathan H. Kim Fourth Year Industrial Design 80

STUDENT PROJECTS

EYE TO PAPER

I r a rel y s ta r t a n y sk e t c h o r d r a w i n g o n a clean wh i t e s heet. My p re fe r re d c a n va s i s a n y t h i n g from a nap ki n o r n e w s pr in t t o a n o ff- w h i t e sc r a p o f p a p er. St ar t i ng w ith w hite i n t i m i d a t e s m e a n d d o e sn’t let my h and f l ow f reel y. No n w h i t e se t s u p d e p t h a n d a background f o r l in es a n d m a rk i n gs.

Mi ch ael Graves argues “Arch i t ect ure cann ot divorce i t s elf from drawi ng, no mat t er h ow i mpre ssive the t ech nology get s . Drawi ngs ex p res s t h e i nt e raction of our mi nds , eyes and h ands . Th i s i s abs olut ely cr u cial to t h e di fference bet ween t h os e wh o draw t o con ce ptu al ize arch i t ect ure and t h os e wh o us e t h e compu te r.”

With to da y’s d i gi t a l so p h i st i c a t i o n , i t se ems t h at t h e im po r ta n c e o f a h a n d sk e t c h i s d i m i n i sh e d. Comp ut ers a n d s o f tw a re a re p owe r fu l i n c o m m u n i c a t i ng, p roblem s o l vin g a n d i n ve st i ga t i n g t h e c re a t i ve proces s , but they a re j us t a se t o f t o o ls. Pe n s, p e n c i ls, markers and w a terc o l o r s a re o f n o le sse r va lu e .

Many as p i ri ng arch i t ect s fear t h at t h ey are not “good” at drawi ng, but t h at ex act i mp er fect i on within a s ket ch i s wh at makes i t s o cr uci al. Th e fail u re to dep i ct ex act ly wh at t h e brai n i s i magi ni ng l e ads to ne w di s coveri es and s p eculat i on about i d e as. This fuels t h e creat i ve p roces s and ch allenges t h e archite ct. Alec Yuzhbabenko Fifth Year Architecture

STUDENT PROJECTS

MARK BOONE RESIDENTIAL PROJECT

This u ps ta te Ne w Yo rk a p a r t m e n t c o m b i n e s a t a st e ful mi x of neut rals and modern forms t o creat e a lux uri ous ambiance wit h a Ne w Yo rk vib e . T h e ow n e r s’ re q u e st s we re t h at t h e ap ar t ment accommodat e h andi cap p ed gues t s and fre q u e nt ent er t a in in g . My s o lu t i o n c o m b i n e d fu n c t i o n a li ty and s mar t cus t om des i gns t o creat e a beaut i ful s p ace that isn’t h ind ered by the req u i re m e n t o f h a n d i c a p a c c e ssi b ili t y. The f l o o r pl a n o f f ers a n o p e n e n t e r t a i n i n g sp a c e t h at ut i li zes t h e out door p at i o wh i le p rov i di ng clear s ep aration of pu blic a n d pr iva te sp a c e s. In o rd e r t o p rov i d e t h e neces s ar y A D A clearances and t o max i mi ze t h e funct i onal ity of t he ap a r tm en t’s l im i t e d sq u a re fo o t a ge , I d e si gn e d all cas e work t o p rov i de mult i p le funct i ons wh erever p os sibl e . For ex am pl e, the c o f f ee t a b le a n d so fa t a b le i s o n e p i e ce of furni t ure wh i ch s aves s p ace and offers a p lace t o drop you r k e ys and pur s e upo n en ter i n g t h e a p a r t m e n t . Wa ll p a n el bui lt -i ns h ous e t h e t elev i s i on and p rov i de ex t ra s t orage she l ve s for h id ing a dditio n a l el e c t ro n i c s. Ex t r a st o r a ge i s c o ncealed under t h e cus t om-bui lt t able wh i ch p rov i des more room for wheel c ha ir s by ha vin g o n e c e n t r a l su p p o r t i n st e a d of four legs . L as t ly, t h e mas t er bat h room offers a generou sl y size d roll-in s hower a n d a va n i t y t h a t’s su i t a b le fo r w h e elch ai r acces s . Emily Bickel Fourth Year Interior Design 82

