ISSUE:007 by UT School of Architecture

ISSUE:

Volume 007 / UTSoA Student Work 2010

Studio Abstracts 130 130 130 131 131 131 132 132 132 133 133 133 134 134 134 135 135 135 136 136 136 137 137 137 138 138 138 139

Design in the Realm of the Senses: Forming a Foundation / Joyce Rosner, Coordinator Simon Atkinson, Allison Gaskins, Clay Odom, & Igor Siddiqui Library / John Blood, Coordinator Alan Knox, Eva Schone, & Juan Miro Austin Poetry and Literature Center / Tamie Glass Architecture and the Fourth Dimension / Judy Birdsong Flow / Larry Doll & Danilo Udovicki-Selb Cowboy Pliers and YouTube: A Design-Build Adventure / Jack Sanders SuperElevation: Velodrome Study in Geometry / Clay Shortall Perfume Boutique as Generator of Material Investigations / Lois Weinthal Studio Ex Situ / Elizabeth Alford Wood Works! / Ulrich Dangel Systematic Geometries and Public Space / Elizabeth Danze & David Heymann Mediating the Public Private: Considering Interstitial Space / Kim Furlong Foams, Wools, & Aggregates: Spatialities of Low-Embodied Energy Construction / Cisco Gomes Informal Texas / Fernando Lara The Dallas Urban Laboratory Studio: Watershed Urbanism / Dean Almy Sculpture Museum and Garden for the Austin Museum of Art, Laguna Gloria / Michael Benedikt Information Integration / Danelle Briscoe Design in Detail: Public Library / Ernesto Cragnolino & Kevin Alter Dynamic Interventions / Coleman Coker European Study Program: Projection / Larry Doll & Danilo Udovicki-Selb Environmental Learning Center for Matagorda Nature Park / Michael Garrison Health, Physical Activity and the Park / Hope Hasbrouck Preservation and Rejuvenation of the Dallas Statler Hilton / Carl Matthews Reading the Italian City / Smilja Milovanovic-Bertram Air Museum CAF 2010 / Vince Snyder Downtown Mixed-Use Development / Wilfred Wang Tools + Techniques, Programs + Performances / Jason Sowell Landscape Plan for the Waller Creek District / Allan Shearer

Symposia

122 122

Center for Sustainable Development Sustainability Symposium II / Jay Banner, Jeffrey Basile, Karen Blaney, Max Brodsky, Richard L. Corsi, Ulrich Dangel, Thomas F. Edgar, Matt Fajkus, Frances Gale, Andrew Garrison, Alice Gerhart, Philip Hawkins, Michael Holleran, Meagan Jones, Blanca Juarez, Steven Lanoux, Rachel Le Bansky, Elizabeth J. Mueller, Dennis Nolan, Rusty Osborne, Carin Peterson, Matt Peterworth, Janet Reed, Susan Rieff, Deborah Salzberg, Daniel Schreiber, Dr. Carolyn Seepersad, Jennifer Single tary, Luis Tejerina, Riley Triggs, Bethany Ramey Trombley, Heather K. Way, and Dr. Michael Webber Landscape Forms: X-treme LA Workshop Bill Main / Honorary ASLA and President, Landscape Forms Frederick Steiner / Dean, School of Architecture, UTSoA Barbara Deutsch / Executive Director, Landscape Architecture Foundation Susannah C. Drake RLA, RA / Principal, dlandstudio Sarah Kuehl / Partner, Peter Walker and Partners Landscape Architecture Dean Almy / Director Landscape Architecture, UTSoA

Exhibitions

Academic Practice: Faculty Work The Future of Austin: A History | Speculative Practice Traces & Trajectories: Alumni Exhibition

124 126 128

Studio Work 140 142 144 146 148 150 152 154 156 158 162 164 166 170 172 174 176 178 180 182 184 186 188 192 194

Fall

Matagorda Landscape / Noah Marciniak Taylor Installation / Ty Larson Thinkscape / Blake Smith West Campus Student Housing / Kate Bedford Systematic Geometries and Institutional Space / Michael Beene Waller Creek District Master Plan / Laura Bryant, Yvonne Ellis, Noah Halbach, & Berman Rivera Estrangement Project / Whole Class Austin Public Library Poetry & Literature Center / Rose Wilkowski Chapel Near Mission Espada / Chris Ferguson Commemorative Air Force Museum / Travis Avery & Ross Galloway The Statler Hilton / Kendra Locklear Austin Velodrome Complex / Hector Garcia-Castrillo Cottages for Daydreams, Love, and Dying / Andrew Jackson Hall Highland Mall Recreational Preserve / Chelsea Larsson Commemorative Air Force Air Museum / Andrew Logan & Kristen Newton Austin Seed Bank / Tyler Noblin Perfume Boutique / Kate Blocker Chiaroscuro Nature Center / Travis Cook & Alberto Rodriguez Highland Revitalization / Noel Ramirez Estuarial Habituation / John Paul Rysavy Sculpture Museum at Laguna Gloria / Natalie Thomas Depth of Field / Raina Michalovic, Beau Pesa, Dimitra Theochari, & Aubrey Weeks Design in Detail: Public Library / Jesse Mainwaring & Michael Wiegmann Aural Topographies / Alex Odom Explore Room / Hannah Zhang

Lectures

120

Carlos Jimenez / Carlos Jimenez Studio Kongjian Yu / Turenscape Ned Kahn / Ned Kahn Studios Dr. Juan Ignacio del Cueto / Facultad de Arquitectura, UNAM Fares El-Dahdah / Rice University Stephen Luoni / University of Arkansas Community Design Center Julio César Pérez / CEU Cuba Calvin Tsao / Tsao & McKown Architects Juan Miro / Miro Rivera Architects Karen M’Closkey / PEG office of landscape + architecture Mehrdad Yazdani / Yazdani Studio Steven Windhager / Sustainable Sites Initiative Craig Dykers & Elaine Molinar / Snohetta Architects Wendy Dunnam Tita / Dunnam Tita, Architecture + Interiors Hal Box / W. L. Moody Professor Emeritus, UTSoA Dean 1976-1992

Course Work Manufacturing Insecurity / Esther Sullivan Study in Italy: Travel Sketches / Agustin Cepeda Porous / Blake Smith Site Analysis Tactic: Painting / Erika Huddleston Thesis: Prescribing Catalytic Opportunities / Edna Ledesma Legs and Top: Look. Don’t touch. / CJ MacQuarrie Weave / Seth Brunner Food for Thought / Laura Wagner

196 198 200 202 204 208 210 212

UTSoA Centennial Celebration Lecture Interviewed by Jenna Dezinski & John Paul Rysavy Craig Dykers, MNAL, AIA was the keynote speaker at UTSoA’s Centennial Celebration. Craig graduated from UTSoA with a Bachelors of Architecture in 1985. He went on to found Snohetta, an international award-winning architecture and landscape architecture firm based in Oslo, Norway. Elaine Molinar, MNAL (UTSoA B.Arch. ‘88) is the Director of Strategic Planning and Business Development at Snohetta.

Interview: Craig Dykers & Elaine Molinar ISSUE: How did you get into architecture? Molinar: Growing up I had a variety of interests and no idea how I’d be able to put them together in any meaningful way until I studied architecture, where you can combine all sort of things – art, drawing, painting, sewing, dancing – whatever it is, it’s all there. Dykers: On the surface my history seems tangential. I went from an interest in fashion and business, to an interest in medicine then art and finally architecture. In retrospect all of these studies have to do with the human condition; they’re related to how the human body functions. Elaine and I we were fortunate, we did not have an immediate indoctrination into architecture. ISSUE: Do you find that those same areas of study still inspire your work? Molinar: For me there has been a specific connection in that I’ve had the opportunity to design opera theaters and dance theaters and my experience of knowing what dancers do, what kind of space they need and what they don’t like, and what they like are very direct for me. Dykers: For my part, I think I still sense the human being as a kind of real and fleshy thing, not an abstraction that is theoretical or purely academic. I see human beings as organic creatures, complicated, irrational life forms. ISSUE: In a lot of your projects, the landscape seems to have a significant role. How do you deal with landscape? Dykers: Many people misunderstand or misrepresent our dealings with

landscape. Landscape can be perceived as a nonthreatening opportunity for gardening. We’re looking at how landscape relates directly to the human experience and sometimes you actually ignore it or you even defile it. It’s not only about building it up or merging with it. A good number of projects do that, but it’s not the only route to understanding place. Sometimes it’s questioning place or ownership. Molinar: What’s important is that there is a defined attitude about it; that there is a very distinct connection, no matter what that is. It’s not just accidental. Dykers: And landscape can be geology – things that are hundreds of miles beneath the surface of the earth. It can be a planet or the sky. There’s not any clear belief system in our office that landscape exists purely as a skin of the earth that is soft; that is not man-made or manipulated. Each condition that buildings enter into is different. This can occur but there are many other works following different routes. The Karmøy Fishing Museum appears to be ignorant of the landscape. That had to do with the notion of what it is to be a fisherman, they often are utilitarian. The other extreme would probably be the Oslo opera where there’s a sensitive drama between a hill a mile away and the water that’s immediately at your feet. ISSUE: What do you see is the future of the building practice? Dykers: The profession of making buildings is going away, it’s too limited. Buildings in and of themselves cannot exist without an extensive support system. We have limited our profession to focus primarily on identity. This cannot address a society as complex as the one we live in. You will see in the future less focus on formal issues in building design and more focus on larger frameworks of planning connected to buildings. Molinar: There has been a recent trend of smaller practices being bought by large conglomerates. It remains to be seen what the effect of that is, but clearly younger and smaller design practices are

Norwegian National Opera and Ballet, Oslo, Norway / photographed by Jiri Havran

often forced out of the market. They may be equally capable and equally talented to compete on an upper level for larger or high profile projects, but they have a hard time when their competition can do everything for less money or provide a longer track record. Dykers: On the other side of it there can be an opposite swing to the pendulum. While the medium size offices are being bought up, there’s the need for work that those people simply can’t manage. Smaller companies will find different routes connected to communities. Those smaller groups will have built enough momentum that the rest of the world will have to take notice. ISSUE: That’s already happening in some places with smaller firms. Dykers: But it won’t happen if people just leave school and think: “I need to find a job” or “I wanna make a neat building”. If those two thoughts are primary then the pendulum will not swing back. The focus should be on broadening the profession. ISSUE: Many of those who are graduating are asking: “what do I do now?”

Molinar: It’s important to look outside of architecture to inspire architectural work or just to inspire yourself. UT is a great place to do that. The architecture school is not an isolated academy it’s on a campus where people are doing different things. Your friends are doing all kinds of different things that we never dream of as architects. Dykers: I was lucky enough to give a commencement speech at UT a while ago and I said: I hate to be telling you this, but architecture really isn’t that important. The less importance you give it, the more power it has. And that’s because it should be fed by everything else. It is a verb rather than a noun. Molinar: It’s like tofu. Architecture’s like tofu. Dykers: You season it, otherwise it has no taste. So, it’s important to go outside of the zeitgeist, to go outside of what clearly is defined as architecture. Elaine and I have a large library and most of the books are not architectural. Molinar: And most of our architecture books are technical. Dykers: I’m re-reading Temple Grandin’s Animals in Translation and Thinking in Pictures and also Seven Days in the Art World. And Elaine just finished Virginia Woolf’s… Molinar: …A Room of One’s Own.

Dykers: There was also a steep recession when we left school but I did not think about “the job thing.” It is best to positively confront these conditions. It means that there’s time to focus on what architecture should be about rather than the financial aspects of maintaining what is essentially a decadent profession. ISSUE: Digital and analog processes are challenged today. What is your response to this? Dykers: We say in our office that if you’re only thinking with your brain then you’re not really thinking. You need to think with your whole body and that means moving your hands and making physical things as well as working in the digital and mental state. ISSUE: Do you have advice for students with regards to design explorations?

Dykers: I think that really builds your ability to work with architecture. And that’s why architecture isn’t important. It is valuable but it can only be made important by its ability to qualify other things. Other people might see it differently but it cannot be argued that you must have a strong knowledge base before you begin thinking about architecture in another way...If we have a manifesto – I guess you eventually have to have one – that might be it....Our work tends to be about social conditions; there’s a lot of anthropological discussion. Landscape issues are under that category. There’s probably something that ties it all together, but the buildings aren’t immediately identifiable. I’m finding now that you can see some repetitiveness and that can only be solved in a couple of ways: you give more power to new people who have fresh attitudes. The other is to stretch yourself, which we did by opening an office in New York. We were quite comfortable in Oslo. Opening an office in New York created stress so that helped shake up things a little.

Interview / Fall 2010 / 120-121

Landscape Forms: X-treme LA Workshop Interviewed by Tim Campbell The third Xtreme LA Challenge was held September 22–24 in the School of Architecture at The University of Texas at Austin. Susannah C. Drake, RLA, RA, a principal at dlandstudio, and Sarah Kuehl of Peter Walker and Partners each led a team. Final presentations were given before an audience that included local officials and interested citizens.

Interview: Susannah Drake & Sarah Kuehl ISSUE: Can you briefly explain how you are intervening on the south side of Town Lake, and how are you approaching a master plan for the X-treme LA project? Kuehl: We’ve been charged with thinking about how landscape can give structure to that area - so it’s a master plan that lets landscape be the leading organizer, rather than just fiting in all the pieces. Drake: It’s more of a framework for future development and expansion of the city, than a master plan. We’re not that prescriptive, saying there needs to be this much development, but we aren’t being ignorant of the fact that development has to exist and there needs to be some kind of mechanism for financing the project. It’s not going to be just a big park. Kuehl: In many ways this is an experiment. We were both asked by Landscapeforms and the Dean [of the UTSoA] to come participate because of some demonstrated leadership in the field, but we are not so far from the young practitioners that we were foreign, but enough ahead of them that we had something to offer. Since we got here it’s been a little bit like being dropped on Mars: Here’s a problem, now go! Drake: With this project it’s my feeling that I’m the facilitator, not the principal. I think we’ve encouraged the designers to take a lot of license, have a lot of fun, and pursue their own ideas. Last night we were feeling like we came up with a really logical strategy but that it was lacking the nuances that we all love about Austin that we’re just starting to learn from being here for a day. I’m interested to see what materialized between 11:30 last night and 8 this morning. I have a feeling that a lot more of those nuances have come out.

