MASS by YAF Atlanta

MASS

A Collection of Architectural Events and Observations in and around the City of Atlanta, Georgia

MASS2011 Volume.01 The Annual Architectural Publication Produced by the Young Architects Forum of Atlanta

The Young Architects Forum is a public forum for the discourse of architecTwelve years later, YAF is an organization that now numbers over 150 ture and relevant topics for young professionals in architecture & design within members, continues to expand the programming for its members, and was the city of Atlanta. fortunate to be chosen as the national YAF Component of the Year for 2003. 2011 YAF Executive Board Chair: Nathan Koskovich Co-Chair: Adam Glenn Treasurer: Jason Diehl Public Relations: Katherine Dunatov Communications Co-Chair: Carolina Montilla Communications Co-Chair: Dustin Willis Graphics Director: Michael Rickman Secretary: Sarah Staab

Membership in YAF Atlanta is free and open to all young designers, architects and interns in the Atlanta area. Although membership in the AIA is not necessary to participate in our programs or to join YAF Atlanta, we encourage you to get involved in what the AIA is doing and take advantage of the full range of resources provided to the profession. More information.

YAF Atlanta @ AIA Atlanta 113 Peachtree Street NE About the organization: Atlanta, Georgia 30303 tel + 404.222.0099 The Young Architects Forum (YAF), a program of the American Institute of Ar- tel + 800.850.4299 chitects (AIA) and the College of Fellows (COF), is organized to address issues fax + 404.222.9916 of particular importance to recently licensed architects (within 10 years or admin@yafatlanta.org fewer after licensure). The YAF is an outgrowth of a 1989 AIA Grassroots program involving 36 young architects from around the nation assembled by then AIA President Ben Brewer Jr., FAIA. The issues raised and potential benefits visualized at that meeting led to the 1991 formation of a national YAF Advisory Committee to encourage the development of national and regional programs of interest to young architects and the creation of YAF groups in local chapters. Throughout its history, the YAF has had three overriding goals: -To encourage professional growth and leadership development among recently licensed architects through interaction and collaboration within the AIA and allied groups. -To build a national network and serve as a collective voice for young architects by working to ensure that issues of particular relevance to young architects are appropriately addressed by the Institute. -To make AIA membership valuable to young architects and develop the future leadership of the profession. AIA Atlanta was reinvented in 1998 through the hard work and dedication of many young architects and architectural interns who were newly committed to having a viable Young Architectsâ&#x20AC;&#x2122; Forum. With the help of the then AIA Georgia President William Carpenter, FAIA, and the full support of AIA Atlanta, the group developed a series of programs and events that has fueled a steady growth pattern and raised the profile of both YAF and the AIA within the Atlanta design community.

Copyright YAF: Young Architects Forum of Atlanta All rights reserved. No part of this publication may be reproduced in any manner without permission. All drawings, images and photographs courtesy of students, professionals, committee members, unless otherwise noted. visit our website: www.yafatlanta.org Printed in the United States of America Created in the great state of Georgia. Without these people, MASS would not exist: Michael Rickman Anya Khalo 2012 YAF Logo: Javad Khadivi

LETTER:CO-DIRECTORS This book is a catalog of the Young Architects’ Forum of Atlanta, 2011 The Young Architects Forum (YAF) is a program of the American Institute of Architects (AIA) and the College of Fellows (COF). Its mission is to address issues of particular importance to recently licensed architects (within 10 years or fewer after licensure.) YAF Atlanta provides a medium for discussion and voicing of ideas (forum) for architects licensed for ten years or less. Its programs and organization provide opportunities for its members to develop leadership skills learn about and develop a relationship with the AIA. Membership in YAF Atlanta is free, making it accessible to those just entering the profession. The collective actions of YAF Atlanta’s members create an entity that serves as the collective voice of young professionals to the architectural profession in Atlanta and the general program. This year’s YAF book is not just a catalog of all the great work our members have done, but it’s also a snap shot of emerging professionals place in the Atlanta Architecture Community: the good, the bad, the exciting and the disappointing. It’s a difficult time for emerging professionals. Those newly licensed or about to be licensed have been hit hardest by the Great Recession. Firms have been eager to hold on to more experienced architects with long term relationships and interns who are inexpensive and easy to bill, but at the same time they have had to cut staff, and Emerging Professionals have been a frequent target for cuts. However, it’s also an exciting time. With uncertainty comes opportunity, and the members of YAF Atlanta have taken full advantage of this to go outside the typical frame work of practice to create an impact on our profession. This book in many ways is an example of the entrepreneurial sprit of our members. Michael Rickman and Anya Khalo have taken a simple catalog and turned it into an opportunity to create something new and vibrant. In a similar vane, Ngugi Mathu created the Impact Challenge, a design build contest to create an accessible and environmentally responsible rest room for Camp Twin Lakes, a camp dedicated to children with unique needs. Nghi Duong took it upon herself to create relationships with Atlanta Habitat for Humanity and Home Stretch, and along with Rebecca Weaver has managed a YAF program that gets members out to build houses for the needy throughout the year. Jonathan Henry curated our Winter Salon event. His vision expanded the event from a casual conversation between architects into an exhibit of work that spans multiple disciplines, including art, architecture, and industrial design. He also helped organize the 10up completion. Jason Diehl organized our annual photography contest, which this year focused on the Paul Rudolph designed Cannon Chapel at Emory University. Stephen Trimble took over the 48hr. Contest from Newel Watkins this year and created an amazing program that will insure the continued success of this program. Finally we have to thank Carolina Mantilla and Dustin Willis who maintain YAF Atlanta’s web site and blog. Their dedication has turned YAF Atlanta into an essential online source for anyone interested in design and architecture in Atlanta. Carolina has helped out on multiple programs throughout the year, always finding what needed to be done and doing it. Dustin organized the YAF logo design contest, and planned the launch party. YAF Atlanta runs on the enthusiasm of its members. Without them none of this would ever be.

Nathan Koskovich and Adam Glenn Co-Directors: Emerging Professionals AIA Atlanta and Directors of YAF Atlanta

NOUN

1. a body of coherent matter, usually of indefinite shape and often of considerable size: a mass of dough. 2. a collection of incoherent particles, parts, or objects regarded as forming one body: a mass of sand. 3. aggregate; whole (usually preceded by in the ): People, in the mass, mean well. 4. a considerable assemblage, number, or quantity: a mass of errors; a mass of troops. 5. bulk, size, expanse, or massiveness: towers of great mass and strength.

ADJECTIVE

11. pertaining to, involving, or affecting a large number of people: mass unemployment; mass migrations; mass murder. 12. participated in or performed by a large number of people, especially together in a group: mass demonstrations; mass suicide. 13. pertaining to, involving, or characteristic of the mass of the people: the mass mind; a movie designed to appeal to a mass audience. 14. reaching or designed to reach a large number of people: television, newspapers, and other means of mass communication. 15. done on a large scale or in large quantities: mass destruction.

SYNONYMS

assemblage, heap, congeries, collection, accumulation, pile, conglomeration, magnitude, dimension, majority, proletariat, plebeians, collect, marshal, amass, aggregate.

TABLEOFCONTENTS

6 MASS 10 EMERGINGVOICES2010 12 WINTERSALON 18 BJARKEINGELS@GT 20 iMPACTCHALLENGE 24 ARCHITECTURE’SCENTRALROLEINSHAPINGSOCIETY(KOSKOVICH) 26 10UPCOMPETITION 34 INTERVIEW(SYNEDOCHE) 37 HABITAT+HOMESTRETCH 38 MODERNATLANTA 42 LOGOCOMPETITION 44 HOWTOSHARPENPENCILS 45 IT(RICKMAN) 46 YAFBIOGRAPHIES 52 MANMASSTHRONE 54 PHOTOGRAPHYCOMPETITION 62 INTERVIEW(EDAKINS) 64 85 PEACETHROUGHBARBARISM 86 YAFINCHINA 88 EMERGINGVOICES2011 90 TRISTANAL-HADDAD 94 RYANGRAVEL 96 BELTLINE 98 WORDSEARCH

48HOURCOMPETITION

EV10

EMERGING VOICES is an annual portfolio-based citation that seeks to acknowledge

early-career individuals and firms with distinct ‘voices’ that demonstrate the potential to influence architecture and design within the Atlanta community. Since 2001, the series has provided a public form for the exhibition of the body of work – either theoretical or real, built or unbuilt – of local architects and designers and has encouraged the exchange of ideas among young practitioners and the public at large.

EV10 EMERGING VOICES

ILLUMINATION SHOWROOM

CALLING ALL CREATIVES.

SALON A gathering of stimulating people of quality under the roof of an inspiring hostess or host, partly to amuse one another and partly to refine their taste and increase their knowledge through conversation and readings... bottom line: its a social event for like minded creatives

PURPOSE to Facilitate uninhibited presentations of creative work from young professionals and students that hinge on the contemporary fringes of all design fields. Also the event is to initiate social interaction that attempts to cross pollinate local design communities and society.

Giselle Sebag

Father Son Picnic Speed Demon Aaron Cole

WINTER SALON gallery

Joker-Shades Eric Peterson

Erica Howell Brooks

Structured Reticulation: Juvenile Courthouse Kelly Darby and Robert Woodhurst IV

TATE Sculpture Annex Jason Hoeft

Hector Caraballo

Stephen Trimble

Hidden Treasures Emily Lynch

ownership is to encourage social relationships on the local level whereby citizens, in order to take possession of a unit (resident/plot/marketplace/vendor), must make public notice to the neighboring occupants and act in accordance to them, only deferring to the Atlanta Community Congress in the event that dispute cannot be locally resolved. This type of ‘bottom-up’ orientation of property management and use can be seen in medieval Islamic cities. [conceptual site model

[residential/commercial over

IMAGE

[sectional study ]

[market space ove

Several design moves alleviate the relentless linearity of the pathways. The most prominent is the re-constitution of the historic grid through the use of member-actuated pathways. These can be assembled by a few members in minutes to create a north-south path across the piers while still preserving circulation and functionality. Addtionally, pathways are ‘pinched’ in order to combine into larger spaces or provide connections across them. The section to the right demonstrates these connections between Pier 1 (housing/commercial) and Pier 2 (marketspace).

[a community nexus]

Adam Jones

Beltline Caretakers Tietong Lu

Ryan Horgan

[a community nexus]

Hybridscapes Rodney Bell

Ana Wackermann

Bubblescape: Pods Kelly Darby

Big Blue Keri Cawley

Atlanta Orchestra Hall Merica May

In a full auditorium of standing room only in the back, Bjarke Ingels discussed the notion of ‘hedonistic sustainability’and its application throughout his architectural practice. Hedonistic Sustainability, which Ingels defined as “the attempt to improve quality of life by embracing the changes that come with applying sustainable principles.” This is more productive than trying to balance between sustainability and the method of doing things the way you are used to, thus compromising both. Through experimentation and innovation, new and exciting ways of living can be discovered which are in tune with what is healthy for the planet. Ingels told the auditorium that one of his first takes on hedonistic sustainability was while designing the Danish Pavilion for the World Expo in Shanghai. The design aimed to bring elements of the Danish culture to China. Both Copenhagen and Shanghai are harbor cities, but while Copenhagen has replaced its polluting harbor activities with parks and cultural institutions, Shanghai’s harbor is not as clean. To give Shanghai’s residents a taste and feel of clean port water, BIG placed a pool filled with sea water from Copenhagen’s harbor in the heart of the pavilion, in which visitors could swim. They also placed a sculpture of the little mermaid (arguably Denmark’s most famous fairytale), which they kidnapped from the Copenhagen harbor for the duration of the Expo. To move through the curved and sloping pavilion, visitors could either walk or ride one of the provided bikes, which are common in Denmark and an ecologically responsible form of transportation. Overall, the Danish pavilion was a huge hit at the Expo, and succeeded in displacing and displaying elements of Denmark at the same time as drawing attention to environmental issues. Toward the end of the lecture, Ingels spoke about his “Yes is more” approach to architecture. “Yes is more” is a play off the infamous quote, “Less is more,” spoken by modernist architect Mies van der Rohe as a celebration of minimalist design. “Yes is more” implies Ingels’ openness to any idea and any project, and to the opportunity to create innovative work.

BIG@GT 20

16 Feb: Bjarke Ingels Lecture 6:00 PM - 7:30 PM Georgia Tech College of Architecture Casey Hall

Georgia Tech’s School of Architecture Lecture Series: Bjarke Ingels “Bjarke Ingels started BIG-Bjarke Ingels Group in 2005 after co-founding PLOT Architects in 2001 and working at OMA in Rotterdam. Through a series of award-winning design projects and buildings, Bjarke Ingels has created an international reputation as a member of a new generation of architects that combine shrewd analysis, playful experimentation, social responsibility and humor. In 2004 he was awarded the Golden Lion at the Venice Biennale for the Stavanger Concert House, and the following year he received the Forum AID Award for the VM Houses. Since its completion, The Mountain has received numerous awards including the World Architecture Festival Housing Award, Forum Aid Award and the MIPIM Residential Development Award. Recently, Bjarke was rated as one of the 100 most creative people in business by New York based Fast Company magazine. Alongside his architectural practice, Bjarke has been active as a Visiting Professor at Rice University, Columbia University, and Harvard University. BIG is a Copenhagen-based group of architects, designers, builders and thinkers who operate within the fields of architecture, urbanism, research, and development. Having completed award-winning projects like the VM Houses, The Mountain, and the 8 House in Denmark, the office is now involved with projects throughout Scandinavia, Europe, Asia, and the Middle East, including a school on the Faroe Islands, the Shenzhen Energy Mansion in China, and the Danish Maritime Museum outside Copenhagen.”

iMPACT Design/Build Challenge 22

@ Camp Twin Lakes Winner: Thao Nguyen

Young Architects Forum of Atlanta and Camp Twin Lakes are pleased to announce a design /build challenge for two structures to house Eco Smart composting toilet systems at Camp Twin Lakes (CTL). The goal of the competition is to seek creative ideas for the structures which incorporate the reuse of available materials. The winner and iMPACT organizers will collaborate with the client to achieve the best design /build solution.

