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Selected works from my undergraduate education at the University of Michigan, 2012-2014 (in-progress)
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adam wagnerarchitecture + design
P O O L // contemporary american reinterpretation of the bathhousewinter_2014
B I S E C T // exploring the intersection of public and private spacewinter_2013
C A R V E // translation of digital media into physical formfall_2012
M O L D // transposition of solid_void relationships in CARVEfall_2012
I N F L A T E // the “no-frills” chicago firehousefall_2013
C O N S T R U C T // construction documentation using AutoCAD + Revitfall_2012 + winter_2014
CONTENTS04
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C R A F T // documentation of model-making abilitiesfall_2012 + winter_2013 + fall 2013
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P O O L // contemporary american reinterpretation of the bathhouse
arch 442 design studio IVwinter 2014
using the relationships discovered and examined in CARVE, the goal of this project was to reimagine the complex voids of the white layer model, and translate them into mass. simultaneously, mass had to be reinterpreted as void, so as to fully understand the nature of space and how it operates as a solid and void. spatial capabilities are realized through a shift in hierarchy between space and mass.
unlike CARVE, which employed an iterative process to develop the most appropri-ate spatial solution, MOLD developed as a slow abstraction of the existing spaces of carve. Basswood was cut down into facted pieces to create the exterior shell of the white layer model. a bounding box of 4”x6”x8” (the size constraints of CARVE) was built around the shell to complete the mold into which rockite would be poured.
after the rockite dried, the mold was extracted turning the original voidspace of CARVE into a solified concrete sculpture
RIGHT: 1/4” scale model of the Barcelona Pavilion; constructed with museumboard & acrylic
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The project began with an exploration into pool typological precedents, including buildings such as
the Barcelona Pavilion, the Kaufmann Desert House, Angkor Wat, and the Therme Vals. Analysis of the
pools includes their location in plan and section, relationships to different spaces, structure, and vi-
sual acoustics. Documentation for each of these properties can be found in the technical illustrations.
R E S E A R C H
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ABOVE: Sliding glass cor-ner doors open the interior space to the outdoor pool deck, creating a seamless transition between liv-ing spaces. The horizontal plane of the pool is treated as an equally important space.
LEFT: Planar organization of the Kaufmann House is utilized to establish a seamless spatial layout. Roof planes extend far be-yond walls to create a visual expansion of space onto the horizontal plane of the pool deck and water.
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ABOVE: Sliding glass corner doors open the interior space to the outdoor pool deck, cre-ating a seamless transition between living spaces. The horizontal plane of the pool is treated as an equally impor-tant space.
ABOVE: Sliding glass corner doors open the interior space to the outdoor pool deck, cre-ating a seamless transition between living spaces. The horizontal plane of the pool is treated as an equally impor-tant space.
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structure is pushed to the outer edge of the pool, suggesting the pool is part of the entire spatial sequence
glass corners allow for the visual continuation of the living room into the pool
the pool physically hugs the corner of the interior floor slab, providing both continuity of space, and juxtaposition of material
visual frame created by the extension of structure over the pool
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Phase two dealt with the multiplicities of form and how each iteration of a pool’s container ampli-
fies particular effects, both physical and ephemeral. Transparency, reflectivity, and acoustics were ana-
lyzed as three major components of the human experience that lead to biopsychosocial changes in us-
ers of specific pools. Bathhouse precedents were analyzed through the architectures of their pools and their
respective effects on human anatomy and well-being. Lastly, analysis of American drug and caffeine use related to
increased stress in the workplace provides a context in which the bathhouse could be reinterpreted and implemented.
A N A L Y S I S
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Korean JjimjilbangSequential.Social.Gendered.
Finnish SaunaCommunal.Isolated.Wet steam.
Russian BanyaCommunal.Complex.Dry heat.
