ISSUE XVI by UT School of Architecture

ISSUE

THE UNIVERSITY OF TEXAS AT AUSTIN

ISSUE is the annual studentproduced publication featuring graduate and undergraduate work from the University of Texas at Austin School of Architecture

ISSUE X VI

Editors ⁑ Ian Amen, Editor in Chief Alicia Chen Camille Vigil Cole Bennette Fatima Betts Heather Corcoran MaKayla Rutt Robbie Anderson Zeke Jones Interviewers ⁑ Zeke Jones Ian Amen Submissions Committee ⁑ Camille Vigil MaKayla Rutt External Submissions Committee ⁑ Jacob Middleton Megan Rider Ivan Xing Graphic Designer ⁑ James Walker jameswalker.design

Dear Reader ISSUE, the annual publication of student work at UTSOA, is inherently problematic. We are tasked with publishing a single document intended to capture the nature of a year for a school which offers eight different disciplines. Unlike publications at other schools, ISSUE is student-run. Each publication is autonomous in itself, since no two books share the same editorial team. This lends ISSUE its experimental nature, but ensues conflict regarding choice and representation. We, the nine student-editors of ISSUE XVI, set out to exemplify the essence of UTSOA in 2019. Within our team, we represent students of architecture, landscape architecture, interior architecture and design, both at undergraduate and graduate levels. The material we curated was sourced through our open calls to students and supplemented by reaching out to faculty across these disciplines, in the hopes that we might achieve a more balanced snapshot of the school. Our subjective lens embraced the questionable nature of an appropriate portrayal, given our perception that a major philosophical and pedagogical shift is occurring in architecture schools—one where the agency of architects to solve large-scale social problems in the modernist dictum is being questioned and reexamined, much as it was in the ’70s and ’80s. Not only does conflict relate to the titular word of the publication—ISSUE—we believe it, as a theme, provides avenues by which the multidisciplinary nature of UTSOA can be explored, by presenting various disciplines and approaches in direct dialogue. We hope this book, and its theme, continues the already controversial topic of representation within the School of Architecture, and that this book serves as a forum by which students and faculty can disagree.

The Editors

Shift •••••••••••••••••••••••••••••••••• 34 Unearth ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• The Vibe •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• In|Scents ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Assembly •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Tritropism ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Un-Earthed •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• The Landing •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 72 A Monastery •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 76 Kids Factory •••••••••••••••••••••••••••••••• 32 Wood Design ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Haptic Healing •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Bathed in Light •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Living Diversity ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Q&A: In Care Of •• 2 Rwanda Chapel •••••••••••• 12 Roma Reloaded ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Q&A: On Beauty •••••••••••••••••••••••••••••••••••••••••••• 44 Casa De Portugal •••••••••••••••••••••••••••••••••••••••••••••••••••••••• 56 Water Treatment •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Towers of Justice •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• The Botijo Retreat ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 85 Defense and Assert •••••• 6 The Meta-Museum •••••••••••••••••••••••••••••••••••••••••••••••••••• 52 Host a Community •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Seaholm Out-Takes •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ‘Y’ Shape Jetty Project •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Monuments of Nature •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 68 Strange Provocateur ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• South Congress Hotel •••••••••••••••••••••••••••••••••••• 36 Micropolitan America •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Learning from Lampasas ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Contemporary Monastery ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Leave Me Alone! Elder Home •••••••••• 10 Heard Island Research Station •••••••••••••••••••••••• 24 Dallas High-Speed Rail Station •••••••••••••••••••• 20 Experimental Student Housing •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• A 21st Century Socialist Country •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• A New Home for the UT Student •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Q&A: On Agency in Architecture ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Cinema Parking Garage Addition •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Hejduk Work Play Redux 1967 / 2019 •••••••••••••••••••••••••••••••••••••••• 40 Mental Health Residential Treatment Facility ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Addressing Asymmetries in Yucatan Peninsula •••••••••••••••••••••••••••••••••••••••••••••••••• A Contemporary Re-Examination of No-Stop City •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Quito Water Speculation: Church of the Holy Water •••••••••••••••••••••••••••• 28 South Congress Micro Unit Castle & Windtower Park ••••••••••••••••••••••••••••••••••••••••••• Fighting Global Warming Network Austin Headquarters •••••••••••••••••••••••••••••••••••••••••••••••• Reintegration of Lost Spaces in the Divided City of Nicosia •••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Renovating a Disused Kindergarten Within a $10,000 Budget ••••••••••••••••••••••••••••••••• Use This Space: Informal vs. Formal: Re-purposing the Seaholm Intake Plant •••••••••••••••

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ï¿½ Italia Aguilera, M.Arch

In Care Of...

The biopolitics behind architecture is an ever-present question in the work of Piergianna Mazzocca, the 2019â&#x20AC;&#x201D;2020 Emerging Scholar in Design Fellow at the School of Architecture. Maggie Hansen, an Assistant Professor of Landscape Architecture, brings to UT a background rooted in the social implications of design, especially when it comes to issues of community and caretaking. In conversation with ISSUE, Mazzocca and Hansen discuss health, undervalued labor, and dismissing normative assumptions of the Western canon. Maggie Hansen with Piergianna Mazzocca

ISSUE XVI

What are your research interests related to care and health? Maggie Hansen ⁑ After working in practice at a firm focused on environmental stewardship and then leading a participatory design center, I returned to an interest in feminist theory that engages ideas of care-labor: We receive care, we care for our environment, we care for those around us beyond our immediate family. I’ve been exploring how design practice might be a tool for making these more visible, revaluing them, and challenging the power disparities in society. At its core, my work is about engaging with the complexity of cities and the layers of flows that maintain everyday life. How can design not only be a tool for challenging the physical structures that reinforce and perpetuate inequities, but also offer a process of building new connections? How can design be a part of a cultural shift in environmental and social values, based in our interconnectedness with one another and our environments? Piergianna Mazzocca ⁑ My interest with health has to do with how health has framed epistemic notions within architecture, how we regard expertise, and the ways in which we generate knowledge. These considerations are tied to uneven relationships of power and biopolitics. For architects, the interest with health, historically, has been about the ways we condition human life, human experience, but also how we frame the experience of bodies in space. As a practitioner and as a researcher, my interest is in understanding those relationships and trying to infiltrate them in order to produce different ways of thinking and relating architecture to different approaches to health.

MH ⁑ I think about the role of modernity in terms of demonstrating a false sense of control; perpetuating these uneven power dynamics; in order to extract resources, extract labor. The aesthetics of control support the invisibility of the work involved in perpetuating these systems. PM ⁑ One of the biggest apparatuses of modernity is normalization. Not only did modernity classify and categorize, but then it typified, allowing for the definition of a common type of human, proposing the concept of the “average man”. From this process, two consequences can be observed: 1. the body was now seen as an impersonal envelope and 2. that everybody was considered commensurate to a norm. The normalizing processes of modernity then tend to create norms. Those norms are then translated into the way we conceive of spaces, how we enact them, and the ways in which we build the environment. Maintenance Architecture by Hillary Sample touches on the subject of the depreciation of domestic labor and basic maintenance. How do those norms and aesthetics mask over the undervaluing of the labor systems that you're talking about? MH ⁑ We can also look back at feminist writing that reveals similar things about housework, how every innovation that we’ve come up with has actually created more work rather than less, and the flawed idea that we, humans, can completely control our environments. Hilary Sample describes how simple details of architecture are harder to keep clean than having something that can be replaced. In

Q&A: IN CARE OF...

public space and at a larger systems scale, an expectation of a consistent, controlled experience is at odds with the material of landscape — particularly plants that change over time. The High Line is a beautiful landscape, but it is, in some ways, frozen in time. Earlier versions of the planting regime proposed that it would be a landscape that changed — that plants would be allowed to grow and compete with one another. But now it is maintained to stay in a more static vision that we all experience. Similarly, Julian Raxworthy writes about the replacement of trees at Dan Kiley’s Miller Garden, in order to keep one cohesive, consistent grid of trees (of the same age and size). There’s a larger question in terms of how we engage with everyday life; of not being comfortable with change: aging, growing, dying — and this leads to an attitude toward maintenance and care that prevents a space from evolving and inhibits a strategy of care that is seen as skilled and adaptive. PM ⁑ This phenomenon is tied to your question: What are the normalizing effects of modernity? From my view, this has to do with how we tend to construe architecture in opposition to other things. In the dialectical tradition, something stands as its own in contrast to others. This idea of "otherness" keeps repeating in different ways: landscape stands for nature and the built environment stands for culture. In the case of healthcare design or, more broadly, all the architectural types that have dealt with the separation and individuation of different parts of the population as a means of control, it comes down to the definition of what is "normal" and what is "typical." This translates to the most menial details — in healthcare design, it was the surface that can be washed to erase the presence of germs at the beginning of the 20th century or the latex microbicidal paint for interior use commonly found today. Many of these mechanisms of separation are also present in our houses. For example, think of the assignation of physiological functions to each 4

room. Today, this seems to be something very common and normal when in fact it is a very modern concept. MH ⁑ I love Dolores Hayden’s writing about early material feminists who used design as a mode of challenging those norms. For example, designing homes without kitchens and creating a public shared space for communal food production and delivery. Rather than domestic chores being isolating, these tasks would have become a source of social and economic freedom. It is always revealing the way that we construct things, and the ways that the rules that then become physical get perpetuated. Where do you think the agency of landscape architecture and architecture lies in breaking ideas of continuity, finiteness, or linear thinking? PM ⁑ I believe it lies in not thinking of these two disciplines as exclusionary fields and in allowing time to play a bigger role in our designerly endeavors. If we think of a building through time, it doesn’t start in the paper where it is drawn or with the excavations meant to hold its foundations. It might start with the harvesting of the materials meant for its erection and the labor economies that are being affected by placing this thing in a given place or at a particular time. If we think of our practice as one of the many that are linked in the creation of the built environment, then we can start to see how the hard boundaries defining each discipline seem to slowly erode. The function of time allows me to think about my role in other, very different, terms. I don’t think landscape starts at the threshold of the building; I do think interior design is as much about creating a continuous landscape, in the same way as a building can.

ISSUE XVI

We're talking about the manifestation of built projects as well as academic projects — how do those two things intertwine for you? PM ⁑ For me, academia is a form of practice as well. I never thought that one precludes or excludes the other. It’s just a matter of who gets to ask the questions instead of those who think that they have the solutions. MH ⁑ The best moments are when I see my former students developing new approaches to design and practice. Through teaching, I hope to seed a critical lens on practice and to push students to challenge our assumptions about what design can and should take on. PM ⁑ Exactly, I agree with you, Maggie. In my work, I place a lot of attention to history. Sometimes, within academia itself, there are a lot of camps that privilege design over history and theory. And once you are in any of these camps, you can not go to the other. But despite this, I tend to dive more into history — even though I am a design instructor — because I think there is value in the ways history enhances your way of thinking and in understanding things that are happening in the present. We tend to forget that our current condition was a conceived future from a very recent past. Now, designers might focus on narrative. How do you deal with narrative and nonconformity and face the necessary pragmatism that comes with architecture?

MH ⁑ It also relates to power — throughout human history, narrative has been a tool for rallying constituents. Being part of a shared story — whether that’s a shared history or a shared idea of the future — is a way that we have motivated large groups of people to become allies. In practice, it’s a really powerful way of advocating for the role of design, for a bolder approach that goes beyond just problem-solving. PM ⁑ If you consider the role language plays in design, you might notice that the way in which we describe things is always already constructed for us. That is when narrative becomes a tool to challenge those uneven power structures that are embedded in the way we talk about the built environment: the words that we are using to reinforce market forces, or constructions of race and gender, that are invisible because they are normalized by language. What else would you like people to consider? MH ⁑ We've been talking today about the importance of a critical lens, not just in school, but as a component of practice. I would argue for finding the tools that allow you to question your own biases as well as the ones that are embedded in whatever field you're engaged with on a day-to-day basis. PM ⁑ To question everything.

PM ⁑ I think that narrative is a very important tool in the design process. I do not think it’s the only tool.

Q&A: IN CARE OF...

HUANG

DEFENSE AND ASSERT The living unit for dissidents is designed for accommodating the brave souls whose opinions have not yet been accepted by the authority, to provide essential living support and to broadcast their claims to the exterior world. This compact unit consists of a private area with a bathroom for working and sleeping and a common social and dining area. There is a double-layer screen

set at the end of room, displaying the information that wanted to be seen. The add-on water treatment facility can be inserted under the unit and support one or more units. PV panels are set on top of the unit to provide power. Around the common area, four removable doors allow for connection with another unit or a staircase. When a settlement is established, the system becomes more efficient and safer than a single unit. People living here could collaborate and pursue their mutual goals.

Danlin Huang, M.Arch PROFESSOR â &#x2018; Clay Odom LOCATION â &#x2018; Along The Texas Border

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DEFENSE AND ASSERT

HUANG 8

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DEFENSE AND ASSERT

BENTON

LEAVE ME ALONE! ELDER HOME In order to combat the isolation which can occur at the end of life, this assisted living community seeks to foster happenstance interaction between residents by employing an enfilade plan conceived of as a series of rooms. The resulting architecture is a non-suggestive collection of volumes, the sole purpose of which is to frame and contain interactions and their resulting relationships. Individual units are contained within a hard boundary, stacking on top of each other and creating social spaces between. The residents are encouraged to occupy these outdoor rooms as an extension of their living area. At the bottom level, this eliminates the need for a hallway condition, and residents must pass through a sequence of these spaces in order to transverse the community. Your neighbors become unavoidable. The monumental building carves into the land, presenting a simple geometric shape with an austere facade of arches to contrast the spatial complexity contained within. The community is a paradise which does not attempt to conceal its isolation from the outside world, but rather celebrates it. The architecture is not visible from the road except for a large tower which extends out from the interior to act as a symbol, landmark, or maybe a middle finger for the community.

Alexis Benton, M.Arch PROFESSOR â &#x2018; Francisco Gomes LOCATION â &#x2018; Westlake, Texas

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LEAVE ME ALONE! ELDER HOME

VIGIL /

CASALINI

RWANDA CHAPEL

� Interior

Camille Vigil, B.Arch PARTNER ⁑ Giovanni Casalini M.Arch Polytechnic University of Milan LOCATION ⁑ Rukomo, Rwanda

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* International Finalist

Young Architects Competitionsâ&#x20AC;&#x2122; Rwanda Chapel

Located upon the slope of the site extents, the intervention uses the areaâ&#x20AC;&#x2122;s bounding edge as a base from which to trace a path traversing the site in order to activate it in its entirety, establishing it as a holy ground. Having three perceived corners, this intervention occupies one, with slated future development at another, and potential for further development at the third. The church intervention thickens from this path to protrude slightly from the hill as a substantial mass and is sited as an object that evokes permanence; a place of refuge and peace for the community. The intervention itself is sensitive in form to reference typical Catholic church typologies and historical context, as well as regional culture and building materials with rammed earth. Arches reference historic cloisters to form the plaza surrounding the church, and the church itself takes on a form that is archetypal of religious architecture, while being embedded into to a modern intervention. The thickened wall surrounding the church hosts niches that ornament the perimeter of the plaza, providing instances of potential pause and prayer. This plaza offers flexibility in expansion of congregation, with a recessed entry that can serve as an exterior altar. Universality of the Church establishes a logic that follows a typology that is everlasting in figurative intention, holding true to core values of Catholic architecture. The jury consisted of Eduardo Souto de Moura, Jean Paul Uzabakiriho, Peter Eisenman, Simon Frommenwiler, Tatiana Bilbao, Sean Godsell, Walter Mariotti, Andrea Boeri, and Sol Madridejos.

