Thomas Friddle (compact) Portfolio Spring 2015 by thomasfriddle

Thomas Rush Friddle Yale School of Architecture 180 York St. 3rd Floor New Haven, CT 06511 thomas.friddle@yale.edu 1-574-551-9485

Thomas Rush Friddle

. . . is an architectural professional in the New York City Thomas is a graduate student at the Yale School of area. Architecture in New Haven, CT where he is a candidate for the Master of Architecture degree. He received a Bachelor of Arts degree in Architecture from Ball State University where he graduated Summa Cum Laude. In addition to a degree in architecture, Thomas received a diploma from the Honors College for advanced studies in liberal arts.

At Yale, Thomas is a graduate affiliate of Jonathan Edwards College. He has held teaching fellowships with Peter Eisenman, Mark Gage, and Ben Pell. With Mark Gage, Thomas published two books with Yale for the courses Disheveled Geometries and Design Reconnaissance. In addition to teaching fellowships, Thomas was nominated as one of three student representatives for the Yale School of Architecture Admissions Committee in 2015. He reviewed and evaluated applicants to the M.Arch I program who studied architecture as undergraduates. Thomasâ&#x20AC;&#x2122; work has been published in the Yale student journal Retrospecta.

Thomas Rush Friddle | M.Arch I

Layers of Love The Layers of Love project is an architectural design and urban planning competition sponsored by Gresham Smith Architects. The project is a community center for the Julia Carson Legacy of Love organization in a distressed Indianapolis neighborhood. The challenge posed is to counter the urban decay responsible for creating fourth world conditions. The fourth world is defined by third world conditions which exist in a first world country due to socioeconomic and industrial decline. To improve conditions on this site along Fall Creek Boulevard, it is important to look at the site through a historic lens. Following examples from the prior viability of the neighborhood, this design seeks both density and

an iconic landmark. The first move is placing residences and mixed-use commercial structures along the main streets with intimate proximity to sidewalks. Creating density on the block restores a familiar urbanity while allowing a larger structure to emerge as well. The community center is shape to shield the block from fast-moving traffic and to provide a landmark for the neighborhood. The design addresses basic needs: shelter, identity, dignity, and love. In order to achieve these abstract ideas, the building focuses on gathering spaces like galleries and creating a singular architectural identity. To honor the late Julia Carson, a Motherâ&#x20AC;&#x2122;s Wall was suggested by her sons. The Motherâ&#x20AC;&#x2122;s Wall is an opportunity to showcase creative

work and accomplishments from the community on prominent pin-up surfaces within the building. Through transparency, the skin allows this creative progress to project out to the neighborhood.

Spring 2011 Critic: Olon Dotson

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Water Research Station The Water Research Field Station is a joint creative effort with Ball State’s Field Station and Environmental Education Center (FSEEC) and Dr. Melody Bernot. It is intended as a small-scale research platform which furthers Ball State’s sustainability and immersive learning pedagogy. The project required close attention to the client’s research needs, material performance, feasible fabrication, environmental cognizance, and ease of implementation. The field station is required to fit within a 15’ x 15’ x 15’ volume. The design enables research to study the effect humans have on the environment from an elevated position.

The three conceptual intents of the research field station are to provide researchers with unique ability, adaptability, and a delicate stance on the site. Each platform allows researchers to sample water with wading into it. By eliminating wading, these platforms prevent biases in water, silt, and soil samples. The platforms may be reconfigured into endless configurations to facilitate multiple experiment setups while retaining its light footprint. It is temporary, symbiotic, and noninvasive.

Fall 2011 Critic: Andrea Swartz

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Emerging Modules Emerging Modules is a second year (undergraduate) studio competition entry sponsored by the Indiana Concrete Masonry Association (ICMA). The prompt was to design a sustainability learning center in downtown Indianapolis.

From a single module which responds to daylight and desired solar heat gain, an aggregation emerges to address prevailing winds, critical views, spatial ascent, and interior to exterior relationships. When a new level of modules is stacked, it torque is recorded by an angled section which becomes a volume for circulation and provides the effect of ascent.

As a critical intent, the landscape is marked by the emergence of the edifice and the edifice retains fragments of landscape as it aggregates vertically. At each level, exterior terraces expand to encourage escape from the interior and repose within the promenade to the top. Interior and exterior converge in a dialectic that challenges visitors to ponder the role of a building and the necessity of environmental response.

