Vera Baranova Portfolio 2011 by Vera Baranova

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+TABLE_OF_CONTENTS_projects INSTITUTION

I LEVEL I CRITIC

+boston_new_center_for_music_dance_and_drama GSD

I Core III I Danielle Etzler

+the_modern_stoa GSD

I Core III I George Legendre

+boston_library GSD

I Core II I Michael Meredith

+dihedral_cavern GSD

I Core II I Michael Meredith

+ant_farm GSD

I Core II I Michael Meredith

+the_lock GSD

I Core I I Yael Erel

+hidden_room GSD

I Core I I Yael Erel

+lodged_house GSD

I Core I I Yael Erel

+the_elevator_insertion GSD

I Core I I Yael Erel

+ballast_cleaning_facility_+_sports_complex TCAUP

I UG3 I Steven Mankouche

+detroit_transportation_hub TCAUP

I UG2 I Nondita Correa

+meditation_pavilion TCAUP

I UG1 I Stuart Hicks

+project_runway TCAUP

I UG1 I Stuart Hicks

boston_new_center_for_music_dance_and_drama GSD

I Core III I Danielle Etzler

In addressing the program of performing arts center, I have imagined this institution being a monumental structure representing Bostonâ&#x20AC;&#x2122;s culture through the buildingâ&#x20AC;&#x2122;s program of art and education. Given the complex program, one of the initial studies was a section that cuts through main programs of the building. The ephemeral effect that I was looking for in each of the gathering spaces is represented in a collage technique to the left.

DANCE STUDIO

CLASSROOM

DANCE STUDIO

CLASSROOM

HARBOR WALK/OUTDOOR LOBBY LOBBY

LOBBY

ADMIN

LOBBY

STUDIO THEATER

SCENE SHOP

ADMIN

LOADING INSTRUMENT STORAGE

STORAGE

CONCERT HALL

THEATER

ORCHESTRA PIT/ BACKSTAGE

BACKSTAGE

HARBOR WALK/OUTDOOR LOBBY

LOBBY OUTDOOR THEATER

DRESSING ROOMS ENTRANCE COSTUME

BACKSTAGE

THEATER

BACKSTAGE

EQUIPMENT STORAGE

C 4. 3.

12.

11.

B 11.

14.

2. 11. 15.

A 13.

C 9. 10.

B LOWER LEVEL PLAN

-1

1. BACK OF HOUSE 2. COSTUME 3. STORAGE 4. MECHANICAL 5. EQUIPMENT STORAGE

8. 7.

Mediating the two juxtapositions of monumentality and the community on such a residential and quiet site, which is located on the northernmost tip of the North End in Boston, I have chosen to locate the building on the eastern side of the plot, placing it closer to the larger scale functions such as an office building and the parking structure, while opening up the site on the western end. That side of the site is already suggesting openness with the existing baseball fields and a recreation center as well as a park going uphill across the street.

FIRST LEVEL PLAN

1. LOBBY 2. CONCERT HALL 3. THEATER 4. BOX OFFICE 5. COAT CHECK 6. SCENE SHOP 7. DRESSING ROOMS 8.GREEN ROOM 9. STUDIO THEATER 10. ORCHESTRA REHEARSAL HALL 11. DANCE STUDIO 12. ADMINISTRATION 13. INSTRUMENT STORAGE 14. CAFE 15. CAFE KITCHEN

1. B

7. 9.

2. 10.

5. 12.

3. 6.

3. A

11.

B 8. 7.

1. LOBBY 2. CONCERT HALL 3. THEATER 4. RESTAURANT 5. KITCHEN 6. CLASSROOM 7. REHEARSAL ROOMS 8.GREEN ROOM 9. WARDROBE 10. CONCESSION 11. SERVICES 12. OFFICES

SECOND LEVEL PLAN

B THIRD LEVEL PLAN

1. BACK OF HOUSE 2. RECORDING ROOMS 3. STORAGE 4. CONTROL ROOM 5. TECHNICAL ROOM 6. CLASSROOM 7. CONFERENCE ROOM 8.SERVICES 9. OFFICE

BOSTON’S NEW CENTER FOR MUSIC, DANCE AND DRAMA

TRANSVERSE SITE SECTION

There are three types of users on the site: the performance guests, the neighborhood and the community residents, and the harbor walkers. The main organizational element on the site is the plaza that acts as an anchor gathering spot for three users: the guests of the performance, the neighborhood and the harbor walkers. There exists an outdoor performance space on the waterfront side of the plaza where the seating zones are placed to either side of the stage, bringing different types of users from either side, whether it is the performance arts center or the park and the community, thus creating a life stand in a way. The approach in building organization was thought of as a wrapper that contains functions that donâ&#x20AC;&#x2122;t require lighting such as theater functions with its back of house and the concert hall with its back of house. The opaque wrapper is banded with a glazed wrapper within which circulation and lobby is placed as well as spaces such as classrooms and offices that require daylighting. The wrapper in itself is a structural system made of layered diagrid structure that during the night provides a glowing effect because of its translucency, as you can see in the nighttime rendering. There is a glazed operable portion on the interior level that provides ventilation while the other layers provide for shading especially on the southern side. As the performance guests approach the site from north station during a daytime performance, they enter the plaza that opens up the view to the water. The sidewalk bifurcates between the road that leads toward the heart of North End and to the plaza in front of the performance arts center. That plaza contains the outdoor performance space. The entry from the plaza takes place on a monumental level similar to other civic buildings of its kind. During the nighttime, the plaza will be less used due to the fact that the site is located in a neighborhood setting with apartment buildings across the street. That is why the second entrance for the nighttime performers is located at the point when the wrapper turns from the outside to the inside, which is where the diagrid system meets with the glazed band.

LONGITUDINAL SECTION BB

LONGITUDINAL SECTION AA

Oneâ&#x20AC;&#x2122;s experience of a building as a wrapper is strengthened afterward they have been introduced to it on the exterior and in the lobby. Much of the building is a wrapper, the circulation occurs in another type of a band, and in the culminating point of the experience, the performance spaces are also articulated through surface to create the surface effect of the same kind. It is a surface isolated within a larger structural object. The theaters are nested within the larger diagrid surface. In both renderings of the performance spaces as well as in the model of the concert hall, you can see the surface treatment of the walls through varied pleated wrapping that provides necessary acoustic properties for either space. ELEVATION

TRANSVERSE SECTION DD

TRANSVERSE SECTION CC

the_modern_stoa GSD

I Core III I George Legendre

The modern stoa is an algorithmic transformation of a system that is thought of as a new type of public assembly space, a modern agora for the neighborhood of Fu탑ine. In search for a life stage, a simplified box that resembles a stage was mathematically transformed into a surface accommodating for multiple functions that serve as a means to bring the community together.

The project was conceived of as a surface that would become a canopy, accommodating for multiple functions suited for all types of residents in the area -- children and their parents, teenagers and the elderly. The pavilion serves as a shelter under which the neighborhood can gather during a festival or in search of a shade during warm summer months. It not only acts as a canopy but as a surface that is designed to lift from the ground. And as it does, it invites the younger generation in the area to climb on top of it to watch sporting events on the nearby fields. The fold in the canopy that is architecturally emphasized within the simple surface serves as a sitting area for a small group or a couple. Moreover, the surface, at its point of departure off the ground, can serve as a bench. It would be a perfect place for parents to meet their children as they return from a nearby school. The pavilion is constructed with jet cut steel sheets that are notched and locked together into an egg-crate system. All of the members that compose the pavilion are shown below. Each intersection between the members contains connectors to which each of the panels is attached. The panels range in size and are matched to the grid of the construction system. Since the pavilion is climbable, there are railing elements that are welded to the steel sheets at the point of their connection. Because the surface is designed to be climbed on top of, the steepest section of the surface is free of any covering. It serves as a ladder to climb to the portion beyond. The railing system surrounds the perimeter of the surface and the angles used in its design serve as means to either aid in climbing the surface or in simple safety precaution. The column detail is a resemblance of Miesian type of intersection that in plan reads as a cross or half of a cross. The column tapers toward the ground to provide for an effect of an elegant support. The leg rests on a concrete foundation to which it is welded and tied. The columns are supporting the canopy and are arranged in clusters. These clusters allow for the different functions to occur during the festival or on a daily basis throughout the year.