RWANDA CHAPEL

VIGIL /

CASALINI

ï¿½ Courtyard View

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ï¿½ Overall Plan | Lower Level

RWANDA CHAPEL

BENNETTE 16

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USE THIS SPACE: INFORMAL VS FORMAL: RE-PURPOSING THE SEAHOLM INTAKE PLANT

BENNETTE 18

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USE THIS SPACE: INFORMAL VS FORMAL: RE-PURPOSING THE SEAHOLM INTAKE PLANT

SIMENHOFF

DALLAS HIGH-SPEED RAIL STATION What will the city of Dallas-Fort Worth look like in ten or twenty years?

As the ninth most populous city in the United States, Dallas is a commercial and central hub for the Texas region. The Dallas-Fort Worth Metroplex is home to more than 7.8 million people, a figure that is only expected to grow exponentially over the next ten years. Transportation and connectivity are two crucial factors that will affect how the city will function and continue to have a positive impact in the region. The proposal for a new multi-modal high speed rail station will strengthen Dallas’ position as an innovative and vital transportation hub. This studio heavily focused on transportation of the future and what type of architecture is needed to facilitate the projected growth cities will undergo. This project embraces specific development that is projected in the Cedars neighborhood in south Dallas. Located next to the Convention Center, new projects like the Dallas Water Gardens and a 500 foot ferris wheel dubbed the Texas Odyssey, are expected to change the face of the city. Placing a new multi-modal high speed rail station on this site establishes a new anchor for the rest of the city and displays a strong urban gesture to a neighborhood that has been neglected in the past.

Savannah Simenhoff, M.Arch PROFESSOR ⁑ Danelle Briscoe LOCATION ⁑ Dallas, Texas

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This new transportation hub establishes 8 high speed rail trains that feed the Texas Triangle, connecting the stateâ&#x20AC;&#x2122;s three major cities of DFW, Houston, and Austin. In addition to high speed rail, this hub also provides connections to the existing Amtrak lines, street car, dart light rail and busses, autonomous vehicles, passenger drones, automobiles, and bicycles. Through its architecture, the building creates a new civic center that addresses the needs of both the city and the individual. Understanding humans as another layer of infrastructure and system flows inspired the architecture for this hub. Focusing on a particular individual, a maintenance worker, fostered the idea that this hub should be special for the people who dedicate all their time to making systems run smoothly and efficiently behind the scenes, rather than for the tourist who comes and goes as he/she pleases.

DALLAS HIGH-SPEED RAIL STATION

SIMENHOFF

“THIS IS NOT ABOUT HOW THE WORLD IS BREAKING DOWN. WE ALL SEE IT OF COURSE: THE SUDDEN COLLAPSE OF DAMS AND BRIDGES; THE SLOW DETERIORATION OF POWER GRIDS AND SEWER SYSTEMS; THE HACKED DATA, BROKEN TREATIES, RIGGED ELECTIONS. INFRASTRUCTURES FAIL EVERYWHERE, ALL THE TIME. WHAT WE REALLY NEED TO STUDY IS HOW THE WORLD GETS PUT BACK TOGETHER. I’M TALKING ABOUT THE EVERYDAY WORK OF MAINTENANCE, CARE TAKING, AND REPAIR. MORE SPECIFICALLY, THE DEEP WONDER AND APPRECIATION FOR THE ONGOING ACTIVITIES BY WHICH STABILITY IS MAINTAINED, THE SUBTLE ARTS OF REPAIR BY WHICH RICH AND ROBUST LIVES ARE SUSTAINED AGAINST THE WEIGHT OF CENTRIFUGAL ODDS.” SHANNON MATTERN, MAINTENANCE AND CARE

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DALLAS HIGH-SPEED RAIL STATION

CHEONG-CANO /

MATIAS

Heard Island Research Station Leesa Cheong-Cano, B.Arch Aldryn John Matias, B.Arch PROFESSOR ⁑ Vincent Snyder Michael Garrison LOCATION ⁑ Heard Island

Despite being one of the most remote islands in the Southern Hemisphere, Heard Island continues to be a relevant and critical precedent for climate change. Since the 1950s, the island’s glaciers have recessed significantly, provoking the research of its geology and inhabitants. Former settlements on the island were comprised of temporary tents, which are deprived of both comfort and essence. We propose a more permanent solution, greatly inspired by local and global context. The project is driven by a series of individual pods that are related in form and construction. Each pod is purposefully arranged to separate live, work, and play functions; the isolation of program grants privacy and promotes efficiency through the simulation of a familiar work routine. As a direct reference to both the landscape and its delicate climatic position, the pods are characterized by a certain softness yet dynamic quality. To unify the scheme and shelter inhabitants from the elements, modular terminals weave through the pods as a form of passage between program. Construction and transport were key constraints that informed the design. Aside from the ground connection, both pod and terminal assemblies are able to be prefabricated and shipped to the site resulting in simplified assembly, a gentler intervention and a reduced carbon footprint. The symmetrical nature of both the pods and the terminal module also contribute to the benefits previously mentioned.

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HEARD ISLAND RESEARCH STATION

CHEONG-CANO /

MATIAS

WIND

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CONTEXT

HEARD ISLAND RESEARCH STATION

WHYE LOH /

GASPARRE

Quito Water Speculation : Church of the Holy Water

Mabel Sheu Whye Loh, M.Arch Molly Gasparre, MLA PROFESSOR ⁑ David Heymann Hope Hasbrouck LOCATION ⁑ Quito, Ecuador 28

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In 50 years as the city of Quito loses majority of the surface water sources due to climate change and the government is incapable to provide solution for the water crisis, the Catholic Archdiocese of Quito takes the responsibilities to clean the water from Machangara river for potable use. This project proposes using the existing church network in the city of Quito as a distribution system for the cityâ&#x20AC;&#x2122;s new potable water treatment plant located at the Itchimbia Hill. In the new water treatment center, utilitarian spaces are transformed into monumental spaces by bringing the water treatment tanks together under a massive, concave roof to create theatrical spatial proportion. Descending 48 feet below ground level, sits a church used by the public for religious service and to index water level. Basalt stone sourced from the regional volcanoes form gabion walls that clad the water treatment tanks to control the light and reflection of the metal water tanks.

It is designed as one circumnavigates the church and walks on the suspended ambulatory walk, it would feel as if one is walking through a night sky of stars. As the event takes place, a utilitarian space is transcended into a religious institution. The landscape at the hill examines the use of water as utilitarian and transcendent. Water basins at east and west ends of the site serve functional roles but also recall the local typology of the pĂĄramo - an ecosystem in the Andean highlands with high water storage capacity. At the southern end, a public orchard and private sustenance crops address the bounty of nature for utilitarian purposes while the northern edge reflects natureâ&#x20AC;&#x2122;s bounty through the biodiversity of the native montane forest ecosystem. Moments of transcendence are created by open and enclosed spaces as well as juxtaposition of ecologies.

QUITO WATER SPECULATION: CHURCH OF THE HOLY WATER

WHYE LOH / 30

GASPARRE

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QUITO WATER SPECULATION: CHURCH OF THE HOLY WATER

NOAKS

� CIRCULATION + BRIDGING

� NEWLY CREATED VOLUMES

� NEW FORMS OVER

� SAVED OLD FORMS

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KIDS FACTORY Once a prolific pottery factory has since fallen on hard times—a rotting shell of a building at the core of an otherwise—scenic lakeside town in Italy’s industrial northern region. This project revitalizes the site, shifting the focus towards the growth and development of future generations. The project, at its core, seeks to affirm a child’s suspension of disbelief—as their perception of architecture does not follow the same logics as adults. The Kids Factory is a place to host children from all walks of life—to cater to any interest. Whether apart of a visiting camp or permanent local residents, children at the Kids Factory have the tools to prosper. Organized into three core components of education, community, and recreation, the project is a place for the nurture and celebration of a child’s mind. The project pays homage to its past life, incorporating the similar repetitive geometry of the gable, yet raising it up to breach beyond the previous confines of the perimeter walls. New masses puncture the old, resulting in the notion of bridging, introducing the Kids Factory back into the urban fabric of Laveno-Mombello.

Alexander Noaks, B.Arch PROFESSOR ⁑ Dean Almy LOCATION ⁑ Laveno-Mombello, Italy

KIDS FACTORY

GULF COAST DESIGN

LAB STUDIO SUMMER

SHIFT

Shift is an outdoor home for the Galveston Bay Foundation’s K-12 science education programs. The Foundation requested that students design an architecturally inspiring outdoor pavilion that would advance their mission to raise awareness and encourage conservation of Galveston Bay’s ecology.

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TEAM ⁑ Stephanie Almendares, Dan Aronson, Nai'lah Bell-Eden, Gable Bostic, David Burns, Arlene Ellwood, Andy Garden, Catherine Kanter, Brandon Lawry, Amaya Lucas, Harrison Marek, Lena Page, Tyler Schuetz, Shelby Taubenkimel, Inci Uckok, Alex Uhlmann, Ariella Yendler PROFESSORS ⁑ Coleman Coker Andy Garden, TA LOCATION ⁑ Kemah, Texas

Shift is comprised of a series of slatted fin walls that define the space. Upon approach, the fins shift from seemingly solid walls to almost entirely transparent, revealing spectacular views of the Bay. Each plane—fin walls, decks, and roof—shift from expected locations; the walls don’t directly engage the edges of the deck, while the roof shifts away from its supports and gestures toward the heart of the Foundation’s work: Galveston Bay. Weathering steel registers the passage of time at the site, reinforcing the notion that the Bay and its ecology are constantly changing.

SHIFT

LOPP

South Congress Hotel

Christian Lopp, M.Arch PROFESSOR ⁑ Michael Benedikt LOCATION ⁑ Austin, Texas

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Like many hotels within this area, the building opens to create a network from the main street to an alley way. This breeze way compresses the occupant then connects the tenant to a circular courtyard typology lush with vegeta-

The projects initial demand was to investigate the role of importance the hotel plays in the urban fabric of a busy district known as south congress. Through these finding we can recognize south congress as a dense building network of built up store fronts and retail outlets with numerous restaurants, clothing stores, and hotel rooms. tion. The building allows for a gradient of privacy working back to the exterior of the site through methods of materiality, form, light, shade, and vegetation. The rooms being the most austere, dictate privacy and create a grouping of building that separate out into shaded social spaces for gathering. The inner most courtyard is circumscribed with two circles that become loggias creating the largest social space within the project. The architecture provokes an understatement of objects in relation throughout space. Though the reverse arches create a stronger sense of privacy within the social spaces, they appear to have no real constructional value. But it is through this sense of embracing one another where the architecture begins to resemble and provide social interaction. It is here within the work where it is read and understood as a relationship of smaller buildings set within more groups. and networks of larger buildings. This group of buildings however, embraces one another how it also will embrace those who stay within its walls. SOUTH CONGRESS HOTEL

LOPP

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CINEMA PARKING GARAGE ADDITION

RIDER

HEJDUK WORK PLAY REDUX 1967 / 2019

Following an in-depth case study of John Hejduk’s unbuilt, experimental work Diamond House A, I was tasked with converting the possible residence to a commercial building with work and play programming. While aiming to preserve the underlying organizational systems and principles of Hejduk’s original work (slab and column structural system, free plan and facade, perpendicularity of the interior, unique corner treatment, centrifugal circulation), I addressed issues of accessibility, functional circulation and proximity of program. Selectively using materiality to both unify the building as a whole and associate different levels according to program, I used bold patterns, bright colors, transparency and reflectivity to accentuate and amplify some of the more eccentric and labyrinth like qualities of Hejduk’s original design.

Megan Rider, MIDI PROFESSOR ⁑ Igor Siddiqui

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HEJDUK WORK PLAY REDUX 1967 / 2019

RIDER 42

� Level 1: Games and Leisure

� Level 2: Offices and Coworking

� Southeast View

� Northeast View

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� Level 3: Offices and Coworking

� Level 4: Bar and Cafe

� Southwest View

� Northwest View

HEJDUK WORK PLAY REDUX 1967 / 2019

On Beauty

“Issues of taste and style are really important,” Kevin Alter says. After all, Adam Miller adds, “It’s our job.” Alter, the Sid W. Richardson Centennial Professor of Architecture, is the founder of alterstudio, an architecture firm rooted in light and detail. Miller is the 2019 Race & Gender in the Built Environment Fellow and founding member of Pneu-Stars, who has brought conversations about aesthetics, power, and identity to the School of Architecture. In conversation with ISSUE, Miller and Alter spoke about beauty and the absence of an architectural discourse directly addressing it. Kevin Alter with Adam Miller

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In architecture school, people tend to talk about beautiful ideas, but maybe they’re afraid of actual aesthetics. What is your position on beauty? Kevin Alter ⁑ In Kant’s book on aesthetics, The Critique of Judgement, he posed the beautiful term “purposefulness.” When I was in school, as well as for much of my time at UT and practicing, the architectural conversation has tended to focus on organizational concerns, scientific concerns, or issues of logic to justify form. At some level, “you are what you eat,” and if those concerns dominate the conversation, then that becomes the subject of the field. As a teacher I try to push away some of the rhetoric that has clouded what's most important — including beauty — and refocus our attention. Adam Miller ⁑ Our conception of beauty is very gendered without us really realizing it. In part, it is due to this history which directly addresses architecture from this idea of the Western male body— masculine proportionality and the suppression of the female body within that narrative as previously discussed by Diana Agrest in her article “Architecture from Without.” In terms of Modernism, these ideas — unity, proportion, systematic thinking in harmony — seem to come from this longer history that isn't directly addressed or looked at closely. Thinking about John Ruskin and his "The Seven Lamps of Architecture," we have, again, a moment in Western architectural thinking where beauty is explicitly discussed. But these ideas — unity, harmony, proportionality — are transfigured for us today and subsumed under “good” design or the beautiful; these criteria are the ways that we know that those things are beautiful, because they

are harmonious via unity or via rhythm, but these criteria for beauty were actually the criteria for answering this question: “Does it resemble God?” For us today it may answer: “Is this ‘good’ design? Is this beautiful?” So, a very Christian understanding of these concepts is displaced from their original reference, which is ancient Greece. In modern times, a lot of us have moved into a more secular society, but we maintain these concepts from antiquity reinterpreted through religion, and now displaced to a secular Modern ‘good’ design. In architecture school, we don't address that explicitly. KA ⁑ The Vitruvian man for example, was a (male-centric) invention that the profession has historically used to locate and quantify what makes a composition beautiful. Unfortunately, because concerns like beauty are hard to define, the definition sometimes gets substituted for the thing itself. As a consequence, we might start to understand that proportion, for example, is actually a value in and of itself. So, if we can find the golden mean in the nautilus, therefore it’s the geometry that makes it beautiful, and of course then we should pay attention to the geometry. I don’t personally put any weight in systems of proportion or geometric ordering systems, per se. I don’t mean to suggest that ordering systems aren’t useful, but rather that they tend stand in for issues of beauty because they are quantifiable.

