Timothy mark Sandweg ���.���.���� tmsandweg@gmail.com ���� Wickershire Lane St. Louis, MO �����
Kunsthaus for Anselm Kiefer 3rd year 2nd semester 4 weeks
1 Park 2020 Urban Peaches 5th year 1 week
7 Mennonite Church 4th year 1st semester 16 weeks
9 Water Vessel 3rd year 2nd semester 1 week
19 Water Cabin
3rd year 1st semester 2 weeks
21 Wine Shelf 5th year 2nd semester 3 weeks
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Night stand 5th year 2nd semester 3 week
27 Sandnes, Norway 5th year 7 months
29 M.I.T. Rowing Facility 3rd year 2nd semester 4 weeks
structure
41 Park Installation 2005 eagle scout service project enclosure
45 Tensegrity
2nd year 1st semester 3 weeks
partition
47 Diagramming Mies 5th year 2nd semester
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composite
for Anselm Kiefer
k u n s t h a u s Bold in size and articulation the kunsthaus for german artist Anselm Kiefer takes form between an early 1900 residence and a 5 story brick apartment structure. From Harvard’s campus, it stands as an extension of the well established urban fabric. Upon entering, the visitor slides beneath a mass which works as an invitation and initiates curiosity. The entry is dimly lit and surrounded by massive walls. Tension is created in the contrasting galleries which are more delicate and illuminated with natural light. These large spaces open up to the north allowing for a connection with the surrounding context.
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The design was inspired by an architectural interpretation of Anselm Kiefer’s art. The spacial and structural qualities have direct relationships to the site context and history, similar to the way Keifer’s art is strongly rooted in a specific past. The architecture appears to be solid, but its interior is highly vulnerable and passive to its surroundings. This vulnerability is what creates the spaces and gives meaning to the light that pours in.
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pencil - watercolor - Photoshop 18” x 24”
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laser etchings on chipboard rendered with graphite and sand paper 18� x 30� boards
The main gallery spaces become an extension of the courtyard to the north. This spacial move works conceptually as well as practically by allowing indirect light into the space and making the small site feel signiďŹ cantly larger. The ďŹ gure ground demonstrates some of the reasons for the building’s shape. The sections and plans support this as well. concept diagram
site model
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URBAN PEACHES P a r k STRATEGIES “superfloor” “urban floor” marketplace 1+1=3 P.H.I.D.A. permeability harmony imagination diversity adaptability
mixed use
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Stavanger, Norway
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The competition was a collaboration with fellow classmates and a professor. It applied similar concepts to those in our current studio project. The focus was on creating space between architecture and urban design. The project requirement was to fill a partially vacant site in Stavanger, Norway with various program elements taking into consideration the existing flows. Our team worked on the design for a week. In that time we created a series of renderings and diagrams as well as a booklet explaining the philosophy behind our ideas. You can find this document with more information online at www.issuu.com/tmsandweg
Josh Williams Roger Bost Keegan Thompson Nichole Hoarth Laura Wilson Carrie Wilburt Chris Curtis Vikki Suprin Dylan Powell Heidi Hyland Timothy Sandweg Torgeir Norheim
site circulation
rooftop farming
residential marketplace
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Manhattan, Kansas_Poyntz Avenue
Mennonite Church schematic design landscape design design development construction documents
north south section
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Contrasting layers coexisting to create a healthier environment The Mennonites have an active relationship with the Earth. This inspired a design that consists of distinct natural and man-made layers that gently interact throughout the site. The building and Earth layers merge to form neutral spaces addressing both landscape and architecture. In this third layer they can coexist, making for a healthier and more natural atmosphere. The congregation’s many activities will be activated and enhanced by these diverse spaces. This vocabulary throughout the design will tie into the church’s culture, history, and stewardship for the land.
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conceptual landscape building details structure
process models 11
The evolution of this project was fueled by a variety of ideas. It began by conducting research about the Mennonite Church, meeting with the congregation, and learning about their history. Conceptual thinking with the architecture and landscape came next. I worked closely with a landscape architecture student in fulfilling my ideas about how the building would relate to the site. I began looking closer at space, materiality, and structure during this process. Working back and forth with conceptual ideas, landscape, and even details through the development of construction documents was very important. Constant communication with the congregation was crucial as well in order to truly understand the Church’s needs.
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The building assembly plays an important role in responding directly to the Mennonites’ beliefs. It is visually and physically permeable particularly on the south facade where it celebrates the sunlight and gathering spaces. Ultimately, the assembly will reinforce the idea that a space is created between building and landscape as opposed to in one or the other.
first level plan
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In order to achieve this concept of a third dimension, the building is constantly opening itself up to the outdoors. The visitor is able to access green space easily on all levels of the building. The sunlight is allowed to come in and give a variety of natural light to every room. Spaces extend themselves out into the site connecting the visitor to elements throughout the landscape. These strategies create the third layer spatially as well as visually.
sanctuary
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east west section
fellowship hall section
The landscape takes a very similar approach. It sets up a variety of lines both strong and subtle in order to pull you into and throughout the building. Sometimes it runs parallel to the architecture creating indoor/outdoor corridors. The green space runs beneath a screen wall giving the feeling that it is actually flowing into the building. Trees are used as focal points to maintain a constant visual connection outward. 16
construction documents
life safety plan
structural plan
roof plan
mechanical plan
south elevation 17
construction details
interior elevations
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design build
water vessel original sketch
DESIGN REQUIREMENTS The vessel must: Hold 2 gallons of water for 90 seconds Release all water before 3 minutes expire *no manipulation of vessel once water is poured
Achieving more than the simple requirements of the project, the vessel became a piece of art in its movement and suspense. Simple yet innovative, the design uses its own shell and structure to create excitement as well as the vessel’s mechanical qualities. Elegance is an important quality to keep when combining performance and composition.
