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MICHIGAN ARCHITECTURE PAPERS

site/architecture THOMPSON AND ROSE ARCHITECTS

University of Michigan College of Architecture + Urban Planning

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site/architecture THOMPSON AND ROSE ARCHITECTS

FOREWORD CONVERSATIONS AT MICHIGAN SIX PROJECTS APPENDICES

The academic setting is a privileged lookout from which it 1s possible to view !he world For the discipline of orch1tecture 1 i~e the other professional disciplines housed within that settmg it provides on nvoluoble opportumty to observe the field of proct1ce. It is however a place which IS also of he world and consequently con enable faculty and studenls to not only view rhot field of practice but to participate oct1vely in its cultivation. RoTo

BOOK MAP ONE

FOREWORD

The practice of architecture is changing

It was for these reasons that the College

rapidly in response to an increasingly

of Architecture + Urban Planning at

globalized culture and, as a

the University of Michigan sought out

consequence, the procurement and

Thompson and Rose. During the

design of buildings is becoming

Winter Semester they served as

1 998

increasingly generalized. As architecture

distinguished visiting critics at the

is commodified in this way so its

College. As a part of this collaboration

connections with a particular place, to a

they helped to make an exhibition of

moment in time, and with the interests of

work, met with students, gave a lecture

a specific client or building user tend to

and, in collaboration with Michael

be made all the more tenuous.

Grant, directed a graduate architecture design studio. Michigan Architecture

In this context, the work of Thompson and Rose is a significant exception in the field

practice in the United States of

America. The work of this small, relatively

Papers Four documents a series of projects designed by Thompson and Rose and records aspects of that collaboration in an effort to make

new yet already accomplished practice,

some of the ideas, work and debate

is directed by two young designers.

that it prompted more accessible to a

Combining the skills of architect and

wider audience.

landscape architect, they are developing an approach which integrates concerns of architecture and the detail

The Michigan Architecture Papers seek to present architecture of the highest quality

construction with preoccupations for the

and provide a basis for the continuing

characteristics of a particular place.

critical review of the discipline. They are

Inevitably their portfolio of work is

modest, but as the few built projects

students of architecture. They seek to

clearly show, this is work which

record presentations and debates which

demonstrates a passionate and

frequently take place at the College, yet

impressive commitment to an architecture

are often lost in the hectic bustle

that is specific and not general.

academic year.

of the

Collaborative studios that bring together educators and practitioners are at the foundation of architectural education. The program at the University of Michigan, first established by William Le Baron Jenney, subsequently developed by outstanding architects which have included Eliel Saarinen , Emil Lorch , and Robert Metcalf, and more recently advanced though collaborative studios with significant architects from practice including Clark Stevens and Michael Rotondi , has continued to foster that tradition. This publication records one such collaboration which took place during the 1997/98 academic year. It is made in an effort to assist in the careful mapping of a territory of education and to help to define a field of practice in architecture.

Bnon Corter Professor and Choir of Architecture University of Michigan

CONVERSATIONS AT MICHIGAN

You hove worked extensively on the design of buildings and landscapes Does the consideration of 'site' toke on particular significance in your work2

Based on a series of discussions at the College of Architecture + Urban Planning at the University of Michigan between Maryann Thompson and Charles Rose, Visiting Assistant Professor Michael Grant and architecture students

CR:

We are interested in creating an

Joseph Berlinghieri, Christopher

architecture that 'sees' its site- an

Lanzisera, Carla Swickerath, Margaret

architecture that stands in relationship to

Tomas and Kristina Winegar.

its surroundings, heightens the experience and effect of the natural conditions that are at work on the site and focuses, orients or reorients one's perception of the site. We are exploring an idea of site that is broad and inclusive. MT:

We take time to understand a site and seek to develop a poetic, even spiritual, reading of the site. By analyzing the specific conditions of a place - the apparent movement of the sun, the topography, geological conditions, water and wind, flora, fauna, natural phenomena and species diversity we attempt to develop a poetic understanding, which in turn helps to shape our intuitive responses to the site. Such concerns tune the design process to inform the concepts we generate to create an architecture of the place.

How did the landscape affect your design the Atlantic Center for the Arts2

for

MT:

The Atlantic Center for the Arts is within

CR:

The idea of weaving together landscape

the Florida jungle. We were inspired by

and architecture was intriguing to us. A

the spatial qualities of this jungle -the

boardwalk threaded through the jungle

labyrinthine experience, the sense of

links a series of clearings, creating

veiled layering both horizontally and

places of public gathering. The

vertically, and the dappling of light

relationship to the immediate landscape

through the canopy. We were interested

inspired the schematic design: we did

in creating an architecture that would

not think of the buildings as objects. By

heighten the sensory effects of this.

working simultaneously with the actual

We created a passage through the site

conditions of the landscape and the

which emphasized a sense

layering,

experience of the site, a labyrinthine

recalling the peripatetic nature of the

plan developed. The moments of

place. Throughout the design process

clearing which occur on the boardwalk

there was a constant dialogue between

between the buildings are the objects;

the ideas of layering and revealing.

the buildings recede. The project is a collection of fragmentary views and experiences, of concealed objects, themselves whole but understood primarily in moments of selected recombination and integration. The scheme is only fully understood through movement and memory.

