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FOREWORD SPRING SUMMER FALL ACKNOWLEDGMENTS

PREFACE Ten-year anniversaries are milestones. They mark a moment of achievement and celebrate the path traveled. But ten-year anniversaries also determine a starting point—a foundation on which we stand with reflection and anticipation as we move into the future. This book is a celebration of ISSUE’s tenth anniversary. It is one part retrospective; various voices in the book reflect how The University of Texas School of Architecture (UTSOA) has changed since the release of the first ISSUE. It is one part prospective; others make projections about where it will head in the coming ten years. For the most part, it is about student work, which claims an important place along this chronology: the present—our current reality.

Throughout its evolution, The UTSOA has consistently provided a supportive environment that encourages students to explore personal interests and shape their education while they design for real-world concerns. As a result, our students produce a diverse and selfmotivated body of work that responds to external political, social, economic, and environmental conditions. The intent of ISSUE: 010 is to showcase this varied body of work, accentuating four areas of emphasis that inform much of our design work today.

Global Connections is one such area of emphasis. Our work is informed by the collision of global and local paradigms; and today, more than ever, we are experiencing architecture in the era of globalization. Endeavors such as Texas Impact Design and Latitudes provide an opportunity to examine different theories in a global-local relationship. Many studios engage this relationship and its related theories in practice.

Sustainable Exploration is another of our emphasis areas. Students at The UTSOA address the environmental impact of design, with particular concern for the social and cultural conditions of building site. We value making good communities and the careful development those communities demand. In this area, the Center for Sustainable Development is a beacon that provides useful tools and resources for research, education, and community outreach.

Whether student work has an orientation toward the environment, the global market, or both, work at The UTSOA is ever engaging one of the most fundamental interests of architecture: people. As a third area of emphasis, Public Interest Design (PID) connects the needs of community with architectural potential, challenging students to develop theoretical and built work that responds ethically to the public. As an architectural philosophy, it has the potential to display a great sense of design while contributing to the discussion about public engagement in the planning process.

Many of the projects featured in this book find opportunity in new technology. The innovations in materials and methods of fabrication propel architecture into the future. The welcoming of these technologies is necessary as they broaden the palette of tools available to designers and expand the medium for their creative output. Studios such as Caret 6 and seminars such as Prototyping and Supraficial explore the limits and possibilities of these technologies, questioning their role in architecture and signaling Digital Technologies as our fourth emphasis area.

In ISSUE: 010, these four areas of emphasis afford us a method for broadly categorizing our diverse student work. As we move forward, we hope the work presented here stands as a testament to our students’ interests and abilities and as a reference for their future.

Let us celebrate this milestone: to our accomplishments, informed by the past ten years, and our aspirations, formed in anticipation of the next ten.

Cheers!

Felipe, Grace, Lauren

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FOREWORD Sarah Gamble, Adjunct Lecturer Take a look at the cover of ISSUE’s first edition. Sam Schonzeit, one of ten graduate students who composed the founding editorial team, snaps a photo of himself—capturing a moment looking both forward and backward. The image is a true reflection of this student-produced publication at the time of its founding and today. In their own words, the editors sought “ . . . to foster interaction and the interchange of ideas among students as well as to record the intellectual activities of The School.” Multi-faceted and revealing, ISSUE remains representative of The UTSOA student body and its work. Just as Sam’s eyes are masked, as to defer attention from the individual, ISSUE showcases a collective identity through contributions from students. With this tenth edition, we have the opportunity to reflect on our place in time, and to consider how we will determine our future.

This 2013–2014 academic year also marks a personal anniversary of sorts, as I began the Master of Architecture program in 2003–2004. I came with an enthusiasm for design and community, and quickly found my place. My first year was full of exploration; I was a participant in Studio Mexico, a teaching assistant for Architecture and Society, and in Vertical Studio. Having spent time as a student, alumnus, staff, and faculty member at The UTSOA, my enthusiasm for the program and our city continues.

From year to year, I have been witness to our progress. Diversity is celebrated, both in the make-up of our student body, faculty and staff, and also in our course and program offerings. The degree program in Landscape Architecture, for example, has expanded our expertise and increased interdisciplinary collaboration. Community Design, also called Public Interest Design (PID), has become a more established pursuit of the school, with investment in the Alley Flat Initiative, PID courses, along with research by faculty and students. We’ve built new national and global relationships through visiting faculty and lecturers, symposia (Latitudes and Music in Architecture, for example), and our Professional Residency Program. This outreach has brought new opportunities to students and enriched their perspectives in the field of design.

Over this period, we’ve purposely remained a school without a specific method for approaching design. Students are empowered to sculpt their individual experiences through coursework, teaching, and research. Faculty members encourage and challenge one another; and together, The UTSOA continues to raise its standards for great design. ISSUE stands to unite these individual efforts in one publication. We are fortunate to have had such thoughtful, dedicated students launch this endeavor and build momentum over the first decade. As we look forward, the ISSUE publication will continue to document our path and become a living artifact for our future.

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Kory Bieg, Assistant Professor In 1999, Ray Kurzweil published his book, “The Age of Spiritual Machines.” One of the predictions he made was that by 2019, “most learning [will be] conducted through intelligent, simulated software-based teachers.” Here we are, just five years away. Are we ready?

Today, one can browse thousands of online tutorials, download lectures from all over the world, and connect to Pritzker Prize winners through social media. Whether the future is Orwellian, apocalyptic, or clean, minimal, and plastic is anyone’s guess. But one thing is clear: machines will be completely integrated into everything we do and how we do it. The question is not whether we welcome technology, but how we welcome it?

Fortunately, we are in a discipline that values innovation and difference, both in education and practice. Though it might be alarming to think that we, the teachers, might one day be replaced by machines, we can rest assured that the product of our practice benefits from both the power of computation and the sort of intuition and exchange that is exclusively human.

On the one hand, technology accelerates our ability to amass data, experiment, and iterate. We can propose a thousand building forms in the time it once took to make three or four. We can model and coordinate complex relationships between actual objects in four-dimensional space-time. By leveraging emerging technologies, we can now design buildings that perform better, mitigate waste, and save money.

At the same time, technology has become so advanced that no one person can learn or apply all that is new. To innovate, individuals must master highly specialized tools and learn to collaborate with others who have different expertise. Whether one focuses on sustainable development or digital fabrication, the key is to be in a cooperative and collaborative environment.

Fortunately, at The UTSOA, we foster specialization and promote cross-disciplinary interaction, allowing the whole institution to adapt as new technologies transform the context in which we operate. If the future of education includes machines that take on a teaching role, we can find solace in knowing that technology will not completely replace us. Instead, technology will free us to learn even more, innovate further, and provide additional opportunities to exchange ideas. As we integrate new technology, the academic institution will remain a place for collaboration, and the independent design project will provide a chance to refine a set of beliefs.

The work in this edition of ISSUE exemplifies the incredible productivity that comes from individual achievement and productive collaborations. When one looks at the breadth of projects in these pages, he or she is left with a promising glimpse of where we are headed and impressed by our accomplishments thus far.

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SPRING 2013

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FEATURING

8 Nathaniel Schneider 10 Sheridan Treadwell Prashant Narayan 14 Garrett Brown 18 Elizabeth Thompson 22 Michael Rahmatoulin 24 Grace Mathieson 26 Holly Bonine Michelle Bright Meredith Entrop Mason Gilmore Thomas Johnston 30 Jessica Mills David Schneider 34 Jessica Glennie 38 Jorge Faz Ryan Rasmussen 40 Alena Savera 42 Christopher Gardner 44 Justin Ford 46 David Mora 48 Sasha Doo 52 Stephanie Kopplin Michael Steinlage 58 Andrew Green Kevin Sullivan 60 Emily Ewbank Monica Sanga 62 Nari Shin Katie Craig 66 Ellen Sampson 70 Hannah Berryhill Ashleigh Kahler Rodolfo Rodriguez Gilberto Valles 70 Yishuen Lo Katie Summers Wen Zuo 72 Arman Hadilou 74 Mike Beene Jesefa Templo

DESIGN INSTRUCTORS Dean Almy Kevin Alter Simon Atkinson Michael Benedikt Kory Bieg Judy Birdsong John Blood Danelle Briscoe Coleman Coker Ulrich Dangel Charles Di Piazza Larry Doll Matt Fajkus Kim Furlong Sarah Gamble Tamie Glass Francisco Gomes Brett Koenig Greig Michael Hargens Barbara Hoidn Alan Knox Charlton Lewis Mark Macek Smilja Milovanovic-Bertra Juan Miró R Mezquiti Clay Odom E Richardson Joyce Rosner Igor Siddiqui Dr. Stephen Sonnenburg Jason Sowell Alyosha Verzhbinsky Gary Wang Nicole Wiedemann

LECTURES

Brian Andrews Adjunct Lecturer, University of Arizona Ellen Dunham Jones Professor of Architecture and Urban Design, Georgia Institute of Technology Robert Fishman Professor of Architecture and Urban Planning Professor, University of Michigan Virginia San Fratello Rael San Fratello Architects Gregg Pasquarelli AIA/SHoP SHoP Architects Mack Scogin & Merrill Elam Mack Scogin & Merrill Elam Architects Amy Weisser Director of Exhibition Development, National September 11 Memorial & Museum Bjørn Sletto PhD. Associate Professor, University of Texas at Austin Urban Think Tank Alfredo Brillembourg Michael Maltzan FAIA Michael Maltzan Architecture The Goldsmith Society Lecture

EXHIBITIONS

76 Cockroach 44 Gallery Talk for Cockroach 44 78 1 + 1 Sletto | Urban Think Tank 80 Richard Swallow Reception

SYMPOSIA

New Agency in Drawing: A Panel Discussing the Intersection of Art and Architecture The Jones Center, AMOA-Arthouse Seher Shah, Kory Bieg, Igor Siddiqui, Eric Zimmerman + Moderated by Rachel Adams Latitudes 5 (São Paulo): Reflecting on Architecture in the Americas at Faculdade de Arquitectura e Urbanismo FAUUSP.

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DOUGHERTY ARTS CENTER Nathaniel Schneider Advanced / Kevin Alter

This large site is currently home to two of Austin’s major public events spaces, the Long Center for Performing Arts and the Palmer Events Center. Each is a large, conspicuous object set in the park and highly visible within the city.

The design for the Dougherty Arts Center responds by positioning itself as a third in the series of formal buildings. This move reflects the ambition of the new arts center to be a major force in the Austin arts community. The center, which has many diverse programs, expands its sphere of influence by separating program elements into discreet buildings and stretching out into the landscape.

Situated on the western edge of Butler Park, the new structure engages with the existing man-made landscape, establishing a boundary between the manicured lawn and the natural vegetation along Bouldin Creek. While projecting a strong presence in the park, the building is also an alluring, mysterious object that piques curiosity and invites exploration.

The building’s reach into the landscape disrupts the existing circulation patterns and brings the park’s users through the center of the plan, where an outdoor gathering space provides access to the center’s various programs.

This public plaza overlays the users of the park with the users of the building, and blurs the distinction between the two populations, making the public a participant in the arts and putting the center’s activity in the public eye.

The upper plaza serves to join the park/public with the arts center, while the spaces below it unify the center’s programs and provide common spaces for students, performers, and other private users. The buildings shift and distort to influence the movement of visitors, revealing and modifying views as they progress through the upper plaza. The white plaster walls allow the buildings to read as neutral volumes, only giving way to glass and wood beneath deep overhangs at the entrances. Manipulation of the ground plane allows smaller spaces to occur within the larger public plaza and filters light into the private classrooms and common spaces below.

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BIO PAVILION Sheridan Treadwell

Design II / Smilja Milovanovic-Bertram The site for this project was the Lady Bird Johnson Wildflower Center, and the program was to create a pavilion with a patterned biowall to display succulents at the Center. Manipulating natural light through shading and filtering was another major objective. The pattern of the wall was derived from a folded module based on succulent plant geometry studies. Variation in the pattern comes from incremental unfolding of the module. The pavilion is comprised of a solid wall with the delicate, curtain-like cladding suspended from it.