ISSUE: Do you consider what you’re building to be landscape infrastructure? How would you classify your interventions? Drake: There are always these terms in landscape architecture – Landscape Urbanism, Ecological Urbanism – and basically, what we’re doing is just landscape architecture and urban design. We’re working from the ground up, and ground down, designing the whole ecosystem. I just wrote an article about the whole landscape urbanism debate for Topos, and I find that the more I think about it, the more nuances I can add to that discussion. It gets people thinking about the role of landscape in cities, that it’s not something that’s just pretty but can also be productive. ISSUE: Do you find it hard to integrate critical academic thinking into you work? Drake: It’s central to my work, the basis of my practice. I tend to look for projects that may be interesting, larger issues that may be facing the city, and then I turn them into real projects. I don’t wait for the project to be defined, I go out and research it and write about it and seek grant funding to pay for things that I think are worthy and get city agencies to back me. So the writing is crucial. For example, I saw there was a water management problem in New York City, so we did this research project around the Gowanus Canal and wrote about it and the work we did helped get federal funding and EPA funding, so we made the project. We couldn’t wait for the city to decide that they needed to actually solve their water problems by doing a new open space system. We said, “here’s a structure that a number of landscape architects could work with and we have money to do a piece of it”. I’m doing the same thing now in Queens with a project for the EPA. It’s a different business model. ISSUE: Speaking of the academic realm, can you speak about the role of the UT graduate students in this project? Drake: They’ve been amazing. They just fluidly came into the team and have tremendous local knowledge,

Landscape Forms: X-treme LA Workshop participants and work product.

great design and technical skills, and they weren’t shy, which is nice.

value of plants and plant material is just something that runs really deep in all of us, whether for food or beauty.

Kuehl: And they’ve done a yeoman’s job, steering people in the right direction.

ISSUE: What would be your dream project?

ISSUE: You two have been on juries at other graduate schools. What do you see being the strengths and weaknesses of landscape architecture programs? Drake: The thing that makes the program strongest is the interaction with the larger university. When students and faculty have resources for getting knowledge from a range of academic disciplines, I think that’s great enrichment. It seems like the strategic positioning and organization is in place here, from what I can tell. There are other programs where there isn’t support for landscape architecture but there is a guise of having a landscape program, but they won’t ever be able to fulfill an important need for the profession or advance discourse to the degree that they could if they embraced more crossdisciplinary research. ISSUE: What inspires you about the profession that keeps you going? Drake: There are so many untapped ideas in landscape architecture, so much we don’t know about how the environment works, and there is such an opportunity to combine formal thinking with consideration of ecological systems. That’s what gets me out of bed in the morning. There are all these engineered solutions to problems that are so limited in the scope of issues that they consider. As landscape architects, we have a broader, more geographically-based education which we can tap into. It’s a resource that architects and civil engineers don’t get training in, but we get to bring it all together, if we’ve enriched ourselves enough. Kuehl: I’ll give a much more mundane answer. The thing that is keeping me in landscape architecture right now is plants, which is appalling since I began with graffiti writing. The cultural, spiritual, and urban

Kuehl: Gosh, I have a list. I think everyone has a list of dream projects. I have a fantasy to make a documentary about landscape maintenance. I think it’s an untapped and super important subject. There are interesting ideas coming along regarding returning to low-tech, green infrastructure – nonengineered things that imply stewardship and maintenance of the land – but nobody’s figured out how we’re going to do it. That, I would love to do. Drake: I think that definitely needs to happen. Along with an awareness that if you are going to put up all this green infrastructure, there are costs to maintaining it. We need to be thinking about different financial structures to bear those costs. ISSUE: What advice can you give to graduates? Drake: Well, you’ve chosen landscape architecture not because it’s just a job but because it’s something you’re interested in. If you’re passionate about something and work hard you’ll be able to make change. Find what you love to do and then you’ll figure out a way to support yourself doing it. If you love what you do, it’s not even work. Kuehl: And I would say just always keep your own work going. If you take a job for financial reasons, or to learn how to grade really well, or to learn how the profession works, keep your own stranger, more creative ideas alive through drawing, or writing, or competitions. Don’t give up on your own creative process or put that energy into complaining about the person you work for. Ultimately you will emerge with your own voice. Drake: I agree, I think that’s absolutely fundamental. Also keep your eyes open to different ways of funding those ideas. If you have independent work that you want to do, there are resources out there to do it. Look for resources that aren’t necessarily funding design projects. It’s an untapped world where designers can have a big impact. Kuehl: Because the designers are only talking to each other! Drake: Exactly, we need to stop being so insular.

Interview / Spring 2010 / 122-123

UTSoA Centennial Celebration Series Mebane Gallery, August 30 - September 24, 2010

Sustainable Architecture in Vorarlberg Energy Concepts and Construction Systems Ulrich Dangel

Academic Practice: Faculty Work Of the myriad characteristics that collectively define The University of Texas at Austin School of Architecture, perhaps none are more telling than the values of its faculty. Members of the faculty define the curriculum and teach the courses as an encapsulation of their principles, and course content is delivered through the lens of faculty ideals. Like all major universities, the University of Texas at Austin requires that faculty be actively involved in scholarship. Faculty advance the field through their work and in so doing define their own knowledge base and their value systems. More than the School of Architecture’s public presence through its literature and reputation, faculty accomplishments portray what they know, the range of their interests, and what they value in the field. The work presented in “Academic Practice: An Exhibition of Faculty Work” from The University of Texas School of Architecture” provides a window into its faculty’s values and, as a result, the principles that guide the school. “Academic Practice” also provides a window into the future of the School of Architecture. While other institutions seem headed towards a focus on formal innovation and the novelty of invention, the values set forth in “Academic Practice” suggest a different path for the University of Texas at Austin. Guiding the pedagogy at the School of Architecture is a faculty committed to relevancy, significance, and a meaningful engagement with the outside world.

PARTICIPATING FACULTY: Elizabeth Alford Dean Almy Anthony Alofsin Kevin Alter Simon Atkinson Sinclair Black John Blood Hal Box Danelle Briscoe Angelo Bucci Ernesto Cragnolino Ulrich Dangel Elizabeth Danze Larry Doll Matt Fajkus Michael Garrison Tamie Glass Francisco Gomes Louise Harpman Hope Hasbrouck Jason Sowell David Heymann Barbara Hoidn Nancy Kwallek Mark Maçek Smilja Milovanovic-Bertram Juan Miró Allan Shearer Igor Siddiqui Vince Snyder Larry Speck Frederick Steiner Danilo Udovicki-Selb Wilfried Wang Dason Whitsett Lois Weinthal

CURATED BY KEVIN ALTER & CISCO GOMES with the assistance of CHARLTON LEWIS

Exhibition / Fall 2010 / 124-125

UTSoA Centennial Celebration Series On Display in Mebane Gallery October 4-29, 2010

a grand plaza flanked by large civic and mixed-use facilities terminates the Eastward axis from the capitol, bridging the landmark with the East Austin community.

two levels of structured parking behind a retail front form a green plinthe meeting the East side at an elevated grade. Above, a hybrid of range of medium-to-high density housing types accomodates many income levels.

the terrace slopes gradually down to a green expanse revealing a pocket park to the East featuring a historic landmark home, one which perhaps will be the last remaining house of the historic neighborhood scale to flank the freeway. To the west, a prominent facade announces the parking entrance, retail, and restaurants.

a generous span of sidewalk greets 6th-street promenaders, facilitating events and enticing them to peruse the boulevard toward East 7th or Saltillo Plaza.

E FLOW

a prominent structure is recessed 1/2-block back from the freeway, signaling the start of a high-traffic transit-oriented development. The large swath of public space lends itself to an opportunity to absorb infinite parking demands via underground parking.

ors

the freeway is decked to provide a recreational and protective median between high-rise waterfront development and an Established East-Austin neighborhood. The freewayâ&#x20AC;&#x2122;s reduced width allows East parcels to expand form a more substantial, built edge.

ht the conclusion of the sub-freeway water collection tank consists of a sequence of treatments and vegetated absoprtion fields, meanwhile serving as an educational and cultural destination, a vast waterfront landscape, and a fitting and conspicuous welcome sign for those traversing the bridge to Downtown Austin.

PLAN

existing land dedicated to parking

new condensed parking + alternative transit

longitudinal section through I-35

rea NORTH

*4x ACTU AL ELEVATI ON CHANGE

The Future of Austin: A History | Speculative Practice The second in a series of the UTSoA Centennial Celebration exhibits, “The Future of Austin Exhibit” focused on showcasing a trajectory of the School of Architecture’s urban vision for the city of Austin. Under the direction of Professor Dean Almy, the exhibit committee focused on designing an exhibition which displayed the evolution of the UTSoA’s vision for the future of Austin both in the classroom and through practice. Because of this, both student and professional work done by professors at the school were highlighted. The exhibit was divided into 3 sections: the first focused on four different approaches to the development of Lady Bird Lake by Former Dean Alan Y. Taniguchi, and Professors Hugo Leipziger-Pearce, Sinclair Black, and Lawrence Speck; the second section showcased professional works from Professors Steven Moore, Sinclair Black, Lawrence Speck, Miró Rivera, and Simon Atkinson; and the final portion displayed student academy projects in these themes.

PARTICIPATING FORMER & CURRENT FACULTY: Simon Atkinson Sinclair Black Hugo Leipziger-Pearce Juan Miro Steven Moore Lawrence Speck Alan Y. Taniguchi PARTICIPATING STUDENTS: Roni Abona, Keeshi Ingram, & Noel Ramirez Ryan Buckley & Ruben Ruckman Cory Dear Chris Emens Meredith Gray, Celeste Griffin, Tasha Phillips, & Stacy Rodriguez Stephanie Griffith & Chelsea Livingston Allison Hsu Bhujon Khang Hye Kyung Xiaotong Lu Lanie McKinnon Ian Mean & Robert Gaspard Bryon Pigg John Paul Rysavy Brad Singer Erin Stark Alexer Taganas Don Xu

CURATED BY DEAN ALMY STUDENT RESEARCH ASSISTANTS: BRITTA JOHANSON EDNA LEDESMA NEWSHA MIRZAIE

Exhibition / Fall 2010 / 126-127

UTSoA Centennial Celebration Series Mebane Gallery, November 1 - 28, 2010

rey

Abel

[B.Arch.‘93] Thomas

man

Alston

[B.Arch.’78] Cindy

Black

[B.Arch.’00] Stephanie

Bower

[B.Arch.’81] Matthew

ard

Archer

[B.Arch.’79] Rick

Black

[B.Arch.’92] Robert

Bradley

[B.Arch.’67] Jason Charalambides [M.Arch.’98] Gary

Tubes

ration of the Parks Estate

Gibbs Hollow

Living Small

Bird Johnson Wildflower Center

Armstrong

Hill Country Hybrid

[B.Arch.’81] Sinclair

International Airport Terminal D

Bercy

Black

Great Streets Master Plan

[B.Arch.’00] Mary Benedict Bonham [B.Arch.’89] Scott William Carpenter [B.Arch.’90] Thomas Healing Springs Pharmacy

Concept Images and Sketches

[B.Arch.’62] Adam

[B.Arch.’66] Timothy B. Blonkvist [B.Arch.’81] Hans

Barley

[B.Arch.’85] Dwayne

Bohuslav

[B.Arch.’79] Torrey

Beattie

[B.Arch.’04] Stan

Boles

[B.Arch.’70] Oscar

Ranch

Urban Campus

tudio

Bench

San Antonio Museum of Art - Asian Art Wing

Balance Performing Installation

Mondavi Center for the Performing Arts

Butzer

[B.Arch.’90] Jonathon

Butzer

[B.Arch.’90] Gerald

Cadena

[M.Arch.’87] Albert

Oklahoma City National Memorial

Casa M & A

Carlson

Robbs Run House

Powei

The Red Bluff House

Arts Alliance Mobile Performance Venue

Conner Prairie Interactive History Park

[B.Arch.’98] William

Cunningham

Curtis

Residence in River Oaks

Aveda Institute of San Antonio

Craig [B.Arch.’76] Elaine

Dykers Molinar

[B.Arch.’81] Molly

Beth

Colombo

[B.Arch.’01] Bang

Dang

[B.Arch.’98] John

Condarco

[B.Arch.’06] Richard Drummond Davis [BSAS’72] Mary

Whitestones at 25th

Connolly

Make Space for Art

Flip Flop House

[BSAS’75] Richard

Cobra Studios

deVarga

Emerick

9x9 A Stitch In Time

[B.Arch.’75] Meriwether

Wakefield Tree House

Gonzalez

One Arts Plaza

Lawrence

Good

Crow Holdings at Old Parkland

[B.Arch.’90] Gabriel

Hernandez

[B.Arch.’92]

[B.Arch.’72] Julie

Howard

[B.Arch.’91]

Botanical Research Institute of Texas

Malot-Painlèvé-La Bruyère School Complex

[B.Arch.’85] [B.Arch.‘88] Cary Conrad Goodman [B.Arch.’70] Montgomery Belleview Residence ‘Advanced

Howard

[B.Arch.’92] Karla

Greer

[B.Arch.’79] Michael

Hsu

[B.Arch.’93]

[B.Arch.’86] Hozefa

Haidery

[M.Arch.’03] Robert

Jackson

[B.Arch.’70]

[B.Arch.’93] Robert

Harris

[M.Arch.’92] Michael

Jacobs

[M.Arch.’95]

[M.Arch.’95] [B.Arch.’93] Jerry

Johnson

[B.Arch.’87]

[M.Arch.’92] Hulett

Jones

[B.Arch.’93]

Norwegian National Opera and Ballet

Curvan

Imanta Resort & Spa

[B.Arch.’98] Lawrence

[B.Arch.’92] James Michael Dodson [B.Arch.’95] Jorge

[M.Arch.’98] James

Graf Residence

Uchiko

Conyers

Cistercian Abbey Church

Chen

Chertok

Sabine Residence

[BSAS’03] David M. Cooperstein [M.Arch.’98] Gabriel Durand-Hollis [B.Arch.’81] R.