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There are shifts between subjective and objective perceptual bias at the Atlantic

CR:

The buildings only reveal themselves as objects at close range, not at a

Center for the Arts. The client had

distance . Close examination exposes

precise area requirements and the

details that differentiate each pavilion -

artists needed rectangular spaces. We

tectonic and material changes that

could not vary from that. Because of the

respond to the specific program within .

nature of the site plan and because the

The articulation of construction at each

pavilions are set within and partially

pavilion , with respect to scale,

hidden by the surrounding vegetation,

materiality and detailing , varies in

they are not presented as objects. The

response to program. Our intention was

volumes and planes contribute to forming

to make each piece of the project

exterior spaces rather than asserting

particular to the activity it was designed

themselves as objects. There is a sense

to serve.

of revelation upon entering each building , as the interior space is suddenly understood as a discrete volume. The interiors act as clearings within the omnipresent jungle. They become a peaceful light-filled domain within the thick landscape. There is an enigmatic tension between the perceptual experience from within the site as fragments along a promenade and the conceptual reading from without as sculptural objects.

Could you elaborate on the way the designs for each of the studios were develaped2 CR:

Our client was interested in making

MT:

These two glazing conditions define a

each building specific to its function ,

space between the earth and the sky

rather than creating multi-purpose

which the dancer occupies. The

spaces. Thi s provided an opportunity to design a series of rooms which were

development of the interior spaces at

specific , both spatially and tectonically.

inspired by what we interpret as the

the Atlantic Center for the Arts are

For instance, the client asked that the

' mytho-poetic ' quality of early

dance space be " light and airy" -

modernism . We believe that arch itecture

suggesting that the spatiality of dance

can communicate viscerally and can be

be characterized by floating and

filled with meaning , not necessarily in

hovering . We interpreted this reading

terms of symbol-making , but rather, in

by creating a strip of sandblasted glass

terms of direct emotional experience .

at the ceiling that encircles the room , al lowing for a diffused , gentle light, and placing a band of clear glass at the finish floor, under the mirror, which o ffers an immediate view of the tactile, lush jungle.

Early Modernism is clearly on inspiration in your work Are there particular sources?

MT: We are influenced by many architects

CR:

Le Corbusier has been an influence as

in a variety of ways: we learned from

well. At La Tourette, for instance, we

Aalto 's use of site-found materials at Villa

were interested in the way meaning

Mairea , and the resulting suggestion of

is established through the coincidence

regionalism and site-contextualism.

of structure, form and the significant

The relationship between architecture

relationship to the ground plane. The

and site , as well as the sense of craft

frame hovers above the sloping grade

and tectonic invention , employed to

creating an aloof home for the intellect,

create added layers of meaning is

while the sculptural cast concrete

remarkable . At Asplund 's Woodland

bearing walls of the chapel engage

Cemetery the balance and duality

the ground and house the sacred

between the crematorium and landscape

spaces

religious mystery.

is inspiring . The architecture forms a wall which contains the site while allowing the knoll and the open void of the site to take on the primary reading. His use of symbolism also inspired us .

Hos art nt uenced you1 wall\?

MT:

Many of our attitudes are fueled by

For example, you have to move through

theories and work from the art world -

the installation by Serra to understand

from issues of sculptural form to attempts

the figured void. This celebration of the

to create emotional resonance.

direct human experience parallels our own attitudes.

CR:

We are constantly looking to the world of the artist for inspiration. There are moments when you discover that ideas

CR:

In developing the program for the Atlantic Center for the Arts, we had

you are contemplating have already

many inspiring discussions with great

been considered by others working in

artists who were members of the

another medium. Richard Serra's

advisory board. The idea that dance

Torqued Ellipses at the Dia Center for the

occupies the space between earth and

Arts in New York was a point of

sky originated in a conversation with the

revelation for us in its consideration of

choreographer Trisha Brown. She

the figured void. The sculpture addressed

prompted us to find ways

the concrete relationship between the

mythic quality to that space. The design

of giving

object in space and the experience of

of the painting studio developed out of

that space.

conversation with painters about light

When I was a student in Peter Walker's

which were visually, sculpturally, and

and space. We designed studio spaces MT:

studio at Harvard, the studio spent time

tectonically linked to the concerns and

at Storm King, Pepsico and in galleries

aspirations of the artists.

in New York City. It was very influential. Sculpture is of specific interest to us because it requires being experienced in the round.

Hmt> tssu< s, t prl'll enodt. ot'ectect your orcf 1c CR:

TillE "

Our commitment is to the palpable experience of space and this commitment relates directly to the issue of promenade . In our architecture the effect that the building has on the body, mind , and spirit is fundamental. The potential for mystery in the architectural experience is important too . We are interested in exploring an architecture that reveals itself through movement and memory, through an unfolding of visual and spatial experiences which involve the viewer in a process

discovery.

MT: In our work we attempt to explore

that process of discovery through the promenade. We are interested in creating an architecture that reveals itself over time from different perspectives and at different scales . The comprehension of the work thus involves a dialogue between the viewer and the unfolding nature of what is being viewed.

Con you comment on the scalar relationships of the Bartholomew County Veterans Memoriol2 MT: For instance, at Straitsview Farm both the

MT:

Scalar shifts play an important role

location of the barn within the site and its

in the memorial's ambiguity and

faceted form prevent the building from

emotional power. The scale of the

being read as a singular object. Moving

project oscillates. The tight spaces

around and through the barn yields a

between the columns can be

transformed perception at different scales

intimate, proportioned as they are

and from changing vantage points. It

for a quiet yet intense relationship

also creates a relationship of

with the letters that are inscribed in

participation between the building and

the stone. Yet the very same spaces

the viewer. This enigmatic and mysterious

can also be terrifying and sublime,

quality is experienced through movement.

evoking death and the infinite. These 'earth-bound' or 'rock-bound' spaces, at once protected and pressured, also are juxtaposed with the view upward within the piece which allows for a sense of release and relationship to the sky. The tapering of the columns, skyward, helps this reading as it draws the eye upward. Scalar shifts in this piece address the duality and the reconciliation of the infinite and the individual.

