A FABRICATING POTENTIALS
PE
BR M U N
Iowa State University Spring 2018
FABRICATING POTENTIALS
Iowa State University Spring 2018
SUMMARY
4 - 21
RESEARCH
12 - 39
DESIGN EXPLORATION
40 - 61
DESIGN DEVELOPMENT
62 - 91
FINAL DESIGN
92 - 111
CONSTRUCTION AFTERWARD
112 - 143 144-155
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SUMMARY
BLUESTEM explores the concept of ‘field condition’ through the design and construction of a permanent installation at the Iowa Arboretum Architecture in Madrid, Iowa. ‘Field condition implies an Anna Bednarko architecture that admits change, accident, Alex Hochstetler and improvisation’ and which ‘leaves space for Han Deng the uncertainty of the real.’ (Allen, 1996) The Hayden Moffit project was computationally designed and then Nicholas Jackson constructed by a team of fourteen undergraduate Sarah Schneider students majoring in architecture, landscape Yihuan Zhang architecture, and interior design. Through iterative Zhelei Chen prototyping, full-scale mock ups, computational studies, and digital fabrication, the project Landscape Architecture examined the potential of integrating computation Casey Ludwig into construction practice. Dominick Florer Victoria Goetz BLUESTEM is named after a native local tallgrass and pays homage to the prairie which once covered nearly 80% of the state. The boundaries of Interior Design the Iowa Arboretum align with a surveying ‘section’ Kelsie Mapes - an area of one square mile – as defined by the Riley Benjamin- Koursh Public Land Survey System or ‘Jeffersonian Grid’. Ximoar Banks This marking of the land reveals the embedded friction between the notions of field condition Instructor and grid. The grid represents a strong historical Shelby Doyle, AIA connection between rules of axiality, symmetry, Assistant Professor of Architecture and formal hierarchy that govern traditional typeforms of Western institutions. Allen writes that ‘nonhierarchical compositions cannot guarantee an open society or equality in politics’ however they might allow us to ‘rethink conventional institutional form through the concept of the field’ (Allen, 1996) Students
In pursuit of this idea design explorations began with the imposition of a bounded grid of evenly spaced poles at the threshold between the walking path and the unprogrammed southwestern corner of the main campus. The design then developed through the notion of ‘loose fit’ between activity and enclosure via computational methods. The 8 | Bluestem Spring 2018
final project was designed parametrically using Cocoon, an add-on to McNeel’s Grasshopper visual scripting interface for Rhinoceros. (Stasiuk, 2018) The overall form of the project consists of a cloudlike volume which contains three gathering spaces. Circulation paths and the void-like ‘rooms’ were drawn from site specific characteristics such as the existing pathways, trees, views, and topography. These paths and voids were then used to cull and disrupt the grid within the cloud. The result of these operations is a field of two hundred tall, thin poles occupying a base of mulch and a path of pea gravel. The palette is inspired by colors from the adjacent fields: shades of magenta and aqua define the lengths of the poles, while a lighter pink marks the top face, signifying the seed heads of the grasses. Each pole is painted to emphasize wayfinding and to define internal spaces and clusters of seating, with the magenta side of each pole turned to face the nearest path or room. The poles meet the ground at varying angles and orientations, creating a moiré effect and a feeling of movement reminiscent of tallgrasses swaying in the wind. Although the project was designed parametrically, the site pushed back against the imposition of "perfect parametrics": snow, mud, rain, and frost resisted, and then relented, to the planting of this new type of tallgrass. Visitors to this space will know little of computational discourse or whether the results reflect the original digital intention. Instead, the computational residue of BLUESTEM is a field of sensory experience which recalls and reveals the history and values reflected in patterns of settlement, technology, ecology, and human impact: the crunch of gravel, smell of mulch, swaying of poles, and moiré of shadows and light.