Spring 2010 Critic: Jason DeBoer

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Marley Retreat The Bob Marley Retreat is developed after performing biographical research on a specific artist drawn at random. From the research, an architectural language was developed to evoke and accommodate a portion of the artistâ&#x20AC;&#x2122;s persona, tastes, and philosophy.

The site is a rocky plot overlooking the ocean near Ocho Rios, Jamaica. The design is intended to pick up on both the balance and the rhythm of Marleyâ&#x20AC;&#x2122;s music and his natural lifestyle in order to translate it into comfortable living spaces. The basic form is the square: a shape that often symbolizes strength and stability. This square emerges out of the earth to reveal the ground level and then becomes the second level. As it hovers, it symbolizes the delayed 3rd beat in reggae music. Each level forms into diverging tapers which evoke tension, the upbeat, and forward motion in reggae.

The equality of the two diverging elements in scale and in compositional weight reiterates strength and balance. The form is manipulated to blur the distinction between interior and exterior - not only with permeable facades, but also with interior gardens and topographic ribbons which further dissolve the box. These elements pay homage to Marleyâ&#x20AC;&#x2122;s rural upbringing and allow the beauty of the site to show within the dwelling. Ambiguity in interior and exterior enclosure increases perceptions of spatial extent while relatively low ceilings and overhangs emphasizes the feeling of comfort, safety, and shelter.

Spring 2011 Critic: Olon Dotson

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Life Aquatic The Life Aquatic Coral Research Lab is a proposal for an international design competition sponsored by the Association of Collegiate Schools of Architecture (ACSA) and Cripe Architects and Engineers. It addresses the enormous challenge of designing a lab facility on a remote site in Salt River Bay in St. Croix. The site is remote, lacks potable water, and is in nearly undisturbed condition.

This design drastically reframes the definition of laboratory and embraces natural cycles to ensure its longevity. It predicts a future where buildings embody topographic potentials. This architectural topography is shaped to form a water collection, filtration, and storage mechanism. The construct is shaped to form a bargelike base and is moored to an abandoned hotel ruin.

The floating research labâ&#x20AC;&#x2122;s site response blatantly contrasts its static counterpart: the ruin. In order to participate in a future which brings massive ecological challenges, Life Aquatic implements drastic changes in architectural language to represent the values of a changing world as well as to provide systems for coping with it.

Fall 2011 Critic: Andrea Swartz

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Church of Multiple Logics The idea of the early Catholic Church – as described by Pier Vittorio Aureli – was to unify the disparate cults across Christianity. Catholicism means “unity”. Because this was a period of change and instability within the vast Roman Empire, the early church strove for consolidation culturally, politically, and religiously. In order to achieve these goals, Rome established the Catholic religion, and in turn the Catholic Church developed form. Catholicism’s iconography began as a hybridization of prior forms: the public space of the Roman Basilica (Royal Building) and the intimate space of the triclinium as apse. In combining these strong forms and exploiting single point perspective, the newly invented Catholic Basilica began to define a singular subjectivity across the empire. Its form served as a language instructing ortho-praxis and the ritual of the

liturgy. Examples include the old St. Peter’s, the Basilica of Sant’Apollinare in Classe, and the Basilica of Sant’ Apollinare Nuovo. Along with the project of the directional, single-nave Catholic Basilica stands a project that problematized orthopraxis and single subjectivity: the martyrium type. At San Vitale in Ravenna, the central organization represented the cosmos, but its multiple exedra and competing axes disrupted the singular, hierarchical relationship between subject and object. The centralized martyrium type weakened the hegemony of single point perspective. Examples include Santo Stefano, Hagia Sophia, Saint Sergius and Bacchus, and San Vitale. By the 21st century, much has changed. Since Copernicus, we no longer perceive the earth as the center

of the universe, but rather as a piece of a larger and less understood whole. Since the Renaissance, there has been an effort to disrupt the unity initially established by the Catholic Church. In the 18th century, Kant explored the limits of reason. By the 20th century, Derrida declared that all reason contains simultaneous unreason. While the early Catholic Church developed a single logic to unify various people across a heterogeneous empire, the contemporary Catholic Church must embrace the existence of multiple logics. While the early Catholic Church created single subjectivity, the contemporary Catholic Church must embrace multiple subjects. Like the typological détournement achieved by the single-nave basilica, a contemporary Catholic Church may estrange existing types to define new goals and a new representation.