STUDENT PROJECTS

HAND VESSEL

I h ave a love for s li p cas t i ng ce ramics. It i s a s mall mi racle t o wat ch a mate rialâ&#x20AC;&#x2122;s ch emi cal comp lex i on go from l iq u id to s t one i n t h e form of oneâ&#x20AC;&#x2122;s own de sign. Sli p cas t i ng requi res di li gence and a gent le t ouch . Th e obj ect i ve i s to cre ate an abs olut ely p er fect p os i t i ve; to cast a flawles s mold res ult i ng i n a be au tifu l obj ect . I creat ed mi lk and s ug ar ve sse l s des i gned t o comp li ment t h e form of the h uman h and. I want ed t h e de sign to s ugges t h ow t o gras p and h old the ve sse l wh i le i n us e. Wi t h a gent le swal e , its edge i s marked by a ri dge cas t into the form, and allows t h e fi nger t i p s to cu r ve back t oward t h e p alm for a stronge r gri p. Th e cur vat ure of t h e ves s e l is size d t o fi ll a gras p i ng h and s o t h at it fe e l s full wh i le h oldi ng t h e obj ect . The form creat es a feeli ng of comp let i on be twe e n h and and ves s el. Th e ves s el was born from a stu dy of rot at i onal form. I us ed t h e lat he to tu rn mult i p le blocks of wood t o d e ve l op a gent le cur ve i ns p i red by t he fe mal e s i lh ouet t e. From my wood mode l s I s ket ch ed mult i p le i t erat i ons of the ve sse l and h ow I i magi ned t h e h and shou l d i nt eract wi t h t h e form. I cont inu e d the develop ment i n Soli dWorks t o re fine the p reci s i on of t h e ves s el and t h e swal e . I creat ed t h e p os i t i ve volume for casting in Soli dWorks , and h ad t h e p os i t ive mil l e d out of RenSh ap e on t h e CNC machine . I s ealed t h e RenSh ap e wi t h p oly u re thane , t h en cas t t h e p os i t i ve i n pl aste r. Th e mat eri al begs a p laci di ty of my mi nd, and remi nds me of se ashe l l s s moot h ed by t h e ocean curre nt. Sl ip cas t i ng i s valuable t o me bec au se it is a qui et p roces s . A lt h ough I use d l arge r and louder mach i nes t o cre ate my p os i t i ve, t h e p ouri ng i n and pou ring out of t h e s li p i s qui et and methodical . It i s p reci s ely t i med and remi n ds me of t h e ebb and flow of t h e t i de. I find the p roces s mi nd-s t i lli ng; calmi ng throu gh rep et i t i ous act i ons . Gabriella Jacobsen Third Year Industrial Design

STUDENT PROJECTS

REI DC FLAGSHIP STORE DESIGN

B old forms creat e key s p aces and memor y throu ghou t t h e s t ore. Tex t ures encourage ex p lorat i on and re mind of t h e out doors . Inh abi t able and i nt eractive str u ctu re s fuel di s cover y and i ns p i rat i on. Th e large forms e choe d from t h e s t orefront wi ndows t o t h e cei li ng inside inspire act i on and advent ure. L arge s creens di s pl ay me mbe rsâ&#x20AC;&#x2122; act i v i t i es t h rough a s t ream of t h e RE I 1440 Proje ct, wh i ch makes all v i s i t ors want t o become a par t of the ex p eri ence. Sh op p ers canâ&#x20AC;&#x2122;t h elp but leave the store with merch andi s e t o s t ar t t h ei r own advent ure. The conce pt came from t h e undulat i ng ri dge li ne of t he Bl u e R idge Mount ai ns . An urban form was des i gned to inhabit the flags h i p s t ore i n D C. Th ough a more modern approach, t h i s form s t i ll fully embodi es t h e RE I brand and cu l tu re .

A radia l pa tter n s tem s fro m t h e si d e e n t r a n c e doors to hel p m ove c u st o m e r s a ro u n d the spa c e. T he c o m mo n sp a c e i s c e n t r a lly locat ed in o rder to co n st a n t ly e n ga ge w i t h cu st om er s . T he f o l d e d m e t a l p a n e ls a re su spended f ro m the c e i li n g. L E D li gh t st r i p s m eet at va r io us edg e s i n t h e fo r m . T h e y prov id e a n ef f ic ien t so u rc e o f li gh t t h a t consu mes l es s tha n tw o t h i rd s t h e e n e r gy o f conven tio n a l l ig htin g.