BLUESTEM is a project of the ISU Computation + Construction Lab (CCL) is an initiative of the Department of Architecture at Iowa State University that works to connect developments in computation to the challenges of construction through teaching, research, and outreach. Central to this agenda is the principle that technology and architecture are cultural undertakings. Therefore, the CCL pursues not only the ‘how’ (skills and techniques) of computational design but also the ‘why’ (processes and impacts). These methods are a unique form of knowledge and powerful tools of cultural diplomacy. They position architecture and educational exchange as fundamental to designing and then building a world with a “little more knowledge, a little more reason, and a little more compassion” . (Fulbright, 1978) The development of this project was supported by two collaborative interdisciplinary workshops. First, a computational charrette with Proving Ground, a digital design agency based in Omaha. The second workshop, was a concrete formwork workshop where the fifteen design students were paired with thirty construction engineering students to design, develop, and refine the use of concrete in the project. Allen, S. (1996). Field conditions. Architectural Design 66, 21-21. Fulbright, J. W. (1978). J William Fulbright Quotes. Retrieved from Fulbright: https://eca.state.gov/fulbright/aboutfulbright/history/j-william-fulbright/j-william-fulbright-quotes Stasiuk, D. (2018, 05 31). Cocoon. Retrieved from Bespoke Geometry: http://www.bespokegeometry.com/2015/07/22/ cocoon/
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The design developed through the notion of ‘loose fit’ between activity and enclosure via computational methods. The final project was designed parametrically using Cocoon, an addon to McNeel’s Grasshopper visual scripting interface for Rhinoceros. (Stasiuk, 2018) The overall form of the project consists of a cloud-like volume which contains three gathering spaces. Circulation paths and the void-like ‘rooms’ were drawn from site specific characteristics such as the existing pathways, trees, views, and topography. These paths and voids were then used to cull and disrupt the grid within the cloud.
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Spikelet Seedhead
Sheath
See plant diagram
Blade
Crown
Diagram of Bluestem Project
Color: dark blue and purple Tiller
Rhizomes
Grows: up to 6 - 8 feet tall Found: in 45 of 50 states, including Iowa Wildlife: provides shelter for nesting birds and insects Environment: adapts to drought and wildfires Rhimzomes: underground stems that help support the plant and soil
Big Blue Stem Andropogon gerardii
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Benefits: prevents erosion and increases the soils’ ability to sustain plant and biological material
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2” x 2” x 8’ Cedar
Pin
6” 2”
Compacted Soil
2” Dia PVC 24”
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Detail 2”x2”x8’ cedar painted and set into 2" diameter PVC pipe 'sleeves' which are driven into the ground, 24” at a 75 degree angle, The stalk is then secured with a pinned connection using a threaded rod and two nuts. This system assures that the stalk sits at or above grade, with no physical contact with the earth to avoid damage and allows for uninterrupted drainage. Additionally, this allows the "stalk" members to be replaced easily (and cost effectively).
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legal subdivisions
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c
1.6 km
BLUESTEM is named after a native local tallgrass and pays homage to the prairie which once covered nearly 80% of the state. The boundaries of the Iowa Arboretum align with a surveying ‘section’ - an area of one square mile – as defined by the Public Land Survey System or ‘Jeffersonian Grid’. This marking of the land reveals the embedded friction between the notions of field condition and grid. The grid represents a strong historical connection between rules of axiality, symmetry, and formal hierarchy that govern traditional typeforms of Western institutions. Allen writes that ‘nonhierarchical compositions cannot guarantee an open society or equality in politics’ however they might allow us to ‘rethink conventional institutional form through the concept of the field’ (Allen, 1996)
section half- section Quarter- section half Quarter- section Arboretum Plot
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Although the project was designed parametrically, the site pushed back against the imposition of "perfect parametrics": snow, mud, rain, and frost resisted, and then relented, to the planting of this new type of tallgrass. Visitors to this space will know little of computational discourse or whether the results reflect the original digital intention. Instead, the computational 18 | Bluestem Spring 2018
residue of BLUESTEM is a field of sensory experience which recalls and reveals the history and values reflected in patterns of settlement, technology, ecology, and human impact: the crunch of gravel, smell of mulch, swaying of poles, and moirĂŠ of shadows and light.
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RESEARCH
Feb 5 Jan 8 BEGINNING
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Feb 28 DESIGH EXPLORATION
DESIGH DEVELOPMENT
CONSTRUCTION
Mar 7
Apr 27 Mar 30 FINAL DESIGN
AFTERWARD
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PRECEDENT RESEARCH
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Water Spider Pavilion, ICD-ITKE, 2014-15
We each have been assigned to a group to produce two case studies of a creative full-scale use of concrete. The goal is to learn from these projects and explore potential methods for the studio to pursue in the design of your fullscale design.