Fall 2014 Critic: Peter Eisenman with Miroslava Brooks Partner: Mark Peterson

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Void House Void House is a team entry for the 2013 Vlock Building Project design competition. The parti is inherited from our classmate Michael Cohen after a competition amongst individual student proposals. This parti separates the house into two sides: one side contains all systems and fixtures so that the other side may host all living spaces. We strove to maintain the parti by organizing kitchen, utilities, and bathroom fixtures along one side of the house to free up larger widths for living spaces. Between these two competing interests are carefully placed voids which function as two level light wells during the day and as sensual lanterns during the night. In addition to creating desirable lighting effects, the central voids allow the small house to feel bigger.

On the ground level, the house is divided into three zones. The front portion contains a dining room positioned under a dramatic void, a powder room for guests, and both entrances to the house (one from the front porch and one from the side drive). The middle portion is for cooking and socializing with kitchen and breakfast nook/ bar island with views on both sides through well-placed windows. The back portion is a family room where relaxing and TV-centric activities are likely to take place. As many households spend the most time near TVâ&#x20AC;&#x2122;s we wanted this room to provide TV viewing comfort while simultaneously providing panoramic views over the back porch into the backyard. Whether for TV or views, this room will be a favorite.

On the upper level, three nooks jut out from the massing to maximize zoning allowances on the narrow lot. The nooks provide excellent task space extensions for the two smaller bedrooms, and create generous eaves over first floor windows to dramatize their views. An upper level corridor strings these nooks together, leads to the master bedroom, and doubles as usable nook area so that no space is wasted within the tight floor area. The small bedroom pair flank a shared bathroom while each containing ample glazing. Each bedroom is appointed with custom millwork for a closet and shelving wall. Each nook has a built in desk and daybed fitted up against wrap-around corner windows for comfortable sitting activities washed in warm light.

Spring 2013 Critic: Trattie Davies Partners: Sungwoo Choi, Meghan Lewis, Hank Mezza, Huizhen Ng

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Science Hill The Science Hill project is part of an effort to activate the under used courtyard on top of the Yale Science Hill. The place itself is located far from Yale’s old campus, so it enjoys less traffic than other wellknown Yale places. Since its consecration in 1966, the courtyard of Phillip Johnson’s Kline Biology Tower and the loggia that surrounds it has become anachronistic and lost its ability to attract students whether by novelty or style. The place no longer attracts students for a long, meaningful visit. Tasked with creating a public presence for the Yale Peabody Museum atop Science Hill, this project uses a new circulation strategy and reprogramming as the means to draw more attention to both Yale’s Science Hill and to the Peabody Museum.

On the hill, the project radicalizes the existing loggia, colonnades, and portico designed by Phillip Johnson by opening them up to two-level inhabitation. Rather than preserving the concrete canopy designed by Johnson as a datum, this project transforms it into a threshold which intensifies a layered vertically spatial composition. By layering the activities vertically, this proposal disrupts the monotony of the singular ground datum envisioned by Johnson. On the upper surface of this threshold, a garden program exploits the canopy’s large footprint and energizes its currently static condition. From the bottom of the hill, it is the view of this radicalized shift that encourages the journey to the top of the hill where the new exhibition galleries are located.

The buildings themselves are sited and sized in a way that adds variety to the existing geometrically rigid composition. The site currently contains a Kline Tower, a sunken lightwell courtyard, and a surrounding loggia which are individually geometrically rigid, but in aggregate strangely connected. To ease this strange tension, two buildings are placed near the loggia to convert them from an extremity into something more exciting. There are two new exhibit buildings. One building references the scale of Kline Tower while the other references the scale of the sunken lightwell courtyard. The placement of these buildings both references and denies symmetries within Johnson’s units to add a more comfortable variety to the top of the hill.

Fall 2012 Critic: Ben Pell

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Flock Flock is a one weekend exercise from the first semester design studio at Yale School of Architecture. The prompt is highly abstract: design a spatial composition within and upon an angled plane.

This scheme inscribes the grid with two different grid systems. The first grid is parallel to the site boundaries while the second grid is rotated. From the intersecting grid lines, portions of the site are carved away to create depressions while in other areas, the grid lines are extruded to create walls. However, above the entire rigid system, a new logic plays out: the swarm logic.