Q&A: ON BEAUTY

Kevin, you say you’re a modernist. Adam, the position you frame in your studio is that there was modernism, which you define as “beauty,” there’s Venturian postmodernism, which you define as “ugly” — and you’re in search 45

of the in-between. How is the canon a jumping off point for each of you? AM ⁑ With modernism, our concept of what is beautiful is very much informed by modern interpretations of Western antiquity, a very specific regional understanding of what counts as beautiful. It's been displaced and abstracted from its referent, a public masculine stature of form and an anthropomorphized understanding of some of those characteristics — inside and outside, public and private — separate in a binary understanding of gender. One of my readings of Venturi, Scott Brown and Izenour and Learning from Las Vegas is that they were very clearly working directly against what they’re calling the “pure ornament” of expressionistic modernism, which was not explicitly addressing the fact that what they were doing was three-dimensional ornament while also rejecting vernacular buildings, as well as disclosing understandings of what gets to count as beautiful. Venturi, Scott Brown, and Izenour were putting up a defense of what they're describing: It’s the ugly and ordinary. I’m evaluating a constructed scenario where there’s two polarities: Modernism, on one side, with beauty, and what was described by critics as “Postmodernism” defending vernacular styles and understandings of the built environment, defending ugly things as being just as important. One of my personal interests is trying to locate something in between these constructed polarities. Life is much more nuanced and is never so binaristic in any regard. It’s been a long time since Judith Butler wrote about gender theory and performativity. We still have all these gendered stereotypes around the built environment, gendered metaphors around how we move through space, how buildings express themselves. But architecture literally works in the subjectification of gender expression. Whether we want to or not, it shapes space, and we’re always being shaped by the space and how we perform in different spaces. Instead of having an explicit goal of pro46

ducing something that’s beautiful or being contrarian, producing something that’s ugly just to work against the grain, what I'm after is: What are other nuanced aesthetic goals that we could maybe take on and explore, which better address the plurality of our identities in modern society? Can we use different aesthetic terms with more nuanced goals beyond "beautiful" and "ugly," which may draw from vernacular discourses with less rarefied meaning, such as "cute," "whimsical," "zany," "organic," etc. KA ⁑ I see the binary condition between modern “beauty” and postmodern “ugly” as an interesting one. The project of high modernism was pretty doctrinaire. I still believe in the modern project — and we can talk about why I think of myself as a modern architect as opposed to contemporary or whatever. It’s radical. I never read Venturi, Scott Brown and Izenour as lauding the ugly, but trying to open up the field to embracing things that were not part of the modernist canon — neon signs, the vernacular. Quite to the contrary, they see the beauty in this. You can't talk about beauty without issues of taste and style. In our field, style tends to be understood as a superficial reading of form and things fitting into certain stylistic camps, as opposed to the way that they used to use “style” in the movies in the ’20s, for example — something being stylish, meaning it’s positively delightful and ennobling. Issues of taste and style are really important to what we do because... AM ⁑ ...it’s our job. KA ⁑ ...a goal of what we do as architects is to make places that delight the senses … part of that involves being chic, or being engaged with taste. Do you think that the Modern Project is over? AM ⁑ For me, Modernism is a historical moment, so is Postmodernism, and this is contemporary today. Maybe we’ve forgotten, but

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there's all different alternate histories that were going on at these times, but the more authoritative voices won out, of course. I don't think that there is any unified understanding of what “architecture,” “beauty,” or “ugliness” means today. And I don't know if it even matters. Why don't we try to find different things that make more sense to us in terms of aesthetics that we experience daily, more banal aesthetic understandings of life that are more immediate to everyone because they’re not bound up in such long trajectories of history and authoritative voices? Other categories — “cute” for example. Those things are actively in our control now, and we all get to decide what they might mean, what they might afford us as contested paradigm. It's not trying to ignore history, or break from history, it’s addressing the fact that meaning is less rarefied. Does the canon hold an implicit ethical or moral imperative that is good, that frames the ethics of the individual? KA ⁑ I think so. Moreover, an architect practices from this position, and there are many examples in the canon that highlight this. That said, there is of course lots to criticize there as well. One of my personal concerns about much of the modernist canon is the loss of the beautiful room. In contrast, McKim, Mead & White, did a damn good room and they’re plentiful in every building that they built. Beautiful rooms are fewer and harder to find in modernism. AM ⁑ You think that designers don't intend for a positive outcome?

trying to do right by their client is not actually the same as trying to make the world a better place. If we all put [the question] “Are we making the world better by what we're doing?” first and foremost, I think the architecture of the world would be a lot better. What else would you like people to think about? KA ⁑ We tend to ask questions that you can answer clearly. I don't think there is a way to answer the beauty question clearly; it’s all about subtlety and nuance. Those are all the things that weren’t always included in the modern canon, because they’re hard to pin down. It’s hard to define where the edges are, but I think you can certainly identify a realm and mine it. AM ⁑ It’s really important that we do continue to ask: What are we doing? Because all of aesthetics is politics, always. Whether you want it to be or not, it’s always political. It always has an inherent value system, and everything we put in the world has a direct consequence on society. One reason why I think that most people don’t want to talk about beauty is because it forces you to have self-reflection on your position in the world and what you value as a designer. To say something is beautiful means that it is directly part of your identity. It’s a very vulnerable thing to say this, and that’s one reason we find other ways to describe successful architecture, such as clarity. It’s a distancing of one’s authorship in the consequence of architecture and your own position on it, and it's tied to a very Modern thing where we think of some kinds of architecture as autonomous. I think that’s another reason why people are less excited to talk about beauty, taste, or ugliness — because it really puts yourself on the line. You really have to think about all of the political consequences of having a position that is not autonomous. We’re never autonomous; architecture is super not-autonomous.

KA ⁑ I’m not so cynical as to suggestion that designers don’t intend for a positive outcome. On the contrary, I believe architects are fundamentally trying to make the world a better place. However, I think the other exigencies of practice are often more powerful present — the concerns of meeting the metrics or financial agendas of developers, for example. The good intentions of KA ⁑ It's a mirror. Q&A: ON BEAUTY

ï¿½ Portugal Travel Studio, Photo by Andrew Hong

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ï¿½ Portugal Travel Studio, Photo by Andrew Hong

TRAVEL IMAGES

DASUTA

THE META-

MUSEUM This museum prides itself on its collection it so deservedly attained. Envious of the grand treasures that the Louvre had stolen from history, it stole the Louvre itself. It witnessed the beauty of the Eiffel tower, the Pantheon, and Rossi’s cemetery, and wanted it as its own treasures. But these items are only hollow shells of the museum’s true exhibit, for the museum collects ideas. It has surpassed all its contemporaries and gone straight to the source, for ideas cannot be returned to their place of origin, and thus its collection faces no risk of repatriation. Those that visit may experience its oasis where, against the threat of opposition, the museum grows to the fullest extent of its potential. Many casually enjoy its contents for it reminds them of the exotic places they may travel. Some take note of its color, shape, texture, and spacing of columns. Some trace the epistemology of its objects. Few see its implications past its silvery veil. Yet, regardless of how those view its existence, the meta-museum has become an appropriation machine. It understands the intricacies inherent in its existence as both malicious and muse, embracing both equally. Embedded within the museum as action lies an inherent conundrum, a duality, of sharing versus stealing, the former being in service of evolution, and the latter as an exploitation of the former. Fortunately, the meta-museum needs not to worry over these questions, for it continues to operate regardless of looming presence; inevitably consuming, its being a result of its existence-will and a testament to its own duality.

Jacob Dasuta, B.Arch PROFESSOR ⁑ Juan Jofre-Lora

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THE META-MUSEUM

DASUTA 54

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THE META-MUSEUM

CHEN

Casa De Portugal Situated on the edge of the Duoro River and west of the historic center of Porto, the Center for Portuguese Culture is one of the many cultural landmarks that represent the city. It beckons locals, tourists, and visitors alike to immerse themselves in Portugal’s past, present, and future.

As a public space, the Center embeds itself into the urban fabric through the introduction of a plaza. The plaza echoes the consistent play of void and mass within Porto’s city figure-ground, allowing for temporary pauses within the dense, winding city streets. The plaza is elevated above the street, providing views out to the iconic Arrábida Bridge and acting as an intermediate level with the adjacent residential entry courtyard and existing stair. Its spatial presence and programmatic strength is enforced by the three black boxes that line its perimeter. Their platonic shapes and plain facades frame the plaza as an outdoor living room for Porto. Each object is programmed with specific functions for the Center. At the street level, the tower-like object contains a public stair that brings visitors to the Center’s plaza level. A cafe and bar supplemented by the winery spill out onto the plaza space from

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Nathan Chen, B.Arch PROFESSOR ⁑ Kevin Alter LOCATION ⁑ Porto, Portugal

the black objects, enriching the public space. The Center’s public presence subtly influences visitors and locals alike. As house of culture, the Center is comprised of a theater, galleries, winery, and archives, each of which show an element of Portuguese culture, whether it be Fado, the art of wine-making, literature, or visual art. The galleries and winery front the street, acting as both a plinth for the plaza above and as a display of culture to the general public. The existing house on the site is adaptively redesigned as the Center’s archives and is covered in gold-leaf to represent both the authenticity of Portuguese culture and the architecture that houses it. The Center’s interplay between interior/ exterior and public/private spaces creates an intimate experience of culture in both a public and institutional setting.

CASA DE PORTUGAL

SEXTON

� Street View Model

Renovating a Disused Kindergarten Within a $10,000 Budget � Courtyard Perspective

Trent Sexton, M.Arch PROFESSOR ⁑ Francisco Gomes LOCATION ⁑ La Arboleda de Fatima, Bolivia

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� Classroom Perspective with Roof Bamboo

The central question here was how to bring dignity and atmosphere back to La Arboleda de Fatima’s derelict kindergarten within such a limited budget. This design sidesteps those constraints by using natural growth, found stone, and the moving material of rain as the primary tools for defining space and character, then supplementing when needed with material reuse. As a first, generative step, connection to the sun is reclaimed in the mild climate with the removal of an existing steel canopy over the courtyard, making the school a more pleasant, ennobling place. The steel from the canopy is reused to replace existing dilapidated roofs for watershed control. The school is then surrounded in a lush forest of bamboo for both water retention and spatial fidelity. Sun, water, and growth.

� Courtyard View Model

RENOVATING A DISUSED KINDERGARTEN WITHIN A $10,000 BUDGET

SEXTON

During the rainy season, rain sheds off the gutterless roofs into channels filled with found stone, creating a spectacular wall of water around the courtyard as it drums on the steel roofs. The covered paths around the courtyard become new outdoor rooms for celebrating the rain, and, during days without rain, the riverstone channels become places of play and exploration, to look for frogs or pretty stones perhaps. The unruly ring of bamboo contrasts the formal unity of the courtyard, providing privacy from the street and intimate breakout spaces from the classrooms.

The nature of the bamboo puts the design in the communityâ&#x20AC;&#x2122;s hands, embracing the ad-hoc culture in Bolivia. The bamboo grove can be left as is or harvested every 4-6 months to add screens, line the walls, and provide a warm wood soffit on the roof. Even the bamboo grove itself can be molded into different outdoor gathering and play spaces. The community can shape the space to best fit their evolving needs. All building materials are provided by onsite reuse, apart from a small amount of local bamboo (species: Guadua Weberbaueri), one of the most affordable and sustainable materials in the region, for roof structure and planting as well as white paint for rehabilitation.

Classroom Perspective with No Bamboo ďż˝

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RENOVATING A DISUSED KINDERGARTEN WITHIN A $10,000 BUDGET

AHART

Cinema Parking Garage Addition

Blake Ahart, B.Arch PROFESSOR ⁑ John Blood LOCATION ⁑ Austin, Texas

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parasitic movie theater + connective corridors

During the daytime, the parking garage at the intersection of Martin Luther King Jr. Blvd. and N. Lamar services the nearby office of T3 Austin. Outside of business hours, however, it serves little purpose. This proposed parasitic

This proposed parasitic addition functions as a “twisted step-sister” to the existing garage, balancing out its 9-to-5 mundanity with a new sense of levity and play. addition functions as a “twisted step-sister” to the existing garage, balancing out its 9-to-5 mundanity with a new sense of levity and play. The curvilinear body of the proposed building hugs the north end of the garage and provides space for a small local cinema and a cafe. The rooftop of the garage would become available in the evening for live music, social celebrations, or film-related events as both an urban social hub and an elevated pseudo-town square. This reclamation of a private parking structure seeks not to detract from its primary daytime function, but rather to optimize use of the site and provide much needed entertainment and gathering space for residents of the surrounding neighborhood. Newly carved connective corridors bring clarity and ease of access by reactivating Old 19th Street behind the parking garage, further re-engaging space lost to T3’s exclusive structure. Furthermore, it provides residents with an efficient pedestrian route that bypasses the busy nearby intersection. This increased access would in turn contribute to the revitalization of wasted parking space to foster a more walkable, livable, and engaged neighborhood.

CINEMA PARKING GARAGE ADDITION

AHART

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CINEMA PARKING GARAGE ADDITION

AHART

ï¿½ Cinema Parking Garage Addition

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ï¿½ Section Highlight

CINEMA PARKING GARAGE ADDITION

McCLUNG

MONUMENT

S OF NATU

The speculative studio began with a practice of creating architecture through storytelling. From Italo Calvino’s novel Invisible Cities, I chose two cities whos stories were most impactful, and illustrated drawing to communicate their narrative. The final project was much in line with the invisible cities narrations, but we were to design and articulate the story and respective drawings. Within the great salt flats of Utah, the story takes place in the future, of a group of nomads navigating a world long bereft of natures harmony. as they pass through the salt flat’s heart, they spot monuments in the landscape, and follow it’s intended procession.