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P_WALL Keywords Fiber-Reinforced Thin-Shell Precast Concrete Panels mounted on Steel Frame, curvature, mass and elasticity, fabric, variations Designer Andrew Kudless Firm/Affliation/Studio MATSYS Year 2013 Location FRAC Centre, Orleans, France
The wall is made up of four original fabric-cast plaster patterns and rubber molds create the thin-shell concrete fabrication process. The design process starts with the fabrication process which is spandex lycra laid over wooden dowels, with a larger solid mold, being a rectangle or hexagon. Then the concrete uid is poured into the elastic fabric. The wooden dowels move around each set of panel makings according to a computer algorithm chart, developed by the grasshopper program. Once the uid concrete is dry, they peel the elastic fabric (spandex) o and clean the molds. Integration between form, growth, and behavior. The form in completely in uenced by the pull of gravity. This process is very dynamic and allows the cast to be made or formed in one direction but then installed, view and experienced completely differently. 26 | Bluestem Spring 2018
Formwork
Physical Model
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PRESSURE BLDG + BLACKOUTS Keywords Concrete, Fabric Form, Flexible Designer Mark West Firm/A liation/Studio Storefront for Art and Architecture Year September 26, 1992- October 31, 1992 Location New York, New York and Carlton University, Ottawa, Ontario, Canada
This installation called “Pressure Building and Blackouts” is derived from the techniques in fabric formed concrete. This experiential installation take place on a building facade and entices many. Once this instillation was up, West was able to observed the actions of people who encountered it and said “On the street, people stopped. They looked, walked towards it, and then they reached out with their hands and touched. They were always surprised that they were hard, not soft. It happened all the time.” This embodies the power of fabric formed concrete. By using a fabric to manipulated and form concrete, West was able to take properties of fabric and concrete to created a unique form.
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Formwork
Physical Model
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CONFLUENCE PARK Keywords Repetition, Modules, Organic Designer Lake|FlatoFirm/Afliation/ Studio:Andrew Kudless of Matsys, Architectural Engineer Collaborative (AEC), CNG Engineers, Rialto Studio, San Antonio River Foundation (SARF), and Spawglass Contractor Year 2014-2017 Location San Antonio, Texas
The pavilion’s purpose was to provide shelter from rain, but also collect and celebrate water. The design was inspired by the calla lily’s, funneling water down to its roots. Considering how the petals work together to collect water, the plan of the pavilion started by testing how various shapes and angles work to create a central point. At central points, rainwater is collected in a 100,000 gallon belowground cistern, which is later used for irrigation and toilets. The shape selected was an irregular pentagon divided into 5 triangles. The fve triangles consisted of three irregular triangles named Petal A, B, and C. With the pattern laid out on-site, the fnal design used 22, 20-27 feet tall, petals to make up 11 arches. A digit model was then created, by Andrew Kudless, using a Rhinoceros plug-in, Grasshopper, to create a three-dimensional model.
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Formwork
Physical Model
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HEDRACRETE Keyword Funicular polyhedron, Concrete Designer Firm/ Affliation/ Studio Caai School of Architetcure Year 2016-2017 Location Tehran, Iran
Hedracrete is the physical realization of a set of complex geometric forms known as a funicular polyhedrons. The structure contains 45 prefabricated joints, of which are 54 compression-only and are 30 tension-only members. It sits on steel supports connected by steel rods. These parts come together to form the frst built prototype of a 150-year-old proposition by Rankine (1864). It has long been theorized, however a program called 3D graphic statics (3DGS) was used to bring Hedracrete into reality and the 21st century. A powerful tool, 3DGS allows the user full control over the form of the structure and the equilibrium of the forces, thus giving complete structural authority to the designer.
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Formwork
Physical Model
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CELLULAR FABRICATION Keyword Cellular Fabrication, 3D printing, Polymeric Structures, Geometric Designer Platt Boyd Firm/Afliation/StudioBranch Technology Year 2014- Current Location Everywhere
Cellular fabrication exists today as acrylonitrile butadiene styrene solution that is printed by use of a large robotic arm. Geometrically complex forms can be manufactured of site in an economically and materially sustainable way. 3D printing is very much on the rise in architectural design at the present moment, but Branch Technology is diferent in that they have developed an algorithm that prints superior structural formations by utilizing verticals, horizontals, and diagonal connections to a single point, rather than the stacking of layers method, which most 3D prints rely on. The density of the structure can vary, with the most dense formations being able to withstand forces of up to 3000 psi. An impressive attribute of these plastic matrix formations is their light weight of 2 pounds per cubic foot.