Agrippina Exhibition Center

[B.Arch.’04] Calvin

Skydance Bridge, Oklahoma City

[B.Arch.’06] Marla Bommarito-Crouch [BSID’76] Brian Lance Armstrong Foundation

Bush

Hermann Park Lake Plaza

Cassity

Hagy Custom Homes - Parade Home

Home Office for Houston General Insurance

Bailey

sclosed Corporation

Corinth Civil War Interpretive Center

Felt

Bartlit Residence

Gunther Wilson Remodel & Addition

Frane

Center of Gravity Foundation Hall

Maier

Sullivan Residence

[M.Arch.’96] Gordon

Galloway

Gilmore

Skyline at First Hill

Elm Residence

The Bridge Homeless Assistance Center

World Birding Center

Paul [BSID’81] Hulett

Haydu Jones

Coffee Bar Mission District

[B.Arch.’73] Andrew

Herdeg

Technology

Center

Skaaren Environmental Learning Center

Heard Museum West

Blythewood High School

ASU Polytechnic Academic Campus

[B.Arch.’83]

Bayview Addition

Traces & Trajectories: Alumni Exhibition The Alumni Exhibition is the third in a series of displays organized to help the School of Architecture celebrate its centennial. The first exhibit focused on our faculty and the second on the future of Austin. Both illustrated the many contributions of our faculty to the build environment. We curated both in house. The selection of alumni work for this exhibition posed a curatorial challenge. We are well aware of the many accomplishments of our alumni, but: how were we to make selections among the many fine possibilities? It was akin to being asked, “Which is your favorite child?” As a result, we looked outside the school to our friend Stephen Sharpe, the thoughtful editor of Texas Architect. As an editor, he constantly faces the difficult challenge of what to publish. We put out the call among our alumni and turned the entries over to Stephen. We know he endeavored to identify a diverse, yet select, representation of the leading work being produced by gradates of our school. The result inspires and motivates us as teachers, practitioners, and students.

PARTICIPATING ALUMNI: Rick Archer (B.Arch. ‘79) / “Lady Bird Johnson Wildflower Center” Sinclair Black (B.Arch. ‘62) / “Downtown Austin Great Streets Master Plan” Marla Bommarito-Crouch (B.S.I.D. ‘76 / “Lance Armstrong Foundation” Hans Butzer (B.Arch. ‘90) / “Oklahoma City Skydance Bridge” Brian Carlson (B.Arch. ‘98) / “Robbs Run Residence” Gary Cunningham (B.Arch. ‘76) / “Cistercian Abbey Church” James Dodson (B.Arch. ‘95) / “Arts Alliance Mobile Performance Venue” Craig Dykers (B.Arch. ‘85) / “Norwegian National Opera” John Frane (B.Arch. ‘93) / “Center of Gravity Foundation Hall” Jorge Gonzalez (B.Arch. ‘90) / “One Arts Plaza” Karla Greer (B.Arch. ‘79) / “Bartlit Residence” Hozefa Haidery (M.Arch. ‘03) / “The Bridge Homeless Assistance Center” Robert Harris (M.Arch. ‘92) / “World Birding Center” Paul Haydu (M.Arch. ‘95) and Hulett Jones (B.Arch. ‘93) / “Coffee Bar” Julie Howard (B.Arch. ‘91) / “Malot-Painleve-La Bruyere School Complex Restructuration” Brian Korte (M.Arch. ‘94) / “Armstrong Oil and Gas” David Lake (B.S.A.S. ‘77) / “University of Texas Health Science Center School of Nursing” Billy Lawrence (B.Arch. ‘78) / “Humane Society SPCA of San Antonio & Bexar County” Greg Papay (M.Arch. ‘93) / “Francis Parker School” Anand Parthasarathy (M.Arch. ‘07) / “Kanchanam” Robert Shemwell (M.Arch. ‘86) / “Texas A&M University Bonfire Memorial” Gary Skotnicki (B.Arch. ‘74) / “Hill County Courthouse Restoration” Tracy Stone (M.Arch. ‘85) / “Los Angeles North Central Animal Services Center” Tom Tornbjerg (M.Arch. ‘05) / “The Peninsula House” James Vira (B.Arch. ‘95) / “Rapidly Deployable Inflatable Containers: Post Disaster Provisional Housing” Cynthia Walston (B.Arch. ‘82) / “Texas Children’s Hospital Feigin Center” Amir Yazdan (B.Arch. ‘80) / “Shahrzad Commercial & Office Building Complex” Mehrdad Yazdani (B.Arch. ‘84) / “University of California, San Diego Price Center East”

Twenty-nine alumni were selected by Stephen Sharpe, the editor of Texas Architect, to display their distinguished work in a special alumni exhibit in the school’s Mebane Gallery throughout the month of November. CURATED BY STEVEN SHARPE GUEST CURATED BY CHARLTON LEWIS AND ALLISON GASKINS

Exhibition / Fall 2010 / 128-129

Design I / Design III / Interior Design III / Design V / Interior Design V / Vertical / Advanced / Landscape

Design in the Realm of the Senses: Forming a Foundation / Design I Joyce Rosner, Coordinator / Simon Atkinson, Allison Gaskins, Clay Odom, & Igor Siddiqui The projects and exercises explored during the course of this term are intended to provide the student with a foundation in the perceptual, conceptual and manual skills necessary for subsequent design work in architecture / interior design. Sequentially linked projects will begin by introducing a question, tested through a series of variables and end with a possible design response. Projects have been devised to encourage many avenues of inquiry with students taking responsibility in framing their own investigations. Objectives were: -To help students form a foundation on which their own values will be developed. -To provide students with a basis through which to view, assimilate, evaluate, and implement design ideas. -To introduce students to design in the realm of the senses. -To encourage an understanding of form as a dependent variable, whereas, form is as a consequence of other considerations. IMAGE: BROOKS CAVENDER

Library / Design III John Blood, Coordinator / Alan Knox, Juan Miro, & Eva Schone The aim of this studio was to introduce more complex and nuanced issues regarding program, occupation and digital information while reinforcing the foundation established in previous semesters. Beginning with a series of short exercises explored at a variety of scales, the studio culminated in the design of a branch/ neighborhood library − a small public building located on an urban site. In concert with developing a scheme for an integrated building solution, students were required to interpret and negotiate the dynamic nature of a program that has a strong conventional and dynamically evolving identity. The role of technology in the context of changing client, program and user needs was central to the semester’s work. IMAGE: MADISON DAHL

Austin Poetry and Literature Center / Interior Design III Tamie Glass This studio, which is the first dedicated interior design studio in the program sequence, provided a focused and informative investigation into designing interior space. The structure of the course dismantled this practice into its constituent parts, with a particular emphasis on issues of building re-use, human behavior, programming, representation, lighting, and materials. The main project addressed the conversion of a vacant two-story site located at 912 Congress Avenue into a new Poetry and Literature Center for Austin. Its goal was to serve as special collection of the Austin Public Library, supporting its mission to foster and enhance the public’s appreciation of literature. In addition to a circulating collection, the center needed to house multi-purpose function spaces, administrative areas, as well as a small studio for the Poet Laureate who is appointed annually by the State. IMAGE: DYLAN DRAVES

Studio Abstracts

Architecture and the Fourth Dimension / Design V Judy Birdsong The fourth dimension, or ‘time,’ is as much a critical component of an architectural product as the manifestations of its sibling dimensions (line, surface and volume). It could, in fact, be argued that architecture allows the past to co-exist with the present and makes it possible for time to ‘go on.’ Architecture ‘holds’ place; we measure time as light passes over its surfaces; space and program host events from the mundane to the monumental and document the normative condition; material registers age. The intent of this studio was to provide students with a broader understanding of the fourth dimension in architecture through three major projects: the construction of a pinhole camera and portfolio of photographs documenting light (measured time), the redesign of the plaza in front of the Alamo (time/narrative explored through the agency of site), and the design of a columbarium wall and chapel complex (time/memory as a function of program).

Flow / Design V Larry Doll & Danilo Udovicki-Selb The studio explores the impact of mass, movement, perception and time on the generation of form. It is based on the premise that design is more exciting when one treats form as a dependent variable. In this case form depends on scripts for the duration, amplitude, and sequence of acceleration and deceleration, left and right lateral g-forces, and other areas of human experience. In this regard the studio is as interested in the sense of touch and the experience of bodily movement as it is in sight. The first project is to write a script of g-forces on a human body during the completion of one lap on a Formula 1 circuit. That script is translated into the curves and straight sections necessary to produce those forces. The second project uses similar strategies to translate experiential sequences into designs for the hotel to accompany the Formula 1 circuit. IMAGE: KIM VILLAVICENCIO

Cowboy Pliers and YouTube: A Design Build Adventure / Design V Jack Sanders The discovery and application of new tools as a means to test, create, and communicate is central to the design / build process. In this studio, students explored unfamiliar analog and digital tools in a series of iterative design / build experiments. Experiments ranged from as simple (or not so simple) as building the tallest possible tower using only cardboard and wire to creating temporary shelters in unfamiliar settings (Marfa, TX and Taylor, TX) for an unfamiliar audience. Students who embraced a working methodology that extracted new possibilities from the unfamiliar were able to learn from both successes and failures. The YouTube videos that students were required to produce after each experiment forced students to articulate why these successes and failures occurred. This process of documentation and self-critique led to improved build efficiencies and more refined design solutions. IMAGE: ALEX DIAMOND

IMAGE: AMY STEWART

Studio Abstracts / Fall 2010 / 130-131

Design I / Design III / Interior Design III / Design V / Interior Design V / Vertical / Advanced / Landscape

SuperElevation Velodrome Study in Geometry / Design V Clay Shortall Three-step process to establish and execute on the guiding principles. Research: Research can center on any number of areas, including nature, aspects of cycling and racing, and the site itself. The research topics are established by the students. Each student’s research culminates in the creation of a word or phrase that synthesizes the research findings into a guiding concept. Development of rules, based on the word or phrase. These “rules” are not the traditional physical brief for designing a building; rather they are guiding concepts against which students test all assumptions, decisions, and forms. Design: Through manipulation of the research performed one starts to generate what can be conceived as architecture. The design is based on an abstraction directed by a phrase/ word/rules derived from research. Rationalization/Realization: Complexity without complication. The construction of an object has gone through a process of realization based on given parameters. The student enhances the design of a component of the building to meet the constraints of the given parameters. IMAGE: CHARLEEN CHAE

Perfume Boutique as Generator of Material Investigations / Interior Design V Lois Weinthal A perfume boutique was the focus of this interior design studio as a means for addressing different mediums and materials. Perfume is associated with glass bottles and a heightened sense of smell. During the course of the semester, students shaped glass with assistance from the UT Chemistry Glass Lab and investigated indoor air quality with faculty from the UT Cockrell School of Engineering. Simultaneous research on materials and forms was undertaken as a way of deriving rules to implement in the design of the perfume boutique. The following images are details taken from a one-week assignment to alter a shirt based upon a set of rules or measurements inherent to the body or structure of the shirt. The results produced patterns and forms later translated into programmatic elements in the boutique. IMAGE: HALEY TOWNSEND

Studio Ex Situ / Vertical Elizabeth Alford This studio focused on issues of siting; how a landscape is described, defined, represented and manipulated, and how a building is integrated physically and conceptually into that landscape. Projects began with exercises exploring techniques of representing landform in drawing and model. Two subsequent projects were on the grounds of cultural institutions that celebrate their particular landscapes, and are also heterotropic—acting as archive and laboratory, centralizing plant material and ecological techniques from other locations for research and education. The first project was a Restoration Ecology Research and Visitor’s Center on the grounds of the Ladybird J0hnson Wildflower Center that included 40,000 square feet of rain-exclusion shelters. The second project was a seedbank sited within the Austin Botanical Garden in Zilker Park. In both, students defined strategies for siting within both physical contour and cultural context of landscape. IMAGE: CONNER BRYAN

Wood Works! / Vertical Ulrich Dangel This studio focused on the material wood in the design and construction of sustainable buildings. Among many other aspects, the students specifically looked at its application related to structural support, space-making, enclosure, appearance, and ecology, and how the material can contribute to the development of healthy and sustainable living environments. Particular importance was placed on the fundamental principles that govern the behavior of structural elements, assemblies, and systems. The group employed a holistic approach to explore the inseparable nature of structure, material, and space, with the goal of seamlessly integrating questions of support, form, and experiential factors. This studio aimed to serve as an inspiration and resource to help students gain a better understanding of timber, its properties, structural logic, and assembly principles, and how use of this particular and unique building material can become an essential and integral element of the design and building process – from the very first sketch idea to the final product. The semester consisted of three projects, two shorter explorations and a main project, all of which addressed different systems, contexts, and scales. IMAGE: TODD MATTOCKS

Systematic Geometries and Public Space / Vertical Elizabeth Danze & David Heymann

Mediating the Public Private : Considering Interstitial Space / Vertical Kim Furlong

The underlying subject of this Vertical Studio was the relationship of systematic geometry and institutional public space. In the history of architecture, systematic logics began as construction formats, but qualities present in these orders frequently became the subject of evolving design investigations in which spatial consequence superseded constructional logic. Systematic geometry has long been associated with public institutions. There has been a revival of interest in this possibility, and the forefront of this work comes from Japan. The works of Ito, SANAA, and Ishigami, have both the monumentality that arises from systematic geometries – which stress the importance of public institutions - and what Ito calls subjective experience: the clear and legible registration of an individual’s distinct perception within that space. This is the centerline question of the studio: how can one today use systematic geometries to establish a monumental public space which still identifies the primary status of the individual, without resorting to the guilt-free picturesque landscape strategies that permeate design thinking?