Omar D. McClung, B.Arch PROFESSOR ⁑ Juan Jofre-Lora

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� Tree Sectional Perspective

� Iceberg Space Sectional Perspective

MONUMENTS OF NATURE

Conformance

McCLUNG

ďż˝ Conformance to Harmony Perspective

This Perspective is from the beginning of the procession. The three jewels in the landscape communicate a built environment harmoniously sited for the mountain ranges beyond. These three jewels represent different entities in nature: the tree, the ocean, and the Iceberg. They conform to the landscape, rather than an attempt

Dominance After traveling through three jewels in the landscape, the visitor views three objects atop a plinth. These designs represent the tree, ocean, and iceberg in their reduced and decayed forms, dominating the landscape instead of conforming to it. Ascending past the mountain range beyond and asserting itself atop the platform communicates the result.

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These sectional perspectives represent entities in nature. The tree space on the left is the space of community. The ocean in the middle is the space of plenty. The iceberg on the right is the space of light. Their decayed obverses appear in their reflections below, which are placed on top of the plinth seen before. When these spaces conform with the surrounding landscape, the result is harmony. When they dominate the environment, it results in decay.

Tree Ocean Iceberg

ďż˝ Site Model

ďż˝ Dominance to Decay Perspective

MONUMENTS OF NATURE

JOYCE / FREEMAN / BROWN /

TUNKS / MANRIQUE

THE LANDING The Landing is Cincinnati’s gateway from a coal powered, industrial past into a sustainable future. The project’s emphasis on green infrastructure and renewable district energy production aligns with the Cincinnati Green Plan in its effort to make the city 100% renewable energy by 2035.

The Landing solidifies Cincinnati as the model for the sustainable city of the twenty-first century where green infrastructure projects create vibrant public and commercial spaces that encourages active social activity throughout the entire year. The proposal serves to reconnect Downtown Cincinnati with The Landing by capping I-71 in order to develop a new cultural heart located in the new home for the Cincinnati Symphony Orchestra located between Race and Vine St. The new music

� A Year-Round Social Scene

TEAM ⁑

Eric Joyce, M.Arch Victoria Freeman, MLA Hailey Brown, M.Arch Trent Tunks, M.Arch Andres Manrique, MBA

PROFESSORS ⁑

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Simon Atkinson Edna Ledesma

* National Finalist

2019 Urban Land Institute Hines Competition

THE LANDING

JOYCE / FREEMAN / BROWN /

TUNKS / MANRIQUE

venue opens onto the new front lawn of Cincinnati, Symphony Green, where outdoor concerts enliven Downtown with the infusion of events celebrating the Freedom Center. While the nearby Central Business Districtâ&#x20AC;&#x2122;s (CBD) neighborhood fabric emphasizes office towers and commercial real estate, the Landing provides dense downtown housing in the new Residential Eco-District along the waterfront, connecting the dense urban core to waterfront parks and trails. The central space of the district leads the Smale harbor pool where Cincinnatians are offered unprecedented waterfront access and engagement with the river. In addition to providing sustainable energy throughout

Algae CO2 Ventilation Tubes

the district, the entire site acts as a rain and grey water filtration system. Water collected and stored in the onsite cistern under Freedom Square is recycled to the businesses, residents, and stadiums in the district. The landscape design and redevelopment of Smale park filters stormwater runoff before entering the Ohio River. A wetland along the western edge of the park allows water to soak and filter through the lush landscape and provides visitors with an educational outlet to riparian ecology. By bridging together the design of vibrant public spaces and ecologically sustainable connected systems, The Landing makes Cincinnati a model for twenty first century urbanism and development.

Biomass Waste Collection

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Solar Tubes & Led Street Lights

ï¿½ Master Plan

HYDROTHERMAL LOOP

Rainwater Cistern & Reuse

Intermittent Bioswales

THE LANDING

Filtration Rain Gardens

CAI / DASUTA /

WYATT

Yu Angela Cai, BSID Jacob Dasuta, B.Arch Leah Wyatt, M.Arch PROFESSOR ⁑ Smilja Milovanovic LOCATION ⁑ Cortona, Italy

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A Monastery The project was conceived in response to the multitude of contextual design factors, not only in regard to the physical complexities of the site, but also to the historical implications of the monastery as program and its place in Italy’s past and future. By allowing the site to naturally suggest programmatic hierarchies, the team was able to separate the church as an icon of communal spirituality and place this totem on the peak of the site to overlook the town of Cortona below. The monastery complex could then establish a dialogue with the church via the connection with the site’s existing wall. Thus, the wall’s condition becomes not only that of protection, but also a pilgrimage thread between the private realm of the monastery and the public realm of the church. Within the monastery itself, the notion of the cloister as a ritual between man

and architecture, in addition to its function as a circulation ring, drove the project to embody the absolute nature of the cloister’s implicit geometry, and in doing so, the project frames the site within its courtyard, enforcing the duality between the natural complexities of the site and the absolution of the monastic life as strict and ritualistic. The plan was conceived as a series of shells defined by their unique materialistic treatment, with the outer wall serving as the private border, and the inner walls of the cloister serving as structure and veil. In its separation and systematic linkage, the monastery attempts to reify the ascetic principles of its inhabitants formal and scheduled life, while juggling between the communal life of the brotherhood and one’s personal spiritual experience.

A MONASTERY

CAI / DASUTA /

WYATT

ï¿½ Section A-A

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� Monk Cell Plan

� Monk Cell Section 2

A MONASTERY

ďż˝ Engaging Urban Informality in Metropolitan Monterrey Studio, Kids Using Installed Playground Equipment

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ďż˝ Engaging Urban Informality in Metropolitan Monterrey Studio, Stakeholder Engagement

TRAVEL IMAGES

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THE BOTIJO RETREAT

Malati Vasudevan, MID PROFESSOR ⁑ Nerea Feliz LOCATION ⁑ Austin, Texas

Bathhouses have existed throughout history and time, across many cultures. Through the research of several precedent studies of Roman baths, traditional Turkish bathhouses, Finnish saunas, and including, more contemporary adaptations of the bathhouse, there seemed to be an underlying factor to each of them. They were a place of equality, where people from all walks of society gathered as a reprieve from their daily responsibilities. It was a place that brought a sense of community and freedom.

The goal for this project was to design a bathhouse that would serve the residents of Austin, but would keep the core elements of the traditional bathhouse -- a sense of community, reprieve from the stresses of life, and a place to recharge, along with more modern services and conveniences. A key element of the design was to integrate Austin’s strong outdoor culture into the overall design of this bathhouse. The performative functions of the building were a priority and it informed every aspect of the design process. To begin, as a nod to Austinites’ affinity to the outdoors, the building interior was designed with a large central courtyard. By allocating a significant amount of real estate to the open-air space within the building, the performative advantage would be an overall reduction in energy consumption that a building this size would have used if it was all indoor and mechanically conditioned. For the main building interior, the goal was to create a perimeter circulation that was very orthogonal and straightforward to contrast the organic forms and circulation found within the courtyard environment.

THE BOTIJO RETREAT

VASUDEVAN 86

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THE BOTIJO RETREAT

LUO /

RAMAKRISHNAN Tingyuan Luo, MLA Uttara Ramakrishnan, MSUD PROFESSOR ⁑ Gabriel Díaz Montemayor LOCATION ⁑ Yucatan, Mexico

Addressing Asymmetries in Yucatan Peninsula

The project aims to address the lopsided focus in the territorial development of the state of Yucatan in Mexico. Yucatan is one of the most archaeologically rich, tourist friendly states in the country. The discourses around development here seem mono-thematic focusing heavily on increasing tourism in certain towns while neglecting the others.

Having accepted the tourism centric development, the project aims to extend and re-organize this focus of development to the rural towns. It identifies assets and cultural resources in these towns and address how global tourism can be sustainably integrated with local communities in a way that ensures a long-term future for the social, economic, and environmental aspects on ground. It also aims to shift the equation from a capitalist mode of development to one that capitalizes on the social, cultural, and environmental wealth of the rural towns and its people. It addresses this situation and opportunity through socially, culturally, economically, environmentally sound surgical interventions — infrastructural systems, public spaces, programs and development policies where this integration manifests in a process over time.

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ADDRESSING ASYMMETRIES IN YUCATAN PENINSULA

LUO /

RAMAKRISHNAN

ï¿½ Church Plaza, Motu

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ï¿½ Orchard, Motu

ADDRESSING ASYMMETRIES IN YUCATAN PENINSULA

LUO / 92

RAMAKRISHNAN

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ADDRESSING ASYMMETRIES IN YUCATAN PENINSULA

LUO /

RAMAKRISHNAN

ï¿½ Craft Pavilion, Tixkokob

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ï¿½ Church Plaza, Tixkokob

ADDRESSING ASYMMETRIES IN YUCATAN PENINSULA

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LIVING DIVERSITY

TYPICAL HIGHRISE

NEW TYPOLOGY

Vasily Sufuev, B.Arch PROFESSOR â &#x2018; Jean-Pierre Trou LOCATION â &#x2018; Austin, Texas

The project, Living Diversity challenges the typical residential high rise, in which real-estate tends to get more expensive as one goes up to the higher floors. Situated in the downtown of Austin, Living Diversity creates three studio typologies that begin to balance out the negatives of living on the lower floors through incentives like higher ceilings or closer proximity to the garden. A progression of three typologies emerges; from high ceiling lofts on the second and third floor, to shorter yet, deeper studios in the middle, and finally to the shortest studios with outdoor patios on the top floor. While the areas and layouts vary, each has approximately the same volume and usable space. Typical discrepancies in quality and desirability of apartments in high rise buildings are minimized: units on the lower levels are compensated with higher ceilings, while deeper studios of the upper floors have lower ceiling heights yet better views. The collective and the individual resonate within a geometric progression in which each has equal weight. Density also varies with height, as the building gets taller, more units are placed on the floors to further balance out the desire for better views.

LIVING DIVERSITY

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LIVING DIVERSITY

ANDERSON

WOOD DESIGN

ï¿½ Robbie Anderson, M.Arch

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WOOD DESIGN

101

MICROPOLITAN

AMERICA

ï¿½ Patrick Till, M.Arch + Ian Amen, B.Arch

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“‘Micropolitan America’ focuses on an alternative understanding of urbanism that studies the American town as an instant and autonomous urban setup, one that is simple enough to be broken down in primary and identifiable elements, that can be used as tools to enable micro-urban function… Students, working in defiance of a conventional academic approach will be asked to identify, analyze and ultimately comment and intervene on the nodes of the Texan town grid system through real, surreal or entirely speculative interventions.”

� Patrick Till, M.Arch + Ian Amen, B.Arch

—Sofia Krimizi and Kyriakos Kyriakou � Patrick Till, M.Arch + Ian Amen, B.Arch

MICROPOLITAN AMERICA

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MICROPOLITAN

AMERICA

� Trent Tunks + Zichao Xu, M.Arch

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� Trent Tunks + Zichao Xu, M.Arch

� Eric Joyce + Ysabella Licciardi, M.Arch

MICROPOLITAN AMERICA

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MICROPOLITAN

AMERICA

ï¿½ Kellie Nguyen + Hannah Williams, B.Arch

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� Kellie Nguyen + Hannah Williams, B.Arch

MICROPOLITAN AMERICA

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MICROPOLITAN

AMERICA

� Claire Townley + Francisco Moises Resendiz Carrillo, M.Arch

“We will look into the generic, the unseen, the overlooked, the irrelevant, the unfinished, the unwrought. Between the microurbanism of the Texas town and the hyper-context of the state, we will deal with urbanism and architecture in a radically small and vast scale respectively.” —Sofia Krimizi and Kyriakos Kyriakou

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� Claire Townley + Francisco Moises Resendiz Carrillo, M.Arch

MICROPOLITAN AMERICA

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KARTACHAK

IN|SCENTS Spatial Aromatherapy on the Dell Medical Campus Fragrance impacts us every day. According to Scientific American, 75% of our daily emotions are affected by scent. Research conducted by Brown University concluded that pleasant smells make us more productive, more empathetic, more creative and more tolerant of pain. It is logical then to consider spatial aromatherapy as a significant component of the Dell Medical Campus in downtown Austin, Texas. The design proposal is inspired by olfactory fatigue – the notion that in order to sense smell we need a lack of that smell or else the nose simply habituates and ignores. This ebb and flow creates moments for the

olfactory palette to be cleansed, refreshed and ready for the next experience. Plant species are orchestrated according to their scent profile, pulling from the perfume industry to create top, middle and base notes throughout the design giving both moments of surprise as well as a harmonizing atmosphere through the seasons. Scent and aesthetics blend together to create an experiential procession that has the potential to enhance mental and physical health, and health on a medical campus just makes “scents”. Adrianne Kartachak, MLA PROFESSOR ⁑ Phoebe Lickwar LOCATION ⁑ Austin, Texas

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IN | SCENTS

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Amelia Mickelsen, M.Arch PROFESSOR ⁑ Rasa Navasaityte LOCATION ⁑ Austin, Texas

South Congress Micro Unit Castle & Windtower Park This studio explores the architectural framework of ecological form at urban scales, in this case, housing in Austin. A studio recommendation was to individually create animations in the program, Unity, that contributed to the final design. The project from this studio is futuristic, 3d printed, concrete housing with public parks and cooling wind-towers that allow for views over Downtown and Lady Bird Lake. The work is inspired by van Eyck’s concept that architecture should demonstrate a world view. This project looks at the world view of “Austinites,” envisioning a future where people live minimalist,

environmental lives. The project is passively cooled with wind towers, that bring cool air from above into the minimalist units. The Wind-towers also blend public and private, allowing access to lifted public parks and views of Lady Bird Lake. The project is 9000 square feet with 18 units of 350 square feet and 6300 square feet of public parks. The units are fit for one or two people, yet the communal parks and hike and bike trail running through the project, make the inhabitants feel as if they are not in an ordinary apartment complex but a larger communal home.

SOUTH CONGRESS MICRO UNIT CASTLE & WINDTOWER PARK

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“BETWEEN THE PARTS”

MICKELSEN

SOUTH CONGRESS MICRO UNIT CASTLE & WINDTOWER PARK

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NGUYEN / WILLIAMS /

ASTRONOTO / HA

UNEARTH

The Grand Canyon has captured the American imagination for centuries with its epic scale and timeless beauty. Each year, it draws in millions of visitors from all over the world, the majority of whom never reach the depths of the canyon. Navigating the natural wonder poses significant obstacles, and many visitors find themselves simply peering over the rim into the landscape below. Unearth: The Grand Canyon’s Hidden Realm turns the tables on this missed opportunity by introducing visitors of all ages and abilities to a fully actualized land that enables them to actively engage with one of the world’s most fascinating landscapes. Guests embark on an immersive quest in search of a mythical civilization buried deep in the heart of the Grand Canyon. Guests will board at a dock near the town of Page, AZ. The boarding is fully accessible, utilizing existing city infrastructure to navigate the height difference between the canyon and the Colorado River bank. The boat, navigated by the “captain” will travel the waters as guests scour the canyon for clues to the hidden realm’s location while also encountering a variety of ecosystems and rock formations. They will piece together the clues using their interactive compasses and arrive at the hidden realm concealed within Marble Canyon.

