Teron Submissions 2013 Book 1

CANDIDATES BOOK 1 OF 4 1s t Year & M.Arch1 Ye a r

Book 1 of 4 1s t Ye ar Reuben Conttrill............................... 4 Mia Giommi................................... 16 Tyler Grunt..................................... 28 Cristina Hoang............................... 40 Antoinette Tang.............................. 54 Jason Surkan................................... 66 M. A rch1 Ye ar Ema Graci....................................... 86 Lysander Zimmerman.................... 118 Nicole Mayo................................... 98 Simin Soleymani........................... 110

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CAND IDATE

Reuben Conttrill 1st Year ARCS 1105

P R OJ ECT T IT LE

Re-Integration of Formwork

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S U BM I T T E D T E X T

At the beginning of the course, each member of my studio group was given a particular artwork to study. Most of these works were very unique and relatively unknown, with very little to no information available. We were to dissect any images we had of the work and attempt to recreate the piece to the best of our ability. This required us to study the materials hands on, all the while trying to understand where the artist was coming from and why they choose to make certain design decisions. After doing this, we were challenged to push what we had learned and test the limits and constraints found in the materials we had studied.

I was give "Beets Papyrus" by Julia Goodman as my starting point. In this artwork she had discovered that by overlaying thin slices of the garden vegetable, she could create a semi-transparent "paper" that had a stain glass effect with the rich, natural colors. I learned that each beet had to be boiled so fibers began to break down; this way, when they were pressed together and dried, the very matter of the beets would become as one and bond together. While trying to flatten my version, I realized the beet sheets have ability to once again become pliable when wet. This allowed for the sheets to be molded and opened the door to the possibility of creating structures that could span space while being entirely constructed of beets. To test the limits of the beet paper's strength, I made a wooded dome to use as a mold for forming multiply sheets together. Because I was enlarging the scale, there was more stress and I found that additional supports would be needed. The solution was using the wooden mold to both help support and add to the overall circumference of the dome.

To translate what I had learned into the design of a pavilion was the next part of the curriculum. I imagined a building that would embody the three key concepts that came from the previous work; a feeling of delicacy and fragility, the exposing of something that is normally hidden (the beet being underground), and the main one, the partnership of the form working with the formwork.

The location of the Pavilion targets the many people that pass by as they use the trail. Rideau Canal is one of the cities many landmarks and the scenic route is enjoyed by many daily. The structure is designed to provide a resting stop to the cyclers and joggers. Here they can take in the view as the catch their breath. The floating system allows for the occasional fishermen to try their luck and watch as the boats pass through the locks to their left. In the winter, it could also be modified to be winterized to provide a warm shelter to those that are enjoying the world- famous skating on the canal. The small size and simple design allow for low cost of construction. Such a project would likely be funded by the City of Ottawa as it looks to enhance its parks and trails.

Due to the changing climate of Ottawa, the structure must be able to sustain in spite of the different conditions. The winter months often can wreak havoc on outdoor buildings; however, the materials used should be able to withstand many years of use. Biking to work has become a popular method of transporting. This green alterative helps reduce our carbon footprint and should be encouraged.

Making the canal more appealing is a great idea, and the pavilion would help with that. Often it is the concrete jungle of urban life that makes one forgets the beauty and power of nature. It would also serve as a way to connect one to the water and the environment. The way it holds you out over the canal gives the feeling of isolation from the busy city surrounding you.

It is through this process that I learned not only how buildings are design, but also how some are constructed. I discovered the value that can be found in simplicity and craft. While there are sure to be many problems with the design and how it could be engineered, I feel the process is the most important and it is what I will take forward with me as I continue my studies in architecture.

The site for the pavilion was to be situated along the Rideau Canal just downstream of the Hartwell Locks. The building itself was to be constructed of both wood and concrete and would partially cantilever over the edge. This would give it the appearance of delicacy that was desired. It would consist of two L-shaped elements that when combined would complete a rectangle. Concrete was to be formed to shape the first L, and while often in the construction world the forms are dismantled or hauled offsite after the concrete is dry, the wooded outside wall form would be used as the other L. The concrete portion would be situated on the wedge-shape strip of land between the canal and the adjacent pathway. This would help anchor the entire pavilion. The overhanging wood portion would be on floats which would allow it to bob up and down depending on the water levels at the time. The site allows the pre-existing canal stairs to become part of the pavilion as they lead the person to the lower floating level. The roof system would be made of a hybrid of concrete and rebar to play off the notion of exposing something normally embedded within. They would be spaced as to allow light to stream in.

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CAND IDATE

Mia Giommi 1st Year 100884248 ARCS 1105

P R OJ ECT T IT LE

Acoustic Sound Manipulation

ABSTRACT

After analyzing Michael Snow’s work, and performing a material analysis with various types of wood, I was able to incorporate Snow’s consistent concept of human interaction, and the malleable properties of wood to inspire my pavilion design. The physical form and materiality of my pavilion was influenced immensely – but not entirely – by these studies. My pavilion would be down a recession from the amphitheater on campus, which also influenced my design, as its program is primarily related to sound and performance uses. It can be utilized as a pre and post performance area, an acoustic performance area, and a gathering area for students. It

has mobile panels that can be used to manipulate sunlight, visibility and sound (especially in regards to acoustics for performances), and allows for human interaction with the pavilion itself. This pavilion would bring more functionality to an otherwise rarely used area of Carleton’s Campus, and would encourage more social activity and human productivity.