CR:

We wanted to work within a scale that made sense urbanistically, marking the new entry to Columbus and providing a sense of relationship to the adjacent courthouse . Yet, it was important to create an intimate scale to accommodate the act of private contemplation . From the exterior, the piece addresses the scale of the city, its rock-cut limestone outer surface reads as a carved monumental block, reminiscent of local

In this proJect, as with the Atlantic Center for the Arts, there seems to be a tension between the ob;ect and the experience.

quarries. To further this reading there are not special bases for the columns, they go directly into the earth . Within the grid , however, the interior surfaces are smooth

CR:

The tension between the piece as

and carefully sized to accommodate an

an object and the place as an

intimate relationship between the visitor

experience speaks again of the

and the texts. The piece operates on

ambiguity inherent in the project.

many scales. It is interesting to note that

It can be read as both solid quarry

these subtle devices were laborious to

block and as perforated , inhabitable

work out. When you look at the project,

space. The tension between object

it seems simple. Achieving such

and subject is inherent in the duality

simplicity can be incredibly complicated.

between solid and void .

Does your 1\0rking process change fa, a pro1ect n an urban seflmg2 CR:

In the city, our response becomes more

MT: A figural courtyard became the center

abstract in its relationship to nature.

of the project. The scheme is woven

In the Urban Residence/ Gallery project

through the courtyard - the circulation

the envelope becomes site sensitive .

stitches back and forth , tying the

A courtyard at the heart of the project

scheme together and allowing for the

becomes a spatially impacted distillation

presence of the court to be central to

of site . There are dramatic topographies

the daily experience of the building .

- in this case the buildings in Manhattan .

Skylights at the street and party wall

There are also solar concerns, it rains,

further accentuate the sense of layered

and we have resident populations to

encounter with the sun . The attempt is

consider - the artists and visitors from

to make the light palpable, to give it

the Dia Center for the Arts to the west.

a presence, to take what is thought of

There is still a natural landscape but

as insubstantial void - light, air, space

also a constructed landscape with

-and make it visceral and solid . The

which to connect.

basic challenge remains the same how can you bring site into a project and how can you create an architecture which ' sees' its site.

-~- ~ . I

0-41 ~ ~-

ATlANTIC CENTER FOR THE ARTS New Smyrna Beach, Florida

BUILDING USE:

The artists ' resource center and residency program bring together master artists to research and provide instruction in dance, drama, music, sculpture, literature and the visual arts . The program includes a black box theater, dance studio, sculpture building with an outdoor work yard , painting studio, recording studio, dark room and library. SITE CHARACTERISTICS:

The site is an indigenous jungle in a climate characterized by torrential rains, oppressive heat and bright sun . The space of the jungle is a dense environment of dappled light and a variety of shades of green . In the absence of a single visual reference point, the jungle offers a peripatetic space, the experience of which is dominated by a sense of disorientation . Existing structures on the site are wood frame pole structures . These include housing, an admin istrative building and gallery, workshop space, and an outdoor theater.

1. 2. 3. 4. 5. /

library

mus1c room

painting studio dance studio dressing room

audio room

sculpture studio

9 . gallery + reception 10. black box theater

outdoor work area

30 h

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DESIGN PHILOSOPHY:

The design intention is to intensify, contrast and heighten the visual and sensory effects of the site . Movement and memory unify the experience, rather than an awareness of the overall structure . This pattern begins with the labyrinth ine parking wh ich is integral to the function of the place . Like the jungle, there is a sense of visual and spatial unfolding, as only small parts of the scheme can be understood at one time. The peripatetic space of the jungle is amplified by the configuration of the new boardwalk and placement of the structures w ith respect to discrete views and overlapping spatial moments, and by the interwoven relationships of bu ilding and jungle. Each building is designed to house a single art form -theater, dance, sculpture, painting, music, and a library. The interiors act as clearings within the jungle, offering a sense of visual clarity and relief. Within each workroom the buildings frame, articulate and mediate the ubiquitous vegetation , creating a layered sense of enclosure .

The design research involved an investigation of building in similar latitudes - specifically ways of adapting and tempering the existing climactic conditions through architectural invention, the study of precedent and use of readily available materials. The climactic conditions of the site - light, wind, air, rain - and their phenomenological effects are reinterpreted and tempered through the use of louvers which mottle the direct light; large glass walls which maximize the ambient northern light; light monitors; hopper windows; wind scoops; and large, linear rain scuppers .

Construction Systems : The buildings and boardwalk are elevated on wood columns resting on concrete piers . The primary structural system is a wood frame/heavy timber hybrid . The structures are clad in stained cedar which is fastened with stainless steel screws . The base of the sculpture studio is cast-in-place concrete . Roofs are lead-coated copper, both flat lock and standing seam . Doors are steel , wood , and lead-coated copper; windows are brushed aluminum . The adjustable louvers are cedar. Trellis work and suspension rods are made of painted steel.

FLORIDA GULF COAST ART CENTER Pinellas County Botanical Gardens Clearwater, Florida

BUILDING USE :

The Art Center provides flexible new facilities for a growing collection of modern art as well as a public arts and crafts program . The design for the 50,000 square foot art center campus creates a community of public learning set within a new sixty-acre botanical garden . The program for the

interdisciplinary campus includes galleries for the center's permanent collection, and studio classrooms for instruction in painting , photography, metalsmithing, sculpture, ceramics, printmaking, fiber arts, woodworking and glass blowing . The center will offer classes for adults and children taught by professional artists . SITE CHARACTERISTICS:

Situated within the new sixty-acre Pinellas County Botanical Gardens in Tampa, the Art Center defines a boundary between the Botanical Gardens and the Pinellas waterway. Across the waterway to the west is Heritage Village, an open-air museum of cracker architecture .