Leigh Ann Soistmann Fourth Year Interior Design 84

CHARLOTTE ARTS DISTRICT

T his p ro jec t s eek s to p rov i d e a d e ve lo p m e n t a l fr a m e work for the em er g in g a r t s d i st r i c t lo c a t e d o n t h e e d ge of Charlo tte, No r th Ca ro li n a . Cu r re n t ly, t h e d i stri ctâ&#x20AC;&#x2122;s vast s w a ths o f pa rk i n g a n d se t b a c k st r u c t u re s fai l t o engag e the s treetf ro n t . T h i s i n i t i a t i ve w o u ld e n c ourage prope r ty ow n er s to co n ve r t p a rk i n g lo t s i n t o h a b i t able spaces in o rder to b u i ld a fu n c t i o n a l a n d e n g agi ng street s c a pe f o r the pu b li c . Pre li m i n a r y a n a ly si s re vealed that a l ig ht r a il s t o p p rov i d e d a n i m p o r t a n t cent er on w hic h to f o c us t h e re n ova t i o n . T h e i m p rove ment of t his s ta tio n w o u ld a llow fo r c o n n e c t i o n b e t ween severed n eig hb o r ho o d s a n d e n c o u r a ge a lt e r nat i ve transp o r ta tio n to the d ow n t ow n a re a . Cu rren tl y, the s to p fe e ls u n sa fe a n d u n c o m fo r t able. T he r ider m us t w a l k c lo se t o p a ssi n g t r a ffi c t o reach the st a irc a s e tha t l e a d s u p t o t h e e le va t e d p la t f orm. T he des ig n s eek s m a k e t h e a re a le ss t h re a t e n i n g and gritty thro ug h the a d d i t i o n o f gla ss p a n e ls i n t h e plaz a. T hese pa n el s w o ul d sh owc a se a r t fro m t h e d i stri ctâ&#x20AC;&#x2122;s local g a l l er ies in a dd i t i o n t o o r i e n t i n g u se r s t ow a rd t h e center o f the dis tr ic t . A ft e r d e sc e n d i n g a fli gh t o f st ai rs , the p edes tr ia n en c o u n t e r s a c h o i c e e i t h e r t o e nt er a garde n o r pa s s un der a b r i d ge c la d i n c o p p e r c u b e s. Th e street , c ur ren tl y thre e la n e s i n e a c h d i re c t i o n , w o uld be thinned to a c c o m m od a t e a b i k e la n e , w h i c h p rov i des an alter n a tive w a y to m a n e u ve r t h e d i st r i c t a n d makes a bar r ier b etween ve h i c u la r a n d p e d e st r i a n t raffi c. Lightin g n es tl ed b et we e n t h e c u b e s i n v i t e s p e d e stri ans to pro c eed thro ug h t h e m a t r i x o f gla ss p a n e ls wh i ch operate o n a hin g e sy st e m t o a llow fo r a va r i e t y of differen t s pa tia l c o n d i t i o n s a n d a d a p t a b le p ro gr a ms . Austin Chase Third Year Landscape Architecture

STUDENT PROJECTS

REDMOON THEATRE: THE CONTRAPTIONIZED ENVIRONMENT

Red m o o n T hea ter is a c i v i c a lly m i n d e d p e r fo r m a n c e t h eat er trou pe . T hey s pec ia l i ze i n a si t e - sp e c i fi c p e r fo r m a nce t h ey call “spec ta c l e,” w hic h t h e y t a k e o u t i n t o t h e c o m muni t y, bringi n g a r t to a l l p a r t s o f t h e c i t y, a n d w h i c h us ually incorpo r a te m ec ha n ize d c o n t r a p t i o n s.

of t h e wareh ous e’s wes t ern wi ng, t h es e p lat forms not only p rov i de addi t i onal s t orage for t h e ever incre asing number of cont rap t i ons t h e t roup e bui lds , bu t al so creat es op p or t uni t i es for unconvent i onal and e xciting arrangement s of p er formance and audi ence s p ace s.

In ou r c o l l a b o r a tion w i t h Re d m o o n a n d vo n Wei s e Associ a tes in C hic ago St u d i o , we we re t a sk e d wi t h developin g a n idea f o r t h e re n ova t i o n a n d m o d i fi c at i on of the troupe’s w a reho u se , w h i c h si t s h i d d e n i n t h e C h i cago neigh b o r ho o d o f Pilse n . T h i s w a re h o u se i s t h e b as e of operatio n s f o r Redm o o n , a n d t h e si t e fo r t h e i r i ndoor ticket ed s how s , w hic h fu n d t h e i r fre e b r a n d o f fa nt as t i cal u rban ephem er a .