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Formwork
Physical Model
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CONCRETE 3D PRINTED BRIDGE Keyword Concrete,Pedestrain,Bridge, Cycling, 3D Printing Designer Eindhoven University of Technology, BAM Infra Year 2017 Location Gemert, Netherlands
The project is a collaboration between BAM infra and Eindhoven University of Technology. It took a total of 3 months for robotic arms inside the university laboratory to print the 800 layers of pre stressed concrete by section. The construction process is more sustainable than conventional methods because it uses less concrete than traitional molds.The bridge consists of six separate sections that are individually 1 meter tall each. These six segments were printed individually and then transported to the construction site where they were glued together and raised into position. The bridge is dimensioned at 26 feet long, 11 feet wide and 3 feet thick. The life expectancy of the bridge is approximated at 30 years minimum.
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Formwork
Physical Model
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JANUS Keyword Mobius Strip, Curve, Ring, Balance, Visual Points Designer Clement Meadmore Firm/A liation/Studio Independent Artist Year 1968 Location Mexico City, Mexico
Janus is in a shape of a ring folding over itself, showing to look similar to an enclosed Mobius strip and it is the only concrete sculpture Clement Meadmore ever made. It is roughly twenty feet tall and twenty-two feet wide, making it a force to be reckoned with. Clement Meadmore intended his piece to create great views from the inside looking out as well as outside looking in. Since the sculpture is such a profound size, one can speculate that it has a large concrete foundation underground with thick metal pins to make a connection between the foundation and sculpture. We would also speculate that because of the equal parts being folded over, weight is balanced.
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Formwork
Physical Model
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HOUSE Keyword House, Ghost, concrete, casting, sculpture, art, design Designer Rachel Whiteread Firm/A liation/Studio Young British Artists Year 1993 – 1994 (80 days) Location 193 Grove Road London, UK
House, was an idea by Rachel Whiteread in the 1990s after the completion of her most famous art installation, Ghost. Ghost is the backbone of House, whereas Ghost is the casting of a room from a Victorian house. This sculpture was intended to “mummify” air. All the house’s interior elements were casted and now lay on the exterior of this structure. The moldings, light xtures, light switches, replace, windows, coverings, etc., are all evident in the mold, but in reverse. This caused all protrusions to be indents, and vice versa. The e ect of this reverse casting of space forever leaves observers of the sculpture on the internal of the original space while, simultaneously, being on the exterior of the sculpture.
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Formwork
Physical Model
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DESIGN EXPLORATION Iteration One
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Healing pavilion, Ball-nogues studio, 2017
We have been divided into four groups to produce the first iteration for the Arboretum. The goal is to start thinking about design proposal as well as practice the skills learned from the case studies.
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THE IOWA ARBORETUM Iowa Arboretum is a non-profit organization. Located on 415 acres in Boone County’s Des Moines River Valley. The Iowa Arboretum showcases hundreds of species of trees, shrubs and flowering plants in a tranquil setting.
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BOSQUE TWENTY
Before the site was an arboretum, it was an agricultural eld. As we respect and acknowledge that agriculture does a lot for us, we also nd that it’s important to remember that forests provide a lot for us too. We decided to go back to where it all started with a fully wooded plot. We began thinking about the primitive forms, the post and lintel to intertwine with the bosque to create bosquetwenty. The structure relates back to when the site was just dense tree coverage in the 1930s. Currently, the Iowa Arboretum has nineteen collections of trees, with bosquetwenty being the twentieth.
Diagram + Workflow
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Drawings + Photos
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R-BOR
The R-Bor Project will consist of mass produced breeze bricks made from concrete molding with the CNC router in a triangular shape. These bricks will have a semipermeable structure yet will be strong enough to stand alone, as an attempt to control the natural elements in Iowa’s harsh weather conditions. For in the winter, Iowa experiences rapid winds, negative temperatures, and heavy snowfall. R-Bor will be a semi-closed structure that will help with keeping occupants warm during the cold months. Also, since the winds are generally blowing from the north west, R-Bor will more of a solid surface on its northern face to block some of the winds. The structure itself is dome-like and arched, for all precipitation to fall down the sides keeping weight of the roof.