COMMODITY........FIRMNESS.........DELIGHT
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Water is poured into the top tank and slowly drains into the lower carrier.
After 90 seconds pass, the carrier becomes heavy enough from the water to overcome the counter weight and begin lowering.
A rod in the bottom forces out a plug in the carrier, releasing the water.
After the water drains, the carrier becomes lighter, concealing itself back into its original position. 20
spacial clarity
water cabin
This residence was designed for a single male ready to retire in a remote location on the water. The structure is geometrically simple, but light qualities and spacial conditions are more dynamic. A layering of spaces from the inside out allows for varying levels of privacy and atmospheres throughout the day. The simple grid is broken only once by a protruding furniture element that blurs the line between inside and out. It also organizes the pragmatic needs of the home.
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autocad . sketchup
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rendering revit . 3ds max . photoshop
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/8 th inch model photo
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wine shelf bent plywood
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The base of the formwork is a simple wood box. Holes are drilled into the sides for pipes to span as additive formwork once the wood is set into place and ready to be manipulated. Three identical sheets of 1/8th inch plywood, with wet glue between the layers, are placed into a vacuum bag. The wood, while in the vacuum bag, is positioned into the formwork like the demonstration.
original idea
*the illustration does not show the vacuum bag for clarity
A 1 inch diameter pipe is fed through the back holes first, forcing the wood down into a 90 degree bend and holding it into place.
A larger 3 inch diameter pipe is fed through the front holes of the formwork, pressing the wood flush with the base creating the top flat surface of the shelf.
The plywood layers are then slowly but tightly wrapped around the large 3 inch diameter steel pipe creating the space for a bottle of wine.
The last small pipe is finally fed through the remaining holes, pressing the end of the form parallel to the base. The vacuum bag is then sealed and air is extracted to compress the layers of plywood together and into the final shape.
demonstration 26
process . ideas
designing a system
night stand sketch model sketch draw build draft build
Although very different from the original ideas, the ďŹ nal piece became more about the system of parts than a ďŹ nished item.
section through sides
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The process of making the piece began with bending the steel rod. Once it was bent and trimmed, it became the tool to measure everything else. The wood pieces were then cut, routed, glued and nailed together. The shelf consists of three simple parts: the pipe, the shell, and the drawer. The pipe works to stabilize and mount the drawer to the wall while creating parallels for the drawer to slide along. The shell creates a at surface on top to set things on, but also keeps the system rigid by stopping the pipe from spreading outward over time. The drawer also holds the shape of the pipe and is used for storing items. This system of three parts can be used at multiple scales for a variety of furniture types. The system is easily installed/uninstalled and made to last because of its minimal amount of parts resulting in less chance of failure.
pipe
shell
detail drawer 28
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Sandnes, Norway Sandnes is a small, 150 year old city on the southern coast of Norway. The beautiful, dramatic, and rising landscape allows for incredible views and close access to nature. The city is currently suffering from a design born out of the industrial age with a complete lack of attention to the human scale. A massive wall holding a rail line divides the city, cutting off any east-west flow. The water’s edge is inaccessible due to current harbor conditions and large warehouses. The city is growing fast, but unsustainably and away from the water, wiping out valuable natural spaces. With these current conditions, the city will never rise to the potential that it has. My studio has developed theories and strategies that can revitalize the city, allowing it to sustain 150 years into the future. SEMESTER 1 Collaboration Philosophy Urban Planning
SEMESTER 2 Collaboration Neighborhood Architecture
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Finding / Expanding upon the Inbetween At the urban scale, the neighborhood existed with a historic grid to the southwest and a newer, less established grid to the north along the fjord. Langgata fades awkwardly, terminating into the existing highway. An island is being introduced in the new master plan which opens up to the south and a system of iconic piers is being established to the north. Between all of these is where the opportunity was discovered at the urban scale. It existed between the two grids, Langgata and the fjord, and the new and the old. The design solution was not to mash these entities together, but instead, to create a space for them to harmonize. As more and more systems came into the space their synergy made it more dynamic and meaningful. The adding of an island, pedestrian road, bridge, and boardwalk all help to create more opportunities for space to be used by a diversity of people.