TEAM ⁑ Kellie Nguyen, B.Arch Hannah Williams, B.Arch Vanessa Astronoto, Computational Biology Quan Ha, BS Civil Engineering

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� Site Perspective Section

� Guests step into the Paayu Plaza marketplace

� An illuminated myth plays out each night on the Wall of Wonders

* National Finalist Walt Disney Imagineering’s 2019 Imaginations Design Competition

UNEARTH

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NGUYEN / WILLIAMS /

ASTRONOTO / HA

Through the gates guests will enter a fully realized city environment. Three unique districts explore a piece of the Grand Canyon’s story. At Paayu Plaza the culture of ancient Puebloan peoples who once called this natural wonder their home will spring back to life. Ecoasis is a vast landscape that celebrates the beautiful natural beauty that the canyon provides. And the Prehistoric District delves into the Grand Canyon’s natural, geological history. They will discover the magic of the city and its unique connection to the Grand Canyon. The entire destination remains underground and hidden from view in an effort to preserve the natural, uninterrupted landscape of the Grand Canyon. While located within the bounds of the Grand Canyon National Park, Unearth is in close proximity to the Hopi and the Navajo Nation reservations. The land partners with these reservations in a respectful manner to expose visitors to Native American culture and bring in outside revenue for their communities. Traveling to Unearth is an authentic way for guests to explore the Grand Canyon’s ecosystems, gain an understanding of its rich geological story, and come to appreciate the cultural significance of the area. We take guests on an unforgettable journey to discover a side of the Grand Canyon that has been shrouded in mystery until now. This project was 1 of 6 finalists out of 280 submissions for the 2019 Walt Disney Imagineering Imaginations Design Competition.

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ďż˝ ECOasis is a place for guests to enjoy swimming and walking in the rich Riparian ecosystem

ďż˝ The Prehistoric District contains interactive exhibits to engage with the geology of the area

UNEARTH

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AMEN

WOOD DESIGN

ï¿½ Ian Maxwell Amen, B.Arch

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WOOD DESIGN

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BENTON /

JONES

ROMA RELOADED

In the year 2020, Donald Trump’s efforts to appease his base through construction of a border wall are halted after his defeat in the general election. Effectively, the city of Roma, Texas is given an involuntary federal grant of $212 million dollars, a sum coincidentally equal to the appraised value of the entire city, through the re-appropriation of the ten miles of abandoned pieces of Donald Trump’s US-Mexican border wall as building material. Inspired by the squatting that began to take place along the land claimed through eminent domain by the federal government, Roma devises a municipal plan to stimulate growth: Roma Reloaded. As the local government seizes an opportunity to expand and form its city through a new construction arm of the government comprised of border wall material yards, a municipal claim of eminent domain and formalized squatting over former Spanish land grants cleans up deedless properties previously only demarcated by fence. In turn, people (even Trump) flock to Roma because of the irresistible nature of free land and the subsidized

building material industry. As the new land use code systemizes the informality of existing conditions, new typologies emerge out of the exploitation of municipal oversight. Residents begin occupying the uninhabitable 4’-11” width of the border wall turned “fence” to circumvent taxation, while exaggerated conditions of outdoor living are taken to their extremes. Meanwhile, the government begins large scale municipal projects such as a new port, libraries, and a new city hall to facilitate growth and celebrate the new image of Roma. Perpetual subversion of top-down bureaucratic imposition and a cannibalizing construction industry become the fulcrums for satisfying the small city’s megalomaniacal desire for growth while traditional ideas of property in the United States are left to be questioned. Alexis Benton, M.Arch Zeke Jones, M.Arch PROFESSOR ⁑ Kyriakos Kyriakou Sofia Krimizi

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ROMA RELOADED

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BENTON / 124

JONES

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ROMA RELOADED

125

BENTON / 126

JONES

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ROMA RELOADED

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WILKINSON / 128

KLIGERMAN

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TRITROPISM It’s the year 2219 and the effects of the anthropocene have caused an increase in both intensity and quantity of sandstorms and shamals around the Persian Gulf, thus devastating the city of Dubai. While many of the buildings were left abandoned, decayed, or destroyed, over the last century, some maintained their structure and the potential to be habitable again. In order for humans to re-colonize in the city of Dubai, these few remaining buildings must be intervened to sustain both human and nonhuman (plant) life. Students were challenged to design an Interior Dwelling Unit in relation to an existing building and become an aggregated system to re-introduce human settlement in this context. The Anthropocene Interior Dwelling Unit Studio was the final advanced studio course to complete the undergraduate degree program. It challenged students to push boundaries regarding the way we think about interior dwelling in the future. The studio professor encouraged students to design outside the box, and challenge the standard concepts of living units. As a dystopian studio, we continued to ask ourselves“What If?” when proposing our future context* (both environmental and physical site).

Alexandra Wilkinson BSID Katherine Kligerman, BSID PROFESSOR ⁑ Clay Odom

TRITROPISM

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WILKINSON / 130

KLIGERMAN

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TRITROPISM

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GASPARRE

Haptic

Molly Gasparre, MLA PROFESSOR ⁑ Phoebe Lickwar LOCATION ⁑ Austin, Texas

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Healing

HAPTIC HEALING

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GASPARRE

ï¿½ Tactile Bed Species Division

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Tree Planting 1 LIVE OAK Quercus virginiana

UPRIGHT ROSEMARY Rosmarinus officinalis

2 HONEY MESQUITE Prosopis glandulosa

CAST IRON PLANT Aspidistra elatior

3 HERCULES’ CLUB Zanthoxylum clava-herculis

PURPLE CONEFLOWER Echinacea purpurea

4 MEXICAN SYCAMORE Platanus mexicana

TEXAS GAYFEATHER Liatris punctata

5 LACEBARK ELM Ulmus parvifolia

HORSETAIL Equisetum hyemale

6 SOUTHERN MAGNOLIA Magnolia grandiflora

AGARITA Mahonia trifoliolata

7 SANDPAPER TREE Ehretia anacua

CANDELILLA Euphorbia antisyphilitica

8 CHERRY LAUREL Prunus laurocerasus

DWARF PALMETTO Sabal minor

9 TEXAS KIDNEYWOOD Eysenhardtia texana

WOOD FERN Dryopteris marginalis

10 YAUPON HOLLY Ilex vomitoria

BLACK ROSE ARBOREUM Aeonium arboreum

11 ARROYO SWEETWOOD Myrospermum sousanum 12 EVE’S NECKLACE Styphnolobium affine

WHITE MISTFLOWER Ageratina havanensis

13 GOLDENBAL LEADTREE Leucaena retusa

LAMBS EAR Stachys byzantina

14 ROUGHLEAF DOGWOOD Cornus drummondii

LOUISIANA ARTEMISIA Artemisia ludoviciana

15 AMERICAN SMOKE TREE Cotinus obovatus

FIRECRACKER FERN Russelia equisetiformis

16 BOTTLEBRUSH Callistemon Citrinus

JERUSALEM SAGE Phlomis fruticosa BAMBOO MUHLY Muhlenbergia dumosa

Tactile Planters

GULF MUHLY Muhlenbergia capillaris WOOLLY STEMODIA Stemodia lanata

WOOLLY BUTTERFLY BUSH Buddleja marrubiifolia

SILVER PONYSFOOT Dichondra argentea

TEXAS SAGE Leucophyllum frutescens

Meadow Mixture

TURKS CAP Malvaviscus arboreus PLUMBAGO Plumbago auriculata HEARTLEAF SKULLCAP Scutellaria ovata

BUFFALOGRASS Bouteloua dactyloides

LIONS TAIL Leonotis leonurus

BIG BLUESTEM Andropogon gerardii

SHRIMP PLANT Justicia brandegeeana

SIDEOATS GRAM Bouteloua curtipendula

SOCIETY GARLIC Tulbaghia violacea

LINDHEIMER’S MUHLY Muhlenbergia lindheimeri

CLOVER FERN Marsilea macropoda

CHEROKEE SEDGE Carex cherokeensis

LAVENDER COTTON Santolina chamaecyparissus

SAND SEDGE Carex perdentata HELLER’S ROSETTE GRASS Carex perdentata BUNCHGRASS Nolina texana

ROUGH

FINE

MEDIUM

HAPTIC HEALING

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SONG

* ASLA Student

Award of Excellence

‘Y’ Shape Jetty Project

� Harbour and Salt Ponds

Yi Song, MLA PROFESSOR ⁑ Gabriel Diaz Montemayor LOCATION ⁑ Rosada Lagoon, Mexico

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“Y” Shape Jetty project, located the Rosada Lagoon in Yucatan peninsula, Mexico, provides an alternative for the coastal development in Mexico. It establishes a new Coast-Lagoon-Mainland-based life circle instead of putting all stress on the narrow beach zone. This is not only a new circle of life but a circle of environment protestation and sustainable tourism development. The salt ponds industry, fishing, boating, eco-tourism, restaurant, hotels will be available around this jetty project in the middle of the lagoon, which serves as a transition joint connecting opportunities on the coast and mainland. Within this new stretched life circle, more local people, groups, and parties can be a part of it together contributing to the development of social justice.

This program is a lagoon-based sustainable development between tourism, environmental protection, and inclusive communities. The location is in Yucatan Peninsula, Mexico, and the lagoon name is Rosada, a 3000-hectare fragile natural topography with intense urban expansion pressure in the future. The increasing global tourism industry is a major way to reduce poverty along the coastal zone at the Yucatan Peninsula, Mexico, but many of those valuable areas are developed to real estate resort destinations for individual wealthy people from all around the world. In this way, the coastal development does not stimulate the poverty reduction but increases social injustice. The individual estate cuts off the beach from the public and causes a serious beach erosion. Therefore, how to relocate

the pressure of tourism and build an inclusive community for different social classes is significant to the initial goal: poverty reduction and sustainable tourism development. The design method is to first enhance the existing fragile ecosystem and then install a sustainable lifestyle on it. “Y” Shape Jetty is a mixed jetty system by natural jetties and a man-made jetty joint along the Lagoon Rosada. This jetty system can provide the lagoon multiple spatial layers for various developments, like environment protection, community construction, tourism relocation, and urban development retreat. At the lagoon Rosada, many resources are disconnected due to poor accessibility. Because the salt pond industry only exists on one side of the lagoon, the population can only settle down the one side with flooding threats and poor social services. The tourist can only visit the Xcambo, an ancient Mayan site, even though there is wonderful flamingo habitat nearby. People cannot get to the other side of the lagoon easily. Therefore, the “Y” Shape Jetty system’s core is a transportation-based complex. It not only provides the transportation option but also is an evident attraction at the middle of the lagoon which can serve as a transition and guide people to the other side, where there are more opportunities in urban development and tourism. There are three big movements toward the environmental restoration. The first is to introduce the new outlets on the barrier island to transit the sediments in the lagoon. This is specifically important in the lagoon system because the lagoon is shrinking due to the high sedimental rate. After opening the outlet, those sediments can be brought out of lagoon by the tidal effect and then move to the downside of the beach for the replenishing the sand.

‘Y’ SHAPE JETTY PROJECT

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SONG � Jetty Beach

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The second is to soften the barrier island by cutting channels on it. By doing so, not only the mangrove be brought back, but habitat for fish, shorebirds, and tiger shrimps, the most important fish industry in Yucatan, can be brought back. The last is to connect the natural jetty pattern by jointing the man-made jetty system. This continuous jetty barrier can protect the loss of the sediment for the mangrove growth and serve as jetty road, a transportation system. All these interventions are inspired by the local community near the project site and support the feasibility of this project. Because of the flat karst topography formed millions of years ago, the material of the jetty construction is available, and the new karst limestone is relatively soft. Therefore, the jetty construction is quite feasible despite it lasting several miles. The lagoon Rosada forms its own natural jetty pattern due the falling tidal so it will not be necessary to build a several mile long jetty. Instead, a jetty joint to connect and enforce those natural jetty patterns can be implemented. By doing so, the existing habitat can be preserved with low impact. After this restoration, a new lifestyle based on this new ecosystem is proposed. “Y” shape jetty land is the new engine of this new lifestyle instead of the beach zone. “Y” Shape Jetty joint is not just a thin line but a jetty land with the capacity for new construction. Restaurants, shops, hotel, salt pond tourism, and lagoon boating, with all their functions and activities can happen on the “Y” Shape Jetty land which opens a window to those on the beach and international tourism.

ISSUE XVI

“Y” shape jetty land is the new engine of this new lifestyle instead of the beach zone. “Y” Shape Jetty joint is not just a thin line but a jetty land with the capacity for new construction.

‘Y’ SHAPE JETTY PROJECT

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SONG 140

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With this development on the jetty land, touristic pressures can transition from the coast to the lagoon so that the government and local groups can restore the beach ecosystem with less social and economic pressure. Through the proposed jetty land and road around it, new towns can develop for the population from the barrier island and new constructions can attract new businesses from all around the world. Finally, there are three major components

ďż˝ Shape Jetty

of this new lifestyle. The first is the community-based life circle as the alternative town which has higher space capacity to support multiple social classes, that the barrier island could not. The next component is the production-based life circle in which people can run their new businesses, such as restaurants, shops, salt ponds and flamingo tourism, and local fishing industries. The jetty land gives the opportunity to overlook and enjoy all these attractions. The lagoon now is more attractive and engaging. The last is the ecology-based life circle where are less social and economic pressures than before due to the lagoon and mainland sharing many of those pressures. With this new and flexible lifestyle, parties have their own alternatives to engaging with the population and the built environment.

â&#x20AC;&#x2DC;Yâ&#x20AC;&#x2122; SHAPE JETTY PROJECT

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SONG

� Colonial Town

Ultimately, this project has two ideologies to share. One is to protect the natural resources for the next generation by learning from the local communities. Because the intervention has already been tested by locals, designers can evaluate the consequences and implement them appropriately. Second, is the extension of life circle, instead of concentrating it in small space. This can decrease the environmental pressure while allowing more to be a part of it, developing social justice engagement. “Y” Shape Jetty can be a typical module for further coastal sustainable development along the whole Yucatan peninsula.

� Barrier Island Channels

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‘Y’ SHAPE JETTY PROJECT

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BUNKE /

RICHARDSON

l a m p a s a s

Wel co m e to

L A M PAS AS T E XAS Where all makes and models are welcome!