Camp Twin Lakes is a network of camps providing lifechanging camp experiences to thousands of children with serious illnesses, disabilities and life challenges. We collaborate with over 50 different non-profit community partner organizations (our Camp Partners) to create customized programs that teach our campers to overcome obstacles and grow in their confidence and capabilities. Camp Twin Lakes is thrilled to provide programs at various state-of-the-art facilities throughout the state of Georgia, including overnight camps in Rutledge and Winder, day camps in Atlanta, childrenâ&#x20AC;&#x2122;s hospitals, and more. Prior to Camp Twin Lakesâ&#x20AC;&#x2122; opening in 1993, special needs groups in Georgia lacked adequate facilities to hold their camp programs. Today, Camp Twin Lakes partners with these organizations to provide high quality, fully-accessible recreational activities in a medically supportive environment. Camp programs are customized for each group of campers. Since its opening, Camp Twin Lakes has welcomed more than 50,000 children and volunteers. Each year, thousands of campers and volunteers head to CTL-Rutledge and CTL- Will-AWay for weeklong summer sessions and year-round weekend retreats.

Architecture’s Central Role in Shaping Society Nathan Koskovich

“As in the pseudoscience of bloodletting, just so in the pseudoscience of city rebuilding and planning, years of learning and a plethora of subtle and complicated dogma have arisen on a foundation of nonsense.” – Jane Jacobs, 1961 “My provocative statement is we desperately need a serious scientific theory of cities, and a scientific theory means quantifiable; relying on underlying generic principals that can be put into a predictive frame work. That’s the quest. Is that conceivable?” Asks Physicist Geoffrey West in his 2011 TED: Global Talk. Fifty years after Jane Jacobs’ painfully accurate critique of urban planning, West and his fellow researchers took up the challenge and have shown that, yes, it is conceivable to create a scientific theory of cities. The results of this research suggest that cities are quantifiably beneficial. Along with a growing body of work by the likes of Edward Glasser, and Richard Florida, West and his colleagues have demonstrated that well planned cities will play a central role in addressing near and long term, economic, social, and environmental challenges. While, Glasser, Florida, Jacobs and others make strong circumstantial arguments for cities, and provide valuable insight about the form of cities, it is the work of West and his compatriots that provides direct proof of the value of cities. By applying concepts developed in biology to understand individual animals and ecosystems, they have created a simple mathematical understanding of cities that connects energy use to economic output. Their conclusion is that as cities increase in size they use less energy per person and produce more wealth per person; thus cities have the potential to provide better lives through economic opportunity and a healthier environment. When West and his colleagues graphed energy use in relation to population growth, the resulting line had a slope of three to four. If a city’s population where to double, it would only need 75% more energy. So, cities use less energy per person, but the advantage doesn’t stop there. When West and company looked at socioeconomic quantities (wages, creative professionals, patents, crime, and disease), they found that the relationship between population and socioeconomic activity was the opposite of that between population and energy use.

As population increases, per capita, more socioeconomic activity occurs. If a population were to increase by 100% then socioeconomic activity would increase by 115%. Most of this activity is beneficial and results in higher wages, higher GDPs, more patents (a measurement of creativity), and higher levels of education. It also means more crime and more disease, which have been the scourge of cities for centuries. But in the last 100 years, developed countries have become very good at minimizing crime and disease. Through their research, West and his partners have produced objective proof that cities are a universal good. They produce more wealth for more people and use less energy. Why do cities operate in this way? According to West, Florida, and Glasser, it is the social networks cities foster that create these scalable advantages. As Architects, City Planners, and Landscape Architects we create the physical structure through which these networks operate. We create the opportunities for cities to grow more prosperous, less dangerous and more efficient. This is why Architecture is a noble profession. It is not a luxury that can be done away with in favor of economic, social and environmental realties. In fact, architecture plays a central role in creating healthy economic, social, and environmental systems. Armed with this knowledge, it would be amoral to allow architecture to continue on its narrow path. Instead of focusing on providing localized and specialized services to individual clients, architects must bring their unique understanding of the human environment to the large-scale problems of economics, education, crime, and pollution. We must expand our focus to policy creation and execution, as well as other markets. Our profession must take its rightful and necessary position next to Doctors, Lawyers, Economists, and other experts in advising and becoming Politicians, Community Leaders, and Corporate Directors. We must advocate and act to remove barriers put up over the last 100 years by the policies Jane Jacobs and others criticized in order to solve the problems of this current economic recession and the environmental, economic and social challenges of the next 100 years. [END]

1st Place: Lisa Sauve & Adam Smith “EDGE CONDITION” from SYNECDOCHE

YOUNG ARCHITECTS FORUM ATLANTA YAF ATL in partnership with Modern Atlanta’s MA11 Design is Human Architecture Week PRESENTS:

10up.yafatlanta.org

DESIGNBUILDCOMPETITION2011 2nd Annual Design Competition This year the executive directors and founders of MA have once again asked the Young Architects Forum Atlanta to host a competition for a temporary outdoor installation which will act as a beacon during the MA 11 Design is Human week celebrating Architecture in Atlanta. Currently planned for June 2011, the project is not only to accentuate the series of events organized by MA, but will also be an event of its own celebrating young talents exhibiting their work to the public. This installation will heighten the purpose and exposure of architecture, in order to construct a more educated and encouraging public.

Each year MA (Modern-Atlanta) hosts a celebration of architecture and design with a week of events in and around the city of Atlanta. The goal of this temporary installation is to create a unique spatial experience while also complementing the MA (Modern Atlanta) MA11 “Design is Human” event with a large scale design element accessible to hundreds of event patrons. To advocate architecture and encourage artistic endeavors throughout Atlanta in the future, YAF Atlanta is encouraging the opportunity to design and build a temporary outdoor installation. This installation will heighten the purpose and exposure of architecture, in order to construct a more educated and encouraging public. Cartel Properties

1st Place:

Lisa Sauve & Adam Smith “EDGE CONDITION” from SYNECDOCHE

2nd

Place: Daekwon Park & Jaegeun Lim “AIR PAVILLION”

3rd

Place: Julie Larsen, Roger Hubeli & Gale Fulton “[BIO]MASS PRODUCTION”

Honorable Mention: Greg Corso & Molly Hunker “COMMON THREADS”

Honorable Mention: Jonathon Anderson & MingTing “CAGED THING”

Lisa Sauve and Adam Smith, of Synecdoche, are based in Ann Arbor, Michigan currently. After winning YAF’s 10up Competition this year, we sat down with them for an interview and a glimpse into their practice, background, and their winning design (Edge Condition). Where did you come up with the name of your practice? Lisa: So, Synecdoche [Si-NEK-duh-kee] means ‘simultaneous understanding’. What we took from that is how it can be a literary device of an object defining an attribute of it. The best example is that a credit card you refer to as plastic, “you pay with plastic”, and so the material quality of the object can stand in for the object itself. That’s how we see our practice. Parts standing in for wholes, or wholes standing in as parts. This furthers the discussion of a project beyond the object itself.

Lisa: I was born on the west side of the state in Grand Rapids.I grew up there from my childhood, until I also came over to the southeast side of Michigan. Adam and I have done all of our architecture education in Michigan. We both went to Lawrence Technological University for our Bachelors, and then the University of Michigan for our Masters. So, we are homegrown Michiganders. How did growing up in this area affect your understanding of architecture?

Simultaneous understanding, too, is between Adam and I in that we compliment the ways in which we think. So, it’s the synchronized thinking between us that moves the practice forward.

Adam: I think going through Lawrence Tech, we did a lot of work in Detroit, and got to know Detroit for what it is, an emptying out city. That’s affected how we view a city. It’s ripe for intervention.

Do you consider yourselves the parts to the whole?

Lisa: Being in the Midwest, we’re in a four-hour radius of a lot of cities [Cincinnati, Chicago, Toronto, etc.]. While we both grew up outside the city, in rural or suburban areas, we’ve also had the car ride to a variety of cities. Once we started getting interested in architecture, we were able to span across Midwest architecture. Being able to go to Cincinnati and see Zaha in America [Rosenthal Center for Contemporary Art] or going to Chicago and seeing where the skyscraper was born, I think the geography of being in Michigan gave us a good scope for looking into architecture.

Lisa: We do, but not even just ourselves but also other collaborators. That was a choice when we named our office. We knew people who named their offices after themselves, and we were very adamant to not name it after ourselves. We didn’t see us as the only people contributing to the work of Synecdoche. We see that there are many parts to make the whole. Where did you grow up? Adam: I grew up in southeast Michigan. In Howell, Michigan, a little town just north of Ann Arbor, so I spent a lot of time around southeast Michigan, around metro Detroit, basically.

What do you do for a day job? Adam: We have day jobs! Lisa: We just graduated from the University of Michigan, and our thesis advisers, Geoffrey Thün and Kathy Velikov, have a research office in Ann Arbor [it started in Toronto] and they currently work wholly on grants to do research. We got hired right out of college to be design researchers for them, so that’s what we do during the day. Since they are in the academy, they understand what we are trying to do with our own careers, and encourage us to do these projects and get into teaching. So, it’s a great day job!

Did you notice a difference between the design culture of Atlanta and that of Ann Arbor or Detroit? Lisa: From the small bit of time we were in Atlanta, the character I got was that there wasn’t one large group that contains all of the culture. Rather, there are little pieces everywhere. What we see in Ann Arbor is that the University of Michigan runs the city, so that is the culture. Adam: It’s very traditional. Lisa: Detroit has a very, very tight underground culture of artists that all get together to support private and public projects. So, we’ve seen a lot of different ways of having a creative culture. Since visiting Atlanta, how do you think it compares to Detroit as a city? Adam: One thing I noticed about Atlanta was how spread out it is, and the emptiness factor of Atlanta. Lisa: Atlanta is third or fourth in vacant lots, or that’s what we were told. Adam: Detroit is number one. So, they are both empty cities, but Atlanta seemed more occupied. Lisa: I feel that all over Atlanta there were great sections, and then there were the gaps in between that the city was working on pulling together. So, it’s a patchwork of a great city. It might be in the middle of pulling itself together, so it seems very vast because you’re hop scotching from district to district. Detroit is working on consolidating, and wiping out the outer ring. So, they are opposite in their character right now of how to tie the city together. Adam: Where Atlanta is doing the Beltline project, Detroit is working to get a rail line that goes up Woodward Avenue that goes directly down the heart of the city. They have two completely different outlooks on the city. Aside from Edge Condition being on display, what was your favorite part of the Modern Atlanta Home Tour? Lisa: What struck me about Atlanta, and all of the houses we saw, was the patio culture. The outdoor spaces were really incorporated into the house, and I think that is something we took away and really appreciated about all of the houses. It wasn’t just the porch in front; some of them were nestled into the house. It was great to see. In Michigan, we have four or five months of summer, and the whole sustainability movement, to incorporate the outdoors in, is a lot harder up here. So, a patio culture up here is more cliché than it is a lifestyle. So, it was great to see that in Atlanta. Was there anything else in Atlanta that inspired you? Adam: Food? Lisa: Food! The other thing is that it seemed like everyone is talking about the Beltline, and there was a ton of public support for it. We were mostly around people in the architecture industry, but it seemed like there was a buzz in the city for the Beltline. It’s great to see that happen, and it will be great to see Atlanta once it gets underway because these big projects like the Big Dig and the Highline really change that character of the city. We also heard about the food cart culture that is coming up. We’re experiencing that growth in Ann Arbor, too. Everyone follows these little gourmet food carts, and those details make the buzz that get people interested in the city and the culture beyond just the capacity to live in the city. Adam: We heard about a lot of great opportunities happening in Atlanta right now. There could be a lot of tourist traps in Atlanta, and to know that there are a lot of details outside of that is a great part of the city. It makes me appreciate it as an outsider. What was the concept for Edge Condition? Where did it come from? Adam: In fall of 2010 at the University of Michigan, a seminar was offered with two instructors [Adam Fure and Ellie Abrons] called Material Fringe. It