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Acoustic Sound

Manipulation

Mia Giommi – 100884248 – ARCS 1105

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Initial material studies – flexibility and strength influenced materiality !

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Analysis of Michael Snow’s works – inspired human interaction and " human purpose with pavilion!

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Conceptual drawing: wind/sound movement – inspired general shape " of pavilion!

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Woven panels opened to allow the entrance of light – panels not " in use for acoustics!

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Bench along the length of pavilion provides a sitting area, half of which" is protected from the elements !

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Materiality and shape inspired by steaming wood during wood analysis !

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Panels are all initially closed – the concept of human interaction is incorporated in this design, as the panels can be manipulated to suit various needs !

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The movements of the members in the panels are controlled by humans by using a pulley system on a track !

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This design would encourage human activity and provide protection against" the elements while attering its environment !

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CAND IDATE

Tyler Grunt 1st Year ARCS 1105

P R OJ ECT T IT LE

Shifting Planes

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Inspired by Robert Irwin, “Shifting Planes�, was designed to unite the surrounding environment, visitors experience and the pavilion into one.

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A pivotal influence in contemporary art, Robert Irwin's work investigated perception and the study of structures of consciousness as experienced from the viewer’s point of view. After analyzing his work and studying Irwin’s use of light and transparent surfaces, I experimented with the properties. This was my initial design of using light and space.

Irwin’s art is based on feeling rather than intellect and its value to be experiential for the viewer. My initial design was intended to cultivate the experience of an individual which I incorporated in to my approach of “Shifting Planes”.

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The variety of ice formations on the Rideau River inspired the general shape of my design in regards to the various layers and intricate angles of the plexiglass throughout the pavilion. The goal was to create a non-traditional ‘futures’ structure that would integrate with its surrounding landscape.

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Given the complexity of the angles chosen, a prototype was constructed to fine-tune the structure and the end design. !

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Considering sustainability, renewable raw materials were used that are environmentally friendly. The pavilion was constructed of stained birch wood and semi-translucent plexiglass which can easily be repurposed reducing waste versus window glass that is harder to recycle due to it’s metallic coating.

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Based on my initial concept, “Shifting Planes� unites the properties of light with the attributes of plexiglass. The intention was to focus on the emotional experience of the viewer by creating interest. The viewers experience builds by the way the light redefines the space of the pavilion.

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By using light radiating upwards from the base, the effect simulated the impact of natural light refracting off the intricate details and various angles of the pavilion’s exterior achieving a completely different appreciation of space and shadows.

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As visitors descend down the stairs they can take advantage of the transparent platform, suspended from the outer edge of the pavilion, to observe the river beneath them. The layout allows an individual to experience the nearby river’s tranquility while protected by the geometry of the pavilion.

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The design was constructed with interlocking planes using a single vanishing point, again playing on one’s senses. The structures angles act as a barrier against the elements and to provide privacy from the adjacent building at the site

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The transition between inside and outside make the landscape as much a part of the pavilion as the pavilion is part of the landscape. This technique was inspired by Robert Irwin to draw the viewer’s attention away from the architectural design and towards the background.

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“The ‘futurists’ responsibility is to help people to articulate their beautiful dreams, and the ‘planners’ responsibility is to help make those dreams come true.” Quoted by S. Cole 39

CAND IDATE

Cristina Hoang 1st Year 100883407 ARCS 1105

P R OJ ECT T IT LE

Playing with Folds

ABSTRACT

This pavilion design plays with lighting and folds. On Earth, the universal source of light would be the sun.

The sun rises every day, whether it is shining bright or hiding behind the clouds. This pavilion design incorporates a repetitive pattern of folds that continues into a tunnel form. With the sun shining at different angles throughout the day, different shadows are casted at every hour. The idea of this pavilion is allow people to enjoy the experience of different lighting.

Since the location of the model is a public park, the pavilion will be accessible to anyone who wishes to enjoy it along with the perks it

contains. It is a permanent pavilion that serves a purpose to society in all seasons. During the winter it acts as a shelter for the annual Winterlude festival. While during the warmer weather, a food station for the jazz festival or simply a comfortable place to sit and view the special lightings the pavilion will naturally provide. No fees will be charged to enter. Lastly, because of the low wildlife in the area, it will cause minimal environmental issues. New land will not be needed to be created and therefore less destruction.

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The openings within the folded paper allow light from above to pass through. This will create castings of different shadows and illuminate the environment with a unique contrasting design.

Paper Explorations 41

The pattern folded in this example allows the paper to create its own form when held at a certain point. Extra inner and outer support would not be needed.

Paper Explorations 42

The module, to create the final pavilion design.

Study Model 43

Drawings 44

Drawings 45

Location of the pavilion will be located in a public park, downtown of Ottawa.

[Confederation Park]

Pavilion model 46

Continuation 47

Shadow castings of the pavilion. Lighting is directly shined from above the model.

Continuation 48

Continuation 49

Continuation 50

Conceptual Image

The conceptual images displays how the public will interact with the pavilion and how it will be seen during day and night.

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Conceptual Image 52

Conceptual Image 53

CAND IDATE

Antoinette Tang 1st Year 100852574 ARCS 1105

P R OJ ECT T IT LE

Plasmatic Spiral Pavilion

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ANTOINETTE TANG(100852574) ARCS 1005: STUDIO 1 Professor Manual Baez Architecture 2013: 1st Year

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INTRODUCTION

Plasmatic Spiral is a conceptual idea for a pavilion that is base on the concept of optical illusion. This was first inspired by the optical artist Youri Messen-Jaschin.