This design studio explored how we define public and private space, and how we transition between. Are these sometimesignored liminal places meaningful? What is their purpose, what are they intended to do, and what conditions do they require? There were three projects for the semester. To begin each we made small but significant studies that informed and become part of the larger project. In addition, throughout the semester there were short exercises that involved reading, writing, exploring media, documenting the site, and researching precedents. A portion of the exercises emphasized visual communication. IMAGE: EMILY WIEGAND

Two projects were given. The first project was to design an entry gate for the ACL festival. The second was to propose a new public library for the University of Texas. IMAGE: JENNA DEZINSKI

Studio Abstracts / Fall 2010 / 132-133

Design I / Design III / Interior Design III / Design V / Interior Design V / Vertical / Advanced / Landscape

Foams, Wools, & Aggregates: Spatialities of Low-Embodied Energy Construction / Vertical Cisco Gomes The construction materials, methods, and cultures with which we build are an inescapable and literal aspect of architectural design expression. Construction decisions are inherently spatial and can be a rich source of design ideation. The ways in which we make things ought to profoundly influence their conceptualization. In architecture, construction is not merely implementation of abstract form and space in service of use, but itself has generative implications. The condition of operating energy dominance we have experienced over the past 70 years and now largely take for granted is ending; operating energy dominated buildings are a relatively short-lived exception in the past and future of building. The studio focus was the design implications of low embodied energy material foams, wools, and aggregates. It is not the constituent materials as much as the microstructures of voids in these material configurations (stone aggregates as well as insulating foams and wools) that already give contemporary buildings much of their performance; that we tend to use these materials in their most processed and highest embodied energy forms rather than a relatively raw state is problematic in an energy conscious culture. IMAGE: JOHANNA HAUSER

Informal Texas / Vertical Fernando Lara The word informal seems to encompass the exact opposite of architecture. It usually means not-ordered, non-orthogonal, chaotic, unplanned, in summary: not designed. That’s probably why we call the housing structures that shelter 2 billion people throughout the planet ‘informal.’ The studio first and foremost challenged those assumptions that pigeonhole the definition of architecture. We started with an investigation of ‘the informal’ and its reverse development process. If the formal process is property-designconstruction-inhabitation, the favela process is inhabitation-constructionand legal tenure. We experimented with the challenge of drawing informality. We dove into the world of ‘mobile homes,’ the starting point of every semi-informal community in this country. That work was exhibited at the AMoA last November. In the second half of the semester we took the challenge of designing public spaces and infrastructure strategies for Rancho Vista, a 300-household community with a significant degree of informality here in San Marcos, behind the outlets, 25 miles from UTSoA. IMAGE: NIC ALLINDER

The Dallas Urban Laboratory Studio: Riparian City / Advanced Dean Almy As Dallas Pushes out farther into the surrounding countryside, the city is undertaking measures to mitigate the consequences of urban sprawl through strategic densification. The DLAB® studio is working together with the city to develop a vision for a new town of 30,000 residents together with the re-planning of the new UNTD campus in the southeastern sector of the city. The project is to be located at the extension of the DART line and is located in an ecologically sensitive landscape. Landscape infrastructure, is developed as a performative structure for the new “Riparian City”, and provides the underlying mechanism for a new model of ecological urbanism intended to change the development paradigms on the urban periphery. IMAGE: WHOLE CLASS

Sculpture Museum and Garden for the Austin Museum of Art, Laguna Gloria / Advanced Michael Benedikt This 40,000 s.f. program occupied the entire semester, although interrupted by several short exercises timed to make maximum impact on the design stage reached. These included exploring the work of roughly 20 modern sculptors, a class visit to three well-known modern art museums in the Dallas-Forth Worth area (Piano’s Nasher; Ando’s Modern, and Kahn’s Kimbell); and the design and construction of a two-cubic foot volume that naturally (and beautifully) illuminated one or two pieces fruit or vegetable. Students worked manually, digitally, and in model form. Seminardiscussions on art, beauty, meaning, and quality were a constant feature of the semester. IMAGE: JUSTIN OSCILOWSKI

Information Integration / Advanced

Design in Detail: Public Library / Advanced Technical Communication

Danelle Briscoe With current design technologies, conceptual exploration can virtually gather, embed and stream information into the threedimensional construct of a design The intent of this studio was to explore a process that receives feedback via integration with information modeling, enabling the ability to inform the designer of the effects of changes, and explore the relative effect on subsequent output. Through this methodology, proposals were to be responsive and symbiotically relate social, cultural, and ecological environments in creative and original ways. The studio used the AIAS “2010 Schools of Tomorrow Design Competition” as the design brief which calls for a new 50,000 sf elementary school/community center. Elementary schools in particular have generally simple programmatic requirements and allow for tremendous creativity and innovation within the design solution. The challenge comes in designing a building that functions in the simplest way possible for the young minds of children, provides an innovative workplace for the teachers and staff and promotes the spirit of its Austin community.

Kevin Alter & Ernesto Cragnolino This studio is predicated on the notion that the way something is built is crucial to the nature of the artifact. Whether rendered invisible or extraordinarily complex, building, and construction details in particular, in many ways determine both the quality and the character of architecture. A powerful concept is realized through its physical manifestation, and the way in which its parts come together – its details – either supports or undermines this concept. A good building is conceptualized in concert with its technical exigencies. Understanding a building’s constructional strategies is paramount. At the scale of the overall systems that must be coordinated to the elements of detail that must be carefully considered, the studio looks to the processes of making buildings as a touchstone for architectural thinking. Good buildings combine technical solutions with architectural finesse. IMAGE: COURTNEY KIZER & JASON MANN

IMAGE: LAURA WAGNER

Studio Abstracts / Fall 2010 / 134-135

Design I / Design III / Interior Design III / Design V / Interior Design V / Vertical / Advanced / Landscape

Phase II Restoration Landscape -restoration cells that collect sediment for estuary land growth -observation and resting platforms

Tidal Flat Water Edge

Dune Blowout

-measure of changing water edge -observation and rest area

-dune and coast observation -restrooms and showers -kayak storage

3 Mile Lake Access -elevated observation walkway -kayak launch -rest area

Dynamic Interventions / Advanced

European Study Program: Projection / Advanced

Coleman Coker

Larry Doll

The studio worked with how adaptable systems in nature might inform design. The project site was the Matagorda Bay, second largest estuarine system in Texas where the Colorado River empties into the Gulf of Mexico. The studio focused on complex adaptive systems in their dynamic state, as active on-going events of constantly changing pattern. Through on-site investigation, discrete abstract recordings were made that were intended to inform the building system as integral in landscape.

The design studio used the idea of ‘Projections’ as its organizing principle. Rather than working on discreet design exercises in different cities, students produced a portfolio of projections that documented their experiences in a way that best contributed to their continuing evolution as a designer. Students were expected to develop ways to translate the impressions and inspirations from the places they visited into design ideas. They were asked not to use drawings to record the way things look — as cameras are a far better tool for capturing visual information. Student drawings were intended to study ideas, impressions, and inspirations, and each one was to be considered part of the work that will become a design portfolio.

From these, the studio developed a set of parameters for an intervention to be used by the public and serial in nature (a number of devices spread over the landscape). The goal was to craft a highly adaptable built system that lightly impacted its interconnected and ever-changing surroundings while operating as a responsive overlay to the landscape. The aim was to develop the design so that it became an extension of the fragile organic system it’s one tiny part of. IMAGE: JAKE GEFLAND

Parking Area -access to walking paths -access to beach

4 Sep 9 Sep 15 Sep 21 Sep 24 Sep 28 Sep 29 Sep 4 Oct 6 Oct 12 Oct

Rotterdam Amsterdam Berlin Stuttgart Zurich Vals Lugano Luzern Basel Paris

IMAGE: JOLANTA PIESLAK

Environmental Learning Center for Matagorda Nature Park / Advanced Technical Communication Michael Garrison TechComm Advanced Design bridges many of the issues addressed in advanced design studios with a strong focus on the integration of technical issues and document presentation at all phases. Scheduling and production of course documents begins with an intensive research component. A schematic design is produced in model and drawing formats, followed by design development with 3-d components, and a sampling of detail drawings. Although the most significant issues are addressed, particular attention is given to the nature of detail drawings. The semester-long design project for the studio is the design of the new LCRA Environmental Learning Center for Matagorda Nature Park. The 1600-acre nature park is located at the mouth of the Colorado River as it enters into the Gulf of Mexico. The park is the site of the LCRA’s fifth environmental learning center highlighting different ecosystems along the Colorado River. The project includes an Educational Wetland, Interpretive Playscape, Preserve Trail and Wildlife Viewing Platforms, Observation Tower, Wastewater Treatment Wetland and a 6,214 square foot indoor Environmental Learning Center. IMAGE: ANDREI KLYPIN & JEFF SLOAN

entries and paths

Health, Physical Activity and the Park / Advanced Hope Hasbrouck The Fall 2010 advanced studio in landscape architecture focuses on the design of a single recreation facility in Travis County. The facility combines competitive sports with active and passive recreation and serves either areas of anticipated population growth or underserved areas within the metro area. Studio participants select one of two sites, either the Highland Mall property or the conservation areas adjacent to the Circle C development. Scalar agendas drive this investigation. At each scale of investigation there is a corresponding evaluative measure that can be applied. The task of the studio is to both define and apply those measures as they appear in the literature to the execution of a detailed facility design. Anticipated measures can range from human fitness to energy consumption asofwell as the environmental PATCH: gradient landform mound impacts of intensive use. at grade low impression IMAGE: MARCY SHAW deep impression

primary entries and paths

Preservation and Rejuvenation of the Dallas Statler Hilton / Advanced Carl Matthews The former Dallas Statler Hilton is an iconic building of mid-twentieth century design located at 1914 Commerce Street in downtown Dallas, Texas. It is located on the edge of the Farmers Market District and adjacent to Main Street Garden Park. The hotel was praised as the first modern American hotel and was design by William B. Tabler (1956). Later renamed the Dallas Grand Hotel, it has remained vacant since 2001. The challenge for this studio was to develop mixed-use development schemes for the preservation/ rejuvenation of the Statler Hilton.

Reading the Italian City / Advanced Smilja Milovanovic-Bertram, Director / Elizabeth Danze & David Heymann This studio is taught in Tuscany at the Santa Chiara Study Center. Italy and the Italian city become both the subject and physical laboratory for a series of design investigations. Students draw from the local community for rich resources of history, urban form, culture, materiality and technology— all of which have direct relevance to the studio’s inquiry. While the solution of a design project is the studio’s ultimate goal, students investigate Italian design sensibility and its fascination for depth, autonomy and continuity across a vast series of scales.

Students worked with preservation architect Norman Alston, Dallas throughout the semester. IMAGE: ALIX BULLEIT

The studio’s design project for the host city, Castiglion Fiorentino, is a new community center in the heart of the historic district. The community center requirements PATCH: involved gradient connecting of function the ancient improv town axis with the medieval Etruscan sportcenter’s field Piazza Communale town siteits system and Renaissance loggia. Mapping and visual communication exercises develop itineraries composed of visual and experiential links to enrich the studio’s design process. City officials and guest Italian architects participate in studio juries and presentations. IMAGE: ANGELO GOMEZ

Studio Abstracts / Fall 2010 / 136-137

Design I / Design III / Interior Design III / Design V / Interior Design V / Vertical / Advanced / Landscape

Air Museum CAF 2010 / Advanced Technical Communication

Downtown Mixed-Use Development / Advanced

Vince Snyder

Wilfred Wang

The Air Museum consolidates the display of both working and static aircraft that are united under the banner of the group designated as the “Commemorative Air Force.” Members and aircraft are spread throughout the US but the leadership of the group believes that consolidation of the many disparate machines would enhance their visibility and better serve the groups primary objective to acquire, restore and preserve in flying condition a complete collection of combat aircraft which were flown by all military services of the United States and selected aircraft of other nations for the education and enjoyment of present and future generations of Americans. Another objective is to provide museum buildings for the permanent protection and display of these aircraft as a tribute to the thousands of men and women who built, serviced and flew them.

Affordable and flexible accommodation for a wide range of functions in a dense urban setting is one of the key components for the success of a long-term pattern of life. Mixing uses within the same building and across an entire urban block (330 x 330 ft) is a key quality of this urban culture. Being able to live, work and pursue leisure activities within walking distances from each other enriches daily routines and reduces resource consumption and stress.