Function I - canopy for gathering of groups (especially for festival functions or summer relaxation) Function II - where the corner of the pavilion meets the ground, the surface can be used as a bench Function III - the distinctive pocket in the surface can be used as a small sitting area for couples or for those in need of meditation - the pavilion provides a moment of solitude when necessary Function IV - the surface can be climbed utilizing the exposed structure on the right hand side of the surface. The top of the pavilion can serve as a viewing slope for the sporting events on the fields beyond. PLAN 1:20

SITE PLAN 1:1000

SECTION 1:20

ROOF LEVEL CIRCULATION

ION

SERVICE

EXPLODED AXONOMETRIC FIGURES SLIDING BETWEEN THE WALLS

boston_library GSD

I Core II I Michael Meredith

This design for a rare books library in downtown Boston is based on a system that swells at various degrees to engulf the program within it. This concept developed into a planometric drawing where the walls organize the building into strips within which the program is contained. Structurally these walls support each other with reinforcements while the figures are suspended between the walls held by the steel tieback system. The reading results in figures placed within walls/strips that organize the building. The figures of the library are spaces for stacks, circulation, cafe, reading rooms, computer rooms, offices, bookshop, a conservation laboratory, and a gallery to display documents as well as scholarly research.

RESEARCH CARRELS

PRINCE STREET ENTRANCE

ROOF GARDEN READING ROOM PLAZA ENTRANCE PUBLIC PLAZA

COMPUTER STATIONS

LOADING DOCK SCANNING/ REPRODUCTION

LOBBY BIKE RACKS

OFFICES

CAFE

RECEPTION

ROOF DECK AUDITORIUM

CONFERENCE CENTER

GALLERY

BOOKSHOP

COMPUTER STATIONS

KITCHEN

CONSERVATION FACILITIES

PARMENTER STREET ENTRANCE

ROOF GARDEN

MECHANICAL SPACE

STACKS

PRINCE STREET ENTRANCE FIRST LEVEL PROGRAM

PUBLIC PLAZA

THIRD LEVEL PROGRAM

SECOND LEVEL PROGRAM

PLAZA ENTRANCE

SCOLAR

ROOF LEVEL PROGRAM

READING ROOM

SCANNING/ REPRODUCTION

BOOKSHOP

PUBLIC

CONFERENCE CENTER

GALLERY

OFFICES

CAFE

RECEPTION

ROOF DECK AUDITORIUM

BIKE RACKS

COMPUTER STATIONS

KITCHEN

CONSERVATION FACILITIES

PARMENTER STREET ENTRANCE

ROOF GARDEN

SERVICE

COMPUTER STATIONS

LOADING DOCK LOBBY

RESEARCH CARRELS

ROOF GARDEN

STACKS

ROOF GARDEN

MECHANICAL SPACE

FIRST LEVEL PROGRAM

SCOLAR PUBLIC

STACKS

ROOF GARDEN

STACKS THIRD LEVEL PROGRAM

SECOND LEVEL PROGRAM

ROOF LEVEL PROGRAM

SERVICE

SCOLAR PUBLIC

FIRST LEVEL CIRCULATION

THIRD LEVEL CIRCULATION

SECOND LEVEL CIRCULATION

Approaching the library from the street, the building faรงade is offset to one side to create a plaza and invite the person into the public space, which extends through and around the building. The offset is generated by an imaginary figure that represents the plaza, or the exterior space.

The faรงade also has a prominent entry demarcated by a figure to mark it as an entrance. From the back side the auditorium becomes a prominent feature with the view extending to the public park. A sectional cut through the building shows structural walls and figures containing program.

FIRST LEVEL CIRCULATION

SECTION AA

THIRD LEVEL CIRCULATION

SECTION CC

SECTION BB

SERVICE

The section perspective shows the relationship between programmatic spaces on the four levels of the library. The roof contains an outdoor garden. The rendering on the lower right shows the reading room space extending into the computer lab.

SECOND LEVEL CIRCULATION

SECTION BB

SECTION AA

ROOF LEVEL CIRCULATION

SCOLAR PUBLIC

ROOF LEVEL CIRCULATION

SERVICE

EXPLODED AXONOMETRIC FIGURES SLIDING BETWEEN THE WALLS

SECTION CC

EXPLODED AXONOMETRIC FIGURES SLIDING BETWEEN THE WALLS

SECOND LEVEL PLAN SCALE: 1’-0” = 3/32”

N FIRST LEVEL PLAN SCALE: 1’-0” = 3/32”

THIRD LEVEL PLAN SCALE: 1’-0” = 3/32”

N ROOF PLAN SCALE: 1’-0” = 3/32”

5.77in 59

55-58 120

120

12in 54

49-51

44-45 46

47 48 42-43 35 39-41

38 17

32-33

34 27 26

20-22

28-30

13-16

5 1

12 11

system 2

system 1

dihedral_cavern GSD

system 3

1.1

2.1

1.2

2.2

1.3

2.3

system 4

system 5

3.1

4.1

system 6

5.1

system 7

5.2

2-4

system 9

system 8

7.1

6.1

10 8-9

system 10

8.1

9.1

8.2

9.2

9.3

I Core II I Michael Meredith 2.4

aggregation 1

aggregation 3

aggregation 2

aggregation 5

aggregation 4

Typically we think of the systemic organization as weightless networks, non-figural fields constructed from parts which form a diffuse whole. -Michael Meredith This project deals with a systemic aggregation technique to produce a figure related to its own construction based on a set of connections between modular units. The aggregate system focuses upon ideas of performance on a structural and spatial level. The resulting load bearing structure is an enclosed room for two people with a definable interior and two seats composed out of the modules. The module was cast out of Rockite to think about the physicality of the unit, its weight, shape and surface qualities.

buttressing

apertures

roof

bench

10.1

CARRELS

ANT FARM

STAIR MASS IN BOOKSHELF GRID STAIR MASS CARRELS

VERA BARANOVA

FLOOR SURFACES WITH TABLES

STAIR MASS FACADE FROM SOUTHWEST

ACCESSIBLE SHELVES CARREL ORGANIZATION WITH COMPRESSED STAIRS WITHIN THE BOOKSHELF GRIDSTAIR MASS

STAIR MASS + CARRELS

FLOOR SURFACES WITH TABLES CARRELS

BOOKSHELF GRID + STAIR MASS + CARRELS

BOOKSHELF GRID

SECTION DD scale: 1” = 2’ SOUTH FACADE 1 1

1 2

2 4

ACCESSIBLE SHELVES STAIR MASS IN BOOKSHELF GRID

CARREL ORGANIZATION WITH COMPRESSED STAIRS 1

1 1

2 3

STAIR MASS + CARRELS 1 CARRELS

2 4

CARREL ORGANIZATION LINKED BY A STAIR

CARRELS STAIR MASS 1

1 1

1 2

2 4

BOOKSHELVES

SOUTH FACADE CARRELS 1 1

STAIR MASS IN BOOKSHELF GRID CARREL ORGANIZATION WITH COMPRESSED STAIRS WITHIN THE BOOKSHELF GRID

I Core II I Michael Meredith

CARRELS

ACCESSIBLE BOOKSHELVES

SECTION EE scale: 1” = 2’

2 4

CARRELS FOR 4 POPULATIONS

11 CARRELS BOOKSHELF GRID + STAIR MASS + CARRELS

HIGHER: - POPULATION LOWER: + POPULATION 2

STAIR MASS GRID BOOKSHELF

ant_farm

GSD

SOUTH FACADE PORTION

ORGANIZATION CARRELCARREL ORGANIZATION WITH COMPRESSED WITH COMPRESSED STAIRSSTAIRS WITHIN THE BOOKSHELF GRID 1

1 1

1 2

2 4

CARREL ORGANIZATION LINKED BY A STAIR

BOOKSHELF GRID + STAIR MASS + CARRELS

BOOKSHELF GRID 1

The goal was to design an integrated system of modules operating at different proportional scales. The modules were to be part of the facade system, book stacks and reading carrels. The modular wall system is made from a grid of metal book shelves eighteen feet wide. The stacks are carved with circulation routes which allow access to eleven reading carrels of different sizes. The carving routes were developed from the layout of carrels where the most public carrels are located toward the bottom of the system while the more private ones are located higher up.

