YES2020 MArch Senior Research Architecture Studio - 2/5 (Johnson) by ucalgarySAPL

CONTENT AWARE M2 RESEARCH STUDIO 2020

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W O R K BY

CONTENT AWARE S O U R C E M AT E R I A L F O R T H E S P E C U L AT I V E E V D S 782 - S E N I O R R E S E A R C H S T U D I O W I N T E R 2 02 0 P R O F E SS O R : J AS O N S . J O H N S O N

SAMAN ABOUTORAB M I C H E L L E B O OTSMA T AY L O R C R O Z O N SEANNA GUILLEMIN CHARLENE KARL MEHRDAD MISHRA I N D E R PA B L A A L E X A N D R I A P A N K R AT Z MARK POPEL R O SS R I C U PE R O ALEX SEMEGEN R A J AT V E R M A H O -TA I W O N G EVDA 782 A research oriented design studio in which students collaborate with faculty in projects exploring contemporary issues defining the built and natural environrments. Students choose topics outlined by faculty expertise, including sustainable design, digital design and fabrication, architecture and the contemporary city, and innovative practice.

CO N T E N TS 04

INTRODUCTION

PART 1 INNOVATION IN FURNITURE COMPETITION ABSENT BODIES IMPRINT CONTOURS END-DOSS MISCHUNG ARTIFICIAL INTABLE-GENCE SHARDS CADENCE FRAGMENTED BEHAVIOUR FORMATION END OF BROADCAST

08 18 28 36 44 50 56 62 68 74 86

PART 2 THE DOMESTIC 96 INSIGHT 112 SPECTRUM 124 CORPSES OF THE BIG BOX 134 RUBBLE HOUSE 142 THE HEAL BOX 154 HOME FOR THE DEAF 160 FACADE HOUSE

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PART 3 LIFESTYLE & LEISURE & THE BODY PRESENT BODIES VALE DE MOSES THE AQUALAB @ SEAS OF IMAGINATION SONIC WIND HARP SOLAR WAVE

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PART 4 THE D I S T A N C I N G DISTANT BODIES THE SAFE BOX ACTIVE LANDSCAPE EPILOGUE: THE MANIFESTOS

INTRODUCTION CONTENT AWARE JASON JOHNSON

CONTENT AWARE SERIES J S J 2 019 1. LO ST S U P P E R 2. CUT & FILL CHICAGO

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Studio Premise Ubiquitous Simultaneity is characterized by vast amounts of data (visual, spatial, performative, historical) available simultaneously in overlaid digital formats and manipulated constantly through machinic interfaces. It provides content that can be explored and leveraged by designers through the exploitation of both the historical (precedent) and predictive (simulation) characteristics of technology to reformat architecture across scales, first as prototypes and drawings then as material processes and finally as built artifacts. These prototypes, drawings and artifacts are tasked with demonstrating linkages through material and visual means between the content of the project (formal, functional, interpretive) and the content of its adjacencies (physical, historical, atmospheric, scalar). Processes for achieving these connections are explored at several resolutions through visual and material means. Over the course of the term students were asked to deploy strategies for collecting, evaluating and reconfiguring the that makes up a range of architectural proposals. The tools were not prescribed in advance and the protocols and workflows for completing the projects were both digital and material in nature.

In some instances, students developed fully autonomous generative systems for manipulating pre-existing content including images, digital models and physical materials. In other instances, the content subject to manipulation was programmatic or functional in nature. Studio Structure The studio organized investigations around a series of competitions. Students worked as individuals or in groups on these competitions as a jumping off point for speculative prototypes. Each project was 3-6 weeks long. Over the course of the term students engaged in the process of developing manifestos and prototypes that reflected embedded the procedural and formal logics of their projects into a speculative body of work that is presented here. As a global pandemic began to unfold, students addressed through the projects included here, relationships between image and sensation, virtual and the material, the fixed and the fluid. Several themes emerged from the work. The first was a growing unease with, despite an acknowledged reliance upon, technology and its social effects.

This is manifest most clearly in the project proposals for new bungalow typologies situated in a Chicago neighborhood. Most of the proposals seek to establish a kind of protected space or protective boundary to separate the intrusion of social networks and the pressure of curated personas, while establishing reductive interior spaces of refuge. This tendency was unfolding simultaneously to a quickly spreading health crisis and its highly politicized response. The second theme was the exploration of the human body in relation to physical and formal characteristics of space. The body as an entity in contact with the visual and tactile prompts of physical space was expressed through attempts to challenge notions of ergonomic comfort, physical distance and preconceived notions of ideal physiques. Start with misdemeanors and we’ll make a business out of them And we can find out the information Access all the applications That are hardening positions based on miscommunication Oh, fuck your feelings Truth is only hearsay We’re just left to decay Modernity has failed us And I’d love it if we made it Yes, I’d love it if we made it Yes, I’d love it if we made it Yes, I’d love it if we made it (I’d Love it if We Made It, The 1975) The work presented here takes place in a perhaps unprecedented time for architecture students. Digital tools for the production and dissemination of architectural artifacts are now so widespread that students in schools all over the were able to adapt in a matter of days to the disembodiment of the design studio from a place of intellectual and physical exchange to one of a more solitary existence with limitations on

contextual clues typically embedded in the feedback of peers and mentors. For all the ways in which technology has connected us, it has sought to do so in the context of shared physical space. The ubiquitous technologies that enable work to be quickly shared and discussed, unhinged from a physical space for other forms of content to co-exist, produced a challenge that was not fully anticipated by those of us who fully embrace technology as more than just a tool for design. At the same time, it has opened up new trajectories for the discussion of work to audiences from all over the world. Resistance is fertile. Uncertainty is certain. This studio was envisioned as a vehicle for a critique on the tendency of technology to be deployed for the most mundane of purposes, to force conversations about how the smoothing and repetitive tendencies of visually focused algorithms and techniques are papering over all the interesting and divergent cracks that existed in a design discipline that was not so seamlessly connected and disseminated. Instead it reinforced the inability of these tools to

paper over the ominous cracks in the social divisions that occupy the spaces behind the facades of corporations, governments and homes around the world. Perhaps the fascination with a means of escape from digital noise and reconnecting with the physical constraints of bodies in space reflects a need for a new kind of content awareness. One that takes the time to choose trajectories and evaluate what we are making space for. Not as reductive responses to function or ambivalent formal gestures of excess, but as directed assaults on what ails our discipline. The students that graduate from architecture schools this year are entering an uncharted territory where suddenly ignoring domestic space as a fertile ground for innovation in light of it’s newly acquired programming, seems unthinkable. They are entering a discipline that will need to define relationships between people in new ways that redefine “essential”. Perhaps the new “ism” of their careers will be a kind of essentialism. A search for how this wide array of architectural techniques and tools we have spent decades developing, might be deployed towards an emerging architectural emergency. Design is an essential act. 5

PA RT O N E I N N OVAT I O N I N F U R N I T U R E ABSENT BODIES IMPRINT CONTOURS E N D - D O SS MISCHUNG A RT I F I C I A L I N TA B L E - G E N C E SHARDS CADENCE FRAGMENTED BEHAVIOUR F O R M AT I O N E N D O F B R O A D CAST

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ABSENT BODIES S T U D E N T : T AY L O R C R O Z O N

ABSENT BODIES T AY L O R C R O Z O N

ABSENT BODIES looks to the 1989 Guerilla Girls artwork that asks, ‘Do women have to be naked to get into the Met. Museum?’ as a starting point. The poster makes reference to the fact, ‘less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female.’ ABSENT BODIES views the reclining nude typology as just that, absent bodies that exploit the female form as submissive empty shells. In most instances, these forms are manipulated and disfigured, implicating the idealized female figure as empty and unreal. In this work, images of female nude paintings were manipulated through a process of converting the files to .txt, then editing and removing large portions of the image’s code. This absent code was recorded to create the title of each piece. The file was then converted back to a .jpg format to reveal a new composition, which abstracts the original painting. Three-dimensional forms were found from these compositions that outline the manipulated bodies. Extruded slender lines were created to amplify absence in the furniture. In editing and sorting the image’s code, apparent breaks were created in the images. These breaks determined that the furniture could be broken up into parts that

allow users to reconfigure and participate with the piece as well. Formica was an essential design element throughout the process. As working with the thin powerful product further strengthened the efficacy of the thought process surrounding the use of images. This furniture does not look or function like most chairs. ABSENT BODIES manipulates the user’s body, reminding each body that sits on the piece of its original intention.

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IMPRINT S T U D E N T : A L E X A N D R I A _ P A N K R AT Z

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TO ST Y L E O N E S E L F W I T H CO M FO RT & I N D I V I D UA L I T Y

HOW DOES ONE LEAVE THIER IMPRINT? WHAT SHAPE & FORM? WERE THEY COMFORTABLE?

IMPRINT A L E X A N D R I A _ P A N K R AT Z

The concept behind imprint is to understand the human user and how the user impacts the use of a solid object by outlining their negative sitting imprint in a sold mass. The process begins by studying multiple users and how their sitting positions create a unique negative imprint in a solid form. The tools that are used to analyze the process is by sculpting around a particular users sitting position. Sculpting around this form consists of using a program called blender, to push and pull around the user to conform to their imprint. In order to create a chair that is appealing to rest upon, sculpting the negative imprint will then take affect. The initial release of the users from the solid mass will not be usable across multiple users and overlaying them together, creating a general collected imprint. From this feedback, a overlapping of curves and shapes begin to form and create a chair that conforms for many users.

DIFFERENT PEOPLE D I F F E R E N T S E AT I N G

In creating a chair that holds multiply curves and tight angles, Formica’s colors will take on a new look of stacked laminates. These laminates will be placed in smaller trips on top of each-other and milled or shave down in order to achieve the curved features of the designed chair. The placement of the Formica colors will be distributed over the chair randomly but sized accordingly to the curved chair. The ‘cut-offs’ will be put to further used for the chair as the notion for the imprint to stay as minimal as possible. The final look will hold a marble appeal to the chair as the three colors are blended into one another.

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COMBINED PERSPECTIVE

T E ST N E G AT I V E I M P R I N T

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T E ST N E G AT I V E I M P R I N T

SOME COMPLICATIONS THAT WILL OCCUR COMING FROM THE INITIAL IMPRINT RELEASE WOULD BE THE EXTRUDING MASS THAT WAS BUILT UP BETWEEN THE MULTIPLE INDIVIDUALS LEGS RESTING IN THE MOST THIER PARTICULAR POSITION.

ANOTHER COMPLICATION WOULD BE THE MISS FILLED SURFACE BETWEEN THE CIRCUMFERENCE OF HE CHAIR AND THE SOLID MASS. THIS CAN CAUSE DISCOMFORT OR RESULT IN SOMEONE INJURING THEMSELVES DO TO MISS PROPORTIONS.

DUE TO THE SOLID MASS WANTING TO FORM CLOSE TO THE HUMAN SHAPE AS POSSIBLE SOME IMPRINTS ARE LEFT WITH UNNECESSARY EXTRUSIONS THAT CAN RESULT IN ODD SHAPES OR CAUSE UNWANTED DUST TO COLLECT. S E N I O R R E S E A R C H S T U D I O W 2 02 0

COMBINED IMPRINT

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PERSPECTIVE

CONTOURS S T U D E N T S : I N D E R J I T P A B L A & R A J AT V E R M A

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DATA C O L L L E C T I O N AND REDUCTION

The theme of Blurred lines is provoking. The design is an attempt to create a confluence between nature and technology. The microscopic understanding of our surroundings are complex, yet it is present in a cohesive compound of oneness. The technical approach is inspired from this existential layered aspect of nature. Contour refers to a process of data layering. A shortlisted collection of furniture determines the outcome of the design. A variation in output can be achieved by changing the typology or even the design attributes of the furniture. A mix of accent chairs and armchairs, with a few quirky contemporary designs are superimposed to deduce a result. The choice is based on popularity. The sources of the chosen images are some of the trendiest and widely used websites in North America. The outcome is anticipated to be an accent chair that graces the reception lobbies of public, commercial, institutions and hospitality areas. The layered approach tries to generate maximum surface area to expose the user to the graceful finishes of the selected laminates of FORMICA.

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Surface Texture The inner surface is treated with the warmth of a wooden texture and the outer surface creates a link with the typical stone finish of a floor.

Planar or Uni-deirectional Curve The projects takes the affordances of the material into account from the beginning. The computational methodology produces organic outlines which are refined into constructible planar or uni-directional curve-elements.

RDEI ANGDREAR M- L O B BY S P A C E CAPTIONING

PROCESS 1 - blacked out overlay with reduced opacity of selected furniture 2 - Simplification of lines into linear periphery 3 - Surface separation from 2D 4 - Tracing outlines 5 - Surface creation 6 - Object creation into ply thicknesses 7 - Centroid stacking with equal gaps 8 - Aligning profiles for sloting 9 - Curving the lumber layers to form a seating 10 - Slotted profiles

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Slide and fit

Wedge and lock

ASS E M B L AG E 33

M AT E R I A L I T Y

3460 Calcatta Marble

FRONT I L L U M I N AT I O N

S I D E I L L U M I N AT I O N

7413 Planked Coffee Oak

4371 Natural Gray Felt

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R I G H T E L E V AT I O N

F R O N T E L E V AT I O N

L E F T E L E V AT I O N

R E A R E L E V AT I O N

R E N D E R - FO R MA L S PAC E

RDEI ANGDREAR M- I N F O R M A L S P A C E CAPTIONING

END-DOSS ST U D E N T : MA R K P O PE L

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E N D O C H R O N D R A L O SS I F I C AT I O N : THE REPLACEMENT OF CONNECTIVE TISSUE MEMBRANES WITH BONY TISSUE OR ST R U C T U R E S .

LEFT

BACK

RIGHT

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HOW DOES IT WORK?

Phase 1- 2: Specify mass for optimization, specifying Loads, forces & constraints

END-DOSS

Phase 3: Generate shape optimization & obtain reduced geometry

Phase 4: Utilize optimized geometry as guide

F O R C E & L O A D A P P L I C AT I O N E X P E R I M E N T S

MARK POPEL

Generative design is classified as a design exploration process. Designers input design goals into a given generative design software, along with parameters such as performative or spatial requirements, materials, manufacturing methods, and cost constraints. The given software explores all the possible permutations of a solution, ultimately establishing a library of design alternatives and iterations. For the purpose of this exploration, AutoDesk’s Inventor software was utilized as a method to explore how a software typically used by engineers for material optimization can produce a piece of furniture. As such, Inventor’s Shape Generator plugin was utilized to “optimize” a simple geometry. A series of initial experiments were first conducted to explore the potentials of the software (e.g. different weight loads at different locations, different materials and sizes, and different resolutions). In each instance, the results from the experiments could not fully be manipulated in Inventor to meet the requirements of the competition and assignment, and as a result had to be further adapted and developed in Rhino. S E N I O R R E S E A R C H S T U D I O W 2 019

Initial object

Application of single remote mass

Application of double remote masses

Application of triple remote masses

E L E M E N TA RY G E O M E T RY T E STS B AS E D O N OBSERVED SIT TING POSITIONS

Test 1: 1 person sitting with arm up on backrest

Test 2: 2 people sitting on bench; 1 with arm up on back rest

Test 3: 1 person laying down on bench

Test 1: Resultant

Test 2: Resultant

Test 3: Resultant

C AS E ST U DY; “A T I M E L E SS DESIGN” The Barcelona Chair by Mies Van Der Rohe is a timeless design, and one of the most recognizable chairs in history. As a result, Mies’ chair is one of the most photographed chairs, and is frequently used on film sets and in showrooms. The ergonomic design chair is for comfort and lounging, with a slightly angled sitting surface and back support, the chair almost forces a person to “lounge” and relax.

The ergonomic design chair is for comfort and lounging, with a slightly angled sitting surface and back support, the chair almost forces a person to “lounge” and relax.

The chair’s geometry creates circular rotational forces projecting onto the two angled surfaces.

I T E R AT I O N S B A S E D O N C A S E S T U D Y Iteration 1

Iteration 2

Iteration 3

Iteration 4

P R O C E S S & E X P L O R AT I O N Original Output From AutoDesk Inventor

Selection

Original no.1

Smoothx2

Reduce Mesh x 50%

Reduce Meshx25%

Smoothx5

Original no.2

Smoothx2

Reduce Mesh(50%)

Reduce Mesh(25%)

Smoothx5

Original no.3

Smoothx2

Reduce Mesh(50%)

Reduce Mesh x 25%

Smoothx5

Original no.4

Smooth(2)

Reduce Mesh(50%)

Reduce Mesh x 25%

Smoothx5

S E N I O R R E S E A R C H S T U D I O W 2 019

A L L A B O U T T H AT B A C KS I D E

Plan

The selected form produced from the initial iterative explorations serves as a conglomeration of various resultants. In a sense, this intervention to combine various aspects from the iterations. This allowed for the capability to favour the most interesting geometries on the underside of the sitting surface.