With this influence in mind, the concept was explored by looking at circular movements that makes the optical effect. In looking at the movement, the shape played an important part to transform a two-dimensional form to a threedimensional shape.

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The design of the pavilion shape is base on illusion of how it embodies how the mind is dissolute by the eyes. The site plays an important role that is located near Dow’s Lake because of the close proximity to water. The water is taken from the lack into the pool, where plays a significant role to help achieve the optical refection of the structure and also it help to provide water for the plantation around. Also it was important to have a open space where sunlight can shin down on it. The sunlight gives of a strong shadow.

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CONCEPT

The shape is base on the curvature lines of the shutter exploration but transforming it to a three dimensional shape.

The material chosen for the pavilion is a chrome metal and glass because of it reflective and transparent quality. Also the material plays an important role will the concept of illusion with reflecting light and shadows.

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The reflective base will be displayed by using a shallow pool made out of a black granite that the water will be sitting in. The back will enhance the reflection of the structure of the pavilion. Also the pavilion will be an interactive structure that plays on the illusion with its material, light, and shadows.

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The dramatic shadow plays a causal role with illusion because the shadow transform the shape of the structural that confuses the viewers eyes. . Also it plays the same role as the reflective surface. With these concept, it will help transform the pavilion in a specific site.

The site will concise of spotlight implanted into the ground to give off that dramatic shadows at night. The sunlight will play with the shadows on the ground below that plays with with the structure above .

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CONCULSION

The Plasmatic Spiral is a pavilion base on the effect of my exploration on optical illusion. The illusion is show in the reflective quality of the water, the material that is transparent and reflective, and dramitic light at night.

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CAND IDATE

Jason Surkan 1st Year ARCS 1105

P R OJ ECT T IT LE

Waaseyabaan “Ethernal Light”

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S U BM I T T E D T E X T

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WAASEYABAAN ”ETHEREAL LIGHT”

Light has embedded spiritual signi2icance in many cultures. It signi2ies the beginning and the end of all existence. It gives us a sense of direction and time.

Light is ethereal.

-­‐Jason Surkan

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ABSTRACTIONS OF LIGHT: REFRACTIONS These beautiful abstractions of light are created by refraction through thick, rough edged glass. The un7inished edge refracts light in unpredictable rays which inherently embed a sense of transience.

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ABSTRACTIONS OF LIGHT: REFLECTIONS As light is re7lected off of this surface it creates beautiful natural structures.

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AN EXPLORATION OF LIGHT This studio is a conversation between the past and present. It pays respects to the past while offering a contemporary context. This view is created looking up towards the sky while inside the pavilion.

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STRUCTURES IN LIGHT

Henry Inman

Light travels relatively straight until it contacts something physical. As it passes through a pinhole it is inverted and takes a different form. The structure of light passing through a pinhole is coincidentally very similar to that of the structure of a traditional North American First Nations Tipi. Being of Metis ancestry this provides me with a special opportunity to bridge my past with my modern context.

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FLUIDITY The pavilion is responsive to the needs of it’s users; it has multiple forms for different functions. A total of thirty canvas panels can be opened and closed depending on the function needed. For cultural events and special functions the main level can be opened up which greatly expands the space of the pavilion. The panels provide shade to the area around the pavilion. To cool the pavilion during a hot summer day the second level panels can be opened up providing a natural air exchange through the structure. A cover pulls over the entire pavilion making the interior entirely absent of light. This transforms it into a full scale camera obscura.

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CAMERA OBSCURA The camera obscura is an object of fascination. This hand held camera obscura projects a clear image onto a vellum screen. The camera obscura is most fascinating at full scale were one can walk in. The space is completely dark and until the pinhole is opened and the outside world is mysteriously projected inwardly.

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This image shows the pavilion functioning as a camera obscura. Four separate pinholes with focusing lenses project the outside world inward down copper tubes that are lined with a re7lective material. This creates a magical collage of four images and abstract overlay.

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A COLLAGE OF METAPHORS At the hearth of this pavilion a collage of four images is grounded. This conceptual image shows the collage of the four directions from the site. The 7inal image is a combination of this collage and the abstractions from the previous slide which creates a very spiritual experience.

Metaphorically this represents the four stages of life, the four parts of human existence and the four seasons from the tradition of the Medicine Wheel.

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AN ANISHINAABE TRADITION The Medicine Wheel The east is where everything began. It is the direction of sunrise, the season of spring, our emotional side and the time of infancy. South represents summer, our mental being and our youth.

As we move into adulthood it is fall, our spiritual aspect resides here and the sun is setting in the west. Finally, we reach old age in the season of winter and begin to return to infancy as spring once again approaches. Light is inherent in all aspects of human existence; it gives us a sense of direction and time.

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POETICS OF LIGHT I chose to spilt each of the Gifteen poles and laminate a thick, rough edge piece of glass into the core of it. A projection screen is mounted on the interior side of each pole. As the sun passes throughout the day each of the poles will illuminate at a certain time creating these transient poetic abstractions. This innovation provides beautiful illumination to interior spaces.

This circular illumination metaphorically tells the story of the Medicine Wheel; a traditional belief system of the cyclical existence of all things.

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FIFTEEN P OLES F OR F IFTEEN T EACHINGS The structure is made of Gifteen poles that each represent a different virtue. A Tipi holds many important life teachings within its structure. To start it’s construction the the sturdiest poles are erected and lashed together. Each pole could not stand alone, but is strong with the support of the others. For us this shows that as individuals we are not strong, but with the support of those around us we become strong.