1 1

1 2

HIGHER: - POPULATION LOWER: + POPULATION

SHADING SURFACE UNDLATION -BOOKSHELF EXTENSION

2 4

SOUTH FACADE CIRCULATION

CARREL ORGANIZATION WITH COMPRESSED STAIRS

1 1

2 4

BOOKSHELVES 1

1 2 3

2 4

CARREL ORGANIZATION 11 CARRELS LINKED BY A STAIR 1

1 2

BOOKSHELVES

1 1

1 2

CARRELS FOR 4 POPULATIONS

1 2

ACCESSIBLE BOOKSHELVES

SECTION FF scale: 1” = 2’

Within the grid of bookshelves, only certain ones are accessible based on the circulation routes. The overall effect that is created from this design is that of a cloud like play between transparent and opaque. The pedagogical goals were to use a material system to produce a method of repetition and allow for variation and scalar shifts. The material system was designed to be structural, perform acoustically and allow for lighting.

the_lock GSD

I Core I I Yael Erel

In this project viewing relationships intertwine to establish a theater of the absurd utilizing the hinging movement that the building engages in to allow for the passage of the boat through the lock. One part of the building is an auditorium, while the stage is located across the canal. Those crossing the canal become part of the performance, acting as backstage. The boaters are also engaged in the performance as well as being able to see the show. The form of the building was established from a shifting square. The entire building evolves seamlessly from one form of movement to another. Only the pedestrian bridge across the canal physically moves between two positions. The open and close positions meet up with the stationary parts of the building on either side depending on whether the pedestrians can cross or have to wait.

SITE PLAN - OPEN

SITE PLAN - CLOSED

FIRST LEVEL PLAN

SECOND LEVEL PLAN

THIRD LEVEL PLAN

backstage

upper level gallery

lobby

upper level gallery

lobby

upper level gallery

lobby auditorium access stair

restrooms

backstage

stage entrance

upper level gallery lobby

lower level gallery

backstage

stage entrance

restrooms

upper level gallery

upper level gallery returns to ground level

lobby

upper level gallery

lobby

stage

auditorium

auditorium access stair lower level gallery

stage

upper level gallery

lobby

lower level gallery

upper level gallery

lobby

upper level gallery

entrance

upper level gallery

lobby

auditorium

stage

lower level gallery

lobby

lower level gallery

stage

lower level gallery

upper level gallery

lobby

backstage

lobby

auditorium stage

lower level gallery

upper level gallery

lobby auditorium access stair lower level gallery

lower level gallery

stage

upper level gallery

stage entrance

lower level gallery

upper level gallery

auditorium stage

backstage

auditorium stage

lobby

auditorium lower level gallery

entrance

stage

lower level gallery

viewing aperture

lobby

lower level gallery

entering lower level gallery

hidden_room GSD

I Core I I Yael Erel

This project involves designing a group of five rooms, one of which seems to be hidden from the other four. The program requires providing a means of access to the hidden room while controlling the degree to which the room becomes vulnerable to disclosure. On one hand, the hypothesis of concealment requires consideration of the relationship between the visual, experiential and conceptual bases of architecture. On the other hand, it elicits the interpretation of a specific idea and the processes by which it is given three-dimensional form and represented in architectural drawings, namely the plan.

Hidden Room:

The hidden room is created when three systems are overlapped. The system overlaps to create an anomaly in the whole. The hidden room is not directly accessible from the fourth room floor. It only becomes accessible from the active circulation route. Only the exterior balcony is seen from fourth room. The wall from the enclosure system blocks the hidden room and gives it an appearance of the exterior wall.

14 12

4 15 11

I am planning on treating any wall that is not enclosed by a wall from the system as fenestration.

10 6 9

6 7

8 2

System 1:

System 2:

System 3:

Path along which the ramps for the rooms form

Two paths mediating two other systems (System 1 and System 3). This system creates the enclosure for the whole building - walls and ceilings. Each side of the surface can only connect to the other surface once. The top and bottom are connected between two paths. The condition of hidden room becomes an anomaly due to the connections in that location.

Circulation that follows the ramp path of four rooms, becoming the path along which all of the rooms are accessible to each other.

3 exterior 5

Diagrammatic roof plan showing the overall diagram of the building in plan. Dashed lines in the hidden room are the wall surfaces around the room.

System 1:

System 2:

System 3:

Ramping Floors - Passive Circulation

Enclosure

Active Circulation

There are three systems through the interlinking of which the hidden room is derived. Using an art gallery as a hypothetical programmatic condition, the first system is the passive circulation route through the galleries. A set grid generates the modules within which the passive circulation is established. A set of rules were established to create a sloping circulation path that derived four ramped surfaces defining four galleries. The landings between ramps aid in the definition of four rooms. The second system is the active circulation route placed on the inside boundary of the gallery path. This active circulation route is the one that also connects all rooms to one another. The third system is the wall surface derived using a separate set of rules. The path of the passive circulation, placed at the ceiling level for the galleries is connected with the active circulation paths to create a wall that separates two circulations. Without the third system, the hidden room would not exist. Within a given paradigm for a gallery, the hidden room would take upon the role of a storage space for the art. Appearing to be related to the idea of the Klein bottle, a simple volume with a central void has been cleaved into two parts to allow passage to an interior void that is an â&#x20AC;&#x153;invertedâ&#x20AC;? extension of the exterior.

GALLERY 3 HIDDEN ROOM

GALLERY 2

GALLERY 4 g

GALLERY 1 ENTRANCE NO NEED FOR STEPS ANYMORE, I HAVE CHANGED THE SCALE BACK TO GRID BASED ON A 12 X 12 FT SQARE AS A UNIT. THE ENTIRE MODEL IS MADE OUT OF SIXTEEN OF THOSE SQUARES.

lodged_house GSD

I Core I I Yael Erel

The site for a residence is a narrow site of seven feet wide located between two existing buildings in Cambridge. The approach for the project is sectional, where one strip of structure organizes all of the zones necessary for a house. The structure is designed in a way that allows the entire structure to fold down and be transported to another location. The hinges between the joints thus also allow the house to be unfolded in multiple ways to suit different gathering situations. The door acts as a shelf that transforms into a stair when open. The stair, that allows one to move through the house as well as relax upon, can unfold onto the street to transform into a walkway to allow guests in. The window that allows views onto the backyard also unfolds to create a glass terrace, allowing for additional dining or contemplation space. The structure of the bathroom sink upstairs meets with the kitchen sink on the lower level to create space for plumbing pipes.

unfoldable exterior terrace

washing

courtyard

cooking

sleeping

dining

working

living

living space below

entry below

exterior rooftop terrace

VESTIBULE

DIRECT

LEVEL FIVE

LEVEL FIVE A

THRESHOLD TYPES

LEVEL FOUR SECTION A

LEVEL FOUR

SECTION B

OVERLAPPED VERTICAL CIRCULATION C

LEVEL THREE

LEVEL THREE A

ELEVATOR

DOOR

ROOM

TWIST INDIRECT

STAIR/LANDING

LEVEL FIVE

LEVEL FOUR

LEVEL THREE

LEVEL TWO

NEW THRESHOLDS OVERLAPPED

the_elevator_insertion

(NO VESTIBULE)

GSD

LEVEL ONE

I Core I I Yael Erel

LEVEL ONE

The hierarchies within the building are subdivided by levels of thresholds. The building is divided in two halves along the axis running down the central path coming off the street. How does one go through the building given a certain narrative? What role does the stair play versus the role of the elevator?