Diagram + Workflow
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Drawings + Photos
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LETSGETLABY
In 1966 the Iowa State Horticultural Society started the Iowa Arboretum to serve the state of Iowa. A non-proft organization containing over 4,000 woody and herbaceous plants. Focusing on the main campus our design team of four has designed a functional, ecological, and astheticly pleasing attraction that will beneft the space. It will provide seating, education, shade, attract birds for habitat and bird watching, plants, and collect water. Our inspiration came from the labyrinth placed in the arboretum in 2010. Which was once a plant maze and a space for peony plants. The labyrinth is no longer used and still has the pattern embedded on the land. We want to bring the labyrinth back to life in our design and educate people on the history of the Iowa Arboridum.
Diagram + Workflow
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Drawings + Photos
North | South Section
East | West Section
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NANABUSH
Diagram + Workflow
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Conceptually, Nanabush wanted to create the illusion that it is peeling up the earth. Given our specifc site, a human manufactured “natural landscape”, we wanted to capitalize on this throughout our design. The classroom is created by ‘peeling’ the earth away and creating an elevated platform holding vegetation, providing shade and creating a void for program. The elevated platform is constructed using wooden planks. Theses wooden planks are woven together to create a structural platforms optimal for planting, shading, or light wells. Inside the voids of the woven platforms, plant boxes and wooden plates are used to create shade, while some are kept open for light. The voids left for light to pass through the platform allow the plants to grow without constraints.
Drawings + Photos
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DESIGN EXPLORATION Iteration Two
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Lilas pavilion, Zaha Hadid, 2007
After the case studies were completed and presented, the class was redistributed into new groups to produce the second iteration for the Arboretum. This was a common theme in the studio as a strategy to blur authorship in pursuit of collective design ideas.
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BOSQUE TWENTY
Diagram + Workflow
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The proposed space is a parcel which embodies ideas of history in the settlement, cultivation, and politics, which has propelled the development of the Iowa landscape (and the Arboretum). The baldachin is suspended by a 5 rows of 8� thick columns. The vertical elements create a certain density which is unlike anything currently in the space of the main campus, though not unprecedented. These concrete piers call back to the time before the plots deforestation, somehow recreating this moment in time. Though this is not fully the case as each column uses the grid defined above to situate itself in space, lining up perfectly, similar to what can be seen in many nurseries or Arboretums of today.
Drawings + Photos
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THE NEST
Diagram + Workflow
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The NEST is an ecological structure with the primary purpose of bringing more interest to Iowa’s Arboretum for increased revenue and attendance. The Iowa Arboretum is currently working on their long term master plan. The NEST is designed with this changing landscape in mind. What makes the NEST a true extension of the arboretum is its structural relationship to nature, and it’s ecologically minded skin. The NEST is designed to wear the materiality of the arboretum itself, with a skin of branches, twigs, and other plant matter collected locally from the Arboretum’s woods. By weaving these materials into the structure we can provide a variety of densities for shade and a human scale habitat for birds.
Drawings + Photos
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THE VOLUMN UPLIFTED
Plan
1/4" = 1'-0"
Diagram + Workflow
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The concept of, The Volume Uplifted, was influenced by how architecture and landscape architecture interact with each other. From form to materiality, the display of this connection is evident. Poles, made from both concrete and wood project from both the ground plane and the over head support. The structural frame holding the load yet can barely be seen. This is how we expand on this idea of invisible support or architecture. The poles, angular and linear in form, are placed on the frame to create a soft curve. As the curve moves through space, it seems to touch and sky then sweeps back down to the ground plane. This transition is apparent when the poles begin to come from the ground.
Drawings + Photos Section Drawing 1/4" = 1'-0"
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NANABUSH
Plan Scale: 1/4” = 1’-0”
Diagram + Workflow
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Conceptually, Nana Bush wanted to create the illusion that it is peeling up the earth. Given our specifc site, a human manufactured “natural landscape”, we wanted to capitalize on this throughout our design. The classroom is created by ‘peeling’ the earth away and creating an elevated platform holding vegetation, providing shade and creating a void for program. The elevated platform is constructed using wooden planks. Theses wooden planks are woven together to create a structural platforms optimal for planting, shading, or light wells. Inside the voids of the woven platforms, plant boxes and wooden plates are used to create shade, while some are kept open for light. The voids left for light to pass through the platform allow the plants to grow without constraints.