The poles all come together at one point in the tipi. Above that, the top of each pole points in a different direction. We are like the poles; we all take different paths in life, but we need the support of our families.

The poles represent the following virtues: Obedience, Respect, Humility, Happiness, Love, Faith, Kinship, Cleanliness, Sharing, Strength, Good Child Rearing, Hope, Protection and the two Control Flaps. Just at the Tipi poles balance on each other we must strive to balance these virtues in life.

This act of giving life teachings while erecting a structure is one of beautiful poetry that should be incorporated in all Architecture.

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ACCESSIBLE TO ALL Situated on the lookout of the Aboretum near Carleton University this makes the pavilion inviting to both students and the general public. Road access allows accessibility to all. The quiet site faces south allowing spectacular views of sunrise over Dows Lake and sunset over a serene pine forest allowing one to connect with nature in an Urban Context. Ottawa has a large Urban Aboriginal Population and this pavilion can serve as a place of gathering for cultural events.

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Plan, Section, Elevation, Site Plan and Two Detail Drawings

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Final Pavilion Model. Scale 1:15

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Book 1 of 4 1s t Ye ar Reuben Conttrill............................... 4 Mia Giommi................................... 16 Tyler Grunt..................................... 28 Cristina Hoang............................... 40 Antoinette Tang.............................. 54 Jason Surkan................................... 66 M. A rch1 Ye ar Ema Graci....................................... 86 Lysander Zimmerman.................... 118 Nicole Mayo................................... 98 Simin Soleymani........................... 110

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STUDENT NUMBER:

100739934

STUDIO NUMBER: ARCS PROJECT TITLE:

ARCS 5103

Translucent Memories

Students Nominated to compete for a Teron Scholarship are asked to complete the following submission form to assist the judging panel in understanding how their project meets the criteria of the Teron Prizes, namely imagineering, physical form and materiality, social impact, environmental concern and attention to economic concerns.

1) Please submit 10 images in a PDF format (on a CD) that fully documents the project being nominated.

Minimal text may also be used on each image. Each image may be no larger than 2MB for a total of 20MB per disk.

P R OJ ECT T IT LE

Translucent Memories

CAND IDATE

Ema Graci M.Arch1 Year 100739934 ARCS 5103

2) Project Description (100 -200 words): Please provide a concise abstract of the project being presented.

ABSTRACT "Preservation as Provocation" is an international student preservation competition that challenges applicants to repurpose Castle Pinckney, an abandoned fort in Charleston, South Carolina. The discontinuous past of Castle Pinckney is the result of construction, deterioration, and reconstruction from severe weather, use and disuse. My competition submission proposes an intervention that focuses on the ambiguity of memories to celebrate the present, and to express the many historical phases of the castle. Sensations of memory are explored through a play in transparent, translucent, and opaque materials. The historical war museum and contemporary art gallery of the intervention serve to educate visitors on the local history, and display current cultural and artistic exhibits that reflect the Charleston Harbour. It is composed of several hallways, raised to significant heights by slender steel columns, in order to respect and observe the pre-existing castle. After circulating through the art gallery, museum, and cafĂŠ, the visitor finally exits to a series of outdoor ramps that descend towards the base of the castle, and continue among the natural growth. A pathway then guides visitors around the inside remains of the castle. Castle Pinckney and its fascinating history can now be observed from a humbling position.

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3) Text to accompany submission: Each student must submit a 1000 word (total length) description of their

S U BM I T T E DasTitEapplies X T to the following categories: project

a) Imagineering (Imaginative Engineering) Transparent, translucent, and opaque materials visually stimulate the visitor’s imagination, and generate sensations relating to memory. The spirit of the past and present conditions of Castle Pinckney are captured and expressed through architectural representation. Each space captures a different encounter with memory, based on program. The contemporary art gallery reflects the current state in time through opaque and translucent walls, which restrict and distort views out to the surrounding castle.

As a result, attention is placed on the current work featured inside of the room. Visitors passing through the main corridor will experience a varied visual scene that expresses memory and the intermittent clarity of the past. They will observe irregular, unobstructed views of the castle between translucent glazed portions that generate distorted, shadowed views. Lastly, in transparent spaces a clear memory of the past is generated. For instance, the wide-spanning, translucent glazed walls present a generous, unobstructed view of Castle Pinckney and its surroundings.

The conservation method at Castle Pinckney is of preservation and intervention, to respect and provide a platform for observing the castle. A series of spaces hover above the fort, a structural move which demands imaginative engineering, or imagineering. Each space is constructed by an enclosed rectangular steel frame and steel trusses, clad with steel panels and/or glass, and supported by slender steel columns. The predominantly steel material palette is efficient in supporting ambitious hovering and cantilevering of spaces, and extensive spans in glass, while creating a light and minimal aesthetic. The use of clear and sandblasted glass generates the desired effects of each space. Transparent rooms, such as the museum, are constructed of clear glazing and slender steel fenestration. Opaque effects, expressed in the art gallery, are created with steel cladding and sandblasted glass. The main corridor distinctively combines these materials. Other architectural expressions offer a platform to view and appreciate aesthetic and historic features of the castle. As the main corridor passes through the castle’s wall, the floor, walls, and ceiling are briefly constructed of glass, and the castle is visible. b) Physical form and materiality The spaces within the intervention are efficiently organized to ensure a unique and enlightening experience. The art gallery and museum paint a comprehensive picture of Castle Pinckney for visitors as they pass through. The focus is mostly on interior displays, rather than on exterior views of the fort.