started with design proposals with different materials from different industrial processes. I picked wood edge to work with, and then over the semester we worked with different ways of usingthem, putting them together, and breaking them. Then, this stacking method started to happen after awhile. Lisa: There’s a lot of focus right now at the university towards digital technology, and we had a conversation that this was such an irregular product that it needed to be exposed as is. That’s when we started playing with the stacking, which was a method done at the sawmill for drying. Taking the material and the process, both, and exposing them together is where the stacking came in. Then, we manipulated it so that, architecturally, it became interesting with spaces and light. When developing Edge Condition for a full scale, built project were there any aesthetic goals for it? Adam: The aesthetic just comes out it. There were no real goals for it. It just came out of the stacking process. Lisa: We knew that if we secured them together prior to being built, there would a sense of rigor to how they were all connected. The aesthetic was the shakiness in the rendering, or even the final product. It’s really irregular to create a dense texture. That was the main goal of the larger scale. Did any unexpected challenges that arose in the construction process, other than Atlanta’s humidity? Adam: We talked to a structural engineer from the university, but we didn’t expect some of the pieces to bow as much as they did. Lisa: Little details, there was only so much space on the corners where edges could cantilever without getting too much bow and bounce. We had to be careful of that tolerance as it was being built. Was the experience of the built space what you had imagined? Adam: Yes and no. We were looking for less of a room and more of being within the edges themselves. If we were to continue this further, I think that would be our next step. We would make more of a space and less of a room that you enter. Lisa: Well, the 10’x10’ footprint was limiting having the edges splay off the perimeter and then the walls were about 2’ thick from variation. You lose a lot of space in the middle based on the thickness of the structure, but we knew that going in. It was going to be a small space for one person to just get the experience of looking up through the weave and looking through the slats. So, the main goal was to get someone in there to be in it versus being outside of it. Which did you enjoy more, the assembly or disassembly? Adam: The disassembly was faster, but the assembly was rewarding. It was nice to be able to go up a little higher on the lifts and say, “Yes! We’re going higher!” On the way down we were more like, “Oh no, we’re going back down. Lisa: Both of them, too, created conversation, and that’s mostly what we were interested in. When we built, people came over and it was great to tell the narrative behind it. It wasn’t just a giant game of Jenga, there was more of a dialogue there. It seemed that there was the same bittersweet conversation when it was coming down. People were coming by and were sad that it was only there for a week. It, also, generated a discussion for Modern Atlanta that this was exciting and can give some anticipation every year to see what comes next. I would say that the conversations and getting interest in it was just as rewarding in the build and taking it down. How does the Edge Condition fit in with the rest of your work? Lisa: Well, it’s definitely a material based practice right now. It’s also about making things. It’s about making small-scale things that come together as something. The practice has always looked outside of convention building materials and, possibly, building practices. So, I think [Edge Condition] fit

right in our growth from interior office, to backyard artist studio, to this larger pavilion. The scale and scope of projects are growing at the rate that our interests are, so [Edge Condition] fit in perfectly with what we’re doing right now. You’ve received a lot of publicity online with this project. Has anyone reached out to you since being published? Did you read the comments from readers? Adam: Yeah, we read the comments. They’re…interesting. Lisa: Well, it is a stack of sticks. We were very honest even when building it. It’s a “dumb” project, in the scope that its simplicity is framed by the narrative behind it. So, those who looked at the images versus reading the project gave less valuable comments. We’ve had applicants! People wanting to work for us, rather us working for them! Adam: A journalist from London contacted us, and she wants to publish it in a magazine article she’s writing for Dome Magazine in Portugal. Lisa: The places it’s being published right now are catering towards the audience of architects. I think our next interest will be to disseminate our work to multiple audiences. It was a public project, and to get more public interest in the design side of things rather than the building side of things would be a great next step in publicity for these types of projects. If you were to bring a visitor to Atlanta, where would you start? Lisa: We’d probably start at Octane for a drink. That would be one of my first targets just because it’s great. Adam: And they’ve been very friendly to us, so we feel very comfortable in there like we’re local. Lisa: It was great to see the gradient of storefronts along [Peachtree Street], I think that’s where I’d start because there are certain staples along Peachtree and then there are other places we could get trapped in too. Adam: The [White Provisions] area seemed interesting as well. It was a nice place to hang out. Lisa: Little 5 Points was another one of those places in between two districts that we traveled through. Those kinds of little districts to hop through are an interesting way to see a city. If you could peek inside an architect’s office, whose would it be? Lisa: We have had a lot of discussion about Höweler + Yoon Architecture. Adam did a weeklong externship there last year, and we’re really interested in how they operate. They’re both in the institution, but they’re making buildings, installations, and exhibitions. They’re a well-rounded practice. What is, currently, at the top of your inspiration library? Lisa: Hold on let me go look at my library. Hmm… Adam: At the top of mine, from my thesis, is a book from Edward Burtynsky. It’s his series of oil photographs. That is at the top of my inspiration library. They come from the large-scale industrial landscapes that he incredibly photographs. I, myself, am an aspiring, amateur photographer. So, seeing how he pictures a landscape through photograph inspires me. Lisa: Okay, I’ve been carrying around [Jorge Luis] Borges with me a lot,his fictional writings, for a few years now. I’m more into the narrative side if you hadn’t picked up on that yet. So, I’m really interested in Borges’ “Labyrinths” and “The Library of Babel”. Those short stories that create atmospheres and spaces are my background inspiration that drives my thinking. Is reading how you combat creative block? Lisa: I do a lot of reading. I try to do it outside of the discipline as well. We watch a lot of documentaries too. It’s kind of our hobby, just to see what

other things are out there and how other people are doing things. That’s where we are interested in cross-disciplinary practice, so that we don’t feel like we’re pigeonholed into operating like an architecture office. We like to know that there are other ways of working through problems and projects. What is next for both of you? Lisa: We’re hanging out and doing our days jobs, with some other small projects. I’m looking into teaching in the fall, and we’re always looking for the next opportunity. Adam: Possibly other post-professional degrees. I’m interested Michigan’s Master of Science in Design Research program. Lisa: And I’m looking at UCLA’s Ph.D program.

VOLUNTEERINGWITHYAF

A big part of YAF’s purpose is to give back to the communities in which we live. Several times throughout the year the Young Architect’s Forum of Atlanta joins force with HOMESTRETCH & HABITAT for HUMANITY in an effort to do just that. In 2011 YAF participated in several of these events, and if you would like to volunteer and help please contact YAF, HOMESTRETCH or HABITAT for HUMANITY.

For more information please visit: www.homestretch.org www.habitat.org www.yafatlanta.org

MODERNATLANTADESIGNISHUMAN11 June 4-12, 2011 modern-atlanta.org

MA (Modern Atlanta) is an enterprise and a brand that believes that DESIGN is a five-letter word: HUMAN. We’ve even named our annual event “Design Is Human”, in part because MA’s mission is to promote design excellence that comes through the creation of sought-after services and desirable products that inspire and satisfy the needs of humanity, and in turn, encourage sustainable practices in lives, businesses, and the public. The original event was born in 2007 out of a desire for an Atlanta-based forum diverse in content, eclectic in spirit, and international in appeal. Each year the event will be built on these aspirations, attracting a diverse range of speakers, exhibitors and attendees prepared to push the boundaries of applied contemporary design and urbanism. MA’s aim is to embrace and connect a wide spectrum of practices including architecture and design, retail and trade, industry and academia, the arts, and NPO foundations. MA activities attract innovators, visionaries, independent minds, creative leaders, students, and non-specialist audiences with discussions on how design and innovative products improve everyday lives. MA provides the right conditions and venues for manufacturers and designers to successfully connect with businesses, consumers, and the public alike, by way of elevated local and international design exhibitions that expose all facets of the creative process including innovation and implementation. MA produces programs and events and provides marketing and promotional services for cultivating and showcasing the international design industry in Atlanta. These programs and services are not only a platform for professionals, but also an arena for experimental and student work, and a meeting point for the international community.

2011 MA Design is Human Launch Party

Photos by Jessica Steele-Hardin & Patricia Andre

MATALKS & ATLANTA HIGH MUSEUM presents

Minsuk Cho, Founding Architect at MASS STUDIES June 11, 2011 Mass Studies was founded in 2003 by Minsuk Cho in Seoul, Korea, as a critical investigation of architecture in the context of mass production, intensely over-populated urban conditions, and other emergent cultural niches that define contemporary society. Amid the many frictions defining spatial conditions in the twenty-first century, namely past vs. future, local vs. global, utopia vs. reality, and individual vs. collective, Mass Studies focuses on the operative complexity of these multiple conditions instead of striving for a singular, unified perspective. For each architectural project, which exist across a wide range of scales, Mass Studies explores issues such as spatial systems/matrices, building materials/techniques, and typological divergences to foster a vision that allows the discovery of new socio/cultural potential.

MASS STUDIES_Korea Pavilion SKS_Kyungsub Shin_007 Korea Pavilion, Shanghai World Expo 2010, photo by Kyungsub Shin

Korea Pavilion The World Expo 2010, held in Shanghai, China, is expected to be the largest world expo to date. The theme of the exposition will be “Better City, Better Life,” and the event is to take place from May 1 until October 31, 2010, with more than 192 participating countries to accommodate the 70 million expected visitors.

The Korea Pavilion is situated in Zone A, directly neighboring the Japan Pavilion and the Saudi Arabia Pavilion, and in close proximity to the China Pavilion. The site is around 6000m2, and it is one of the largest lots within the Expo compound. Located on the perimeter of the zone, the site takes advantage of the views out towards the Huangpu River and the Shanghai skyline in the distance.oughfare in Seoul’s Gangnam district – in close proximity to Dosan Park. Primarily residential in the past, the neighborhood is undergoing a rapid transformation into an upscale commercial district full of shops and restaurants.

With land culture (China) and sea culture (Japan) surrounding the peninsula, Korea has been permeable to imported cultures and global influences, whose progressive mix defines contemporary Korean society. Using ‘convergence’ as the main theme, the Korea Pavilion is an amalgamation of ‘sign’ (symbol) and ‘space’: Signs become spaces, and simultaneously, spaces become signs.

Ann Demeulemeester Shop 27 Seoul, Korea photo by Yong-Kwan Kim

Minsuk Cho, Founding Partner at MASS STUDIES, photo by Sukmu Yun

Ann Demeulemeester Shop The site is located in an alley, at a block’s distance from Dosandae-ro – a busy thoroughfare in Seoul’s Gangnam district – in close proximity to Dosan Park. Primarily residential in the past, the neighborhood is undergoing a rapid transformation into an upscale commercial district full of shops and restaurants. The building is comprised of one subterranean level and three floors above. The Ann Demeulemeester Shop is located on the first floor, with a restaurant above and a Multi-Shop in the basement. This proposal is an attempt to incorporate as much nature as possible into the building within the constraints of a low-elevation, high-density urban environment of limited space (378). The building defines its relationship between natural/artificial and interior/exterior as an amalgamation, rather than a confrontation. Minsuk Cho, AIA, Principal Minsuk Cho was born in Seoul and graduated from the Architectural Engineering Department of Yonsei University (Seoul, Korea) and the Graduate School of Architecture at Columbia University (New York, USA). He began his professional career working for Kolatan/ MacDonald Studio, and Polshek and Partners in New York, and later moved to the Netherlands to work for OMA. Through these jobs, he gained experience in a wide range of architectural and urban projects implemented in various locations. With partner James Slade, he established Cho Slade Architecture in 1998 in New York City to be engaged in various projects both in the U.S. and Korea. In 2003, he came back to Korea to open his own firm, Mass Studies. Cho has received many awards, including first prize in the 1994 Shinkenchiku International Residential Architecture Competition, the Architectural League of New York’s “Young Architects Award” in 2000 for his work at Cho Slade Architecture, and two U.S. Progressive Architecture Awards (Citations) in 1999 and 2003. Boutique Monaco was named a finalist for the International Highrise Award (DAM) in 2008 and nominated again for S-trenue in 2010. Recently, the Korea Pavilion was awarded the Silver Medal by the B.I.E. in the category of Architectural Design for the World Expo 2010 Shanghai, as well as a Presidential Citation from Korea. His work was exhibited at La Biennale di Venezia for Dalki Theme Park in 2004, and for Different but Same Houses in 2010. He was also a part of the Open House travelling exhibition from 2006 to 2008, the New Trends of Architecture in Europe and Asia Pacific 2006–2007 traveling exhibit, and has been an active lecturer and participant in symposiums worldwide. His representative works include “Pixel House,” “Dalki Theme Park,” “Nature Poem,” “Boutique Monaco,” “Seoul Commune 2026,” “S-Trenue,” “Ann Demeulemeester Shop,” “Ring Dome,” “Xi Gallery,” and “World Expo 2010 Shanghai: Korea Pavilion.”

LOGOCOMPETITION

KELLY DARBY SHELLY-ANNE TULIA SCOTT ANDREW JACOBS TYLER JOHNSON JONATHAN DAVIS MICHAEL RICKMAN MICAN ANDREWS KYRI PROWETT JENNIFER PRESTON TAEJUN PARK CHARLTON CUNNINGHAM RYAN BLANNER ROBERT WOODHURST, IV BRIAN SIMMONS KELLY HEYER JAVAD KHADIVI (WINNER) MATTHEW BELT YVETTE LAPURA AMBERLEE ISABELLA SARAH STAAB

( artisanalpencilsharpening.com )

It sneaks up on you before you know it. It is like an ever growing force that devours everything in its path. It has a death grip on “what works.” Don’t you dare try to defy or challenge it in any way, it hates that. Years will go by before you even realize that you have become a part of it. Be careful...for some it’s too late. They have been corrupted by it and don’t even know it yet. Don’t let it see you reading this essay...it doesn’t like ”propaganda.” It must be stopped. It is an epidemic that is eating away all that it comes into contact with. It cannot be explained, only experienced. It begins once you are introduced into the professional career that is Architecture. Your mind during your academic career is at its creative peak, open and exploratory, operating at optimum performance. You assume nothing and examine everything. Then, you are hit by it...like a drive by shooting, and put into a coma that some never come out of.