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SUCCULENT WILDFLOWER PAVILION Prashant Narayan

Design II / Brett Koenig Greig Students were asked to create a pavilion space for the Ladybird Johnson Wildflower Center that would showcase a particular succulent. The succulent, chosen from a series of local plants, would serve as a determinant of form and tie the structure to the overall natural heritage of the site. A modular, patterned wall would serve as a series of planters for the succulent. The module would also serve as the basic configuration for the entire project.

In developing my design, I imagined the wall as a highly ornamental study in excess, where decoration took over the structure and created an organic form that seemed to rise from the ground. I also sought to create dappled light effects that would mimic tree canopy light patterns seen at the site. I created a pentagonal module—derived from a folded square—that had strong directionality but did not easily lend itself to regular patterning; the result was a wall that curved organically and irregularly. The presence of a second wall provides a visual counterpoint and serves to display information. The pavilion works with site pathways, seamlessly integrating passage and avoiding any strict thresholds.

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AUSTIN TRANSIT HUB (ATH) Garrett Brown Vertical / Kory Bieg

The Austin Transit Hub (ATH) is an engaging and inviting mixed-use urban center in downtown Austin, Texas. Celebrating its location on 4th Street and I-35, a prime location with two properties on both sides of the historic Waller Creek, the building’s design formally and philosophically extends over the creek. It encapsulates both its presence and visitors, welcoming people of all ages and backgrounds to experience the fluidity of converging networks.

The design concept is understood as a network of particles with thresholds of volumetric relationships. The dynamic quality of the building’s contiguous surface captures the spatial volumes while guiding the public to key areas; wrapping event, gathering, and office spaces; and leading onto the plaza and creek below. Additionally, the prominent exterior overhangs express the transit waiting areas, plaza and bridge connection, establish a dialogue with the street and landscape, and act as a heightened juxtaposition with the undulating surfaces of I-35. The overall curvilinear formal language defines an inviting rhythm of movement and a unique place-making experience for visitors.

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CARR Elizabeth Thompson

Interior Design VI / Tamie Glass Students were asked to develop a flagship store for the fashion brand CARR, a new, high-end clothing brand with an inspirational source of motivation: the designer Zack Carr and the legacy of sketches he left behind, which were taken up by his brother, George. George Carr stressed a few ideas during the schematic design phase: the brand as “a fashion lifestyle brand” ties back to his and his brother’s past and forward-looking modernity. Taking cues from minimalistic forms contrasting with the rugged West Texas landscape, CARR pairs New York-minded clothing with modern interpretations of Texas staples, such as simplified cowboy boots and belt buckles.

Similarly, the CARR flagship transports users between the rough West Texas landscape and the sleek, minimal styles of New York through a series of occupiable objects that each take on a different relationship with the two extremes. George Carr explained, “Each season, CARR travels.” Those who walk into the CARR flagship take that trip every time they enter the store.

Screen projections change every season to transport the store to a new landscape—the inspiration for the clothing that season.

The first object serves as a connection between the city and CARR to create a welcoming, social environment. The overall aesthetic is one of openness and the freedom of movement and interaction. The flagship store fosters an artistic community by providing a bar with extensive seating and a flexible space utilized for events. The transaction counter doubles as a bar serving tea and coffee during the day and alcohol in the evening. The second object pulls the occupant into a built world, specific to the season. Those who enter the store enter a box only to learn that the box resides in a different landscape than the city from which they came. Small glimpses out to the street keep some grounding in the city context. The emphasis of this space is on light and sight. The third object is a personal, sensorial experience that focuses on the ideas of scale and touch. Interacting with the garments is an intimate experience, thus the dressing room is where clothing and wearer have the most contact. Whereas the bar is about speech, and the display area is about sight, the dressing room is about touch. Soft, isolating walls create a feeling of solitude. Above, a screen projects a video, enforcing the location of that season’s line.

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DENSON PARK MIXED-USE DEVELOPMENT Michael Rahmatoulin Design IV / Charlton Lewis

The site of this urban design studio was a one-mile long corridor along North Lamar in which we analyzed both the macro and micro context of the area.

Initial research was done in teams that later proposed a redevelopment master plan for the area and addressed issues of walkability, housing, commercial use and the automobile-centric nature of the area. Later, research was done individually with each student looking at a specific portion of the site.

My team’s proposal focused on the creation of a new bike trail and pedestrian boulevard that would run parallel to North Lamar and allow certain blocks to be double loaded, catering to both pedestrians and automobiles. The proposal envisaged crossings along North Lamar that would connect to major public zones such as the area around Koenig Lane and Airport Boulevard. The master plan vision was to create a base for future development in the area with designated park areas and active public spaces.

My specific project looked at a narrow lot along Denson Street adjacent to a DPS station and in close proximity to Reilly Elementary School. As part of the master plan, a portion of the DPS lot was to be reclaimed as park space and would serve as one of the connections across North Lamar. The site’s development created a gradient of programs with an active commercial front toward North Lamar and private housing toward the neighborhood.

The housing portion of the site consists of two different unit typologies (double bedroom and single bedroom) that cater to young families and professionals. Being in such an urban context determined the need to create privacy for the living unit by elevating it to the second and third floors while the first floor was reserved for parking and storage for units. The building is anchored to the site by four major cores that provide fluid access to the apartment units and encourage social interaction in the circulation cores.

The building acts as a buffer to an interior courtyard that is open to the public, but isolates noise and provides a safe environment for families. The project creates an iconic street front and takes advantage of the views to the reclaimed park, bringing the public into the private. The construction of the project consists of a fully pre-fab concrete slab that takes into account future development and expansion of the area.

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MENIL DRAWING INSTITUTE Grace Mathieson Vertical / Joyce Rosner

The project’s program stemmed from a design competition for The Menil Collection, in Houston, Texas, to house drawings that are sensitive to various environmental conditions. Considering the parameters of the program, it was crucial to create spaces that addressed the necessary viewing proximity of drawings versus paintings. To this end, the design creates an underground gallery with a hierarchy of space that affords more opportunities for closer viewing relationships to the pieces. By placing the artwork underground, it creates not only a way to maintain the subtle character of the above ground buildings adjacent to the Menil campus, but also allows for more sensitive manipulation of atmosphere through the use of light-diffusing wells. The desired subtlety of the overall design was to make a structure that serves as an unobtrusive but participating partner in the site. The shifting densities of occupation allow for moments of pause, gather, and reflection inside the museum but also about the site.

The screen system used on all three of the pavilions on the site, as well as on the south edge, serves as a uniting fabric. The perforated screen panels are utilized as shaded overhangs for exterior comfort in the oppressive Houston climate, as a legible edge to the campus, and as a means of signage and way-finding about the Menil site as a whole.

The Menil Drawing Institute (MDI) is sited in such a way as to create conversation between its building, the Cy Twombly Gallery, and the Menil Collection. The north entry onto the MDI campus creates a widening corridor to the south to activate and invite visitors from Richmond Avenue as well.

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DOWNTOWN EAST Holly Bonine, Michelle Bright, Meredith Entrop, Mason Gilmore, + Thomas Johnston Urban Land Institute Hines Competition / Simon Atkinson We envision a transformation of Downtown East that forges connections between people and their environment at multiple scales across Minneapolis.

We see Downtown East as a dense, urban district enlivened through the spirit of performance.

To achieve this, we propose three coordinated actions in its redevelopment: 1) the expansion of the Hiawatha Trail, an activity-based corridor that prioritizes the circulation of pedestrians, bicyclists, and light rail users through both the district and the entire regional trail system; 2) the creation of extensive gathering spaces along the Hiawatha Trail that encourage recreation and amusement; and 3) the construction of a welcoming and resilient mixed-use neighborhood designed for all incomes, all ages, and all seasons, and achieving a three-star rating from the Sustainable Sites Initiative™.

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The aim of Texas Impact Design (TID) was to utilize the creative drive of university students to help solve global problems at a localized level. The organization was founded with the objective of producing design-oriented projects that facilitate community development and foster sustainable self-reliance. The Smile Africa project, which was carried out by TID from the summer of 2012 to the spring of 2013, consisted of the development of a master plan for an education center and orphanage in Tororo, Uganda. Students visited the site and worked with community leaders to form the guiding ideas and then returned to Austin to develop a schematic master plan.

“Having the opportunity to visit the site and speak to the children and leaders of Tororo was instrumental in shaping our understanding of the project. What we came back with was not only a better project but a clearer understanding of the power of design and of global collaboration.”

—Amarantha Quintana Morales / M.Arch ‘13, MSHP ‘14

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POST-PANAMAX LIMINAL Jessica Mills + David Schneider Technical Communication / Francisco Gomes

The proposed site for this project was an odd one—a historical, small town cemetery isolated within an industrial sea, the Port of Houston at Morgan’s Point. The Port Authority razed the town of Morgan’s Point, leveling and burying it in swathes of concrete. The only remnant was the town cemetery, spared for a number of reasons—some holy, some efficient—most likely because the town’s namesake, James Morgan, was interred at its center.

The studio was tasked with designing an administrative building for the port and, in tandem, a chapel/community center for the Morgan’s Point cemetery to serve those residents who now live alongside this massive port. The facilities were to be situated along the border of the cemetery and port, highlighting their juxtaposition.

Our design reduces the site to its essential condition, one of drastic contrast and strange union. A monumental concrete wall divides the two programs and indelibly marks the site—establishing entry, frontality, and hierarchy in the landscape. A series of low, longitudinally-placed concrete beams project from the wall, echoing the emphatic horizontality of the port. The chapel is situated along the wall, marching into the cemetery; the office facility is housed beneath the stretch of concrete beams.

The project performs as a material study, evoking Kahn’s description of architecture that decays into ruin. Harnessing this sense of deterioration and passage of time, the design is built up and around a concrete monolith; it is then enclosed with brick, and at its most interior and touchable, framed and finished with wood. Technical drawings describe these relationships in wall sections and details.

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A NATURAL HISTORY MUSEUM ON TOWN LAKE Jessica Glennie Design VI / John Blood

Brief: A natural history museum on Town Lake, specializing in dinosaur skeletons found in Texas.

Site: The museum would be located off Cesar Chavez, between the 1st Street and Lamar Boulevard bridges. A popular hike and bike trail runs through the site. Contextual issues focused on the dichotomy between the urban fabric of downtown Austin and the natural environment around the lake.

Proposal: The form is derived from the continuation of the landscape into built form, through and over the museum. The visitors experience the connection between interior and exterior as they journey through the exhibits.

The structure is comprised of heavy, grounded, site-cast concrete walls, with a soaring structural canopy of wood. Glulam beams are used to achieve grand spans, accommodating the scale of dinosaur skeletons. Steel works in harmony with the wood and is expressed at the pin connections.

Addressing dichotomy: The goal is to link the built urban fabric with nature. The design extends the urban, activated space down to the lake while celebrating the hike and bike trail that currently exists. The museum “building” is therefore compact, while the trail is emphasized and embraced as a catalyst for activity.

Drama: The program—housing extraordinary dinosaur bones—suggests a very large and dramatic scale, while the site requires a sensitive approach.

The design infuses the theatrical quality of the interior with the exterior, and simultaneously celebrates Austin as the “live music capital of the world,” by including a unique performance space. This stage extends from the trail which wraps over the museum. It projects out to the water, with the skyline and the lake as a backdrop.

Hike and bike trail: Another level of performance exists at a human scale.

The winding hike and bike trail is celebrated as it expands out to become an outdoor patio and place of pause for coffee drinkers and studying students.

This occurs at the water level below, shaded by the overhead stage.