685 mm

812 mm

Section A

Section B

Section C

Section D

Back Elevation

Right Elevation

431 mm

685 mm

812 mm

Front Elevation

Left Elevation

CO LO R PA L E T T E The Formica laminate materials were selected to best illustrate a smooth surface, rather than a patterned one. By faceting the surface, the geometry of the chair provides an interesting pattern as is. As a result, the monotonic materials selected aim to accentuate the various faces of the furniture piece. For the purpose of this exploration, Formicaâ&#x20AC;&#x2122;s Moonstone, Mission White and Black Birchply were selected; however, it shall be noted that this selection is not static, and very much capable of other combinations.

S E N I O R R E S E A R C H S T U D I O W 2 019

TRI-TONAL Formica Code: 7872 Moonstone

Formica Code: 933 Mission White

Formica Code: 8552 Black Birch-ply

FA B R I C AT I O N S T R AT E G Y The fabrication strategy inherently relies on a CNC milling machine. The intense faceted surfaces require the furniture piece to be broken up into 8 distinct pieces, with the largest mass concerning the bottom and back rest. After the CNC milling process is completed, the pieces are then interconnected with counter-sunk screws (which are then covered with Formica laminate).

MISCHUNG CHARLENE KARL

S E N I O R R E S E A R C H S T U D I O W 2 019

CONCEPT This project incorporates the use of innovative technology and the aesthetics of human design as a generative procedure that assembles a library of creative furniture forms. Contextual data is collected relating to objects or organisms found in the natural environment and combined with previously developed furniture patterns to produce and inspire new furniture designs. Mischung, specifically, uses object detection in the form of a phone application to detect objects within a room and uses 3D imaging to merge a

rabbit with a coffee table to develop new base models. The use of Formica Laminate products provides clear parameters that mould the surfaces of the generated forms, but also pushes the boundaries of the material by implementing complex angles and connections. The variety of earthen textures and colours that Formica provides enable the computer-generated designs to tie back into the natural environment we live in, making them an integral part of the design.

Along with the parameters defined by the material, the base models were further tested, put through a series of transformations, and developed, with the aid of the designer, into the final form. This method can be used to create a vast archive of digital designs for different types of furniture for use in commercial or residential settings in a more efficient way. With the advent of efficient manufacturing and access to a wide variety of models, pieces can more easily be fabricated for consumers at the click of button, while providing a sense of custom and unique pieces.

BLEND OBJECT AND FURNITURE TO PRODUCE BASE MODELS FOR NEW DESIGNS

OBJECT DETECTION WITH PHONE APP CO N V E RT 2 D O B J ECT TO 3 D O B J ECT U S I N G P H OTO G RA M M E T RY & C H O O S E F U R N I T U R E TYPE

S E N I O R R E S E A R C H S T U D I O W 2 019

100%

8”

”

16”

9 1/2”

front

left

back

FA B R I C AT I O N

Fabrication of the table can easily be accomplished due to the easily unrollable nature of the geometric surfaces. Large areas can be grouped together to minimize the amount of seams and blending of surfaces required to create a unified look.

M A I N B O D Y L A M I N AT E - P L A N K E D O A K

2 a

4 b

I . C N C M D F S U B S T R AT E

5 c

main body

shelf wall

4 1

S H E L F W A L L L A M I N AT E - B R O N Z E D S T E E L

shelf back

5a 3b

2 3

S E N I O R R E S E A R C H S T U D I O W 2 019

S H E L F B A C K L A M I N AT E - N I G H T S H A D E

5 I I . C U T A N D A P P L Y L A M I N AT E S A C C O R D I N G TO L ABELS

5a 2a

5b 4a

ARTIFICIAL INTABLE-GENCE ST U D E N T : M I C H E L L E B O OTSMA

S E N I O R R E S E A R C H S T U D I O W 2 019

>beginwith = simple table

ARTIFICIAL INTABLE-GENCE

>select important table nodes >delete remaining table >import into Fusion 360

>choose constraints >loads = (0, 0, -20N) >apply loads

>run generative design >get x number of results >select desired output

G E N E R AT I V E D E S I G N ST E PS

M I C H E L L E B O OTSMA selected iteration

TABLE A.0

Generative design bridges between the natural world and modern technology, using computer power to replicate the organic form finding methods of the natural world. In this case, a standard table was used as a starting point. Nodes of connection between the table legs, top, and the ground plane were selected to be used in generative form-finding. Using Fusion 360’s iterative computational process focused on efficiencies of materials and manufacturing methods, several potential table designs were produced. One iteration was followed into completion, as seen in the following. The planar table top form was used to translate the idea of the produced organic form back into the logic of the original table. By layering planar sections, loads applied to the table are still transferred same way as in the original generated design. FORMICA laminate could then be applied along the singularly curved edges and planar surfaces. Layer subtractions begin to hollow out the table and provide storage capacity while retaining organic form. These subtractions additionally allow the sculptural table to exhibit “interior” and “exterior” qualities.

S E N I O R R E S E A R C H S T U D I O W 2 019

I T E R AT I V E P R O C E S S + SELECTION

TABLE A.1

TABLE A.3

TABLE A.4

TABLE A.5

> TOP VIEW

b.. c. 50.0”

d. e. - d.

f. - c.

g. - b

h. - a.

> BOTTOM VIEW

74.8”

> SIDE VIEW

17.0”

L AY E R SU BT RACT I O N S

R E SU LT I N G FO R M

BLOND CEDAR

8576 WINTER SKY

PHYSICAL MODEL

8792 FOSSIL

5349 LIQUID GLASS

8240 SURF

923 F O R M I C A S W AT C H E S S E N I O R R E S E A R C H S T U D I O W 2 019

SHARDS SAMAN ABOUTORAB & MEHRDAD MISHRA

S E N I O R R E S E A R C H S T U D I O W 2 019

NEW FORMICA

DIAGRAM CAPTIONING

SAMAN ABOUTORAB MEHRDAD MISRHA Shards imagines new horizons for Formica. It envisions exciting possibilities in the application of the Formica laminate products and elevates them to new heights. The design of this furniture piece unlocks the doors to a new world to Formica where it can live and thrive as an art piece, a luxury furniture as well as the ever familiar and comfortable lounger. We propose all of this can coexist. The faceted design of the piece with its minimal light framing draws attention to the pristine surface of the seats, all laminated with Formicaâ&#x20AC;&#x2122;s SurfaceSet 2020 collection. Even with the slightest tonal range, the furniture piece showcases the beauty and the appeal of the SurfaceSet collection, but it can also be modified to present any range of Formica laminates in an array of colors and patterns. The natural feel of the surface and the sleek look of the frame and its precise angular form, seamlessly brings nature and technology together to make an impact on any onlooker anywhere. Shards can accommodate two people in one piece in seating and lounging positions, the furniture pieces can also join in groups of two or three to create larger arrangements. S E N I O R R E S E A R C H S T U D I O W 2 019

DIAGRAM CAPTIONING

S E N I O R R E S E A R C H S T U D I O W 2 019

CADENCE ST U D E N T : S E A N N A G U I L L E M I N

S E N I O R R E S E A R C H S T U D I O W 2 02 0

CADENCE SERIES SEANNA GUILLEMIN O N L I N E C H L A D N I P L AT E F R E Q U E N C Y D E M O N S T R AT I O N

In music theory, a cadence is a set of two chords which create a moment of tension at the end of a phrase before seeking resolution in the next phrase of music. When designing furniture, the same sort of theory exists in its architecture where the furniture can provide a functional sense of temporary respite. In this design, the tonal figures of Chladni Plates are used to visually represent the various tonal frequencies that make up a single chord. Each â&#x20AC;&#x153;toneâ&#x20AC;? or note is then abstracted from its tonal figure and lofted to other tonal figures to generate a piece of furniture that represents a single chord. When dissected at common seams, the furniture can be connected at each tonal break allowing for an array of musical configurations. The use of Formica Laminate for this competition will undergo a new and innovative way of forming laminate. First, a skeleton structure is established under which the Formica Laminate will be heat adhered. The heated pieces would then be firmly pressed to mold to each segment of the bench design. Various colors and textures from the Formica Laminate material database can be selected by client request. S E N I O R R E S E A R C H S T U D I O W 2 02 0

C H O R D A B ST RACT I O N F R O M C H L A D N I P L AT E S - C # M 7 C H O R D

C O M P U T AT I O N A L O U T P U T S F R O M C H O R D V A R I AT I O N S

TONE 1 E L E V AT I O N

C H O R D E X P L O R AT I O N S S E N I O R R E S E A R C H S T U D I O W 2 02 0

TONE BLENDING IN PLAN

TONE 2 E L E V AT I O N

COMPONENT BREAKDOWN DIAGRAN

SAMPLE BENCH USING 3 F O R M I C A M AT E R I A L S

F R AG M E N T E D B E H AV I O R ST U D E N T : A L E X A N D E R S E M E G E N

S E N I O R R E S E A R C H S T U D I O W 2 019

Process

1. basic shape

2. unfold object

3. trim remainder

F R AG M E N T E D BEHAVIOR ALEXANDER SEMEGEN The intent of this project started as a way of taking what the brief was calling for, in its most simple form, three basic boxes representing three different materials, and through a folding, unfolding and extruding technique, it is made more and more complex in nature.

4. extrude surfaces

each face extruded according material ie. material 1 = 1â&#x20AC;&#x2122;-6â&#x20AC;?

6. unfold object again

trim remainder

The project did not begin with any preconceived ideas of what the piece of furniture was to be when it was completed, but instead, some of th more interesting forms created through the process were explored for what their forms could provide functionally.

continue process until clear endpoint is reached

Through the folding, unfolding and extruding process, the three different textures were also traced and are represented in the final form as fragmented pieces of furniture juxtaposing one another, each with a functional purpose.

model a

S E N I O R R E S E A R C H S T U D I O W 2 019

model b

model c

MODEL C

EXPLORING FORM FUNCTIONS

DRAWINGS

1' 3"

7 1/16" 6 1/8"

1' 7 3/4"

1' 2 9/16"

1' 4 1/16"

5' 2 1/8"

Top View

6' 3/16" 6 9/16"

1' 3"

2' 2 1/4"

1' 3 1/4"

7 11/16"

4' 2 1/8" 3' 3 15/16" 2' 6"

2' 6"

7" 4"

Left View

S E N I O R R E S E A R C H S T U D I O W 2 019

3' 10 11/16" 5' 2 1/8"

Front View

2' 6"

1' 2 3/8" 5 7/8"

Right View

Material 1 | 3037 Black Material 2 | 3460 Calacatta Marble Material 3 | 5487 Oiled Walnut

F O R M I C A M AT E R I A L S 73

FORMATION ST U D E N T : H O -TA I W O N G

S E N I O R R E S E A R C H S T U D I O W 2 019

DIGITAL WORKFLOW DIGITAL WORKFLOW

D I G I TA L W O R K F LO W

2.1 2.1

ORIGINAL 2’ xI 2’ CUBE ORIG Nx A2’ORIGINAL L 2 ’ X 22’’xX2’2x ’2’ CUBE 2.1

AS INITIATOR S2.2U B TSUBTRACTION RACTIO AS 2.2N SUBTRACTION AS INITIATOR I N I T I AT O R

CUBE

ORIGINAL 2’ x 2’ x 2’ CUBE ORIGINAL 2’ x 2.1 2’ x 2’ CUBE

2.2

SUBTRACTION AS INITIATOR SUBTRACTION2.2 AS INITIATOR

2.4

CLUSTER OF FORMS 2.4 CLUSTER OF FORMS

H O -TA I W O N G

“FORMATION” is a product of the intersection between technology and the natural world. Data were input through digital interfaces to manipulate a simple form to create different iterations. Like humans in the Stone Age, their furniture was made out of square pieces of rocks. “FORMATION” started out as a simple 2’ x 2’ x 2’ cube, but through reduction and manipulation with respect to the physical and functional 2.3 requirements, different iterations were created by modifying aspects of the cube, 2.3 including its height, fractures and extrusions. The design of the product was mainly inspired by the natural rock formation, the fracturing, contracting and clustering of rock masses to create an interesting pattern and unique form. These 2’ x 2’ modules can then be combined together to create a large 6’ x 6’ unit. This provides an opportunity for further iterations, in which the client can pick and choose different combination of modules based on their needs. They can choose a combination with higher backs as screen for privacy, or choose a combination that is more open, with flat seatings that encourage social interaction. S E N I O R R E S E A R C H S T U D I O W 2 019

+ +

FRACTURE & EXTRUSION 2.3 FRACTURE & EXTRUSION 2.3R EFRACTURE & EXTRUSION FRACTURE F R A C&TEXTRUSION U &

EXTRUSION

+ +

2.4 OFFFORMS C2.4 L U SCLUSTER TER O F O CLUSTER R M S OF FORMS

ITERATION OF 2’ X 2’ MODULE THROUGH PROCEDURAL LOGICS

FRACTURE & EXTRUSION +/- (COOLS & CONTRACTS OF ROCK)

HEIGHT +/- (MOVEMENT & EXPANSION OF ROCK)

3.1

ORIGINAL FORM

3.2

3.3

3.4

3.5

3.6

3.7

3.8

3.9

3.10

3.11

3.12

3.13

3.14

3.15

3.16

3.17

3.18

3.19

3.20

3.21

3.22

3.23

3.24

3.25

3.26

3.27

3.28

3.29

3.30

I T E R AT I O N O F 2 ’ X 2 ’ MODULE

AXONOMETRIC DRAWINGS

3.23 2’ X 2’ MODULAR UNIT

STEPS SEATING

HIGH BACK AS SCREEN FOR PRIVACY

WOOD BLOCKING

ADJUSTABLE LEVELING FEET

CONCEAL SWING DOORS FOR STORAGE

DOWEL JOINT CONNECTION

ISO VIEW S E N I O R R E S E A R C H S T U D I O W 2 019

DIAGRAM CAPTIONING

RULES & PROCEDURES FOR COMBINATION

ORDERING SEQUENCE 4 3.1

3.2

3.3

3.4

3.5

3.6

3.7

3.8

3.9

3.10

3.11

3.12

3.13

3.14

3.15

3.16

3.17

3.18

3.19

3.20

3.21

3.22

3.23

3.24

3.25

3.26

3.27

3.28

3.29

3.30

9 1 2

4 2

WHAT HEIGHT?? PRIVATE VS. OPEN??

STANDARD 6’ X 6’ GRID FORMAT

CUSTOMIZED LAYOUT

FLAT SEATING VS. STEPS??

RULES FOR C O M B I N AT I O N

6.1

PICK & CHOOSE MODULES FROM THE KIT BASED ON NEEDS

6.2

WORK OUT HOW MODULES WILL LAYOUT & DETERMINE HINGE SIDE

6.4

ASSEMBLE MODULES ON SITE WITH DOWEL JOINTS PROVIDED

6.3

ORDER AND SHIP MODULES TO SITE FROM MANUFACTURER

e greater the surface area, the lighter the color.

FORMICA

2. Added Texture

COLOR & FINISH

The Formica brand laminate are integral to the desig solution with the material covering every surfaces of the product1.to enhance their durability. Different colors of lam https://www.gannett-cdn.com/-mm-/34c1121c6af6f4490098560a7876b6 were used to highlight certain areas of the furniture and 0-2401-1803/local/-/media/2015/08/18/Phoenix/Phoenix/6357551388202 a sense width=520&height=390&fit=crop of playfulness. The earthy tone selection was insp by the rock formation. The colors used correspond to the surface area. The greater the surface area, the lighter the

ORMICA

will attempt to use the Formica product in a he laminate surface lightly buffed to create a exture similar to a rock surface.

The Formica brand laminate are integral to the design olution with the material covering every surfaces of the FORMICA product to enhance their durability. Different colors of laminate ADDED TEXTURE The Formica brand laminate areand integral to the design were used to highlight certain areas of the furniture create The design will attempt to use the Formica product i solution with the material covering every surfaces of the new way, with the laminate surface lightly buffed to crea sense of playfulness. The earthy tone selection was inspired product to enhance their durability. Different colors of laminate unique rough texture similar to a rock surface. were used to highlight certain areas of the furniture and create by the rock formation. The colors used correspond 1 : 12 P R O T O T Y P to E the ADDED TEXTURE 3.M(1:12) Prototype a sense of playfulness. earthy tone selection was inspired O D EThe LScale C O L O R & F I N I S H 2. Added Texture urface area. The greater the surface area, the lighter the color. by the rock formation. The colors used correspond to the H O -TA I W O N G

ADDED TEXTURE

COLOR SELECTION LEGEND

surface area. The greater the surface area, the lighter the color. 4972 Yellow Felt

Area <3.0 S.F.

4973 Orange Felt

Area <2.5 S.F.