Therefore, the leadership has decided to locate the first major Air Museum that consolidates local memberships in and around Austin, TX due to its proximity to a number of chapters. The designers are also to aid in the selection of the site and development of the program. Preliminary feasibility studies indicate a project from 250,000-300,000 SF. IMAGE: HARRISON MARSHALL & PHIL ZIMMERMAN

The task is to design such a development for a typical set of Austin’s downtown blocks. The design work begins with exercises at the small scale and successively moves to the intermediate, the unit, the building and the urban scale. IMAGE: VINCE HO

Tools + Techniques, Programs + Performance / Landscape I Jason Sowell LAR 682 examined the fundamental techniques utilized in the conception, representation, and articulation of the contemporary landscape. Assignments undertaken at various scales investigated spatial relationships established between systems, surfaces, and simple programs. The course introduced questions or topics inherent to landscape’s dynamic nature; and emphasized design process, analytical skills, synthetic thinking, methods of representation, material construction, and cultural inquiry. IMAGE: WHOLE CLASS

sidewalk

parking lot

restaurant

amphitheater

avenue

path

interactive botanical garden

Landscape Plan for the Waller Creek District / Landscape III Allan Shearer This core sequence studio presents issues, methods, and theories central to the representation, planning, and design of large-scale landscapes. Its topic for 2010 was the design of a new district along Waller Creek in downtown Austin. In 2014, a new flood control tunnel will become operational and allow development on 26 acres that are currently in the delimited 100year floodplain. Following goals established by the Waller Creek Citizens Advisory Committee, teams of students were asked to: engage the creek, improve access, minimize exclusionary uses, encourage redevelopment, protect and enhance the environment, and mitigate sound disturbance. The site is expected to become the object of a national design competition in 2011. IMAGE: LAURA BRYANT, YVONNE ELLIS, NOAH HALBACH, & BERMAN RIVERA

Studio not listed this semester: Advanced Studio taught by Sinclair Black

Studio Abstracts / Fall 2010 / 138-139

Noah Marciniak / M.Arch. Dynamic Interventions / Coleman Coker

Matagorda Landscape Located on Texasâ&#x20AC;&#x2122; Gulf Coast, Matagorda Bay is one of the most active and diverse landscapes in the United States. The Bay and estuary host myriad aquatic species and hundreds of types of migrating birds due to the polyhaline environments created by the mixing of the Gulf and the outlet of the Colorado River. The aim of this project was to design an intervention - serial in nature - that was site-appropriate in program, scale, and aesthetic. The resulting design is a system of habitable floating units connected by a folded, interstitial terrain. Design development emerged from a rigorous investigation of site-specific flora as well as geometric folding patterns and structures, and the result is a system that performs multiple duties in the landscape. Precedent folding patterns were replicated and analyzed for their geometric and spatial properties, then derivative hybridized foldings were created to meet the needs of the project. The individual units utilize a spiral folding technique that allows a canopy of shelter to pop up and provide relief from the siteâ&#x20AC;&#x2122;s relentless sun, while the terrain generated by a community of units creates a habitable dry surface floating in the expanse of the estuary. In addition, both the individual units and the communities act as delicate counterpoints to the overwhelming flatness of the estuary. The floating platforms serve dual purpose as both a physical interactive structure and a sculptural intervention in the landscape. Extensive attention was paid to minimizing material and maintenance costs in all stages of deployment. Rigorous material research was done to find materials that would be sturdy enough for use yet would require no maintenance or disposal. A final construction of soy protein-based plastics and waxed cotton canvas (based on traditional canoe building practice) allow the structures to have a life expectancy of 6-12 months in the harsh estuarine environment before they are completely subsumed by the site in nodes of accelerated plant and animal activity.

Advanced Studio / Fall 2010 / 140-141

Ty Larson / B.Arch. Cowboy Pliers and YouTube: A Design-Build Adventure / Jack Sanders

Taylor Installation The project presented the challenge of merging a unique range of formal and practical considerations into a single built project, a temporary shelter for an “Art+Shelter” installation in the rural community of Taylor, Texas. Aside from being a suitable “sleepingspace,” the project addressed issues of assembly, material efficiency, budget, and the ever-illusive question of “art versus architecture.” The program required that the structure sleep one student for one night, use a limited material pallet and cost less than $300 to build. Efficiency of material became of paramount concern in the evolution of the boomerang-inspired structure, which derives its shape from a combination of rotated geometrical sequences, the proportions of widescreen format film, and (primarily) the dimensions of standard 4’x8’ sheet material. The majority of the wood connections are friction connections, with standard nuts and bolts used for certain critical joints. Corrugated plastic is used both for shear strength and as the catalyst for the projection: the pure radiating glow of the plastic volume overwhelms the primary screen image, and begins to bridge the illusive gap between art and structure. The final project uses only 4 sheets of ¾ inch plywood, 4 sheets of corrugated plastic and approximately 200 nuts, bolts and washers. It sleeps one comfortably or easily hosts a group of five for viewing, and rang in $12 under budget at $287.43.

Design V Studio / Fall 2010 / 142-143

Blake Smith / M.Arch. Information Integration / Danelle Briscoe

Thinkscape This proposal explores ways in which an elementary school can be a learning tool not only for its students, but also serve and educate the Greater Austin community. With this design, the northeast corner of the site, as it is oriented directly in view of the State Capitol Building, is a civic plaza lined with benches and flanked by the public library and cafeteria. Students dine on the inside while the public is served via a walk up window outside in traditional Austin fashion. On the south end of the site, all the Texas Live Oaks are been preserved and given to the public as a park. The winding, terraced structure provides many unique orientations and exposures making it suitable for different activities to take place upon them. Terraces with large amounts of solar exposure have planters for vegetable and flower gardens. Students learn lessons in sustenance and providing for oneself, as well as enjoy the bounty of their labor in the cafeteria. The terraces outside the art room and gallery receive plenty of shade making them ideal for finding artistic inspiration in comfort. As members of the community traverse through the kinked floors, the ribbon windows reveal many orientations and views of important Austin landmarks and landforms. Among these important sources of visual inspiration are the State Capitol Building, downtown Austin, the UT Tower, a historic moon tower, and the Texas Hill Country. By expanding the arts and music program, the school provides an outlet for local artists and performers to display art in the on-site gallery, take or teach music lessons, and stage various performances. The dynamic serpentine forms suggest the liveliness of the building and the community it serves. The terraces bring that life to the outside - a whole community congregates on staggered cliffs of knowledge and creativity!

Advanced Studio / Fall 2010 / 144-145

Kate Bedford / M.Arch. Wood Works! / Ulrich Dangel

West Campus Student Housing This project for an innovative approach to student housing is set in the westcampus area adjacent to the University of Texas. This is an area that has (and will continue to go through) dramatic urban environmental change. Lofty programmatic requirements in this design problem consisted of 31-33 living units, and no less than 15 parking spaces, all of which were to be achieved on this approximately 60’ x 90’ lot. Considering the zero side lot line code allowance, a driving force in this design was to find a way to introduce light into the interior spaces, aside from the traditional method of windows decorating a façade. Avenues for establishing community, both in context to the neighborhood, as well as within the housing building itself, were key in this project’s conception. The individual living units were also a point of great consideration. The University Neighborhood Overlay plan encourages high density growth throughout this area. The lofted design of the 400 sq.ft. single occupant units encourages a spatial economy, while also offering an interesting place to live. ‘Punctures’ carved into the exterior wall of each unit offer natural light and connection to the outdoors. Though very open in plan, the program areas (Lounge, Sleeping Space, and Study) are separated by a change in elevation within each unit. Units notch together, stacking to form an efficient plan of eight units per floor. A final design element revealed its ability to tie the project together: the inner atrium. Communal spaces at the ground floor level of this atrium (dining room, gathering lounge, laundry facility), offer in programmatic arrangement what most student housing buildings often place out of sight. Transparent in material quality, the atrium not only serves as a means of connection between all the tenants of the building, but also between the building’s occupants and the activity of the street. Services (plumbing, electrical, and HVAC chases) are run though the walls dividing the atrium and living units. The inner walls of this atrium, punctured by each unit’s ‘front door,’ along with the build-out housing the services creates an interesting textural effect, enlivening this interior/exterior space.

Vertical Studio / Fall 2010 / 146-147

Michael Beene / M.Arch. Systematic Geometries and Public Space / Elizabeth Danze & David Heymann

Systematic Geometries and Institutional Space The central objective of this Vertical Studio was to explore how systematic geometries give shape and meaning to institutional space. Where systematic geometry was once the hallmark of institutional architecture, it met its demise in the mid-20th century as it was perceived to be antithetical to the conception of Western government. Architects began to favor a compositional strategy that relied on isolating components of program, developing these as separate entities, then composing these entities within a landscape by picturesque means.

1: Points

2. Voronoi

The site is marked by points of interest, nodes that represent the location of program, existing trees, or site features.

A Voronoi diagram sep programmatic regions sep

Recently, however, a number of architects have revived the use of systematic geometries in institutional architecture in an evolved form. Architects like Toyo Ito, SANAA, and Junya Ishigami have employed more complex and seemingly 1: Points non-deterministic ordering systems to The site is marked by points of interest, nodes that represent establish monumentality, with a level the location of program, existing trees, or sitebut features. of ambiguity that recognizes the value of the individual.

These concepts are applied to the design for an electronic library for the University of Texas at Austin. A Voronoi-based grid Voronoi establishes a formal 2. consistency that points of interest, nodes that represent A Voronoi diagram separates these points to create m, existing trees, or site features. programmatic regions lends to a collective perception ofseparatated the by a series of seemingly indeterministic paths. library. However, this ordering system simultaneously creates a large variety of interior spaces that promote individual interpretation. Rounded interior forms encourage constant movement, pulling the visitor from one space to the next so that they may form their own unique mental map. A level of visual transparency serves as a counterpoint to the opaque 2. Voronoi 3. “Bubbles” A Voronoi diagram separates these points to create Bezier curvescampus are created using the grid as guidelines. architecture of the existing programmatic regions separatated by a series of seemingly These will separate spaces within the Reading Room as well buildings – helping itas to achieve a throughout sense the negative space. indeterministic paths. encourage movement of accessibility and openness.

indeterministic paths.

2. Voronoi

3. “Bubbles”

A Voronoi diagram separates these points to create programmatic regions separatated by a series of seemingly indeterministic paths.

Bezier curves are created usi These will separate spaces with as encourage movement throug

3. “Bubbles” Bezier curves are created using the grid as guidelines. These will separate spaces within the Reading Room as well as encourage movement throughout the negative space.

4. Floor Plates

Floor plates are stacked to m needs of the Reading Room places of potential activities o

4. Floor Plates

5. Extrude

Floor plates are stacked to meet the required programmatic

The bezier bubbles punch thro

needs of the Reading Room, the bezier “bubbles” denote

depths to create rooms, light

places of potential activities on the floors

4. Floor Plates

5. Extrude

6. Wrap

Bezier curves are created using the grid as guidelines.

Floor plates are stacked to meet the required programmatic

The bezier bubbles punch through the floor plates at varying

The building

These will separate spaces within the Reading Room as well

needs of the Reading Room, the bezier “bubbles” denote places of potential activities on the floors

depths to create rooms, light wells, and planters.

service spac

3. “Bubbles” as encourage movement throughout the negative space.

d to meet the required programmatic Room, the bezier “bubbles” denote vities on the floors

5. Extrude

6. Wrap

The bezier bubbles punch through the floor plates at varying depths to create rooms, light wells, and planters.

The building is wrapped in a functional wrapper that contains service spaces as well as protection from the summer sun.

plan |second floor 1/16” = 1’ - 0”

plan |third floor

1/16” = 1’ - 0”

individual study

group study

informal seating

0 ft

computer terminals

key

circulation core

lecture

secure entrance

service desk

restrooms

mechanical

storage

custodian

planter

accessible ramp

fire stair

gross

Vertical Studio / Fall 2010 / 148-149

970

308

279

218

116

128

186

318

277

31,

Laura Bryant, Yvonne Ellis, Noah Halbach, & Berman Rivera / M.L.A. Landscape Plan for the Waller Creek District / Allan Shearer

Waller Creek District Master Plan Running through the heart of downtown Austin, Waller Creek lies in a critical position to transform the nature of the city and the lifestyles of its inhabitants. In its current state, however, the creek has issues of erosion, polluted water, hidden entry points and safety concerns, preventing engagement and making the district void of activity. This design seeks to bring performance to the district, both ecologically and experientially, igniting a vibrant, energized city core. Frequently limited to metrics of ecosystem services, landscape performance is also about the critical performers who inhabit and create place. This design proposes distinct stages of activity, in which people are invited to experience and occupy Waller Creek as a part of their daily lives. By opening up entry zones and providing visual accessibility, the creek becomes embedded within the larger context of downtown, enabling occupants greater access while providing a new image of a downtown imbued with habitat and a lush riparian corridor. In this way, the landscape is allowed to perform as well as the users who occupy it, ultimately demonstrating that landscape performance is about the value of a place, measured both by the sustainability of the land and the enriched experiences of its users.

Landscape III Studio / Fall 2010 / 150-151

Christine Adame, Nicholas Angelo, Drew Brooks, Salvador Calderon, William Hermann, Nicholas Kinnaird, Valerie Lyall, Luu Mac, Megan Marvin, Brittany Milas, Chantel Pham, Lauren Richter, , Matthew Saner, Megha Vaidya, & Kim Villavicencio / B.Arch. Flow / Danilo Udovicki-Selb & Larry Doll

Estrangement Project Our theory-based studio began with a quote from the Formalist Viktor Sklovskij, “A new form creates a new content.” Paraphrasing his claim about art, we tested the position that architecture is not an object, not a material, but a relationship of materials tectonically assembled in space. Our studio created 28 investigations on the ‘poetics of architecture’ (tectonics, materials, light, space, jazz music as program, etc.). The studio then entered the process of defamiliarizing Sutton Hall’s third floor with a studio exhibition of our work. This process of defamiliarization leads ultimately to both the reinvention of the given space and the heightening of our awareness of it. The intention behind the design of the installation in the western stairwell was to provoke the daily users of the space into a less banal experience as they walk up and down a stair.