EXISTING THRESHOLDS OVERLAPPED

LOWER LEVEL

LEVEL TWO

LEVEL TWO A

INDIRECT STAIR PROJECTION

D SECTION C

INDIRECT STAIR PATH UNFOLDED C

LEVEL ONE

LEVEL ONE A

DIRECT STAIR PATH UNFOLDED

SCALE 3/32” = 1’- 0”

ELEVATOR PATH UNFOLDED SECTION D

LOWER LEVEL

LOWER LEVEL A

THRESHOLDS EXISTING

THRESHOLDS WITH INTERVENTION

DIRECT STAIR PROJECTION

DIRECT/INDIRECT/ELEVATOR CIRCULATION

JOINTS WITHIN THE BUILDING

The main axis that runs through the building is the continuation of the street. One enters in the incision like manner until they reach the heart of the building on the second level. Elevator is the continuation of the street. The elevator is like an artery that takes you up to the main programmatic space on each level. The stairs slow down the speed of ascension. The intervention establishes the two dichotomies within the building â&#x20AC;&#x201C; one direct and one indirect given the levels of thresholds that have been established. The thresholds are the vestibule, the stair/landing, the elevator, the door, the room, and the twist. The elevator is another means of clarifying the circulation in addition to the two stairs existing. There is a range that defines the clarity of each threshold, which have been mapped in the existing and the new schemes. The spaces are joined and linked together in an open direct manner, infused with clarity that was absent before. The stair has also been unraveled to reduce the complexity of the twist of the stair. The left side of the building maintains its original state upon which the levels of thresholds have been established.

ballast_cleaning_facility_+_sports_complex TCAUP

material section -- 1/8th scale

I UG3 I Steven Mankouche

The site of a waning power plant has been transformed into multiprogrammed ballast water cleaning research facility and a water leisure center. A ship is a very important feature to the city of Sault Ste. Marie. It is a defining element of the town. The Soo Locks, being such a prevalent threshold between the Great Lakes and the rest of world carries a significant amount of cargo each day. There rises a problem of the foreign species introduction into the Great Lakes, thus endangering the ecosystem of the surrounding region. The empty lot located next to an old Union Carbide and today an Edison Power Plant is a perfect site for the park that can house several pools for dumping ballast water from the ships, water that has been collected overseas for balanced floating upon travel. The slot that exists on the eastern part of the site is perfect for the barge to fit in upon the ballast discharge. The site is also a perfect location for ballast cleansing, since it is located before the entrance into Lake Superior through the Soo Locks.

longitudinal section -- 1/16th scale

reading room

sitting room

conference room reception laboratory A

athletic pools offices

sample library library

A bathrooms storage

kitchen

third floor -- 1:32nd scale B

reception/ rentals

sitting area/cafe

bathrooms pool

pool

power plant

A bathrooms

steam room

restaurant

sauna changing rooms

hatchery

Ballast cleaning is a developing practice. The main chemical used for killing small bacteria usually found in the ballast water is ozone solution called hydroxyl radical. Only two cubic feet of hydroxyl radical would be necessary to kill the bacteria found in an average cargo ship ballast. C

second floor -- 1:32nd scale

The site houses a park where the ballast pools are located. When the pools are not in use in the dry weather conditions, they are used for skateboarding. In the wintertime, the grounds are used for snow dumping (for snow accumulated from roads cleaning during the winter storms: Sault Ste. Marie has the highest snowfall rate in the Midwest). The snow can be pushed around, where snow mountains would be formed to create a snow playground. The half pipe can be used as a snowboarding half pipe. In the spring, the snow melts and drains through the landscape on the northern part of the site. Because one of the main goals of the site design was to adjust to the seasons throughout the year, part of the parking lot transforms into an ice rink during the winter. The bike paths transform into the snowmobile paths to accommodate the Snowmobile 500 race that takes place every winter in the city of Sault Ste. Marie. C

reception

baths

showers

ice

cars

entrance

generators

ships

bathrooms

sitting area

entrance

hatchery

to beach

The building itself is transformed in parts, or literally in halves. The generators remain in the western half of the building to produce power for the town. The power plant is managed on the second floor. The third floor is occupied by the dry research laboratories working in adjunct with the ballast cleaning facility on maintaining a healthy first floor -- 1:32nd scale natural environment in the Great Lakes region. The eastern half of the building is separated into a community center. There are private baths located on the ground floor, open to the canal and facing the beach. In the wintertime, they are heated to continue servicing the community. On the second floor, there are a number of pools and a social area for families to gather to spend time with friends. On the top floor there are six swimming lanes 400 meters long. C

bikes

snowmobiles

people

winter

summer

parking

snowmobile parking

beach ozone lab ballast pool

ozone lab water drainage

snow mountains

parking skate park

snowboarding half pipe ice rink

benches

benches park

park

longitudinal section -- 1:32nd scale

bike path snowmobile path

reading room

sitting room

conference room reception laboratory A

athletic pools offices

sample library library

A bathrooms storage

kitchen

third floor -- 1:32nd scale B

reception/ rentals

sitting area/cafe

bathrooms pool

pool

power plant

A bathrooms

steam room

restaurant

sauna changing rooms

hatchery

second floor -- 1:32nd scale

entrance

generators

reception

baths A

showers

bathrooms A

sitting area

entrance hatchery

to beach

first floor -- 1:32nd scale

addition

existing

generator space

circulation 4 circulation 3 reference

circulation1

deck rental

showers

bath restrooms 7+8

restrooms 5+6

restrooms 1+2

restrooms 3+4

hatchery

program and occupancy - top level

addition

existing

generator space

circulation 2 circulation 3 heating equipment

reference

circulation1 rental

showers

restrooms

hatchery

program and occupancy - bottom level

addition

existing

Room circulation1 hatchery 2 circulation circulation 3 circulation 4 hatchery hatchery space generator heating equipment showers rental space restrooms 1+2 restrooms 3+4+5+6+7+8 reference desk area deck baths

Type of Use A-3 A-3 A-3 A-3 B F-2 S-2 A-3 S-2 A-3 A-3 B A-3 A-3

Occupancy assembly [standing space] power plant - [standing excluded from projectspace] assembly assembly [standing space] assembly [standing space] industrial area accessory storage areas, mechanical equipment room accessory storage areas, mechanical equipment room locker rooms accessory storage areas, mechanicalequipment room assembly [standing space] assembly [standing space] assembly [unconcentrated] skating rinks, swimming pools [decks] skating rinks, swimming pools [pool]

Floor area [sq. ft.] 2661.7946 pool 1 33642.2187 2670.1795 37529.9530 5652.6562 59889.1041 49581.3608 1931.1030 394.7608 513.0834 x 2 527.3782 x 6 147.4105 211.4044 x 25 365.2986 x 25

deck Designrestrooms occupant load [people] 532 pool 3 6728 steam room 534 7505 56 199 165 38 1 102 x 2 = 204 105 x 6 = 630 9 14 x 25 = 350 7 132 x 25 =132175

restrooms

pool 2

sauna

kitchen

deck

restaurant

rentals

sitting area pool 4

circulation

locker rooms

program and occupancy

1538

708 71

274

power plant - excluded from project

158

127

150

1329

S-2 30 30

design occupant load

Room circulation hatchery restrooms 1+2 deck pool 1 pool 2 pool 3 pool 4 sitting area sauna steam room kitchen restaurant locker rooms rental space