2. Added Texture

ADDED TEXTURE

FORMICA

The design will attempt to use the Formica product in a The design will attempt to use the Formica product in a 9684 Natural Recycled Kraft Area <2.0 S.F. new way, The Formica brand laminate are integral to with the laminate surface lightly buffed to create a unique rough texturebuffed similar toto a rock surface.a new way, withsolution the laminate surface lightly create the design with the material covering 8241 Earthenware Area <1.5 S.F. every surfaces of the product to enhance unique rough texture similar to a rock surface.

their durability. Different colors of laminate ion Image were used to highlight certain areas of the furniture and create a sense of playfulness. The earthy tone selection was inspired by the rock formation. The colors used correspond to the surface area. The greater the surface area, the lighter the color.

4971 Natural Grey Felt

Flat Surfaces

I N S P I R AT I O N IMAGE

3. (1:12) Scale Prototype 1. Color Inspiration Image

ADDED TEXTURE

COLOR SELECTION LEGEND

The design will attempt to use the Formica product in a new way, with the laminate surface lightly buffed to create a unique rough texture similar to a rock surface.

4972 Yellow Felt

Area <3.0 S.F.

4973 Orange Felt

Area <2.5 S.F.

9684 Natural Recycled Kraft

Area <2.0 S.F.

3. (1:12) Scale Prototype COLOR SELECTION LEGEND 8241 Earthenware

1. Color Inspiration Image

1. https://www.gannett-cdn.com/-mm-/34c1121c6af6f4490098560a7876b6a805dd9130/ c=3-0-2401-1803/local/-/media/2015/08/18/Phoenix/Phoenix/635755138820209800-CP-5. jpg?width=520&height=390&fit=crop

S E N I O R R E S E A R C H S T U D I O W 2 019

Natural Grey Felt 49724971 Yellow Felt

4973 Orange Felt

COLOR SECTIONS

Area <1.5 S.F.

Flat Surfaces

Area <3.0 S.F.

Area <2.5 S.F.

08 8.1

POSSIBLE 6’ X 6’ COMBINATION (PRIVATE MODE)

NINE (9) 2’ X 2’ MODULAR UNITS WITH HIGH BACK AS SCREEN FOR PRIVACY

KEY PLAN MODULES: (x2) 3.1 (X1) 3.5 (x2) 3.7 (x1) 3.14 (x1) 3.16 (x1) 3.23 (x1) 3.30

SW ISO VIEW

NW ISO VIEW

P O SS I B L E 6’ X 6’ C O M B I N AT I O N

NE ISO VIEW

SE ISO VIEW

09 9.1

POSSIBLE 6’ X 6’ COMBINATION (OPEN MODE)

NINE (9) 2’ X 2’ MODULAR UNITS WITH FLAT SEATINGS FOR SOCIAL INTERACTION

KEY PLAN MODULES: (x3) 3.1 (x2) 3.7 (x1) 3.14 (x1) 3.16 (x1) 3.23 (x1) 3.30

SW ISO VIEW

NW ISO VIEW

S E N I O R R E S E A R C H S T U D I O W 2 019

NE ISO VIEW

SE ISO VIEW

POSSIBLE LARGER COMBINATION (COMPLEX MODE)

11.1 FIVE (5) 6’ X 6’ MODULAR COMBINATION STAGGERED AND JOINTED TOGETHER TO CREATE A LARGE-SCALE SEATING

6’ X 6’ #1

6’ X 6’ #2

6’ X 6’ #3

6’ X 6’ #4

6’ X 6’ #5

KEY PLAN MODULES: (x5) 3.5 (x5) 3.23 (x20) 3.30

SW ISO VIEW

NW ISO VIEW

P O SS I B L E L A R G E R C O M B I N AT I O N

NE ISO VIEW

SE ISO VIEW

COLOR RENDERING A

12.1 THE PRODUCT IN 6’ x 6’ COMBINATION (PRIVATE MODE) DISPLAYED IN AN INTERIOR SETTING DURING DAYTIME

COLOR LEGEND 4972 Yellow Felt

Area <3.0 S.F.

4973 Orange Felt

Area <2.5 S.F.

9684 Natural Recycled Kraft

Area <2.0 S.F.

8241 Earthenware

Area <1.5 S.F.

4971 Natural Grey Felt

Flat Surfaces

S E N I O R R E S E A R C H S T U D I O W 2 019

COLOR RENDERING B

13.1 THE PRODUCT IN 6’ x 6’ COMBINATION (PRIVATE MODE) DISPLAYED IN AN INTERIOR SETTING DURING NIGHTTIME

COLOR LEGEND 4972 Yellow Felt

Area <3.0 S.F.

4973 Orange Felt

Area <2.5 S.F.

9684 Natural Recycled Kraft

Area <2.0 S.F.

8241 Earthenware

Area <1.5 S.F.

4971 Natural Grey Felt

Flat Surfaces

COLOR RENDERING 85

END-OF-BROADCAST ST U D E N T : R O SS R I C U PE R O

S E N I O R R E S E A R C H S T U D I O W 2 02 0

The competition called for a single piece of furniture that fits within a 6ftx6ftx6ft volume and uses Formica material in a nontrivial way. The concept was begin with a maximum allowable mass and through subtractive & reductive processes generate potential furniture configurations. A collection of end-of-broadcast symbols (real, fictional and purely noise) were fed through a volume disruption process in Blender, and the resulting mass cleaned and re-formatted to a more coherent form.

END-OF -BROADCAST R O SS R I C U PE R O We are perpetually subject to the broadcast of information and content through many means of transmission. If we choose, we can be immersed in never ending sights, sounds and connections. This was not always the case. Television stations, when they were the dominant means of content transmission, would have an end to their broadcast day. Signals falling to static images, noise or test screens. A chance for not only the station, but the viewer, to break the flow of content. An opportunity to reflect, refresh, recharge and rejuvenate. Finding an opportunity to do this today is much more difficult, but also much more important. Taking a moment to be mindful, to ground ones-self, to be alone is now known to be a key part of personal health. The concept then is to use the end of broadcast signal as the beginning of the generative design process for a piece of furniture that blocks wireless signals, shields the public view, and dampens sound. To find coherence and use in noise and content-less content. To craft a space to disconnect. A response to the Formica FORM 2020 Competition. S E N I O R R E S E A R C H S T U D I O W 2 02 0

SA M P L E E N D - O F - B R O A D CAST I N P U T SIGNALS TO BE USED

INITIAL 6FT CUBED VOLUME

G R I D O F O U T P U T S F R O M A L L 12 6 S E L E C T E D E N D - O F - B R O A D CAST I N P U T S I G N A LS

D I S T U R B E D BY INPUT SIGNAL

CLEAN AND REF O R M AT T E D

FORM RE-INTERPRETED AS A CO L L ECT I O N O F D I S C R E T E MASS E S

MASS CO N V E RT E D TO A QUAD SHELL FORM

SHELL DISCRETIZED INTO T R I A N G U L A R PA N E LS

SHELL THEN USED TO G E N E R AT E S E AT E L E M E N T

SIDE E L E V AT I O N

FRONT E L E V AT I O N

BI-SECTION OF ABOVE

BI-SECTION OF T O P E L E V AT I O N S E N I O R R E S E A R C H S T U D I O W 2 02 0

U S E I N A P R I V AT E RESIDENCE

The final piece of furniture is a partially shrouded seating element within which a single user can practice mindful meditation or other grounding practices. The shroud is made up of individual triangulated panels of copper mesh and sound-dampening insulation within a Formica shell. Each panel is mounted within a grid-shell wooden structure clad in Formica supported on four bearing points. Within each bearing point the shroud curves back on itself and houses an individual LED light which illuminates the space within independent of the surrounding lighting. The seating element is a CNC cut wood paneled form clad in Formica. The generative process designs the form to fit within the open space of the interior of the shroud to allow a single user to sit atop it. Sitting on the seat within the shroud elevates you off the ground in a position that is conducive to mindful meditation, while the shroud panels block exterior light, line-ofsight, wireless signals and dampens sound. The effect is that of a refuge of quiet and disconnection in any environment, both within a private residence or a busy public setting.

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FRONT RENDERING

SIDE RENDERING

ISOMETRIC RENDERING

TOP RENDERING

EXPLODED COMPONENT ISO

U D ISAEGI RNA M A PUBLIC S CPAAPCT IEO N I N G

PA RT T W O THE DOMESTIC INSIGHT SPECTRUM CORPSES OF THE BIG BOX RUBBLE HOUSE THE HEAL BOX HOME FOR THE DEAF FA C A D E H O U S E

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INSIGHT MEHRDAD MISHRA SAMAN ABOUTORAB

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WHERE IS HOME?

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MEHRDAD MISHRA SAMAN ABOUTORAB The “Insight” project is an entry in a design competition with the directive of creating a housing prototype based on the Chicago bungalow typology. we are arguing for the necessity of home acting as a psychological shelter and a place for mental recovery. There is no longer a space in the home that is dedicated to finding peace and calm and that is a big missing part in our life structure, as well as in its physical manifestation which is the home. Clearly we need such a thing in this day and age more than any other time. The world outside is constantly assaulting us in all sorts of psychological ways and it’s important that we have a place at home that we can regroup and recover in and find ourselves. But the home does not have that capacity any more. and that’s possibly the most vital thing the home needs to provide now, a place for you to find yourself every day and over time. Fortunately, we don’t need to add much to the home. In fact, it would be better if we removed some things. And that’s what we’ve done with this project. We have carved out a space from a typical Chicago bungalow house and we’ve let that space become this eye of the storm.

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HOMECOMING

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MEHRDAD MISHRA SAMAN ABOUTORAB a typical chicago bungalow suffers from all the problems. In trying to maximize the floor area, the essence of the home is lost and it’s turned into a cramped collection of rooms. Reproducing a typology like this for the sake of nostalgia, is not the appropriate response to the changing needs of a home over time, and if we’re to keep it, it needs to go through some major changes to be fit for the kind of life it needs to accommodate. so, what we’ve done is to define this isolated space that can fulfill the goal of mental recovery. The form of the space has been designed in a way that suggests a retreat into yourself and then an expansion towards the sky, like slowly exhaling. The space will be present in all of the levels of the house and there will be visual cues to it from all the other major spaces.

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B R I N G O L D D AY S B A C K

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MEHRDAD MISHRA SAMAN ABOUTORAB this kind of outlook on life needs to be given priority over rehashing conditions of the past in desperate attempts to bring the good old days back. Times have changed, things are different now and nostalgia is not enough to get us through them. We propose defining the neighborhood around these cones, because we think these are what we need today, and not a knock-off of the old neighborhood you used to live in when you were a kid. So we started manipulating and interpolating geometries to fit them with their context, we knew that they were not the final absolute answer but we tried to customize their formal language in different scenarios while providing a coherence formal language for them.

DIAGRAM CAPTIONING

We focused on intersection points between pathways, houses and backyards and tried to highlight moments that could be shaped in those focus points

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PAT I O A S A G R E E T I N G PLACE

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MEHRDAD MISHRA SAMAN ABOUTORAB For instance at the intersection of two adjacent patios, creating a space for simple daily greeting. So the cone is inverted and intersected with the bungalows and is placed in front of the houses to manifest this greeting station. And again you will have the presence of the cone at the corner of your living room reminding of the your neighbors who are living right beside you and you might have forgotten all about your fellow-citizen because of being too busy about your business.

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SHARING THOUGHTS

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MEHRDAD MISHRA SAMAN ABOUTORAB Another case could be about connecting and sharing the eye of the storm of each house. it is about creating a shared space to let deep-rooted social interaction habits amplified . through subtle layers of shells defining different levels of public and private areas in between, the privacy of each house is secured

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B A C K YA R D S I N S H A R E

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MEHRDAD MISHRA SAMAN ABOUTORAB The next projects is about connecting the backyards. its about defining a sharing space that belongs to several houses. So we transformed the porosity, the scale and orientation of the cones to accommodate these small social events between neighbors. Different moments in this hub could be shaped for gatherings. If we could say the idea of the first Solo Cone was about exclusion from everything in the house, these larger scale ones can be defined as inclusion from everything of the neighborhood elements and people

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BEING WITH A TREE

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MEHRDAD MISHRA SAMAN ABOUTORAB And the last scenario is about including a tree in our perspective... encompassing it in the center of pathway... having a tree at our center of attention instead of just placing it merely just to bring shade or greenery and see how it would affect our interactions around it, because of it and beneath it. In summary, we started redefining the bungalow as a place for simple private living space from inside by introducing a simple pure geometry to bring attention of the users from busy life of outside world to their self-interaction. And then developed this idea of creating noble moments for larger scale of the neighborhood by addressing a few of forgotten, neglected and meaningful moments of social interactions. At the end it feels like the cones were initially there to guarantee the existence of some precious old habits of living and then the bungalows are placed and fit between them afterwards.

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SPECTRUM S T U D E N T S : I N D E R J I T P A B L A & R A J AT V E R M A

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G LO B A L PAT T E R N S

Family structures and habits of cooking, dining, leisure, and all the activities of a household are laid out uniquely for the various racial groups of any given population. It typically takes a little more than a generation to completely adapt to the social setup of a neighbourhood, especially in a new country. Thus, our research identifies the most prominent racial groups of Chicago and analyses the population densities some of their native cities. We realised that a bustling metropolis like Chicago doesnt even compete with any of the cities in terms of densities. Chicago is a global magnet for people of all backgrounds and age-groups to see their aspirations come to life. It surely deserves resilient community which can absorb and provide for the future. Density stigma is common in the western setup of neighbourhood designs. People of various race and ethnicity can be the torch bearers of better communities, which show acceptance and prosperity, and celebrate diversity.

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D E S I G N LO G I C

We want to root our project in affordability, thereby benefiting more than one family in any habitable space. In the present context, it is achieved by designing 4 dwelling units in a typical single family plot. This intervention will make the proposal attainable by a wide spectrum of age groups, couples, new families, and seniors; at the same time, fuse an organic cultural diversity. It is also proven that higher social bonds in society ressult in better mental health and life-expectancy. The design will maintain a sense of cohesion in the building profile to show sensitivity to the pre-existing architectural language of the south-side of Chicago.

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C O R P S E S O F T H E B I G B OX ST U D E N T : R O SS R I C U PE R O

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CORPSES OF THE B I G B OX R O SS R I C U PE R O No one saw it coming. We all thought they’d always be there. Originally Perched at the edges of the suburbs, surrounded by asphalt, we eventually grew our homes around them. They anchored new neighbourhoods. They became a reason to choose one home over another. Stoic, proud, filled with everything we needed. They were a constant in changing times. The signs were there early on. The digital virus, taking hold and killing off the edges. A small newspaper here, a specialty store there. We still blamed changing tastes for Montgomery Ward. A lack of market interest for Zellers. Before long it became clear that things were different. Major institutions we saw everywhere. Blockbuster. Toys ‘R Us. Payless Shoes Huge chains were vanishing. Sears. Target Canada. Suddenly it was a full retail apocalypse. The Big Boxes were dying. Victims of a new way of shopping. A new way of consuming. A digital marketplace that millenials flocked to for everything from luxury sex toys to

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avocado toast. Fleets of delivery trucks replaced the cars in the parking lots. Drones and same-day delivery instead of carts and check-out lines. Now the corpses of the big boxes litter our cities and towns. Shells of a former way of life. But in a time of environmental destruction, scarcity, and increasing housing unaffordability these corpses offer a unique resource and opportunity to craft the homes of tomorrow within the suburban framework they once helped define.

A response to the Lyceum Fellowship in Architecture 2020 competition entitled “Belt Tightening; Bungalows for a Millenial Family”. This project envisions a violent adaptive re-use of the increasing stock of abandoned suburban big-box retail spaces for single-family housing. Using the Park Manor neighbourhood of Chicago as the study area, a nearby big-box structure was selected, dissected and resurrected to fit the standard lot with inspiration from the bungalow typology.

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The structure of the big box is the primary element to be re-used, forming the skeleton of the adapted home. Secondary systems such as electrical, mechanical and insulation can be re-used or recycled however. Even flooring and interior finishes can be salvaged and re-used. New elements are inserted into the skeleton once placed on a site, building up the interior living space over two or three storeys. The cut side edges of the big box are enclosed with semitransparent channel glass. This provides both privacy and natural light along the cramped sides of the residential lot. 12 9

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A home within a corpse-slice of a big box offers the expected programmatic elements, as well as increasingly needed spaces such as home office space, secondary kitchen and living space and ample flexibility for individual rooms. Additionally, exterior space is maintained at the ground level as well as roof level should garden, PV panels or other features be installed at a later date as needed. A garage is not provided at the rear-alley access, instead preferring a dedicated entrance to the secondary living structure. This provides the opportunity to rent the space, participate in the homesharing economy or provide privacy for extended family members.