Folded triangles begin near the angled ground plane where they appear to emerge from an inner crystalline structure within the earth. But, soon they are above head height and their lightness becomes baffling as they flock upon one another in a system that is unfamiliar yet elegant. The tracking of the various scaling and rotation operations of the triangular pieces becomes the device which inflects the experience on the ground plane.

Fall 2012 Critic: Ben Pell

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Public Penetration Public Penetration is a mid-sized building for dance studio and performances spaces adjacent to the High Line in New York City. Since the High Line was created, a powerful effect has swept the neighborhood where quickly built luxury apartments are replacing the former meat packing district. Unfortunately, while the High Line itself is a successful public and tourist amenity, little of this traffic has flowed into other strange public devices. This projects hopes to change this fact.

The idea of involution gained popularity after the writings of Gilles Deleuze and Michel Foucault were appropriated by architecture. While many architects imagined the possibilities of buildings that were geometrically topological, perhaps the better embodiment of the aforementioned philosophies of empowering “the other” is to set up charged relationships between the inside and the outside. Because the site has an amazing proximity to one of the highest trafficked public spectacles in New York City, this dance facility is a perfect opportunity to test the hypothesis.

Two penetrations are present in this project. One penetration occurs at the level of the sidewalk where passersby are able to peek into the back of the performance stage. This placement suggests voyeurism, but it is most powerful as a message that the inside is not barricaded from the outside. The second penetration is at the level of the High Line. At this level, the deck of the walkway veers out of path and directly into the center of the building’s mass. Within this path, the building skin is involuted and its materials gain a faceted tectonic quality. The transparent and reflective materials heighten the spectacle of the High Line while allowing visitors to observe the inner workings of the dance studio and performance facilities casually.

Fall 2012 Critic: Ben Pell

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3 Public Penetration is a mid-sized building for dance studio and performances spaces adjacent to the High Line in New York City. Since the High Line was created, a powerful effect has swept the neighborhood where quickly built luxury apartments are replacing the former meat packing district. Unfortunately, while the High Line itself is a successful public and tourist amenity, little of this traffic has flowed into other strange public devices. This projects hopes to change this fact.

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Manifold House The Manifold House is a prototype house designed to fit within a variety of narrow lots. By meeting the specific problems of narrow lots, this prototype positions itself to be applied to many lots in New Haven, Connecticut where hundreds of sites exist which are too narrow to be built on by traditional home builders.

The overall layout of manifold house is based on the division of the home into three segments. The three segment dwelling was extremely common in federal style townhouses in New York City. By analyzing this historic type, new applications are gleaned for the narrow lot typology.

In the front third, a living room allows guests and residents to gather near the front door, porch, and sidewalk. In the back third, a kitchen, dining area, and casual family room allow connections with the more private back yard. In the center of the house sits the manifold composed of stairs, powder room, daybed, and skylights. This manifold is the experiential exclamation point as well as a useful device to prevent the deep, narrow house from taking on a tunnel effect.

Spring 2013 Critic: Trattie Davies

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CASIS Headquarters The Center for the Advancement of Science in Space (CASIS) is an organization chosen by NASA to manage the United Statesâ&#x20AC;&#x2122; laboratory in the International Space Station (ISS). For this project proposal, CASIS was interested in locating a headquarters, mission control, and public exhibition/ education facility in New York City near the United Nations. The goal of this proposal is to set up a series of charged relationships between user groups, objects on display, and architectural elements. These complex, intertwined relationships encourage both the public and the CASIS members to question what is familiar?, what is strange?, and what defines my constructed frame of reference? This proposal places people, architecture, and space objects into dialogue.

Moving from the outside to the inner rooms, the physical frame of reference changes from the logic of the city to the logic of a structural network, each acting as an armature for contrasting relationships. The exterior of the CASIS headquarters is a dynamic form. It is instantly recognizable to drivers on the adjacent highway as well intriguing to New Yorkers walking in the neighborhood. Its face to First Avenue is just as important as its legibility the Long Island City waterfront. It is comprised of four angular masses which appear to hover above ground. The masses themselves appear like large geological masses sheared from a former static condition. Between them are perforated ruled surfaces which defy gravity in their elastic appearance as they unify a monolithic reading of

the building. While the exterior fluctuates ambiguously between a monolithic whole and a series of masses, the interior is a series of radically different rooms and floor levels that are held together within a treelike structural web. The exterior suggests an interior of bold and heavy structural gestures, but the inside subverts those expectations by providing a sequence of interior atmospheres woven into a diaphanous web of structure. The density and figural qualities of this structural tree will hold up the exterior skin and the interior volumes while providing a sense of spectacle and rhythm to the visitorâ&#x20AC;&#x2122;s circulation throughout the CASIS headquarters.