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Meg Bunke, M.Arch Davis Richardson, M.Arch PROFESSORS â &#x2018; Sofia Krimizi Kyriakos Kyriakou LOCATION â &#x2018; Lampasas, Texas

LEARNING FROM LAMPASAS The project examines recent development trends in Lampasas, Texas, where new drivable buildings and public spaces are sprouting up following an influx of residents from Dallas, Austin, and Houston. These urban expats were forced out after personal vehicles were banned in densifying cities. Many are moving to towns like Lampasas that have the space and the carcentric infrastructure to accommodate those unwilling to give up the joys and freedom of driving a personal car.

LEARNING FROM LAMPASAS

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BUNKE /

RICHARDSON

A new highway loop encircles Lampasas, which the town sees as being competitive with the Monaco Grand Prix. The town square, a massive parking lot, is built up around the old courthouse. It is used for tailgating, especially when races take place on the highway loop. Strip mall developments give drivers direct access to commercial, retail, and office spaces. The car plugs into and becomes part of the shop, the motel room, and the office. A drive-in church provides worshipers a means to experience the service and community from within their cars. At home, town residents drive into and park in the second floor living space, a place of prominence worthy of a prized possession.

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ISSUE XVI

LEARNING FROM LAMPASAS

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BUNKE /

RICHARDSON

HUH

THE VIBE The project developed from the concept of mixing water and musical elements within the spaces of the social venue. Centered around enhancing sound effects, a large pool is placed at the center, with a stage on each side. Wall structures are absent so that sound can travel freely between stage and pool. Though it appears as one big pool, there exists different water levels for users to choose from. Two main pools have 4-5ft depths and the remaining pools are 2ft deep, with water at knee height, optimal for walking through. The individual masses of bath units house shower rooms, massage rooms, and a sauna are finished by metal perforated panels. Placed at the edge of the plan are the appropriate background panels of a typical stage to enhance the hearing environment. There also is an opportunity for the two main stages to extended to the pool area for performances. Buyoung Huh, MID PROFESSOR â &#x2018; Nerea Feliz LOCATION â &#x2018; Austin, Texas

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ï¿½ Massage Room

THE VIBE

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HUH � Steam Room � Massage Room �

By using geometric wall structure, it can be used for diverse types of performances depending on lay out of lighting and acoustic equipment as well as hanging structure. It is a flexible stage for any events and performance and open to anyone in the pool. In pavilion, bar, large bench, sunbed area, people can stay away from water for a while though they can see the stage. The overall layout between pool and island formed based on smooth and soft curved lines. The geometry makes nodes that come and go naturally so that people get together and then diffused. The island which is 2ft above from the main pool is for private bath programs. The bath program was designed by the same geometric logic to enhancing acoustic environment. And at the same time, you can still communicate with the outside by lighting and sound which is indirectly diffused.

� Massage Room

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� Steam Room

THE VIBE

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SIN

북한 北韓,

NORTH KOREA Democratic People’s Republic of Korea

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A 21st-Century Socialist Country Focuses Train Stations As a Catalyst for Future Development Historically, the Korean peninsula works as one mega region. As a smaller country, this strategy is for survival. Only when each region works together, can the country function properly, with each municipality carrying different specialties based on its location and landscape.

Seonhye Sin, MSUD PROFESSORS ⁑ Dean Almy Barbara Hoidn LOCATION ⁑ North Korea

A 21ST CENTURY SOCIALIST COUNTRY

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SIN

EXISTING NATIONAL STRUCTURE Regional Characteristics

Train Lines

Urbanized Area

Agriculture / Grassland

Energy

Industrial Area

8 Main Cities

After the separation of North and South

time. If one municipality gets attacked,

Korea, the North started to develop the

others can survive. However, these

country according to socialist ideas. For

strategies were not suitable for a small

instance, each municipality tried to be

country like North Korea. As a result, the

self-sufficient, and were discouraged

country has fragmented into pieces, and

from trading with each other. Most of

none of the municipalities can function

the nation's industries and resources are

correctly. The failure of national planning

scattered under the name of even distri-

is one of the reasons for the instability of

bution. This was a result of the socialist

the country.

planning but also a preparation for war156

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MUNICIPALITIES and it's Characteristics

YANGGANG-DO Plateau area Bio-diverse zone

JAGANG-DO 90% Mountains

HAMGYEONG-DO Livestock industry Driest area in Korean peninsula

PYONGAN-DO Gate to China Coals Producing Center GANGWON-DO 80% Mountains 10% Plain area Dry-field farming Rich underground resources HWANGHEA-DO Plain area, Agriculture

GYEONGGI-DO The center of the peninsula Capital since1392

GYEONGSANG-DO CHUNGCHEONG-DO

Lighter precipitation

Mud flat area

Main port to trade to overseas

JEOLLA-DO The biggest breadbasket in Korean peninsula

A 21ST CENTURY SOCIALIST COUNTRY

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SIN

NEW NATIONAL STRUCTURE Regional Characteristics

Rason

Chongjin

Sinuiju Hamhung

Pyongyang Wonsan

Nampo

Geasung

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MAIN CITIES

INDUSTRIAL

ENERGY

FOOD PRODUCTION

WITH H-LINE

SYSTEM

ISSUE XVI

NEW STRUCTURE PLAN

EH 04

Mountain Range

EH 02

Main Train Line Local Train Line

Transfer Station Station Hydro-electric Wind Farm Urban Area

EH 01

Agriculture Land Grassland Alpine Agriculture Industrial Area

A 21ST CENTURY SOCIALIST COUNTRY

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TOWNLEY

WOOD DESIGN

ï¿½ Claire Townley, M.Arch

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WOOD DESIGN

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TOWERS OF

BEHROOZI / PARK

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JUSTICE Autusa Behroozi, B.Arch Semin Park, B.Arch PROFESSOR ⁑ Martin Haettasch LOCATION ⁑ Austin, Texas

TOWERS OF JUSTICE

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BEHROOZI /

PARK

Wooldridge Square

Capitol

� Connects Green Spaces

� Creates Government Campus

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The two towers are a monument to justice within the city of Austin. Since Austin is rapidly growing, space becomes precious within the city. Our project concentrates all the program into the towers to open up the ground floor for public green spaces. The façade was designed with two intentions in mind--to monitor sun exposure and to allude that a public institution is held within through the historic use of the arch in Italian architecture. The use of the arch is a nod to abiding by the law, but we redefine the arch in today’s democracy by creating a more playful pattern on the façade by changing the scale and rhythm of arches to reflect today’s expressive and individualdriven democracy where the rights of the individual is just as important. The two towers can be seen from afar as a symbol of pride and order for the public. The people of Austin can look to the towers and rest assured that justice will be served.

ISSUE XVI

� Frames Views

� Pedestrian Friendly

TOWERS OF JUSTICE

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RIDER

BATHED IN LIGHT Tasked with exploring the spatial qualities of intimacy within the context of a shower, I began by exploring how one continuous element, repeated and changed throughout space could create a sense of familiarity and comfort in this intimate space. I chose to begin working with a 2 x 2 inch linear form, the material of which was unknown to me at the time. As it rose vertically from the floor it could bend to create a horizontal surface, which applied in repetition could form seats and shelves. These elements in vertical repetition could then form screens and walls. It is in this way that the form of my shower began to take form. The shower I arrived at was not constrained by walls, floors or ceiling, but was free-standing and able to contract or expand in any one or a number of directions to suit different spaces. Expanding on my

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initial shower design, I again used the linear 2 x 2 inch element to generate three additional, functional forms; a massage room, a steam bench, and a pool pavilion. Once in the context of our site, a strip-mall on Austin’s north side, I looked to the implied grid of the building’s structural columns to help guide the placement of forms within. The shower, massage room, steam bench and pool pavilion each then became a folly within the building’s imposed nine-square grid.

Megan Rider, MID PROFESSOR ⁑ Nerea Feliz LOCATION ⁑ Austin, Texas

ISSUE XVI

BATHED IN LIGHT

167

CHANDLER

Fighting Global Warming Network Austin Headquarters The goal of my design was to create a building that evokes a respect and appreciation for historical Architecture and also gives any inhabitant vision into what the future holds. This combination of paying tribute to the old while embracing the new makes an interesting overlap which both symbolically and physically inspired the design of the building. I was interested throughout this project with the idea of starting to solve the problem of climate change by de-concentrating the root issues (instant gratification, society’s desire for new and more, wastefulness and excess), which are most potent within their overlaps. I came to the conclusion that this can only be done by starting to concentrate the opposite of these issues (resourcefulness, minimalism, patience, awareness and appreciation of age) through overlap. I used these words to inform design decisions i made in the building, such as the use of vaults and arches, spaces for outside reflection and careful consideration of the building’s impact on the environment.

Riley Chandler, B.Arch PROFESSOR ⁑ Judith Birdsong LOCATION ⁑ Austin, Texas

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ISSUE XVI

FIGHTING GLOBAL WARMING NETWORK AUSTIN HEADQUARTERS

169

CASTINE /

TUNKS

UN-EARTHED

Exponential growth of the human population, coupled with diminishing natural resources, provides rising challenges to the issues of global food crises. Currently, developed nations practice an inefficient and illogically disassociated model of dining devoid of many tangible connections of farm (the rural) to table (the urban). It is this unsustainable trajectory that Un-Earthed challenges with the proposal of 21st century culinary and agricultural research at the University of Texas at Austin. Jacob Castine, M.Arch Trent Tunks, M.Arch PROFESSOR â &#x2018; Matt Fajkus LOCATION â &#x2018; Austin, Texas

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Within the school, new methods of urban agriculture are brought to the forefront of the culinary experience, and the typical links of the global food chain are re-examined, re-prioritized, and re-imagined. The new research facility provides a space in which programs from various disciplines across the University research and collaborate on global food issues. Integrated hydroponic systems are simultaneously used for research as well as providing fresh produce for the culinary education housed within.

UN-EARTHED

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GAGLE /

VICE

WATER TREATMENT Given today’s emphasis on wellness and well-being, it is incumbent on us to wonder about our past attitudes towards similar issues in order to understand how these preoccupations have been culturally and architecturally constructed. The studio interrogates the organization of welfare and public assistance in the urban context of Chicago, Illinois. Students are encouraged to respond to this collective site by questioning the spatial types or systems that directly or indirectly deal with the city’s medicalizing processes.

Alex Gagle, M.Arch Nicole Vice, M. Arch PROFESSOR ⁑ Piergianna Mazzocca LOCATION ⁑ Chicago, Illinois 172

ISSUE XVI

WATER TREATMENT

173

GAGLE / 174

VICE

Water has been the generator of incredible engineering and architectural feats throughout Chicago’s history, necessary to sustain and improve the lives of those within COLLECTION the city. Today, as water’s cleanliness is taken for granted, our objective is to catalogue the cyclical relationship which results in marginalizing the importance of the systems which make it possible to sustain the well-being of the populace, specifically with films set in Chicago. Film can be representative of a vicious cycle in which bias can be reflected, amplified, or generated. The portrayal of the water depends on how it exists spatially; it is typically a pure form on the surface or a pariah below the street. Water and its treatment is regarded as this ‘other’ which is pushed to the fringe of the city.

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WATER TREATMENT

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GAGLE /

VICE

SURVEYING Water treatment is a remarkable system which reveals itself in an unremarkable way. Storytelling investigates various perspectives, or scenes, of interactions with systems of water treatment. A spatial analysis of the narrative of water treatment at varying scales parallel to cinematographic techniques reveals the obscured complexity of banal moments. This methodology provides a speculative survey of fragments and overlapping narratives depicted within the context of Chicago.

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WATER TREATMENT

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SHEPARD

RENEWAL

Mental Health Residential Treatment Facility Grayson Shepard, B.Arch + B.S. Architectural Engineering PROFESSOR â &#x2018; Jeffrey Blocksidge 178

ISSUE XVI

This is proposal is for a facility for adults suffering from various mental illnesses. The studio challenged students to design spaces for healing, specifically illnesses which are traditionally harder to define and invisible to the naked eye. The main aspect of this design are long wedges that carve into the building, letting water from the lagoon flow into the building on the lower level and plants pour in on the upper floor. The connection between patient and landscape plays a significant role in the

healing process, thus the patient and building is punctuated with nature throughout. At different points, the building and the landscape battle over dominance, while it overall seeks a harmonious balance. This struggle for balance is characteristic of the healing journey as healing from mental illness fluctuates nonlinearly, focused on learning to cope with these variations. This space is meant to represent that journey while creating an oasis for patients who come here for refuge and help.

MENTAL HEALTH RESIDENTIAL TREATMENT FACILITY

179

SHEPARD 180

ISSUE XVI

MENTAL HEALTH RESIDENTIAL TREATMENT FACILITY

181

OTERO /

CARRILLO

Experimental Student Housing Located north of Munich, Germany, TUM Garching is a technology-driven University that explores sustainable and innovative practices through academic and professional research. Our client, TUM Physicist Dr. Thomas Hamacher, requested a masterplan to accommodate the university’s growth and to address the existing campus’ lack of activity outside of academics. Sited in a 40-acre lot adjacent to the existing campus, our proposal would provide housing for 5000 students and an additional 5000 residents. The site, activated as a cultural and civic hub, would connect the innovation of TUM student and faculty with Greater Munich Area residents. Accounting for Munich’s increasing price of living and a high demand for affordable housing, the strategy was to research and propose a building type which would allow for efficient construction and result in affordable dwelling units. Dense, timber-built housing sourced with

182

local forest products and manufacturing capabilities (within a 250km radius of the site) would attract a diverse population of students interacting with other residents. Through recreational and civic venues interconnected through a central spine of parks and walkways, the design sought to activate the site as a cultural and civic hub, connecting the innovation of TUM with Greater Munich Area residents. As a major programmatic challenge, we were also asked to integrate a system of emergency response shelters designed for catastrophic events. Embracing the challenge of the shelter as a condition typically associated to heaviness and darkness, it was interpreted instead as a light, air-filled haven: a part of everyday living. A courtyard typology intersected with a sub-grade shelter would create a center of socialization for residents, layering the act of dwelling in diverse activities and spaces, both at the building and site scales.

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* Winner 2019 AIA Dallas Unbuilt Design Awards

Diego Zubizarreta Otero, M.Arch Francisco Moises Resendiz Carrillo, M.Arch PROFESSOR ⁑ Vincent Snyder LOCATION ⁑ Munich, Germany

EXPERIMENTAL STUDENT HOUSING

183

OTERO / 184

CARRILLO

ISSUE XVI

EXPERIMENTAL STUDENT HOUSING

185

ANDERSON

Host a Community

This set of 3-D printed concrete microhomes serves individuals coming out of chronic homelessness at Community First! Village in Austin, TX. These homes will be constructed from 3-D printed structural concrete and will set a precedent for living in Phase 2 of this 51-acre development. Robbie Anderson, M.Arch LOCATION ⁑ Austin, Texas

186

An initial constraint of the 3-D printer required the homes be a maximum 30 feet wide. As a set of 6 units these microhomes should be repeatable yet individualized. The homes are organized into three sets of pairs, creating inherent relationships between the units via exterior porches and landscape that intersects each unit. The most profound impact provided by Community First! is the reestablishment of “family” through a sense of community and an ownership through home. Neighbors often break rules in order to host their friends, to cook for them and bring them into their new home. The ability to project their individuality into a space and share it with others greatly influences the healing process and provides stability to those coming into Community First! Village.