Wi t h t h i s p rop os al, we h op e t o gi ve Redmoon a way to make t h ei r i ndoor p er formances even more ove r-the t op t h an t h ei r out door s h ows , and t o amp li fy Re dmoon. Th e ne w cont rap t i oni zed env i ronment of t h e ware hou se i ncreas es Redmoon’s revenue generat i ng p ot e ntial and t h ei r abi li t y t o gi ve back t o t h e communi t y.

As we g o t to k n ow Re d m o o n a n d i t s c o n st i t u e n t m embers , we beg a n to a c c um ul a t e a c lo u d o f p re c e d e n t s a n d c ont ex t s from l o o k in g a t the w o rk o f o t h e r a rc h i t e c t s li k e Cedri c Price an d a l ter n a tive t h e a t e r c o m p a n i e s. Based o n o ur c o n ve r sa t i o n s w i t h t h e Re d m o o n s t aff and study o f their w o rk , we fe lt t h a t t h e y n e e ded an int er ven tio n tha t w ou ld b r i n g a h y p e r b o li c d y n a mi s m t o the spa tia l en viro n m e n t , a s we ll a s a n i n c re a se d fle x i bi li t y in fu n c tio n a l a n d pro gr a m m a t i c re sp e c t s. T hese in f l uen c es , c om b i n e d w i t h Re d m o o n’s p re e x i s t i ng tenden c y tow a rds a me c h a n i c a lly a u gm e n t e d p e r fo rmance style led us to a c o n c e p t we c a lle d “t h e c o n t r a p t i oni zed enviro n m en t.” Erin Young, Fifth Year Architecture Issac Currey, Fifth Year Architecture John Sturniolo, Fifth Year Architecture Rachel Montague, Fifth Year Architecture

To ach ieve a n e w, dyn a m i c e n v i ro n m e n t i n t h e w a reh ous e, we propo s ed the c o n st r u c t i o n o f a la r ge sp a c e fr a me, from w hich we s us pen ded a se r i e s o f p la t fo r m s a t t a c h e d t o a w inch s ys tem . Ef f ect i ve ly d o u b li n g t h e sq u a re foot age 86

STUDENT PROJECTS

PROCESS ART & ARCHITECTURE

Bu t i n p u rsu i n g b o th ar t an d a rc h ite c tu re , a t t im e s I ha ve been seen a s b e in g a pa r t o f n e ith e r re al m . For ye a rs t he a r t w o rl d sa w m e a s an a rc h ite c t a n d th e arc h it e c t s oft en referred t o m e as an a r tis t. Eve n th o u g h I build bui l di n gs a n d I p u r s u e m y a rc h ite c tu re , I pu r s ue it a s an a r t i st . I del i be ra te l y ke e p a tin y s tu d io. I d o n’t wa nt t o be a n a rc hi t ec tu ra l f ir m . I wa n t to re m ain an a r t ist .

quot e i s s p read t h rough out t h e comp os i t i on of the p i eces , reflect i ng my own p ers onal j ourney i n d e sign. For a wh i le I want ed t o be an arch i t ect of ex p eri e ntial and li fe ch angi ng s p aces . In my early college care e r, p as s i on vaci llat ed bet ween ar t and arch i t ect ure. This p i ece, i n a s ens e, h elp ed me evaluat e t h at p roce ss in fi ndi ng my p as s i on. It grounded me t o t h e p as s ion of i t erat i ve des i gn, but wi t h i n t h e grap h i c des i gn worl d. Grap h i c des i gn i s vers at i le and coh es i ve t o any topic at h and, wh i le s t i ll clearly communi cat i ng a conce pt. Th e p at h op ened doors , allowi ng me t o h ave a gl impse i nt o many di fferent t yp es of des i gn i n bot h ar t and arch i t ect ure.