However, Castle Pinckney is entirely visible to visitors upon exiting the intervention. The sequence of spaces transforms the visitor’s experience from observing facts and images of the fort, to examining its pure, current condition. The compact size of the art gallery and museum reveals an innovative, more private approach to public buildings. At approximately 1500 square feet each, these spaces are conducive to close observation and conversation.

Numerous studies show that the presence of art and higher levels of education enhance one’s quality and longevity of life. Environics Research Group examined attitudes towards the arts and the resulting quality of life in predominantly urban areas. Findings indicate that most people view art facilities as important for increasing the quality of life in their communities. As Charleston possesses a vast history and culture, Charleston and the surrounding areas would therefore benefit from this proposed art and educational institution. Furthermore, the circulation route through the intervention is healthy in that it encourages visitors to walk significant distances. Intermittent indoor-outdoor walkways also exposes them to the natural, uninhibited, clean environment.

c) Social Impact The deteriorating state of Castle Pinckney and Shutes’ Folly Island conceal a vast and fascinating history. The construction of an art gallery and museum would offer relevant cultural and historical knowledge through a unique lens. According to the problem and solution-oriented field of human environmental psychology, disuse can be converted into a source for individual and societal growth. The art gallery and museum will offer education and development that can extend into the individual household. The contemporary art gallery will collect work from inhabitants of the surrounding area, and express the surrounding landscape, environment, and culture. The work will be contemporary, as a means of expressing and celebrating the present. Each show will revolve around a particular theme, and will either feature one artist, or a group of artists that communicate particular elements that are similar in nature. The museum houses a permanent collection that reflects the history of Castle Pinckney. Since the castle endured various phases of history, the subject matter varies, from a slave memorial to an artillery museum. d) Environmental Concerns Sustainable preservation is the notion of preserving existing buildings as a form of environmental sustainability. The existing walls of Castle Pinckney encircle an open space that houses the majority of the intervention. The preserved construction materials and craftsmanship offer an aesthetic quality representative of the time in which the castle was constructed. The intervention and space inside the walls provide a platform for observing such features. Adaptive reuse is a conservation method for reclaiming existing structures for a different purpose. By reusing the castle, less energy is required for constructing new spaces, and material waste is minimal. With the aid of solar panels, wind turbines, and other sustainable techniques, the intervention produces carbon-free energy. The entire intervention is 5523 square feet, and must to generate 30,000-70,000 kilowatt hours of electricity per year in order to consistently maintain visitors. A 20-kilowatt solar electric system of 100 panels is placed on the ground and roof of the intervention. Ground mounts are attached to cement slabs and placed adjacent to the extensive cedar wood path along the length of the island. To store excess power, solar panels are equipped with solar batteries. Two floating wind turbines are placed in the Atlantic Ocean surrounding the island. Since wind is typically more consistent on water, these 17-metre wide turbines will serve as a backup electric power generator. Although the weather in this region of South Carolina is relatively moderate, the summer and winter months typically vary. Large south-facing windows will radiate sunlight in the cooler months, and built-in louvres will moderate the summer heat. Low emissivity glass, low energy appliances and fixtures, geothermal heat pumps, and a grey water system are also put in place.

Since salt water cannot be easily reused, rainwater is collected to supply non-potable water, and recycled grey water is then is filtered to the water closets. e) Economic impact Several factors contribute to the affordability of the intervention. Firstly, it is a simple steel and glass structure, constructed with minimal materials . With the exception of wide-spanning glass in certain spaces, the floors, walls, and roofs are primarily constructed of steel. The art gallery and museum are publicly owned institutions that rely on government funding (state and federal), private donations, admission, ferry fees, and café profits. The gallery’s artwork will be sold for profit, to support the artists and fund the intervention. Every several months, the gallery will host exhibitions from different cities, in order to share a different culture and point of view. Offering exhibition space to artists in different areas will encourage an influx of visitors, with a resulting increase in profit. Lastly, the café, situated near the base of the castle walls, will prepare and sell hot and cold beverages, and pastries. The profits will also support the funding of the castle. Ferries provide round trips approximately every 30 minutes from Charleston to the north or south-west pier of Shutes’ Folly Island. Fares will further contribute to the funding of the intervention. Lastly, the intervention is entirely wheelchair accessible. All elevated spaces are accessible through a series of ramps.

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CAND IDATE

Nicole Moyo M.Arch1 Year 100756636 ARCS 5103

P R OJ ECT T IT LE

ABSTRACT

Rehabilitation: Pinckney Prison-Mentor Training Facility

Preservation as provocation of the past is the foundation of the Pinckney Prison Mentor Training Facility.

There is an analogy between the prisoner and the castle. They are one and the same both seeking to REHABILITATE themselves back into society. The construction of the Prison Mentor Training Facility connects the present with the past and the future; it achieves interaction between interior and environmental space in ways that yield new meaning and experience. It mediates change of occupancy, use and outside pressures; it brings together architectural components, which have characterized other uses, operations and goals; it expresses the physical,

social, intellectual and spiritual requirements of human beings.

The mentor who is the mediator of change and enables the process of rehabilitation equips him/herself with the knowledge of Horticulture, Wood Craft and Textile production within the ruins of Pinckney Castle, which will then be educated to the prisoner.

The architecture creates a presence that allows the mentors who are at the facility to empathize with the type of environment that the prisoners live in.