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With minimal changes to the facade of the re-used corpse the adapted residences would display the markings and scars of its former life. The bright paints with faded marks from signage. The large plate-glass windows. Store-front doors. Metal-clad overhangs and roofing elements. These all become features of a revitalized neighbourhood and reminders of a time past, when the big box was a critical feature of suburban life.

T H E E A S T E L E V AT I O N O F S . C H A M P L A I N A V E F E AT U R I N G M U L T I P L E I N S E R T I O N S S E N I O R R E S E A R C H S T U D I O W 2 02 0

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RUBBLE HOUSE ST U D E N T : M I C H E L L E B O OTSMA

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rubble

house 13 5

RUBBLE H0USE M I C H E L L E B O OTSMA

The Chicago Bungalow was once an affordable home for middle-class families, embodying values of spending time outdoors, bringing light into the home, and “main floor living”. A new prototype for a Chicago Bungalow should take into account these values, but will be forward-thinking and take inspiration from the sensibilities of modern homes in the 21st century. These two models of single-family type homes must be blended together to introduce a new “Chicago Bungalow” precedent. As historic buildings around Chicago are being torn down to make room for new high rises and expensive glass buildings, an opportunity arises to make use of those historic materials and embed them into the lives of Chicagoans. Can the reuse and recycling of those materials from torn down brick and greystone buildings introduce a new level of affordability? Can demolition debris be used as a new material to create an aesthetic focused around the beauty of reusing materials that might otherwise go to the landfill?

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W H AT A R E W E DOING WITH THESE DISCARDED M AT E R I A L S ?

glass

ceramics

brick

rubble

building

unit

cement in mold

fill w. debris

flip on side

stack + secure

window

type 1. loose fill allows light to filter through unit

window

type 2. melt recycled glass + add film to seal

RUBBLE AS A M AT E R I A L U N I T

E X T E R I O R M AT E R I A L T E S T S

A strategy was implemented for the formation of units using the rubble from demolished historic buildings. The units were designed so that the exterior and interior resulting conditions would be completely different. The exterior, as seen above, would be expressive of the reused materials, where the interior would be a more smooth and consistent finish, with hints of the original rubble peeking through. Two version of window units were also created each of which would result in different interior lighting conditions. All of these unit types could be applied to the traditional layout of the Chicago bungalow, with the material aesthetics relating to program within. 137

main

attic

basement

flex space bed dn

attic studio kitchen +dining bed laundry

bath

balcony

living

bed

enter

porch

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S P AT I A L O R G A N I Z AT I O N

rubble these randomized units occur at the core of the house where main movement corridors are located. they represent entropy in movement and program

ENTRANCE CONDITION

porcelain this area of the house contains flexible spaces. the material represents a blank canvas for families to make this space their own

B A C K YA R D CONDITION

brick using brick to create an entrance condition creates a welcoming space and connects to the original Chicago bungalow

M AT E R I A L L O G I C

Here, the units begin to populate and form a building. This housing unit builds on the original intentions of the traditional Chicago bungalow to have a focus on outdoor space and create a â&#x20AC;&#x153;main floor livingâ&#x20AC;? scenario, but updates these interior spaces within to relate to the needs of modern day families. These changes allow for greater flexibility, more focus on spaces of gathering, and less importance given to more solitary spaces. These programmatic layouts are reflected in the application of the different unit types, resulting in an aesthetic representation of the intentions behind the home in the exterior.

south

north

east

west

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T H E H E A L B OX ST U D E N T : H O -TA I W O N G

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HB-2-(project site) 2.1

PARK MANOR, CHICAGO RS-2 ZONING RESIDENTIAL SINGLE-UNIT

PROJECT SITE BOUNDARY STANDARD CHICAGO LOT 25’ W X 125’ D = 3,125 SF

PROJECT MANIFESTO H O -TA I W O N G

The purpose of this project is to design affordable and efficient housing for the young second-generation immigrants in Park Manor, Chicago. Statistics also shows that the community has a mixture of family types, married couples, female householder, and one-person households. Thus, it is important for the project to establish a new housing prototype that would address their needs. The house is a place to provide facilities for sleeping, eating and hygiene. However, the psychological significance of it, is often being overlooked within the context of architecture. The house is a place where individuals are protected and restored, so it is crucial for the design to consider the psychological and social opportunities of these environment, and provide the necessary protection and healing experience to the users in order to recharge their body, mind, soul and relationships. The purpose of this “heal box” is to let occupants have the flexibility and affordability to build the healthy lifestyle they want to live.

SITE PLAN 1:1000 SCALE

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HB-3-(initiator for responsiveness) DIGITAL WORKFLOW

D I G I TA L WORKFLOW

3.1

STANDARD CHICAGO LOT BUILDABLE AREA

3.2

SUBTRACTION TO SUIT ZONING & DIVISION AS INITIATOR

3.3

ARRANGE MASS/ VOID TO ADD VALUE TO EACH INDIVIDUAL MODULE

3.4

STAGGERING & AGGREGATING OF MODULES TO FORM BUILDING

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SEEDING +/- (VOID CONFIGURATION)

4.1

4.2

4.3

4.4

4.5

4.6

4.7

4.8

4.9

4.10

CHAPEL (SOUL)

4.11

4.12

4.13

4.14

4.15

4.16

4.17

4.18

4.19

4.20

GATEHOUSE (MIND)

GREAT HALL (RELATIONSHIP)

THE KEEP (PROTECTION)

ROTATION +/- (PLACEMENT OF VOID)

KITCHEN/ WELL (BODY)

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GATEHOUSE (MIND)

HB-5-(framework for modules) 5.1

ROOF OPTION 1: SEMI-TRANSPARENT WOOD SCREEN (SOUL)

2 LEVEL 15’ X 15’ FRAMEWORK FOR MODULES

ROOF OPTION 2: TENSILE FABRIC (MIND)

GARAGE

ROOF OPTION 3: SOLID INSULATED CONCRETE PANEL (PROTECTION)

6 X 6 HSS COLUMNS & BEAMS

FRONT WALL OPTION 4: LEAVE OPEN FLOOR PLAN 1:400 SCALE FLOOR: SOLID INSULATED PANEL (PROTECTION)

WALL OPTION 1: SOLID INSULATED CONCRETE PANEL (PROTECTION)

WALL OPTION 2: INSULATED WINDOW/ DOOR (SOUL)

WALL OPTION 3: SEMI-TRANSPARENT WOOD SCREEN (MIND)

5.2

THE PRECAST CONCRETE PANEL SYSTEM ALLOW FOR FLEXIBILITY AND RECONFIGURATION. SOLID PANELS = PROTECTION + PRIVACY WINDOWS = SUNLIGHT TO HEAL OUR SOUL WOOD SCREENS = FRESH AIR + NATURE TO HEAL OUR MIND

FRAMEWORK FOR MODULES

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HB-12-(healing sequence ground lvl) A

PILL 5: SOUL

PILL 4: MIND

CHAPEL (MEDITATION MODULE): QUIET ISOLATED SPACE + HEALING GARDEN = CALM AND CLEAR INTERNAL SPACE

HEALING GARDEN: GREENERIES + HERBS = MIND AT REST YARD

MODULE #4 LIVING

PILL 3: BODY

GREAT HALL (BACK MODULE): SEATINGS + MASSAGE = CLEARING STRESS MODULE #3 MASSAGE

KITCHEN/ DINING MODULE: DINNING SPACE + HERB GARDENS = EAT & RECHARGE BODY

MODULE #2 KITCHEN/ DINING

PILL 2: BODY

MODULE #1 ENTRANCE

PILL 1: PROTECTION

GATEHOUSE (ENTRANCE MODULE): PROTECTED SPACE + CHANGE ROOM = RELAX MODE

ENTRY

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HB-13-(healing sequence attic lvl)

PILL 6: BODY

WASHROOM: SPACE FOR HYGIENE = CLEAR ANY EXTERNAL RESISTANCE

MODULE #8 W/C

MODULE #7 BEDROOM

PILL 7: PROTECTION

MODULE #6 THE KEEP (BEDROOM MODULE): PROTECTED SPACE = QUALITY SLEEP

BEDROOM

MODULE #5 PATIO

PILL 8: RELATIONSHIP

OUTDOOR PATIO: CONNECTION TO NATURE + PEOPLE = MORE RELATIONSHIP IN LIFE

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HB-14-(healing sequence basement)

MODULE #12 UTILITY

SPA: HOT TUB + SPACE FOR HYGIENE = CLEAR ANY EXTERNAL RESISTANCE PILL 9: BODY

MODULE #11 SPA

MODULE #10 FAMILY/ ENTERTAINMENT SPACE: GATHERING + CONNECTION WITH FAMILY = MORE RELATIONSHIP IN LIFE PILL 10: RELATIONSHIP

FAMILY

MODULE #9 BEDROOM

PILL 11: PROTECTION

THE KEEP (BEDROOM MODULE): PROTECTED SPACE = QUALITY SLEEP

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HB-11-(building sections)

5’

10’

20’

SECTIONS 151

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HOME FOR THE DEAF ST U D E N T : S E A N N A G U I L L E M I N

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HOME F OR THE DEAF 4

SEANNA GUILLEMIN

Home for the deaf looks at the architectural opportunities that allow deaf residents to navigate and experience their homes using non-audio sensory awareness. Integrated passive communication strategies allow occupants to perform daily tasks while speaking ASL to family members in a comfortable and safe atmosphere. This design utilizes a number of design solutions including:

Spatial arrangements that respect broad sight-lines and sensory range for strong ASL communication. Using daylight to emphasize high traffic areas and diffused light to high frequency ASL gathering spaces. A balance between reverberative materials or acoustically sensitive rest spaces that dampen unwanted reverberation for comfort to those with hearing aids and cochlear implants. The Lyceum Fellowship Competition is an opportunity to take the requirements and aesthetic intent of a typical Chicago bungalow and prove not only that the same program can be re-defined in a more sensitive and universally powerful way, but that affordable housing typologies can be a home for anyone, hearing or not. S E N I O R R E S E A R C H S T U D I O W 2 02 0

ASL BALCONY

BALCONY VIEW TO E N T R Y W AY

D E A F - S P A C E D E S I G N S T R AT E G I E S

1 Upper floor visibility to building entrances. 2 Maximizing sensory reach to adjacent spaces from building entrances. 3 Creating transparency in the exterior wall. 4 Utilize the vibration of the garage door as a haptic signal for human entry. 5 Reverberative materials to relay vibration language signals. 6 Semi-transparent floor space dividers. 7 Extending sightlines between floors. 8 Maintaining sightlines across adjacent spaces. 9 Recessed floors to delineate spaces. 10 Maximize visibility and tactility to reverberative surfaces. 11 Open visibility at kitchen prep counters. 12 Extending reverberative surfaces. 13 Quick use appliances can be along back wall. 14 Circular dining and seating configurations.

VIEW FROM THE SECOND FLOOR

11 12 13

LIVING ROOM

MAIN CORRIDOR

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FLOOR PL ANS

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MASS I N G S T R AT E G I E S

BUILDING E L E V AT I O N S

FLOOR PL ANS

BUILDING ISOMETRICS

BUILDING SECTION

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FAC A D E H O U S E CHARLENE KARL

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CONCEPT

Personalization of a home mostly appears on the interior where only invited guests and the people living there are able to enjoy and appreciate the interior design. Home buyers purchasing a new house are often limited to only being able to choose the colour of the exterior siding, while home buyers moving into an already built home have no choice at all. For a place where you live, eat, sleep, entertain, relax, and spend a good chunk of your time, why shouldnâ&#x20AC;&#x2122;t you be able to project your personality both on the inside and out? With the amount of time, money, and energy invested into making a house a home, why shouldnâ&#x20AC;&#x2122;t you have a say in its design? Why should it look like the house next door, two blocks down the street, or even across the city in another neighbourhood? You, the user, the dweller, and your family, all make the house a home and the way you do it is never alike. Can the exterior of a home also be personalized the same way?

T YPICAL CHICAGO BUNGALOW - FRONT

This project proposes to provide an armature that can be installed over an existing typical Chicago bungalow, which customized facade panels can be attached. The armature itself can be changed to create new programmable spaces or provide a certain appearance. The facade panels act as a phone case for your home that can be swapped out at anytime or traded with neighbours, friends, and family. S E N I O R R E S E A R C H S T U D I O W 2 019

T YPICAL CHICAGO BUNGALOW - BACK

T H E A R M AT U R E

6’4”

1’7”

3’2”

1’7”

6’4”

3’2”

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A R M AT U R E M O D I F I C AT I O N I The armature of the house has been modified to transform the exterior to provide an appearance that the home is larger than it actually is, with a contemporary design. Window apertures become deeper and new programmable spaces become available in the back.

MASS I N G I

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THE PLANS

The interior rooms consist of the same layout of the Chicago bungalow; however, can be re-programmed to suit the needs of the new decade and the homeowners or renters that live there. The additional armature allows for the development of patio, greenhouse, and parking spaces in the back.

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A R M AT U R E M O D I F I C AT I O N I I The armature of the house has been modified to transform the exterior facade and provide additional outdoor spaces.

MASS I N G I I

FA C A D E AT T A C H M E N T D E T A I L

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THE PLANS

The additional armature allows for the development of patio, balcony, front garden plots, and front bike parking.

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S A M P L E FAC A D E PAT T E R N S

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PA RT T H R E E L I F E S T Y L E & L E I S U R E & T H E B O DY PRESENT BODIES VALE DE MOSES T H E A Q U A L A B @ S E A S O F I M A G I N AT I O N SONIC WIND HARP SOL AR WAVE

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PRESENT BODIES S T U D E N T : A L E X A N D R I A _ P A N K R AT Z & T AY L O R _ C R O Z O N

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PRESENT BODIES A L E X A N D R I A _ P A N K R AT Z & T AY L O R _ C R O Z O N

When does one feel present in their body? Often human connection to the body is one of disconnect. Ignorant minds existing without physical connection. Pain and discomfort bring presence to the body. This presence often even blinds, drowns and overwhelms, forcing an intimate understanding of the physical self. Present Bodies aims to create a space that provides understanding of the body through juxtapositions of pain and relief. One gains understanding of relief when pain ceases and yearns for relief when they feel pain. Can a space be created to embed the process of pain, from acuity to numbing to pleasure? Therapies, such as massage, yoga, acupuncture all work through some degree of discomfort or pain. Present Bodies aims to embrace themes of pain and discomfort by creating an architectural condition that misshapes and constrains the human body. How can thresholds of hot and cold, pain and pleasure, bound and stretched all create presence of the body? As the body is pushed, pulled, poked, pinched, stretched, draped and bound in therapies such as massage, acupuncture, yoga, meditation and inversion therapy, Present Bodies creates a formal expression of space through literal manifestations of these practices.

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VA L E D E M O S E S ALEXANDER SEMEGEN MARK POPEL

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VALE DE MOSES ALEXANDER SEMEGEN MARK POPEL It seems many spas and other spaces of meditation today try to sell you on the idea of relaxation through a unique experience. These experiences are typically framed around the architecture they are associated with, acting as vessels of rejuvenation and meditation. Yet, these vessels often lack the ability to provide inherently distinct experiences that rely on architecture itself and ultimately end up being about the actual therapy. But, what if the architecture served more than just a mere vessel for therapy? What if the architecture became part of the meditative experience itself? Where does the therapeutic experience begin? Where does it end? The actual act of therapy is frequently seen as the most important thing about a massage or acupuncture when in reality, the act is just as important as the process leading up to and S E N I O R R E S E A R C H S T U D I O W 2 019

immediately after the actual act itself. Simply put, when you go to get a massage, when does the therapy really start? As soon as you enter the room? Hear a melodic looped soundtrack? Take off your shoes? Your clothes? When you lay down? When you first feel the sensational touch of another person, or the first needle entering your body? We typically place precedence on the moment we first experience a physical sensation; however, what if upon entering these spaces, the material triggers a sensation, commencing the therapy? This project aims to question the entirety of modern day spas and therapeutic destinations, seeking to elevate every process of meditation and physical therapy to be just as important as the act itself.

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mins

Density: High Transparency: Low Release: Low

Density: High Transparency: Low Release: Medium

Density: Medium Transparency: Low Release: High

Density: Low Transparency: High Release: High

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As a starting point, this project focused on a series of material testing, through a sandblasting treatment of wood. The type of wood was pine, which is the dominant type of wood and building material on the site. Moreover, pine offers a mixture of soft and hard grains, which provides a unique result during the sandblasting treatment. The diagram on the left highlights the testing process and the five stages included during the study. Each of the five stages were classified by three categories, consisting of density, transparency, and release. The images on the right show various woods that have undergone sandblasting treatments.