–Ma ya Lin , B o un d a r i e s T his q uo te w a s t h e i n sp i r a t i o n fo r t h e se t w o p i eces , ca l l ed A r t & Arc h i t e c t u re , a s t h e Mo ss Cent er sym b o l izes b o th o f t h e se p a t h s – i t s fu n c t i o n is t o be a f a c il ita to r f o r t h e e d u c a t i o n a n d sh a r i n g o f ar t . Th e

Seth McDuffie Third Year Graphic Design

STUDENT PROJECTS

CRAIG COUNTY PUBLIC LIBRARY

Th i s work was comp let e d for the Craig Count y Publi c L i brar y Proje ct du ring t h e graduat e s umme r stu dio. The p res ent at i on drawi ngs , e ach me asu ring 24 by 36 i nch es , are entire l y drafte d and rendered by h and.

Wo rk o n the d r a w i n gs b e ga n w i t h a t h o ugh t ful co n s ider a tio n o f t h e ove r a ll c o m p o si t i o n o f t h e p age. Par tia l pl a n s , s e c t i o n s a n d e le va t i o n s we re draft ed in direc t a l ig n m e n t i n a d d i t i o n t o w a ll se c t i ons and sm a l l a xo n o m et r i c st u d i e s. A ft e r t h e se t e ch ni cal co m po n en ts were c o m p le t e d , I d r a ft e d t h e p e r sp ect i ve. Co n s tr uc tin g the p e r sp e c t i ve s o ft e n d e m a n d e d s everal roug h dr a f ts a n d t h e re n d e r i n g p h a se r a n ge d from on e to eig ht ho u r s. T h e re n d e r i n g o f t h e p e r sp ect i ve be g a n w ith a c o n si st e n t gr a p h i t e gro u n d fro m wh i ch I w o ul d b r in g o u t t h e r a n ge o f t o n e s by u si n g vari ous types o f er a s er s a n d d a rk e r le a d s u n t i l t h e des i red co n tr a s t w a s a c hi e ve d .

Th e p urp os e of t h e drawi ngs i s t o p rov i de t h orou gh i nformat i on for each s i gni fi cant area of t h e p roje ct. Rat h er t h an keep i ng t ech ni cal drawi ngs on one she e t and rep res ent at i onal drawi ng on anot h er, I felt that i t would be us eful t o arrange all of t h e drawings and det ai ls relat i ve t o a s p eci fi c area on one she e t. In t h i s format , t h e v i e wer would not only be abl e t o v i e w t h e i llus t rat i on of t h e s p ace but als o gain an unders t andi ng of i t s p lace wi t h i n t h e p roj ect pl an and i mp act on t h e ex t eri or. W h en p laced i n orde r, t h e p res ent at i on drawi ngs would gi ve t h e vie we r t h e abi li t y t o walk t h rough t h e p roj ect and offe r a s equence of t h e s p aces wi t h i n. Robin Rodowsky Third Year Graduate Architecture 89

STUDENT PROJECTS

POTOMAC WATER TAXI STATION: WATER GATEWAY FOR THE MALL T he des ig n fo r t h i s w a t e r t a x i t e r m i n a l and s up p or t i ng lands cap e h as t wo maj or goals : t o bri ng peo pl e in to t h e Na t i o n a l Ma ll w i t h a s t rong s ens e of arri val, t h en t o ori ent t h em t o t h ei r ne w s ur ro un dings a n d a llow t h e m t o fi n d d e sti nat i ons around t h e mall. An underlyi ng t h eme i nt er woven in the des ign i s b r i n gi n g a w a re n e ss t o t h e decli ni ng quali t y of t h e env i ronment , s p eci fi cally wat er q ua l ity. T h e Po t o m a c R i ve r r u n s t h ro u gh t h e nat i on’s cap i t ol and i t’s not even clean enough t o s wi m in – tha t’s u n a c c e p t a b le . T h e w a t e r t a x i t ermi nal and t h e lands cap e s urroundi ng i t are t o be a p lace tha t educ a t e s t h e p u b li c a b o u t t h e c a u se of env i ronment al degradat i on, and wh at can be done about it. T he r ive r’s e d ge i s d e si gn e d t o re ve r t back t o a more nat ural form. Th e s h oreli ne of t h e ri ver i s c ha n g ed f ro m t h e e x i st i n g h a rd e d ge t o one t h at i s veget at ed and of more ori gi nal ri p ari an ch aract er. A l l o f the i n t e r t i d a l h a b i t a t s o f a we t la nd are t o be rep res ent ed i n t h e lands cap e. Th i s barri er wi ll hel p pro tec t t h e la n d fro m flo o d i n g, p rov i de h abi t at for wi ldli fe, and fi lt er t h e ri ver’s wat er. T he ter m in a l b u i ld i n g i s m e a n t t o p a y h omage t o t h e lands cap e, bot h i n i t s v i e ws from wi t h i n a n d its s ust a i n a b le p ro c e sse s. Wa t e r fo r non-p ot able us e drai ns from t h e roof and cycles t h rough a f il tr a tio n p ro c e ss. T h e fi lt e r i n g b a si n i s i n t h e mi ddle of t h e t ermi nal p ut s t h i s p roces s on di s p lay f o r the vis i t o r. T h e t e r m i n a l c a n a lso fu nct i on as a banquet h all for eveni ng di ners . Aft er count es s dr a w in g s on t r a c e , t h e d e si gn w a s e ve n t u ally modeled i n Rev i t and p os t -p roces s ed wi t h Ph ot os h op f o r the f in al d r a w i n gs. Matt Hill Fifth Year Landscape Architecture