Fall 2013 Critic: Michael Young

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CASIS: Systems Integration The Center for the Advancement of Science in Space (CASIS) is an organization chosen by NASA to manage the United Statesâ&#x20AC;&#x2122; laboratory in the International Space Station (ISS). For this project proposal, CASIS was interested in locating a headquarters, mission control, and public exhibition/ education facility in New York City near the United Nations. The goal of this proposal is to set up a series of charged relationships between user groups, objects on display, and architectural elements. These complex, intertwined relationships encourage both the public and the CASIS members to question what is familiar?, what is strange?, and what defines my constructed frame of reference? This proposal places people, architecture, and space objects into dialogue.

Spring 2014 Critic: Atkins, Jacobson, Trojanowski Partners: Suhni Chung, Phillip Nakamura

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*******IN PROGRESS*******

â&#x20AC;&#x153;The design ethos brought about by the digital turn triggered some key shifts in architecture over the past twenty years. The far-reaching effects and consequences of this phenomenon are hard to spell out - and perhaps still too recent to be fully theorized (despite many attempts to do so). However, I think that some of the main shifts that occurred in our field can be summarized as follows: Representation to Simulation, Composition to Systems, Collage to Pixelation, Geometry to Image, Close Reading to Virtuosity, Details to Close Ups, and New Coherencies. . . . This studio proposes a new self-camouflaging malware propagation system, to explore the nature of flesh, reflections and glossiness, an architecture that

overcomes shortcomings in the current generation of metamorphic formalism and specially to produce non-phenomenological ethereal masses architecture. Specifically, although mutants produced by current stateof-the art metamorphic engines are diverse; they still contain many characteristic binary features that reliably distinguish them from benign architecture. The anti-mass or blurred mass as a formal code forgoes the concept of a Metamorphic body and instead creates mutants by stitching together parts from opaque effects that have been classified as benign by local conditions. The studio is interesting in exploring potential architectural expressions of a contemporary neo formal mass butchery. The symptoms are many are

A Digital Secession Building donâ&#x20AC;&#x2122;t point to any single condition or cause, and weâ&#x20AC;&#x2122;re working with just a few that interest us in particular. What is the formal project today in relation to the tissue of the city and what could it be? The conflicts of Modernity, from laboratory-assisted reproduction to European monotony, revolve to a significant degree around the transformation or conservation of particular bio sociological arrangements, of obsolete architecture types. The globalization of Western design forms has also meant a globalization of glass formal infrastructure originated for a historically contingent of type accumulation. We argue that the mismatches between architectural conventions for the space and the multiplicity of biosociologial realities are severe.

Spring 2015 Critic: Hernan Diaz-Alonso with Austin Samson and Ivan Bernal

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Media Circle: Boston 2024 The Boston 2024 Media Circle project fuses the spectacle of the Olympic Stadium with the frequently neglected Olympic Village in order to leverage a housing asset for South Boston. Between the Beijing Olympics and the most recent games in Sochi, the spectacle of The Olympics has seemed explicitly tied to the use of LED lighting arrays embedded into already grand stadia. While Beijing’s use of LED’s was relatively restrained, both London and Sochi blanketed their stadia with glistening LED performance elements. Not surprisingly, the plans for Rio’s games include stadia of a similar pedigree. Since the ubiquitous LED driven spectacle of the games seems inevitable at this point in Olympic architectural history, we decided to leverage it forward as a fecund architectural asset rather than a nuisance.

By problematizing the LED facade and cross-breeding its stadium typology with an existing housing typology, we are able to gain truly exciting urban possibilities for South Boston. Before the games, the capital for the village and LED’s would be fronted by corporations who - because they would benefit greatly from advertising throughout the games - would be eager to invest. During the games, the facade advertises discretely within its coverage of the games in order to make the initial investment profitable for the corporate investors. As visitors watch the athletic triumphs, Coca-Cola and Colgate could utilize the facade. Even during this period of advertisement, the 360 degree media facade would bring the thrill of the Olympics to a wider audience: collective spectacle.