1. 2. 3. 4. 5.

lobby library administrative offices conference room

storage

looding dock kitchen gallery studio gihshap

30 h

DESIGN PHILOSOPHY:

The project is organized around two public circulation elements: a sinuous colonnade running parallel to the waterway, offering a promenade with views into the gardens; and a footbridge across the wetlands, connecting the Art Center to Heritage Village . The public center of the complex, with an auditorium, library, cafe, sculpture garden , galleries, and the museum store, is at the intersection of these two paths . Studio and shop bu ildings are placed along the curving colonnade, which becomes an outdoor 'classroom ' planned parallel to the water. It continually returns the visitor to the landscape. Gardens occur between the buildings, and are viewed from the colonnade and secondary south-facing arcades .

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CONSTRUCTION SYSTEMS:

The bu ildings are simple volumes of concrete block with lightweight steel joists supporting membrane roofs. Metalclad light monitors punctuate these simple volumes and provide ambient north light to the studios and galleries. Overhanging awnings provide shade to the interiors from the intense sun from the south , west and east. Through these elements, the buildings transcend their direct, factory-like volumes, admitting controlled natural light into the interiors allowing the unique quality of the Florida sun to be revealed in an architecture of sculpted roof-lights and projecting sunshades . The colonnade, a path for pedestrians, is defined by a lightweight steel structure .

BARN AT STRAITSVIEW FARM San juan Island , Washington

BUILDING USE:

Situated on a working farm overlooking the Strait of Juan de Fuca , this new, multi-purpose barn accommodates a farm office, wood and machine shops, workspace for a veterinarian and storage for a variety of large-scale equipment and machinery. The 'L' shaped configuration of the building deflects the prevailing north-â&#x201A;Źastern winds coming off the Pacific Ocean , and shelters the adjacent work yard - a square court defined by the building's facade and a tall , slatted wood fence .

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SITE CHARACTERISTICS:

The new barn is located in a natural clearing at the edge of a dense stand of fir trees . This edge condition allows for views from the work yard, through the forest edge, out across a windswept meadow and to the water below: the foreground is darkly shaded, while the distant water and mountains on the western horizon are brightly lit. This edge condition provides a view back to the barn in which the reddish color of its cedar cladding appears as a luminous highlight against the shaded green firs beyond .

DESIGN PHILOSOPHY:

This project employs the timber frame tradition of the region in the service of an expressive, sculptural architecture . The resulting tectonic is dominated by the elements of the timber frame, the wood nailers and cedar slats of the rolling doors. The building is sheathed entirely in wood shingles and at the scale of the site it is perceived as a monolithic, faceted object. In this way, the 'wrapped ' character of the building allows for multiple readings at differing scales and from changing vantage points .

CONSTRUCTION SYSTEMS :

The construction system of the barn is explicit. The structural frame of reclaimed Douglas Fir timbers is sheathed with fir nailers and clad with cedar shingles on the walls and cedar shakes on the roof. The frame rests on black pigmented concrete column bases and a polished, black concrete slab. Facing the work yard, seven slatted, 16' x 9 '-6" rolling cedar doors can be opened in fine weather to link the interior of the barn and the work yard to form one contiguous space. Copper shields the rolling door tracks and wheels from the damp environment, and three-quarter inch diameter painted steel crossbraces give the frames lateral rigidity.

OFFICE FOR A PRIVATE INVESTOR Bedminster, New jersey

BUILDING USE :

The program includes a residential apartment, which is inserted into the second level of an existing house, and an office space . The office occupies both the first floor of the existing house and a 2 ,500 square foot addition along the garden edge. This addition includes a conference screening room, an office, and spaces for two assistants, as well as a kitchen and dining area. SITE CHARACTERISTICS:

The 0.68 acre site is bisected by an ~t'

existing dry-joint masonry retaining wall that extends perpendicularly from the

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maple and ash trees . An existing 1930's two-story gambrel roofed house and a simple garage structure occupy the plinth formed by the retaining wall. The remaining half of the site is currently unoccupied .

DESIGN PHILOSOPHY:

CONSTRUCTION SYSTEMS:

Trad itional office spaces tend to reinforce

The addition employs a pigmented concrete base and occasional pigmented

entrenched modes of thought and behavior. This 'home-office' proposes an environment tha t resists the expectations implied by the existing context and by conventional typological notions of house and office . The existing house is treated 路 as a foil to the addition . The arch itectural

walls . The wood frame is punctuated with heavy timber and steel elements . The roof and several walls are clad in lead-coated copper. Interiors are finished with inexpensive plywood , stone and wood floors.

order of the addition contrasts with the existing house. The 'L' shaped plan of the addition is developed around a procession between the flat, rectangular and introverted space of the entry court, and the theater-like, extroverted space of the lawn and the garden . The conference room and office spaces form an irregular edge of shifting, nested volumes . Elements such as the pivoting leaves of the presentation wall and the stepped bench engage the visitor and provide opportunities to move out from the office into the garden. The design seeks to create a playful environment and facilitate spontaneous, informal interaction with in a typology traditionally characterized by formality and constraint.