Web design, graphics, industrial design, clothing, automobile, greeting cards, film, photography, furniture, music, cartoon creation...anything that involves design should be in the architect’s arsenal of weapons. Anything. We are not robots. We are not architects. We are Designers. In the academic world we learned a little thing called theory. It was fun, thought provoking, and deemed necessary for proper architectural execution. Then came graduation...a first job...and the death of the academic process. May he rest in peace. “He was loved by many in the academic world. He leaves behind a worn pencil, used sketch pad, many polysyllabic words and memories of architectural excellence that can never be imitated. He will be missed dearly.” “A moment of silence please.”

“The matrix has you.” Then, if you are one of the lucky ones, you wake from your coma. You are puzzled at what has happened...in front of you is a small, crappy computer screen with Architectural Desktop 2004 on display. Your fingers hurt from carpal tunnel syndrome and being practically glued to the mouse and keyboard. Welcome back to the real world young Robotect. For years you have been deprogrammed of your academic excellence and programmed to practice in their “real world.” Like Neo you have been asleep in your pod while the evil robots used you for production...but not anymore. Viva la revolucion! How do we stop it? It’s hard. Hard to take that step back and realize what it has done to you. Some are only 78% robot, while others are so far into it, there is no turning back. 6 months ago I was at 94%... now I am only at 86%. It’s a long, hard road ahead. I am an architect, I can do it. Why do we practice Architecture like we do? What is the right way? Is there a right way? There is no right way to practice Architecture, but there is a wrong way. With time, professions change and evolve. Architects in ancient times were knowledgeable in many disciplines and respected by all for their vast knowledge and expertise. Today technology is just one of those changes...architects of the previous generation believe their way is the right way, “despite what those young whipper snappers say, I’ve been doing this for 827 years...this is what works.”

Funeral’s over, now get back to your red lines. This theory that once existed supplied the architect with a path of discovery that took him along a process...a process that produced valid and meaningful design. This process is the foundation of good design, whether you are designing someone’s dream home, a t-shirt for a music festival, or even making a film modeled after a janitor you observed in high school. The same process, while subjectively unique, is applied and executed to all things that are created by a designer. That is what will set apart the Designers of the future from the Architects of the now. Designers will execute with a process that will elevate Architecture in a way that has been missing for years. The process is the key...the process is the way.

By Michael Rickman in 2007. “IT” was one of 30 finalists in the 2007 Archvoices.org Essay Competition. “IT” did not win.

“Why reinvent the wheel?” Because that’s our job, to reinvent the wheel. We are not our mentors. No disrespect to them, they teach us a lot...but we also have something to bring to the table...something that can bring Architecture to a higher creative level. The architect is the old. The Designer is the new. An architect can no longer survive on its lonely practice of building design.

NATHANKOSKOVICH “All education is a form of indoctrination, and that is a good thing.” “Freedom is useless without education” Masters of Architecture I, Georgia Institute of Technology 2004 B.S. Architecture, Georgia Institute of Technology 2000 Nathan is an alumnus of Georgia Tech twice, despite his best intentions. As a high school senior his goal was to convince his father to pay twenty thousand dollars a year for him to attend a private art school. Nathan’s reasoning for this was that private art schools provided the best opportunity for unsanctioned extra curricular activities. Instead his father convinced him, by refusing to pay $20,000 a year, to fill out the two page application for Georgia Tech. The need for remedial Calculus, and the promise of free tuition through the HOPE program, saw Nathan enter Georgia Tech in the summer of 1995. It wouldn’t be for another three years that he would here of Southern Poly’s existence. 2006 years later (despite its reputation, Georgia Tech provided plenty unsanctioned extra curricular activities) he applied to several graduate schools including Georgia Tech, his safety. As it turned out, Georgia Tech was the only school that wanted him. He is thankful for the blessings he did not receive, attending Georgia Tech, participating in the Paris Study Abroad program, and Italian Summer Abroad program instilled in Nathan a sense of mission unique to the architect. Architect is a problem solving method. It begins with what is known, arranges those knows as best as possible and then uses creativity to over come gaps in the data series to create a cohesive hole. Throughout school, Nathan worked at several Atlanta firms, large and small. While he gained a valuable understanding of Construction Documents and Construction Administration, he was shocked to hear in what low regard Architects held their own profession. “It doesn’t matter no one will notice”, was the mantra of commercial architecture in Atlanta”, or more colorfully, “Every building has an ass”. In 2006, along with his partners, he formed Studio ALA, an architecture and landscape architecture, in part to prove that architecture does matter, and when done correctly, people will notice. His work has included the City of Atlanta’s Fire Station #11, located in Atlantic Station, a private residence on West Roxboro road, The Grow Montessori School, and an addition to a private residence. He has wife who is a civil engineer and German Scotch-Irish, and thus a force for global good. He has a dog that is really a four legged throw pillow, perfect for in town living. In his spare time, Nathan paints, and is a rapid Georgia Tech Football fan. Nathan is drawn to Pop songs that sound fun, but are really either sad, or perverse. The Kinks,, “Lolla”, the Knacks, “My Sharona” and “Good Girls Don’t”, and Outkast’s, “Hey Yeah” are excellent examples. Web: Big fan of the Pod Cast “99% Invisible” Involvement in YAF/AIA -AIA Atlanta’s Emerging Professionals / Yong Architects Forum Co-Chair

ADAMGLENN

Don’t want to alarm everyone, but there is something strange going on with Spaghetti Junction - there is a mega traffic jam EVERY single morning at EXACTLY the same time that I decide to drive through. Weird. Guess that’s what I get for living in the burbs.

Typical weekday morning going from outside to inside the perimeter: OTP >– warm, new-day sun rays peak out over the soaring pine trees, birds are singing, the air smells fresh…feels fresh…I fight the urge to put on a t-shirt, shorts and take the dog out to the lake. Gwinnett is Great. I get into my truck…yes, I said truck...we’re OTP remember? I take to the open [twolane] road, and feel the afore mentioned fresh air breeze through my open window. Then IT happens. ITP > IT-P happens. Traffic slows, my head feels cloudy, my vision blurs…oh wait, I just need to close my window to avoid second-hand smog from the ’89 Honda Accord up ahead. Concrete Architecture Southern Polytechnic State University 2004 Project Architect at Sizemore Group Don’t believe in ‘global warming’ Hunting Saltwater Fishing Outdoors Being followed around by my Chocolate Lab Houston Being followed around by my toddler son Preston Georgia Bulldogs Football Fan/ Non-Yella Jacket Fan YAF Atlanta Involvement YAF Co-Chair 2011-2012 2008 YAF 48 Hour Competition – 1st Place Winner [with Michael Rickman and Aaron Cole]

AIA Atlanta Involvement AIA Atlanta Co-Director Emerging Professionals 2011-2012 AIA Atlanta Tours 2010 – presented St. Anns Church project on tour

CAROLINAMONTILLA

Carolina (pronounced Caro-leena) graduated from Southern Polytechnic State University in 2010 with a Bachelor of Architecture. She enjoys backpacking around the world, and discovering new architecture. She has a strange love for designer chairs and architecture books. She is also in possession of the world’s largest collection of handmade paper towers. Carolina attended Anhalt University’s Summer Design Program in partnership with the Bauhaus Dessau Foundation in 2008. It was during her stay in Germany, and trips around Europe, that she learned to appreciate the beauty of well-designed cities. Through this experience, she also discovered the magic of having a bicycle as a sole means of transportation. Carolina’s interest in urbanism was further triggered by her collaboration on the research and comparative studies of cities in the Adriatic and Ionic coast. In 2009, Carolina spent the summer in South America working for Urban-Think Tank, an interdisciplinary design practice concerned with contemporary architecture and urbanism. During this time, Carolina had the opportunity to work on projects located in Europe and South America. She also collaborated with MVRDV on the Almere Olympiakwartier apartment buildings, as part of a five-member design team. One of Carolina’s favorite projects while working for Urban-Think Tank was their work in favelas, or informal settlements. Later, she decided to devote her thesis research to the study of informal settlements in Latin America. She is particularly interested in the role of architecture as the incubator of socially and environmentally responsible buildings that eventually infiltrate the network of efficient cities. After she was invited to exhibit her thesis at the Young Architects Forum’s Summer Salon, she became an active member of the organization. She now serves as Communications Co-Chair. After graduation, Carolina worked for Southface Energy Institute where she had the opportunity to collaborate with the Sustainable Cities Institute and Earthcraft Communities, developing sustainable cities in the Southeast of the United States. Carolina now works at Dencity, a small, urban focused firm where she is able to observe closely the construction process of several projects. One of her favorite things about working for Dencity is that she is able to take her dog, Kiki, to work. Carolina plans to pursue a graduate degree in architecture and urban design, and ultimatelytake her knowledge and experience back to her native South America.

DUSTINWILLIS

B.Arch, Southern Polytechnic State University 2010 Dustin, in reference to his humor, was once referred to as dry, like toast, without the butter.

He attended Southern Polytechnic State University beginning in the autumn of 2005. Five years later, he emerged with a professional degree in architecture and a finely tuned sense of witticism. His design work has received such accolades as winning the SPSU Thesis Design Competition and being an official selection for the Archiprix International 2011 Design Competition. After graduating, Dustin ventured into the professional realm, and has had the privilege of working with several talented design firms, including a stint in a remote desert design collective. He currently works a day job at NELSON in Atlanta, and moonlights as Communications Co-Chair for the Young Architects Forum. This past year, Dustin also organized the Logo Design Competition for the Young Architects Forum. Outside of a professional setting, Dustin is a casual cinephile. He prefers Tim Burton’s original Batman to the sequel, Batman Returns. Not because of the actors, art direction, or characters. Instead, it’s because the Joker, whilst vandalizing a museum, decides to spare a painting by Dustin’s favorite artist, Francis Bacon. He doesn’t hold either of these movies in high regard though. His favorite movie, actually, wavers between A Clockwork Orange and The Cabinet of Dr. Calagari. His advice to those in the design field is to read, specifically, House of Leaves by Mark Z. Danielewski. It was recommended to him during his stint in the desert, and he has had a different 49 perception of the reality of space ever since.

STEPHENTRIMBLE

Stephen Trimble grew up in Memphis, Tennessee and studied architecture at the University of Memphis. In 1999 he won the inaugural Francis Mah Travel Fellowship competition and used the stipend to travel around Western Europe for a month researching contemporary architecture. The following year he moved to Atlanta to attend the Georgia Institute of Technology. After receiving his Master of Architecture degree in 2002, he began working for Mack Scogin Merrill Elam Architects. In 2006 he moved to Washington, D.C. and realized his dream of living in a truly urban environment. “It was great to be somewhere where everything was walkable, where you were not forced to own a car. DC felt very European, particularly for someone coming from the South. I wish more cities would adopt the various height restrictions that give it such a great pedestrian scale.” While in DC he worked for Studios Architecture until deciding to return to Atlanta in 2008. He then joined Perkins+Will as a project architect in the higher education studio, where he remains today. In 2009 he received his architectural license and also founded his design practice, M20, in order to focus on smaller commercial and residential projects not normally seen in the context of a large corporate practice. Using the aphorism ‘anything worth doing is worth doing well’ as the studio’s working philosophy, he began testing various building typologies as a way to research and build up a portfolio of work. That year also marked the beginning of his interaction with YAF, starting with an Honorable Mention (2nd place) in the 2009 48HRS competition. “I had such a good experience as an entrant. I loved all the anticipation of what the unknown topic would be and the scramble to put something together over a single weekend and decided I wanted to be involved in the next iteration of the competition.” He assisted Newell Watkins, chair of the competition since 2008, in hosting it in 2010 and chaired the 2011 competition, now in it’s 4th year. In addition to being interested in all things relating to architecture and design, he is an avid skateboarder, snowboarder, dj, and rider of public transportation.

JONATHANHENRY YAF Atlanta Salon Chairman YAF Atlanta 10up Chairman Education: Masters of Architecture M.ARCH2 [XLAB]: Southern California Institute of Architecture (SCI-Arc) Bachelors of Science in Architecture: Georgia Institute of Technology (GA Tech) L’ecole de La Villette year abroad in Paris Bio: Jonathan is a recent graduate from The Southern California Institute of Architecture (SCIArc). He has a passion for design thinking and problem solving. He realizes that design is not just about making things pretty but also about the socio-political impact that created objects have on the world. Jonathan has been molding his career in pursuit of this mindset. He has spent the last couple of years working on freelance projects that vary in scope and content, and as a result he has gained many experiences that he brings to each project. He has gained a unique perspective while on the west coast working intimately on design, animation, and fabrication under various architects designers and fabricators.

In 2007 Jonathan started a multi-discipline with Arseni Zaitsev. Named Anonymous Studios, its mission is to become a way of learning and doing through making. The studio experiments in Architecture, Building, Design, Prototyping, & Research in a variety of media. It collaborates with anyone and everyone who is into innovation with improving design.