After the games the media facade is designed to remain. It is to be seen as an asset for residents of the village as it may be used to generate revenue for collective amenities. By hosting events throughout the year such as rock concerts, film screenings, sport screenings, or media art festivals the media facade would garner enormous revenue to the village. During the majority of the time, the imagery of the media facade is intended to be brief but immersive, with contemporary urban value akin to the town criers and carillons of yore. The media facade would index temporal events and add high-tech thrills to the daily lives of Bostonians. While providing temporal, high-tech thrills, the Boston 2024 Media Circle shows its potential for organizing a sphere of collective urban influence beyond its skin.

Spring 2014 Critic: Keller Easterling Partner: Bruce Hancock

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The Boston 2024 Media Circle project fuses the spectacle of the Olympic Stadium with the frequently neglected Olympic Village in order to leverage a housing asset for South Boston. Between the Beijing Olympics and the most recent games in Sochi, the spectacle of The Olympics has seemed explicitly tied to the use of LED lighting arrays embedded into already grand stadia. While Beijing’s use of LED’s was relatively restrained, both London and Sochi blanketed their stadia with glistening LED performance elements. Not surprisingly, the plans for Rio’s games include stadia of a similar pedigree. Since the ubiquitous LED driven spectacle of the games seems inevitable at this point in Olympic architectural history, we decided to leverage it forward as a fecund architectural asset rather than a nuisance.

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Volume Nugget The Volume Nugget was a multifaceted design exercise. It was intended as a brief introduction to Maya software and as an exploration of volume and void in design. It was also an exploration of rapid prototyping and the use of polyester resin in design representation.

The Volume Nugget was undertaken during the research phase before a large studio project. Although it was intended as a software and materials exercise, it became and investigation of spatial relationships, non-reciprocity, shapelessness, and the influence of tools in design. This specific nugget used a doublewalled 3D printed prototype to create both interior and exterior surface characteristics while containing discrete volumetric properties.

Fall 2010 Critic: Jason DeBoer

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The initial process included learning Autodesk Maya, large-scale 3D printing, polyester resin casting, and resin coloration methods. In order to separate the positive from the negative during the casting operations, a new process was undertaken. This process produced an artifact as well as a series of slices that expressed the resin volumes as well as indexing the history of the fabrication processes. The extraction of the mold involved contour cutting, extracting prototype slices, and reassembling two individual products: one in powder and one in resin. The Volume Nugget was a critical project in my development of 3D modeling in digital and analog modes.

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Lasercut Light As an extension of an architectural design studio project aiming to renovate Detroitâ&#x20AC;&#x2122;s Michigan Central Depot (MCD), the development of the Lasercut Light model became a means of expressing ideas about architectural renovation and rebirth.

This model uses material contrast to represent intervention and preservation. The solidity of the steel exterior represents the historic facades and structures of the MCD while the laser cutting of acrylic represents the interior changes. The variable density of laser cutting patterns represent the gradient of ceiling and floor treatments relative to programmatic layouts.

Fall 2010 Critic: Jason DeBoer

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In order to develop this model, a great deal of time was expended outside of studio learning the techniques and logistics of metal cutting, grinding, and welding. Although these skills did not directly inform or enhance the design studio, they enabled me to create a fresh form of representation that will ultimately be more valuable than the design itself.

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Visualization Visualization II is the first course about architectural representation for students who studied architecture. â&#x20AC;&#x153;This course investigates drawing as a means of architectural communication and as a generative instrument of formal, spatial, and tectonic discovery. Principles of two- and three-dimensional geometry are extensively studied through a series of exercises that employ freehand and constructive techniques. Students work fluidly between manual drawing, computer drawing, and material construction. All exercises are designed to enhance the ability to visualize architectural form and volume three-dimensionally, understand its structural foundations, and provide tools that reinforce and inform the design process.â&#x20AC;?