Design IV Studio / Fall 2010 / 152-153

Rose Wilkowski / B.S.I.D. Austin Poetry and Literature Center / Tamie Glass

Austin Public Library Poetry & Literature Center The assignment for the semester was to design a Poetry and Literature center as a special extension exhibit of the Austin Public Library system. The site was a standard, double story, row building located on 9th and Congress in downtown Austin. As a class, through much research, we developed the rest of the program for the center, which included: work areas for large groups or individuals, offices, administration, processing areas, as well as a large versatile area that could be used for events or performances. I began this project with the idea of visually defining spaces using semi-permeable planes in order to invoke spatial curiosity. The use of frosted glass to define spaces allowed for light and shadow transmission while maintaining some mystery. I also wanted to highlight the poetry collection by centering it in the building and radiating the secondary spaces around it. There was a lack of natural daylight towards the rear because the building dimensions were extremely long and thin. To help bring light further into the building and to emphasize the collection I placed a double-height skylight over the stacks in the center of the space. I assigned the front space of the building a more public program, one with versatile seating and large glass doors that would allow for interaction between the interior and the street. I reserved the space behind the collection for individual workspaces where people could work or read quietly. To achieve an easily accessible center, I placed the librarian desk directly next to the recessed entryway. A second staff desk is located behind the collection in the quiet workspace area. The second floor was reserved for administrative offices, a processing area, and a staff break kitchen. Having the interior stairs begin at the very back of the building discouraged pubic access to the second floor. Across the double height skylight and collection housing structure is the poet laureateâ&#x20AC;&#x2122;s quarters. I wanted to give him or her plenty of privacy but at the same time allow the laureate access to the collection and a visual connection to the streets of Austin.

Interior Design III Studio / Fall 2010 / 154-155

Chris Ferguson / B.Arch. Architecture and the Fourth Dimension / Judy Birdsong

Chapel Near Mission Espada Students were asked to design a non-denominational chapel space sited adjacent to Mission Espada, located in San Antonio, Texas. My design rejected the accepted standard of well-lit, lofty, vertical spaces as evoking purity and spirituality. The chapel is located underground at the termination of a long ramp. The form above ground was generated by observing wind patterns on the site and serves to compel visitors to the white geometries and funnel them underground and into the chapel. Punctuating the massive, curving forms are a collection of 2â&#x20AC;&#x2122;x2â&#x20AC;&#x2122; glass columns. Some extend all the way through the floor of the underground ramp, and these house urns, in the vein of a separated columbarium wall. The other columns penetrate only the roof and act like stalactite light wells and serve to illuminate the space. The light becomes the sacred element in the space, and the urns contribute to a reflectance that dapples light around the entrance. The building is sited in such a way that maximizes the wind patterns on the site. In the summer, the building has wind funneled through the space, and in winter the exposure to wind is minimized. My intention is for visitors to experience the project sequentially. First they discover the white geometric forms hovering on the horizon. They wander to it from any direction and observe the glass columns penetrate the earth. They follow the forms and discover the entrance, with the end of the ramp obscured by a field of dazzling, urn-filled columns. They make their way through the columbarium columns and they see a sacred, high contrast space with a flood of light at its termination. This is where they stop, reflect, and experience a silent disconnect from all their previous senses with the exception of a soft breeze seemingly coming from nowhere.

Design V Studio / Fall 2010 / 156-157

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A1.3 | museum level | 1/16” = 1’ - 0” 1

Air Museum CAF 2010 / Vincent Snyder

A2.1

Travis Avery & Ross Galloway / M.Arch.

Other program elements included are a grandstand to view air-shows, auditorium, restaurant, and offices for the museum. Important public spaces such as the auditorium and conference rooms are suspended from the superstructure similar to how the airplanes are.

A3.1

A2.1

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A3.1

The structure is supported on 4 trussed steel legs and a 2-directional steel truss system that has a free span length of 160 feet and supports a 120 foot cantilever.

A2.1

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

The task of this studio was the design of a museum for the Commemorative Air Force, an organization dedicated to the restoring, preserving, and, most importantly, flying of World War II aircraft, and include in their collection the last remaining flyable B-29 bomber named Fifi. What we quickly realized was that there was a conflict between the scales needed to service and operate the aircraft in the collection (some with wingspans up to 140 feet) and the need to view and experience the aircraft as a museum goer. In order to mediate between these scales, we conceived of the museum as a large covered shed where all museum functions exist within the thickness of the roof. By hoisting the planes up into the roof, the functional conflicts between viewing, servicing, and flying the planes are separated, allowing all of them to be performed simultaneously with equal efficiency. The airplanes are viewed in their “natural state”: off the ground. Catwalks allow visitors to the museum to see the planes from all angles, above and below.

A3.2

Commemorative Air Force Museum

2 A3.3

PRODUCE

LONGITUDINAL SECTION 1/16" = 1' - 0"

WEST ELEVATION 1/16" = 1' - 0"

2 A3.1

LONGITUDINAL SECTION 1/16" = 1' - 0"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 A3.1

TRANSVERSE SECTION EAST 2 ELEVATION 1/16" = 1' - 0" 1/16" = 1' - 0"

travis avery | ross galloway

A3.1

austi

location| pfluger date| 09.20.2010 TIONAL PRODUCT

NORTH ELEVATION 1/16" = 1' - 0"

Advanced Technical Communication Studio / Fall 2010 / 158-159

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

5.1

5.3

5.1

5.3

9 5.3

2 AN AUTODESK EDUCATIO PRODUCED BY 5.3

2 5.3

8 5.3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

5.3

7 5.3

LONGITUDINAL SECTION 1/16" = 1' - 0" 6

5.3

2 A3.3

1 5.3

5.3

4 5.3

ENLARGED ELEVATION 3 1" = 1'-0" ENLARGED ELEVATION 1" = 1'-0"

travis avery | ross galloway travis avery | ross galloway

LONGITUDINAL SECTION 1/16" = 1' - 0"

4 5.3

WALL SECTION 2 1" = 1'-0" WALL SECTION 1" = 1'-0"

austin air museum austin air museum location| pflugerville, TX 30°23’53”N, 97°33’54”W location| pflugerville, TX 30°23’53”N, 97°33’54”W date| 09.20.2010 date| 09.20.2010

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 5.3

WALL SECTION WALL1SECTION 1" = 1'-0" 1" = 1'-0"

ONAL PRODUCT

1 A5.1

1 A3.2

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

3 A5.1

WEST ELEVATION 1/16" = 1' - 0"

A3.1

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 3

A5.1

EAST ELEVATION 1/16" = 1' - 0"

3 A3.1

NORTH ELEVATION

1/16" = 1' - 0"

A3.1

SOUTH ELEVATION 1/16" = 1' - 0"

Advanced Technical Communication Studio / Fall 2010 / 160-161

austin air museum

travis avery | ross galloway

location| pflugerville, TX 30°23’53”N, 97°33’54”W date| 09.20.2010

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

3 A3.1

Kendra Locklear / M.I.D. Preservation and Rejuvenation of the Dallas Statler Hilton / Carl Matthews

The Statler Hilton The goal of this semester-long studio project was to develop schemes for the preservation and rejuvenation of the Statler Hilton and the Old Dallas Central Library. Through an extensive feasibility study and programming, a mixed use function was developed for the block, including office space, retail, restaurants, a music venue, and a hotel. During schematic design and design development the entire building was analyzed for budget options, adjacencies, uses, historical preservation, and design intent. As we moved into the final stages of the project, one program was further detailed and developed. The office function, which occupies the majority of the tower, was not explored past design development as the true nature of these spaces would be tenant build-outs. The operator selected for the boutique hotel was The Standard, which is not currently represented in the Dallas market. The hotel offers nontraditionally planed rooms and suites as well as maintains some of the smaller original guest room layouts. The sky lobby and rooftop deck serves the needs of the guests and also become nightlife destinations for the hip Dallas crowd as they take in views of the downtown skyline through sky boxes protruding from the front faรงade. The interiors are complete with a unique styling that is distinctly Texas, but with a touch of modern glam also fitting for its premiere location. This project was completed in groups of three until the Design Development phase. All images submitted are originals completed by Kendra Locklear. Jeffery McKnight, Interior Design undergrad 2011, and Amanda Carpenter, Masters of Historic Preservation 2011, contributed to the overall success of the project as well as its selection for a Fall 2010 Design Excellence Award.

Advanced Studio / Fall 2010 / 162-163

Hector Garcia-Castrillo / B. Arch. SuperElevation: Velodrome Study in Geometry / Clay Shortall

Austin Velodrome Complex The bicycle culture in Austin has influenced the cityâ&#x20AC;&#x2122;s planning of public areas. As this culture is present in the daily life of many Austin citizens it seemed obvious that a bicycle sports facility was needed in the city. For this velodrome complex, located in the Zilker Park area, a concept of funneling was derived from the abstraction and investigation of handgrip pressure on handlebars in different track cycling events. The concept of channeling elements, whether tangible or conceptual was utilized to create different experiential displacements on the site. Funnels on the site create a linear experience based on continuous trajectories. As different formalities of the program arrive, the funnel experience changes and acquires the adjacent language in order to functionally adapt these paths to the user and enhance the trajectory experience. The initial analysis of the site derived the placement of linear paths touching strategic points along the site. Consequently, the velodrome track was introduced in the center of the site; making it the highlight of the terrain. As the track becomes the largest expansion of the linear funnels on the site, the introduction of parking and seating area is placed. As each program is located on the site, the latter are edited to conform to the new placements. Eventually, the programmatic elements such as locker rooms, multipurpose rooms, offices, a health clinic and entrance are inserted followed by a restaurant, health center, bicycle shop and mechanical rooms.

Design V Studio / Fall 2010 / 164-165

Andrew Jackson Hall / M.Arch. Dynamic Interventions / Coleman Coker

Cottages for Daydreams, Love, and Dying Unlike philosophy students, architecture students are unaware of just how tacky it is to claim interest in the meaning of life. So when presented with the opportunity to invent our own program in the wilds of Matagorda Bay, I could not resist making my own attempt at the science of reflection. The project proposes that natural landforms such as rivers or beach dunes carry a human psychological weight and the work of the architect is to interpret the natural environment into a meaningful architectural one. In Matagorda Bay, the dominant land features â&#x20AC;&#x201C; the river, the estuary and the beach â&#x20AC;&#x201C; connote specific and universal human conditions: the one-directionality of the river speaks to death, the reflection of the estuary echoes the daydreaming state, and the drama of crashing waves conveys an undeniable romance. The architectural proposition was to design three corresponding cottages for the archetypal themes, a Cottage for Daydreams, a Cottage for Love, and a Cottage for Dying.

SECTION

PLAN 6 : ROOF DECK

PLAN 5 : BATH

PLAN 4 : BED

PLAN 4 : BED FLOOR 3 : WORK

FLOOR 3 : WORK

FLOOR 2 : KITCHEN

FLOOR 1 : WET ROOM

Advanced Studio / Fall 2010 / 166-167

BATH

BED

KITCHEN

SECTION B

COLORADO RIVER

GUEST

BEDROOM

STUDY

LIVING

PLAN

Advanced Studio / Fall 2010 / 168-169

Chelsea Larsson / M.L.A. Health, Physical Activity and the Park / Hope Hasbrouck

Highland Mall Recreational Preserve There is an endangered species and it is the walking human. This species has been in decline, 40% since 1970, due to the introduction of an invasive species, the auto, and due to habitat destruction, suburban sprawl, lack of sidewalks in urban areas, auto preferential urban planning, etc. An architectural vestige of this habitat destruction is the American mall. Although the mall was originally conceived as plaza-like safe place for pedestrians it has since become a type of cocoon, housing pedestrians inside and preventing them from walking to or from the mall as it is generally surrounded by parking and major arterial roads that service the mall. The Highland Mall Recreational Preserve reconfigures the mall and places it in a new context that supports indoor and outdoor walking: a walking preserve. Here the old Highland Mall is spread out over a site and where there was once a sea of parking there is now a field of paths connecting the neighborhood and mall. The mall, broken up and spread out, is also in-filled with local programs such as grocery stores, restaurants, and a campus for the local ACC branch. These types of programs reach out to the surrounding neighborhood and draw residential pedestrians into the site. Once inside the site, the pedestrians are encouraged through topography and spatial conditions to walk along a series of paths: ‘sidewalk,’ ‘fitness,’ ‘play,’ ‘paseo,’ and ‘roam.’ These paths are in rings around the site and are connected across the site by a series of sidewalks which puncture the borders of the original mall’s parking lot and connect to the sidewalk network of the surrounding neighborhoods. Each path has its own character, topography, and urban program that supports a specific type of movement. By superimposing the walking infrastructure over a sub-urban civic/commercial center, the suburban ‘center’ is redefined as a place which reinvigorates the practice of walking in the daily lives of human beings.

Advanced Studio / Fall 2010 / 170-171

Andrew Logan & Kristen Newton / M.Arch. Air Museum CAF 2010 / Vince Snyder

Commemorative Air Force Museum Sited just off of IH 35 at the western edge of the blackland prairie, the Air Museum for the Commemorative Air Force lifts to gain freedom from it’s broad and flat site. The frame of the 700’ by 300’ structure recalls the historical Warren Truss construction of early to mid twentieth century aircraft while the enclosed plan elements speak of contemporary unibody aircraft design. The heaving corners of the structure accommodate entry and exit of aircraft on one end and museum patrons on the other. The circulation and program of the building are contained within and between the program bars which sit, slightly tense and heavily grounded, within the lightweight framed shell. The tension within the plan and section is intended to gently remind visitors of the original intention for the objects on display; to be machines of war. The mission of the Commemorative Air Force is to restore and fly World War Two and other vintage military aircraft. As a result, the museum is an operational hanger where planes can come and go to be flown and worked on within the structure. The Air Museum also provides an indoor/outdoor cafe, which sits adjacent to a grassy knoll where patrons can relax to watch air shows and picnic.