SARAHSTAAB SARAHSTAAB “Take one trip to New York City, pour a large handful of buildings into the mind and stir until architectural aspirations begin to form. Next, pour those aspirations into Southern Polytechnic State University, and beat with a whisk for approximately five years. Once complete, a graduate with a Bachelors of Architecture is formed. Sprinkle with a love for animals, especially snakes, and serve.

Since graduating, Sarah has ventured into the design field by working for different companies around Atlanta. Currently she is working as an architectural designer at Griffith Engineering. Sarah has also taken on the role of being the secretary for the Young Architects Forum of Atlanta. Outside of the design realm, she is an artist and animal activist. She has a unique love for snakes, and has raised several over the years. Her love for animals has occasionally turned her to vegetarianism. As an on-again/off-again vegetarian, Sarah has never met a carrot she didn’t like. Her goals in architecture are to find new and innovative ways to create and experience space, and to bring her compassion for animals into the recipe for design.”

KATHERINEDUNATOV

Katherine Cooper Dunatov is an Atlanta native working as an Architectural Intern for tvsdesign. Having aided in the design of her parents home at the age of twelve, Katherine knew she wanted to be an Architect at a rather early point. Of course, she also wanted to be a heart surgeon, professional ballerina and photographer just to mention a few aspirations. As with many persons there is a lot of consideration, or rather there should be, with deciding on such a profession. Thus, after much contemplation, the time came to make a decision between starving artist versus starving architect when attending university. Georgia Tech seemed the most viable option what with IN STATE and public versus the lovely Rhode Island School of Design [OUT OF STATE and private].

Studying abroad in Italy resulted in a greater passion for the already known Architecture as well as the cuisine and the culture. Not long after graduation a handsome choice presented itself and Katherine began an internship with Conran & Partners in London, England, UK. This reaffirmed her love and courage for the design world with respect to Architecture. Alas, the return to Georgia Tech as a Dorothy P Spence Memorial scholar would result in a Master of Architecture in May of 2011. She was wise and kept a piece of both her beloved journeys with her upon marrying a Scots-Italian, Oliver Edoardo, whom now resides in Atlanta as well. Their interests largely derive from travel and experience of the new or unknown. Enjoying Atlanta for all its nooks and crannies and exploring the smaller ‘cities’ within a maturing metropolis brings much joy and insight for the built environment around us. Involvement within YAF for the last couple of years, most recently as Public Relations Executive, has allowed Katherine an outlet with fellow creative minds of many different events and opportunities, specifically as a Winter Salon 2011 participant and Emerging Voices volunteer. Katherine is also an advocate in tvsdesign’s community outreach program having recently engaged a number of volunteers in Discover ARCHITECTURE at a local elementary school. Outside the office and volunteer world Katherine enjoys painting, following adventurous cooking blogs and cycling. Fav Film[s] : Edward Scissorhands | Alice in Wonderland Fav Music : Hans Zimmer Fav Book : The Fountainhead Fav Architect[s] : Jeanne Gang & Renzo Piano 51

NGHIDUONG

Nghi Y. Duong, not to be confused with her sister Nghi P. Duong, is a graduate from Southern Polytechnic State University with a Bachelor of Architecture. She loves cold weather and cherishes her jackets dearly. She has a pet hedgehog dubbed Schubert, who does not enjoy going to the beach and whose moods range between peevish and grumpy. Despite, he is an adorable little fellow and will spend all day sleeping under a blanket. If an individual could be summarized as a psychological equation, then Nghi would be one part existentialist + 2 parts scientific. The question of why is a constant within her psyche. She is always inquisitive and contemplative…i.e. why did her parents name her sister and her nearly same? Or is there an American out there who can master the “ng” sound of the Vietnamese language? Don’t be surprise if you overhear her using the alias Betty Gonzales while in queue. Her choice for architecture has been long in the making. Sixth grade was when it all started. For her, architecture is not only a career but a passion; there is not a switch to turn it off. Her brain is in perpetual design mood while her hands diligently try to keep up. Professionally she has work on projects large and small, from multi-million dollar churches to GAP Inc’s brick and mortar startup Athleta. She is also a furniture and product designer. They are her plan B should architecture fail to provide one day. Nghi’s brief profile in fragments: How’s It Made. Futurama. TED.com. MoColoco.com. Gizmodo.com. Hostel Costes cd compilations. Gypsy and the Cat. Red meat, grilled asparagus, and a draft of Stella. “Life is really simple, but we insist on making it complicated.” - Confucius Involvement in YAF/AIA: -Co-Chair of Community Outreach for YAF -Steering Committee member of YAF -Participated/Volunteered for: 10Up Design Build 2010 Cardboard Chair Competition 2010 Camp Twin Lakes Habitat For Humanity

ANYAKHALO person, sister, fiancé, animal lover, world traveler, cook and food eater, architect, graphic designer, model maker, problem solver. Born and raised in a former Soviet Union state, which is now the Republic of Belarus. Greatest influence in life is her mother who was an architect and restorationist in the former USSR. At sixteen, forcefully relocated to the United States and had determined to become an architect, despite cultural differences and a language barrier. While in school her studies included various design competitions, volunteer work, studies at Ecole D’Architecture de Paris La Vilette, France and extensive travel enywhere car, bicycle, tuk-tuk, plain, train or elephant can take her. Travel remains a love and inspiration in her life. I am Anya Khalo: self-reliant; deadline driven; a goal achiever and young creator who loves to work with people and contribute to all that is beautiful. The word “can’t” is not in my vocabulary (literally - I just looked it up for the purpose of writing this bio). YAF Involvement: Graphics & Creative Consulting

MICHAELRICKMAN

Born. Michigan. Go Blue. Move. Georgia. School. Mailboxes. Rocks. Death Metal Band. College. Appendectomy. SPSU. Architecture. Primus. Flag Football. Southern Model. Germany. Bauhaus. 12 Monkeys. Mental Research Facility. Graduate. Job #1. Commute. Creativity deprived. Office Space. Tatum the Dead Groundhog. Job #2. Commute. Did not reinvent the wheel. Minesweeper. Married. Ashlee. 2 acres. Design/Build Home. Job #3. Corporate. Commute. Achvoices.org. Baby. Son. Rhyce. Diapers. Chuck Palahniuk. Nebulous. Website Design. Braves. Job #4. Plexus. History Channel. Creativity rejuvenated. Economy. Unemployed. Job #5. Fladtastic. Coffee. YAF. 48 Hour Competition. Winner. Eames Chair. Orange. Baby #2. Maci. Pink. Fladtacular. House. Flood. High blood pressure. Stitches. Nebulous. Dissolved. Canon 50d. New York. David Letterman. Tee ball. Soccer. Honda. ARE. YAF. Graphics. Camping. MASS. Bio. Education: Anhalt University - Bauhaus Dessau, Germany, 2003 Bachelors of Architecture, Southern Polytechnic State University 2004 YAF Involvement: 2007 48 Hour Competition Winner (along with Adam Glenn & Aaron Cole) 2011 Graphics Director 2011 MASS (YAF book) Pending Lawsuits: “NOT!” phrase stolen by SNL skit “Wayne’s World.” Proof: 4th grade Valentine that was given to a classmate, Amanda.

REBEKAHWEAVER Rebekah Weaver, International Woman of Mystery. Well, not really, but she is from Alabama. Originally, she received a full scholarship for engineering to Auburn University. But, just like Joseph Gordon-Levitt’s character from “(500) Days of Summer”, she never gave up on her dream of being an architect. Leaving Auburn far behind, she graduated Magna cum Laude from Southern Polytechnic State University with a Bachelor of Architecture. She now has the honor of being a Jr. Designer at the downtown firm Stanley Beaman & Sears. If you don’t find Rebekah hard at work on her latest project, she can be found practicing yoga like a guru, or scaling giant rock walls in a single bound. She fills out the rest of her schedule relishing everything Atlanta has to offer. Her heart, though, is in the various volunteer events she participates in. With the Young Architect’s Forum, Rebekah serves as the volunteer coordinator for Atlanta Habitat for Humanity home builds, and has also participated in numerous Homestretch events and helped with the Camp Twin Lakes build.

Photography Competition YAF 2nd Annual

YAF11: Revisiting Rudolph

As part of the commitment to great architecture in Atlanta, the Young Architects Forum Atlanta held the 2nd Annual Photography Competition - this year highlighting Cannon Chapel at Emory University designed by Paul Rudolph. Photographers had the opportunity to showcase talent by capturing thought provoking and visually innovative images of Cannon Chapel. Selected works were included in a Photography Exhibit at Atlanta Fulton County Central Library from October 22, 2011 to January 2012 and at the Emerging Voices Exhibit in January 2012 at Museum of Design Atlanta.

â&#x20AC;&#x153;Architecture is a personal effort, and the fewer people coming between you and your work the better. This keeps some people from practicing architecture... If an architect cares enough, and practices architecture as an art, then he must initiate design; he must create rather than make judgments.â&#x20AC;? -- Paul Rudolph (1918-1997)

1st Prize General (Amatuer/Professional) Category “Cannon Chapel VIII” Jerry Atnip

2nd Prize General (Amatuer/Professional) Category “Passus” Cordia Wong

3rd Prize General (Amatuer/Professional) Category “canno.int.0” Meng-Kok Tane

Honorable Mention Prize General (Amatuer/Professional) Category “Untitled” Myron McGhee

Sponsors:

Competition Participants 61

1st Prize Student Category “Curves” Amanda Latta

2nd Prize Student Category “You are not Alone” Ivonne Zorrilla

3rd Prize Student Category “Untitled” Courtney Connell

Honorable Mention Prize Student Category “Vanishing Pane” Peter Quinn

Additional Student Participants:

INTERVIEW: EDAKINS

Experiences: An Architect and Educator Bridges Two Professions About Edwin E. Akins, II, AIA, LEED AP Having practiced architecture for over 13 years, teaching part-time during much of that period, Ed has developed an interesting perspective on the links between practice and academia. Since 2002, he has taught at both the Georgia Institute of Technology and at Southern Polytechnic State University, where he is currently an Assistant Professor coordinating third year design studios and environmental technologies. His work with Atlanta communities to achieve Livable Centers Initiative (LCI) grants and his engagement with non-profits in the area has helped local organizations envision planning and growth strategies. Through local art installations, his architectural practice, and as the co-author and author of conference papers on reparative planning and solar accommodation in design, Ed continues to expose and explore the delicate relationship between human occupation and nature while continuing his contributions to the AIA. Ed, why did you decide to become an educator in architecture? Becoming an educator grew organically out of my involvement with the architectural community. The firm I was working with at that time (2002) was, and continues to be, very supportive of employees who desire to teach while practicing architecture. It was just part of the culture of the firm to support the interests of their young staff. I was wearing a lot of hats back then, working on projects at the firm, teaching design studios three days a week, and serving AIA Atlanta as the director for the Emerging Professionals program. It became apparent to me that there was great value and opportunity in the links between each of my interests. Practice fueled much of my endeavors in those first years of teaching. For example, projects being undertaken at the firm became case studies and points of departure for discussions in the classroom that helped me illuminate programming, detailing, and design criteria for the students. The programming for the Atlanta Young Architects Forum (a monthly meeting for Emerging Professionals) was determined through my observations of needs within both academia and practice. Students would express concerns to me regarding their transition into practice while, as EP director, I would hear from interns expressing their own disillusionment within the practice once they were employed

by a firm. It was part therapy and part education and it created a desire in me to maintain a connection to these points of critical transition within the architectural profession. As an architect and an educator, what qualities are necessary to bridge these two careers? I think the careers are closer than perceived. Both careers require patience and the education or mentoring of others with whom you work. Both careers require a healthy level of self reflection and development to maintain currency in evolving landscapes of practice or research. Both careers require a clear understanding of the holistic nature of architecture and the ability to seek value in varying viewpoints regarding the profession. Where the two areas of focus in architecture (educating and practicing) diverge, I’ve witnessed a few qualities that seem to assist the practitioner-educator. A common attribute I see in others who bridge practice and academia is that they all share a passion to see architecture fulfill its promise to have a positive effect on the lives of individuals. Without that level of concern or care, I think those within either career begin to lose touch with the central thesis of the profession. Other qualities that I would prioritize would be patience, professionalism, dependability, and commitment. In support of these qualities, I’ve found that anyone venturing into this hybridized career would need to possess clear communication skills and possess a true love for the betterment of this profession and respect for those who have chosen to enter into it. It seems like so many things within the profession are changing—how we practice, how we communicate, how we learn. What are some differences in how students of architecture are taught to practice or design today compared to how you were taught? When reflecting upon my own education and the instruction that I provide today, I find a great deal of commonality in the processes of teaching and in the methods of learning. I’ve begun to rely heavily on “architectural thinking” as a core instructional tool that utilizes reiterative and sequential exercises to prioritize process and the application of ideas related to making. If a student becomes aware of this process and can then find those tools and methods to support that act of creation in the most efficient and effective means, then the design studio is successful and, in many ways,

unchanged from the goals and emphasis from when I was a student. Although it seems that every year a new method or tool for drafting, modeling, or measuring is developed, the education of an architect is anchored in an understanding of process and method and as such, this is our foremost obligation to students which remains unchanged. I think the biggest dissimilarity between my education and the format within which I now teach is the amount of information easily accessible to students. Data flow has increased to the point that data management becomes a critical component of the studio and of a department. This requires persistence to edit and refine the focus of design studios and constantly maintain clarity in the process of creation (for both the student and the professor). Additionally, the hierarchy of information (and information sources) has been eroded in our society, which makes it very difficult for students to edit, refine, and inform their own self-directed research. It’s this difference that concerns me the most regarding changes in the learning environment for current architectural students. Concurrently, the opportunities and expanded territories for student exploration are terribly exciting and fill me with optimism. Student participation through note taking and dialogue is still critical to the learning process. However, these tasks (dialogue in particular) are no longer confined to face to face activities. Each week students contribute equally to classroom conversations and to online discussion forums / blogs within our online course folder. It is important to note that this is in addition to the “traditional studio learning” atmosphere that I believe many of us experienced when receiving our education in architecture. In a way, these contact hours through virtual interface have dramatically increased the time spent teaching and sharing information. Physical model making is still critical to the development of many of the desirable sensibilities we seek in our students. I continue to believe that understanding spatial and performative properties are best taught through direct hand and eye manipulation of a material. Additionally, the review and re-manipulation of physical artifacts created by a student tend to resonate more effectively than the deletion and modification of virtual materials and representations. In part, the physical model works to hold information in time and space, but it also forms a link between the learning tools that are familiar to the instructor and to the student. This, of course, may change over time as affinities and familiarity changes with each generation. Currently, however, the ability to explore and manipulate a physical reality (the scale model artifact) with virtual media has become an enriching experience for both participants in this process and occurs with frequency in the studio environment.