Type of Use A-3 B A-3 A-3 A-3 A-3 A-3 A-3 A-3 A-3 A-3 B A-2 S-2 S-2

Occupancy assembly [standing space] industrial area assembly [standing space] skating rinks, swimming pools [decks] skating rinks, swimming pools [pool] skating rinks, swimming pools [pool] skating rinks, swimming pools [pool] skating rinks, swimming pools [pool] assembly without fixed seats [unconcentrated] locker rooms locker rooms kitchens, commercial assembly without fixed seats [unconcentrated] locker rooms accessory storage areas, mechanical equipment room

Floor area [sq. ft.] 6646.0745 7178.9157 1323.4711 23070.8388 13715.7606 1027.5450 7923.8063 7503.3995 10626.4322 834.3750 1092.5000 760.6456 1917.3392 3090.1950 1047.4038

Design occupant load [people] 1329 71 132 x 2 = 264 1538 274 20 158 150 708 16 21 3 127 61 3

existing

reading area 1

addition

reading room

reference desk

restroom 1

reading area 2 locker room

circulation 2

sample library

office

pool 1

conference room

laboratory 2

deck

pool 2

laboratory 1

restroom 2

library

restroom 3

restroom 4 storage1+2

circulation 1

program and occupancy

10 6 6 6 6

164 5072

262

196

1070

24 65

9 112

22 56

135

128

164

design occupant load

site plan -- 1:64th scale

Room circulation1 circulation 2 restroom 1+2 restroom 3+4 reading area 1 reading area 2 reference desk locker room reading room laboratory 1 laboratory 2 sample library library offices conference room storage 1+2 pool 1+2 deck

Types of Use A-3 A-3 A-3 A-3 A-3 A-3 B S-2 AB B B A-3 B B S-2 A-3 A-3

Occupancy assembly [standing space] assembly [standing space] assembly [standing space] assembly [standing space] library [reading rooms] assembly without fixed seats [unconcentrated] assembly without fixed seats [unconcentrated] locker rooms library [reading rooms] industrial areas industrial areas library [stack area] library [stack area] business areas business areas accessory storage areas, mechanical equipment room skating rinks, swimming pools [pool] skating rinks, swimming pools [decks]

Floor area [sq. ft.] 325.1983 25364.8393 273.6915 + 283.3633 675.8422 + 641.1289 13145.3797 150.5209 + 94.5505 x 4 209.1683 546.8160 3084.8767 2401.7580 1776.9582 2210.1042 1167.3785 325.1983 x 14 2242.3758 311.3199 x 2 9840.0000 x 2 16058.6725 + 143.9047 x 2 + 2468.0986 x 2

Design occupant load [people] 65 5072 54+56 = 110 135+128 = 263 262 10 + 6 x 4 = 34 13 10 61 24 17 22 11 3 x 14 = 42 112 1 x 2 = 2 196 x 2 = 392 1070 + 9 x 2 + 164 x 2 = 1416

material section -- 1/8th scale

Concrete Block Columns (The Architect’s Studio Companion)

10’-0”

42’

added eagress stairwell, the floor slab was partially cut, the columns are added for support down

elevator opening

13’-4”

9’-0”

existing elevator 265’

51’

96’

49’

43’

Steel Columns, wide flange (10" x 12") site cast floor slab, resting on the irregular column grid steel square columns (6” x 6”) supporting the second floor addition; 25’ tall column for the tributary area of 200 sq. ft.

added stairwell 41’

51’

11’-0”

added stairwell

30’

existing elevator

added stairwell

607’

80’-4”

Occupancy Load Swimming Areas Restaurant Laboratories

10’-6”

existing elevator

462’

49’

added stairwell

8’-0”

30’

maximum unsupported length of the wall should be under 1000’ for a 24” thick wall

30’

9’-0”

19.5’

156’

existing elevator 35’

146’

added stairwell

existing elevator 158’

30’

See Drawing 04.02 for Detail 2

6’-0”

19.5’

38’

added stairwell

5’-0”

open

100’

65’

17’

the arrows are showing the direction of the slab

4’-4”

down

added stairwell

48’

16’

14’-0”

7’-0”

30’

existing elevator

24’-1” These columns have been thickened to 32” wide

10’-0”

20’

14’-7”

9’-10”

9’-0”

11’-6” 10’-3”

67’-0”

added stairwell

existing elevator

solid column strip

25’ high reinforced columns are ~16-18’ wide (nominal square column size)

Student: Vera Baranova Unique Name: verabar Original Date: 01.24.08 Date Revised: 01.29.08 LAB Instructor: Nicole Eisenmann

sitecast concrete frame - slab and columns

10’-0”

centerlines of columns (rotated 90 degree grid)

Fitting Structural System

The Architect’s Studio Companion by Edward Allen

Medium Load: 60psf-100psf Medium Load: 80psf-100psf Light Load: 40psf-60psf

Masonry (primarity existing - mill construction) Steel (light gauge steel framing) and Precast Concrete (solid slab) Masonry (existing - mill construction)

Maximum Height of Unbraced Masonry Wall: 40’ for a 24” thick wall Total Loaded With for a Masonry Wall: 620’-1000’ for a 24” thick wall Depth of Concrete Floor Slab: 18” slab in the existing building

See Drawing 04.02 for Detail 1

Total span between masonry walls: 80’ Span between bays: 20’ Depth Required by IBC [sitecast concrete one-way joists] for a 20’ span is 16” Actual Depth in the Building for a 20’ span is 18” (which is continuous in the short direction of the building, but it is still supported by the steel columns at the bays)

7’-6”

18’-3”

9’-11”

stone masonry (from the river bed), 24” thick wall

15’-3”

70’-0”

the one-way joists rest on two steel i-beams that span the entire lenth of the building (most likely joined at 60’, since 36” deep i-beam can span a maximum of 60’)

6’-7”

23’-10”

8’-7” 48’-7”

added stairwell

existing elevator

VAV control box

existing elevator

DETAIL 2

18’-3” 18’-0”

added stairwell

58’-9”

56’-9”

109’-0”

sitecast concrete one-way joists (24” pan widths, 6 inch wide for each joist

existing building, one way concrete floor slab

9’-7”

added stairwell

existing elevator

7’-6”

DETAIL 1

Structure - Framing Plan Second Floor - Details/ Scale: See Drawing

21’-3”

20’

down

see section on Sheet 06.03. added stairwell existing elevator diffusers

branch ducts

6 5

4 6 3

3 added stairwell

added stairwell 3. vertical shafts are connected to the fan rooms, chillers and boilers

added stairwell

existing elevator

added stairwell

5 6

LEGEND:

down 45’-4”

1. 2. 3. 4. 5. 6.

boiler and chiller rooms fan rooms vertical shaft VAV box diffusers exhaust air louvers

04.02

detroit_transportation_hub TCAUP

I UG2 I Nondita Correa

To create a more sustainable mode of transportation for commuters between Detroit and Ann Arbor, this project focuses on a design for a train station in downtown Detroit. In order to understand how a train station can benefit the commuters of southeastern Michigan, a study was done on current modes of transportation. In an effort to reduce the use of the all-time favorite Motown mode of transportation, the automobile, research was done on creating a transportation hub where the commuter train system can connect multiple dense neighborhoods of the Detroit and Ann Arbor area, including the Metro Airport. The study was done to understand how many tracks and stops would be needed to make the most efficient commuting system. The existence of the current train tracks was taken into the consideration. Co-authored research: Melissa Sia

The train station that was designed for Detroit included various circulation routes for different means of transport. To further the goal of creating a communal transportation hub, a bus depot and a pedestrian path were added. The train station also includes a market, a post office, a laundromat and commercial space on the lower level in order to ease oneâ&#x20AC;&#x2122;s commute to and from work. The outdoor park along the tracks has been designed not only with the commuters in mind, but also to revitalize the neighborhood.