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C ompe ti ti o n Re q u ir em en t s Design a unique meditation cabin, or a prototype that can be replicated throughout the retreat. The cabinâ&#x20AC;&#x2122;s main purpose is to enable guests and therapists to be as comfortable as possible during meditation sessions and treatments. Therapy sessions are largely based around massage and acupuncture. Participants should aim to achieve a connection to the surrounding landscape, and natural environment. Each structure will need to be large enough for therapists to comfortably treat their patients and include ample storage. Cabins shall include a hand washing area as well as attractive storage space for oils, acupuncture needles, towels, futons, a massage table and meditation cushions. Participants should think about the larger connection to program, site, and history of the practice and country of Portugal.

-excerpt competition from brief

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S ite Existing Structures

The Vale de Moses Yoga Retreat offers guests from around the world the opportunity to reconnect with nature. Vale de Moses welcomes annually over 500 people from over 60 countries around the world to stay at their retreat.

Site Drainage

Site

Entrance

The retreat centre began in 2008 when a couple purchased the property and its four rundown traditional Portuguese cabins, and breathed them back to life.

Sun

Pine Tree Covered Mountainside Soft Portuguese Style Architecture

Hiking Trails

Val de Moses is situated in the Oleiros region of Portugal, which traditionally was never along the route of many tourists. Guests at the retreat take part in health and spiritual meditation practices including the practice of â&#x20AC;&#x153;forest bathingâ&#x20AC;?, known as Shinrin Yoku in Japan, as well as many other practices in which guests develop a sensual relationship with the non human world.

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M a ppi n g “ The Ther apy ” TYPICAL INTENSITY “CIRCUIT”

ENTER

E XI T

1 | U n d re s s

2 | M a s s a g e /A c u p u n c t u re

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RE-FRAMED INTENSITY “CIRCUIT”

Par ti M o d e l

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E3 S h a re d L o c ke r

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CHANGE ROOM MASSAGE ROOM

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S i n k + Pre p A rea

S CA L E 1 : 5 0

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SECTION 1

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Each of the interior perspectives aim to highlight the various textures and geometries throughout the building. The far left image shows the meditation room, with the smoothest textures, and geometries that are â&#x20AC;&#x153;calmâ&#x20AC;?. The image to the left on this page shows the change room at the entrance, with rough textures and chaotic geometries. The below image highlights the hallway towards the change room at the exit, with medium textures, and chaotic geometries.

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E L E V AT I O N 1

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E L E V AT I O N 2

E L E V AT I O N 3

E L E V AT I O N 4

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THE AQUALAB AT SEAS OF IMAGINATION ST U D E N TS : M I C H E L L E B O OTSMA , C H A R L E N E K A R L , & R O SS R I C U PE R O

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E X P LO R I N G T H E K E L P FO R E ST

MASTER PLAN The Aqualab is laid out to bring visitors through an exciting series of experiences. As an addition to the preexisting aquarium, the attraction connects to a pedestrian hallway with elements branching out to draw visitors inside. Once a visitor enters the area, they begin their journey in the habitat exploration zones. These spaces are filled with interactive activities and games, and guests will discover five different themed habitats all connected to the white sturgeon. From there, they will advance to the Sturgeon Lab, a futuristic high-tech space which will bring them up to the third level and into the Mission S loading zone, where a sturgeon themed adventure in the Fraser River awaits. Following the ride experience, guests will travel back down to the ground floor and be led through a cavernous canyon tunnel through into the gift shop, where they will return to explore the rest of the Seas of Imagination Aquarium. Throughout all of these areas, care has been taken to ensure adequate staff access to all zones as well as proper egress from the ride, habitat zones, and sturgeon lab.

S A L I S H S E A H A B I T AT

F R A S E R R I V E R H A B I T AT

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3 D P R I N T E D C O R A L D I S P L AY

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5. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29.

Aqualab ID registration Ride an elasmosaur VR Fossil dig station Dinos of the Deep motion Capture The Triassic Sturgeon Deep Sea Explorers VR + AR Kelp Forest 3D printing Coral Creators Snack CafĂŠ Chiton Pillow Octopus Playscape Interactive Urchins Estuary Simulation Clifftop Lookout Salmon Strike Aquacentre Dam Station PIT Tagging Sturgeon Lab River Run exit corridor Storage Receiving Access Staff Ride/electrical data Elevator Mechanical Ride Lockers Mission S Ride Track Ride Elevator A Ride Elevator B

The Aqualab is laid out to bring visitors through an exciting series of experiences. Starting with the habitat exploration zones filled with interactive activities and games, guests will discover five different themed habitats all connected to the white sturgeon. From there, they will advance to the Sturgeon Lab, a futuristic high tech space which will bring them up to the third level and into the Mission S loading zone, where a sturgeon themed adventure in the Fraser River awaits.

11.

main floor plan

14. 9.

18. 6.

10.

13.

section cut

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AQUALAB The habitat zone of the Aqualab is a large open concept space that contains five different environments, each representing a place that a sturgeon can visit throughout its lifetime. Users, both going on the ride system or not can visit this area at a leisurely pace. Although the flow generally guides you in an overall linear direction from entrance to ride system, the placement of activities and installations break up this flow and allow the user to explore the different habitats in a free-form manner. A lack of walls also means relying heavily on creating atmospheric breaks through the use of artificial and natural lighting through the careful placement of programming and push-pull design of the architecture.

EXPERIENTIAL VIEW OF PROJECTION MAPPING ON THE S T R U C T U R E â&#x20AC;&#x2122; S S H E L L W I T H I N T H E H A B I T AT S S E N I O R R E S E A R C H S T U D I O W 2 02 0

G R O U N D L E V E L P AT H W AY S T H R O U G H T H E F I V E H A B I T AT S

ISOMETRIC VIEW OF THE A Q U A L A B H A B I T AT Z O N E S

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Once a wide open ocean that covered North America, the Western Interior Seaway habitat is curated with activities and exhibits related to the sturgeon, that has roots in the mid-Jurassic era, and other aquatic reptiles native to the area of British Columbia during this time. Surrounded by the creatures of this time, dig for fossils, test your strength against the weight of the long necks of unique animals, create a video emulating your favourite dinosaur with motion capture technology, or go on a simulated VR ride as an Elasmosaurus.

In the depths of what is now the Pacific Ocean and to the west of Vancouver, are large underwater mountains called seamounts, for which the next habitat is named after. The largest being the Explorer Seamount where an ecosystem of a variety of sponge species were found and aptly nick-named “Spongetopia.” Venture into this deep underwater environment to become familiar with deep-sea exploration equipment, ‘swim’ through a sensor-driven kelp forest, 3D print coral, and take a ride in a submarine simulator.

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P L AY I N G O N T H E E L A S M O S A U R U S ’ S P O W E R F U L N E C K

E X P LO R I N G T H E TO W E R I N G K E L P FO R E ST

E X P L O R I N G T H E A N C I E N T W AT E R S C A P E A N D S P E C I E S

E X P L O R I N G A N U N D E R W AT E R E X P L O R E R

M O D E L S O F E X T I N C T C R E AT U R E S T O W E R A B O V E T H E S P A C E

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As part of a migratory path, Sturgeon can sometimes be seen in the Salish Sea traversing to other waterways. Explore some of the largest and oldest living creatures by jumping on a giant chiton pillow, sliding down a tentacle at the colossal octopus playscape, gazing at the glowing jellyfish lamps, or testing the movements of a big red sea urchinâ&#x20AC;&#x2122;s spikes in response to light.

Home to millions of birds, thousands of invertebrates, and hundreds of fish species, the Fraser River Estuary and Delta ecosystem is lush in nutrients created from the unique mixing of ocean and freshwater. Feed your empty bird stomach trying to catch food in the mudflats or build up the flora and fauna on an interactive screen, but see what happens as more ports, residences, and agricultural lands are constructed.

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O C T O P U S P L AY S T R U C T U R E F O R Y O U N G E R C H I L D R E N

D I S P L AY O F M I G R AT O R Y B I R D S A B O V E G U E S T S I N T H E E S T U A R Y

INTERACTIVE RED SEA URCHIN EXPERIENCE

A R E X PE R I E N C E E X P LO R I N G T H E I M PACTS O F H U MA N S

GIANT CHITON JUMPING PILLOW

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As the main habitat of the White Sturgeon, the Fraser River is also home to millions of salmon and other fish that come to spawn every year. Master the art of gaffing, a traditional fishing method used by several Indigenous groups in the area, in Salmon Strike. Control the flow of water and fish spawning by building dams at the Aquacentre before finding your way through the riverâ&#x20AC;&#x2122;s canyons to the Sturgeon Lab.

At the heart of the Aqualab is the three-storey Sturgeon Lab. This glassencased space acts as a final queuing system for guests prior to their ride on Mission: S as well as a narrative link with the habitats and introduction to the ride experience. When a guestâ&#x20AC;&#x2122;s ride-time has arrived, their Aqualab card will grant them access into the Sturgeon Lab. Here they will be guided by Aqualab scientists to learn about the White Sturgeon, the impact of human development on marine ecosystems, and the important of conservation and sustainability.

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EXPERIENCE OF TRADITIONAL FISHING TECHNIQUES

C O N C E P T F O R T H E L A B C O N N E C T S R I D E A N D H A B I T AT S

W AT E R A C T I V I T Y C E N T R E T O E X P L O R E R I V E R F L O W .

T H E S T U R G E O N L A B S P A C E I S A N C H O R E D BY T H E D I S P L AY T A N K

E X P L O R I N G T H E C A N Y O N S F O R M E D BY F R A S E R R I V E R F L O W S

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MISSION: S Mission: S is a trackless, semiinteractive dark ride with 3D cinema screens, projection mapping, and immersive sets and environments. A trackless ride vehicle follows embedded guidance sensors in the floor through a series of sets and scenes, while a multi-axis robotic base below the ride carriage turns, tilts, lifts and spins riders depending on the narrative. The ride path is spread over two levels of the space, with two high-speed elevators enabling one cart at a time to move between each floor. This movement is narratively linked, making for an exciting, unexpected drop or rise. Much of the narrative is delivered through cinema screens linked with the motion of the carriage. Riders, wearing passive 3D glasses, experience moments of immersive 3D video as the cart pulls into a semi-spherical projection dome before seamlessly transitioning to a physical set with projection mapping as the cart moves to the next show scene. The experience utilizes a variety and screen layouts to achieve narrative goals. From cramped, dark and claustrophobic, to vast, open and bright, Mission: S aims to provide a unique, exciting experience for families, kids and adults.

M I S S I O N : S L O A D I N G P L AT F O R M

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HIGH-SPEED RIDE E L E VATO R S V E H I C L E STO R AG E A N D MAINTENANCE BACK OF HOUSE

RIDE O P E R AT I O N S

LOA D I N G / U N LOA D I N G P L AT F O R M

M I SS I O N : S U P PE R L E V E L

PA SS E N G E R ELEV / EXIT CORE

ST U R G E O N L A B LEVEL 2

M I SS I O N : S P R I MA RY L E V E L

PRIMARY SHOW FLOOR PA SS E N G E R ELEV / EXIT CORE

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site

selected site

THE BUILDING The building itself is situated overlooking the Fraser River, building off of the existing pier systems of Westminster Pier Park. This area has a high pedestrian flow and is part of a network of boardwalks running along the Fraser. Nearby buildings include conservation facilities and other public learning type spaces. The building aims to become a beacon along the shoreline, highlighting the importance of the Fraser River and its inhabitants. High-tech elements within the architecture itself help reduce the footprint of the addition. Photo-voltaic panels, extensive natural lighting, passive ventilation and heat-reclamation systems are among the sustainable design features of the Aqualab at Seas of Imagination. Additionally, the implementation of aerogel filled ETFE panels allow the building to be well insulated, avoiding heat gain and unwanted glare while still letting in soft natural light. After the sun sets, LEDs integrated within the exterior ETFE frame system light up the building, imitating the flow of the Fraser River.

westminster pier park

AQUAL AB ON NEW PIER OVER FRASER RIVER

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formfinding creating a river

THE BUILDING CONâ&#x20AC;&#x2122; T fold over existing building

Tying into the main conceptual basis for the project, the design of the buildingâ&#x20AC;&#x2122;s envelope was first and foremost about creating a specific interior condition that related to the Fraser. As visitors explore the habitat areas, they should feel as though they are underwater, enclosed in a river or ocean. With this in mind, the architecture was made to flow around those spaces in a tube-like shape, reducing any instances of clear floor to wall transitions. From here, the form was molded to push out over the river, and to fold over the existing building to help improve interior connections between the two spaces. A triangular frame system was applied and formed to wrap around the building, translating the flowing aesthetics of the envelope to the exterior form as well. The envelope is structurally supported by the central core of the building, which also houses mechanical spaces as well as the main vertical circulation spaces between the three different floors.

push out over river

formfinding manipulating shape

push out over river

aerogel filled ETFE panels triangulated exterior frame w. LED lighting

plexiglass panels overlooking river

FO R M - F I N D I N G P R O C E SS F R O M I N T E R I O R C I R C U L AT I O N TO EVOKING RIVER FLOWS S E N I O R R E S E A R C H S T U D I O W 2 02 0

formfinding envelope strategy

Spirit of Adventure Creative Group

level 2

FRASER RIVER HABITAT

Cornell Theme Park Engineering Group Theme Park Design Competition 2020

Receiving

BACK OF HOUSE Mission: S Scene 5 (lower level)

Access

Gift Shop (existing)

Elev. Mech. A

Staff

TEAM# 15

FRASER ESTUARY/DELTA HABITAT

Storage

EXISTING GIFT SHOP

Elev. Mech. B

Fraser River (below)

Exit Corridor

FRASER RIVER HABITAT

Missions: S Scene 5

Missions S: Scene 3

Open to Below Access

Gift Shop (below)

RIDE SYSTEM

the Aqualab at Seas of Imagination

Pedestrian Hall (existing)

Exterior Park & Pathway

Edge of Pier

10ft

25ft

Second Floor Plan

Ground Floor Plan

the Aqualab at Seas of Imagination

SEAMOUNT HABITAT

WESTERN INTERIOR SEAWAY HABITAT Exhibit Space (existing)

SALISH SEA HABITAT

Mission: S Scene 7

GROUND FLOOR PL AN

Open to Below

Mission: S Scene 6

Elev. B

Fraser River (below)

Ride Ops

Child Swap

Open to Below

Mission: S

Load / Unload Pedestrian Hall (below)

Open to Below

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Edge of Pier

10ft

25ft

WESTERN INTERIOR SEAWAY HABITAT

SEAMOUNT HABITAT

Open to Below

SALISH SEA HABITAT

CAFE

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Elev. A Mech Rm

Edge of Pier

10ft

25ft

Elev. B Mech Rm

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Fraser River (below)

Elev Mech Rm Mechanical Penthouse

Roof of Existing Structure

50ft

Exterior Park & Pathway

Edge of Pier

10ft

25ft

50ft

ROOF / MPH PLAN

200’00” 140’00”

+70’00” +60’00”

TEAM# 15

+50’00”

+30’00”

+15’00”

200’00” 15’00”

45’00” +70’00”

+50’00”

Existing Structure

+00’00”

25ft

50ft

Fraser River New Structural Pier

Section C

the Aqualab at Seas of Imagination

Section 1

10ft

SECTION 1

+15’00”

Fraser River

New Structural Pier

+30’00”

Existing Building

+00’00”

Edge of Existing Pier

140’00”

TEAM# 15

250’00”

Cornell Theme Park Engineering Group Theme Park Design Competition 2020

Spirit of Adventure Creative Group

THIRD FLOOR PL AN

Cornell Theme Park Engineering Group Theme Park Design Competition 2020

Pedestrian Hall (below)

Spirit of Adventure Creative Group

Show Scene 1

TEAM# 15

Elev. A

Roof / MPH Plan

TEAM# 15

Third Floor Plan

Access Veh. Storage / Maint

Cornell Theme Park Engineering Group Theme Park Design Competition 2020

Cornell Theme Park Engineering Group Theme Park Design Competition 2020 the Aqualab at Seas of Imagination

Open to Below

Roof of Existing Structure

200’x200’

the Aqualab at Seas of Imagination

Spirit of Adventure Creative Group

200’x200’

Show Tech

Roof of Existing Structure

LABORATORY LabLEVEL Level 22 & LOCKERS

SECOND FLOOR PL AN

Show Tech

Gift Shop (below)

Fraser River (below)

Mission: S Scene 2

50ft

FRASER ESTUARY/DELTA HABITAT

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EXISTING BUILDING

LA BO R

AT OR Y

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EXISTING BUILDING

200’x200’ Missions: S Scene 4

LOADING ZONE

TEAM# 15

Cornell Theme Park Engineering Group Theme Park Design Competition 2020

Ride Electrical / Data Exterior Loading Zone

habitats

200’x200’

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LOADING ZONE

Lab Level 1

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Spirit of Adventure Creative Group

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SONIC WIND HARP ST U D E N T : S E A N N A G U I L L E M I N

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SONIC WIND HARP SEANNA GUILLEMIN LAGI 2020 is a design competition in Black Rock City, Nevada that calls for closed-loop regenerative installations that offer a place for self-expression and collaboration. The Sonic Wind Harp is an architectural installation aimed to provide an elevated experience to the annual Fly Ranch visitors and festival goers. Each year, Burning Man attendees venture North to the Fly Ranch geysers and hot springs. Sonic Wind Harps not only provide a self-powered platform for incredible aerial views, but they stimulate the visitors acoustic experience of the surrounding nature. Playing on the sounds of the spraying geysers and steaming hot springs, the Sonic Wind Harp harvests wind energy through its unique array of aeolian harp cables, creating a soft hum of varying tones as the wind passes through. The installation uses the captured wind energy to power the internal hydraulic structure which allows the platforms to lower to ground level and rise to views above the geysers. With use of the platformâ&#x20AC;&#x2122;s instrumental railings, visitors can begin to play the railing pipes in harmony with the sounds of nature. Here, the geysers, the wind, and the human touch all play together in an incredible and unique acoustic experience. S E N I O R R E S E A R C H S T U D I O W 2 02 0

SITE PLAN WIND HARP ARRANGEMENT

H I SS O F T H E G E Y S E R S P R AY

S O U N D E N E R GY A N D ACO U ST I C EXPERIENCE IN ARCHITECTURE

HUM OF THE CAPTURED WIND ENERGY

INTERACTIVE RAILING I N ST R U M E N T

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S I D E E L E V AT I O N S

F R O N T E L E V AT I O N S

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S O L A R - WAV E S T U D E N T S : I N D E R J I T P A B L A & R A J AT V E R M A

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INTRODUCTION

Solar-wave is an electricity generating art installation that provides access to the visitors of Fly Ranch, to recharge and reconnect to the world,during the Burning Man annual event.

