Upload
ben-witzelsucht-prager
View
233
Download
1
Tags:
Embed Size (px)
DESCRIPTION
Everything has value. Not everyone can see it.
Citation preview
master of architecture 2014ben prager
2
powerful design demands both poetry and pragmatism.
by coming to architecture, i have found that the simplicity of a solution must not preclude its beauty. i strive, therefore, to make beautiful things as much as i strive to make beautiful solutions. i believe that a sustainable solution, from the perspective of building science, is not a sustainable solution if it ignores beauty, economy, policy, and society as relevant sustainable design criteria. i have, therefore, slowly developed a design lexicon to incorporate these interdisciplinary notions into a productive design methodology.
what follows is a compiliation of both built and unbuilt work, academic and professional, that stands on the conviction that an architecture that moves the soul both knows how to transform experience and count carbon, how to make jaws drop and rates of return rise, and how to balance practicality with whimsy.
3
4 - 7
8 - 13
14 - 31
32 - 35
42 - 49
36 - 41
50 - 51
52 - 59
willamette thatch
not all roofs taste the same
the willamette value
straub hall detailing
acoustabooth
big roof for buddha
SEED maker space
intervention at the palatine
page title
thes
isst
udio
built
rhin
o
gras
shop
per
vray
+ m
axw
ell
sket
chup
auto
cad
phot
osho
p
illust
rato
r
arcg
is +
qgis
revi
t
mic
roso
ft ex
cel
proc
essin
g
lase
r cu
tter
3d p
rinte
r
anal
og fa
bric
atio
npr
ojec
t man
agem
ent
cnc
rout
er
ink, p
encil
, etc
.
finan
ceen
viro
nmen
tal s
usta
inab
ility
inte
rnde
tails
4
5
material research + sculpturewillamette thatch (built)
location eugene, oregon |green finance executives |
modeling reedtwineice
|
intent in preparation for my thesis, i developed a thatch installation for the finley wildlife refuge. the piece started with a 400 foot trail laid out in paired reed couples that made horizontal the height of the missoula floods 13,000 years ago.
the installation culminated in an arched form that spoke to the structural possibilities and durability of thatching material while simultaneously mimicking the growth pattern of reed rhizomes and the capillary action with which reeds moves water throughout its rhizomatic system.
|
primary stakeholders
6
the surface coating of reed is waxy and flaky rendering the ma-terial useful for whisking water away quickly but prohibiting any individual piece from directing the water with intent due to the lack of sufficient surface tension. it must be bundled for control. the bundling and layering of reed generates average roof thicknesses between 18 inches and 36 inches with an r value of 11 per 12 inch thickness.
even though reed is durable, lasting up to 60 years as a roofing material, the craft of thatching with reed is nearly a lost art in the united states, rendering the low carbon material nearly extinct domestically. the few master thatchers that practice in the united states have been trained in the united kingdom where the practice of thatching still thrives.
7
the thatched arch was erected overnight in order to allow frost to accumulate on the reed. the tip of the arch was frozen with additional water to accentuate the curve by adding ice
weight to the end. an ice block footing stabilized the arch.
as the ice melted throughout the day, the tip of the arch dripped, lightening the load on the end of the bow, allowing for the tension of the arch to relax with passing time, recalling
the seasonality of the missoula floods.
8
9
thatch market research + work placementnot all roofs taste the same (research)
location pembrokeshire, wales |ecological reserves, green markets |
materials reedstrawwillowoaktwine
|
intent in order to further understand the possibilities of and obstacles for thatch use, i put together a proposal to travel to pemborkshire, wales to meet with alan jones, master thatcher on a work placement. though knowledge around thatching exists in limited areas within the united states, the practice is much more common and abundant in the united kingdom.
through investigation of alan’s practice, i gained an understanding of thatching techniques, the interconnected network of reed beds, wetland maintenance, and insulative value of thatching, as well as the possibilities of improving agrictulture through building construction and thatch.
|
primary stakeholders
necessary for making one dirty bundle of reed
6 sf
of reed bed necessary to thatch the median single family home
45000 sf
exposed reed roof coverage that one bundle of reed will provide
bundle unsuitable due to lengthbundle unsuitable due to kinks
bundle unsuitable due to unevenessperfect long bundle with taper
1 sf
median size of new single family house
2169 sf
harvest
dry
rake
rebundle
the value of planted reed increases with age as a function of its ability to remove nitrates from ground water along agricultural land. by removing nitrates from agricultural runoff, reed indirectly prevents algal blooms within the willamette river which promotes the reintroduction and invigoration of salmon. reed also adds to wetland biodiversity in the willamette valley, in particular, serving as a nesting habitat for the northern harrier.