Advanced Studio / Fall 2010 / 172-173

Tyler Noblin / M.Arch. Studio Ex Situ / Elizabeth Alford

Austin Seed Bank The seed bank has been relatively unxplored as an architectural typology. yet as biodiversity continues to decrease at alarming rates, cataloguing, protecting and promoting awareness of the species that remain becomes an increasingly critical endeavor in which architecture likely can play a part. Located on a wooded site atop a highly visible ridge in Zilker Park, the site affords the potential for a building to act in this spirit. Austin Seed Bank is designed to be a register of the natural systems on site, both to protect existing site features and to display them to the general public. The form of the building is a platonic solid hovering above the ground against which site irregularities can be read, such as the slope of the land, the location of trees and the patterns created by light filtering through the tree canopy. Trees actually punture the mass of the building, blurring boundaries between interior and exterior and allowing natural features to play an active role in creating architectural space. The interior of the project is then what remains between the trees and exterior shell of the structure. These spaces are organized into loosely programed zones, but the patterns of use are not prescribed. Instead, a range of scales and associations are provided which allow for the often unscripted events that can occur in the fluid process of scientific collaboration.

Vertical Studio / Fall 2010 / 174-175

Kate Blocker / B.S.I.D. Perfume Boutique as Generator of Material Investigations / Lois Weinthal

Perfume Boutique I began the semester by studying surface texture though the deconstruction and alteration of a shirt. I separated the shirt’s pieces into flat patterns, scanned and printed the individual pieces, and re-sewed the shirt in paper. This process revealed a more static and rigid version of the shirt’s previous cloth self. This study continued through the making of various surfaces out of white museum board, and then the casting of those surfaces in plaster. One surface was created around the rule of ripping up the seams of the shirt. In my approach to the perfume boutique, I chose to adapt the “ripping-up seams” museum board pattern (“Concept Model”) into a shelving detail on the front window. The random pattern appears on the front window as a composition of aluminum shelves that protrudes through the glass, both materials giving a specular feeling to the space. The vintage perfume bottles that sit on the shelves serve as display for the interior of the store as well as signage for the street. The back wall is the concrete cast of this pattern, as if the front window provided the formwork for it. The concrete niches are clad in white bio-glass and illuminated from above, showcasing the unique bottles and making the wall sparkle. The two walls share an inverse relationship with one another, both in form and material. The wall between the two display walls serves as a blank canvas for a low case piece that stores the perfumerie’s packaging and perfume. Above is a wall graphic which helps to educate the customer on perfume as he or she creates their custom scent. Overall, the atmosphere of the smelling stations is meant to feel similarly to a restaurant, where a group of people can come to learn about the creation of perfume, as well as to purchase a unique vintage bottle.

Interior Design V Studio / Fall 2010 / 176-177

Travis Cook & Alberto Rodriguez / M.Arch. LCRA Environmental Learning Center for Matagorda Nature Park / Michael Garrison

Chiaroscuro Nature Center The LCRA has, in recent years, built a series of Nature Centers at key points along the Lower Colorado River with the goal of educating the residents of the river basin on water and ecological issues. The mouth of the Lower Colorado River empties into a lagoon separated from the Gulf of Mexico by a chain of barrier islands. The site for our 6,000 sq ft nature center is located on North Matagorda Island, where the LCRA has recently acquired land and created a nature preserve. We chose our specific site at a narrow strip in the island where we could realize our desire to give visitors a perceived cross-section of the barrier island and its varying features and biomes. From there, the program was broken into nodes along this crosssectional path. A major concern of ours was the physical interaction between site conditions and our architectural reactions to these conditions. Our exploration of this interaction begins with the foundation system. Due to the dynamic and unstable nature of barrier islands, we envisioned a system based mimetically on a rhizome root system â&#x20AC;&#x201C; one of light redundancy rather than brutal efficiency. This led us to explore other redundant systems, such as the space truss, which fulfilled our desire for a lightweight, even removable structure that, rather than built, is installed. Given the harsh and corrosive nature of the climate, materials were chosen based on their ability to withstand these conditions. Therefore, fiberreinforced polymers make up the bulk of the projectâ&#x20AC;&#x2122;s structural systems. The longevity of this material, when compared to the dynamicism of the island, led us to fundamentally rethink the idea of permanence as well as the pure value of a piece of construction. In our approach, the materials and systems, not the building itself, are the fixed assets to be valued independently of the land on which these systems are installed. Although indexed and gestured to site conditions, the buildings are unashamedly foreign objects placed in a landscape. But we feel that their alien nature - their unwillingness to blend into their surroundings - may indeed enhance both the potency of the buildings and the unique beauty of the place.

ETFE MEMBRANE FILLED W/ AIR GEL 3" DIA. RFP ROD RFP EXT. CLAMP 1/2" DIA. BOLT RFP NODE CONNECTION ETFE MEMBRANE FILLED W/ AIR GEL 3" DIA. RFP ROD

B3 A2.6 2" DIA. RFP ROD

NODE CONNECTION A3

RFP ROD / 4 PT NODE CONNECTION 3" = 1'-0"

A3 A2.6

2" DIA. RFP ROD

3" DIA. RFP ROD ETFE MEMBRANE FILLED W/ AIR GEL RFP NODE CONNECTION

DE CONNECTION

RFP EXT. CLAMP 1/2" DIA. BOLT RFP NODE CONNECTION

RFP ROD / NODE CONNECTION

ETFE MEMBRANE FILLED W/ AIR GEL

3" = 1'-0"

4" DIA RFP TUBE RFP GAZELLE NODE RFP NODE CONNECTION

1/2" DIA EMBEDDED BOLT

A2.7

RFP SLEEVE

A2 A2.7

DETAIL 3" FRP ROD

3" RFP CONNECTION NODE

STAINLESS STEEL ANCHOR

2" DIA x 10' FRP ROD

CONCRETE DIAMOND PIER

A2.7

D3 A2.7

DIAMOND PIER DETAIL

WALL SECTION 3/4" = 1'-0"

3" = 1'-0"

Advanced Technical Communication Studio / Fall 2010 / 178-179

Matagorda Bay, Texas

Lower Colorado River Authority

CHIAROSCURO NATURE CENTER

A2.6

Noel Ramirez / M.L.A. Health, Physical Activity and the Park / Hope Hasbrouck

Highland Revitalization Revitalizing Highland Mall presents the challenge and opportunity of developing strategies for the creation of an ecourban environment to provide active living in the neighborhood and beyond. In order to contribute to the sustainable environment footprint and the socioeconomic aspects of the site, this proposal aimed to avoid urban sprawl by creating vertical structures that will bolster economic activities in a more concentrated way. Through these steps, the square footage of the land is also made more valuable. This allows opening up spaces for vegetation, recreational spaces, and storm water management while also improving the ecosystem services of the site. Removing impervious layers in the parking lot and strategic location of earthen mounds creates a micro-climatic condition which reduces heat island effects. Furthermore, the land is used as a resource to generate on-site energy through solar lamp posts distributed throughout the site, a solar forest parking lot, and solar roofing. Material selection for paving is based on the high solar reflective surfaces index which contributes to the reduction of heat island effects. Other paving materials are pervious materials that allow water to seep through the infiltration trenches that overflow to the bio-retention pond. The site is also interconnected by a series of rain gardens along the road networks which channel water run-off to the pond. The bio-retention pond serves as a further filtration and purification system for water run-off and greywater from the facilities. Bio-remediation will be enhanced by aquatic plants in the pond that will absorb pollutants coming from the surface run-off and greywater. Highland Mall is strategically located in a transit oriented development (TOD) area that connects vehicular and pedestrian accessibility to the site. The design creates a hub for the convergence of people with various recreational and commercial needs. Highland Mall will transition into the symbol of active living in Austin represented by different economic, ecological, and recreational activities embodied in the plan.

Advanced Studio / Fall 2010 / 180-181

John Paul Rysavy / M.Arch.

Dynamic Interventions / Coleman Coker

Estuarial Habituation Matagorda Bay exists in a place of boundless change. Following decades of efforts to manipulate water flow and B bolster the coastland, the Gulf confronts precarious danger as a consequenceAof global climate change. Challenged by a rising coastline, the project proposes temporal living quarters for scientific research and study in the Matagorda Bay Nature Preserve. Through a network of structures that correspond to the siteâ&#x20AC;&#x2122;s various ecological systems, each facility monitors the dynamic interaction of C transforming systems in relation to the ramifications of human intervention and B the impact of global climate change. A

D C B

E D C

F E

Advanced Studio / Fall 2010 / 182-183

Natalie Thomas / M.Arch. Sculpture Museum and Garden for the Austin Museum of Art, Laguna Gloria / Michael Benedikt

Sculpture Museum at Laguna Gloria This project is sited at Austin Museum of Art’s Laguna Gloria location and proposes expanding AMOA’s program to include a sculpture museum. The site strategy is to step back to take advantage of the long views down the peninsula. A circulation strip, which runs into the entry bridge at the end links the new museum to the historic villa and to the existing amphitheater. The high point of the hill becomes a point of departure from the land, and a point of entry for the building. The experiential progression is through the trees, past the villa, over the bridge, where one gets a glimpse of sculpture and water below, before entering the building. Once inside, the a massive staircase emerges, uniting all the levels of the building. This staircase twists around to pull the visitor into the building and then re-orients them to the views straight down the peninsula. This staircase serves not only as circulation between galleries, but as public space for lounging and sketching, as well as providing additional sculpture display. The staircase is framed by two large vertical light-wells that puncture the floor plates of the building, reinforcing the building’s orientation as well as letting ambient light into the galleries. At night, these shafts become artificially lit to serve as a beacon for guests attending parties and art openings at the museum. At the bottom of the stairs, the water has been cut into the peninsula, bringing a sense of the picturesque and the nostalgic to the design, just as does the presence of the villa. The west façade adopts a wall system that pushes out towards the water and the sky, gradually letting more and more light in from the north and south, and excluding the direct western sun. Light let in by the roof is bounced off of the white angled walls of the façade system beyond, creating an even toned, reflected light to illuminate the sculptures.

Advanced Studio / Fall 2010 / 184-185

Raina Michalovic, Beau Pesa, Dimitra Theochari, & Aubrey Weeks / M.L.A. Landscape Plan for the Waller Creek District / Allan Shearer

Depth of Field This project proposes a master plan for the Waller Creek District in downtown Austin. The construction of a tunnel to divert stormwater from the creek to Lady Bird Lake will redefine the 100year floodplain in downtown Austin. This will open up 28 acres of land for redevelopment, which were previously plagued by flooding. This proposal posits the relationship of time and space as the pivotal driver in organizing the district. Through the use of the metaphor ‘Depth of Field,’ our team designed the Waller Creek District to ground users with a sense of place experienced through the layering of time. The master plan proposes layering diverse uses throughout the district, providing a deep field of activity and ecology that connects to the urban fabric and is accessible to the surrounding population. Uses were analyzed not only for diversity of type, but also for their temporal implications. Day, night, and seasonal use of the creek spaces were considered fundamental to the creation of a vibrant district. J.B. Jackson described the making of landscapes as the speeding up or slowing down of natural processes. The creation of these manmade spaces serve as the infrastructure or background to our collective experience and encompass our identity, presence, and history. As the site develops an identity by diverse and intensified use over the years, it will become part of Austin’s shared cultural memory. Our team’s design decisions were influenced by a desire to engage the past and the present in hopes of imbuing a sense of responsibility and investment in the future.

A B

Landscape III Studio / Fall 2010 / 186-187

Jesse Mainwaring & Michael Wiegmann / M.Arch. Design in Detail: Public Library / Ernesto Cragnolino & Kevin Alter

Eastside Library The contemporary library is an important venue for interaction between groups and has both educational and recreational value. It puts multiple information technologies into larger networks that combine the heavily curated, edited and authoritative with the immediate, open, and subversive. Our response is an architecture that captures the dynamic nature of the social and technological domain of the contemporary library. We seek an architecture that celebrates difference and individual identity while establishing continuities and commonalities, that offers authority and ownership to each of its users and is as much a tool of civic engagement as it is an access point for information Ground is used as the major unifying element of the architecture. It is a continuous surface that develops enclosure for all interior spaces and is an occupiable public space on its exterior. The grounding condition is deformed in response to the different programmatic spaces it contains and becomes both an expression of difference and unity. Each program type (book storage, childrenâ&#x20AC;&#x2122;s library, media projection spaces, etc.) has a distinct spatial strategy that helps develop its individual identity and activates the horizontal plane of the library. Some of these tactics interrupt each other and others remain adjacencies depending on their circumstances. Each program is situated in the library in a manner that aids interaction between users and increases the agency of each action, technology or visitor. The exterior of the building is designed to allow as much visual penetration as possible to put all actions of the library on display to the community and develop an image of the library as an open, accommodating, and visible piece of public infrastructure.

Advanced Technical Communication Studio / Fall 2010 / 188-189

Advanced Technical Communication Studio / Fall 2010 / 190-191

Alex Odom / B.S.A.S.. Architecture and the Fourth Dimension / Judy Birdsong

Aural Topographies The focus of the studio was to investigate the notion of time in design. It was an inclusive study varying from the impact of time on an object, building, etc. to the investigation of design over time. These investigations began with the design and fabrication of a pinhole camera, requiring a heightened understanding of time in the amount of light captured. It encouraged a degree of slowness ranging from seconds to hours because of the lack of mechanical “control.” The investigation required three hours of “time” captured through our pinholes. The photographs were shot through the entirety of a Philip Glass opera “Satyagraha” on vinyl. The light emitted through the pinhole was able to “trace” upon the film throughout the three records, creating a visual record of the performance. The second step within this assignment was to further explore the light as is reflected in a measure of time. A record is essentially a trace of sound just as a photo is a tracing of light. The vinyl isn’t an abstraction, but a tracing of the performance. So how can sound be captured visibly? The images to the right are slices of the record’s sound tracings translated into black in white; showing the topography of sound in Act III through a visual field.