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MODULAR COLUMN: FABRIC FORMED CONCRETE Jorge Faz + Ryan Rasmussen

Construction V / John Blood + Elizabeth Danze Through the coupling of denim and concrete, we set out to devise a system that two people could use to cast and erect a modular, structural column.

Machine-sewn fabric formwork facilitated a method for a geometrically complex module in an affordable, easy-to-manufacture series of iterations.

These iterations shed light on a “two-legged” module—one that incorporated structural, aesthetic, and practical elements, and worked simultaneously to mitigate loads, produce unusual form, and offer efficient means for production and assembly. Reusable framework supported fabric forms; it allowed for 360-degree rotation and multiple simultaneous casts.

Two identical modules were produced that could be bolted together with cast-in-place bolts at each end. Bolts moved through a prototypical wood joint that allowed for on-site mechanical fastening.

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CULTIVATING TIMBER Christopher Gardner Advanced / Ulrich Dangel

Timber has yet to enter the mainstream of building technology in the US, but with its clear advantages, it deserves better. Rather than typical construction, which focuses only on the completed building, phasing the building (as required by timber construction) would consistently encourage public interaction through the entire process of manufacturing and construction.

Timber is different, and the building community needs to experience this difference for the benefits of timber construction to truly be recognized. The seed of timber construction (or, of Cultivating Timber) will be planted in Red Hook, re-establishing it as a center of relevant industry in the 21st century.

The entire development is constructed of cross-laminated timber (CLT), a leading timber technology. Currently, the means of production for CLT exist mostly overseas, and typical construction methods would require outsourcing the production. While the means are remote, the supply of softwood lumber is readily available in the Northeast. Many of these forests and lumber mills are located along the Erie Canal and Hudson River, allowing shipment of the raw lumber to the site via barges, thereby revitalizing a historical artery of New York, while also drastically reducing greenhouse gases and embodied energy. Since a production facility is part of the program, it only makes sense to establish the facility first and have it manufacture the rest of the development on site with local materials.

The first phase would see the renovation of the existing building as a hiring facility and showroom, inviting locals and the public to engage the development early. While the concrete foundation is poured, the production machinery and local lumber are shipped to the site. Temporary canopies will shelter the facility while the framing for the factory is manufactured and assembled around the means of production. Once completed, the production facility will construct the CLT panels that will make up the rest of the building and the tower.

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WEST MALL FOUNTAIN: A RE-EMERGENCE Justin Ford

West Mall Fountain Design Competition / Independent Studies The West Mall Fountain should re-emerge as a place for quiet contemplation, solitary and group gathering; as an area of respite for students between classes; as a place to meet a friend or a stranger; and as a waypoint for students, faculty, and visitors on campus.

No attempts have been made to establish this fountain as a new “icon” for the campus, since the nearby visible and eminent Main Building tower perennially achieves this function.

The new fountain is composed of a series of rings: the outermost ring serves as a bench; the inner fountain ring functions as a wall of water; a third ring —offset from the previous ring—functions as a waterfall.

The inner fountain ring slopes west to east from a top elevation of 5’4” to its lowest point of 1’6” above the floor of the mall. Depending on one’s everchanging physical relationship to the fountain, the sloping characteristic of this ring obfuscates and reveals elements of the surrounding campus buildings and landscape. Consequently, this engenders a heightened sense of awareness of one’s position relative to West Mall, the campus, and the world.

A group of cattails (typha latifolia) are planted in the center of the fountain. The cattails sway and rustle in deference to the movement of the wind traveling thought West Mall, thereby endowing the fountain with an ephemeral kinetic quality.

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NATURAL HISTORY MUSEUM James Thoreen

Design VI / Edward Richardson The design process was driven by circulation and site. Located on a narrow plot of land along the banks of Lady Bird Lake in Austin, Texas, the site is situated in one of Austin’s primary green belts that runs along the southern edge of the central business district (CBD). The final design of the Natural History Museum spawned from a desire to preserve the natural character of the green belt and utilize the linear nature of the terrain to inform an arrangement of gallery space that would exist in harmony with the unique site conditions.

The design process began as an experiment with different arrangements of linear circulation throughout the site. The envelope is a physical embodiment of an orchestrated flow of movement through the museum.

The layout scripts a narrative for users as they move through the building, beginning at the street level and ending at the water. The administrative program acts as a barrier along Cesar Chavez Street that orients the gallery space away from the CBD and toward the water. Circulation through the museum is achieved by a gentle ramp that slopes in accord with the lake shore.

PROFIT TOGETHER Sasha Doo

Vertical / Kory Bieg This project focused on a Boolean process in which two objects are merged, subtracted, or intersected to create a form. Through the inspiration of precedents such as Prada, by Herzog and DeMeuron, a focus was placed on how Boolean strategy generates form, engages site and context, fosters programmatic overlaps, and can promote emergent new experiences. This final project, an urban center located in downtown Austin, was created for the intention of non-profit organizations. This center promoted camaraderie and the sharing of ideas and different skill sets of small non-profits in one space.

Profit Together explores the potential of the Boolean operation as a tool to create a more dynamic relationship between solids and voids, interior and exterior, and program and form. This process combined programmatic need with opportunistic use of digital and analog form-making techniques in order to hybridize and superimpose traditionally discrete programs.

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Profit Together

non-profits working together for a common goal

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opaque_materiality main_circulation high_circulation_density Sound_Intensity Hours_of_operation public_access Threshold natural_light artificial_light view_destination view_origin overlapping_of_views limitation_of_views open_space closed_space

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PASSAGES OF RESILIENCE Stephanie Kopplin + Michael Steinlage Comprehensive Landscape Studio / Jason Sowell Loss… Memory… Resilience.

After a tragic fire nearly obliterated the Lost Pines ecosystem and caused widespread property damage and loss of life, the Bastrop community was faced with an unforeseen, yet unavoidable shift in both culture and ecology.

Individuals confront a similar transformation each time they are faced with the death of a loved one.

In both instances, the transition—the process of grieving, the embrace of the inevitable, the situation of “self” within the larger context of society and ecology—is an experience shaped by tradition, memory, and physical details.

Passages of Resilience proposes a regional cemetery at the Bastrop burn site that increases adaptive capacity for both the Lost Pines ecosystem and the individuals whose beloveds seek final respite within the site. From copper-plated markers that slide to reveal personal alcoves, to recreational trail systems that set up controlled burn boundaries, the design privileges an ongoing tactile connection and active management. Expressed in the weathering of materials, the harvesting of nutrients from the body to feed forest growth through alkaline hydrolysis, or the siting of diverse burial practices based on hydrology and topographic change, Passages builds an experience that facilitates transformation by establishing foundations for resilience.

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“The University of Texas Center for Sustainable Development (CSD) believes that sustainability, at its core, requires addressing problems through a whole-systems approach. Particularly regarding environmental design, discipline-based research will only yield narrow solutions with limited applicability. Given the complex social and environmental issues facing Central Texas in terms of resource limitations, a changing climate, and rapid urban growth, cross-cutting initiatives can only be achieved by removing institutional barriers and working in teams which generate multifacetted perspectives... Although many sustainability initiatives have integrated a wide variety of social and technical issues, few have addressed health issues directly. Along these lines, the CSD believes that design solutions should apply integrated approaches to improve communications between hard and soft sciences.”

—Becky Rinas, RA, CSD + Betsy Frederick-Rothwell, RA, CSD “The Materials Lab greenwall was built to demystify the construction and operation of the now ubiquitous greenwall and to help inform the design work of UTSOA students. It provides a means to test and challenge assumptions about sustainability and ecological design and as such aligns with The UTSOA’s encouragement to question definitions of sustainability and to understand the materials we employ.”

—Sophia Monahon, M.Arch ‘14

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BRACKENRIDGE TRACK Andrew Green + Kevin Sullivan Advanced / Juan MirĂł

The University of Texas has an incredible opportunity in the Brackenridge Tract. With more than 350 acres, only two miles from campus and downtown, the potential and pressure for development must be met in a manner that will benefit residents, The University, and the city at large, while minimizing negative environmental effects. Primary to the design of this master plan is an understanding of the impact open space has on physical activity, vitality, and overall quality of life. By concentrating density into two nodes, this scheme provides the same amount of developable square footage as Cooper, Robertson & Partners’ 2009 master plan proposal, but does so on less than half of their proposed acreage. This strategy not only meets the financial and housing needs of The University, but also provides 145 acres of public park, preserves nine holes of the historic Lyons Municipal Golf Course, and maintains 60 acres of waterfront real-estate for ongoing research at the Brackenridge Field Laboratory. Increasing population density is environmentally responsible. When combined with direct access to public transit, programmed parkland, and waterfront activities, dense living also promotes a healthy individual and community lifestyle.

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ON THE RECORD: COURTHOUSE + CIVIC ARCHIVE IN THE CITY OF AUSTIN Emily Ewbank + Monica Sanga Technical Communication / Matt Fajkus

The function of an archive is to document the everyday. What happens in the county archive becomes history— a local history of place as well as an intertwined personal history of individuals. The Hall of Records is imagined as a space with flying papers showing the permanence of a paper trail in the age of digital information.

The Hall of Records follows a simple parti in which a long, rectangular volume interfaces between the private and public components of the massing strategy. Within the Hall of Records, there is a suspended case of archives to be viewed from below when circulating to the courtrooms, offices or residences.

The Hall is at a slight angle, to record true north of the site as well as frame the historic oak trees at Republic Park directly across the street. The park is expanded through the site as it culminates at the large exterior reading room through the library.

The earliest typology of the courthouse was simply a live oak tree under which people met to settle disputes. We equate the suspended case of archives in the Hall of Records to the original oak tree for people to use as a place to meet. The dappled pattern of the live oak is also splashed across the fritted glass façade to show its significance on an urban scale.

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MENIL DRAWING INSTITUTE Nari Shin

Vertical / Joyce Rosner Of all sensory phenomena, I believe light has the ability to most affect the quality of a space as well as qualify the experience and atmosphere of a building. Focusing on the control of light in my design allowed me think about beauty in architecture.

The main precedent for this project was Esherick House by Louis Kahn. This house is composed of very heavy walls with window panels located between them. A chimney located in front of a window creates an inspirational effect of light and shadow. I studied similar relationships between light and opacity throughout the whole design.

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SHOAL CREEK CO-OP Katie Craig + Ellen Sampson Vertical / Larry Doll

As rental prices increase in the downtown Austin area, artisans are being forced to move further from the city center to find affordable residential and studio rental space. This project introduces much-needed affordable production, retail, and residential space for Austin’s creative community, allowing this important part of Austin’s identity to retain its presence in the downtown area. The design focuses on providing natural light, visibility of craft, and a sense of personal address for its inhabitants. The housing units are divided into two main volumes bridged by shared community gathering spaces, giving all residents close proximity to a shared green space and studio with visibility and filtered light from adjacent levels of the building.

This porous volumetric strategy allows shoppers, circulating in the lower retail zones, to view artisans as they create the works that are actively being

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sold within the market, promoting a personal connection between artists and consumers. Additionally, natural light filters through the volume creating a dynamic spatial experience as one moves from floor to floor. Within the residential levels, setback concrete thresholds act as blank canvases for residents to customize, promoting a sense of address and identity as individuals within a larger creative community. The open marketplace at ground level draws visitors into the building and then down toward the creek where pedestrian pathways extend across the water, protected from the vehicular traffic and connected to the bike and running paths along the opposite bank.

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UT COMMUNITY CLINIC Hannah Berryhill, Ashleigh Kahler, Rodolfo Rodriguez, + Gilberto Valles

AIA Houston Design Competition / Dr. Nancy Kwallek + Hector Covo Most metropolitan areas are experiencing pressure on the periphery for regional healthcare to be provided where people live and play. Decentralization is occurring, especially at the level of routine care, where that care is escaping the centralized hospital model and finding itself in strip centers, medical office buildings, and emergency facilities that dot the urban fabric.