The mentors walk through the past of the poisoners whilst they are there to provide the future of the millions of inmates around the world seeking to rehabilitate themselves into society.

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S U BM I T T E D T E X T

Nicole Moyo 2013 Teron Scholars Student Text Submission ''I like ruins because what remains is not the total design, but the clarity of thought, the naked structure, the spirit of the thing.''

Tadao Ando Castle Pinckney is evocatively situated within the view shed of one of the American nation’s most historic and well-preserved cities, yet its history and significance is virtually unknown to the citizenry at large. The design challenge was to respect the natural beauty of the site along with the historic integrity of the fort, identifying a use for this former island fort, Confederate prison and now defunct lighthouse station. By provoking a profound way of rethinking the current conventions about preservation, design, community, environment and heritage tourism.1 ‘’In today’s professional practice, responsible design is increasingly acknowledging the layers of architectural memory to provide continuity in our fast changing culture.

Existing and historic buildings and sites are an expanding segment of architectural practice. Such projects demand an insightful response to physical and social contexts.

The goal of this competition is to explore how collaboration between historic preservation and design can produce uniquely thoughtful and creative solutions to the aesthetic, technical, cultural, spiritual, economic, and climactic challenges of our times.’’2

RE-DESIGN: ‘new’ manifests it ‘self in relation to the old.

SOCIAL IMPACT: PROGRAM ELEMENTS: Today more than 10.1 million people are held in penal institutions throughout the world according to the latest edition of the World Prison Population List (WPPL), 3and more than 25% of the population is in North America. With the realization of the reality of these figures, one must begin to imagine how we can counteract this negative process of imprisonment, through positive social mediations. Mentors enable offenders to have the skills that will make them attractive to employers so that they can find and keep jobs on release becoming an asset rather than a burden to society.

Mentoring is a unique and valuable volunteer service in prisons. It can often be the foundation for fundamental, positive change. Mentoring is done within the ambiance of the ruins so that the mentors are able to empathize with the type of environment the prisoners live in.4 As part of thinking about the climatic challenges we face in our time the inclusion of the interior horticulture farming allows for the research of more innovative ways we can sustain ourselves without depending on the landscape. The Pinckney landscape is a perfect example because it is a wet land that in a sense limiting to the space and the kind of farm production that it can contain.

PHYSICAL FORM AND MATERIALITY: The presence of the ruin walls is a key factor in enhancing the historic significance and conservation of the space. The wall is preserved and does not touch the new structure; therefore the only transition between the spaces is light. Light that enters the opening between the old and new structure not only lighting the internal passage but also gives clues into the castle’s past function as a former lighthouse. The new structure that is contained within the wall is built from light materials that articulate transparency, reflectivity, warmth, rhythm and lightness. Thinking about the sensitivity to the environment and the ruins, materials such as a glass and wooden screens were used so that the new structure is always interconnecting with the preexisting.

ENTRANCE:

The facility’s form was designed on the nineteenth century castle’s unique history, specifically looking at the occupation of Union Prisoners housed within the fort in the 1800’s. Each wall was placed with a renowned sensitivity to the past, creating a new architectural language from the 1806 plans. The aim of this approach was to reimagine and redefine new ways to experience the Island in light of human needs and social responsibilities.

The facility is approached from the island. One would encounter the large masonry wall before entering into the double volume entrance hall with a glazed membrane looking directly onto the opposite side of the structure, allowing the castles’ heritage to breath within the space. Guests are able to continue their journey by visiting the café or bookstore celebrating Charleston’s community culture on the either side of the entrance. The inclusion of the two programs allows the site to generate income from those who are just visiting the Island.

1 (Resources) 2 (Resources)

3 (Walmsley, 2011) 4 (Fletcher, 2007)

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S U BM I T T E D T E X T

GROUND FLOOR: The ground floor is where the ruins are truly exhibited. Movement is directed by the ‘’half moon’’ shaped wall, which links eight accommodation ‘’cells’’ and the indoor double volume horticulture teaching space with Integrate “green” technology exploring indoor vertical farming, extending further into the courtyard. As a part of economical benefit for existing businesses in the Charleston community, accommodation of mentors is not limited to the facility.

FIRST FLOOR: The organs of the vocational facility are located the on first floor.

Conference rooms and training facilities for textile and woodcraft production take up a vast majority of the space that is interconnected by a light louvered wooden path that symbolizes freedom.

SITE: Environnemental Concernes Although great attention to detail has been paid to the fort, the remainder of Pinckney Island is explored by preserving the landscape, allowing nature to host humans as visitors of their environment. Self-sustaining visitor service pavilions were created to have Minimal impacts on the environment in order to preserve the wetlands.

Works Cited

Walmsley, R. (2011). World Prison Population List (ninth edition). International Centre for Prison Studies. London: University of Essex.

Fletcher, R. C. (2007). Mentoring Ex-­‐Prisoners: A Guide for Prisoner Reentry Programs. U.S. Department of Labor. U.S. Department of Labor.

Resources, A. I. PRESERVATION AS PROVOCATION RETHINKING CASTLE PINCKNEY FOR THE 21ST CENTURY. Washington D.C: Association of Collegiate Schools of Architecture.

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CAND IDATE

Simin Soleymani M.Arch1 Year 100834958 ARCS 3105

P R OJ ECT T IT LE

ABSTRACT

Liberty Sings a Song

Castle Pinckney has stood abandoned since the 19th century and as a result it presently attracts little attention to potential tourists both locally and internationally. In the castle presents itself in a ruinous state awaiting for a reimagining of its future use, offering limited pleasure to the few visitors that occasionally visits the site.