11
necessary for making one dirty bundle of reed
6 sf
of reed bed necessary to thatch the median single family home
45000 sf
exposed reed roof coverage that one bundle of reed will provide
bundle unsuitable due to lengthbundle unsuitable due to kinks
bundle unsuitable due to unevenessperfect long bundle with taper
1 sf
median size of new single family house
2169 sf
harvest
dry
rake
rebundle
subsequently, the value of reed decreases as an envelope material with age as a function of its resistance to water. a 300 millimeter layer of reed, a typical depth with an R-value of 11 per food (untested), will, in 50 years, degrade down to 180 millimeters. fortunately, this 25 times the time necessary for the reed bed to recover the reed necessary for roofing a median sized home in the united states.
12
13
in order to better understand how reed functions as an enclosure material, i proposed and completed a 4 day work placement with alan jones, master thatcher, in pembrokshire, wales. the search for master thatchers practicing within the united states yielded a key obstacle to thatch adoption domestically: a labor force unfamiliar with the peculiarities of building with thatch.
next steps to complete preliminary research include performing controlled tests for r-value, flamability, and durability along with life cycle analysis and market comparison to other roofing materials.
14
massing explorations used a process flow that iterated through the following sequence: 2D sketch, scale wood gridshell build, sweet potato carving, 3D printed plastic scale massing, repeat. the use of a sweet potato greatly increased efficiency in decision making and kept in line with the low carbon ethic of the studio by foregoing
typical foam models for a low carbon, starchy alternative.
we want to develop an architecture that transforms traditional notions of value, making explicit the implicit worth of the imperceptible.
15
alternative valuations + environmental artthe willamette value (thesis)
location monroe, oregon |green entrepreneurs, accountants |
media |
intent where a market does not exist, in particular, for the immaterial, the value that we as designers create is either hard to quantify, as in the case of contingency value approaches to determining the monetized cost or willingness-to-pay for the maintenance of an endangered species, or impossible, as in the case of the consumption of an intriguing idea or a pleasant experience even though we can not deny that value exists in both.
the proposal for this environmental art museum demonstrates how design makes visible the value of the immaterial, transforming normative notions of value into alternative valuations.
|
primary stakeholders
rhino 3d + vray + grasshopperadobe illustrator + photoshopchalk pastelink
|
modeling sweet potato + broomtwinewoodrammed earth
|
existing roofing material acquisition model (asphalt) proposed roofing material aquisition model (reed)
perceived influenceactual influence
the artists in residence program does not restrict the definition of artist to any particular species. by critically examining and developing a language of unit-to-unit value interactions, overlaying them on top of program, and resequencing light, sound, and water access to the program, the willamette value artists in residence design proposal attemps to architecturally decrease the decisional distance between human and non-human entities from a relationship that presumes independence to one that celebraties a unified-converging value proposition.
knowledge value
as individual consumers, we make purchasing decisions on a daily basis. we base the decisions we make on imperfect information even though basic economic theory teaches that as consumers in a free market economy, we make purchasing decisions based on perfect and available information. similarly, when financiers trade commodities, they trade based on a limited subset of information. their consumption of commodities, and therefore the price and cost of those commodities, fails to take into account the underlying externalities generated by those commodities trades. by reducing the decisional distance and encouraging decisional proximity, we move closer to perfect information and bettere decision making..