Plan and Unfolded Elevations

Scale: 1/8`` = 1`- 0``

wood shingles 3/4 `` plywood decking ventilation cavity sealing layer 3/4 `` plywood decking 2 `` thermal insulation vapor barrier 3/4 `` plywood sheathing 2 x 4 `` wood rafters 4 x 48 `` timber beam

2 x 15 `` timber beam 2 x 4 `` timber truss

Plan and Unfolded Elevations

Scale:

2 5

meditation_pavilion TCAUP

I UG1 I Stuart Hicks

4 6

A space of solitude and a space of gathering were to be contained in the form. Particular characteristics of each of the spaces were to determine the arrangement of the spaces and their interaction. A balcony influenced the space of solitude while a reflection pool was interpreted to be a place 4 of gathering, which at the same time can be understood as a generator 6 ft 2 0 of contemplation. Although these two spaces were characterized sepaScale: 1/2`` = 1`- 0`` rately, one of the goals was to find a way to unite the two and to provide Corner Axonometric for an experience that would allow one to see the interconnection of the two different yet alike spaces. The design of the roof plays an important role in the shadow it leaves on the floors of the pavilion. The shadow, reflected in 1 theBelow pool and projected further down creates patterns not only 5 Retaining Wall and Ground Ground Assembly 2 Window Opening Assembly 4 Roof 3 Glass-Covered Ceiling on the floor plates but footing also the surface the The - timber pool, upon - 8 `` concrete retaining wall - 12 x 24 ``concrete with a on key - 2 x 4 `` roughof sill and doublewater. header - timber truss holds up the sawtooth roof joists support the glass surface - gravel covered concrete ramp - 8 `` concrete foundation wall for rough opening - timber beams span the length of the roof for landscaping sloped 4 ``be groundseen slab for waterat run-off - glazing for window - 2 x 4 `` rough openings with rough sill and double header entrance, can --only eye level. One has a choice of either conwaterproofing under the slab - 2 x 4 `` timber studs for windows `` sheathing - 2 x 4 `` rafters tinuing up the -- mudslab stairs or down. A stripe-- Â˝cedar of translucent horizontal windows shingles for siding finish - Âž `` plywood decking gravel - vapor barrier - thermal insulation separates an open space upstairs from an enclosed underground space - ventilation cavity - wood shingles downstairs, where one can experience the patterns created by the roof form and thus contemplate. The circulation within the pavilion provides for the connection between the space of solitude downstairs and the space of gathering upstairs. The final model is the result of the study of the spaces of gathering and solitude, the characteristics of these two spaces, the conflicting relationship the experience of the two spaces, and their The Horyu-ji Pagoda and Golden Hallin in Japan as well as the Swiss Pavilion in Hanover at Expo 2000 by Peter Zumthor served as architecturalwith precedentseach for the woodother structure assembly. interconnection andThethe overall volume. layering of the wood members played a role in the way the roof 1

2 x 4 `` sole plate 1`` oak beams 3/4 `` plywood sheathing 2 x 10 `` joist 2 x 10 `` rim joist double 2x top plate 1/2 `` plywood sheathing wood shingles 2 x 8 `` double header

timber casing trim glazing

structure was assembled. The sawtooth roof of this Water Pavilion was influenced by the Kunsthal gallery ceiling. The diffused light from the vertical members of the roof illuminate the spaces below.

3 5

2 x 4 `` rough sill 2 x 4 `` sill plate 2

waterproofing 8 `` concrete foundation wall

Exploded Axonometric 1 2 3 4 5 6 7

footing foundation windows header and rough sill in a rough opening studs for translucent wall support 1 ` deep glass pool wood truss roof support

premolded filler and sealant at expansion joint 4 `` concrete ground slab 2`` insulation mudslab 12 X 24 `` concrete footing gravel

Building Section 4

Scale: 3/4`` = 1`- 0``

Plan and Unfolded Elevations

Scale: 1/8`` = 1`- 0``

2 5

Corner Axonometric

6 ft

Scale: 1/2`` = 1`- 0``

4 3

Below Ground Assembly - 12 x 24 ``concrete footing with a key - 8 `` concrete foundation wall - sloped 4 `` ground slab for water run-off - waterproofing under the slab - mudslab - gravel

Window Opening Assembly - 2 x 4 `` rough sill and double header for rough opening - glazing for window - 2 x 4 `` timber studs - Â˝ `` sheathing - cedar shingles for siding finish

Glass-Covered Ceiling - timber joists support the glass surface

Roof - timber truss holds up the sawtooth roof - timber beams span the length of the roof - 2 x 4 `` rough openings with rough sill and double header for windows - 2 x 4 `` rafters - Âž `` plywood decking - vapor barrier - thermal insulation - ventilation cavity - wood shingles

Retaining Wall and Ground 2

- 8 `` concrete retaining wall - gravel covered concrete ramp for landscaping

project_runway TCAUP

I UG1 I Stuart Hicks

The project encompasses the challenge of designing a building to house the production of the nationally televised cable program Project Runway. The building is to serve the city in two ways: the city is to be featured in the filming of the show as well as to be a public amenity and an icon to the fashion industry within the city of Ann Arbor.The function of an existing alley adjacent to the site is to be preserved. The relationship between the observing and the observed is established using the accordion folding technique to mediate views and to show relationships within the city and the site. The siteâ&#x20AC;&#x2122;s relationship to the surrounding clothing stores in the area played a role in the establishment of its connection to Liberty Street, where a lot of Ann Arborâ&#x20AC;&#x2122;s clothing stores are located.

+TABLE_OF_CONTENTS_research INSTITUTION

I LEVEL I CRITIC

+aerotropotitan_you_a_misconception? TCAUP

I UG4 I Dawn Gilpin

+portage_architecture TCAUP

I UG3 I Steven Mankouche

+surveying_the_green_in_zurich TCAUP

I “Seeing Switzerland” Program I Julie Larsen + Roger Hubeli

+volume_deformations TCAUP

I UG2 I Karl Daubmann

+field_deformations TCAUP

I UG2 I Karl Daubmann

I have been investigating how the aerotropolis urban typology would affect the development of four cities that in the near future [i.e. 50 years] will fall under the aerotropolis model. The four cities I have been studying are Bangkok, Thailand, Amsterdam, Netherlands, Belo Horizonte, Brazil, and Detroit, Michigan. Each one has social, cultural and economic forces acting on the development and growth of the urban form as well as the smaller architectural elements within that large network. My interests lie at the roots of finding a means to incorporate the significance of the sense of the place and its location within the globalizing world. This globalizing world that I am speaking of has been affecting the homogeneity of the urban and architectural form that consequently was produced in that century. The introduction of an airplane at the beginning of the last century had a significant impact on how we perceive the world and how we live in that world. Reading Felicity D. Scott’s Architecture or Techno-Utopia, I realized that only upon seeing the Earth from above (whether it is a satellite or another airborne device), we can understand its vastness. Only then can we see what we have conquered, or it becomes more feasible to conquer it further, and at a faster rate. The technology that brought us that equipment to be able to understand the world we live in more fully is there to aid us in the advancement of our civilization – to learn more and to learn faster. Since the beginning of evolution of man, he/she was developing tools, and I interpret those as technology for that age, that allowed him to ease his/her way within the surrounding condition. Technology has been aiding us to developing better communications with each other as an entire human population. At first a man develops tools to work in his settlement. Then he develops tools and equipment for travel. Afterwards, he establishes a sense of ownership of land. Then he develops technology to protect that property, with an urge to obtain more. Wars are waged; the land is slowly being conquered. Horses (note the natural) to chariots to ships to train to cars to airplanes (using the resources to create something that aids us in our tasks = technology). As it becomes easier to communicate between nations, states, and individuals, the economical pressures cause nations with deep cultural histories to westernize. That breaks down the identity and the culture. The impact of consumerism (this modern economy can be compared to trade back when first settlements were being established) has been the result of that globalized economy, and in the past few years the air navigated trade has been sustaining the consumer culture. I believe that the air navigated trade would grow stronger over the next fifty years as the manufacturing industry would shrink. The digital manufacturing would overtake human manufacturing. The digital age disconnects us from one another physically, connecting us in a digital world. That individual identity is strengthened with consumer economy which drives the consumer culture. We define ourselves with the objects we own. This brings me to the generalization that the more digital we get, the more individualistic we become. The individualistic breaks down the collective. Where does that leave the city? The city as we know it to be is a collective establishment. The architecture within design means, allows us to manipulate the relationships between collective and individual. As the population increases, the urban growth increases. Taking a model of the city as we know it today – the typical typologies of the downtown with surrounded sectors for housing work and play, and transportation networks tying it all together, we have a model for a condition around which to work. Time has allowed for cities to develop at certain speeds. Amsterdam was founded in 1275, Detroit in 1701, Bangkok in 1782, and Belo Horizonte was first settled in 1700s and planned and constructed in 1890s. These cities that have been established at different times in history. The economics, politics and religious affairs of each time frame affects the foundations and the forms of those cities. Bangkok, a city with deep Buddhist history is now a consumer driven megalopolis. Amsterdam is the oldest of all four cities, but yet the smallest in size. When air travel was becoming obsolete for people to travel around the world, the construction and the placement of the airport was crucial. Ideally, it had to be placed outside the main boundaries, with enough clearance for the planes to land. Due to the future urban expansion the growth can potentially occur vertically and horizontally. Although I prefer vertical urban growth, with the developments of personal air transportation (personal airplanes and later potential air cars) the growth of the city might not even be contained within a boundary. But my interests lie not at defining a new urban model, nor planning a new airport, but rather analyzing though design how the aerotropolis urban typology and the continuation of a connected, globalized world can sustain the cultures that we have been holding on to and preserving in the past. I have been interested in investigating whether cultural differences can exist in the world of brands and commodities, and whether architecture can bridge the gap in the next fifty years. I have been interested in cultivating my techno-manifesto, defining architecture’s role in establishing a sense of a place within the consumerist, globalized air-dominated economy. Is there a future for a crowd in a city, or is a metropolis destined to become a place for individualist “settlements”? How does the economy influence the architecture which ultimately affects the lifestyle patterns and the identity definition on multiple scales?