‘Liberty sings a song’ project’s design has an outlaid objective of transforming the present appearance of Castle Pinckney to a modern attraction that can draw attention and recognition world widely.

The design incorporates a few changes while retaining the

key scenes that will enable visitors acknowledge the past of the site and additionally be able to reflect on present and future events. The project has been programmed in such a way to create numerous opportunities to visitors giving them chances to enjoy themselves in various ways. This will lead to a realization of the hidden potentiality of Castle Pinckney. It will enhance cultural preservation, environmental conservation, and national importance to the United Sates.

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S U BM I T T E D T E X T Liberty Sings a Song Following Categories

imprisonment usually ran for a long time and there were rare cases of amnesty which similarly would occur after many years. The canvas is further installed with a black box which had a sliding door on it. This is a presentation of a window through which messages that were not appeasing would be delivered to the prisoner. The messages may have probably included unfortunate deaths of the relatives, extension of the days in prison, or due punishments among others.

Environmental sustainability The theme of ‘Liberty Sings a Song’ has been used in the project’s program to show how liberty can transform a negative perception and bring up a positive attitude that will draw more interests than put people away from it.

This is depicted in the project’s program which will enhance transformation of the now wasted environs to a properly maintained environment (Spielberg 667).

Environmental Concerns Environmentally, the design works in concepts that respects and retains the original sites and retains the remaining wall of the Castle Pinckney ensuring that it does not remain in the present environmental unfriendly situation. The new conceptual design provides a new feature that will enhance its prominence as a landmark for Charleston. Additionally, the restoration includes rehabilitating the Castle to boost the environs of Charleston. This involves creating an open space with a canopy that is similar to a bird’s wings flying over the liberated space. This is in

Physical form and materiality Castle Pinckney which is located on an Island near Charleston has been left abandoned since early nineteenth century. The fort of Castle Pinckney is usually noticeable on the waterfront. This position is vital in enhancing visibility to all the people that come to the scene and also all the visitors of Charleston. That said the projects will address the significant of its location to the visitors and how this can be improved (Spielberg 667).

Imagineering (Imaginative Engineering)

turn used to represent a place that is environment friendly unlike in the past when there was no such freedom. The design also involves incorporation of a weaving canopy, an idea that is borrowed from origami which demonstrates unfolding of the structure. The folding and unfolding of the structure gives a sense in the order of how the first impression may appear like in an unfolded situation, and furthermore a change from the past role to a new role (Spielberg 668).

The design that has been proposed is a reflection of the every day’s diverse events that will be happening at Open Space Piazza. This involves arrival of visitors on a boat at the pier which is at the southern end. This has

The medium used in painting Castle Pinckney’s canvas uses two colors mainly black and white which are a symbol of the kind of lifestyles and also the distinction of the two lifestyles. In general, the kind of lifestyles here was two-sided. The black color symbolizes the imprisoned black people as they figured out the possible future day during which they would die while still in the strange land. It also symbolizes the fact that they spent life with a dark perception of what would happen in the future. On the other hand, the white color is a symbolism of the pleasant lifestyle led by whites. This is because the whites were leaving in a freedom environment and with a bright future in

been designed in a way to accommodate around 50 boats. Upon arrival the visitors are shown a path that has been constructed above the existing brick wall and continues along the perimeter of the remaining castle. From this the visitors are able to contemplate the beautiful view of the island and the waterfront of the city. The west side has paths that direct the visitors to open public spaces which additionally offer the visitors a chance to see the events that are happening below. At the center is a fountain from which the visitors can gather and enjoy the events. Additionally, various social amenities have been constructed under the ramp (Spielberg 668).

their hands. Of significance concern is the split in the two colors. Tearing the canvas in between and stitching it back is a representation of the ways in which the situation sought to be restored to enhance harmony and freedom between the whites and the blacks.

Spielberg states that, a large gap was created between the prisoner and his relatives (668). This is because

Social Impact The Open Plaza’s main space will include the following; Exhibition and events where the visitors will be encouraged to involve in numerous events and exhibitions. According to Spielberg, this is due to the limited distance

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S U BM I T T E D T E X T between Charleston City and the island (668). This will be of great value to the island in making it unique and in promoting a variety of cultural and social activities. The great space that is available will give opportunity to singers, musicians, and artists a chance to entertain the visitors and leave memories to the visitors. Of great value is the light that will illuminate the brick wall. This will enable the visitors to recall the past as well as reflect on the present.

Works Cited Spielberg, Steven. The Guide to United States Popular Culture. Eds. Ray B. Browne and Pat

Brown. Bowling

Green, OH: Bowling Green State University Popular Press, 2001. Print.

Furthermore, the open main space will be a vital for various festival and carnival events. This is will be in the intent of attracting and appreciation of the festival events that the United Statesâ&#x20AC;&#x2122; community regularly conducts during their celebrations.

Their events are characterized by beginning at a central location and continuing into the main streets. To capture this aspect the design is programmed in a way to encourage continuation of the cultural events. In this, the design proposes that when there is a festival, Charleston people can begin the celebration events at the main land and afterwards take boats that will arrive at the Castle where they will continue with their celebration s in the newly piazza.

This will ensure a preservation of the culture of the United States and further on see fabulous celebrations (Spielberg 668).