Design V Studio / Fall 2010 / 192-193

Hannah Zhang / M.Arch. Information Integration / Danelle Briscoe

Explore Room As urban areas densify, schools in the cities increasingly encounter problems in providing secure outdoor environments for children to explore freely. The main concept of this design is to give back a natural landscape for both the students and the educators to enjoy within an urban context. A duality in the treatment of the school edges is used to define different aspects of the school. The street sides are kept orthogonal in keeping with the contextual straight hard edges, while the interior facades of the school are curved to enhance the experience of the inner courtâ&#x20AC;&#x2122;s topography. The design takes advantage of the original sixteen foot drop in grade from east to west of the site to create an open courtyard with various sloped play areas. On both sides of the courtyard, classrooms have views into the green space to encourage interaction and exploration. An amphitheater is cradled in a steeper area, while areas with smaller slope become the childrenâ&#x20AC;&#x2122;s playground. Underneath the cafeteria is a flat hardsurface playground for outdoor games. The building is enclosed by the Kawneer curtain wall system and buildingintegrated photo voltaic panels. The translucent color BIPV panels will be provide shading for the interior and generate electricity by collecting solar energy, creating in a synergetic result. The colors of the panels are derived from an investigation of colors found in the neighborhood. Since children are more sensitive to color than adults, these colors will create a more lively and cheerful learning environment. Trees original to the site are preserved and are highlighted by the addition of curvilinear benches around them. These trees will continue to provide shading for the children during recess hours and areas for parents and teachers to socialize with each other. In an attempt to resolve the shortage of public park/open space in the city, the school will be opened to the community after school hours. Therefore, the school will not only provide children their own world for exploration, but will also give a green recreational space back to its neighbors for leisure.

Advanced Studio / Fall 2010 / 194-195

Assessing Eviction Among Mobile Home Residents Houston | Harris County, TX Vacant Awaiting Development Mixed Use | Condos | New Development Low Income Tax Credit Properties Lost Mobile Home Park Parcel 2002-2008

Detail: Lost Mobile Home Park Parcels 2002-2008

Detail: Surrounding Land Uses 2008

Esther Sullivan / Doctoral Student, Sociology Dept; Portfolio Program in Sustainability Introduction to Geographic Information Systems / Bjorn Sletto

Manufacturing Insecurity Manufactured housing is an important affordable housing option for low- and middle-income families, yet many mobile homeowners are threatened with eviction because they do not own the land on which their homes are located. Laws that define mobile homes as nonreal estate and favor landlordsâ&#x20AC;&#x2122; rights facilitate the eviction of mobile home residents. The redevelopment of mobile home communities into more lucrative land uses is common as metropolitan areas grow. As this redevelopment occurs, mobile home parks can legally close in as little as 30 days. As yet, no systematic study exists that examines the spatial characteristics of the turnover, displacement and potential eviction that results from mobile home park closure. This project analyzes the loss of mobile home parks and the potential displacement of mobile home residents in Texas where the largest share of U.S. manufactured housing is located and where mobile home residents have fewer legal protections than in almost any other state. More mobile home residents live in Houston and its surrounding areas than in any other area of Texas. Geographic Information Systems (GIS) analysis was conducted for Harris County to calculate the location of mobile home parks, the loss of mobile home parks over time, the clustering of lost mobile home park parcels, and the demographic and land use characteristics of the areas where significant clusters of lost mobile home parks are located for each of the years 2002, 2005 and 2008. This study shows that mobile home parks are indeed being lost in Harris County and that the spatial distribution of lost parks is clustered just outside the city limits in the county jurisdiction. This preliminary analysis shows that mobile home parks are more likely to be lost in areas where residential redevelopment is taking place. Furthermore, the type of redevelopment that encroaches on disappearing mobile home parks is markedly different from that which traditionally characterizes gentrification. Lost mobile home parks are more likely to be replaced with single-family houses and low-income multi-family development than with new apartment, commercial, condo or mixed-use development.

Course Work / Fall 2010 / 196-197

Agustin Cepeda / B.Arch. Study in Italy / Smilja Milovanovic-Bertram, Elizabeth Danze, & David Heymann

Study in Italy: Travel Sketches As part of Study in Italy Advanced Design, a Visual Communication component of the course helped synthesize our weekly field trips to cities near Castiglion Fiorentino. Via watercolor, pastel, and line drawings, we examined the character and threshold conditions of cities in Tuscany.

Course Work / Fall 2010 / 198-199

Blake Smith / M.Arch. Beauty and the BIM / Danelle Briscoe

Porous Beauty theory and an attempt to evoke the grotesque drove this explorative project. The result is the aggregate surface, ‘Porous.’ Responsive and adaptive, Porous is envisioned primarily as a façade application. Whether serving as a billboard to pop culture and a lavish lifestyle (ornamental), whimsically diffusing daylight (experiential), or collecting energy from the sun (performative), Porous sets the framework for a dynamic, generative environment that is the modern potential of architecture. Porous is composed of a base component: a hexagonal frame that extrudes whilst morphing into a rectangular frame of variable dimension, that may be aggregated across any surface, simple or complex. Parameters control the width and height of each concluding rectangle, allowing for patterning across the surface. This opportunity for variation can be easily manipulated to respond to conditions of the sun – closing where exposure is greatest and expanding to capture indirect, diffused light. When applied across a flat surface, patterning trends are easily perceived by the eye. Aperture changes are read gradually across a planar bed, providing a sense of balance and justness. However, when applied to a more complex, doublycurved surface, the patterning becomes less distinguishable, and the twisting and morphing of the component assembly becomes its defining characteristic. This intentional exaggeration or distortion creates a sense of discomfort or instability, the affect of which can be considered grotesque. A driving force of this seminar was the desire to merge theory and practice. In addition to graphic representation, fabrication techniques such as stereolithography and CNC-milling (and their inherent limitations) were crucial to adequately explore the material and theoretical affects that were of topic.

Course Work / Fall 2010 / 200-201

Erika Huddleston / M.L.A. Independent Study / Coleman Coker

Site Analysis Tactic: Painting This independent study, led by Professor Coleman Coker, studied one site—Shoal Creek in Austin—through a series of oil painting ‘recordings’ completed over the fall semester 2010. Landscape architecture projects in studio often compress site analysis into a small window of time due to the necessary constraints of completing a wide-ranging project in a few months. Rather than rely on aerial images to determine design decisions in plan, I determined to explore in this study another tactic of site analysis—painting onsite without the use of photographs—hoping to record through a series of sittings the temporal change within landscapes and the natural processes that underlie that dynamism. I feel that parks, open spaces, and trails which provide a tangible expression of past and future time seen through natural processes, are a psychological necessity for those who live in the moment. Landscape change experienced in a drift of branches caught on a tree during floods, the tilt and turning of a leaf from green to orange, the berrying and decay of a shrub in the fall, point to a longer and wider temporal horizon than “real-time.” Ephemeral concepts of the sublime and beautiful and fleeting—the fragile ecology that is never complete and always living—often appear static until focused attention reveals their past, present, and future conditions, the time arc in the landscape that can be reassuring and offer psychological perspective. The ‘recordings’ painted over the past semester have intensified my interest in painting as site analysis and suggest that the application of this method in a sustained and intensive way could establish its usefulness within the field of landscape architecture. (Oil on canvas, 32”x 48”)

Course Work / Fall 2010 / 202-203

macro vs micro-economic model

Course Work / Fall 2010 / 206-207

CJ MacQuarrie / M.Arch. Wood Design / Mark Macek

Legs and Top: Look. Donâ&#x20AC;&#x2122;t touch. This furniture study explores the dynamic relationship between the tabletop and legs through a dissection of the two connections. Catalytic precedents to the design include Jens Risom and Finn Juhl, each with their unique look at the separation of the two components of the table. Although the coffee table and end tables appear as two distinctly different elements, they each share the same typology of structural connection between the legs and top. The end table (set of two) takes on a hybrid Modernist/Craftsman appearance through a more reductive and transparent operation. Similar to the coffee table, the legs are now reduced to a light right angle that exposes the apronâ&#x20AC;&#x2122;s intricate mortise/ tenon and splined miter connection. An asymmetrical opening in the tabletop exposes the underlying connection and allows the leg to sit flush with top surface. The end tables are produced from African Mahogany. African Mahogany is a cost and environmentally effective substitution to its kin, Honduran and Caribbean Mahogany, which are at the cusp of being exhausted as a commercial material. African produces dark ribbons that create intricate compositions throughout the material and over time it will become a dark, rich red as it oxidizes. A special thanks goes to Adam Edwards for sharing his expertise and experience in this collaboration. Adam is a local furniture artisan and owner of Ref-use, www.ref-use.com.

Course Work / Fall 2010 / 208-209

Seth Brunner / M.Arch. Beauty and the BIM / Danelle Briscoe

Weave Looking specifically at compositions of pattern and light, I wish to invoke the ‘sublime’ through assemblies which push the building information model beyond current practice. It appears to necessitate some element of mystery and inherent complexity in order to impart the ‘sublime.’ Elements of the organic have been explored in more engaging territory, hopefully while avoiding the pejorative name ‘blobitecture.’ The first project iteration attempts to merge the light-filtering wall tiles of Erwin Hauer with the most basic knit pattern, resulting in a screen which subtly differentiates interior from exterior through change in profile of the module as it weaves. The result is an organic fabric with dense ‘spines’ on the interior and thick ‘lobes’ hung on the facade. The second iteration informs these lobes with a radius parameter based on a map of the shadows cast on it by adjacent trees. Imagining they are filled with a fluid or gas, these lobes, or ‘sacs’, swell as a result of the heat from the direct sun rays, blocking solar heat gain within the interior. The stronger the direct sunlight is, the more those specific sacs inflate, while those in shadow remain deflated. As a result, direct sunlight is blocked while indirect illumination is allowed through the cooler areas of the facade. In this way, light animates the façade as the delicate modules swell and intertwine.

Course Work / Fall 2010 / 210-211

Laura Wagner / M.Arch. 48-Hours Design Competition

Food for Thought Editorsâ&#x20AC;&#x2122; Note: Food for Thought was the grand prize winning entry from participation in YAF 48 HR Design Competition, held October 14-17, 2010. Food brings people together. The common need for sustenance goes beyond survival; people commune where they eat. A community is strengthened by increased opportunities to eat! The Gulch is transformed into an urban food junction where food is grown, cooked, prepared, sold, eaten and enjoyed locally. An urban fabric physically split by existing freight railroad tracks is woven together by extending the existing street grids into the Gulch. Food-oriented development includes a Whole Foods natural grocery store, a variety of restaurants, eateries and bars, extensive vertical farming on the south-facing high rise facades, green roof urban farming, a partitionable community garden, farm, and a soup kitchen. The basic necessity for food can be met at any and all societal levels. Taking a cue from sloping and swooping existing viaducts, a suspended green path weaves in and out of the manmade terrain to connect both existing communities located on either side of the railroad and new residents and create a walkable, accessible urban environment. Residents from existing neighborhoods and proposed condominiums, employees of local businesses, game-day visitors and tourists ensure that this centrallylocated place can be enjoyed by the entire city in diverse and new ways. The new Gulch continues the distinct division of upper and lower levels created by the adjacent transportation development. The upper level houses the main architectural additions: the construction of large structures for shopping, working, and living. New high-rise buildings follow Atlantaâ&#x20AC;&#x2122;s tall building core along the east edge of the site. The lower level has access to retail and restaurant space embedded in building foundations and a large park that also functions as an inhabitable community garden and farm. A green walking path connects the upper and lower levels for pedestrians.

Course Work / Fall 2010 / 212-213

ISSUE:007 Editors

Caroline Emerson Kristina Olivent

Editorial Staff

Salvador Calderon Tim Campbell Charleen Chae Brittany Cooper Whitney Cooper Madison Dahl Jenna Dezinski Hector Garcia-Castrillo Tommy Guerra Andrew Houston Garrett Jones William Lewis Megan Mowry Justin Oscilowski John Paul Rysavy Alexer Taganas Natalie Thomas Kristin Walsh Jen Wong Joshua Wier

Graphic Design Jenna Dezinski Garrett Jones Kristina Olivent John Paul Rysavy Alexer Taganas Jen Wong

Acknowledgements We would like to thank the following contributors for their donations toward ISSUE:007. Without them, the publication of this book would not have been possible. Thank you.

Dean Fritz Steiner UTSoA Advisory Council and UT Friends of Architecture

Elizabeth Danze Paul Philippe Cret Centennial Teaching Fellow in Architecture

Lawrence Speck Lawrence W. Speck Excellence Fund

Kevin Alter Director, UTSoA Summer Academy & Sid Richardson Centennial Fellow in Architecture

Nichole Wiedemann Meadows Foundation Centennial Fellow in Architecture

Larry Doll Margaret McDermott Centennial Teaching Fellow in Architecture

Elizabeth Danze Director, Professional Residency Program

Richard Cleary Page Southerland Page Fellow in Architecture

Coleman Coker Ruth Carter Stevenson Regents Chair in the Art of Design

Barbara Hoidn

Adjunct Associate Professor

Lois Weinthal

Associate Professor

Acknowledgements / 2010 / 214-215

This book is dedicated to the much-beloved

Rosemin Gopaul

who recently retired from her position as UTSoAâ&#x20AC;&#x2122;s Graduate Program Coordinator. We thank her for her thirty years of enduring commitment to helping students.