east west ows
new grid
rhythm of piers
neighborhood
island
Langgata and the current grid fjord
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park space _roof gardens
vegetation
stitches
roads
urban navigation strategy
langgata
fjordwalk
urban pedestrian flows
light rail
drop off
bus
parking
existing buildings
rail
vertical
existing roads
public transportation
service
existing
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Museum Convention Center Park Bridge - streetcar/pedestrian Langsfjord Plaza Avenue Fjord Gardens single family homes school residential units fjordwalk office tower
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Nodes and Flows at Varying Scales A wide diversity of program and infrastructure all become present within a relatively small neighborhood. While the program types are desegregated, they are able to coexist with the use of the PHIDA principles. The elements of the built and natural environment are arranged to act as nodes and/or flows depending on the experiential scale. The Plaza is a node at the city scale; the Museum is a node within the Plaza. The Park to the north and the Plaza are both nodes of the city, but here the museum adapts to become a stimulator of flow between these two nodes. A perpetual dialogue with this rhythmic quality is vital for a sustainable environment. Space must always create more possibilities so as to hold significance at any change in scale. 34
site section sketch
single family homes
service road
west-east site section looking north 35
museum
courtyard
museum
plaza
rail
plaza
avenue highway
fjordwalk
fjord gardens
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Master-section Exploring methods to create density became more successful when attempting to develop a mastersection rather than a master-plan. The goal is to create extreme density and diversity, but issues such as service, natural light, ventilation, and privacy all make this diďŹƒcult to achieve. By using the studio’s strategies and PHIDA principals in bold, unique, and innovative ways, the city can exist with a sustainable energy that nurtures human comfort and interaction in a dense and diverse setting.
fjordwalk 37
private residence parking
service / loading
Service Dense areas for people require extensive amounts of space for service. Typically, public and private spaces are on the same plane, but here they are stacked vertically. Parking and service areas are placed below the urban floor while vertical cores pierce through it to transport people and services. Not only does this allow for an efficient proximity of served and service spaces, but it creates an experiential flow for people; circulation is directed upwards, and light is seen above filtering down.
highway
service
East-west section through avenue and boardwalk looking south
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SERVIC
E MUSEUM
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PLAZA RAIL 40
Boston_Cambridge community
M . I .T. R o w i n g F a c i l i t y
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*supporting conceptual image anatomy drawing by unknown artist
dynamic interior...simple skin
The architecture of the boathouse wants to have a harmonious relationship with the athletes that use it. Rowing requires intense preparation and extreme dedication. Because of this dedication, the sport becomes an incredibly elegant activity. The design of the building mirrors this attitude through the use of a dynamic structural system that resolves itself into a simple envelope. This also speaks conceptually with the life of Boston. During the day the city is polished and professional, but at night a social dynamism is activated.
without envelope
north elevation
concept image_unknown artist
structure south north section
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water level plan 43
east west section The structure of the boathouse consists of a web of wood members working as load bearing walls. These transition into an elongated dome on top to carry the roof. This strategy was chosen for various reasons: column-free space, dynamic and aesthetic quality, and conceptual strength.
wall section
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Eagle Scout Project_design build
park installation
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fire pit gravel benches lighting path creek
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The process began by choosing a site with opportunity. I discovered an unused area in Watson Trails Park in St. Louis, Missouri that had potential as a natural amphitheater space. I designed benches for multiple rows of seating, a gravel council ring, and designated areas for lighting installations. Plans were made and discussed for the park to carry out in the future. All supplies came from donations by local hardware stores. Labor was supplied by a variety of volunteers: senior citizens, contractors, and young students. Since 2005, when my phase of the project was completed, eight more benches have been built and installed according to the original plans.
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tensional integrity_design build
Te n s e g r i t y 36 pipes 30 lb fishing line wood dowel rods 72 eye screws
“A tensegrity system is a system in a stable self equilibrated state comprising of a discontinuous set of compressed components inside a continuum of tensioned components.” 6’ x 3.5’ x 1.5’ 47
Rene Motro
TETRAHEDRON
ICOSAHEDRON Working my way from the most simple to a more complex shape, I was intrigued with the icosahedron which was somewhere in between. After exploring the structure in regards to tension and compression, I manipulated it, morphing it into something of my own. The beauty of a tensegrity is its structural qualities. I took this feature and exaggerated it by creating a sculpture that appears to defy gravity by standing on the bare minimum of points.
OCTAHEDRON
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Lake Shore Drive Apartments
Diagramming Mies
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enclosure
enclosure partition structure
partition
structure
kitchen
enclosure
bath
dining
composite
entry
composite
sleeping
partition
composite
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living
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s t u d y
a b r o a d
Castiglion Fiorentino, Italia
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Sketching became my way of linking what I experienced into a format that I could expand upon in my own design work. By making drawings of both two and three dimensions, I was able to gain a deeper understanding of what I was experiencing.
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Drawing from life forces my mind to see things from all angles: structure, light, materiality, texture, shadow, color, contrast, space, similarities, subtleties... It allows me to experience the space, see people using it, watch the light change over time, listen to it, feel how comfortable it is, know what it smells like... Sketching allows me to quickly communicate and explore ideas with others as well as myself. Browse through more of my sketchbooks at: www.issuu.com/tmsandweg
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freehand sketch Perugia, Italy Medieval Aquaducts “Via Secca”
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