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1995 1997 1999 2001 2003 2005 2007 2009 2011 2013
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1995 1997 1999 2001 2003 2005 2007 2009 2011 2013
Illicit Drugs
Num
ber o
f Cti
tzen
s
Year
Num
ber o
f Cit
zens
Year
1995 1997 1999 2001 2003 2005 2007 2009 2011 2013
Num
ber o
f Cit
zens
59
61
63
65
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71AlcoholTobacco
Average Hours Worked Per WeekFull + Part-Time Workers (Overtime NOT Included)
United States
Japan
United Kingdom
France
25 Hours 30 35 40
38.47
Germany
The Netherlands
28.38
27.04
32.81
26.57
31.17
Drug, Alcohol, + Tobacco Use In AmericaCitizens Over the Age of 16, Within the Past Month
Stress Score Per CountryFactors Include Per Capita GDP, Annual Hours Worked, and Crime Rates
United States
Japan
United Kingdom
France
15 20 25 30
27.7
Germany
The Netherlands
27.7
24.6
22.8
16.9
16.6
Source: Business Week
Source: Federal Reserve Economic Data
Year
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New York City’s Central Park was chosen as the site which would act as a loose framework the pools
could operate within. The natural setting within a dense, chaotic urban environment provides the per-
fect space accessible to millions of passersby daily. Three sites were chosen within the park based on specif-
ic geographic qualities that would enhance the therapeutic and addictive characteristics inherent to each pool.
I M P L E M E N T A T I O N
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HERNSHEAD73RD ST, WEST SIDE SITE 03
Visual + Spatial Separation
The dominating presence of the glossy black container, as well as its position just north of the Hernshead rock, physically separates those relaxing on the rock, and those on the nearby bridle path. The pool creates an isolated space upon the outcrop-ping that can only be accessed by crossing the black pool.
Glossy black surface becomes highly reflective with a thin sheet of water
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THE GREAT LAWN83RD ST, MID-PARK SITE 01
Falling Water
Holes in the bottom of the large swimming pool allow water to drip down into a collection pool below. The cadence of the falling water echoing within the concrete box creates a tranquil space below the very active gathering space above
ScaleThe type of fix associated with each pool depends not only on the physical effects of water, but also the scale of the container. Large containers will naturally induce a communal feeling, while smaller containers return users a sense of intimacy
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NORTH WOODS107TH ST, MID-PARK SITE 02
Mirrored FacadeReflective panels allow the structure to camoflauge itself, while the opaque glass column filled with steam gives alert passersby a glimpse of its presence
Shallow Flash-Steam PoolA tall glass column protrudes from the mirrored structure, acting like a furnace and chimney, while providing an extremely hot + humid experience for those either inside the column or within the cabin
Transparent glass container; pool has a depth of 1.5’ of hot water
Large mirrors are attached to the frame of the building
Weathered grey wood absorbs the moisture and heat, ensuring the cabin maintians a very elevated temperature
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C E N T R A L P A R KSITE 03Hernshead
X
SITE 01The Great Lawn
X
SITE 02North Woods
X
SITE AWorker
The Promontory
X
SITE BLover
Adventure Playground
X
SITE CWorker
East Green
X
SITE DRebel
The Ramble
X
SITE EWorker
Gothic Bridge, No. 28
X
SITE FLover
East Meadow
X
Detailed map of Central Park, NY indicating the 3 sites of the contemporary bathhouses (labeled SITE 01, SITE 02, SITE 03) and proposed sites for future bathhouses/therapy pools (labeled SITE A, SITE B, etc). Sites 01, 02, & 03 were chosen based on specific geographic qualities that would en-hance the inherent character of each pool, there-by maximizing their therapeutic effectiveness.
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C E N T R A L P A R KSITE 03Hernshead
X
SITE 01The Great Lawn
X
SITE 02North Woods
X
SITE AWorker
The Promontory
X
SITE BLover
Adventure Playground
X
SITE CWorker
East Green
X
SITE DRebel
The Ramble
X
SITE EWorker
Gothic Bridge, No. 28
X
SITE FLover
East Meadow
X
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C A R V E // translation of digital media into physical form
arch 312 design studio Ifall 2012
digital media lends itself the power of representing 3_dimensional qualities upon a 2_dimensional plane, but what of a full transformation into tangible reality? this design studio investigates the translation of ideas from one form of representation into another, while simultaneously developing an under-standing of the spatial relationships between solid and void.
a 30 second clip from the original MATRIX film was initally analyzed by creating abstract images representing different sequences of solid_void relationships among the characters and set, particularly one bullet that rips through the scene. using an interative process, the solid_void relationships were trans-lated into a series of foam and cardboard study models.
the final white figure was constructed using a subtractive method of modeling, where 96 layers of museumboard were handcut and stacked to create the spatial representation of a bullet ripping through space.