independent independent-separated independent-inviting independent-dissolving independent-excluding independent-filtering independent-converging independent-diluting
tangential tangential-separated tangential-inviting tangential-dissolving tangential-excluding tangential-filtering tangential-converging tangential-diluting
overlapping overlapping-separated overlapping-inviting overlapping-dissolving overlapping-excluding overlapping-filtering overlapping-converging overlapping-diluting
unified unified-inviting unified-dissolving unified-excluding unified-filtering unified-converging
sound light water
18
99 W
to portland
to eugene
amtra
k
to portland
from eugene
250’
1”
1000’
displaced residentsslough extension 2014 wetlands 20 year wetland growth 60 year wetland growth
during summer months, the willamette value environmental art museum opens to the public. july and august are the dryest months in the valley, and as the flood waters subside, the site and building open up to access via alternative forms of transportation. a nearby, previously defunct railroad offers rails-to-trails access while a newly installed bus station deters individuals drivers and favors public transportation.
as the site opens to the public in july and august, subsiding waters invite an influx of birds. the choreography of public exhibition of artists’ work along side the exhibition of non-human species reduces mental distance between human and non-human and allows for humans disconnected from long term cycles to gain increased awareness.
temporal value
25’
1”
100’
on site parking is availble for only the director of the museum and for a delivery truck
the site design responds to the challenge of decreasing decisional distance by proposing increased proximity to ecological functions. it re-introduces a slough and reed bed to restore ecological function and give access to the site and the building for artists in residence by boat in the winter while also acknowledging the subsiding of flooding in summer months and foregoing public parking by introducing an additional bus stop to bring museum goers on site. lcd displays of ecological financial data emerge from the reed bed displaying trading data to the financial management artist while a roof display connects the same data to a variety of species of commuters flying overhead.
the value of altered site
summer guests arrive via public transport due to lack of on-site parking and a convenient bus stop
artists in residence arrive in the winter via the willamette river, trecking up the reintroduced slough to the boat dock at the museum
site access maximum grade is 1:20 offering a seamless undulation throughout
bathrooms in the wild decrease decisional distance of waste management
reed harvests provide roofing for nearby housing on 2 year alternating cycles
at the bus stop, museum goers are asked to change their boots for sloshing through the wetland
an amphitheater allows for large scale installations, outdoor performances, and an ecological valuation data matinee
a rails-to-trails system encourages museum goers to access the site via additional alternative means of access in summer months
ecological stock ticker displays site valuation data
summer arrival (south)
winter arrival (north)
prevailing summer winds oliver butte relationship
the site design responds to the challenge of decreasing decisional distance by proposing increased proximity to ecological functions. it re-introduces a slough and reed bed to restore ecological function and give access to the site and the building for artists in residence by boat in the winter while also acknowledging the subsiding of flooding in summer months and foregoing public parking by introducing an additional bus stop to bring museum goers on site. lcd displays of ecological financial data emerge from the reed bed displaying trading data to the financial management artist while a roof display connects the same data to a variety of species of commuters flying overhead.
25’
1”
100’
on site parking is availble for only the director of the museum and for a delivery truck
the site design responds to the challenge of decreasing decisional distance by proposing increased proximity to ecological functions. it re-introduces a slough and reed bed to restore ecological function and give access to the site and the building for artists in residence by boat in the winter while also acknowledging the subsiding of flooding in summer months and foregoing public parking by introducing an additional bus stop to bring museum goers on site. lcd displays of ecological financial data emerge from the reed bed displaying trading data to the financial management artist while a roof display connects the same data to a variety of species of commuters flying overhead.
the value of altered site
summer guests arrive via public transport due to lack of on-site parking and a convenient bus stop
artists in residence arrive in the winter via the willamette river, trecking up the reintroduced slough to the boat dock at the museum
site access maximum grade is 1:20 offering a seamless undulation throughout
bathrooms in the wild decrease decisional distance of waste management
reed harvests provide roofing for nearby housing on 2 year alternating cycles
at the bus stop, museum goers are asked to change their boots for sloshing through the wetland
an amphitheater allows for large scale installations, outdoor performances, and an ecological valuation data matinee
a rails-to-trails system encourages museum goers to access the site via additional alternative means of access in summer months
ecological stock ticker displays site valuation data
summer arrival (south)
winter arrival (north)
prevailing summer winds oliver butte relationship
altered site value
22
23
average angle + white box
white box
environmental art generator
catalyst program performance criteria
formal + structural exploration
white box roof minimum thatch angle 30 optimal thatch angle 45 optimal solar angle 68
angle collisions idealized section program expansion program compression
material optimizer solar collector
conflict resolver program responder
bb
cc
dd
ee
ff
by iterating through overlays of reed performance requirements, the catalyst of an artist in residency program, and the deman for a formal expression that was evocative of a modern, marketable design, an idealized section was discovered.