Drawings + Photos
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DESIGN DEVELOPMENT
Iteration Three
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Pauhu pavilion, Toni Österlund, Lisa Voi gtländer, 2015
Aftering design exploration, we condensed to two from four proposals, which somewhat pairing the “Nanabush” with the “R-Bor” project and the “Bosque Twenty” with the “Volume Uplifted” project. The goal of this phase is to develop design in terms of detailed construction solutoin, and mutiple design functions.
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Gust
Gust proposed an engaging call back to the prairie that once embodied the majority of Iowa. Using vertical PVC pipes, the tall “stalks�, grouped within a large grid, would sway in in the wind providing an ephemeral experience, shaped by the current climates as well as visitors.
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SITE MAP
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DESIGN DRAWINGS
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1.6 km
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legal subdivisions
section half- section Quarter- section half Quarter- section Arboretum Plot
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DESIGN DIAGRAMS
NNW
N
m/s
NNE
15.90< NE
NW
14.31 12.72 ENE
WNW
11.13 9.54 E
W
7.95 6.36
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4.77 3.18
SW
SE SSW
SSE S
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1.59 <0.00
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NEST
Nest created an outdoor educational room that allowed visitors to add weaving upon a superstructure and enjoy the music from residing song birds. This proposal was very much a defined educational space that created a relatively intimate atmosphere depending on the available foliage that season.
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SITE MAP
-Hughes Education Center -Beckwith Pavilion -Dale Siems Greenhouse -Cafferty Building -Koos Building
0 16’ 32’
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64’
128’
0
4’
8’
16’
32’
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DESIGN DRAWING
Concrete Seating Pod Size: Large Seats: Three Concrete Seating Pod Size: Medium Seats: Two Concrete Seating Pod Size: Small Seats: One
0 1’ 2’
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4’
8’
Wood Construction
Steel Construction
Structural Member Angled to resist force from tension member
Concrete Member Ground Plane
0
2”
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DESIGN DIAGRAMS
Form Finding Perspective and Plan
Foundation Perspective and Plan
Vertical Members Perspective and Plan 86 | Bluestem Spring 2018
Horizontal Members Perspective and Plan
Weaving Perspective and Plan
Furniture Perspective and Plan Bluestem Spring 2018 | A
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FINAL DESIGN DESIGN DEVELOPMENT Final Design
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Butterfly Pavilion, 3deluxe, 2015
After meeting with clients, looking to the strengths of both NEST and GUST, combining, and introducing an adequate synthesis, we came out with the idea of final proposal BLUESTEM. BLUESTEM marries the strong design points of the previous iterations of Nest and Gust through incorporating the strong narritive and activity of Gust and the intimate, educational scale of Nest.
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BLUESTEM
BLUESTEM is named after a native Iowan tallgrass, paying homage to the prairie. Around two hundred tall, thin stalks occupy a base of mulch, each standing, on average, at eight feet tall. All members meet the ground at a varying angles and orientations, creating a moirĂŠ effect and a generating the visual effect of movement reminiscent of tallgrasses swaying in the wind. Colors similar to native field area used to emphasize way finding and to define internal spaces and clusters of seating. Shades of magenta and aqua define the lengths of the poles, while a lighter pink marks the top face, signifying the seed heads of the grasses. BLUESTEM reminds the occupants that they are part of the ecosystems that once covered most of Iowa.