MEET THE TEAM

AUSTIN LEDZIAN PRESIDENT INDUSTRIAL DESIGN

A lw a y s lo o k i n g for a good ch ai r t o s i t i n.

CHRISTINE YEN VICE PRESIDENT INTERIOR DESIGN

L ove s t o fa k e laugh and do h i gh ki cks eeeeeYE E A AA HHH!!

STEPHEN GOOD EDITOR ARCHITECTURE

Wi st fu l. Ch e ri s h es ambi valence.

LUISA LACSAMANA GRAPHIC DESIGNER INDUSTRIAL DESIGN

A lw a y s n o st a l gi c about my mi ddle s ch ool emo p h as e.

KEVIN GARCIA GRAPHIC DESIGNER ARCHITECTURE

A sp i r i n g t o make t h e p er fect s andwi ch . * B ougi e clap and rai s e t h e ro o f.

PATRICK MCWEENY FUNDRAISING FINANCE

Ba s ic al l y h i p s t er. Seduced by s t ar t up s and s earch i ng for t h at one m i lli o n d o l lar i dea – s t ay t uned! Dreams of li v i ng i n a Soh o loft w i t h a c lo set bi g enough for h i s s h op p i ng addi ct i on.

MEGAN MYKLEGARD MARKETING MARKETING/TOURISM

❒ Ta k e n ❒ Si ngle

Pi mp i n

SYDNEY NUGENT SECRETARY APPAREL, HOUSING AND RESOURCE MANAGEMENT

Sa ssy, o r ga ni zed, and i s p roud of h er Wi s cons i n root s . Obs es s ed w i t h a n y t h i ng i n a h ounds t oot h p at t ern.

SARAH ROZAIDI TREASURER ARCHITECTURE

A si m p le Malays i an gi rl wh o h as a s oft s p ot for p ot at oes .

CARLY LANDERS WRITER INDUSTRIAL DESIGN

Pe o p le o n ly li ke me for my p uns of s t eel. I eat McDonald’s at leas t e ve r y d a y. I love food more t h an mos t p eop le, and I ’m t h e mos t a w k w a rd p ers on you’ll ever meet .

MATTHEW COX SUPPORT STAFF INDUSTRIAL DESIGN

So m e p e o p le call me “Mat t h e w”, and s ome p eop le call me “ W h o’s t h a t we i rd gu y ?” ... I li ke i t wh en p eop le call me “Mat t h e w”

BRYANNA DERING SUPPORT STAFF ARCHITECTURE

Co m p u lsi ve overach i ever wi t h t h e di et of a 5 year old. Wi ll arch i t ect fo r c o o k i e d o ugh . Free t i me = 0

YASMIN HUSSAIN SUPPORT STAFF INDUSTRIAL DESIGN

St r 8 fro m t h e s t reet s of Indi a. Peace out .

MEGHAN KOLCUM SUPPORT STAFF ARCHITECTURE

My j o u r n e y a s a Coffee Addi ct , Des i gn Ent h us i as t , and Seeker of t h e Wo r ld .

ETHAN BINGEMAN SUPPORT STAFF ARCHITECTURE

Ca n b e fo u n d li s t eni ng t o clas s i c cars , abandoned bui ldi ngs , and a n y t h i n g t h a t h as a s t or y t o t ell.