it simply can not be a straight line. a straight line has two control points, a start and an end. however, a curve or spline has at least three, a start, end, and a “hidden” control point. the hidden control point defines the curvature of a curve, adding value to the geometry without explicitly being seen. by introducing curvature into the formal expression of the environmental art museum, we make visible the value of the control point.
slow discovery value
25
roof punctures light unconditioned galleries
solar panels protect vulnerable thatch
thatch has a stated R-value of 11 per foot of thickness
four layers of 60mm x 90mm ribs layer in a gridshell
wall curvature adopts to gridshell intersection points
main footings change height to adopt to undulations in thatch roof
wood flooring undulates to continue site path through museum
26
b
b
c
c
d
d
e
e
f
f
a
a
2
3
4
1
5
6
7
8 9
10
11
12
12
13
14
15
16
17
1920
21
conditioned space
radiant schematic
conditioned views
seasonal flood zones
non-human entry points
the willamette value plan...
...for devising an architectural, planar methodology by which to introduce alternative notions of value
20. the
trading floor
offers day
trades a
decreased decisional
distance.
19. reed harvested from this reed bed is
sufficient to cover six median sized
american roofs. the reed bed on the
opposite side of the slough covers a
similar amount of roofing demand. the
two reed beds can be harvested in
alternating years in order to allow
wildlife to move a short distance from
one bed to the other.
16. the boat dock acts as a coat hanger
for kayaks in the summer, marking the
seasonal change like leaves fallen from
a tree.
12. another installation deck offers
overflow outdoor summer seating
for the small restaurant.
4’
1”
16’
1. a carve away of thatch scoops visitors into a liminal space between programs.
2. a shoe cubby gives museum goers a final thrshold to cross where they can deposit their mud boots and mark their arrival.
3. a shoe cubby gives museum goers a final thrshold to cross where they can deposit their mud boots and mark their arrival.
4. a shop space connects to an exterior deck and provides noisy workspace for artists in residence.
5. covered, unconditioned, galleries invite art to respond to microclimatic conditions.
6. a small restaurant serves as kitchen and eating area for artists in residence and as celebratory summer retreat.
7. a large, conditioned, indoor gallery space houses long term exhibitions and collections.
8. the water catchment area. it feeds the magic mechanical room.
27
b
b
c
c
d
d
e
e
f
f
a
a
2
3
4
1
5
6
7
8 9
10
11
12
12
13
14
15
16
17
1920
21
conditioned space
radiant schematic
conditioned views
seasonal flood zones
non-human entry points
the willamette value plan...
...for devising an architectural, planar methodology by which to introduce alternative notions of value
20. the
trading floor
offers day
trades a
decreased decisional
distance.
19. reed harvested from this reed bed is
sufficient to cover six median sized
american roofs. the reed bed on the
opposite side of the slough covers a
similar amount of roofing demand. the
two reed beds can be harvested in
alternating years in order to allow
wildlife to move a short distance from
one bed to the other.
16. the boat dock acts as a coat hanger
for kayaks in the summer, marking the
seasonal change like leaves fallen from
a tree.
12. another installation deck offers
overflow outdoor summer seating
for the small restaurant.
9. the mechanical room. magic happens here to let magic happen everywhere.
10. storage
11. this ecology lab offers the slow passage of moments to heighten an artists awareness of ecological time.
12. the installation deck offers the slough an opportunity to visit the artists through capillary action.
13. ramp for entrepreneuring non-human access to the building from the slough.
14. dull bathrooms. a necessity.
15. individual artists studios.
16. the boat dock acts as a coat hanger for kayaks in the summer, marking seasonal change like leaves fallen from a tree.
17. the fun bathrooms offer visitors and artists an opportunity to experience privacy while breaking their notions of traditional boundaries.