This is contrary to a model that shares resources by centralizing energy (the single hospital model).

AIA Houston’s Committee on Architecture for Health sponsored the “First Annual SES Student Health Care Design Intervention,” open to all schools of architecture in Texas. Student teams were tasked with designing a community health center in their respective city. The UTSOA team consisted of only undergraduate-level students and was honored with second place in the competition.

The UTSOA team addressed the relationship between the built environment, preventative health care, and social equity through mixed-research methodologies, community-based participatory research, health impact assessment at the neighborhood scale, and geographic information systems techniques. Evidence-based design and community inclusion approaches were practiced for uncovering unmet health needs, accessibility, quality of services, recreational opportunity, and collaboration with neighboring publicfocused organizations.

The design intent was to incorporate universal architectural themes—privacy, process, sequences, light, material, and structure—as architectural solutions to current public health inequities. By extending the current trends to an extreme, we included the role of sustainability, the built environment, and community empowerment in the delivery of this community healthcare facility.

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REGENERATING MOSAIC Yishuen Lo, Katie Summers, + Wen Zuo Comprehensive Landscape Studio / Jason Sowell

Change and the passing of time is something we experience every day, every moment. Regenerating Mosaic focuses on change—changes in landscape due to natural processes, changes in human experience in the landscape, and life-changing events in personal lives.

In order for us to perceive change, we must have a control—a basis from which to recognize that change. Therefore, the design aims to juxtapose natural processes and successions with the cemetery as a fixed, permanent program on the land.

Located in Bastrop, Texas, the site is ecologically fragile after the devastating wildfire of 2011. The design intends to minimize construction disturbance by concentrating the cemetery program at the center of the site. As a method of recovery from the recent fire disturbance, we are proposing a mosaic of ecosystems that provide various habitats for diverse species and will also enrich visitors’ experience of the landscape.

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PAT | TRAY Arman Hadilou

Prototype / Igor Siddiqui PAT | Tray is a series of ceramic pieces that form a tray based on a pattern.

These pieces vary in proportion and have two distinct geometries. The size and form variation help to provide various configurations of the tray. The top surface and bottom surface of each piece have different conditions as well; the top one organizes the distribution of the food and the bottom one lightly supports the object off a flat table top, implying a sense of levitation.

The models were produced with different fabrication techniques, including laser cutting, CNC, and casting. The prototype is made of pine wood using CNC techniques.

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CHROMA SCAPE Michael Beene + Jesefa Templo Advanced / Clay Shortall

Color has intrigued artists, poets, and philosophers for all of recorded history. We know that not everyone perceives color the same way, and that this is due in large part to differences in color vocabulary. For example, in Japanese, there is no equivalent for the English blue, just as in English there is no equivalent for the Hungarian piros (a variation of red). The words we use to describe our color sensations not only facilitate communication, but also structure our perception of color in the first place.

Our exploration of this topic began with a three-dimensional mapping of English color words. By mapping the red, green, and blue components of these words (about 175 total) across the x, y, and z axes of a cube, certain patterns began to emerge. Densities of points around yellow and red indicate that we have an acute ability to discern slight difference in these colors.

By contrast, the low density of points near blue and violet suggests we have fewer and broader terms for those colors, and thus a weaker ability to categorize them.

CHROMA SCAPE is an installation built from this research, an inhabitable sculpture that allows a person to navigate through the color spectrum with their body movement. An infrared camera monitors the movement of people through the space and alters the projection of color onto a series of walls constructed of mohair yarn. Through subtle changes in their position, CHROMA SCAPE allows the viewer to inhabit colors for which we don’t necessarily have words.

COCKROACH 44 Brian Delford Andrews, Adjunct Lecturer at The University of Arizona.

An exhibition presenting six projects that boast forty-four separate framed drawings. Andrews explores a connection between image and text and investigates the relationship between dark events and the places in which they happened.

Most of the work was executed while Andrews was the Hyde Chair at The University of Nebraska.

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January 22–March 8, 2013

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April 1–May 1, 2013

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1 + 1 SLETTO | URBAN THINK TANK

A joint exhibition between Bjørn Sletto, PhD., Associate Professor at The University of Texas at Austin + Alfredo Brillembourg, of Urban Think Tank. Held in conjunction with National Organization of Minority Architecture Students.

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RICHARD SWALLOW Reception and Maquette Giveaway

Professor Emeritus Richard Swallow’s uniquely poignant, expressive, and whimsical pieces, called “maquettes,” were created over a year’s time as a leisurely distraction and a kind of therapy. These pieces were originally exhibited during “1,000+ Art/Architecture Maquettes Produced by the Cut N’ Fold Manipulation Process from Junk Mail and Packaging, 2011–2012,” and have since been stored in The University Co-op Materials Resource Center. Faculty, friends, and family joined Professor Swallow for the festivities and took home maquettes to display in their own spaces.

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April 30, 2013

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SUMMER 2013

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FEATURING

Chad Bunnell Josh Lamden Claire Edelen John Cunningham Kelly Denker Allison Stoos 96 Brian Gaudio Marianne Nepsund Nathaniel Schneider 98 Jun Hwang

DESIGN INSTRUCTORS Michael Benedikt Kory Bieg Judy Birdsong Coleman Coker Alan Knox Mark Macek Smilja Milovanovic-Bertra Joyce Rosner Gary Wang

EXTERNAL SEMINARS

100 Summer Academy in Architecture

CRATER COLONY Chad Bunnell

Advanced / Kory Bieg The Lunar Fusion Complex (LFC) will be the first fusion power plant and human colony located on the moon’s surface. In response to the growing demand for terrestrial energy by the year 2100, the LFC will provide mankind with sustainable power by embracing technological innovation and automated construction methods for lunar habitation.

The architecture of the Lunar Fusion Complex will be a necessary and direct response to the extreme conditions present within the moon’s environment.

Creative strategies will attempt to solve the infrastructural challenges of space colonization, and will embrace new ideas of simultaneous live-work programs and macro lunar urbanization that embrace biomimicry and emergent architectural processes.

The program will consist of three major components including the residence, the nuclear fusion complex, and the mining facilities. The construction will primarily consist of in-situ 3D printing and will provide the shell and core structures necessary for safe habitation, and continuing development and construction.

The lunar surface has varying site conditions, and the location will be determined based on the parameters set by prior research and exploration.

The current location is set to be a network of repeatable structures within the expansive flatlands of the Sea of Tranquility, the location of the Apollo 11 mission. The complex will take advantage of the impact-craters’ geology that provides the necessary resources for construction, energy production, and sustaining life.

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COMPONENT PROTOTYPE: SUSPENDED CEILING Josh Lamden

Digital Fabrication / Alan Knox This project explored rapid component prototyping in order to generate an undulating suspended ceiling that would be suitable for any open interior.

An initial two-dimensional pattern was first conceived and then transformed into a three-dimensional geometry that allowed for complex layering through bolted connections. Through the repetition and subtraction of this single shape, a variable roof system was achieved. Ideal geometries were generated through sketches and 3ds Max Design and then tested through 3D-printed iterations. Following test prints, a single full-scale component was carved out of both rigid insulation foam and laminated Baltic Birch plywood using a double-sided CNC cut.

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TABLE IN ASH Claire Edelen

Wood Design / Mark Macek Made entirely of 3/4-inch thick ash and constructed using mortise and tenon joints, this six-person dining table emphasizes the thinness of the material.

The tabletop is lifted up off the apron by cross rails held back from the edge, giving the appearance of a light, floating slab. The apron, which is typically vertical, is turned horizontally to produce a second layer of thin ash. Each leg is comprised of two tapered pieces. The outer piece remains vertical and flush with the edge of the apron, while the inner leg piece is angled to create lateral stability and offset slightly to produce a layered visual effect.

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BOGGY CREEK CANOPY TELESCOPE John Cunningham, Kelly Denker, + Allison Stoos Public Interest Design / Coleman Coker

The Canopy Telescope is one of three pieces constructed in Boggy Creek Park, intended to reflect the dynamic relationship between the adjacent Rosewood Neighborhood and the creek. The projects draw attention to the channelization of the waterway, the trees above, and the riparian zone currently in restoration. Further, they increase interaction between the community and the creek, which was previously understood as little more than a dumping ground and refuge for the neighborhood’s homeless population.

The Telescope appreciates nature in the everyday by creating two distinct relationships with the park’s dense tree canopy: one sitting and one climbing.

These simple perspectival shifts are intended to transform the canopy from a condition of appreciated but largely ignored utility, into an object of beauty, contemplation, and wonder. Poems on nature by neighborhood children are integrated into the architecture to illustrate how youthful perspectives can enhance and transform spatial interpretation.

Designed in two weeks and built in five, the Telescope was fabricated off-site as separate components: the structural steel frame was fabricated in East Austin and then transported to Goldsmith Hall for extensive non-structural welding. Then, in two afternoons, the completed frame and cedar fins were transported to the site, the frame was set in concrete piers, and the fins were bolted in place.

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“As a studio, we committed to design and build something that would reinvigorate Boggy Creek in anticipation of an extension of the East Austin Hike and Bike Trail. The core studio challenge was to engage and listen to the community to learn what problems they perceive in their neighborhood. We involved neighborhood groups in design presentations, worked with local youth to create artwork and poetry, and interviewed residents at the senior activity center in order to incorporate community-based history in our designs.

We were presented with real needs, real constraints, and the knowledge that what we did (or failed to do) would affect actual people. As a result, the PID program was an extremely rewarding experience that challenged us to take responsibility for how our design affects people and the environment.”

—Kelly Denker, M.Arch ‘14 “The concept of the ‘public interest’ is something that the design disciplines have struggled with for decades. In the 1940s, the ‘public interest’ was considered anything that would contribute to educating citizens about the value of Architecture to society, conceived as one of the fine arts. Today, the meaning of the ‘public interest’ has changed significantly. The threats associated with climate change, as well as the significant growth and visibility of vulnerable populations, require that all of the design disciplines reframe their practices and identities. By ‘reframing’ I mean that we must redefine, or reconsider the value that design brings to society as a whole. The quest for beauty will surely not go away any time soon, but that quest must not mask the pursuit of a dignified life for all citizens. The new public interest design is less elite and paternalistic than it was in 1940. The role of the designer in contemporary society is not to tell people how to live tastefully, but to provide citizens with the considered information required for them to decide how it is that they want to live differently from how they now do.”

—Dr. Steven Moore, Director of the Graduate Program in Sustainable Design

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RIPARIAN ECOLOGY PAVILION Brian Gaudio, Marianne Nepsund, + Nathaniel Schneider Public Interest Design / Coleman Coker

Boggy Creek runs through the heart of the Rosewood neighborhood in East Austin. A waterway once subject to frequent flooding, the creek played a major role in shaping the character and identity of the neighborhood. Boggy Creek was partially channelized in the 1970s and has been abused by the dumping of trash and industrial waste. Recently, the City of Austin began a project to restore the riparian ecosystem along the creek in an effort to improve water quality and biological diversity. However, the creek is no longer a large part of the residents’ lives. This project seeks to re-engage the community and park users with the life of the creek.

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TEXAS COURTHOUSE REVITALIZATION Jun Hwang

Advanced / Gary Wang Texas towns are formed by the grid-road system. The center of the town is usually the open, public block at the center where the courthouse is located.

The population of many Texas towns is not very large; but in the future, population will grow quickly according to the growth of Texas compared to other states.

To vitalize the courthouse area, this project changes the courthouse square from following the typical grid-road system. This differentiation from the typical grid creates a new environment that promotes public gatherings and events. This reinterpretation of the organization of public space will revitalize the courthouse square in Texas.