NIKKI NORRIS SUPPORT STAFF INDUSTRIAL DESIGN

Ot h e r sm a l l Fi li p i no gi rl wi t h glas s es . Enj oys t h i ngs t h at are c o n si d e re d ki t s ch y and can oft en be s een mas ki ng p rocras t i nat i on by “sc o u r i n g des i gn blogs for i ns p i rat i on.”

DANIEL PERRY SUPPORT STAFF INDUSTRIAL DESIGN

# Pla t y p u s for t h os e Ph i neas and Ferb s av v y. L act os e i nt olerant and a lle r gi c t o gras s . Is t h at goi ng t oo far? I t h i nk not . I mean…I s t i ll li k e c h e e se ….

JEFF RYNES SUPPORT STAFF ARCHITECTURE

I love lo n g walks on t h e beach and ch oos e-your-own advent ure n ove ls?

BROOKE WARRINGTON SUPPORT STAFF FORESTRY

A fo re st r y maj or wi t h a p as s i on for wri t i ng, s h e enj oys r unni ng, h i k i n g, a n d bei ng a p ar t of St udi o Collect i ve!

BERNIE “FERGIE” FERGUSON FERN HORTICULTURE

L ove s t o shop at Urban Out fi t t ers and be i n h i p flas h ed-out i n st a gr a m p i cs . I ’m your favori t e fern!

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ACKNOWLEDGMENTS Fi r st a n d fo re m o st , t h a n k you t o Ch ri s Pri t ch et t for bei ng s o i nvolved a n d a llow i n g u s t o d e m a nd s o much of h i s t i me. He h as been s uch an i n va lu a b le so u rc e o f i n sp i rat i on and s up p or t . Th i s effor t would not b e p o ssi b le w i t h o u t h i m . T h a n k yo u t o Elle n Br a a t en for h er qui ck, effi ci ent edi t i ng and p reci s e c r i t i c i sm . He r i n p u t b r i n gs t h i s p ubli cat i on t o a much h i gh er level of q u a li t y. T h a n k yo u t o He n r i d e Hah n for h i s i deas , s up p or t , p at i ence, and e xc i t e m e n t . T h a n k yo u t o A n d re w Ba l s t er for h i s cri t i ci s ms and s elfles s as s i s t ance w i t h o u r fu n d r a i si n g e ffo r t s . T h a n k yo u t o B o b Sc h u b e r t for h i s s up p or t and i deas for di s t ri but i on o f o u r p u b li c a t i o n . T h a n k yo u t o Jo c e ly n Sanders for h er op ennes s and wi lli ngnes s t o h e lp. T h a n k yo u t o He le n e Re nard for h er h elp wi t h s ubmi s s i ons . T h a n k yo u t o a ll w h o su b mi t t ed t h ei r work. T h a n k yo u t o Ma r t h a Su l li van and our s t udent j udgi ng t eam for t h ei r i n p u t a n d a sse m b ly o n shor t not i ce T h a n k yo u t o t h e Ti m Colley fi rm for t h ei r ongoi ng s up p or t . T h a n k yo u t o t h e Nu ge nt fami ly for t h ei r donat i on and cont i nued su p p o r t . T h a n k yo u t o t h e De r i n g fami ly for t h ei r generous donat i on. T h a n k yo u t o t h e L e d z i a n fami ly for t h ei r generous donat i on. T h a n k yo u t o A li c e L ow y for t olerat i ng my frequent emai ls , and t o Ve c t o r Wo rk s fo r t h e i r ge nerous s up p or t . T h a n k yo u t o Ke v i n Co n cannon for h i s wi lli ngnes s t o h elp us and b r i n g p e o p le t o ge t h e r. T h a n k yo u t o a ll a lu m n i wh o wrot e ar t i cles and for t h ei r p at i ence t o o u r m a n y fo llow - u p e m a i ls and edi t i ng op i ni ons . T h a n k yo u t o Jo n a t h a n K i m and Maureen Mulli ns for p roofreadi ng o u r fi n a l d r a ft . T h a n k yo u t o Ta y lo r Cup p for bei ng p at i ent wi t h our frequent sc h e d u li n g a n d p r i n t i n g i s s ues . L a st ly, t h a n k yo u t o t h os e wh o s h ared and cont ri but ed t o our c rowd fu n d i n g c a m p a i gn f or maki ng t h i s p ubli cat i on p os s i ble.

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9 9 780986 780986 292309 292309 Design by Graham Landscape Architecture Photo courtesy of Mike Stog | mikestog.com

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