highest and best usefulness in society. Whether this occurs at the scale of furniture or at the scale of governance, we have the ability to positively affect our environment. This is a direct reflection of the success within our academic institutions to maintain the integrity of research and design processes. An architect’s education, as I mentioned above, is rooted in a clarity of process that is spatial, inquisitive, and receptive. As a result, our graduates are good listeners who possess the ability to synthesize a multiplicity of conditions and formulate succinct answers or solutions. This is a quality that translates to the needs of multiple professions and careers. How do you think the AIA has done to support emerging professionals? Are there activities within your AIA Atlanta chapter that you can reference? Our local AIA Atlanta chapter has had a proactive approach to engaging emerging professionals and maintaining their participation and active involvement. I served as director of the Atlanta Young Architects Forum in 2006 when we won the National AIA Component of the year. I witnessed my fellow board members provide their full support behind efforts to engage graduates and young architects and it was an inspiring period of my life. I’m happy to see that this is a character of the local chapter that continues to this day. The current YAF in Atlanta has expanded its membership, outreach, and awards programs beyond anything I could have imagined and continue to inspire me. They are becoming an agile and relevant component within the AIA chapter and give emerging professionals in our region an outlet for creativity and expression. I’m proud of their continued development and tireless energies. If a colleague was undecided about renewing their membership with the AIA, what would you tell him/her? What are the key reasons why you continue to be an AIA member? The nature of practice and academia is acutely woven into the environmental and political landscapes of our surroundings. I have witnessed the AIA become a more effective regional and national organization in these realms of activity. The professional environment created as a result of this directed leadership makes me proud to be a member of the AIA and supportive of its legislative and sustainable initiatives. My AIA membership has allowed me to maintain a direct connection, socially and professionally, to the topics and individuals reflective of the most pressing topics within the design of the built environment. It is this connection, and having a clear voice within this organization, that is invaluable to me as a member.

We know that an increasing number of architecture school graduates are pursuing other career paths. What is it about an architect’s education that lends itself so well to other opportunities? I think that the capacity to analyze a condition and construct a proposal for solving or answering a request for intervention is our

Interview from the American Institute of Architects. Please see aia.org for more information.

JURY: Mike Gamble Georgia Tech, Assoc. Chair of Professional and Undergraduate Studies, G+G Architects, Principal

Leo Alvarez Perkins+Will, Principal David VanArsdale People of Resource, Founder John Henson Wellborn Henson, Founder Greg Smith Atlanta Street Food Coalition, President

“Easily deployable and easily transportable. This scheme has a huge upside for advertising.” “Great portability and accessibility. Doesn’t take multiple food trucks, or multiple sets of these to create an engaging environment.”

201148HOURCOMPETITION1STPLACERYANBLANNER+TREVORMcALLISTER+ANDREJAMESATLANTA, GA

JURORSCOMMENTS

P.O.T.S.

EATING

The bar-top allows for a casual eating atmosphere.

SHELTER

The size of the pot and tree canopy act as shelter.

USE

T R E E S T R E E T

The circumfrance of each bar-top will comfortably accommodate twenty people.

ACCOMODATES

One pot is left empty as a waste receptacle.

WASTE

Once the trees reach maturation, they will be donated and planted in the City of Atlanta.

Just like a food truck, the pot gets shrink wrapped in bright and changing images.

The 10’ by 10’ pot is cast with ribs to keep its shape and light weight.

TREE

ADVERTISING WRAP

One of the pots will be left empty and used as a waste recepticle near the entry.

Just like a billboard and food truck, the pots will be decorated with bright colors and signage.

RECYCLED PLASTIC VESSEL

CONTENT

With built-in bar-tops the pots are used for outdoor room making and casual dining tables. The arrangement of the flower pots becomes a daily ritual and game with which the citizens become familiar. "Hey Martha, meet me at the Braves table."

To accommodate mobility a light-weight soil base will be used with a ribbed recycled plastic pot. The trees will be used until maturation when they will be donated and planted in the City of Atlanta. Just as nimble cuisine seeks out new patrons so will our canopy seek out citizens.

Channeling a "lighter" Jean-Pierre Raynaud flower pot, the vessel provides opportunity for the food truck park to grow and flourish. The pots foster a brightly colored and playful atmosphere beneath a mobile tree canopy. The eye-catching pots will be shrink-wrapped, in the same language as the food trucks, with signage and advertising for the park.

PORTABLE & OBSERVABLE TREE SYSTEM

scale: 1’-0”=1/16”

The generators can be grouped and covered by a pot to reduce noise pollution.

GENERATORS

Light-weight soil keeps the pot portable.

LIGHT-WEIGHT SOIL

U I P E R S T

WATER

A pot can be turned on its side to create a backdrop for a stage.

ENTERTAINMENT

Water and plant food will keep the tree healthy.

The pots have built-in bars for people to eat and socialize.

The generators can be grouped E and covered by a pot to reduce noise pollution. T

SITE PLAN-AXONOMETRIC

RT NO

TACOS SHRIMP

A forklift will be used to load and unload.

The pots are distributed on-site daily.

201148HOURCOMPETITION2NDPLACELUKEWILKINSONATLANTA, GA

within site facing south

PERSPECTIVE VIEW

ON-SITE

DEPLOYMENT

“I think it’s one of the strongest in terms of the spaces created, even though, in a way, it’s using the feelings and emotions generated by the vegetation to create the spaces instead of actual physicality.”

“You get to eat outdoors, and you’re under a tree, what’s better? It’s ingenious because it’s portable but you could actually leave it in parking lots without compromising their vehicular usage.”

“Strong rhetorical idea, love the idea of giant pots. Great graphics.”

JURORSCOMMENTS

The pots will be loaded on to a trailer and head off to the next location.

TRANSPORT

The Floating Lima Bean During the early investigation, we deterdeter mined the “open square” is the natural configuration for commercial space and is flexible enough to allow for groups of varying sizes, including performances. We also noticed the layout of the food trucks follows this configuration which opened our thinking to conjur the open square as taking a form of its own. Our goal was to not obstruct the “square” but to enhance it. “The Floating Lima Bean” addresses the program in three primary areas: Portability, Functionality and Place-making. Portability: The floating structure is primarily comprised of a vinyl skin and components that can be trucked on site, assembled and inflated in a matter of hours. The structure will be held down by tethering to the surrounding elements by the use of guy wires. Functionality: The four main functions of the “Floating Lima Bean” are shading, powering, advertising and concealing. The structure inherently shades the users below allowing an interesting shade pattern to cast on the ground below. The topside of the vinyl skin in corporates a layer of photovoltaic film that acts as a solar collector to power the ambient lighting and other minor equipment during evening use. The Bean form is a whimsical shape and is advertisement alone being seen from afar. In the evening, it glows ever so softly providing ambient lighting for the surrounding areas. Loops are incorporated into the skin allowing for suspended curtains to conceal service areas and to hang signage. Place-making: Two words form the essence of place-making: “pleasurable” and “interesting” and the “Floating Lima Bean” accomplishes both. It is a creative composition of elements brought together to celebrate space not just for the user but also for its neighbors. The furniture shall also be a way for users to truly enjoy the space.

“Strongest attractor and the scheme with the greatest potential for spectacle. This one would encourage new forms of behavior.”

201148HOURCOMPETITION3RDPLACEJEROMESMITH+JEROMEMARTINATLANTA, GA

JURORSCOMMENTS

STAGE ONE - LUNCH-BOX ARRIVES ON SITE

STAGE TWO - FRONT PANEL FOLDS DOWN TO FORM WALKWAY

STAGE THREE - SEATING BOOTHS PUSH OUT

STAGE FOUR - BACK DOORS SWING OPEN

THE LUNCH-BOX 1 3 TH STREET

The units can form smaller groups - of 3 or 4 - or simply be placed separately with each serving as a storefront for the food truck of that day. While the units can function perfectly well in any number of desired groupings on the current site - of Peachtree and 12th Street - there was the vision that the Lunch-Box could function as well in a permanent location on a street corner, where vendors could pull up, open up shop and begin serving. This could potential transform the dining experience of eating at one of these often-stigmatized “grease-trucks”. Now one can walk up to a clean counter and be served, while the noisy generator is out of sight (and sound), then sit down in a bench and enjoy their food rather than sit on the nearest seat, often on the steps.

JUNIPER STREET

PEACHTREE STREET

1 2 TH STREET

12TH STREET

Originating as a standard 20’ x 8’ x 8’ shipping container, the Lunch-Box is an adaptable, stackable and versatile unit that unfolds to house all the food trucks’ needs in one package. The Lunch-Box was designed to be a stand-alone unit that works perfectly with a single food truck at any location. However, when several units are grouped, the individual units create a pathway down the center of the food trucks, allowing a patron to explore the many food options that are gathered in one place. A tent structure could also be attached to the top of the units creating shade while still providing airflow on those sticky Atlanta afternoons.

1 3 TH STREET

JUNIPER STREET

PEACHTREE STREET

13TH STREET

PEACHTREE STREET

HONORABLEMENTIONNICHOLASCRISCIONE+JASONFALCONEBROOKLYN, NY

JURORSCOMMENTS “Very approachable solution. Offers lots of inherent modularity and possibilities in terms of customization. On site storage could even turn into revenue generating advertising opportunities.” “More than any other scheme, I could see this one being deployed now. It’s ready to go.”

The unit can be stacked and stored off-site, trucked in, assembled and customer-ready within minutes of being opened. Once the unit is placed on site, the food truck operator could pull down the front panel, push out 2 booth seating areas that can fit 6 people on either side, swing open the back doors and pull their truck up to the unit and serve customers.

1 2 TH STREET

POTENTIAL LUNCH-BOX LOCATIONS AT PEACHTREE & 12th STREET

014

With the goal of providing a rapidly deployable infrastructure to support the food truck park, this project exploits the possibilities of a tensegrity structure with ability to produce a maximum of volume out of a minimum amount of material. While conventional tensegrity structures consist of struts, held in compression by tension cables, this project makes us of a tensile wrap, in place of the cables. This allows for the membrane to act as a canopy and an enclosure that wraps seating clusters while setting up a system that invites the user into a new spatial experience for the food truck park.

A range of spaces from large to small, introverted to extroverted, and slow to fast are created, with the aim of providing for the collective as well as the individual. One can sit along peachtree people watching, or hide away within one of the wrapped units interior to the block.

E STREET

The system is lightweight, consisting of aluminum poles, held in compression by a tensile fabric membrane. The twist, which produces a set of ruled surfaces (composed only of straight lines) is the result of the system finding structural equilibrium. The poles are anchored to the ground by plywood bases, fabricated offsite. The total effect is a set of volumes that give the food truck park a strong presence on the street while also inviting patrons to explore the interior of the system.

PERFORMANCE CANOPY

PEACHTRE

HONORABLEMENTIONJONATHANBAKERATLANTA,GA

JURORSCOMMENTS “There is a variety of strong, yet attractive spaces that would draw patrons. There’s lots of shade, which we all know is crucial if people are supposed to linger.”

w r a p ped

TENSILE FABRIC MEMBRANE CANOPY UNIT

The units respond to different types of gathering and eating -standing at a bar surface, sitting at a table unit or bench or gathering around the large space dedicated to performance. The system acts as a field condition, and thus is applicable to many other sites. The malleable geometry of the units allows for a range of configuraeculiarities of a given site. tions that can accommodate the peculiarities

ALUMINUM COMPRESSION POLES

12TH STREET

PLYWOOD BASE, FABRICATED OFFSITE

PERFORMANCE STAGE

SITE PLAN - 1/32” = 1’-0”

GENERATOR STORAGE + RECYCLING

COUPLED FOOD TRUCKS CONVENTIONAL STRUT/CABLE TENSEGRITY UNIT

WRAPPED TENSEGRITY UNIT

PE AC

RE E

ST .

INTERIOR SEATING UNIT BAR LEVEL EATING

BENCH SEATING

TH 2T 12

ST.