SITE

Fly Ranch is roughly 3,800-acre parcel of land located approximately 8 kms NW of the Black Rock city. The property has 640 acres of wetlands, dozens of natural spring-water pools ranging in temperature from hot to cold, grasslands, and a small area of playa that opens onto the Hualapai Flat. The landâ&#x20AC;&#x2122;s most prominent feature is the stunning Fly Geyser, a unique and iconic geothermal geyser that constantly releases water reaching five feet in the air and depositing minerals around it. The Fly Ranch property is truly an oasis in the desert.and that is essentially the site.

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At Burning Man, the community explores various forms of artistic self-expression, which are created to be enjoyed by all participants. Examples of creativity include experimental and interactive sculptures, buildings, performances and art cars, among other media. These contributions are inspired by a theme that is chosen annually by the organizers.

As Burning Man embarked on a 2030 plan to make the annual event at Black Rock City sustainable, the Fly Ranch acquisition was a crucial step by the organisers to reinforce this effort, given the delicate yet beautiful ecosystem that it contains. This competition is set to bring ideas to tackle the hard problem of net-zero sustainable infrastructure with circular design thinking. These solutions can be based around systems on energy, water, food, shelter, and zero waste.

DIAGRAM CAPTIONING

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SITE CONTEXT AND CHARAC TERISTICS

The reason for the central location of site selection was the possibility of making the sculpture a beacon for the visitors travelling across the massive property, like a lighthouse for navigation.

Though narrow, it certainly helps direct the design to have a bridging character. This move also helps in emphasizing the importance of water, as a transformative natural feature of the landscape.

A narrow stream of water that dissects the selected site almost in the middle and extends in the north-south direction.

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SINEWAVE

The design of the bridge-like platform takes inspiration from the movement of water. The ponds of water in and around the Fly Ranch are strong visual clues as to how water can influence the ecosystem. We investigated this nature of movement of water which is characterized by its sine-wave oscillation. In waterâ&#x20AC;&#x2122;s natural movement the sinewaves enlarge as they approach the shores or the banks of a water body. Similarly, the platform becomes dramatic as one steps over it from either side, as if these were that very edge of water and land.

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The experience of the surface becomes smoother and continuous as one approach the center, just as the experience in deep waters.

VOIDS

we wanted to establish a form that could not only draw attention for its aesthetic reasons, but also provide for the comfort of its users. The sine-wave itself generates voids that could work extremely well for shelter. Thereby providing much needed shade for activities and leisure. Given the arid conditions of the site, it can prove to be savior in disguise. The east-west orientation of the platform also aids the shading potential of this bridge like sculpture.

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TECTONICS AND ACCESS

Materiality is important to define the character of the curves. All the tectonics of the design were envisioned to be slender and sleek. The properties of the materials should also aid in easy assemblage of the sculpture on-site. Starting with the base, the pads essentially lie in the Low-impact site boundaries. We have designed it to be flat and wide. These contact points on the surface avoid the need for deep foundations, given the scale of the project.

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The I-beam girders enable the curves to be drawn in the desired way. These also help in providing recesses which are used for electrical conduiting and lighting. Thick wooden planks are used to bridge the i-beam girders. The textural quality, workability and thermal qualities of wood work well with the arid conditions of the Fly Ranch. Tempered glass railing which also incorporates the Photovoltaic membrane to support the energy generation on site. The translucent nature of the railings therefore does not interfere with the minimal approach to the design.

There is an attempt to make the access under and over the sculpture playful. The north approach gives a relatively narrow entry on the surface while the south access helps the visitors to go across the stream without disturbing it. The west side allows for a grand entrance onto the surface. One reason to keep a biased access between the east and the west side of the sculpture is to keep the activities under the eastern part less disturbed by the movement of people.

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B U C KW H E AT

Early in the project, we wanted to take inspiration from the ways lifeforms adapt in the Fly Ranch region and thrive in the scarcity and abundance of resources available to them. The buckwheat plant was an intriguing find, interms of harnessing energy and contributing to its environment as a host plant for local insect and bird species. This drought tolerant ground cover plant is helpful in water conservation and erosion control.

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The long peculiar sprouting flower on top became the inspiration for the solar pods which extend high up to tap the abundant sunlight to generate electricity, while the base becomes a shelter for the users of the installation.

SOLAR PODS

The pods mimic the spherical shape of the buckwheat flower. The simple reason for the design decision is based on capturing maximum sunlight in all directions possible. The Circular discs can harness sun energy even from low incident sun-rays given the spacing which allow light to pass through consecutive discs.

These circular discs alternate between tempered glass and PV integrated glass. The Pv integrated glass has a thin layer of amorphous photovoltaic membrane that generates electricity from the incident solar rays. These membranes vary in transparency and become opaque as we reach the bottom-most section of the pod. The west side of the sculpture encloses a storage facility under its wave-form, which is also supplied with electricity through the various pods spread around the sculpture.

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DENSITY

As the visitors approach the site from a distance, we want them to get a sense of life and growth in this bare environment. The pods are arranged in groups of 3 around the wave.They further detach into single pods and eventually a single disc as one walks over the surface of the sculpture. The idea is to show progression and how water can impart growth in nature, from a seed to a forest.

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CLUSTER

The support of the pod cluster is made stable by connecting them together and also creating bench-like features which can provide for leisure and small gatherings. These benches are envisioned to be fitted with wireless charging capabilities and extend their functionality.

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S E C T I O N A N D S T O R AG E

The section highlights the area for energy storage and the central strip, which reinforces the gentleness of the curves previously mentioned.

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E L E VAT I O N A N D AC TIVIT Y

The elevation indicates the intensity of activities that are associated on either side of the stream of water. The graphic on the right shows gatherings that are possible under the flowing lines of the sculpture.

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A I D I N T E C H N O LO GY

Extending the same idea of charging and leisure, the surface of the sculpture is integrated with planks that can support the loads of visitor movement and wireless charging capacity. The shorter edges of the planks are also fitted with socket points for plug-in devices. Short range Wi-fi is implemented throughout the sculpture dimensions which enables the visitors to connect to the world.

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The ample gentle slopes provide people with convenient access to either ends of the sculpture with possibility to lie-down and gaze at the skies at times of low-sun, such as dusk or dawn.

N I G H T R E N D E R - S PAC E FO R S O L A C E A N D C O N V E R S AT I O N S

This beacon which can be seen from a distance reminds and reassures the visitors that there is a place that allows them to stay connected.

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PA RT F O U R THE DISTANCING D I STA N T B O D I E S THE SAFE BOX ACTIVE LANDSCAPE

DISTANT BODIES S T U D E N T : T AY L O R C R O Z O N

DISTANT BODIES

DIAGRAM CAPTIONING

T AY L O R C R O Z O N

In the midst of a pandemic, fear and paranoia dictate daily life. Leaving the house to get groceries or to walk the dog causes anxiety. We use our grocery carts as buffers to protect us from other people. We veer off the sidewalk, avoiding others. Every interaction is mediated. It occurs through screens and zoom calls, hand sanitizer and masks. DISTANT BODIES aims to address this mediation, bringing our consciousness surrounding the pandemic to the surface. DISTANT BODIES creates understanding of the individual. What we wear is a signal of who we are. This wearable provides an interface for information: recovered, vulnerable, cautious.

DIAGRAM CAPTIONING

vulnerable

recovered

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SB-3-(project site) 3.1

PARK MANOR, CHICAGO RS-2 ZONING RESIDENTIAL SINGLE-UNIT

PROJECT SITE BOUNDARY STANDARD CHICAGO LOT 25’ W X 125’ D = 3,125 SF

PROJECT MANIFESTO

“The Safe Box” is a new housing prototype that promotes the use of modular design, that enable volume production to simplify work on site and reduce cost. It would not only offer occupants a secure, “contactless” environment with the essential facilities to survive through pandemics, but the prototype also considered the psychological and social opportunities of the environments. It will ensure the occupants be emotionally and mentally strong even during self-isolation or illnesses.

78TH STREET

H O -TA I W O N G

S. CHAMPLAIN AVE.

Like the bungalow, the interiors are made up of small rectangular rooms. And each of these modular units are like safe deposit boxes that are stacked, with each serving to protect an aspect of our health, let it be our physical, emotional, mental, or spiritual health. The goal is to create a place where individuals can feel protected and restored even if they are isolated and physically disconnected from others in a contained space. In short, the project takes care the emotional health of the household members, and it encourages people to connect differently in a time of social distance. S E N I O R R E S E A R C H S T U D I O W 2 019

SITE PLAN 1:1000 SCALE

SITE PLAN

SB-4-(framework for modules) 4.1

2 LEVEL 6 X 6 HSS FRAMEWORK FOR MODULES

ROOF OPTION 1: CONCRETE PANEL WITH GREEN ROOF (MENTAL)

ROOF OPTION 2: SOLID INSULATED CONCRETE PANEL (PHYSICAL PROTECTION)

6 X 6 HSS COLUMNS & BEAMS

FRONT

FLOOR: SOLID INSULATED CONCRETE PANEL (PHYSICAL PROTECTION)

FLOOR PLAN 1:400 SCALE

WALL OPTION 1: SOLID INSULATED CONCRETE PANEL (PHYSICAL PROTECTION)

WALL OPTION 2: INSULATED WINDOW/ DOOR (SPIRITUAL)

4.2

THE PRECAST CONCRETE PANEL SYSTEM ALLOW FOR FLEXIBILITY AND RECONFIGURATION. SOLID PANELS = PHYSICAL PROTECTION + PRIVACY WINDOWS = SUNLIGHT TO HEAL OUR SPIRIT + SOUL GREEN ROOF = FRESH AIR + NATURE TO HEAL OUR MIND

FRAMEWORK FOR MODULES

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SB-5-(ground floor plan) 5.1

GROUND FLOOR PLAN WITH MODULES LAID OUT

PERSON #2

PERSON #3

ISOLATED PENTHOUSE UNIT

GARDEN BATH & CHANGE ROOM

OUTDOOR SPACE DN

LIVING/ DINING

OUTDOOR SPACE

BATH & CHANGE ROOM

HOUSEKEEPER

PERSON #1

ENTRY

FOR: 3 PERSON IN ISOLATION (HOUSEHOLD MEMBERS) + 1 HOUSEKEEPER

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5’

10’

20’

SB-6-(attic floor plan) 6.1

ATTIC FLOOR PLAN WITH MODULES LAID OUT

PENTHOUSE BEDROOM

YOGA GARDEN

BEDROOM & HOME OFFICE #1

BEDROOM & HOME OFFICE #2

YOGA GARDEN

5’

10’

20’

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SB-7-(basement plan) 7.1

BASEMENT FLOOR PLAN WITH MODULES LAID OUT

BATH & CHANGE ROOM

FOOD STORAGE

DUMBWAITERS

KITCHEN

MECH.

FIRST AID ROOM

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5’

HOUSEKEEPER’S ROOM

10’

20’

SB-10-(building sections) Attic 30' - 0"

Attic 30' - 0"

5’

10’

20’

SECTIONS 26 3

SB-15-(living & dining diagram) A

MOVABLE BOX SEATINGS CAN BE JOINED TO FORM A SINGLE TABLE FOR DINNER PARTY

DUMBWAITER WITH COUNTER FOR SERVING FOOD

ENTRY

DINING CONFIGURATION

SEATINGS ARE OPENED AT THE FRONT FOR VIEWING TV AND SERVING FOOD

LIVING CONFIGURATION

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BOX SEATINGS CAN BE MOVED TO THE LIVING AREA FOR VIEWING TV OR CREATING INDIVIDUAL WORK SPACE

SB-24-(bedroom platform diagram) CLEAR GLASS PARTITION ALLOWS FOR AN OPEN STUDIO WITH VISUAL CONNECTION

LIFT

OFFICE/ STUDIO CONFIGURATION

SOLID PARTITION FOR PRIVACY

THE BEDROOM PLATFORM CAN BE RAISED BY A LIFT TO GAIN PRIVACY AND VIEW TO SKYLIGHT/ GARDEN

BEDROOM CONFIGURATION

B E D R O O M P L AT F O R M DIAGRAM

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AC TIVE LANDSCAPE I N R E S P O N S E T O C O V I D - 19

S T U D E N T : A L E X A N D R I A _ P A N K R AT Z

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AC TIVE LANDSCAPE A L E X A N D R I A _ P A N K R AT Z

In response to the COVID-19 pandemic, active landscape has explored the issues of selfisolation and individualâ&#x20AC;&#x2122;s daily routines to create an outdoor room of escape. This escape utilizes the natural landscape and gears itself to an active outdoor living room. The room roams a given area through different interactive paths that range in size, elevation and unique division between fellow individuals.

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C O V I D - 19 S O C I A L D I STA N C E

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C O V I D - 19 S A F E P AT H S

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water plants height barrier

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F E AT U R E 1 G AT E W AY

F E AT U R E 2 HIGH WALK

F E AT U R E 3 FOCUS CIRCLES

F E AT U R E 4 HALF CAPSEL

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F E AT U R E 5 LOW WALK

CONTROLLED S O C I A L S PAC E

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OVERALL VIEW ACTIVE LANDSCAPE

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MANIFESTOS

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I N T E R FAC E D B O D I E S T AY L O R C R O Z O N

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The human body is our interface in space. Architecture imagines the human body in space, yet spaces are often void of relation to the human body. Throughout history and still, the human body is distorted and criticized. Sometimes (often) architecture is discussed impartially, claiming to be unbiased; yet it is individual and personal understanding that conditions our experience of space. Can architecture be imagined through the human body and the layers and attributions of our physical self? Can an understanding of human body define architectural space? Misrepresented bodies are underlined in the 1989 Guerrilla Girls artwork that asks, ‘Do women have to be naked to get into the Met. Museum?’ a commentary based on the fact that less than 5% of the artists in modern art sections are women, but 85% of the nudes are female. Is there is an architectural parallel to the misrepresented reclining nude archetype?

How is the female body present/absent/ distorted in architecture? Is architecture allowed to evoke discomfort? In massage and other therapies the body is called poked and stretched to a point of discomfort in order to cause a release, can architecture be pulled poked and stretched in the same ways as the body? Through the clothing we choose to where we create a projection of ourselves to others in the outside world. Can we create a wearable that not only describes our taste and personality but creates a signal based on our internal wellness? How do you scales of reference to the body create an understanding of our relation to others in physical space?¬¬¬ How do our feelings towards others and their bodies inform and understanding of physical space?¬¬ We experience physical space through the human body. By understanding distortion, dysmorphia and cultural layers applied to the human body, the experience of architecture can be reimagined.

before the emergence of light that Kahn talks about it, the moment where the magic is awakened.