aerotropotitan_you_a_misconception? TCAUP

I UG4 I Dawn Gilpin

Cultivating architecture’s role in establishing a sense of a place within the consumerist, global air-dominated economy. Aetropolitan you: a misconception? Is the – polis for you or for the crowd?

BIKEOLOGY IDENTOLOGY

the object of culture

old identity?

Amsterdam is one of the most bicycle-friendly cities in the world and is a centre of bicycle culture with good provision for cyclists such as bike paths and bike racks, which are ubiquitous throughout the city. There are an estimated one million bicycles in the city. In the city center, driving a car is discouraged. Parking fees are steep and a great number of streets are closed to cars or are one-way. The streets are very narrow, often only one car wide (historic city center only). Public transport in Amsterdam mainly consists of bus and tram lines, however, there are four metro lines; with a fifth line, the North/South line, under construction. Three free ferries carry pedestrians and cyclists across the IJ to Amsterdam-Noord, and two ferries go east and west along the harbour. There are also water taxis and a water bus that transport people along Amsterdam's waterways. Images and text were taken from http://en.wikipedia.org/wiki/Amsterdam http://chowtimes.com/photos/2007/04/_MG_3609_edited-1.jpg

the architecture “There are unmistakable elements that can be understood as the collective Dutch identity. These elements are characterised by several matters that have manifested themselves in various ways among our people throughout the ages. These elements include the following: a sense of liberty, openness to new things, people, ideas, places, an orientation to the outside: trade, travel, discovery, live and let live, being wealthy while acting as if resources are few, an endless tendency to complain about the other without taking these complaints too seriously. ... A journalist, a publisher and a non-conformistVan Randwijk was deeply troubled by four matters: the heavy influence of public media, which were increasingly content to follow the almighty ratings and subscription numbers – in other words, to be led by that which was of commercial interest, governmental information that continually failed to explain existing conflicts to the people, the fact that the majority of the population had no interest in facts about or background to the major societal conflicts of their time, the interactions among all of these factors and their consequences for a free society.”

Images and text were taken from the Speech by Job Cohen www.iamsterdam.com picasaweb.google.com www.dvorak.org

new identity Amsterdam is one of the most bicycle-friendly cities in the world and is a center of bicycle culture with good provision for cyclists such as bike paths and bike racks, which are ubiquitous throughout the city. There are an estimated one million bicycles in the city. In the city center, driving a car is discouraged. Parking fees are steep and a great number of streets are closed to cars or are one-way. The streets are very narrow, often only one car wide (historic city center only). Public transport in Amsterdam mainly consists of bus and tram lines, however, there are four metro lines; with a fifth line, the North/South line, under construction. Three free ferries carry pedestrians and cyclists across the IJ to Amsterdam-Noord, and two ferries go east and west along the harbor. There are also water taxis and a water bus that transport people along Amsterdam’s waterways. “There are unmistakable elements that can be understood as the collective Dutch identity. These elements are characterized by several matters that have manifested themselves in various ways among our people throughout the ages. These elements include the following: a sense of liberty, openness to new things, people, ideas, places, an orientation to the outside: trade, travel, discovery, live and let live, being wealthy while acting as if resources are few, an endless tendency to complain about the other without taking these complaints too seriously. ... A journalist, a publisher and a non-conformist Van Randwijk was deeply troubled by four matters: the heavy influence of public media, which were increasingly content to follow the almighty ratings and subscription numbers – in other words, to be led by that which was of commercial interest, governmental information that continually failed to explain existing conflicts to the people, the fact that the majority of the population had no interest in facts about or background to the major societal conflicts of their time, the interactions among all of these factors and their consequences for a free society.”

FISHOLOGY CONSUMEROLOGY

existing condition

Image was taken from Google Earth

design proposal Bangok has a long history of Buddhism, and its religious architecture in the city is representative of its relevance. Even today, in a higly modernized and commercialized society, monks wander the streets. “Thailand has the world’s fastest growing economy between ‘85 and ‘95, and its glittering commercial buildings symbolized the promise of national prosperity. After 1997, they turned into the countersymbol of economic depression, as hundreds of commercial developments in central Bangkok were idled by bankruptcy, shoppers disappointed, and the city became known for its hollow concrete shells. The fears of isolation and abandonment identified by Lacien Hank here became manifest in the symbolic heart of a modern city. [Perspecta]” When Thaksin (telecommunications billionaire) introduced consumerism a few years later, he made shopping a national duty at all levels of society.

Images were taken from “Re-Urbanism, Perspecta, The Yale Architectural Journal” http://norman.walsh.name/1998/04/bangkok www.envixion.com

mixture of culture: vernacular meets the commodity culture

One of the most fascinating sites on the southern edge of Bangkok are fields of fish farms. They flood during several summer and fall months allowing for a very productive fish collection, which ultimately leads to productive exportation of the fish. The aerial image of the farm grid is a beautiful inspiration for a city grid, upon which developments can rise. Instead of living in houses on the lots, farmers and other citizens of Bangkok can live in a vertical development (taking inspiration from an apartment building). The infrastructure of such a condition would lead to elevated paths, leaving the farming on the ground level. Ideally the traffic would be restricted to pedestrians and biking, preventing from exhaust affecting the fish. Bangkok has a long history of Buddhism, and its religious architecture in the city is representative of its relevance. Even today, in a highly modernized and commercialized society, monks wander the streets. “Thailand has the world’s fastest growing economy between ‘85 and ‘95, and its glittering commercial buildings symbolized the promise of national prosperity. After 1997, they turned into the counter-symbol of economic depression, as hundreds of commercial developments in central Bangkok were idled by bankruptcy, shoppers disappointed, and the city became known for its hollow concrete shells. The fears of isolation and abandonment identified by Lacien Hank here became manifest in the symbolic heart of a modern city. [Perspecta]” When Thaksin (telecommunications billionaire) introduced consumerism a few years later, he made shopping a national duty at all levels of society.