EXPLODED AXONOMETRIC

PERSPECTIVE FROM PEACHTREE & 12TH CORNER

PERSPECTIVE - INTERIOR

HONORABLEMENTIONKELLENMINORATLANTA,GA

JURORSCOMMENTS “Very artfully presented, love the tractor!” “Strong presentation and a good systems approach to the issue, in terms of using a kit-of-parts concept.”

MORANNAVRI+TAMARSILON+REEMMEIRISRAEL

JOSEPHLAMBATLANTA,GA

XIAOWUALBANY,CA PRINCIPLE SCHEME

ORGANIZATION SCHEMES

Popular initiatives pop-up to respond to a common need until then kept silent. The secret of the success of the food truck coalition relies on two major elements: the informal and the building up of a community. Architecture tends normally to organize and to structure. But in this case, architecture must focus on emphasizing the alreadythere good aspects of the phenomenon. Architecture is sometimes just a tool, not a frame.

The MAGIC BOX acts as a simple toolbox, displaying easy solutions to eliminate the constrains the food trucks community is facing today - such as climate dependency - using the trucks and the community to authorize more spontaneous uses rather than restricting to one function.

Rainy day 12 Trucks

hot air extraction and connection ?

The MAGIC BOX proposes basic solutions for basic needs. To protect from the rain: a roof. To sit: a horizontal surface. To see: a light. But to make this possible, the magic box needs the energy and the participation of the trucks themselves. The roof and the sit are glowing inflatable surfaces compacted into the magic box and linked to it. After opening the box and unfolding the sit and/or the roof, depending on the weather, the trucks reach their final positions - indicated by simple but permanent outlines on the ground creating a subtle urban sign - plug to the network and start to cook. The extracted hot air from the cooking is the energy needed to inflate the magic system.

Sunny day 12 Trucks

storage magic bench

? ?

inflatable magic bench

Rainy day 24 Trucks

SUNNY DAY!

Sunny day 16 Trucks

The MAGIC BOX

Simple lines on the ground help the trucks to find the perfect location according to the weather and to the number of present trucks. The colour code makes the orientation simple and animates the parking while the trucks are absent.

180’

GENERAL GROUND PLAN PARKING DAY

The billboard on the site, through a simple red-light sign attracts the attention of patrons from far and inform them when something is happening.

The inflatable shelter protects the crowd from rain or from direct summer light. Its transparency filters the sunlight creating a smooth shadow.

The inflatable bench creates a unique and fast animation. People can relax enjoying good food in a casual picnic mode. At night, the inflatable structures glow, enlightening the whole area.

100’

20 9

15 14

RAINY NIGHT!

JOANNEPOUZENCBERLIN,GERMANY

50’

storage magic ? shelter

basic connection

2 ?

Enjoying the good food provided by the food truck community, people gather around in a special picnic atmosphere, far from the office space for few hours. By lying down, the ambiance created is relaxed and playful and participates in making the food truck market even more attractive... Fun is often source of creativity and gathering people is also gathering ideas: who knows: maybe the inflatable structures will become temporarily a playground, or a giant slide, or a stretching/yoga ground, or ... ?

0’

inflatable magic shelter

JONGJINLEEATLANTA,GA

FOOD TRUCK COURT Most people got a stress for the lunch menu. Someone has a lunch with frozen food or with expensive and savory lunch meal. How to spend money on a lunch is big question. One of suggestions is Food Truck. It is even tastier than frozen food. We may not expect to have a romantic mood because there is no seat and shade. However, a customer needs them. The space of food truck is limited. Even though cooker types are depended on the food, what they sold, a food truck carries a lot of cooker, such pans and stewpot, and heavy appliance like stove and freezer. So, there is no extra space. The Food Truck court tried to deal this confliction. For customer, the space is clearly divided for circulation and socializing space. By the variation of the color fabric (there is no meaning for color, and it could be change for different food or theme), the space became more enjoyable for eating and more vibrant. With unified supporting seat board and orange color fabrics, food truck could save space.

Perspective from Enterance

cooking parking preparing

waiting moving exciting

eating relaxing socializing

leaving

Closed ceiling

Various Layout

Open ceiling

JAYLEACHATLANTA,GA

Perspective from Souteast Corner

EVANWEAVER+DONBUCHOLZ+RACHELWELLER+KATEPOST+JEREMYSAMUELSBIGRAPIDS,MI

DANIELJOO+NICFORBESAMES,IA

comforting Human connection.

Noun:

Circulation And seat Arrangements

Canopy Structure

#35

Any nutritious substance that people or animals eat or drink, or that plants absorb, in order to maintain life and growth.

food

Since the 1970s, Atlanta sought to establish an image as an international city, a New South renaissance town emerging into a larger world. The unique intermingling of numerous ethnic affiliations in Metro Atlanta offers a combining cultural, social, and urban geography. This phenomena, the changing nature of working environments and lifestyles are increasingly creating a need for people to eat inexpensive meals outside their homes or on the run to work or school. In fact, for centuries in the big crowded cities and throughout various parts of the developing world, street food vendors have played a main role by providing customers with a leading source of local, inexpensive, fresh, and healthy food of remarkable diversity. Throughout history food has been the greatest medium because it introduces us to the local's way of living using one factor that is common to mankind; Food. Food knows no boundaries and sees no countries no colors. It is through food that we bridge the gaps of cultures and reach toward a highest level of discourse. On the other hand, the notion of street food trucks in the metro Atlanta neighborhoods will have benefits beyond expanding the diversity of food offerings. It is such a catalyst for promoting economic vitality, helping to brand neighborhoods by attracting food traffic, increasing access to healthy, local food, and providing an opportunity of owning one's own business. This design intervention should not be so much a complete otherness, but rather a symbiotic merging with its context. Permeable boundaries allow mobility inwards and outwards, and encourage interaction both with the visitors and the occupants to convene, converge, and enjoy the flexibility and interchangeability features offered within the program. The program should address both diversity and mobility. The unique intermingling of numerous food venders reflecting varied ethnic affiliations in Metro Atlanta, offers a combining of the cultural, social, and urban geography. This design asks for a site that is about diversity and mobility, therefore it should be a meeting point. It should be a place that allows for maximum interaction.

Food a

Food

YIKUMKUMAKASSAATLANTA,GA

Treasure of_

ELEVATION 1/200째

VENTILATOR

AIR FLUX

USERS FLUX

bubble box

DOUBLE SIDED STRUCTURE

UNINFLATED FORM

#27

SECTION 1/200째

PLAN 1/500째

PAULFRAILLONPARIS,FRANCE

YANGMINGMARIETTA,GA

FLOW OF CARS - CARPARK IS STILL ALLOWED AT THE GROUND LEVEL OF THE STRUCTURE

4. NUTRIENTS ARE TRANSPORTED AWAY TO FARMLANDS

- USABLE NUTRIENTS ARE EXPORTED VIA JUNIPER STREET

KWOKHOILAMHONGKONG,CHINA

   

  

  



   

  



3. DIGESTION OF FOOD TRASH GIVES NUTRIENTS

- FOOD TRASH ARE THEN TURNED INTO USABLE NUTRIENTS BY BIOLOGICAL DIGESTION WITH MICRO-ORGANISMS

- AFTER EATING, PEOPLE CAN GATHER NEAR THE FRONTSTAGE TO YELL FOR THEIR FAVOURITE BANDS!

5. ENJOY THE PERFORMANCE ON STAGE!



2. LEFT-OVER FOOD BECOME FOOD TRASH

- LEFT-OVER FOOD ARE COLLECTED FROM EACH TRUCK

- DINERS CAN ENJOY EATING WHILE ENJOYING THE PERFORMANCE ON STAGE

4. ENJOY EATING WITH SOME ENTERTAINMENT



  

   

  

1. COOKED AND PREPARED IN-SITU

- FOOD IS BOUGHT AND PREPARED BY INDIVIDUAL FOOD TRUCK EVERYDAY

GENERATOR HIDDEN

- ALSO, TO SEPARATE THE DINERS FROM THE POWER GENERATOR (WHICH IS HIDDEN NOW)

- TO SEPARATE THE NOISY QUEUING CROWD FROM THE DINERS

3. WALK UP TO 2ND LEVEL



’–    –    



     

TO MINGLE STREET DINING WITH MUSIC ! TO MINGLE PEOPLE WITH PEOPLE !

FOOD FLOW

- THE USE OF STRUCTURAL FRAME ALLOW ANY SHADING PANELS TO BE INSTALLED WITH FLEXIBILITY

- EXOTIC RED COLOR OF THE STRUCTURE HELPS VISUALLY TO STIMULATE THE URGE TO EAT! - ALL COLORFUL FOOD TRUCKS ARE VISIBLE AT THE ENTRANCE TO HELP ATTRACT THE PASSER-BY FOR FOOD

2. QUEUE UP TO PURCHASE

1. ATTRACTED BY FOOD!

FLOW OF THE 10 FOOD TRUCKS - HIGH ACCESSIBILITY FROM ROAD FOR THE EASE OF RE-SUPPLY OF FOOD

FOOD TRUCK PARK -



PEOPLE FLOW

THOMASvandeBOSPOORTEDINBURGH,UNITEDKINGDOM DUSTIN(GREG)WILLIS+YVETTELAPURA+SARAHSTAABATLANTA,GA

The emergence of street food culture in Atlanta continues a history of community culture in the city. The Southern tradition of social gathering around food sets the Atlanta street food culture apart from other urban centers. The notion of sharing a meal is ingrained in traditional Southern culture, which instills an appreciation for the unifying effects on a community. It is this strong sense of community that allows street culture and arts to be embraced by the city. In Atlanta, the coalescence of street food culture, street art culture, and traditional Southern culture creates a heightened sense of community within the city. Drawing inspiration from these local cultures, a space of gathering for the Atlanta Street Food Coalition will reflect the needs and traditions of each culture. Food trucks will flank the perimeter to form a centralized zone where people gather to view all of the different food options and eventually eat. From traditional Southern culture, people will gather in transformable group settings to share meals and discussions in sheltered pavilions. The space will also provide areas for the exhibition of local street artists and performers. Offering a flexible infrastructure for gathering will accommodate different settings and events to coalesce the needs of each culture. This malleable infrastructure is established through a transformative bench and a sheltering pavilion. Using an expandable honeycomb material allows the bench to be lightweight, fluid in form, and easily transformed for the needs of the crowd. Public space and private space are provided depending on the arrangement of these benches, and the changing form accommodates numerous ways of gathering. The pavilion provides shelter, a canvas for artists, and street presence to the city. This framework develops a centralized courtyard that is easily transformed and transported for the needs of those who occupy it.

SITE PLAN

COLLAPSED FOR TRAVEL

EXPANDED FOR STANDING/LOUNGING

EXPANDED FOR STEPPED SEATING

This project has taken as its impetus a notion of design that engages the ﬂexibility of voids within the existing fabric and the spatial formwork. The concept was to develop a unique, ﬂexible assembly that, through a tension assembly, would modulate sound and ambient lighting within the interior space and its overlapping zones.

SPATIAL ARMATEURS REGISTRANT #46

According to analyze the street condition and search for the history of this area, we can found the whole area divided into tangram. (The tangram is a dissection puzzle consisting of seven flat shapes, called tans, which are put together to form shapes.) If we draw the "tangram" on a paper and fold the paper in to 3D, we will make many shape like a different space. Using the geometer's 3D shape, we can make the Food Truck Park temporary and portable come true.

BRENTSENSOLOMONHOUSTON,TX

Several iterations of the paneling system can be assembled to cover diﬀerent areas and is capable of incorporating variable spans.

Seating Area

Food Trucks

48HRS Competition

Tangram

PANPANALPHARETTA,GA

Stage

ANNANAYDENOVA+ ELENANAYDENOVAPEACHTREECITY,GA

entrances

dining

food trucks/ containers

complete scheme

schematic variations

The proposal was inspired by the premise of role reversal –the food vendors patronizing the patrons. We envisioned a site plan similar to a traffic circle, where a vehicle can enter or leave the circle to negotiate an intersection. The schematics represent twelve segments – 30 degrees each to accommodate ten trucks 20-30 feet in their longest dimension and two exits. The site –design adaptability is achieved by the relative freedom to position the two entrance/exit segments to meet the predominant traffic flow specific for each site chosen by the Food Coalition. Inherent flexibility of the form allows various convex/concave arrangements. The inner space is reserved for the diners’ sitting. The specially designed tables can be arranged in many different ways, but we would recommend radiating from a central feature, a focal point that could be a fireplace during the cold months or a water fountain during the summer. The white noise will be a bonus juxtaposed to the city traffic hum. If budget is a consideration then an interactive food/beverage related sculpture or happening might be an alternative. Re-purposed shipping containers are doubling as solid weight and covered dining space for inclement weather. When the caravan of food trucks moves to the next location, all portable structures can be quickly stored and transported in those containers. A highly visible structure is used to promote the undertaking. The existing billboard on site can be used or a new tower-like structure erected. The generator is placed in the NE corner of the site in a natural lower spot and surrounded by earth filled greenery containers to further dampen the noise. Originally designed collapsible sitting structures 2’x1’ comprised by table and bench for a single person that can be hooked /hinged together to assemble various sitting configurations. Suggested materials are lightweight durable aluminum, bamboo laminate and weather resistant bean bags.