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URBAN RESIDENCE/GALLERY West 22"d Street, New York, New York

BUILDING USE:

The program calls for a complex loft renovation and the expansion of an existing three-story industrial building to create a new gallery, workspace and a residence . The ground floor houses a retail showroom for the fashion house Comme des Garc;:ons. There is a studio apartment/atelier on the second floor. The third , fourth and open-air fifth floor constitute the primary focus of the project -a 5,500 square foot residential loft built around an open courtyard garden . SITE CHARACTERISTICS:

The site is in Chelsea in the heart of New York's emerging gallery district. The design uses the built context of the West 22nd Street

city as its site . The project establishes a framework for a natural precinct in response to the urban landscape.

Fourth Floor 1. bedroom 2 . garden 3 . upper gallery 4 . playroom

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mudroom

2. 3. 4.

kitchen dining room foyer study gallery living room family room courtyard

5. 6. 7. 8. 9.

DESIGN PHILOSOPHY:

CONSTRUCTION SYSTEMS :

The residence weaves sculptural form

The design introduces both natural and

and multi-leveled courtyards with a latticework of steel and wooden trellises .

residential materials, including stucco, plants and grass, to the industrial urban landscape in order to create a human

Interior rooms are arranged en filade . Each interior space relates to this interior progression, as well as to the landscape of the courtyard and sky.

scale within the existing footprint of the building . The exterior palette extends into and connects with that of the interior.

The public spaces occupy the lower level; private rooms are situated above . Views onto and through the garden from various vantage points create a series of layered spaces that fuse interior and exterior, urban and natural, sculptural and organic . Upper-story balconies adjacent to the bedrooms and rooftop terraces heighten the sense of liminal space between interior and exterior.

BARTHOLOMEW COUNTY VETERANS MEMORIAL Columbus, Indiana

BUILDING USE:

The program of the invited competition for this memorial called for design proposals for a monument to honor the one hundred and fifty six veterans from the county who gave their lives in twentieth century wars . The winning design included a request for the community to submit personal letters and journals written by veterans and their families which were incorporated into the monument. SITE CHARACTERISTICS:

Located on a public lawn alongside the existing Bartholomew County Courthouse - a late nineteenth century empire style building of brick and stone- the site is flat and expansive . Scattered deciduous trees form a high canopy which extends diagonally across the site from southeast to northwest. The Courthouse terminates a new vehicular entrance into the town of Columbus .

DESIGN PHILOSOPHY:

The design for the memorial originated in a spatial idea which seeks a deep emotional resonance with the community. The space w ithin the field of the grid of twenty-five limestone pillars creates an intense separate world which viscerally engages the viewer. The dense solitude of this interior space contrasts with the open , tranquil landscape of the public lawn and the grid of flowering trees . The grid of pillars creates a profound and meditative space - a place of solemnity which engenders a powerful sense of communal gratitude to those who have made the ultimate sacrifice . The upward visual movement of the columns, silhouetted by the sky, evokes a sense of awe in response to the deeds of others, as well as a sense of participation in events which transcend the individual and everyday experience .

CONSTRUCTION SYSTEMS:

The outer surfaces of the sixteen outermost pillars are rough-cut limestone, unmarked by text. The inner surfaces of the outer layer of the pillars are smooth and hold the names of the veterans and the dates of their births and deaths. The smooth surfaces of the nine inner pillars carry texts which describe the experiences of veterans from each of the wars . They include letters sent to fam ilies in the county, journal entries, telegrams and articles from newspapers. This sanctuary solidifies past deeds within the everyday contemporary culture of the county and allows future generations to understand the histories of their families , county and country.

PROJECT CREDITS

Design Principals:

ATLANTIC CENTER FOR THE ARTS Project Team:

Construction Manager: Structural Engineer: Civil Engineer: Mechanical/Electrical Engineer: Geotechnical Engineer: Acoustical Engineer: Client:

FLORIDA GULF COAST ART CENTER Project Team :

Construction Manager: Structural Engineer: MEP Eng ineer: Geotechnical Engineer: Site Engineer: Client:

BARN AT STRAITSVIEW FARM Project Team : Building Contractor: Craksman: Structural Engineer: landscape Designer Client:

Maryann Thompson and Charles Rose

Tim Downing, Michael Grant, Joe MacDonald, Francisco Theboud, Warren Van Wees, Michael Breau, Frank Dill, Lisa Iwamoto, David Martin, Patrick Maguire, Carrie Johnson Epoch Properties (Winter Park, FL), Dean Sondroni, Superintendent Ocmulgee Associates Inc. (Ipswich, MA), Wayne King, Principal Jerry K. Finley, P.E. (Port Orange, Fl) MEngineering (Columbus, OH), Shige Moroi, Brad Shaffer PSI-Jammal Associates Uacksonville, Fl) , Don Stites, Don Budnovich Cambridge Acoustical (Cambridge, MA) Suzanne Fetscher, Executive Director Ted PoHer, former Executive Director

David Martin, Christopher Hoxie, Heidi Beebe, Brian Bell, Samantha Pearson, Franco Ghilardi, Erin Cowhey, Lori Sang, David Whitney, Nancy Staab Peter Brown Construction Co. (largo, FL) , Tito Vargas, Project Manager Ocmulgee Associates Inc. (Ipswich, MA), Wayne King, Principal Babes Associates (Moirland, Fl), Gus Babes, Jr., Principal BTL Engineering Services, Inc. (Tampa, Fl), David Faulkner, Engineer DSA Group, Inc. (Tampa, Fl), Jim Bryce, Engineer Florida Gull Coast Art Center, Ken Rollins, Director