While this course focused mainly on drawing and visualization techniques done via manual drawing, throughout the semester I strove to use the computer as a supplementary and generative tool while interfacing with manual drawing techniques. At times, the computer allowed the input of more information, the output of great precision, and a faster production speed than manual techniques. At other times, using manual techniques provided energizing catharsis for students who spend much of their productive and leisure time gazing into screens. One key aspect of the work shown below is that unlike design studio work, these drawings are not iterated. Each drawing is completed in less than one day and is submitted as drawn. Each is a one-off. Fall 2012 Critic: Sunil Bald, Kent Bloomer

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Selected works are from studies of infinite minimal periodic surfaces (IPMS), speculative drawing based on sketch observations of the Beinecke Rare Books Library at Yale by Gordon Bunschaft, and a synthetic axonometric drawing generated from imaginary sections created to stitch together as-found plan fragments. Each drawing investigates the ideas of repetition and differentiation. Rather than focusing on the tricks of evocative manual techniques - such as shadow, smearing, or line-weight differentiation - these drawings focus on composition and the qualities of the thing represented as they relate to the mode of representation. By eschewing seductive media tricks, these drawings explore a link between design perception and object perception.

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Voronoi Azure The Voronoi Azure is a team design and fabrication project for Ben Pell’s seminar Parts is Parts. Throughout the semester we worked in pairs to analyze case studies which addressed novel application of parts and assemblies in architecture. For each of these precedent case studies, we examined readings, drawings, and images in order to prompt our own design responses to the weekly theme. From the weekly design responses, we developed an attitude about how we might apply our own techniques to a final project. As a team we were specifically interested in the notions of monolithicity which we had encountered from the essays in the book Monolithic Architecture by Machado and el-Khoury. Furthermore we

had gained an interest in piles from projects like Aranda & Lasch’s Grotto proposal for PS 1. The intent of Voronoi Azure was to investigate the potentials for quick fabrication using CNC plasma cutting technologies. The geometries were made by using grasshopper scripts and then selecting voids where less voronois would appear. To facilitate fabrication, additional scripts were developed to unfold the individual voronoi cells and to add patterning tabs. The tabs themselves facilitated connection and decoration. “Parts is Parts seminar examines the component nature of architectural production, specifically at the interface between the customarily distinct practices of fabrication and construction. Looking at a range of historical and Spring 2013 Critic: Ben Pell Partners: Derek Brown, Hank Mezza, Mark Tumiski

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contemporary examples, the seminar explores ways in which constructional techniques and typologies have been both restricted and propelled by limitations of scale— often provoking new directions in design technique and production technology. Readings and case studies in the first half of the term are used to outline the history and theories of modern production practices, from 1851 to the present, and serve as the basis for a series of material studies to be produced at full scale. The course culminates in a final design project.”

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Center for British Art As a team, we studied Louis Kahn’s masterpiece in New Haven: The Yale Center for British Art. This project began with hand sketches and on-site investigations of the project. Through these early exercises we gathered the conceptual and qualitative realities of the building so that we could spend the remainder of the semester building a building information modeling (BIM) model that successfully described them. After initial studies, we worked to produce a BIM model which cataloged the building in its entirety. The process was especially useful in understanding the buildings spatial organization and the relationship that the facade had to the interior organization. Instead of using the BIM modeling data as simply a means of

producing construction documents, we interrogated the tool in new ways and leveraged the powerful model for hybrid drawings containing both vector and rendered characteristics. For the final project, we used the BIM model to produce an artistic animation which aimed to express the concept of entry to the building as well as the relationship between the major voids of the building. The exploration of the multiple uses for BIM modeling was enlightening and colors the way that each of us will understand its power as we move forward in our education and professional practices. “This seven-week, intensive course introduces Building Information Modeling (BIM) alongside manual drawing to expand each student’s analytical Summer 2013 Critic: John Blood, John Eberhart Partners: Sungwoo Choi, Hank Mezza

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and expressive repertoire. Fundamental techniques are introduced through short exercises and workshops leading toward a sustained study of an exemplary precedent building. Quantitative analysis is pursued through both assembly modeling and visual dissection of both the programmatic spaces and functional elements. Observational and imaginative manual drawings allow for a reconstruction of the design process and reestablish the thought patterns that formed the building’s design priorities. These discoveries then are re-presented through interactive, multimedia presentations to describe the building assembly and its design ambitions.”

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Thomas Rush Friddle Yale School of Architecture 180 York St. 3rd Floor New Haven, CT 06511 thomas.friddle@yale.edu 1-574-551-9485