The Dining Nomad

The location of the entrances in the 12th and Peachtree St. site corresponds with the flow of traffic and accessibility of the site through these two streets.

site plan

GINATORRESBUFORD,GA

MATTHEWFORDPITTSBORO,NC

RYUNOSHINHIRAISTLOUIS,MO

<0’

PREP/SERVICE

20’

EAT

CIRCULATE

PARTY CIRCULATE

35 or 1-bay parking space dimensions

holds air canopy base

EAT

20’

billboard

10’

PREP/SERVICE

0’

RECYCLE

14’

PREP/SERVICE

EAT

The food floater is a highly portable shelter that depends not on its site or the number of vendors, but solely on the physical structure of the food truck. Utilizing a flexible aluminum structure, the floater uses compression forces (umbrella diagram) to support the weight of a helium filled canopy. The aluminum structure attaches easily to the truck’s roof- strapping through the interior driving space then stabilized by the closing of the entry doors of the truck. The air-filled canopy is then attached and inflated using an individual generator (previously owned by food vendors). The translucent enclosure of the canopy also holds containers of phosphors that absorb sunlight during the day and radiate energy during the night. The glowing canopy will act as a city attraction and encourage the selling of food during evening hours. The floater serves as an environmental-friendly shelter that can be used continuously by the food trucks owners; while metaphorically representing the food truck’s ability to float from one location to the next.

CIRCUATE

REST

CIRCULATE

35 or 1-bay parking space dimensions

12th STREET

EAT

PREP/SERVICE

RECYCLE

12TH STREET

LEGEND

TRASH/RECYCLING

AIR CANOPY 05

PERFORMANCE

CIRCULATION

02 03

SERVICE/ PREP AREAS

an atlanta food truck revolution

Today’s food trucks offer a tasty alternative to the traditional restaurant experience. Food trucks are one of few spaces that can bring together citizens from all walks of life for hours at a time in the urban environment. These ever-changing sites are home to inventive cuisine and become temporary scenes of social activity and fun. One only knows where these trucks may pop-up next. Their spontaneity requires a lightweight covering that can be easily and quickly assembled, while also acting as a beacon for food-lovers seeking nourishment across the city.

RECYCLE

10’

elastic strapping buckles to truck and secured by closed door

adjustable canopy holder and sidebar

attachment mechanism

envelope mechanism

ion ns te

- - > compress ion

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FOOD FLOATERS juniper STREET

EHSANOLIANTORGHABI+MOSTAFAGHOLAMI+ABOLHASSANKARIMIMASHHAD,IRAN

86 peachtree STREET

SARAHBETHTURNERATLANTA,GA p ed ergiz solar en

PEACE THROUGH BARBARISM One gnarly claw hand, long permanent now. Eyes atrophied, unable to focus ‘cept on the screen. Corporate policy tattoos, faking interest. Trendy bars & art openings. Apathetic and bored, soul crushed by monotony, week long seminars, enslaved drudgery. The real world protected from it by glass, air space and glass. Disgruntled it let its pants out, gave up chasing skirts, re-re-read Code, asleep. While it slept, it dreamt of running and tearing, hurling bricks, beating its chest, setting fires and fresh air. It saw itself more primitive, back straightening, lungs expanding, blood on its hands. Startled awake by thunder and rain, shame lifted and unafraid. Swung its bare feet to the floor, drenched in sweat, not looking at the clock. No time to think. He ran, arms flailing.

What Radical Overlords Happy Farmer + Disgruntled Architect Viva la Revolucion! whatradicaloverlords@gmail.com

“Architecture is a hazardous mixture of omnipotence and impotence. It is by definition a chaotic adventure... In other words, the utopian enterprise”

-REM K.

DIGITAL FUTURE TONGJI UNIVERSITY - SHANGHAI, CHINA AUGUST - SEPTEMEBER 2011

YAF IN CHINA

2010 YAF 10UP COMPETITION WINNING SUBMISSION PERISCOPE design team: brandon clifford, wes mcgee, dave pilgram structural: matthew johnson build team: brandon clifford, wes mcgee, macie j kaczynski, johanna lobdell, deniz mcgee, kris walters rigging: tierson boutte fabrication: university of michigan taubman college of architecture and urban planning client: modern atlanta 10up competition

Emerging Voices is an annual citation awarded to individuals and firms with a distinct â&#x20AC;&#x2DC;voiceâ&#x20AC;&#x2122; who demonstrate the potential to influence architecture and design within the Atlanta metropolitan area. Since 2001, the juried series has provided a public forum for the exhibition of earlycareer local architects and designers and encouraged the exchange of ideas among young practitioners and the public.

The Young Architects Forum of Atlanta, a program of AIA Atlanta, is proud to present the awardees of the 2011 Emerging Voices Citation. Work by these individuals will be exhibited at MODA, the Museum of Design Atlanta, located at 1315 Peachtree Street, Atlanta, GA from January 9, 2012 through January 22, 2012. This yearâ&#x20AC;&#x2122;s recipients are:

Tristan Al-Haddad

for his research and experimentation at the Georgia Institute of Technology and as a founder of Formations Studio

Ryan Gravel

of Perkins+Will for his visionary work which led to the Atlanta BeltLine

TRISTANAL-HADDAD

Tristan Al-Haddad is the design director of Formations Studio and assistant professor of architecture at the Georgia Institute of Technology. As an assistant professor, Al-Haddad’s work is focused on emerging digital technologies’ impact on architectural design and construction. Al-Haddad received a Fulbright Fellowship in 2009 as a visiting scholar at the Universidad Tecnica Federico Santa Maria in Valparaiso, Chile. His work has been exhibited in venues including the High Museum of Art in Atlanta, The Boston Center for the Arts, The International Contemporary Furniture Fair, Solomon Projects Gallery, and The AIA’s Center for Architecture in New York. His work has also been published in print sources including the New York Times, Dwell, Metropolis, Art Papers, and The Atlanta Journal Constitution. Al-Haddad was one of seven recipients of the ARTADIA Artist Award in 2009 which was juried by several nationally recognized curators and critics.

Tristan founded Formations Studio LLC in 2005 as a vehicle to create knowledge and experiences within contemporary culture, while also making responsible contributions to the built environment. The Studio’s ethos is built around the ideas that design value is generated through research, experimentation, and collaboration, and that such an integrated approach identifies relevant cultural questions and creates innovative solutions. Formations Studio’s work encompasses architecture, art, science and research. Formation The studio engages each project not only in terms of form and space, but also in terms of advanced technological methods, and techniques that can be applied at various scales.

http://www.formations-studio.com

RYANGRAVEL

Ryan Gravel brings an architect’s perspective to urban planning, bringing the knowledge of building dimension and design to site planning, concept development and public policy. His master’s thesis in 1999 was the original vision for the ambitious Atlanta BeltLine – a 22-mile transit greenway that transforms a loop of old railroads with light-rail transit, parks and trails to generate economic growth and protect quality-of-life in 45 neighborhoods throughout the central city. Eight years of his subsequent work as a volunteer and later in the nonprofit and government sectors was critical to the BeltLine’s success, which is now a $2+ billion public-private initiative in the early stages of implementation. Now practicing Urban Design at Perkins+Will, Ryan is Design Manager for the firm’s BeltLine Corridor Design contract, which will determine the character and design details for the trail, transit guideway, stations, access points, public spaces, public art, streetscapes, lighting, plants and materials. Ryan spea ks internationally about the BeltLine, and has been recognized for his accomplishments, including the Atlanta Urban Design Commission’s highest award in 2007 and Esquire Magazine’s “Best and Brightest” in 2006

DETROIT RE-AVENUE

CATALYSTINFRASTRUCTURE As technology offers us more flexibility and more choice in the physical places where we live and work, cities are flourishing again, partly because they are more attractive to an increasingly mobile workforce. People with choice are seeking more social environments, with mixed-use districts, better cultural resources, greater mobility and a more robust public realm. Business and government are responding in turn, and the communities that recognize and take advantage of these changes first will be best positioned to succeed in a more competitive future. In order to compete for this more physically-active and sustainably-minded workforce of the future cities must make sure that they remain the kinds of places where people want to live. One way communities can re-envision their future before having to address the political challenges to change, is through strategic investment in innovative, non-partisan, popular public works projects. Over the last ten years, several cities have begun investing in interesting infrastructure projects that leverage what were previously underutilized or even forgotten assets to transform themselves into exciting, vibrant places. These projects not only begin the physical transformation required to attract future residents and jobs, but also catalyze a cultural shift in thinking about what kinds of policies and infrastructure we should be investing in. And the reuse of existing assets has the additional benefit of fostering differentiation – avoiding the homogeneity that plagues urban sprawl. Whether they are multi-district projects like the Bloomingdale Trail in Chicago or complex regional proposals like those for the Los Angeles River, these projects not only transform the physical form of their cities, they change our cultural expectations for how we want to live and how our physical environment should be built. One of the most innovative and comprehensive proposals of this type is the Atlanta BeltLine, a 22-mile loop of old railroads being transformed into a linear park with streetcars, bicycle and pedestrian paths connecting over 40 diverse neighborhoods, as well as city schools, historic and cultural sites, shopping districts and public parks. It organizes adjacent urban land for transit-oriented development, expands transit service within the urban core, and connects various parts of an emerging regional trail system. What started as a kernel of an idea has become a catalyst for other city changes including over 1,000 acres of new parks, the largest affordable housing initiative in the city’s history and perhaps the longest and most unique arboretum in the country. With every expansion of its vision, this idea reinforces changing cultural preferences, which further empowers leaders to improve public policy, which ultimately will impact a much larger area than the project itself. But not only are projects like the Atlanta BeltLine generating local movements, they’re inspiring other communities to find their own catalyst projects. Perhaps no other city offers a more provocative opportunity to do this than Detroit, where the challenges for rebuilding are almost overwhelming. Detroit has an incredible network of roads and highways that are now significantly underutilized in a way not too different from Atlanta’s railroads. This valuable infrastructure could fairly easily be repurposed in such a way that it changes the paradigm of Detroit, accommodating its smaller population and smaller tax base in a way that actually elevates quality of life for its residents rather than simply reducing the infrastructure they are obligated to maintain. If Detroit wants to be a thriving part of the future, it needs a catalyst to jolt it from its automindset and transform it from a city built for cars into a city built for people. Automobiles were the mobile devices of yesterday. They changed not only our physical world but also our cultural expectations for how we want to live. In a similar way, but toward a much different end, today’s mobile technology is dramatically changing our perspectives on which places are considered most desirable to live and therefore better positioned for the future. By investing in this change and leveraging existing assets with catalyst infrastructure projects, we have a chance at making truly transformative and positive changes in the way we build the world around us.

Ryan Gravel

ATLANTABELTLINEOVERVIEW The Atlanta BeltLine is a $2.8 billion redevelopment project that will shape the way Atlanta grows throughout the next several decades. The project provides a network of public parks, multi-use trails and transit along a historic 22-mile railroad corridor circling downtown and connecting 45 neighborhoods directly to each other. The Atlanta BeltLine is the most comprehensive economic development effort ever undertaken in the City of Atlanta and among the largest, most wide-ranging urban redevelopment projects currently underway in the United States.

At the heart of the Atlanta BeltLine is an integrated approach to land use, transportation, greenspace and sustainable development that will create a framework for future growth in the City of Atlanta. During the past 20 years, metro Atlanta’s growth has occurred in widely spread and disconnected pockets of development which have strained the region’s quality of life and economic growth. By attracting and organizing some of the region’s future growth around parks, transit, and trails, the BeltLine will help change the pattern of regional sprawl in the coming decades and lead to a vibrant and livable Atlanta with an enhanced quality of life. Atlanta BeltLine, Inc. (ABI), formed by The Atlanta Development Authority in 2006, is the entity tasked with planning and executing the implementation of the Atlanta BeltLine in partnership with other public and private organizations, including City of Atlanta departments. The BeltLine Partnership is a non-profit organization committed to raising funds from private and philanthropic sources to support the Atlanta BeltLine. It works with neighborhoods, community organizations, faith organizations, businesses and other groups to raise general awareness and broad-based support for the Atlanta BeltLine.

More Information available on www.beltline.org

Christopher T Martin 770.893.9383 www.christophertmartin.com

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Architectural Styles

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12/23/2011 11:01 AM

“Out of all the books in the world, THIS Nathan Koskovich

is one of them.”

But, it’s the same thing, “Less is more, more times than it is less. except it’s different.” Jimmy Flacco & Dirk McFlurry his facial hair for a good “Let’s put it this way...I knew Lloyd grew g to West Virginia drivin ed involv it know t didn’ reason, I just d Dr. Kruger T. name tif MASS Bull to pick up his aunt and her Ludlow.” Gus Liverpool by the Young Architects “Masstastic! This publication produced not to be reckoned with. force ral tectu archi Forum of Atlanta is an and enjoy!” Buckle your seatbelts, grab a sandwich Jimmy John “This is an absolutely amazing collection read.” Adam Glenn

of work that I plan to

coffee “MASS is the only book worthy of my John Moores

table!”

the architectural content “Less in More?! Not when it comes to tly in your hand! MASS direc sits that n catio that enriches this publi is more!” Ludweg Mees van der Row n? Heck no. MASS?

“Puppies? Yes. Fluffy boots? No. Bill Walto Oh yeah.” Greg McGreg

, if you still need quotes.”

“Hey YAF ATLANTA! I can provide a haiku Ed Akins