David Martin S.B. Inc. (Friday Harbor, WA), Steve Bobb, Contractor Giovanni Guistina (Friday Harbor, WA) B&B Engineered Timber (Keene, NH), Ben Brungrober, Engineer Michael Van Valkenburgh Associates (Cambridge, MA), Michael Van Valkenburgh, Principal Witheld

OFFICE FOR A PRIVATE INVESTOR Project Teom :

Landscape Architect: Civil Engineer: Lighting Consultant: Graphic Designer: Client:

Michael Grant, Lori Song, Faith Rose, Dono Weeder, Kotorino Edlund.Siorsky, Samontho Pearson, Nicholas Popaelthimiou, Julie Kline, Catherine Kuhnle Wolter S. Corell, Jr. {Millington, NJ) Gladstone Design, Inc. {Gladstone, NJ). Ron Kennedy Fisher Morontz Renfro Stone {New York, NY], Hank Forest, Project Monoger Chermoyeff ond Geismar Assoc., {New York, NY], Tom Geismar, Principal David Teiger

URBAN RESIDENCE/GALLERY Project Teom :

Lori Sang, Christopher Hoxie, Franco Ghilordi, Heidi

Contractor: Mechanical Engineer:

Beebe, Nancy Stoob Higgins Construction {New York, NY], Terry Higgins Reynaldo C. Prego Consulting Engineers {New York, NY),

Structural Engineer: Code Consultant: Client:

Reynaldo Prego, Principal Voiromides Georgeopalis Engineers {New York, NY). Angelo Georgeopalis, Principal Code Inc., {New York, NY], Beth Lochtefeld Michael Weinstein

BARTHOLOMEW COUNTY VETERANS MEMORIAL Project Teom : Contractor: Landscape Architects: Lighting : Structural Engineer: Consulting Engineer: Client:

Michael Grant, Aileen Hsu, David Whitney, Julie Kline, Dono Weeder Dunlop and Company, {Columbus, IN), Chris Mulloy, Project Monoger Michael Van Volkenburgh Associates {Cambridge, MA). Michael Van Volkenburgh, Principal Schweppe Lighting Design, Inc. {Concord, MA), D. Schweppe, Principal Ocmulgee Associates Inc. {Ipswich, MA), Wayne King, Principal Erdman Anthony Associates {Boston, MA) Bartholomew County Memorial for Veterans Committee

APPENDICES

MARYANN THOMPSON + CHARLES B. ROSE HONORS + AWARDS BIBLIOGRAPHY SELECTED COMPETITIONS +EXHIBITIONS GRADUATE DESIGN STUDIO ACKNOWLEDGMENTS

MARYANN THOMPSON

Education

Selected Lectures

Master of Architecture, Degree with Distinction and

The Figured Void: The Recent Work of Thompson and Rose Architects, Roger Williams

with the AlA Certificate of Merit

School of Architecture Lecture Series

Harvard University, Graduate School of Design,

1997

Master of Landscape Architecture,

Recent Work, Northeastern University Department of Architecture Lecture Series

Degree with LeHer of Commendation 1997

Architecture, The University of MossachuseHs,

Magna cum Laude

Amherst 1997

Five Recent Projects, Architectural League of New York 'Emerging Voices' Lecture Series

Teach ing 1998

Five Recent Projects, The School of Art and

Princeton University, B.A. Architecture,

Visiting Critic, Department of Architecture,

1992

Recent Work, Boston Society of Architects

1991

Graduate School of Design, Harvard University 1998

Distinguished Visiting Critic from Practice,

Fresh Look at the Structural Theories of Le Corbusier, Department of Architecture,

College of Architecture and Urban Planning,

University of California, Berkeley

University of Michigan 1997

Visiting Critic, Department of Architecture, Rhode Island School of Design

1993-95 Visiting Critic, Department of Landscape Architecture, Graduate School of Design, Harvard University 1993

Visiting Critic, School of Architecture, Northeastern University

1992

Visiting Adjunct Professor, School of Architecture, Rice University

CHARLES B. ROSE

Education

Selected lectures Harvard University, Graduate School of Design,

Moster of Architecture, Degree with Distinction

1998

Six Projects, College of Architecture and Urban Planning, University of Michigan

Princeton University, B.A. Architecture, Summa cum laude

1997

Process: Arlontic Center for the Arts, University of Florida Deportment of Arch itecture, H. Dean Rowe Memorial lecture Series

Teaching 1997 1998

Visiting Critic, Deportment of Arch itecture,

William Owen Jones Endowed Lecture, Un iversity of Virg inia School of Architecture

Graduate School of Design, Harvard University 1997 1998

Distinguished Visiting Critic from Practice,

Five Recent Projects, School of Architecture, Renssolear Polytechnic Institute

College of Architecture and Urban Planning, University of Michigan

1992

Recent Work, School of Architecture, Rice University

1997

Mabie P. Marsh Visiting Professor, School of Arch itecture, Renssolear Polytechnic Institute

1992

Recent Work, Deportment of Architecture and landscape Architecture,

1997

Visiting Critic, Deportment of Architecture,

North Dakota State University

Rhode Island School of Design 1990 1996

Visiting Assoc iate Professor, Deportment of

Recent Work, School of Architecture, Rice University

Architecture, MossochuseHs Institute of Technology 1993

lecturer, 19th and 20th Century Architecture, Deportment of Architecture, Northeastern University

1992

Visiting Adjunct Professor, School of Architecture, Rice University

1991

Visiting Assistant Professor, School of Architecture, Rice University

HONORS + AWARDS

1998

American lnstiMe of Architects,

National

1996

Young Architects Citation

Unbuilt Architecture Award, Bartholomew County Baston Society of Architects, Veterans Memorial