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M O L D // reexamining the solid_void relationships in CARVE
arch 312 design studio Ifall 2012
using the relationships discovered and examined in CARVE, the goal of this project was to reimagine the complex voids of the white layer model, and translate them into mass. simultaneously, mass had to be reinterpreted as void, so as to fully understand the nature of space and how it operates as a solid and void. spatial capabilities are realized through a shift in hierar-chy between space and mass.
unlike CARVE, which employed an iterative process to develop the most appro-priate spatial solution, MOLD developed as a slow abstraction of the exist-ing spaces of carve. Basswood was cut down into facted pieces to create the exterior shell of the white layer model. a bounding box of 4”x6”x8” (the size constraints of CARVE) was built around the shell to complete the mold into which rockite would be poured.
after the rockite dried, the mold was extracted turning the original void-space of CARVE into a solified concrete sculpture.
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Formwork in various stages of comple-tion. Top left image displays the formwork shell of the original white layer model. Top right & bottom left images show the shell’s placement within the distorted confines of the 4”x6”x8” bounding box.
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After the formwork was removed, the re-sultant object is a concrete cast of the negative space recreated/abstracted in the basswood mold. New spatial capa-bilities are revealed that weren’t previ-ously accesible or realized in CARVE.
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B I S E C T // the intersection of public and private space
arch 322 design studio IIwinter 2013
the intersection of the public and private has the potential to create very ex-
citing spaces. this premise was explored to develop an ann arbor middle school for the fine arts.
the school occupies a heavily trafficked street corner in ann arbor, michigan, surrounded by a post-office, an 8-story parking structure, numerous restaurants,
and a 4-story office building. in an effort to create transparency in the name of
artistic inspiration and public interest, the building is conceived as a hollow
box with a publicly accessible promenade traversing the lower-level studio space.
this action brings passersby into the building with little effort, offering sweep-
ing views of active studios and thereby creating an impromptu art gallery within
the 3-story atrium/studio space.
a library and dining center occupy the 2nd floor and serve as another space for
collaboration among students during free time. classrooms conducting classical
curriculum are organized on the 3rd floor.
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UP
UP
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UP
UP
UP
UP
F L O O R 2
1/8” = 1’ - 0”
F L O O R 3
1/8” = 1’ - 0”
UP
UP
UP
UP
M A I N S T R E E T
W I L L I A M S T R E E T
SCHOOL ENTRANCE
First FloorStudioPublic Promenade
Second FloorLibraryDining Center
Third FloorClassrooms
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S O U T H S E C T I O N1/8” = 1’ - 0”
south section
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W E S T S E C T I O N1/8” = 1’ - 0”
west section
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STUDENT STUDIO SPACE + ENTRANCE RAMP PUBLIC PROMENADE
STUDIO SPACE BECOMES PUBLIC ART GALLERY
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I N F L A T E// the “no-frills” chicago firehouse
arch 432 design studio Ifall 2013
inflate is the formal and material investigation of what’s been coined as “no-frills” architecture. this studio was based upon the principle of producing an architecturally relevant firehouse through the employment of a low-cost meth-odology. no budget was given, only general proprietary guidelines pertaining to number of occupants, number of firetrucks/emergency vehicles, and required office space.
situated within the Chicago southside neighborhood of Bridgeport at the con-fluence of civic, domestic, and commercial spaces, this firehouse aims to be a local icon which the neighborhood can be proud of. shipping containers -- clad with sheetrock to remove their nautical identity -- are used as a structural aggregate which begin to define spaces at domestic and civic scales.
two positive-pressure pvc inflatables enclose the loosely defined civic and do-mestic spaces; during the day, the bright red balloons advertise the presence of safety workers, while at night the semi-translucent skin allows warm yellow light to glow from within. in case of an emergency when the garage doors are opened, the pvc structures partially deflate, alerting passersby of the crisis.