ISSUE XVI

Porches provide an avenue for individuals to claim ownership of their homes, a space to showcase their personality. Voids carved into a rectangular footprint form porches that organize individual and shared space. The dialogue between these voids provide overlapping exterior space to encouraging community and a relationship with your neighbor, but maintain necessary physical boundaries between neighbors. Voids organize each home around the living and kitchen spaces, creating visual axes that enhance and emphasize the relationship between each room. Neighbors are therefore provided with an elevated hosting experience, an architectural move intended to strengthen connection to place. Each unit expresses importance of space and place through a sawtooth roof that funnels light into each room. Curvilinear walls are a possibility provided by 3-D printing capabilities but they are not arbitrary. Here, the curvature of walls seeks to soften transitions between rooms to create a feeling of continuity between spaces, blurring the boundary between each room. The softness of curved walls and the material qualities of concrete provide a calming sensation in a place intended to inspire healing.

ďż˝ 3-D Printed Layers

ďż˝ Elevation

HOST A COMMUNITY

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MARTINELLI

CONTEMPORARY

TERY

MONAS

Julia Martinelli, M.Arch PROFESSOR ⁑ Elizabeth Danze LOCATION ⁑ Wimberley, Texas 188

ISSUE XVI

CONTEMPORARY MONASTERY

189

MARTINELLI 190

Located on a hilly slope in Wimberley, Texas, the project was to design a contemporary monastery focusing on the relationship of public and private spaces. The program was a monastery which could house twenty-four monks as well as hold public events. The program included a church, private chapel, offices, library, cafeteria, communal kitchen, monk cells (rooms), as well as a unique way for the monks to make money.

ISSUE XVI

The unique factor of the project is that each monk has their own goat, and the program is centered around the daily routine of the interactions of the monks and their goat. Caring for a goat requires structure, stability, dedication and work, traits that are encouraged of monks. The complex also includes a factory for producing goat milk and cheese to sell to the community. The site strategy includes grouping the different types of spaces with gardens, including the public spaces of the church, the monk quarters and the pen for the goats. The program is stretched across the sloping site with the goats at the highest point, aligned with the church tower. Because the monastery is located on a high point in Wimberley, it is the goats and church tower which are most visible, trying to represent community and inclusitivity. From all of the spaces on the site there are visual connections back to the goats.

CONTEMPORARY MONASTERY

191

ï¿½ Georgina Cantu, Mexico Travel Studio

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ISSUE XVI

ï¿½ Georgina Cantu, Mexico Travel Studio

TRAVEL IMAGES

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On Agency in Architecture

“How far will you prostitute yourself to realize a project?” asks Wilfried Wang, the O’Neil Ford Centennial Professor in Architecture at the University of Texas at Austin. With Barbara Hoidn, he is founder of HOIDN WANG PARTNER, Berlin. Sofia Krimizi and Kyriakos Kyriakou are co-founders and partners of ksestudio. Both held the Ruth Carter Stevenson Regents Chair in the Art of Architecture from 2018– 2019. Kyriakou, Krimizi, and Wang speak with ISSUE about the agency of the architect and the limitations of a “problem-solving” approach to design. Wilfried Wang with Sofia Krimizi + Kyriakos Kyriakou

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How would you describe the role of the architect to someone who never heard the term? Sofia Krimizi ⁑ To design, to build, is the most straightforward, basic, literal way of engaging with the world. You take matter and change its form into a shape that hosts a new sense. Starting from there, we allow ourselves to layer that with bigger, more intellectual functions around the profession. But it all boils down to this transformation of energy from the world back to the world — and we become that catalyst. Wilfried Wang ⁑ We now have a differentiation of the profession: There are people who are fantastic with BIM. Doing a schlock bank or hospital wouldn't make any difference to them; they couldn't give a damn what it looked like on the outside or the inside. It’s just a volume, right? It's a job. At the other end, we have the esoterics, people in the tradition of the wealthy Cedric Price types, who enjoy dabbling with architecture and spend time talking about all sorts of wonderful things completely unrelated to modes of production and normal people’s needs. I followed a colleague at the GSD in the ’80s and ’90s, K. Michael Hayes, who grew up producing absolute bullshit. You can print that. This gang of people investigating things from a literary review point of view had absolutely no bearing on practice and architectural theory. So there’s the nerdish stuff on the one hand, and, on the other, the esoteric stuff. The question is: Has the center — the central issues that civilization is facing and the architectural profession is not dealing with — been vacated?

Kyriakos Kyriakou ⁑ There is a beautiful book by Raymond Carver, What We Talk About When We Talk About Love, which is a series of short stories that negotiate the idea of love or the relationship between two people. Haruki Murakami took the title and he paraphrased What I Talk About When I Talk About Running, a very thorough memoir of his own obsession with running. In both cases, there’s a topic that we’re talking about, but it’s reflecting on so many other things that are hidden behind the title. Ask yourself the same question: What are we talking about when we talk about architecture? There is no straightforward answer. From the point of view of somebody who doesn’t know what architecture is, we’ll see the common perception of how the architect is pictured in our society. How is this persona described in movies or literature? This is where the visionary Modernist comes into play — that the cliche of The Fountainhead figure — over struggling in terms of ideology or of practice. WW ⁑ One always has to have in the back of one’s mind how the building or project impacts the general society. If you, as is possible these days, simply design single-family houses in wonderful tree-covered lots, you don’t really have to spend a lot of time thinking about the rest of society. The notion of social responsibility and social responsiveness has left this profession.

Q&A: ON AGENCY IN ARCHITECTURE

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If practicing architects are focusing on that typology, which maybe has less social relevance, architectural projects in school are framed as problems where you come up with solutions. What do you think the agency of the architect is to solve problems? WW ⁑ It's a task that you have to assert yourself. If you are asked to design a house for a single person on the top of a hill with 20,000 square feet … David Heymann's answer was, “Well, it's better to build a single house on the top of the hill than to build 20 houses — that's far more sustainable.” You can relativize everything ad infinitum, so these things become negligible. When do we advise a client, “Well, maybe 20,000 [square feet] is a little excessive for one person. Do you really need that much area?” Then you lose the contract. That’s the risk. These are all moral questions that are up to the individual. If we don’t set ourselves certain tasks to reflect on, we are not performing as human beings — we're just performing as individual islands of egomaniacal existences. That is a very sad state of society. SK ⁑ I think we are problem-solvers. But we are also troublemakers, right? We have to design the questions, too. I don't think that solving a problem is the angle, but it’s not out of our remit either. The real shift of the conversation is to shift the gaze towards the design process being part of designing the question and designing the issue. I can understand why someone would want to accept a project like the 20,000-square-foot house on the top of the hill, but at the same time, I think it’s another kind of issue like why have we, as architects, thought of that being an ideal. Suburbia or the single-family house was an answer to a specific question. It did resolve a lot of problems in a specific sliver of history; of course, it caused many more, but … it does fulfill a brief. Designing that other brief is part of the job. And it’s part of the job 198

of architectural education to be able to tackle that as part of our agenda as academics. WW ⁑ At the same time, architectural education is inculcating certain canonical values, such as it's more desirable for an architect to design a freestanding building on a greenfield site than it is to deal with an existing building. There are certain traditions by which architectural values have been inculcated in people’s minds: “The architect designing a building,” as opposed to saying, “a team is designing a complex set of statements.” To get that out of people’s minds will take at least a generation. And by that time, it’s too late, because we don’t have 25 years to re-educate the whole profession. We just don’t have that. KK ⁑ I think the term “problem-solving” is problematic. It’s very misunderstood, especially young students’ minds. The younger students who are coming to the university now have a burden to save the world. A few months ago, a student came in and said, “We are here because it’s our duty to save the environment. We’re facing an environmental crisis and our job is to fix that.” Which is, on one hand, a very powerful statement — a beautiful, visionary position. But there's a gap in the process where this is becoming the obsession without being really examined. These young people are practicing in panic. They’re motivated by great intentions, but with a tremendous pressure on their shoulders to be the superheroes of our time that will save the world. To me, that’s not productive. I’m all for that conversation to happen, to be relevant, and to be part of our education. I don't see it as being the ultimate goal. In New York, I was working on all these massive development projects, dropping a 20-floor mega block in a low-rise neighborhood in Brooklyn. It was kind of [like the house in the prairie Wilfried mentioned] in terms of scale, but at the same time it was pretending to be contextual. For me, that was

ISSUE XVI

the breaking point with New York. When I said, “I can’t do this anymore. I don’t want to be a part of this,” one of my very good friends said, "No. You have to stay and do it. It's going to happen anyway. At least we can try and do it as responsibly as possible."

SK ⁑ We had a similar conversation with Léopold Lambert about the European architects who signed this manifesto that they were never going to design spaces of detention — whether that is a prison or whether it's a camp. The morality of the issue becomes a bit more complex. What do you do? For me, the answer is you design a world that doesn't need spaces of detention. Otherwise, as an architect, you have to design spaces of detention, so at least they’re designed with any kind of responsibility that can be found in the present tense. Wilfried, this past semester your studio looked at the American suburbs. Sofia and Kyriakos, y'all's was focused geographically on the small towns of West Texas. We felt like you both were addressing things that might be on the fringe of what we might call architectural and urban intervention. Pedagogically, how are you equipping students to engage that? If they’re going to an architecture firm, they won’t be in control of the clients they work for, they’re generally not stakeholders. How can they engage in those topics when they don’t necessarily have the agency?

people who know the problem, who are powerless themselves and don't have the vision or the solutions, but who are being inspired by the work that the students were producing, because they can see that there are options that are positive to changing this school. Up to the last decades of the 20th century, people published books. People like Abalos y Herreros, Rem Koolhaas, or others have published a lot of books and they've been very influential. They set certain agendas. We have to find ways by which we reset the agenda of the profession, in relation to social requirements, and things like climate change. If we don't do that, we will always just be service providers. The difference between a profession, such as ours, and dentistry or lawyers is that we have the possibility of setting more general agendas than we're addressing from a day-to-day point of view. KK ⁑ Again, your question comes from your particular definition of what an architect is. To build all these suburban houses, you need architects who will produce and stamp the drawings, coordinate the systems, talk to the contractors, and all these beautiful things that come with putting a building together. That’s what Wilfried described as the architect as a service provider. Why can’t we intellectualize the architect as a service provider? Why can’t we talk about this? Why do you think in high-profile architecture schools this is not a relevant topic of discussion? Of course, there's the bigger conversation about suburbia, how our cities are growing, how we can densify them, and how suburbia is having an effect on the environment, which is kind of the ultimate question.

WW ⁑ There is a way out. There are interesting long-term options; people who are interested in these solutions are not necessarily owners of properties, they are cities, they are planners [and] they understand that places like Atlanta and Phoenix cannot continue to grow at the rate at which they’re growing.There are Q&A: ON AGENCY IN ARCHITECTURE

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How do we deal with those intricate systems more productively in studio if the dominant pedagogy is premised on a reduction of complexity to singular ideas? SK â &#x2018; Sometimes I crave to admit to ourselves what we actually find intriguing. If itâ&#x20AC;&#x2122;s to draw exactly the same way as we always did, that should be okay. If someone finds it completely fascinating to rethink that system of representation...to post-rationalize it is not a crime, but I think one has to do it knowing that something occurred outside the system of logic that is applied later. Honestly, it's more than okay to teach like that, to allow space for a very strict boundary for ideas to emerge or for an impulse to find itself in that framework, and then to find or borrow a logic in order for it to become a project. Whatâ&#x20AC;&#x2122;s important is being aware of what we do and being honest with ourselves.

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ISSUE XVI

ï¿½ Andrew Hong, Portugal Travel Studio

Q&A: ON AGENCY IN ARCHITECTURE

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ALMENDARES / RUTT /

AGUILERA / GOMEZ

ASSEMBLY Whether it be rejection from our parents, condemnation from a spiritual leader, or the fear we hold inside of being our true selves, LGBTQ+ people have all sought a place where we can just be. While addressing Austin Outposts’ call for engagement, connection, and support of our community, we found that beyond the physical requirements there was a yearning for something all queer people have sought at some point in our lives - a home. As the author, Clare Cooper Marcus says in House as a Mirror of Self, “A right home can protect, heal and restore us, express who we are now and over time help us become who we are meant to be.” Our response holds that mirror up to ourselves, creating a space for conversation, introspection, and self-awareness to reside. Upon approaching, the symbol of a pitched roof is a welcoming beacon to seekers of community. Its inherent suggestion of a house sets the stage for coming home. Within this space, the program unravels along the sequence of a house, moving from entry to dining to living to more private. Some programmatic needs fell naturally into place, while others flowed into several categories.

Stephanie Almendares, M.Arch MaKayla Rutt, MID Italia Aguilera, M.Arch Elray Gomez, Texas State Student 202

The structures provided are modular and capable of reconfiguration, depending upon the different locations. The floor plan provided is merely one suggestion of how the structures may be laid out. Bringing together these components provides a much-needed shelter for the LGBTQ+ community to gather.

ENTRY ⁑ Austin Outpost Design Competition ISSUE XVI

ASSEMBLY

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BROWN

A Contemporary Re-Examination of No-Stop City

No-Stop City is an exaggeration of what consumerism and modernism could evolve into in the 1960s as seen by Archizoom Associati. Their proposal creates an arbitrary architecture that recedes to the background by completely consuming the earth in a new homogeneous superstructure. The entire earth becomes an interior condition with reliefs only where mountains and lakes or other extreme natural landforms break the superstructure. Without walls, individuals inhabit the entire space all together, converting their interior essentially into one continuous living room. By creating one homogeneous space, Archizoom proposes that a social hierarchy may recede and a more social conscience would emerge. Although all inhabitants would reside in essentially the same space, people would begin to differentiate themselves through their consumer product purchases, such as furniture and clothing. Their proposal is ironic, with the concept of consuming the entire earth into an equal and inclusive space for all, yet social issues wonâ&#x20AC;&#x2122;t end with providing an equal space. People will continue to consume whatever is trendy at the time to differentiate themselves. But as everyone consumes that product, they return to all being the same and the cycle continues.

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Fast-forward 50 years and Archizoomâ&#x20AC;&#x2122;s No Stop City still holds water. The cycle of overconsumption continues and the rate at which cities and suburbs grow as been consuming more resources than the earth can support. In addition to product consumption, people now consume digital technologies and media more than ever. This digital consumption ideally would create a social equality similar to that of No-Stop City. The digital frontier has raised awareness of social problems that went hidden for many years due to the limited means of communication. Pre-1960s, and pre-media, people received their news through word of mouth. This required important public spaces to be available for gathering and disseminating critical information. These public spaces were architecturally designed plazas, post-offices, stoops, city halls, parks, et cetera, where people were welcome and invited to participate in the conversation. In No-Stop City, the concept of public space is semi-eradicated because everywhere becomes public space. People would collect into groups based on their styles and possessions, which inherently creates a social hierarchy and silos cross-pollination between groups.