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Director: Kevin Alter Instructors: Raquel Basilico, Jenna Dezinski, Ben Morris, Morgan Parker, John Paul Rysavy, Peter Raab (Lead Instructor) Teaching Assistants: Ben Hamilton, David Mora

SUMMER ACADEMY IN ARCHITECTURE An intensive introductory course, geared toward people who have little to no background in architecture and who wish to test and refine their interests in the field. Through a series of individual studio design projects, the Academy introduces students to many of the important aspects of architecture and encourages personal exploration.

June 10–July 12, 2013

FALL 2013

FEATURING

104 Jaclyn Hensy James Thoreen 108 Erin Dear Lily McCourt 110 Austin Ablon Alex (Yen-Jung) Wu 114 John Cunningham 118 Yee Sang Wong 122 Nadia Aseeva Alex Dallas Elizabeth Fuchs Bernardo Jimenez Estrella Juarez Alline Kane Kevin Keating Aarti Khatter Kelsey McCarter Alexis Meur Claire Miller Stancey Moore Brenda Morlan Villafuerte Michael Rahmatoulin Layla Salameh Gabriel Tagliante Zach Walters 124 Alex (Yen-Jung) Wu 126 Jeff Blocksidge Anna Katsios 130 Elizabeth Farrell 132 Jessica Yong 134 Ravena Bhalara Pearlene Cheah Claire Fontaine Charlotte Friedley Benjamin Goldberg Kaitlyn Gruener Ariana Hallenbeck Phillip Hufshmid Cheryl McGiffin Kathe Meyers Ricardo Soto Kara Turner Aubrey Werner Ricky Zendejas Yingquian Zhuang 138 Johanna Spencer 140 Michael Steinlage 142 Maxwell Baird 144 Andrew Green 146 Claire Edelen 150 Andres Felipe Calderon

Anna Roe 152 Josh Lamden 154 Shelby Blessing Danuta Dias Shelley Evans Andrew Houston Lauren Jones Kye Killian Alexandra Krippner Jorge Martinez Morgan Parker Mitchell Peterson David Sharratt Katie Summers 156 Grace Dixon 158 Sara Fallahi 162 Lauren Jones Nathaniel Schneider 164 Ben Morris Kevin Olsen 166 Ben Morris Nick Steshyn

DESIGN INSTRUCTORS Dean Almy Simon Atkinson Michael Benedikt Kory Bieg Judy Birdsong John Blood Coleman Coker Ulrich Dangel Elizabeth Danze Larry Doll Matt Fajkus Sarah Gamble Michael Gatto Allison Gaskins Tamie Glass Fransisco Gomes Hope Hasbrouck David Heymann Murray Legge Charlton Lewis Petra Liedl Mark Macek Richard MacMath Smilja Milovanovic-Bertra Juan Miró Clay Odom Erica Quinones Edward Richardson

John Ronan Joyce Rosner John Paul Rysavy Alan Shearer Clay Shortall Igor Siddiqui Marla Smith Vince Snyder Dr. Stephen Sonnenburg Danilo Udovicki-Selb Wilfried Wang Nichole Wiedemann

LECTURES David Garcia Map Architects

K. Michael Hays PHD Harvard University Elihu Rubin Yale University Jinhee Park + John Hong Single Speed Design Theodore P. Zoli PE HNTB Jenny E. Sabin Jenny Sabin Studio + Cornell University Carlos Jiménez Rice University Burton Baldridge BaldrigeArchitects

EXHIBITIONS

Weaving the Past and the Present: 101 Years of Interior Design at UT Austin

SYMPOSIUM

168 Energy XChange // October 1–2 170 Curtains // October 14–18 172 Weaving the Past and the Present // October 26

SUSTAINABLE DESIGN IN THE ALPS – HOCHWILDEHAUS Jaclyn Hensy + James Thoreen Advanced / Petra Liedl

A system of 300+ huts stretches through Europe along the Alpine trail, providing shelter for hikers during the accessible summer months. The existing Hochwildehaus hut is located 2,888m above sea level in the Austrian section of the Alps. As the hut approaches a level of disrepair, the need has arisen for a larger, sustainable design that adapts to the changing climatic conditions and can accommodate the increasing amount of hikers before the final ascent to the highest point in the Austrian Alps. Inaccessible by vehicle, the hut is approached on foot from the surrounding town, approximately two miles away. Design parameters require that the hut provide its own energy, dispose of its own waste, and rely solely on a cable car to supply food and goods.

When dealing with extreme isolation, self-sufficiency becomes imperative for survival. The common fault of relying wholly on solar energy is that system failure is always a possibility. When temperatures drop below freezing, this is not an option. The design implements the use of passive solar heating to reduce the required heating load and the dependence on the outside world.

Drawing from the advantages of the site (an excess of solar radiation due to the high altitude), a trombe wall was implemented. Extensive energy research demonstrated that a six-inch air gap sandwiched between a single pane of glass and two feet of recycled stone from the previous hut stabilized the internal temperature of the hut at approximately 65 degrees Fahrenheit while the exterior temperatures dropped below freezing. The rest of the hut employs the use of solar air collectors to heat the private wing, photovoltaic panels to generate electricity, and a back-up grapeseed oil generator.

The hut was separated into three parts: public, private, and circulation.

Dividing the private and public sectors of the hut allowed for two conditions.

First, different programs require particular heating loads at certain times of the day. Passively heating the area where the majority of time is spent and actively heating the sleeping areas, allows for a minimalistic system directly tailored to the needs of users. Second, the separation increases comfort by allowing hikers to retreat to an isolated area after a long day spent hiking. An unconditioned, recycled stone hallway connects these two wings and provides entrance to and egress from the hut. The dark stone corridor compresses the hiker before re-releasing him/her into an open space to increase the appreciation of mountain views.

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PIAZZA ARTE MODERNA Erin Dear + Lily McCourt

Advanced Italy / Smilja Milovanovic-Bertram The re-planning of the small Tuscan town of Castiglion Fiorentino opens up a primary pedestrian axis. It runs from the train station, through the Etruscan Gate, and to Piazza Communale. The proposed Piazza Arte Moderna sits at the end of this pedestrian axis, inviting locals and tourists to travel the new pathway and experience the Modern Art Gallery below the piazza. The new pedestrian axis is lined with mini-piazzas and pauses for seating to enhance a sense of community and gathering throughout the intimate Etruscan town.

The rooftop piazza of the Modern Art Gallery invites visitors to sit on benches or climb to a higher vantage point to enjoy a grander view and experience of the town and its surrounding landscape. The proposed art gallery below houses a cafÊ at rooftop level, simultaneously inviting pedestrians into the building and creating a sense of community and economy for the town. A series of gallery spaces fill the interior; they are experienced through a sense of wandering up or down multiple staircases. The lowest level of the building is geared toward children’s educational activities, such as art classes and exhibitions. It is immediately connected to the exterior walkway that leads to the elementary school of Castiglion Fiorentino in order to promote creative education to town youth. The new building is finished with smooth-sawn sandstone pavers in order to utilize a traditional Tuscan material in a sleeker, more contemporary fashion.

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BIKE N’ BATHE Austin Ablon + Alex (Yen-Jung) Wu Design III / Judy Birdsong

This week-long project demonstrates one possible solution that promotes commuting by bike over commuting by car. Using design processes developed from research on Diller Scofidio + Renfro, we designed a small structure on South Congress Avenue that incorporates bike-parking and showers. The selected site occupies the grass in front of the Hotel San José, between the sidewalk and the street, pushing into parking spots on South Congress Avenue. The project’s mains concepts are integration with the landscape and a bold promotion of biking over driving. Two street-side parking spaces are replaced by below-grade bike-parking and seating. The voids boldly steal coveted parking spots along the street and give bikeparking an equal presence on South Congress Avenue. Bikers descend into the space using a gentle ramp that leads below grade to the voids. After parking and showering, a stairway on the other side provides a quick exit for commuters heading to work.

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IDENTITY THROUGH EARTHEN FUNERATION John Cunningham Advanced / John Ronan

Funeration is a process in which individual human identity is validated and celebrated by society; it is also a process in which society can verify its own identity as empathetic to the dignity of human life—regardless of race, class, or religious affiliation. Thus, funeration is an opportunity for the unclaimed deceased—those who have had their identities lost or hidden through alienation, disease, poverty, or lack of familial ties—to be reintroduced into society through participation in a cultural ritual. This proposal for a cemetery, which facilitates the process of identity reclamation, fully utilizes the funeration ritual as a generator of its spatial development and tectonic form. The manifestation of these ideas was realized through the use of earth, as it is a natural body that relates closely to death through burial and biological cycles; as it possesses various identities in the many forms it can take; and as it ranges in perceived worth from valueless to extremely valuable. Earth is neither added nor subtracted from the site, only rearranged to create structural form, temporary spatial formwork, and the objects of burial. Over a period of 100 years, the site will transform from a plateau to a deep burial trench and a large hill, within which a chapel is contained and with which individuals will be buried—slowly decreasing the depth of the trench and the height of the mound as more individuals are interred. Ultimately, the site will resolve as a centralized burial mound, planted with wildflowers and native grasses fertilized by the deceased, delineated on one side by the Chicago River, and on the other by an earthcrete wall, and punctuated by a chapel memorializing those whose identities were transformed in the creation of the space.

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PERFORMANCE Yee Sang Wong

Design I / John Paul Rysavy The design accommodates concurrent performance venues of both instrumental and popular music. In response to the polar conditions of the inside and outside corners of the site, the two programs are separated. The program for instrumental music is located between adjacent buildings; and the program for popular music is on the corner intersection surrounded by food trucks, restaurants, and a parking garage across the street. Fixed programs such as bathrooms, storage, and auditorium are arranged along the concrete walls of the surrounding buildings, while the popular music venue is surrounded by the vivid hustle and bustle of Fifth and Colorado Streets.

Each performance space is contained by a juxtaposing volume—a spatial instrument which conforms to the requirements of each performance and establishes a passage between.

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“The School of Architecture’s digital fabrication tools enable students to explore ideas that go beyond conventional fabrication techniques and create innovative architecture at full scale. The school’s CNC router made it possible to fabricate Caret 6, in which complex geometries necessitated the mass customization of thousands of unique connections. This fabrication technique became a key design factor that influenced the overall form as well as the details. Before CNC routing the final installation, the laser cutters allowed for testing of connection details through rapid prototyping.”

—Alex Dallas + Zach Walters, B.Arch ‘16 “The architecture of an era is always dependent on the techniques of representation and fabrication by architects and builders. As a designer with a programming background, I have been interested in digital manipulation as it relates to design, presentation, and fabrication of the built environment. From the beginning of my studies at The UTSoA, I was fascinated with the fabrication technologies provided at The School of Architecture. Of particular interest was how design uses digital fabrication and material research to calibrate between a virtual model and a resulting physical artifact that has a higher-level of functionality in the built environment.

Taking an Advanced Studio as well as an Independent Research course with Associate Professor Clay Shortall gave me an opportunity to extend this interest into a more focused design and research path where I was able to further investigate computational design and fabrication techniques. One of the benefits of the Advanced Studio was the convergence of students’ interests.

Through collaboration, we were able to share ideas, critique each other’s work, and make our mutual agenda stronger. Our collective endeavor was to employ digital fabrication technology available at The UTSoA, develop techniques, and connect them to a broader body of research that contributes to a built environment less concerned with idiosyncrasy and more with performative capacity.”