Economic impact Economically, the design enhances earning of revenue to the government both from within and without. This is because the visitors of the newly improved facility will incur some expenses while in the piazza. Their expenses are a direct contribution to governmental revenue in such various ways. The government will also be in position to earn through taxes on the services. On individual level the project will enhance employment to numerous people and also gain from the designs. On an aspect it is also a great contribution environmentally in reduction of noise pollution in the streets of the United States as people will refocus their celebrations towards the main Castle (Spielberg 668).

The program is therefore a solution to restoration of the worn out Castle Pinckney and revival with a new phase and role in various aspects. The design brings in a new perspective into the transformation of a Castle Pinckney to a new Castle that can maintain its costs , enhance culture preservation, and earn uplift the countryâ&#x20AC;&#x2122;s economy.

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CAND IDATE

Lysander Zimmerman M.Arch1 Year 100914167 ARCS 5103

P R OJ ECT T IT LE

ABSTRACT

Castles Made of Sand (Provocation Without Pre-Servation)

As an entry to the Preservation as Provocation competition entry, Castles Made of Sand, is an act of defiance: as a programme, as a narrative, as a work of architecture, it simultaneously assumes the role of destroyer and creator. If the current owners of the site, the Sons of Confederate Veterans, intend to revive the decaying Castle Pinckney as a symbol of “Southern

Pride”, my Museum of Slavery and Colonialism will at once accelerate the old castle’s decaying masonry walls (which represent the outworn structures and defunct mentalities of its age) and create a space for people to visit and learn of the realities of slavery, genocide and war, as they pertain to American history.

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S U BM I T T E D T E X T

2013 Teron Scholarship Submission

2013 Teron Scholarship Submission

Project Description: Castles Made of Sand

Project Description: Castles Made of Sand

Lysander Zimmerman 100914167

Lysander Zimmerman 100914167

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S U BM I T T E D T E X T

2013 Teron Scholarship Submission Project Description: Castles Made of Sand Lysander Zimmerman 100914167

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(PROVOCATION WITHOUT PRE-SERVATION)

In September of 1804, Fort Pinckney, a wooden U.S. military fortification part of the secondary defenses for the city of Charleston, South Carolina, was destroyed by a severe hurricane. Before being seized by Confederate forces near the beginning of the Civil War, it was rebuilt as a masonry “castle” that was eventually to be become a confederate military prison.

Fast forward to the twenty-first century: Castle Pinckney remains a decaying reminder of the evils of slavery and a sinister mentality that persists within all tiers of American society, with its infamous icon— the confederate flag—still flying proudly above the South Carolina legislature, despite persistent attempts by civil g liberties groups to have it removed. More recently, the flag was raised above the Pinckney ruins by the current owners of the site, The Sons of Confederate Veterans, a group known for its public displays of provocation in the name of the “confederate legacy”.

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[I.D. #18096]

The programme of the building leads visitors from the ferry dock at the North-East extremity of Shutes Folley Island along a boardwalk that eventually transitions into a covered pathâ&#x20AC;&#x201D;a museum of slavery and colonialism with two separate and spirituallyopposing paths. The grand entrance is titled, Turtle Island, as it represents the virgin old-growth forests of uncolonized North America, the paradise that was home to a proud and wise network of native societies. At a critical junction, Turtle Island is severed into two parallel paths: the outer begins as a brightly-lit, wide-open radial walk, displaying a series of patriotic momentsâ&#x20AC;&#x201D;the rose-coloured version of American historyâ&#x20AC;&#x201D;which gradually descends, narrows and darkens, revealing an increasing number of painful historical truths, terminating at a lift that descends the followers of this path of ignorance into the bowels of a concrete slave ship. There the visitors find the impressions of over 130 slaves cast into the concrete floor in a manner resembling a more spacious recreation of the crammed vessels that brought millions of kidnapped Africans across the Atlantic to an existence of dire oppression, savage cruelty and life-long terror. Beaming down from the ceiling are over 130 pairs of lenticular lights, illuminating this cold and dark tomb, casting an eerie light into the chamber, haunting the space and leaving the visitors with an unnerving memory of the foundations of America.

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1:2000 Alongside of the walk of ignorance it the path of enlightenment, the inner journey.

Visitors who follow this route begin their walk in a tightly-confined, dark crevice displaying truths that are normally kept buried by â&#x20AC;&#x153;acceptableâ&#x20AC;? mainstream culture.

Conversely and unexpectedly, this inner programme gradually widens, ascends and becomes more luminous, with the exhibits leading the visitorsthrough educational memorials dedicated to the history of anti-colonialist resistance, civil rights, activism and enlightened philosophy. At the end of this path, the visitors may choose to descend into the slave ship and experience its perturbing void from an alternative perspective: through the lens of Reason.

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[I.D. #18096]

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We Sailed through Endless Skies...

... Like Eyes...

...Stars Shine...

...The Black Night Sighs.

[I.D. #18096]

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IMAG INEERING

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Elevations: Aspects of the Cyclone

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Cable-Net Glass-Support System (Planar Entry Facade): Exploded View of H-Spider, Clamp & Cables

Articultated Countersunk-Head Glass-Fixing Bolts

Socket-Head Bolts

Cast Stainless-Steel Components

Cable-Truss Glass-Support System (Compound Curved Envelope): Assembled View of H-Spider, Compression Strut & Cables Countersunk Articultated-Head Glass-Fixing Bolts

Stainless-Steel Compression Rod

Cast Stainless-Steel Tunbuckles

Cast Stainless-Steel H-Spider

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Two Paths: Descending-Constricting Vs. Ascending-Dilating

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PIER & FERRY DOCK

BOARDWALK

MUSEUM

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