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NORTH ELEVATION 1/8” = 1ʼ-0”
WEST ELEVATION 1/8” = 1ʼ-0”
EAST ELEVATION 1/8” = 1ʼ-0”
SOUTH ELEVATION 1/8” = 1ʼ-0”
NORTH SECTION1/8” = 1ʼ-0”
WEST SECTION1/8” = 1ʼ-0”
North Section1/8” = 1’ - 0”
West Section1/8” = 1’ - 0”
North Elevation1/8” = 1’ - 0”
West Elevation1/8” = 1’ - 0”
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NORTH ELEVATION 1/8” = 1ʼ-0”
WEST ELEVATION 1/8” = 1ʼ-0”
EAST ELEVATION 1/8” = 1ʼ-0”
SOUTH ELEVATION 1/8” = 1ʼ-0”
GROUND FLOOR
1/8” = 1ʼ-0”
SECOND FLOOR
1/8” = 1ʼ-0”
East Elevation1/8” = 1’ - 0”
South Elevation1/8” = 1’ - 0”
Ground Floor1/8” = 1’ - 0”
Second Floor1/8” = 1’ - 0”
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C O N S T R U C T // construction documents
arch 317 construction Ifall 2012
arch 427 construction IIwinter 2014
various construction details, floorplans, and sections drawn with AutoCAD + Revit
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Stairwell Section A-503SCALE: 1/2” = 1’ - 0”
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Wall Section A-504SCALE: 3/4” = 1’ - 0”
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First Floor Plan A-101SCALE: 1/4” = 1’ - 0”
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Second Floor Plan A-102SCALE: 1/4” = 1’ - 0”
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1a
1b
2
CEILING/ROOF SYSTEM
(1a)- steel cable connection (attaches to column)- waterproof membrane- rigid foam insulation- 4” corrugated metal deck- heavy gauge steel beam (tube)- 5/8” gypsum board
(1b)- waterproof membrane- rigid foam insulation- 4” corrugated metal deck- heavy gauge steel beam (tube)- 5/8” gypsum board
DONUT WALL SYSTEM
(2)- heavy gauge steen beam (tube)- heavy gauge steel beams and columns - 6” steel stud (offset from heavy gauge steel to increase thickness- 5/8” gypsum board
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CEILING/ROOF SYSTEM
(1)- heavy gauge steel girder- Armstrong 1/2” drop panel w/ lightweight steel frame- 2’ batting insulation- 4” corrugated metal deck- moisture barrier
WALL SYSTEM
(2)- 1/2” thin brick wall facade- moisture barrier- 6” steel stud- heavy gauge steel column- 1’ batting insulation- 6” steel stud- 1/2” gypsum board
FOUNDATION SYSTEM
(3)- 6” light steel connection stud- 8“ connection bolt- 12” heavy gauge steel column connection bolts
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5 N
CIVI
C D
RIVE
SYCAMORE AVENUE
20 ft
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3
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12Entry
Lobby
Bookstore
Homework center
Community room
Children’s room
Story Cone
Sky Garden
Stacks
Adult reading room
Teen room
Sta� o�ces
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FIRST FLOOR
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Heavy gauge beam
Heavy gauge column
Interior column
Elliptical beam
Cross bracing
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C R A F T // documentation of model-making craftsmanship
arch 312 design studio Ifall 2012
arch 322 design studio IIwinter 2013
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Three basswood models made during my first semester undergraduate ar-chitecture education. They are trans-lations of the projects CARVE & MOLD.
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Chipboard and acrylic model of Le Corbusier’s Maison de Jeunes. The outer acrylic sleeve highlights the distorted pilotis system and the unrealized rooftop garden.
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