1998

Building Stone lnstiMe,

Tucker Award of

Excellence, Bartholomew County Veterans

1996

Boston Society of Architects, Design Honor Award, Witchbrook Meadow House

1996

Building Stone lnstiMe,

1995

American Wood Council,

Memorial

1997

National, Honor Award for Design Excellence, A~antic

American lnstii\Jte of Architects,

Tucker Award of Excellence, Dormitories at Kenyon College

Center lor the Arts

1997

American Wood Council,

Honor Award,

A~antic Center lor the Arts

National Honor

Award, Barn at Straitsview Farm

1995 1997

New England Honor Award for Design Excellence,

American lnstii\Jte of Architects,

New England Honor Award for Design Excellence,

American lnstii\Jte of Architects, Dormitories at Kenyon College

Atlantic Center lor the Arts

1995 1997

1997

Progressive Architecture

Award: Citation,

Atlantic Center lor the Arts

Business Week/ Architectural Record Business Design Award, Offices of Gemini Consulting

1994

Boston Society of Architects,

Boston Society of Architects, Design Honor Award, Bartholomew County Veterans

1993

Boston Society of Architects,

American Institute of Architects:

Design Honor Award, Dormitories at Kenyon College

Architecture Award,

Memorial

Unbuilt

A~antic Center lor

the Arts

1997

I. D. Magazine Annual Design Review,

Design Distinction Award, A~antic Center

1990

1997

Architectural league of New York,

1988

Honor Award,

Design Honor Award, A~antic Center lor the Arts Boston Society of Architects,

Frederick Sheldon Traveling Fellowship, Harvard University !Maryann Thompson)

" Emerging Voices " lecture Series

1996

American Wood Council, Horsbrook School

lor the Arts

1987

Ago

Khan Travel Grant, MassachuseHs

lnstii\Jte of Technology and Harvard University !Maryann Thompson)

1996

Boston Society of Architects,

Unbuilt

Architecture Award, Florida Gulf Coast Arts Center

1987

Fulbright Scholarship !Charles Rose)

BIBLIOGRAPHY

Jodidio, Philip,

Contemporary American Architects: Volume IV,

[Toschen : New York, 1998(. Stungo, Naomi ,

londecker, Heidi, " Husbands ond Wives: Thompson and

Architecture, June 1996.

Rose Architects,"

Architecture in Wood, (Collman & King ,

Padjen, Elizabeth S., "The Design Process," Art

New

1998(.

England, February 1996.

Stein, Koren, "Thompson and Rose's Equipment Building

Rodriguez, Alicia, ed., " Reinventing the Square: A New

in Rural Washington Stole Demonstrates thot there con be

Focal Point for Columbus, Indiana,"

Elegance in Utility,"

Architectural Record, June 1998.

Curtis, W illiam J.R., "American Institute of Architects 1998 Honors ond Awards,"

Architectural Record, May 1998.

Landscape Architecture,

February 1996. "Architects Pay Tribute to Veterans with a Field of Pillars,"

Architectural Record, November 1995 .

Darrow, Carl, " Borns East ond West: Straitsview Barn"

"42nd Annual P/A Awards. Citation : The A~antic Center

Wood Design and Building, Autumn 1997.

for the Arts,"

Nussbaum, Bruce, " Blueprints for Business: Business Week

"Modern-Gothic Dorms for a 19th Century Campus,"

Architectural Record Awards,"

Business Week,

Progressive Architecture, January 1995.

Progressive Architecture, December 1994.

November 1997. "Culture Comes to Smyrna Beach,"

"Good

Architectural Record,

Good Business: Business Week/ Arch itectural Record Awards," Architectural Record,

November 1994.

October 1997.

Hoyt, Charles K., "Dorms and Traditions: The Woodland

Stein, Karen,

Design is

Dormitories, Kenyon College," Kroloff, Reed, "Columns of Memory, â&#x20AC;˘

Architecture,

Architectural Record,

November 1994.

September 1997. Boyes, Ke nneth, " Design Distinction: A~antic Center far the Arts, leeper

ID Magazine Annual Design Review Edition, July 1997.

Living Architecture, (Anthrosophic Press:

New York, 1994(.

Studio Complex,"

Rose, Charles and Thompson, Maryann, " Designer's Diary: Imagining Art in the Florida Jungle,"

IN SITE, March 1994.

Kliment, Stephen A. ,"Vineyard Variations: Contemporary Shingle Style on Martha's Vineyard,"

Architectural Digest,

August 1997. Stein, Karen,"Project Diary: leeper Studio Complex, A~antic Center for the Arts,"

"Arts Center in the Florida Jungle,"

Progressive Architecture,

February 1994.

Architectural Record, June 1997.

Sanoff, Henry,

School Design, (Von Nostrand Reinhold:

New York, 1994(.

Podjen, Elizabeth S., "Thompson and Rose Arch itects,"

Freiman, Zivo, "Young Architects"

Art New England, May/ June 1997.

July 1990.

Progressive Architecture,

SELECTED COMPETITIONS

1995

Winner, Monument lor the Town of Addison, Texas. Thompson and Rose Architects with M ichael Von Volkenburgh Associates, Landscape Architects, and Mel Chin , artist.

1995

Winner, Bartholomew County Veterans Memorial, Columbus, Indiana .

SELECTED EXHIBITIONS

"Equal Partners: Men and Women Principals in Contemporary Architectural Practice, • Smith College, Helen Searing and Suzonnoh Fobing, curators, Smith College Museum of Art, September 1998.