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SITE MAP
STORY COUNTY
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IOWA ARBORETUM
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DESIGN DRAWINGS
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POLE FOOTING DETAIL
ANGLED FOOTING
PERPENDICULAR FOOTING
8’ l - 2” x 2” Treated Lumber
Cap ~ 75 DEGREES 3”
Pin
6” 2”
12” L - 2” Rigid PVC High Strength Concrete
6” 12”
42”
Compacted Soil
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8’ l - 2” x 2” Treated Lumber Cap Pin 12” L - 2” Rigid PVC High Strength Concrete Compacted Soil
FOOTING
8’ l - 2” x 2” Treated Lumber Epoxy Sealant Cap
SEALANT CONNECTION
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POLE FOOTING DETAIL
8’ l - 2” x 2” Treated Lumber
8’ l - 2” x 2” Treated Lumber
6” 2”
6” 2”
2” Rigid PVC
Pin
24”
2” Rigid PVC
WITHOUT CAP OR SEALANT
Compacted Soil
POST CONSTRUCTION ENGINEERING WORKSHOP
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Pin
LIGHT PINK TOP SIDE: LIGHT PINK
ONE SIDE: DARK PINK BLUE
DARK PINK
THREE SIDES: BLUE
+ NOT ALL FACING SAME DIRECTION
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CASE STUDY INSPIRATION
Blue Stick Garden, Claude Cormier & Associés Inc, 2000
WHITE NOISE WHITE LIGHT, HÖWELER + YOON, 2004 106 | Bluestem Spring 2018
SWAYâ&#x20AC;&#x2122;D, Daniel Lyman, 2010
High Trestle Trail, INHF,2008 Bluestem Spring 2018 | A
PLANT INSPIRATION
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CONSTRUCTION
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Pavilion of France, RICCARDO BIANCHINI, 2017
Each person was assigned for being in charge with different task of construction, the goal of construction is to develop and deliver diverse learning opportunities in transforming digital model into reality.
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FORMWORK WORKSHOP
As the final design progress continued, we participated in a Concrete Formwork workshop that allowed us to interact and work with 30 construction engineering students to further design, develop, and refine the use of concrete in the project.
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Bluestem Spring 2018 | A
CONCRETE MOCK-UP
118 | Bluestem Spring 2018
Bluestem Spring 2018 | A
MATERIALS
SITE MATERIAL + CEDAR MULCH + PEA GRAVEL + PLASTIC EDGING
120 | Bluestem Spring 2018
SEATING + VIEW PAD MATERIAL +CONCRETE +BLUE FOAMCORE
POLE ASSEMBLY MATERIAL + PRIMER + BLUE AND PINK PAINT + THREADED ROD
+ 2” DIAMETER PVC + 2X2 CEDAR POLE
Bluestem Spring 2018 | A
WORKSHOP WORKING
122 | Bluestem Spring 2018
SANDING
Bluestem Spring 2018 | A
PVC PIPE CUTTING + DRILLING
124 | Bluestem Spring 2018
Bluestem Spring 2018 | A
PAINTING
126 | Bluestem Spring 2018
Bluestem Spring 2018 | A
CNC CUTTING
128 | Bluestem Spring 2018
CNC MOLDING
Bluestem Spring 2018 | A
SITE WORKING
130 | Bluestem Spring 2018
TAKING MEASUREMENT
Bluestem Spring 2018 | A
GRID LAYOUT
132 | Bluestem Spring 2018
SETTING FLAGS
Bluestem Spring 2018 | A
SETTING PATHWAY
134 | Bluestem Spring 2018
SOD REMOVEL
Bluestem Spring 2018 | A
FOOTING CONSTRUCTING
136 | Bluestem Spring 2018
GROUND COVERING
Bluestem Spring 2018 | A
GROUND COVERING
138 | Bluestem Spring 2018
COVERING GRAVEL
Bluestem Spring 2018 | A
POLE SETTING
140 | Bluestem Spring 2018
POLE SETTING
Bluestem Spring 2018 | A
POLE INSTALL
142 | Bluestem Spring 2018
POLE INSTALL
Bluestem Spring 2018 | A
ON SITE CONCRETE CASTING
144 | Bluestem Spring 2018
Bluestem Spring 2018 | A
AFTERWARD
146 | Bluestem Spring 2018
Bluestem Spring 2018 | A
148 | Bluestem Spring 2018
Bluestem Spring 2018 | A
150 | Bluestem Spring 2018
Bluestem Spring 2018 | A
152 | Bluestem Spring 2018
Bluestem Spring 2018 | A
154 | Bluestem Spring 2018
Bluestem Spring 2018 | A
156 | Bluestem Spring 2018
Bluestem Spring 2018 | A
158 | Bluestem Spring 2018
Bluestem Spring 2018 | A
Department of Architecture
160 | Bluestem Spring 2018