—Arman Hadilou, M.Arch ‘13

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CARET 6 Nadia Aseeva, Alex Dallas, Elizabeth Fuchs, Bernardo Jimenez, Estrella Juarez, Alline Kane, Kevin Keating, Aarti Khatter, Kelsey McCarter, Alexis Meur, Claire Miller, Stancey Moore, Brenda Morlan Villafuerte, Michael Rahmatoulin, Layla Salameh, Gabriel Tagliante, + Zach Walters Design V / Kory Bieg

Caret 6 is an architectural installation designed to exhibit the finalists and winners of the TEX-FAB SKIN Competition. The exhibition supports graphic displays and prototype models, while standing on its own as an architecturally significant project. The structure consists of an inhabitable catenary vaulted space and an articulated ground surface that emerges from a vault to support the competition finalists. Using digital tools (Rhinoceros, Grasshopper, and Kangaroo), Caret 6 is designed parametrically to generate unique formal qualities and fit the programmatic requirements for the exhibit, while allowing for the mass customization of hundreds of unique pieces and connections, which are cut on a CNC router. The form is the result of studying the modularity of the diamond and its ability to aggregate in complex geometries. The diamond modules are deconstructed into two primary elements: ribs and infill surfaces. The ribs serve as the structure that supports the infill surfaces, which are hinged to emphasize the pattern. The ribs are discontinuous as a result of the irregular grid in which the modules aggregate. These discontinuities required collaboration with students and professors from the UT Cockrell School of Engineering to ensure the structural integrity of the installation. Caret 6 was on display in the Mebane Gallery for the month of February 2014, at the Renegade Craft Fair during South by Southwest 2014, and will be displayed at the University of Houston School of Architecture.

Inďƒžll to Rib Connection

Rib to Rib Connection

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AUSTIN GREEN CENTER Alex (Yen-Jung) Wu Design III / Judy Birdsong

Austin Green Center is a project intended to hold the offices of the Austin Energy Green Building Program and public spaces such as auditoriums, libraries, galleries, and community spaces. The site is a prominent corner where Gibson Street and South Congress Avenue intersect.

As the Austin Green Center, the project should exemplify green building practice. The concept that drove the design is the idea that no building is the most sustainable building. The project was an attempt to didactically demonstrate that concept while adhering to program requirements.

The design started with a large rectangle on the site, oriented to the street grid. It is suggestive of a large, unsustainable building that might be placed on the site if the building were to follow patterns typical along South Congress Avenue. Instead, that rectangle is transformed into a void. A much smaller two-floor mass angled 17 degrees to true North-South is placed within that void. The juxtaposing angles of the void and the mass show a clear distinction between the street grid and the natural grid of the earth.

The void becomes a sunken courtyard which provides access to programs hidden below grade. This provides a public gathering space that is much cooler than gathering spaces on street level. It also allows the below-grade spaces to take advantage of the thermal mass of the earth and reduce cooling and heating energy. The result is a building that appears small— promoting the idea that a smaller building is more sustainable. The void further reinforces that idea by suggesting the potential for a larger building that was not exploited.

In addition, the building has qualities to support its demonstrative purpose.

It is massed and oriented to reduce solar heat gain. The southern façade of the building has fewer windows to allow greater control of heat gain from the south, while the northern façade is more open. A thin vertical window on the western façade enhances the didactic purpose of the building by framing the offices to views from the pedestrian—in essence, placing the work of the Austin Green Building Program on display to the public.

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NEW LIFE LUTHERAN CHURCH Jeff Blocksidge + Anna Katsios Technical Communication / Vince Snyder

In analyzing the 12-acre site presented by the New Life Lutheran church, it was clear that a site must function as more than a place of worship. This project’s site is a park that connects the Christian faith to Dripping Springs.

Areas of interest and program are spread across the site, and paths are laid throughout the existing landscape to offer connections to the existing, as well as anticipated, neighborhoods. The paths and wide reach of the program also mark a meditative path through the site, connecting secular and nonsecular, solitary and participatory programs. The addition of a garden and orchard to the program allows a church-run fruit and vegetable stand along Ranch Road 12, providing an unimposing face to the community, while allowing the church to further share the fruits of its land.

The church itself is a place to feel at home, which collects and connects the different parts of the site by acting as a porous boundary, like five stones placed on a path. Indoor spaces bleed into outdoor spaces with sliding metal screen walls so that the house can become a pavilion when the weather permits. A view to the sky is allowed through the separation of roof and wall, emphasizing the connection with nature when weather does not permit.

A kitchen, barbeque pit, small library, and meeting area invite people to come and linger. There is no clear hierarchy given to the gathering spaces, presenting an equal experience for those who come to worship and those who come for the fellowship aspects of the ministry. Ideas from the doctrine of the Christian faith are subtly implemented throughout the experience. A continuous French drain collects water from the roof, creating a threshold to pass over before entering under the protection of the roof. Recessed skylights in the structure of the roof allow the sun to mark the passing of time on the patio and indoor spaces.

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ART DAILY: STUDIO + MUSEUM + MARKET Elizabeth Farrell Vertical / Matt Fajkus

Employing public space as its connective tissue, this project unites an outsider art museum, art therapy program, and flea market through the shared experience of art. A public zone crosses the site in a “T” formation, linking the street to the site’s interior, and providing a framework around which the three programs interweave and connect. Combining these programs provides the opportunity for an unlikely population to view art, and also facilitates the introduction of art therapy patients back into the public realm. Additionally, by activating the public space with food trucks and flea market stalls, visitors have the opportunity to experience art on a daily basis rather than as a special occasion.

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EUROPE STUDY ABROAD Jessica Yong

Visual Communication / John Blood, Elizabeth Danze + Larry Doll With each gesture, we express intention, capturing flavors while decoding cryptography. The intention was to record impressions and to compose an anthology of memories, yet as the movement of the hand began to compete with the movement of the mind, each sketch resulted as a visual testament of this synergy. Though descriptive captions would provide more context, to preserve the intimate ruminations, the annotations were kept minimal, leaving the observer to gather clues through lines, signs, and forms.

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Photographs are the fresh moment of an infant observation, the hesitation in a grand sweeping glance, which abbreviates each experience into a solitary moment. Visiting the Messeplatz by Herzog de Meuron includes a neck strain and a photostream full of disoriented photos, but the initial impression of the architecture is one of complete captivation. The metal skin billows out into the blue sky and we are left wondering how something so sharp and crisp can create shadows, the softness of which competes with the clouds. The alluring aspect of the Messeplatz is that it beckons one to ambulate underneath, each step forward adding to the rippling effect, despite the uniform skin and shape. So our heads are angled while looking for the position of the sun and admiring the large frame our eyes can catch, but our camera lenses fragment. Sooner or later, we catch our breath, the soreness kicks in, and we notice they are selling Magnum bars inside.

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WALLER CREEK INTERACTIVE PAVILION Ravena Bhalara, Pearlene Cheah, Claire Fontaine, Charlotte Friedley, Benjamin Goldberg, Kaitlyn Gruener, Ariana Hallenbeck, Phillip Hufshmid, Cheryl McGiffin, Kathe Meyers, Ricardo Soto, Kara Turner, Aubrey Werner, Ricky Zendejas, + Yingquian Zhuang Design V / Murray Legge

The Erosion Pavilion is the product of a design-build studio taught by Murray Legge. The pavilion is part of the Creekshow with the Waller Creek Conservancy and is intended to engender awareness about the creek. The pavilion’s form was inspired by ideas about the creek bed and the way water erodes the sides of the creek. The undulating curves of the pavilion are meant to simulate this and form a dynamic surface that directly represents Waller Creek. The curved surfaces bow out depending on the need for a surface, a bench, a table, or a shelf. The large table area of the pavilion is a takeaway station where individuals who encounter the pavilion will be able to paint a prepared takeaway from laser cut templates. These takeaways can then either be taken with the individual or left behind the flat side of the pavilion. This gives the pavilion a dynamic aspect as it is made and unmade, constantly changed by the people who interact with it. In this way, it is an embodiment of the creek, a constantly changing, ever moving, living thing.

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EAST 5TH STREET THEATER Johanna Spencer

Advanced / Michael Benedikt The two main interventions are at the main entrance and in the loggia. Due to the fact that the entrance is on the east façade and off the street front, an attentiongrabbing moment was created that would act as a wayfinding tool and add to the drama of going to the theater. The glowing Polygal box and the adjoining plaza are the places to be seen.

This project focused on the revitalization of an existing industrial building on 1100 E 5th Street in Austin, Texas. The building in question is a composite of five quonset huts, a typology that was a product of World War I. Initially used as storage for the railroad on East 5th Street and most recently as an office furniture store, the project aimed to give new life to this building by transforming it into a theater. The expectation was to propose original design ideas while also maintaining the inherent beauty of the existing form.

The loggia along the south face acts as the place to see. With views to downtown and its location along the new TOD-zoned pedestrian corridor, the loggia was anticipated as being an active space during intermission and potentially being a space that could be opened as a bar on nights without a show.

The studio studied the technical aspects required by a theater as well as broader concepts of performance. There are formal performances that people pay to watch, but it could be argued that we deliver small informal performances every day. In our daily lives, we often switch between roles of performer and observer; sometimes we are people-watching and sometimes we are the ones being watched. Inspiration originated in this idea of seeing and being seen. The design aimed to transform this existing structure into a stage for the visitors, designing spaces that put the theater-goers on display while also giving them a place to watch others.

The attitude toward the renovation of this project was to maintain the character and the iconic curved vaults while making the overall style of the building more refined through finish materials and select interventions.

GROUND FLOOR PLAN 1/8”=1’0”

Ground Floor Plan GROUND FLOOR PLAN 1/8”=1’0”

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FIRST FLOOR PLAN 1/8”=1’0”

First Floor Plan

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TOWARD SUCCESSION: THE FOREST GARDEN Michael Steinlage

Advanced / Hope Hasbrouck The studio examined seven Rustbelt cities and proposed strategies based on landscape systems and regional geography for future wilding as the result of lowering urban density and changing land uses. This project for Peoria, Illinois, focused on sites of abandoned industry, compromised ecosystems services, and ecosystem service erasure. The design of both a wild (urban forest) and a cultivated garden—with measure and program as places of “deviant” behavior and surreality—emerged directly from the analysis of the site, its adjacencies, and the peer review literature on strategies for “smart decline.”

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“Double, double toil and trouble; Fire burn, and caldron bubble.”

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PERFORM AUSTIN Maxwell Baird

Design I / Igor Siddiqui Perform Austin is a public music venue on the corner of Colorado Street and Fifth Street in Austin, Texas. Too often, performance spaces are only experienced during event times, rendering them useless during the rest of the day. This project reunites music and art with the everyday experience. The space’s primary purpose is to accommodate formally organized performance; but by not over-developing the form, the space easily facilitates art exhibitions and other community events. Because the venue is open to the public and remains accessible throughout the day and night, it serves the public more completely than many music venues.

The fundamental idea and organizational driver is that path and sequence are the greatest determinants of a user’s experience. Though the position one inhabits within a space is important, the process of discovery is far more critical. Both entrances to the venue slow down the user through strategically placed openings and architectural elements. The southern entrance and façade only affords users one short and limited view of the stage until they pass through the deeply cut entrance. The staircase acts as a partial screen to the stage for those walking by on the west. Once within the space, each person is presented with a choice as to how he/she will ascend within the space. The stairs provide a direct and almost immediate route. The ramp, on the other hand, allows the user to experience the space more slowly and fully.

This more experiential route consists of spaces alternating in compression and release, revealing the venue, stage, and skyline slowly. The ramp, in addition to being circulation, becomes a place to watch performances or view the city. Though the stair clearly does not provide as complete of an experience, it is still a crucial part of the design because it provides the user with a dilemma. The control that each person has over how he/she would like to use the space makes the experience comfortable and memorable.

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MEMORIES OF WAR Andrew Green

Advanced / John Blood, Elizabeth Danze, + Dr. Stephen Sonnenberg Less than one percent of the American population has been on active military duty at any given time in the past 12 years. Today’s technologically-advanced warfare requires fewer soldiers, and medical advancements help save a greater percentage of those injured in battle. However, upon return, our military men and women are now experiencing higher rates of PTSD—more appropriately called “Combat Stress Reaction”—higher rates of traumatic brain injury, depression, alcoholism, drug addiction, and violent behavior.