ISSUE XVI

* Related Essay found in

companion book, pg. 14

The same phenomenon can be said of today through digital media. Public space has become digital and the physical architecture of those spaces is irrelevant. Communication happens over the Internet with “chat rooms” and message boards with “walls” to post on. Due to this new form of communication, our architecture reflects our isolating lifestyles. Our worlds, similar to No-Stop City, have become interior focused where the need to leave our homes is nearly obsolete. We can meet all of our human needs from the comfort of our own home. We socialize through our computer, order groceries for delivery online, work from home and watch

YouTube exercise videos in our living rooms. As cities continue to grow and that once valuable public space is consumed by private apartment high-rises, our isolation is reinforced. After a semester of studying the reasoning behind certain graphic and writing methodologies of past and present utopian architectural proposals, the final summation of the seminar was to write two essays and create corresponding graphics that critique the ideas and means of representation of the 1960s proposal of No-Stop City by Archizoom. The critique/interpretation is applied to present-day society.

Hailey Brown, M.Arch PROFESSOR ⁑ Nerea Feliz A CONTEMPORARY RE-EXAMINATION OF NO-STOP CITY

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GAGLE

STRANGE PROVOCATEUR This intervention in No-Stop city is one of softer forms which nonetheless result in an imposing barrier. Alien and devoid of ornament, the materiality of the form is what defines its posture toward Archizoom’s well-equipped parking lot. The polished surface holds a mirror to the conditions of No-Stop City in a way that simultaneously embraces and criticizes it, working as a cluster of contradictions. The material magnifies the ever-present grid while also bending and re-shaping it. A single person can become many as they are reflected on polished faces, but so are the goods with which they live. The structure is composed of qualitative descriptors residing in a quantitative dystopia. And while the sinuous pieces grow and defy the structures of the city, they make no obvious or foreseeable path out. Not all aspects of the alien structure are antagonistic. Like the city itself the form is without hierarchy but can hardly be said to

be a rigid ‘figuration.’ Where it alters the rigid aspects of No-Stop City it also alters its organic side. For an approaching figure, this warping of reflections is likely less flattering, but depending on their mood can be a positive experience in a space generally devoid of them. The mirror polish also pulls nature into the bleak consumerist factory, blurring the lines between inside and out; though how ‘real’ this nature truly is can be debated. Like Dan Graham’s Alteration to a Suburban House , the reflections are investigations which reveal social and archetypal qualities. The nature of the mirror image of endless consumption could spark a change in behavior, by forcing recognition and reconciliation when one sees themselves and their environment. Because of this the form takes on the role of provocateur. The result of magnifying the status quo retains the power to act as a catalyst by re-framing that which is familiar onto that which is strange.

Alex Gagle, M.Arch PROFESSOR ⁑ Nerea Feliz

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ISSUE XVI

* Related Essay found in

companion book, pg. 26

STRANGE PROVOCATEUR

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WEBB

A NEW HOME FOR THE UT STUDENT With this scheme, I sought to reinvigorate the University Co-Op on Guadalupe by creating an environment that serves as the home of the UT student both past and present, a place where student needs can be accommodated year-round that acts as a focal point for campus life beyond merely being a repository for merchandise.

To accomplish this task, I endeavored to create spaces that were experiential, adding a layer of dynamism and interest within the building that provides the Co-Op with a distinct identity beyond the merchandise on display. When designing spaces within the Co-Op, I looked to athletics as a jumping-off point. I found inspiration in the spatial and experiential qualities of the stadium and looked to bring them into the Co-Op’s shopping experience. The main stair between the basement and second floor, for example, forms a riser reminiscent of bleachers that serves as both a special display for products, as well as acting as seating for the cafe on the second floor. When entering the Co-Op via the art market entrance (the primary gameday entrance) the visitor finds themselves beneath this riser and, after moving through a tunnel, is greeted by the expansive atrium with a clear view of the Co-op’s different departments; simulating the compression and release found in moving from beneath the bleachers of a stadium, through

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the tunnel, and out into the bright, expansive, and exciting heart of the venue. Equal in importance to experiential spaces was the concept of flexibility for the Co-Op. A huge majority of the Co-Op’s business is done on gameday weekends during football season, or in the first two weeks of a semester when textbooks and supplies are in high demand. Unfortunately, the Co-Op is underutilized outside of these periods and I sought to create strategies for attracting students on a more regular basis. Many of the retail fixtures within this scheme were designed to be flexible, allowing the Co-Op to change modes over the course of the year. Textbooks, for example, are displayed only for a limited time and this space can later be converted to student workspaces. Workspaces, combined with other amenities like a rooftop bar as well as the aforementioned cafe can help to attract students outside of the usual busy periods for the Co-Op and build a stronger bond between the store and the lives of UT students.

ISSUE XVI

Chris Webb, B.Arch PROFESSOR ⁑ Tamie Glass LOCATION ⁑ Austin, Texas

A NEW HOME FOR THE UT STUDENT

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GEORGE

SEAHOLM OUT-TAKES What was once a monumental component of Austin’s energy production, now lies abandoned on town lake- devoid of program and separated from the Seaholm Powerplant. The only remaining connection between the intake building and the powerplant- and Austin as a whole- is an underground system of pipes. The Intake Building connected the powerplant to the cooling radiant supply of the lake, and together the energy they harnessed served the city of Austin as a whole. The pipeline structure remains, but new programming needs to introduced to bring the intake building back to life. As its history is one of water and energy production, the Seaholm Building can be repurposed into a thermal bath. The existing hardware between it and the Power Plant can 210

be reused for water supply as well as mechanical energy for heating and cooling, as well as light installations. The existing pipes establish a datum: the addition can be sited underground, in the grid they left behind. Everything about being underground is opposite architecturally; space is carved away rather than put together; shadow is broken up by light rather than the reverse, and interstitial space is nonexistent until removed. A cinema necessitates this kind of environment: one where suspension of disbelief is mandatory, ‘Seaholm Outtakes’ is an ALTERNATE REALITY underground, equal and opposite to the existing Seaholm Intake, fit for movie-going.

ISSUE XVI

� Longitudinal section of entrances

The Seaholm Intake building is an industrial ruin.

� Longitudinal section of dry theatre and changing area

� Longitudinal section of thermal baths

Hannah K. George, B.Arch PROFESSOR ⁑ John Blood LOCATION ⁑ Austin, Texas

SEAHOLM OUT-TAKES

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RAHMATOULIN

Michael Rahmatoulin, MAAD PROFESSORS ⁑ Benjamin Ibarra Sevilla, Georgios Artopoulos, Michael Holleran LOCATION ⁑ Nicosia, Cyprus

Reintegration of Lost Spaces in the Divided City of Nicosia A Design Proposal for the Capital of Cyprus

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Nicosia stands as the last divided capital in Europe. Located on the small island of Cyprus in the Eastern Mediterranean, the capital city is partitioned between the Turkish Cypriot north and the Greek Cypriot south. The division is the result of inter communal conflict and the invasion of the island by Turkey in 1974. The buffer zone that divides. Nicosia is a no-man’s land monitored by the United Nations, with large swaths of farmland lying along much of the 180km long division across the island. Within Nicosia torn pieces of neighborhoods have been abandoned and remain frozen in time. Efforts to unify the island in the last two decades have made little progress towards a solution, however much has been done in an effort to improve bi-communal relations. The intent of this research project is to investigate how the existing border conditions can be transformed to facilitate community building within and without the buffer zone, reclaiming the ‘lost spaces’ that have been covered with difficult memories of the conflict. While it is not a “fix-all” solution, the output of this project presents an opportunity to create a future vision of the island that shows how the Cypriot people can live with the de facto border and how they can take back the spaces they lost, reactivating it piece by piece.

REINTEGRATION OF LOST SPACES IN THE DIVIDED CITY OF NICOSIA

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RAHMATOULIN

A Sense of Belonging

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LEDRA PALACE CHECKPOINT

NEW PAPHOS GATE CHECKPOINT

LEDRA ST. CHECKPOINT

TRIKOUPI CHECKPOINT

Nicosia’s division is not a single wall, unlike the Berlin Wall or Belfast’s Peace Walls. Instead it is riddled with dead ends and barricades, that turn the city into a maze. By flipping the idea of a “wall” to be a symbol of connection rather than division, the first phase of the project proposes a system of small scale interventions that individually create opportunities for interaction within and without the buffer zone. These conceptual interventions are site specific and based on a framework, or kit of parts. Each responds to various site ISSUE XVI

AYIOS KASSIANOS CHECKPOINT

CHRYSALINIOTISSA CHECKPOINT

Buildings Partially in Use Buildings Completely Trapped in BZ Cultural Landmarks

factors such as location, size, historic use, and buffer zone condition. For their part, these “urban pavilions” will propose moments of interaction that offer new connections between people: markets, outdoor libraries, playgrounds, exhibits, and workshops - all based on the intangible heritage that is shared by the two communities. By making them temporary they begin to suggest a future use of the streetscape and inspire new permanent ideas that could be implemented as a solution to the division is developed. REINTEGRATION OF LOST SPACES IN THE DIVIDED CITY OF NICOSIA

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RAHMATOULIN

AYIOS ANDREAS / TOPHANE CHECKPOINT

(Former British Club, Ledra Palace Hotel)

(Old Cyprus Museum, Pahos Gate Police Station, Spitfire Cafe)

LEDRA ST. CHECKPOINT

TRIKOUPI CHECKPOINT

(Park, Workshops, Olympus Building)

While the activation of the buffer zone through installations will help to generate ideas for future use, a second layer of permanent interventions is suggested in the same activation nodes that sees the rehabilitation and adaptive reuse of cultural heritage sites that could become permanent hubs for collaboration between the two communities. The second phase of the project looks more closely at one of these sites in the Ayios Andreas/Tophane quarter, where a former barracks and police headquarters resting above 216

LEDRA PALACE CHECKPOINT

one of the city gates is transformed into a bi-communal space that fosters cooperation and interaction through a digital heritage and the culinary arts. The space will be an opportunity to forge new memories and take a step back from the dark past embedded in the city, dealing head-on with a prominent war bunker that dominates the site. The hope for this project is that the ideas presented here will be shared with the local municipality and help promote the reuse of existing buildings that

ISSUE XVI

AYIOS KASSIANOS / KAFESLI CHECKPOINT (Axiothea)

CHRYSALINIOTISSA CHECKPOINT (School of Ayios Kassianos, Flatro Bastion)

Buffer Zone Streets Possible Sites for Interventions Cultural Landmarks

have the potential to become something really special for the inhabitants of the city. At the end of the day, it is up to the people of Cyprus to determine their islandâ&#x20AC;&#x2122;s fate. This project believes that the best way to do so is to move forward despite the division and use design to help form connections between people, helping them see past preconceptions and prejudice.

REINTEGRATION OF LOST SPACES IN THE DIVIDED CITY OF NICOSIA

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Ahart, Blake Aguilera, Italia Almendares, Stephanie Alter, Kevin Amen, Ian Maxwell Anderson, Robbie Aronson, Dan Astronoto, Vanessa Behroozi, Autusa Bell-Eden, Nai'lah Bennette, Cole Benton, Alexis Bostic, Gable Brown, Hailey Bunke, Meg Burns, David Cai, Yu Angela Carrillo, Francisco Resendiz Casalini, Giovanni Castine, Jacob Chandler, Riley Chen, Nathan Cheong-Cano, Leesa Dasuta, Jacob Ellwood, Arlene Freeman, Victoria Gagle, Alex Garden, Andy Gasparre, Molly George, Hannah K. Gomez, Elray Ha, Quan Hansen, Maggie Huang, Danlin Huh, Buyoung Jones, Zeke Joyce, Eric Kanter, Catherine Kartachak, Adrianne Kligerman, Katherine Krimizi, Sofia Kyriakou, Kyriakos Lawry, Brandon Licciardi, Ysabella Lopp, Christian Luo, Tingyuan 220

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Lucas, Amaya Manrique, Andres Marek, Harrison Martinelli, Julia Matias, Aldryn John Mazzocca, Piergianna McClung, Omar D. Mickelsen, Amelia Miller, Adam Nguyen, Kellie Noaks, Alexander Otero, Diego Zubizarreta Page, Lena Park, Semin Rahmatoulin, Michael Ramakrishnan, Uttara Richardson, Davis Rider, Megan Rutt, MaKayla Schuetz, Tyler Sexton, Trent Shepard, Grayson Simenhoff, Savannah Song, Yi Sufuev, Vasily Taubenkimel, Shelby Till, Patrick Townley, Claire Tunks, Trent Uckok, Inci Uhlmann, Alex Vasudevan, Malati Vice, Nicole Vigil, Camille Wang, Wilfried Webb, Chris Why Loh, Mabel Sheu Wilkinson, Alexandra Williams, Hannah Wyatt, Leah Xu, Zichao Yendler, Ariella

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Acknowledgments â &#x2018; We would like to extend a sincere thank you to the faculty members who generously contributed funds from their endowments toward the publication of ISSUE XVI. Without them, this book would not have been possible. Donors â &#x2018; Dean Michelle Addington Dean Almy Kevin Alter Mirka Benes Elizabeth Danze Matt Fajkus Francisco Gomes David Heymann Sarah Lopez Igor Siddiqui Lawrence Speck Nichole Wiedemann Professional Residency Program

About the Cover ⁑ In 2019—20, ISSUE recognized conflicting number systems between the year and edition. We highlighted this conflict, making this year's ISSUE both 16 and 19, preferring neither. About the Type ⁑ This book is set in three distinct typefaces. Aperçu, designed by Colophon Foundry, intends to create a synopsis or amalgamation of classic realist typefaces: Johnston, Gill Sans, Neuzeit & Franklin Gothic. Becoming, a sum of parts, building upon its initial reference points to create an extensive and usable family. Samzara, designed by La Bolde Vita, experiments with mixed elements and principles of various type classifications. Final letters are based on a classic Slab Serif design, translating overall shapes and thick bracketed serifs into a digital Antiqua language. Saol, designed by Schick Toikka, is designed for creating detailed typographic hierarchies, from striking headlines to pleasantly readable body copy. It lends itself to be used in magazines and other publications seeking a lavish flair, or a voice that is confidently enigmatic. About the Printing ⁑ Printing of this book completed by Capital Printing, based in Austin, Texas—an FSC-certified printer.

ISSUE is the annual student-produced publication featuring graduate and undergraduate work from the University of Texas at Austin School of Architecture