FLOODOLOGY

It floods in Belo Horizonte every time it storms. The amount of water on the roads amounts to an average of a foot and a half, which runs down the paved landscape of the city. Because there are poor control methods for storm water treatment as well as sewer water, it causes significant pollution as well as circulation problems. Some of the residents settled on the slopes of the hills and on the river banks without thinking about the risks. The town still suffers from these dangerous settlements, and every time it rains, lives are lost in the devastated favelas (shantytowns). What would the design be of a space that is constantly affected by storm water?

Images and text were obtained from Fernando Lara Montreal Urban Ecology Center (Belo Horizonte Section) Flickr

the design challenge

no beach

BAROLOGY

urban problem

Belo Horizonte’s international anonymity was born of no coastline, no beaches, and no famous Carnival. So what happens in Belo outside the daily work routine? The city’s claim to fame is being the bar capital of Brazil. “Not bars as in slick hotel lounges or boozy meat markets, but bars as in botecos, informal sit-down spots where multiple generations socialize, drink beer and often have an informal meal.” [NY Times] It is a city where the outdoors are treasured. People take advantage of eating outside. Even the new Tancredo Neves International Airport, forty kilometers outside the city, is fully open to the outside. Because the majority of the upper class spends their time off inside (usually the mall), the outdoor bars are more commonly populated by the lower class. To merge the two ends of the social spectrum, it is necessary to design at the edge of the condition - to merge outdoors with indoors, to mix the commercialism and the social classes together as well. Images and text were obtained from Fernando Lara NY Times “A Town Where All the World Is a Bar” by Seth Kugel

a bar instead It floods in Belo Horizonte every time it storms. The amount of water on the roads amounts to an average of a foot and a half, which runs down the paved landscape of the city. Because there are poor control methods for storm water treatment as well as sewer water, it causes significant pollution as well as circulation problems. Some of the residents settled on the slopes of the hills and on the river banks without thinking about the risks. The town still suffers from these dangerous settlements, and every time it rains, lives are lost in the devastated favelas (shantytowns). What would the design be of a space that is constantly affected by storm water? Belo Horizonte’s international anonymity was born of no coastline, no beaches, and no famous Carnival. So what happens in Belo outside the daily work routine? The city’s claim to fame is being the bar capital of Brazil. “Not bars as in slick hotel lounges or boozy meat markets, but bars as in botecos, informal sit-down spots where multiple generations socialize, drink beer and often have an informal meal.” [NY Times] It is a city where the outdoors are treasured. People take advantage of eating outside. Even the new Tancredo Neves International Airport, forty kilometers outside the city, is fully open to the outside. Because the majority of the upper class spends their time off inside (usually the mall), the outdoor bars are more commonly populated by the lower class. To merge the two ends of the social spectrum, it is necessary to design at the edge of the condition - to merge outdoors with indoors, to mix the commercialism and the social classes together as well.

SHIFTOLOGY

Willow Run Airport Detroit Metro Airport

MOBILEOLOGY

unemployment

motown as we know it

shift We know Detroit as the automobile capital of the world, but with the continuous unemployment troubles in the automotive industries, the car passes on its powers to the airplane, as the city shifts its economy driven transportation services. The image shows the city of highways on the left, with the view of Detroit from the car in the center. The right hand side image is a collage of an old view from the inside of a car into a new age of the airplane â&#x20AC;&#x201C; the new near future profit-driven transport for the city. The condition allows for the design to move outside the automobile services, to the scale that services airplanes and airports. Thus the production shifts from the scale of the automobile to the scale of an airplane.

Images were taken from www.detroitrising.com www.williammckeen.com/images/HIGHWAY

rise of the airport

Abandoned warehouses and empty lots in downtown Detroit are representative of the waning manufacturing industry in the metropolis. The increasing unemployment rates in automotive industries have been affecting the city and the economy in the state of Michigan. As manufacturing industries are going to disappear with the development of the digital technologies, the service sector has a better chance of brining jobs. The downtown population has been decreasing for the past fifty years, and is likely that would continue to do so in the future fifty years. The automotive sector would most likely continue to function, more efficiently, but it would not dominate as much as the air traffic industries. Since the population has been shifting away from the downtown, north and west, toward the airport, it is likely that the city center would shift. We know Detroit as the automobile capital of the world, but with the continuous unemployment troubles in the automotive industries, the car passes on its powers to the airplane, as the city shifts its economy driven transportation services. The image shows the city of highways on the left, with the view of Detroit from the car in the center. The right hand side image is a collage of an old view from the inside of a car into a new age of the airplane â&#x20AC;&#x201C; the new near future profit-driven transport for the city. The condition allows for the design to move outside the automobile services, to the scale that services airplanes and airports. Thus the production shifts from the scale of the automobile to the scale of an airplane.

portage_architecture TCAUP

I UG3 I Steven Mankouche

This exercise was done to use portage as a method for dismantling, relocating, demilitarizing, deindustrializing, re-industrializing, mitigating, reusing, demolishing, undoing, forgetting, remembering, archiving, tracking, controlling, counting, taxing, recycling, collecting, scrapping, producing, reproducing, reprogramming, and ultimately integrating architecture.

surveying_the_green_in_zurich TCAUP

I â&#x20AC;&#x153;Seeing Switzerlandâ&#x20AC;? Program I Julie Larsen + Roger Hubeli

The research on the green spaces near public institutional projects has been done while studying abroad in Switzerland. Being based in Zurich, the research was recorded during three weeks of living in the city and exploring the neighborhoods. The project is a foldable map made of postcard size pages that were used for site work and analytical drawings.

VERA BARANOVA VOLUMETRIC ARRAY Unit 2: Volume Deformations The parts, made up of intersecting tubes, are arrayed within an orthogonal framework. For this variation, the height of the framework is set at a low distance. Project 2.2.004 031507

VERA BARANOVA Unit 2: Volume Deformations Project 2.2.006 031507

volume_deformations TCAUP

I UG2 I Karl Daubmann

VOLUMETRIC ARRAY

The parts, made up of intersecting tubes, are arrayed within an orthogonal framework. When the height of the framework is set at a relatively short distance, the model updates, deforming its natural charasteristics. The individual parts become hardly recognizible.

On each side of the box, created from datum points, diagonal lines were drawn corner to corner. The diagonal lines were divided into quarters, and the resulting lines were used to create a spline on each side of the imaginary box. The splines on each side of the imaginary box were united side to side in the horizontal direction. Two of the splines on the sides were united in a similar fashion to the top and bottom sides of the same box. The framework was made out of two sketches. The parts fit together creating open circular voids and connector â&#x20AC;&#x153;columnsâ&#x20AC;? within the overall assembly.

VERA BARANOVA Unit 2: Field Deformations Project 2.1.005 031507

VERA BARANOVA Unit 2: Field Deformations Project 2.1.006 031507

o at midpoint f(x) = 2in o

o at midpoint

one spline in one sketch another spline in another sketch in each of the sketches, the height of the curve is set to a parameter

the splines are offset to a parameter of a certain length this offset corresponds to a profile line which was used to create a surface surface became a thick surface

f(x) = 10in thick surface o

o o o

each of the above parts were put together in a product, being attached with certain coincidental points they were lined up with other parts to which they were attached on the bottom (having the same configuration) points to which additional parts were attached

x x

FIELD ARRAY - WIDE AND ARCHED

Curved plates are arranged to touch one another at the top surface center point. This variation shows the zoomed-in version of the field composed of plates with a large width setting and a large curvature.

x x

field_deformations TCAUP

I UG2 I Karl Daubmann

Upon creating a simple shape, and giving it several parameters, just a few rules can digitally manipulate a shape of several of those units put together, creating a variety of forms for multiple functions.

FIELD ARRAY - WIDE AND ARCHED

VERA BARANOVA Unit 2: Field Deformations Project 2.1.004 031507

FIELD ARRAY - WIDE

Curved plates are arranged to touch one another at the top surface center point. This variation shows a zoomed-in version of the field composed of plates with a large width setting and a low curvature.