THE SPIRIT OF ARCHITECTURE MEHRDAD MISHRA Architectural design is an elusive and ambiguous practice. It is not exactly a temporal activity like solving a problem or synthesizing parts of a would-be whole and not entirely an artistic endeavor either. The flow of the design moves in both directions, finding the whole while moving towards it simultaneously, it is a journey both forward and back in time, to find a nugget of truth (of the materials, of the idea, of the very nature of architecture) somewhere in between. There is an evasive and fuzzy place where I believe most of the design takes shape, because there is a kind of magic involved in designing, in creating ideas and things, the unknown secret that we as designers try to capture and give form to. This is the most important work we do, the highest achievement of our kind, the consciousness with which we claim ourselves as co-creators of the universe, as we learn to sing its song. This is the moment of silence

Architects are magicians in the way they initiate a transformation not just in the material world but also in the personal psyche of themselves and more importantly, their audience. There is a great opening sequence in the movie ‘The Prestige’ that talks about how magic is performed: “Every magic trick consists of three parts, or acts. The first part is called the pledge, the magician shows you something ordinary. The second act is called the turn, the magician takes the ordinary something and makes it into something extraordinary. But you wouldn’t clap yet, because making something disappear isn’t enough. You have to bring it back. That’s why every magic trick has a third act, the hardest part, the part we call “The Prestige”.” This is what we as architects do. Yes, we take a part of the ordinary world and we change it into something extraordinary but that only breaks the surface of what we do. Architects as magicians journey into a sacred space of creation, transform and come back so that their audience can live that transformation vicariously. A great piece of architecture for example, succeeds in creating a transformative space while itself transcends time, it allows its audience to experience the mind-world of the architect without him being there. Architecture has been likened to frozen music, but really what it does is to stretch a single chord forever, that chord being a harmonic state of life, a statement about the conditions of the kind of living the design proposes. For that specific condition to exist, for that way of life to manifest in a certain way, first the architect needs to have virtually lived it. I have come to believe this journey, or process, is shared by all architects and designers in some form or another, but in a lot of cases the vision or the intent is lost in the transference between the author and the audience. It is almost an impossible task to share that vision and have it received by another being fully, but there is a way the designer can evoke it in

the audience: by remaining true to the vision, by being authentic and putting a genuine design forward. This, I have come to believe is the only way to truly connect to another being, to let them see for themselves, the effect of the transformation on one. Yes, this kind of exposure is uncomfortable and undesirable at most times, but it is what can be felt rather than told and convinced. A debilitating ailment of our practice in this age is its willingness to be disingenuous in an attempt to sell a narrative, a story we tell to the client without us believing in it in the first place. The power of the narrative is not in its ability to sell an idea, but in its capacity to show the unseen idea, to let the unheard chord be heard, to let a moment of life be experienced, with the meaning it entails. It is to shape another being’s way of life or state of mind or at the very least, their emotional state. We can not expect the audience to receive this, if it is not an authentic offering but a magic trick whose only intention is to deceive. So the architect needs to have a personal stake in their process, they have no choice but to allow transformation take place within them as well as without. Perhaps this part of the story is never told to the audience, but it acts as the setting for it, as something whose presence can be felt without being explicitly staged, something the other can relate to without having been asked to. Creation is not something to be taken lightly. It is as close as we humans get to becoming gods, it is a prophetic walk of life and it is therefore an almost sacred practice for me, one that I open up to completely when I am designing. I do not think creation is possible without surrendering to the creative force of the universe, the one that can only be accessed through fleeting tears in the fabric of the mundane world, that reveal its spirit only to those who are willing to bear listening to its deafening silence and to endure looking at its blinding light, those who allow themselves to transform and evolve with every design, so they can evoke an authentic experience of that within another being. I believe in the magic of creation. 28 3

TIME RANT MARK POPEL

“Nostalgia for our past and utopian dreams for our future prevent us from looking at our present.” - Robert Ransick on A Manifesto for the Present As a slight generalization: Time is constantly brought up in architectural studios. Cliché sayings like “build for today and design for tomorrow” are more or less reincarnated at some point during the course of an architectural education. Yet, however cliché it may be, time has every right to be brought up in any conversation; like space, time is a constant inescapable factor in our lives. Its presence is manifested through all physical change; material degradation and stylistic anachronism all serve as mere reminders that time is nothing but unavoidable. Time exerts its presence on our work, our ideas, and our dreams. It is through our projects that we aim to confront time—either consciously or subconsciously—and attempt to position an argument about the past or future in relation to the present. As an overt generalization: The complexity of time in architecture is often explored through emerging forms of technology. We often fetishize over the potentials of new technology within

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architecture and become mesmerized in their complexities that our attempts to explore time become a grandiose vision for the future through renderings that are nothing but a fantasy. Yes, these explorations most certainly have a place in academic research and are undoubtedly valuable to the profession. Moreover, the projects that are inherently linked to a form of exploring technology can even serve as a critique on various things such as the present, or contemporary architecture as a whole. But too often we see these masquerading visions of the future. As architecture students, we can become too focused on the flashiness of a specific technology, when we haven’t even scratched the surface of understanding when it comes to the most elemental capabilities. What’s worse is the results from these investigations are often then classified more or less as a “vision for the future”, when in reality they are nothing more than a mere Photoshopped glitch of our exploration. In a moment of such accelerated change, time is seemingly becoming more and more explicit in our lives. 24 hours can seem as though we have undergone weeks or even months. New norms and buzzwords are constantly

emerging daily; not too long ago the notions of social distancing, self-quarantining, and flattening the curve were virtually foreign to us. Any and all expectations we had for the future became utterly stunted, if not diminished entirely. Large-scale public assembly projects such as arenas, theatres and event centres seem absolutely pointless and out-dated. Right now, more than ever, time is rearing its ugly head at us and proving that we have no clue what we are doing when we are claiming to “design for the future”. What do we do in such an unprecedent time? Probably nothing, for any large-scale, societal-changing attempts would run the risk of becoming nothing but a ubiquitous ether of short-termism all stemming from our infatuation with “designing for the future”. This manifesto in the form of a generalizing rant is most certainly not suggesting that exploring what the future could look like through grandiose architectural explorations is a waste of time, nor is it trying to suggest there is a proper way to even discuss the notion of time—the assumption would render any of my intentions poignant. Rather, it is my hope that these statements can serve to question the notion of “designing for the future”. The

current covid-19 pandemic has proven that our preparedness for the future is inherently shallow and delicate, and can ultimately become shattered instantaneously. Can we truly design for the future? We can certainly aspire to, and may even come close to being lucky, but all explorations are only speculative in nature. “I am interested in what is possible now and will not be possible later.” - Bernard Khoury on Anti-Manifesto

ENDNOTE Urban Future Manifestos (Edited By Peter Noever & Kimberli Meyer) by author, p.26. Urban Future Manifestos (Edited By Peter Noever & Kimberli Meyer) by author, p.5.

IMAGES Blur Building, Diller Scoffidio Slow House, Diller Scoffidio Yokaham Masterplan, OMA Marjan Colletti Rebstockpark, Peter Eisenman

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THE IDEA OF THE ARCHITECT CHARLENE KARL

It is not unknown that the majority of our built environment has not been designed by architects. With the advancements in technology and the need for affordable housing, society has embraced other means through which design and construction can be offered. However, we are taught in school to be a jack-of-all-trades in order to design and construct an aesthetically pleasing structure, with a distinct and purposeful meaning, that also contributes to society in some way. If other ways or other industries are contributing to the same needs of society, then will architects become obsolete? We live in an age of technology so advanced that many of it can do our work for us, even parking or assisting in driving our cars. The architecture industry has been revolutionized with the use of 3D software, parametric modelling, and prefabricated design. It has never been easier to use technology to come up with a design. It has also never been easier for developers and private home builders to apply this technology to the mass production of housing and commercial buildings; contributing even more to the disparity in buildings designed by architects.

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However, what we have learned in the past three years was how to analyze the site context for its history, environment, community, transportation, and other contributing factors. We have learned to listen to the wants, needs, and values of a client, community, and government. We have learned to design objects and structures that inspire creativity, conversation, and a wide range of emotions characterized by our in-depth knowledge, understanding, and awareness of the spatial environment. These intangible attributes become problematic for technology to comprehend by themselves and difficult for developers to focus on when money is their bottom line. Therefore, the architect will never become obsolete because architecture is more than just constructing an aesthetically pleasing building. Architecture affects the way we live, improves conditions, is an expression of our values, even challenges societal norms, and is a reflection of the times. The architect is the master that knows how to piece all these things together contextually, aesthetically, and spatially to produce something that is valuable, aspirational, environmental, social, rebellious, political, religious, expressive or whatever truth is trying to be told of the client, the context, or the time.

The house is a place to provide facilities for sleeping, eating and hygiene. However, the psychological significance of it, is often being overlooked within the context of architecture. The house is a place where individuals are protected and restored, so it is crucial for the design to consider the psychological and social opportunities of these environments, and provide the necessary protection and healing experience to the users in order to recharge their body, mind, soul and relationships.

HOUSE AS HEALING H O -TA I W O N G

The house is an enclosed three-dimensional entity, with order established by the arrangement of mass (enclosed protected space) / void (opened unprotected space). Using a Grasshopper script, individual modules can be tested with different mass and void incorporated in them, to establish ways of opening up a space and analyze how they can create places to support protection and recovery. The outputs can then be refined into livable units, and create the actual building by combining the different modules. These modules have different functions, just like medicines in a pill container, in which the users will go through a sequence of healing, transforming themselves from a dirty, tired, stressed worker to a happy, reenergized person. With the building framework, different iterations can be created to suit the needs of different family types. The system can also accommodate the changing needs of the occupants as they go through different stage of their life (i.e. co-living space during the start of their career, starting a family or home office, hideout during pandemics etc.). In short, this new housing prototype raises the “content awareness” of the owners, by giving them the tools and platform to rethink the house as a place for protection and recovery, and also what content they actually need in a house. This will challenge the “American Dream” of having big houses. The purpose of this building system is to let occupants have the flexibility and affordability to build the healthy lifestyle they want to live. 287

O N S U B J E C T I V I T Y, CONTENT AND THE ARCHITECT M I C H E L L E B O OTSMA

Architecture exists within a content-based framework. How do we begin to integrate this content into the design process? How does this content have autonomy over the architecture, if at all? What is the architect’s role within this? Architecture must be the result of a collaborative network. Design should be a problem-solving conversation between multiple bodies ranging from the people designing, the tools they have at their disposal, the landscape in which the design is situated, and the varied contexts in which the design is embedded. That is not necessarily to say that architecture must be designed by two or more people, but instead that it must in some way consider and be molded by more than just a single designer and their subjectivity. How do these different bodies push and pull upon an architecture, and how do designers react to these forces? The importance of iteration in this discourse is invaluable, especially when paired with a repeated introduction of these influencers throughout the process of design. This type of collaborative, iterative design mindset might be described as resulting in “a shift from designing “things” (objects) to designing “Things” (sociomaterial assemblies of human and non-human elements), meaning that the object of design [is] changing - not only products, but more complex items, entering new environments…” (Ehn, 2008). In this is an attempt to avoid architecture as an object which is nothing more

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than a “thing”, meaningless sculpture void of identity as it fails relates to the content existing around itself. However, it is not just the content exterior to a project which ought to be examined, but also that which is a part of the design process and the architecture itself. One might consider the literal tools used in the design process to create form and shape. There is an inherent impact of the chosen tool on the outcome. What a program or material is capable of outputting will of course limit in some way the resulting design, and thus the choice of tool, while a subjective decision by the designer, will perhaps have its own influence over the result. For example, integrating CAD into design work may have unintended side effects. While it may allow for incredibly detailed models, the workflow is such that the project may become backloaded, impacting the productions of the design in an unintended way (Fixson, S.K. and Marion, T.J, 2012). Even just the choice to use a CAD program will likely influence the formal qualities of the design. Alternatively, if a design is first considered in plan, the result will likely be much different than if it were considered initially in section. The intended takeaway in describing these effects is that the architect must be aware of the impact of the content used even within their own design process and must consider how to integrate that within

their own dynamic system. The creation of architecture should be seen as a participatory design process in which these non-human elements (things like history, social context, landscape, tools, time, etc.) are stakeholders in a conversation. Rather than rendering these elements as simply things that exist beside an architecture, it is better to take a systems dynamics approach in regarding this network. In this, we should consider the actions and interactions of these elements. Systems are made up of objects which have relationships to one another, all of which are driven by a function or a goal (Wright & Meadows, 2009). The thinking behind this approach can also be applied to a system consisting of conditions as well as objects. Of course, it would not make sense to attempt to equally consider all available content in curating a dynamic system. The architect must determine what the real stakeholders of a project might be, and then integrate them into the system so that they begin to influence the design. The architect should not explicitly determine how the content interacts with the design so much as what content is allowed to. It is thus the architect’s position to use their subjectivity as a designer in the curation of this system of content, rather than to use their subjectivity as a dictatorship over a design.

References: Ehn, P. (2008), “Participation in Design Things”, PDC ‘08 Proceedings of the Tenth Anniversary Conference on Participatory Design Fixson, S.K. and Marion, T.J. (2012), Side Effect of Digital Design Tools in NPD. J Prod Innov Manag, 29: 140-156. doi:10.1111/j.1540-5885.2012.00959.x Wright, D. and Meadows, D. H. (2009). Thinking in systems : A primer.

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AN ARCHITECTURE OF EVOLUTION AND E M PAT H Y SEANNA GUILLEMIN

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April, 2020 Our role as architects, given whichever programmatic context, is to study both the given and predictive characteristics of a society to establish a human impact for its architecture. Meaning, architectural design has the ability to serve, improve, and reimagine social function as it evolves through a series of behaviour-driven adaptations. Architecture is content aware – it is conditioned, given a set of societal and contextual surroundings, and when we alter the social circumstance, the architecture is massaged and re-shaped in response to the demands of that human need. Many of the seemingly “normal” characteristics of today’s architecture, whatever that may be for any society, have developed as a response to an evolved social or public health crises. Bedroom windows became required by newly established health codes because tuberculosis was the largest cause of childhood death during the height of the Industrial Revolution in England. Building densities were controlled due to the fire safety regulations of the risk levels in various building typologies. And today, we will almost certainly see the emergence of a new approach to architecture as the COVID-19 Coronavirus global pandemic has drastically changed the way we move through and occupy space. While the idea of a six-foot circle around every individual may

today seem drastic, as a design driver it will be immediate and profound as it evolves as a foundation for society’s health in the coming months. The architecture within a given society demands change alongside the changes that affect its people. In this sense, architecture cannot be seen as the end result, since there is no “end” or solution to an evolving problem. Instead architecture should be looked at as the means of understanding human circumstance, questioning the predictability of human behaviour, and challenging future interpretations. This is the evolution of architecture. Due to the global mandates for isolation, our society will begin to recognize the social and psychological aspects of design, highlighting the importance of ‘good’ architectural strategy to the overall success of a space. Even more so, as the operational demands of our society change and we continue to develop new solutions improving collective behaviour, it will force societies to criticize what an archaic architectural ‘norm’ could do to the detriment and suffering of its users. The pivot point is when the existing framework begins to negate the opportunity for health and efficiency within a society. It’s oppressive, isolating, and frustrating, and it begs all designers to re-evaluate the existing framework through the lens of empathetic design. What’s interesting, is that a similar problem

existed long before this global pandemic, and yet is something, as architects, we continue to ignore. In our society, the emphatic approach to design is not new. In fact, it has been a “movement” that our society has struggled for decades to collectively recognize. This is the movement of inclusivity. Brought on by the recognition of alternative navigation, it is a movement for behaviour-driven adaptation that is often dismissed. Much like tacking on a ramp to an otherwise “complete” design, it is still common nowadays to look at our built world and see inclusive design as an added afterthought made to enhance an otherwise “normal” design baseline. This approach is archaic and socially dysfunctional and has been for years. Designing for inclusive function does not have to be looked at as a constraint or limitation but an opportunity for aesthetic expression and yet it is still deployed as a supplementary lens in design. If the inclusivity movement were to evolve into a new architecture, then handrails would no longer be considered as simply additive “features” but become an integral part of the shape of the façade. Floors and walls would function as visual, tactile, and audible languages for navigation and wayfinding. Our buildings would embrace the call for change and begin to speak to us and respond in ways that assist our daily functions instead of restraining them. This is an evolution of an empathetic architecture. This is what we need.

Architectural design has an extraordinary ability to provide empathetic reasoning to the spaces we create for people. Opportunities for architectural reach will always exist in a society that constantly requires adaptations for improved living. It is our responsibility as architects to embrace improvements and change the fabric of our environment by making those voices heard. Architecture is not an end but a means that allows us to address an evolving human condition. The people that inhabit our buildings will change but if we remember, on a fundamental level, that we are striving to improve human lives through our work then we are one step closer to embracing the needs of today and providing a more empathetic approach to the architecture of our future. Images: “Oregon State Tuberculosis Hospital Open Air Pavilion.” Unknown Author. Circa 1920s. “Coronavirus Testing Centre in Kuwait.” Ryan Miller. March 16, USA Today “Blind Field Shuttle” experiment by Carmen Papalia. 2016. Article “Practicing Accessibility” by Jacqueline Bell published in Field Journal. Study focuses on empathy for accessibility.