Young veterans are nearly three times more likely to commit suicide than civilians of the same age. In 2012, we lost more active-duty soldiers to suicide than to the enemy. This is unacceptable.

The aim of this studio was to address the growing divide between military and civilian communities; to design a place and program that believe in the power of shared experience for developing a greater understanding of the human costs of war and promoting wellness within our society.

This project addresses such issues by engaging memory in three ways.

1) HOLDING. It is important to recognize the permanence of memories.

Memories are things that continue as a part of us, not to be forgotten.

Tattoos and MIA-POW-KIA bracelets are examples of holding memories. In the project, the archive is designed to serve this purpose.

2) SHARING. To share a memory can be a very powerful experience. Sharing provides a moment of release, where we relinquish control. It is an active step against isolation. Efforts like The Telling Project utilize performance as a tool for sharing memories. Here, the theater, café, and plaza are designed to promote sharing memories at a variety of scales and contexts.

3) RECEIVING. The reception of these memories must be done without judgment. The archive and gallery give preference to informing visitors about the human costs of war, over informing them about the historical data. A better understanding of what war is like, from a human perspective, promotes empathy. The theater is designed as an inversion of the typical theater. Here, the audience is at the center, in swivel seats, with a series of stages at the perimeter. Contrary to the traditional division between dark seats and a lighted stage, the central audience is an engaged participant.

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ADAPTIVE CLASSROOMS Claire Edelen

Advanced / Clay Odom ADAPTIVE CLASSROOMS provide the framework for small group work within the classroom setting, promoting creativity and collaboration among students in areas that have experienced devastating natural disasters.

Example: Moore, Oklahoma / Briarwood Elementary Number of Students: 500 / Number of Staff: 40

By breaking down the classroom into zones based on hidden personal space and interactive dimensions, the classroom functions at its best during small group work, yet still accommodates large group instruction. The zones are distinguished by slight changes in form, color, and texture, and by providing smaller breakout areas. These modular units encourage teachers and students to move away from the standard factory classroom model.

As rebuilding begins, ADAPTIVE CLASSROOMS will be aggregated together to form an entire school complex. In the case of Briarwood Elementary, two linked shells will support an entire grade level. Connecting the shells at the hinged science and art classroom creates enclosed courtyards that can be used for outdoor activities.

As rebuilding continues, more people will move back to Moore, and the school can be expanded by the addition of more units. Slight modifications can occur in the shell to accommodate support facilities, such as a library and offices, and to adjust to solar orientation. ADAPTIVE CLASSROOMS will also incorporate a reinforced storm shelter into the aggregated complex in order to prepare for possible future tornadoes and storms.

Rebuilding homes, schools, and lives after disasters can take years.

ADAPTIVE CLASSROOMS are intended to last the length of this waiting period. Many areas that have suffered these natural disasters are likely to experience similar types of storms in the future. By lifting the classroom buildings off of the ground on piers, the height of these modular units can vary. Those schools that are near coasts can be lifted above the flood level, preventing possible damage in the future. These modular units also have the potential to be disassembled into their respective subassembly components for possible reuse in future locations.

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NEAR THE TWELVE Andres Felipe Calderon + Anna Roe Technical Communication / Vince Snyder

This project relates observed characteristics of the site to the purpose of the New Life Lutheran Church. The site is unique in that, from a macroscopic to a microscopic level, it stands as a place of meeting: of natural areas at the state level, of shifted county grids, of two important roads in Dripping Springs, and finally of diverse landscapes within the site.

This scheme looks at the characteristics of site to inform the design of both landscape and building. The site is comprised of three large areas that are particular in the way they are used and in their natural characteristics. On the northwest corner, three large live oak trees demarcate a “holy� gathering place. The mid-section is distinguished by expansive meadows that provide beautiful views of the landscape. The third area, on the southeast, is a cedarpopulated region that becomes very rocky and rough, as one gets to the eastern highway.

After analyzing these characteristics, places of overlap were revealed which gave opportunities for programmed areas such as a wildflower garden, an orchard, a bell tower, cabins for spiritual retreats, and the building itself. In this scheme, the trails become a manifestation of these boundaries reacting to the conditions of their surroundings.

Negotiating the conditions of its surrounding, the building reacts to the implied forces of tension and compression in the intersecting area. Three buildings house the different programs according to church needs—a place for worship, a fellowship hall, and a multipurpose room for meetings and other activities.

The buildings come together to form a central space that unifies them all. This common space integrates the different buildings, embodying the purpose of the New Life Lutheran Church as a place for the meeting of people, faith, and nature.

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SILICONE SEALANT

CONTINUOUS NEOPRENE GASKET CONTINUOUS EXTRUDED EAVE BAR EAVE ANCHOR CONTINUOUS EAVE APRON

CRUSHED STONE 2 X 4” RIGID INSULATION

3” STEEL DECKING

1121 DS RANCH ROAD, DRIPPING SPRINGS, TEXAS

NEW LIFE LUTHERAN CHURCH

OPEN WEB STEEL JOIST

2

ROOF VALLEY scale : 3” = 1’0”

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PARAPET SKYLIGHT scale : 3” = 1’0”

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BLUNN CREEK THERMAL BATHS Josh Lamden

Vertical / Sarah Gamble The proposed thermal pools aim to contrast the American notion of bathing as a private, individual activity, with the more public, social, and active European view. Located at the southern tip of Big Stacy Park in South Austin, and tapping into an existing thermal well constructed in the 1930s, the design is driven by the flow of well water into Blunn Creek to the west, the proximity to an existing pool on site, and upward views to a thick grove of trees to the east. Well water is first pumped up and onto a large concrete bar, where it flows out of sight perpendicularly towards the creek, before crashing down as a waterfall at the entrance to the complex. From here, water is channeled into five thermal pools, ranging from 68 to 94 degrees to allow for varied therapeutic use.

The large main pool, located in the center of the complex, draws from European tradition and is intended for larger group exercise. It relies on expansive views to the grove and light from skylights above to enliven the already loud and echoing space. The pool deck can function as both enclosed conditioned space, as well as an open center for activity, picnicking, and viewing. Through the design of a new path and shaded outdoor seating, users of the existing pool are further invited to view and engage the new exercise facility.

In contrast to the noise and activity of the main thermal pool, the bar of smaller baths are intended to be quiet, more private centers for contemplation and individual reflection. Hotter water creates a steamy, sauna-like sensation within the carved volumes, and views to the tree canopy above help internalize the space. The sound of the creek to the west, along with the rustling of leaves, generates a powerful contrast to the echoes and splashing of the larger pool, helping to educate patrons on the complementary bathing traditions.

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HEAVY WATER Shelby Blessing, Danuta Dias, Shelley Evans, Andrew Houston, Lauren Jones, Kye Killian, Alexandra Krippner, Jorge Martinez, Morgan Parker, Mitchell Peterson, David Sharratt, + Katie Summers Advanced / Coleman Coker

Though industrial practices have been greatly improved to minimize pollution, the Derwent Estuary in Hobart, Tasmania, retains high concentrations of heavy metals that put wildlife and human health at risk. This problem is exacerbated when nutrients collected by stormwater runoff cause hypertrophication in the water, decreasing oxygen levels and drawing heavy metals out of the sediment. Heavy Water seeks to raise awareness about local heavy metal pollution by offering a transformative experience of the estuary. Visitors are invited to enter a room floating on the Derwent, surrounded by curtains of water falling from a suspended heavy metal box above. An internal oculus reinforces the role of oxygen in keeping heavy metals trapped in the sediment. A companion website allows visitors to better understand the web of causes and effects that surround heavy metal pollution, and the actions they might take to reverse it. This project is commissioned by The Museum of Old and New Art, and will be constructed in 2014.

L A W N F E R T IL IZ E R

C HE M I C A L D I S PO S A L

AUTO POLLUTANTS

RU N OF F

FERTILIZER

N U T RI E NT S

SE WA G E ANIMAL WASTE

HYPERTROPHICATION

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O2

H E AV Y M ETA L S

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[POD]AGOGY Grace Dixon

Advanced / Clay Odom A consistent problem in today’s educational system is, not only how children are being taught, but also, in what environment children are being taught.

Portables were meant to be a temporary solution for the issues of space and overcrowding, but instead have become permanent and outdated structures.

This project proposes an efficient and retrofitted modular solution for an adaptable learning environment. Utilizing the core between exterior and interior conditions allows for the flexibility and innovation that are lacking in today’s portables. Individual modules can be rearranged based on the spatial and educational requirements of the class’s curriculum. This [pod]agogical method would encourage a system in which students advance based on their learning and performance instead of seat time, supporting a “no child forced to move ahead” philosophy.

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EDIBLE GARDEN Sara Fallahi

Advanced / Hope Hasbrouck The issue of vacant and abandoned properties has been a major concern for South Bend. Population decline and loss of manufacturing were important factors contributing to this problem. Like many Rustbelt cities in the second half of the 19th century, South Bend’s industrial economy grew rapidly. However, in the years following World War II, industrial growth declined, and South Bend was hit particularly hard when the Studebaker plant closed in 1963. In 2000, St. Joseph County underwent a property value reassessment process for tax purposes, which caused significant foreclosure and abandonment.

Forest The site has been chosen based on the concentration of the abandoned area. Based on the ideas of productivity and bioremediation, this project hypothesizes reforestation for the city of South Bend; the proposed idea for the site is Edible Forest. The forest is perceived as an economic, social, and environmental tool for reinvesting in the central neighborhood and reshaping South Bend. The forest has been designed to provide an appropriate structure for growing different food plants, vegetables, and crops, bringing urban agriculture and a productive landscape into the heart of South Bend.

The proposed idea is to have 3 types of forests: 1. Wind Break Forest 2. Food Forest 3. Woodland Recreation Garden Additionally, a one-acre garden is embedded in the center of the forest, focusing on the pleasure and beauty of the productive landscape and edible plants. In addition to its focus on beauty and productivity, the garden is designed to encourage gathering for socializing and relaxation.

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SKIN + BONES Lauren Jones

Wood Design / Mark Macek Skin and Bones pushes material limits to achieve something effectively unprecedented in the world of custom furniture: a wood-framed dining table with a suspended clear span of leather (six feet long by nearly three feet wide). Its fabrication relied on research and simulation of an ancient French method for making armour, cuir boulli. I soaked an entire vegetabletanned cow hide in a vat of near-boiling water, stretched it over a hard maple subframe, and dry-heated the composite in a handcrafted oven for three days. In drying, the leather fibers polymerized; they are taut now and any deflection (when loaded) is imperceptible. The table, however, maintains a sensual surface quality—and it resounds, drum-like, when touched.

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MEDIA CASE Nathaniel Schneider Wood Design / Mark Macek

This piece of furniture is a media case designed to house a record player and the components for an entertainment center. The design explores the strong elevational qualities of case goods and the tension between two-dimensional and three-dimensional elements. Additionally, there is a tension between the two elements of the program and a tectonic expression of the degree to which they overlap.

Typologically, the case is modeled on a credenza or sideboard and takes on the long, low aspect ratio of this traditional type. The design celebrates conventional woodworking techniques, in which the dimensionally stable material of birch plywood comprises the three-dimensional components of the case, while walnut is used for the top surface and sliding doors that operate in two dimensions. All elements are composed with consideration to the front elevation, with the exception of the legs, which are allowed to be expressed three-dimensionally.

The shift in program from cabinet on the left to record player on the right is marked by a partial break in the continuous plywood case, where the fixed walnut top gives way to an operable lid. The record player rests in a vibrant tray made of padauk wood. Below, the tray is an open area for storing records.

The three sliding doors, which appear at first as if they might move to close the entire case, may only close off the cabinet to the left. This amplifies the tension between open and closed, between operable and fixed, and between unity and distinction.