"site/ architecture: recent work by Thompson and Rose Architects, • University of Michigan, College of Architecture +Urban Planning, January/ February 1998.

GRADUATE DESIGN STUDIO

Maryann Thompson and Charles Rose worked with a

This studio oHempted to explore strategies resistant to recent,

graduate architecture design studio tn collabora tion

and essentially reductive, conceptions of architecture which

with Vtsiting Assistant Professor Michael Grant during

devalue the phenomenal experience of built form in favor of

the 1998 winter semester ot the University of Michigan .

a largely conceptual, languag&<lerived understanding of

The following studen ts participated in that studio:

meaning in architecture. These strategies reunite the intuitive pursuit of spatial morphologies and the experiential phenomena of architecture with an on-going and

lt Mtn Ching Sorawut Donudomki1 Kathleen Doyle Ryu Kawai Heather Krafka Eric lee jenmfer Muse Randolph Pease jeffrey Pretfer Jo Ann Render Chnstine S. Rosenberg juthathip Techachumrean Sophia Terrel Ntrandorn Tongaroon Whttney lynn Wood Whinnery Randall Whinnery Ill

complementary critique of the conditions of use which they create. Central to the studio was an understanding of architectural invention as a process which moves bock and forth between an intuitive, empirical mode of exploration through making, and a reasoned, critical analysis of the artifacts thus produced. The program for this studio was a community art center of modest proportion, sited a short distance from the College of Architecture + Urban Planning at the University of Michigan . The art center was to serve both the local public school system and the community at large, with studios for print-making , pointing, and sculpture . The 'hands-on' learning that takes place at such an institution proceeds from specific experience to general knowledge, and as such it contrasts with the more 'conceptual ' learning experience of a traditional academic curriculum . Inspired by this observation, the studio engaged in the production of a series of monoprints as an integral port of the design process . The studio's first exercise was the production of an analytic collagraph print based on an observed site condition . These prints were then critiqued and transformed through a model-making process which explored a particular material, i.e. lead, wood, plaster, etc. A building proposal and the Iorge scale development of an element of building enclosure, a door, window, or wall section, followed . M ichael Grant Visiting Assistant Professor 1997-98 Studio Critic

collogroph punl Rondo11 Whmnery Ill

ACKNOWLEDGMENTS

As the design and making of architecture is only mode

Special thanks are due to Assistant Professor Michael

possible by the energy and time that is contributed by

Grant and graduate student Simone GheHi for

many different people over time so the preparation of

developing some initial ideas for the book. However,

this document has been realized with the help and

it is Caleb Clause! and Carla Swickeroth , students

co-operation of numerous individuals.

from the undergraduate and graduate programs in architecture at Michigan, who have been central Ia

The Dean, faculty and staff of the College of Architecture

+ Urban Planning hove contributed in many ways through their patience, hard work and reliable support. Without the students however linle would hove been possible. Many students worked to prepare the exhibition site/architecture, Recent work by Thompson

the conception and real ization of this publication . Both hove worked tirelessly, yet with inspiration and patience, to make it elegant, legible and coherent. Maryann Thompson and Charles Rose have g iven their time and resources to this collaboration with the College

and Rose, in the College Gallery in January, 1998 .

w ith extraordinary generosity. The photographer Chuck

Thanks go to them all and especially to John Comozzi,

Choi generously made his images available for this publication . However it is the commitment Ia excellence

Brion Reboin, Stacy Cohill, Betsy George ond to Ph ilip lee who rebuilt models which were reduced to

in the practice of architecture which the whale office of

matchwood in transit. Others have worked hard in both

Thompson and Rose has made through their outstanding

the studio and the seminar room to probe the details of

work over the last six years that has provided the

the architectural directions that Maryann Thompson and

inspiration for this publication - without that work there

Charlie Rose set out. Michael Grant, a former member

would have been no basis for our collaboration .

of the Thompson and Rose office who was appointed Visiting Assistant Professor in Architecture at the University of Michigan for the 1997/98 academic year, helped to direct the graduate design studio with inspiration and tenacity. Without his splendid efforts it is also quite possible that this document would not exist. The members of the design studio are listed separately, as are those students who worked with extraordinary care to develop and distill o series of long conversations with Thompson and Rose into an important and informative port of thi s publication .

PUBLICATIONS

The Mich1gon Arch1tecture Papers MAP

4 路 Thompson and Rose Architects

MAP

3 路 TEN Arquitectos

MAP

2 路 Allies and Morrison

MAP

1 路 Roll! Book

The john D1nkeloo i\1\emonollectures Studio Granda Dreams and Other Realities

Rafael Vii\oly The Making of Public Space Richard Horden Light Architecture Patkau Architects lnve5tigotions into the Particular

The Raoul Wollenberg lectures

Richard Sennett The Spaces of Democracy Michael Sorkin TroHic in Democracy

Vincent Scully The Architecture of Community

Daniel Libeskind Traces of the Unborn

We are especially gratelulta Chuck Chai lor allowing the College to use his photographs in this publication and to Christopher Campbell lor his invaluable help and line photographs . Chuck Choi : pages 8, 9, 13, 14, 15, 19, 20, 22, 24,

34, 35, 36, 37, 38, 39, 40 n, 50, 51 . 52 , 54 , 55, 58. Ivory Serra : page 12. R1chard Serra,

Torqued Ellipses,

1996/ 97; lnstallallon View, D1a Center lor the Arts, New York, 09/ 25/ 97-06/ 14/ 98. Thompson and Rose: pages 10, 26, 40 BR, 46, 47. Christopher Campbell: pages 43, 45.