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THE YOUNG AUTHORS OF ARCHITECTURE A L E X A N D R I A P A N K R AT Z

Architecture, a word that describes passion and beauty The past and the future. An evolving word that has no limitations of imagination But holds the power to captivate a given soul to stand in awe of its presence. Architecture has the ability to reform, reconstruct and renew Any given place no matter the size. It has the ability to bring individuals together Build new connections And reshape our objections The chance to share knowledge, experience and proficiencies. Architecture is even more.

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Itâ&#x20AC;&#x2122;s the chance to anew the future with knowledge from the past and present. A time for young authors of architecture to be luminescent In a world of chaos. Young authors are given the chance to rise in a time of a pandemic. A time to use the restricted movement And government statements As a way to revolutionize: Community Public space Health care Social gatherings Education and Housing To aid in advancing the generation to come And make people understand how we can rise above chaos together.

As young authors of architecture we are often timid Or close minded, we fear being original. Young authors must stand-up Withstand failure that is to come For there will be failure Without it, we have learned nothing. Failure brings creativity and innovation. Young authors, donâ&#x20AC;&#x2122;t be afraid Stand up, hold your ground, and grown your character. Know that all young authors have the ability to transform Renew and refocus Reform and reconstruct Young authors of architecture Be brave Be passionate Be bold And always be opened minded. 293

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Who is the future for? What will be left of our world if we continue to progress the way we are? Thought of the built environment, can architects and designers really make a difference? We see the issues that affect our planet and we see the potential the future of architecture has; yet, we have not taken enough steps to help our planet. So, what does the future of the architecture entail? Collaboration. Collaboration is key to help the field progress into a better world. This will allow for groups of people, that have expertise, to design for better, sustainable, and viable architecture. Clients are becoming more fascinated by outside of the box thinking. Therefore, the physical box of a building will begin to disappear. Architects and designers will need to collaborate with experts from different disciplines to address the changes that are coming. Specialists in fields such as social anthropology or environmental science a, will join design studios due to the complex projects that will begin to emerge. The expertise and knowledge in these fields will become vital to every project. Buildings will become much more useful rather than being flashy and could be built with materials that are not yet used in the built environment. Collaboration with system leaders will be a necessity in order to meeting complex structural needs as well as

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moving towards a sustainable world. â&#x20AC;&#x153;Sustainability is the process of living within the limits of available physical, natural and social resources in ways that allow the living systems in which humans are embedded to thrive in perpetuity.â&#x20AC;? â&#x20AC;&#x201C; University of Alberta. Present dependency on fossil fuels have made attempts to shift to renewable technology slow and challenging. However, sustainable architecture is the key to an environmentally positive future which extends into economic, social and environmental considerations. The reasons or motivation to be a part of this growing conscience are often complex, personal and diverse. Yet, there is a desire for it to become a seamless part of our lives. By living economically with our resources, we can protect our environment and the changing climate. Solar strategies would be the starting point for the public to engage with renewable resources at a global level. Almost all habitable places around the world receive a certain portion of sunlight as a part of the day-night cycle. This biological entity responds to these cycles through patterns known as circadian rhythms. This concept of an active system that responds to the changing solar dynamics of a site not only generates energy but managing power and

move economic and social life. Architecture and agency are extremely important in the evolving view of the future of architecture. Agency can help facilitate people that are aiming to make differences in this field. Collaboration in agencies will allow for brilliant minds to band together and make changes that will better our world. Technologies that are environmentally responsible and resource efficient will mitigate the effects of climate change and bring the future of architecture to a new frontier. References Vision, Mission, Values. University of Alberta - Students Union. Accessed April 18, 2020. https://www. su.ualberta.ca/services/sustainsu/about/mission_stat/. https://www.enfocus.com/en/blog/digital-printingwhat-does-the-future-hold https://techcrunch.com/2019/10/18/who-will-ownthe-future-of-transportation/ https://www.cobizmag.com/Trends/31-Ways-AI-WillAffect-the-Future-of-Entertainment/

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THIS. IS. THE. REAL WORLD ALEXANDER SEMEGEN

In Architecture school we’re taught to find something unique about a project and its site and use it as a catalyst for the piece of architecture that we design for it, whatever the program may be, whoever the client may be, and wherever the site may be, in order for this piece of architecture to be interesting and unique in its own and tell a story to its users. Too often in our profession, this small but important piece of designing a building is forgotten about in our process, and we try to justify our actions by saying “This is the real world”. But, there’s a reason why in architecture school we try and dissect every detail about the site, the history of it, and research the programming so we understand all aspects of the project. It isn’t just a checklist item, or a bunch of data, research and diagrams to fill a spread in a proposal submission in order to dupe our clients into thinking we know enough to make a great piece of architecture for them. Its so we actually do know enough to make a great piece of architecture, one that stands out as unique, and not just another generic looking building. When we skip this piece of the design process, we miss out on finding what it is that will make this project truly special, and when we miss out on these unique qualities, we don’t give the building the chance to be what it wants to be,

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or tell the story we want it to tell. The building then lacks in interest and in culture. The truth is, there aren’t many of us that are actually trying to push the boundary of architecture and design, and some of us might not even have any interest at all in creating unique architecture. But, in my mind, architecture should always start as fictional. We need to design buildings inspired by our world today for a world that doesn’t yet exist, for a world we want to one day see exist. At the end of the day, to some, architecture is just a business, a job in order to bring home a living. But as other professions such as lawyers have the duty to seek the truth in order to defend their clients, and a doctor has the duty to maintain and improve safety and quality of patient care in order to care for their own patients, I believe its an architects job to not only protect the public, but to give the public something to be proud of, something to be inspired by. Contrary to popular belief in this profession, architects cannot change the world alone, but they can make a difference in the world by changing the experiences of people that one day will also make a difference. Architecture is about telling stories, even the real world has more than a few stories to tell.

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ARCHITECTURE F OR BALANCE R A J AT V E R M A

Architecture can be considered as an assemblage of human history, beliefs, social norms, cultural practices, economic standing and available resources (man-made and natural). This vastness of architecture can be broadly classified between the intangible and the tangible. Historically, the intangible entities have dictated the forms, designlanguage and spatial organization of a region. In recent decades, globalization has substantially eroded the intangible layer, thereby compromising vernacularism. The tangible aspects are strongly governed by the evolving construction techniques, economic prowess and innovation in material. These improvements essentially regularize the processes of human interaction and workflow. This rigidity typically eradicates the organicity in the process, making the outcome efficient but emotionally devoid. There seems to be a need to balance these classifications of architecture, to nurture a more enriching architectural setup, both culturally and economically, around the globe. 1_Can we align the computational potential of computer-aided design with the cultural aesthetics of a region? 2_Can the global phenomenon of migration retain a certain identity of a place? 3_What can the role of architects mean in the future of architecture?

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1_Digital visualization techniques are showcasing previously in-comprehensible design; in-terms of scale, shape and structure. Design routes such as parametric design is providing modular and replicable entities that combine to frame a grand piece of architecture. Such interventions in designthinking and production shows the rising dependency on computer-aided design. The industry demands the knowledge of CAD and BIM softwares form its workforce, for reasons of developing standards around accurate document production. The rationale around the production process certainly delivers safety but limits the creative acumen of the professionals by the extent of skills acquired around these tools. Fig. 1 is a conceptual representation of the first exercise of the final studio. the intention is to allow a software to assist a creative idea and not to define the creation. The process applies opacity reduction and overlay in a redundant format to eventually produce a profile of a new furniture piece. A mix of accent chairs and armchairs, with a few quirky contemporary designs are handpicked in the process. The choice is based on popularity. The sources of the chosen images are some of the trendiest and widely used websites in North America. The intention is

to use the software as a lens to bring higher definition to an idea and further use oneâ&#x20AC;&#x2122;s creative insight to consciously mark the silhouette of a possible outcome manually. The intangibles of ongoing fashion and trends are bundled to give a tangible outline to an everyday chair. 2_The industrial age lead to the mass exchange of global practices and styles of architecture. As information became available, the lure to travel and migration for recreation, economic, and political reasons became stronger. Over the turn of the century, this racial intermix in popular cities around the globe has blurred the lines between local preferences of food, art, language and even architecture. Going in the future, the need of a global architecture is evident which caters to humanity rather than a race or time of the human species. Fig. 2 is a collage showcasing the need for densification and the project provides an alternate to the pre-existing model of a Chicago Bungalow. The intention is based on the realization that todayâ&#x20AC;&#x2122;s international exchange is not limited to goods, but also to lifestyle, culture, cuisine and ideology. The sustenance of a particular social, economic and religious setup in a neighborhood is

difficult to maintain for long periods. The influx of such intangible elements need to be represented with affordable and ethnicallyneutral architecture, in terms of aesthetics and spatial needs. 3_As an investigative idea, it is important to evaluate the evolution and innovation in material, sustainable technology, construction techniques and all the critical tectonics of an architectural process. More thought and components are getting associated with every project, irrespective of the scale. Each component requiring its own designated specialist for incorporating the most efficient system given the budget, time and resources at disposal.

interface of the future of architecture as new roles of leaderships are going to defined. Conclusively, the manifesto speaks of an architecture that is guided by a non-linear process, where the redundancy of systems are combined with fluidic human creativity, human needs are prioritized qualitatively and not quantitatively, and professionals acknowledge the growing tectonic complexities to produce an inter-dependent whole. The idea points to the celebration of diversity, in man, machine and information, as an essential aspect of the future of architecture.

Adoption of integrated design is a wellrecognized strategy which empowers the various consultants of a project to participate in a productive information exchange to deliver a cohesive outcome. This method enables it to be a human-centered design, in terms of design-thinking and managementframework. The tangible output is hence supported by a gamut of information and experience transaction which enables early troubleshooting to safeguard the interests of the stakeholders. Hence, the role of an architect extends deeply into the human 299

ARCHITECTURAL STORY TELLING R O SS R I C U PE R O

Architecture has an incredible power to craft the environments we live, work and play in. It is a critical element of what we see, hear, feel and experience in our daily lives. From the privacy of the home, to the community of our public spaces, architectural design is a foundational component of our life. So rightfully there has been a growing focus on how architecture can do better. Be more efficient, more sustainable, healthier and more accessible. How can we design spaces that do more while consuming less? How do we respond to pandemic? How to design for all instead of some? Technology has enabled architects to push the craft further than ever before. Net-zero buildings are now possible, and so are extreme heights. We can withstand disasters through careful design, or reclaim existing spaces in new, thoughtful ways. In the studio we experiment with parametric, robotics, organic algorithms and artificial intelligence to generate forms weâ&#x20AC;&#x2122;ve never considered before. In the classroom we focus on sustainability, energy efficiency and environmental sensitivity. â&#x20AC;ŚAnd in the current state of the world, these are critical considerations and an important focus for all practitioners. But have we forgotten a dimension? Storytelling may seem a secondary or even tertiary element of architecture when confronted with the challenges of the

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contemporary world. An element for other fields of culture such as cinema, writing and video games. Architects have an important role in the design and realization of the physical spaces of our society, but more and more human interaction takes place in spaces beyond this scope, in virtual or fictional environments. These spaces are a form of architecture where storytelling and environmental narrative are the primary concern. The luxury of crafting these spaces without the burden of material realities, human safety, cost, construction, etc. enables this focus of course. It is a craft that can safely ignore the difficult realities architects must face in the realization of a project. These environmental narrative spaces are a huge element of day-to-day life for many people and represent a realm of human interaction that spans the globe. They cannot replace the real spaces of our society, but for many they have become more important psychologically. This is not to suggest that we design real buildings as if they were a video game, but rather to embrace the study and exploration of fictional spaces more than we currently do. What can we learn from them? What can be discovered by treating an architectural project like a movie set design? Ignoring the required realities behind the scenes and simply focusing on the immediate goal? Of course, this project could never be built.

As architects we canâ&#x20AC;&#x2122;t ignore reality. But dismissing this endeavour as fruitless risks ignoring the critical element in these spaces; storytelling. Excellent versions of these fictional spaces are designed with story or environmental narrative as the primary goal. This is what makes them engaging. This is what drives millions to experience them. It is the purpose for their craft, and the message of their designers. This is the lesson we can learn from them. We are a species of storytellers. It is what draws us to engage with one another. It is what creates passion and emotion. How we each communicate our story is as unique as we are, and an important part of our contribution to each other. Architecture has an incredible power to craft the environments we live, work and play in. It is a critical element of what we see, hear, feel and experience in our daily lives. It is rightfully focussed on tackling the issues of today but cannot do so at the expense of ignoring the story it tells, or the narrative it crafts. An architect is telling a story through their design. It is our unique way of communicating. We may not be the craftsman that makes the design real, but that design we produce is our narrative. Our focus right now should be sustainability, health and efficiency, but forgetting storytelling in our work is a disservice to not only ourselves, but to those that we design for. 3 01

INTEGRITY IN ARCHITECTURE SAMAN ABOUTORAB

The Architectural design process begins from a necessity. The desire to fulfill this necessity can be responded in a numerous way, all of which could be called “Design”, whether produced by an architect or by an ordinary man. In this regards, the difference between the design as an outcome by an ordinary man and as a product created by an architect could not be found in the intent, as both of them are trying to respond to the necessity, but it could be found in the way each one would seek to answer the problem. The design for ordinary man comes from improvising while for the architect, it is a manner of standing on the shoulder of giants. The designer learns how to give shape to the intent though years of experience (either by him or herself or by learning from his or her precedents). Hara Kenya describes it as “ the future lies ahead of us, but behind us there is also a great accumulation of history, a resource for imagination and creativity.” This act of experiencing, studying and learning from experiences is beneficial not only in improving ways of creating but also in shaping the intent of design. I believe there is a two-phase cyclic process for the design practice to be shaped: first the intent and second the creation of the intent. The vision for intent could be evolved from the experience which is gained through

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the process of creation. In other words, it is required for the architect to learn the lessons of construction and apply them to the design. Otherwise, sometimes seemingly brilliant ideas might come to the novice mind, but feasibility and converting them to the real world would make them unreliable. In this way, the true design experience is collected either by hand in experience or by studying experiences of the precedents and that could finally lead to definition of more refined intents. As Schön mentions “We should think about practice as a setting not only for the application of knowledge but for its generation.” One general story that has happened a lot for most of superior designers was that the designer has started the process of designing from a prevalent style of the time and by practicing the common way of thinking and building has surpassed those concepts and reached to his own style or even to the point of refutation of any style. The higher vision beyond fulfilling a requirement for an architect is to bring about integrity on according to its context with his or her design. Integrity comes from within the proposed design and it goes beyond itself to the user and the society who would benefit it. This is the highest achievement of a designer. To illustrate this point, someone may collect different pieces of various kinds of woods and

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put them to assemble a chair. On the other hand, a designer may think about the scale of different pieces together, the harmony of different kind of woods together, the kind of people and their gesture while sitting on this object and so on. The temptation to be famous in today’s world is a trap for each designer while The goal of design should be about integrity. The architect should be aware of the moment when designing something new just in order to let him or her be recognized as someone innovative with new ideas instead of someone who could be beneficial to its users by bringing harmony to their lives. Kenya Hara describe this chaotic whirlpool of design as a situation where it is “… accustomed to showing its strength in making what’s fresh today looks old tomorrow.” Obviously being famously innovative and having integrity is not in contradiction. However, the goal of doing architecture should be clearly defined for the designer in one way or another. The designer (let’s say a professional one who design for others) has to put him or herself into the shoes of the user and anticipate the future use of his or product. Whether it’s a building to be occupied, a window to be stayed behind and looked through visually or a cigarette ashtray to be an object to hold cigarette, in all of the scenarios, the designer has to imagine user

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in the context of objects surrounding him or her and while the necessity of the problem is answered by his or her design think about his or her product could bring about integrity to the way of living of user.

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different groups of people. So, the best way of dealing with this dilemma is to getting away from specific kind of tastes in design and have an approach toward integrity as a common admirable sense toward living with that design.

Architects as designers who build probably the most notable artifacts as buildings in the context of a city where people at all times could not ignore the outcome have a heavier duty in fulfilling the requirements. The requirements of the users of a buildings could be addressed through program phase of design. They could experience the function of an architecture by spending time and demanding different spaces and needs within it. However, it is not the users, but the passengers of the city around that piece of architectures that create a vast amount of population that would criticize and react to our products as long as the building is standing on its ground. Those people would experience the building too, not by rational functions of it, but by aesthetic functions. In this way, without a doubt everyone would have his or her own taste of aesthetic about different designs. We, as architects, definitely cannot respond to everyone’s aesthetic wishes when designing in the larger context. However, getting obsessed with our personal artistic tendencies or prevalent styles of the time would lead more probably to creating disagreement among 303