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CHERRY AUDIO CONSOLE Ben Morris

Wood Design / Mark Macek This furniture prototype came out of a desire to design and fabricate a loudspeaker console using solid wood. The character, color, and quality of sound produced by a loudspeaker relate directly to the material properties of its enclosure. Unlike mass-produced loudspeakers fabricated from mediumdensity fiberboard and engineered wood products, this prototype is built of cherry. It is a project that investigates what cherry sounds like, how it resonates, and in what ways it can be assembled. Inspired by old combination stereo cabinets from the past, this design brings the loudspeakers, amplifier, and phonograph together into one compact console. Bringing the devices together in design is part of a desire to experience sound as part of a ritual.

Feeling the wooden surfaces, opening and closing the lid, and setting the stylus on the record are all part of that ritual.

The console rests on a base made of 3/4-inch steel that was fabricated by Ann Armstrong based on my design and specifications.

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Drafting Table Kevin Olsen

Wood Design / Mark Macek The goal of this project was to produce an interpretation of the traditional drafting table. Design iterations sought to understand the ergonomics and function of the table, along with the mechanics of articulation. The resulting final product utilizes minimal structural elements to provide a movement range from zero to twenty-five degrees, and supports the ability to knock down for ease of transportation.

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BLASTOZOOID Ben Morris

Supraficial / Kory Bieg This project was developed based on research of biological precedents, called tunicates, which are cylinder-shaped, marine invertebrates. This form was modeled on the complex chain of tunicates, referred to as a blastozooid, which is created during the aggregate phase of the organism’s reproduction.

This aggregate chain was created by attaching and modifying a sequence of forms using Autodesk 3ds Max and generative modeling plug-ins. Each node is modeled as a cylinder-shaped siphon with interior and exterior shells, imitating the tunicate’s process of respiration by continually contracting and expanding. Adaptive components are included on the interior shell while the exterior shell is left as a continuous surface. Those adaptive components are articulated as loops of variable width.

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DIGITAL MORPHOLOGY Nick Steshyn

Supraficial / Kory Bieg This project began with the selection and research of an organism: Marrus Orthocanna, an oceanic-colonial organism that exhibits unique characteristics of growth, mutation, behavior, and a diverse range of color and pattern. The research served as a potent source of formal inspiration while using various parametric and digital design tools (3ds Max, Para3d, Mudbox, Illustrate! for 3dsMax, and Vray). The generation and development of spatial iterations were largely derived from the three distinct phases and transformations of the Marrus Orthocanna life cycle. The first phase begins with a single protozoid, a simple form that floats in (aquatic) space. The second phase begins as the original mass clones itself and its twin begins to stretch and taper along a linear axis. In its third and final transformation, the protozoid begins to create clones of itself along the linear axis. Each new bulb is a genetic replica of the original, but appears formally different as it fluidly expands and contracts to propel the colony through space. In its final form, Marrus Orthocanna blurs the boundaries between its individual components and the colony as a whole, as each cannot exist without the other.

ENERGY X CHANGE Munich + Austin: Regional Centers of Sustainable Innovation

A four-day event in which internationally recognized researchers and practitioners from Munich and Austin identified and disseminated cutting-edge practices in energy and the built environment. Integrating a wide breadth of disciplines and perspectives in thematic discussions, the conference focused on mechanisms for implementing energy innovation at a regional level and providing new frameworks for promoting sustainable design and development. The University of Texas at Austin and Technische Universit채t M체nchen will continue their collaboration on the EnergyXWater-Unit for the Solar Decathlon in 2015.

Chair: Petra Liedl Sponsored by Donald D. Harrington Fellows Program

October 1–2, 2013

Billie Faircloth + Hermann Kaufmann

CURTAINS The Center for American Architecture and Design

A multi-site installation, exhibition, and publication event designed to explore the use of fabrics in contemporary art and architecture.

October 14–18, 2013

Special thanks to our SOA students, faculty, and staff: Kevin Alter, Michael Benedikt, Katy Chrisler, Coleman Coker, Chelsea Cowley, Luke Dunlap, Jeff Evelyn, Clay Odom, Joyce Rosner, Frederick Steiner, Ray Vargas, John Vehko, Leora Visotzky, Thom Wolfe, Peter Binder, Shelby Blessing, John Bodkin, Jody Broccoli-Hickey, Victoria Carpenter, Danuta Dias, Claire Edelen, Joel Effland, Shelley Evans, Andrew Houston, Younsung Hwang, Lauren Jones, Peng Ju, Kye Killian, Alexandra Krippner, Jennifer Langley, Jorge Martinez, Molly McNamara, Jessica Mills, Stephanie Nguyen, Morgan Parker, Mitchell Peterson, Chasen Rainey, David Schneider, David Sharratt, Johanna Spencer, Katie Summers, Sheng Yang

Curator: Nancy Kwallek, Ph.D., Director of Interior Design Programs Co-Curator, Project Leader, and Historian: Elise Wasser-King Assistant Curator: Grace Dixon Project Team: Gisella Allen, Chelsea Fanning, Emily Goodrum, Benjamin Vela

October 25–27, 2013

WEAVING THE PAST AND THE PRESENT 101 Years of Interior Design at The University of Texas

An exhibition celebrating the rich history of the Interior Design Program with alumni and current students, both from The School of Architecture and The School of Human Ecology, where the program was located up until fifteen years ago. In coordination with the exhibition, a symposium was held on the history and development of textiles, including lectures from renowned textile designers and historians, along with tours to significant Austin interiors.

INDEX

By Student

By Instructor

174

112 122 142 74 68 134 154 126 26 26 14 84 150 134 66 92, 114 122 108 92 154 156 48 90, 146 26 154 60 158 130 38 134 44 134 122 40 96 26 34

8 26 138 14, 48, 84, 122, 166 112, 124 34, 38, 132, 144 92, 96, 154 40 38, 132, 144 66, 132 60, 130 152

Ablon, Austin Aseeva, Nadia Baird, Maxwell Beene, Michael Berryhill, Hannah Bhalara, Ravena Blessing, Shelby Blocksidge, Jeff Bonine, Holly Bright, Michelle Brown, Garrett Bunnel, Chad Calderon, Andres Felipe Cheah, Pearlene Craig, Katie Cunningham, John Dallas, Alex Dear, Erin Denker, Kelly Dias, Danuta Dixon, Grace Doo, Shasha Edelen, Claire Entrop, Meredith Evans, Shelley Ewbank, Emily Fallahi, Sara Farrell, Elizabeth Faz, Jorge Fontaine, Claire Ford, Justin Friedley, Charlotte Fuchs, Elizabeth Gardner, Christopher Gaudio, Brian Gilmore, Mason Glennie, Jessica

Alter, Kevin Atkinson, Simon Benedikt, Michael Bieg, Kory Birdsong, Judy Blood, John Coker, Coleman Dangel, Ulrich Danze, Elizabeth Doll, Larry Fajkus, Matt Gamble, Sarah

134 58, 144 134 72 134 104 154 134 98 122 26 154, 162 122 68 122 126 122 122 154 52 154 88, 152 70 154 24 122 108 134 122 134 122 30 122 122 164, 166 13 96

18 30 140, 158 88 68 134 22 104 90, 162, 164 12, 108 58 146, 156

Goldberg, Benjamin Green, Andrew Gruener, Kaitlyn Hadilou, Arman Hallenheck, Ariana Hensy, Jaclyn Houston, Andrew Hufshmid, Phillip Hwang, Jun Jimenez, Bernardo Johnston, Thomas Jones, Lauren Juarez, Estrella Kahler, Ashleigh Kane, Alline Katsios, Anna Keating, Kevin Khatter, Aarti Killian, Kye Kopplin, Stephanie Krippner, Alexandra Lamden, Josh Lo, Yishuen Martinez, Jorge Mathieson, Grace McCarter, Kelsey McCourt, Lily McGiffin, Cheryl Meur, Alexis Meyers, Kathe Miller, Claire Mills, Jessica Moore, Stancey Morlan Villafuerte, Brenda Morris, Ben Narayan, Prashant Nepsund, Marianne

Glass, Tamie Gomes, Francisco Hasbrouck, Hope Knox, Alan Kwallek, Nancy, PhD. Legge, Murray Lewis, Charlton Liedl, Petra Macek, Mark Milovanovic-Bertram, Smilja Mir贸, Juan Odom, Clay

165 154 154 22, 122 38 68 150 122 66 60 30 8, 96, 163 154 62 134 138 52, 140 167 92 58 70, 154 122 74 18 46, 104 12 134 68 122 134 118 112, 124 132 134 134 70

46 114 24, 62 118 74 72, 142 126, 150 144 52, 70 98

Olsen, Kevin Parker, Morgan Peterson, Mitchell Rahmatoulin, Michael Rasmussen, Ryan Rodriguez, Rodolfo Roe, Anna Salameh, Layla Sampson, Ellen Sanga, Monica Schneider, David Schneider, Nathaniel Sharratt, David Shin, Nari Soto, Ricardo Spencer, Johanna Steinlage, Michael Steshyn, Nick Stoos, Allison Sullivan, Kevin Summers, Katie Tagliante, Gabriel Templo, Jesefa Thompson, Elizabeth Thoreen, James Treadwell, Sheridan Turner, Kara Valles, Gilberto Walters, Zach Werner, Aubrey Wong, Yee Sang Wu, (Yen-Jung) Alex Yong, Jessica Zendejas, Ricky Zhuang, Yingquian Zuo, Wen

Richardson, Edward Ronan, John Rosner, Joyce Rysavy, John Paul Shortall, Clay Siddiqui, Igor Snyder, Vince Sonnenberg, Stephen, PhD. Sowell, Jason Wang, Gary

By Studio

118, 142 12 112, 124 22 122, 134 34, 46 18, 68, 146, 158 52, 70, 140, 158 14, 24, 48, 62, 66, 130, 152 8, 40, 58, 74, 92, 98, 104, 108, 114, 138, 140, 144, 146, 154, 156, 158 30, 60, 126, 150 38, 72, 166 26, 44 108, 132 90, 162

Design I Design II Design III Design IV Design V Design VI Interior Design Landscape Architecture Vertical Studio Advanced Studio Technical Communication Design Seminar Independent Studio Study Abroad Wood Design

PHOTOGRAPHY

By Artist

170, 171 39 (far left), 76-79 174 (far right), 175 (top) 100, 101 80, 81, 172, 173

Hellen Awino June Jung Jessica Mills Morgan Parker Alison Steele

175

ACKNOWLEDGMENTS We would like to recognize the following faculty members who have generously contributed funds from their endowments toward the publication of ISSUE: 010. Without them, the publication of this book would not have been possible. Thank you.

Henry M. Rockwell Chair in Architecture Frederick Steiner / Dean, School of Architecture

Sid W. Richardson Centennial Professor of Architecture Kevin Alter / Director, UTSoA Summer Academy in Architecture

Page Southerland Page Fellow in Architecture Richard Cleary

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

Meadows Foundation Centennial Fellow in Architecture Elizabeth Danze / Associate Dean, Undergraduate Programs

Matt Fajkus Architecture, LLC. Matt Fajkus

Gilbert Cass Centennial Teaching Fellow in Architecture Michael Garrison

O’Neil Ford Centennial Chair in Architecture Barbara Hoidn

Gene Edward Mikeska Endowed Chair in Interior Design Dr. Nancy Kwallek / Director, Interior Design Program

Bartlett Cocke Regents Professor in Architecture Steven Moore

Lawrence W. Speck Excellence Fund + W.L. Moody, Jr. Centennial Professorship in Architecture Lawrence Speck

O’Neil Ford Centennial Chair in Architecture Wilfried Wang

Paul Philippe Cret Centennial Teaching Fellow in Architecture Nichole Wiedemann / Director, Professional Residency Program

The Center for Sustainable Development

Barbara Brown Wilson / Director, The Center for Sustainable Development

UTSoA Advisory Council, Friends of Architecture + Goldsmith Society Professional Residency Program