28
solar panels run along the flat spines of the thatched roof, protecting the thatch where it is least durable and gathering energy to power the facilities
the outdoor work area steps down towards the reed bed to the west of the willamette value environmental art museum in order to allow artists in residence to engage intimately with a boundary, that by code, does not require a railing. the absence of a railing makes a small contribution to eliminating boundary between human and non-human
1,060cubic feet of concrete for 265 footings to support and lift the structure
14,000square feet of thin film solar that provide energy to power equipment and heat harvestted rain water
47,500bundles of reed needed to thatch the roof of the willamette value environmental art museum. at 6 square feet per bundle, we desire a reed bed of just under 6.5 acres for the roofing material
in certain areas, the thatch roof dips its toe in the water of the slough and reed bed, a small demonstration of its susceptibility to wear from direct water contact, but also a marker of the changing flood levels and the passage of time
section aa
uncanny value
30
31
displaying a timeline that incorporates the history of a local ecology necessarily involves deciding the beginning and end of that ecology even though such distinctions are, in most capacities, aribitrary. however, it is rather difficult to draw infinity.
intangible haptic value
before we had a microscope, we did not understand the value of a healthy cell. once the microscope was developed, we were able to grasp the importance of rna, dna, osmosis, anything the human eye could not previously perceive.
we need to see it to believe it. or touch it, hear it, smell it, or taste it, in that specific order. it’s troubling for designers because what we make by putting together walls, beams, columns, systems, lighting, and so on, is an experience that doesn’t exist through the lens of any one sense, but rather transcends all senses through to the realm of perception.
how then can we make an argument for an improvement, not just of architecture, but of a general sensibility as a species to be stewards of things not immediately perceptible?
how can we create an architecture that generates a shift in embedded awarenes that makes known the value of experience?
we make the thing.we make the thing that creates the experience. we make a building more pourous to allow for an ecology to permeate and shake hands with an artist in residence. we invite non-human interaction rather than hide it. we make a table to serve the sheep and the people.
32
Drawing 93” = 1’Ben Prager // TTh 6:00ARCH 571 // Project 2 // Cycle 2
Double Pane Glazing
10” 20 Gage Metal StudKawneer 451 Extruded Aluminum Window Copper Flashing
Silicone Sealant
Backer Rod
Blocking for Thermal BreakBrick VaneerMortarWeather Resistant BarrierRigid InsulationBrick Vaneer AnchorSpray Foam InsulationSteel AngleUSG Densglass Gypsum Sheathing
Blocking for Nailing OSB3/4” OSB
1/2” Finish Maple PlyCopper Rain Gutter
HSS TubeSpray Foam InsulationC ChannelGlass Canopy
1”x1” Canopy Steel Perlin
Custom I Beam with Taper
Steel Bracket for Attaching I Beam
Kawneer 451 Extruded Aluminum Window HeaderGlazing
33
architectural detailsstraub hall detailing
location eugene, oregon |john rowell |
media revitautocad
|
intent as part of required coursework, students were asked to detail elevations, sections, and axonometrics of a main entry at straub hall in eugene, oregon. required drawings included a facade elevation, a section through the main entry, a jamb detail, header detail, canopy detail, and a parapet detail.
the building combines a brick facade with connections to a steel supported glass canopy.
|
primary stakeholders
Drawing 93” = 1’Ben Prager // TTh 6:00ARCH 571 // Project 2 // Cycle 2
Double Pane Glazing
10” 20 Gage Metal StudKawneer 451 Extruded Aluminum Window Copper Flashing
Silicone Sealant
Backer Rod
Blocking for Thermal BreakBrick VaneerMortarWeather Resistant BarrierRigid InsulationBrick Vaneer AnchorSpray Foam InsulationSteel AngleUSG Densglass Gypsum Sheathing
Blocking for Nailing OSB3/4” OSB
1/2” Finish Maple PlyCopper Rain Gutter
HSS TubeSpray Foam InsulationC ChannelGlass Canopy
1”x1” Canopy Steel Perlin
Custom I Beam with Taper
Steel Bracket for Attaching I Beam
Kawneer 451 Extruded Aluminum Window HeaderGlazing
34
1/2” Finish Maple PlyBlocking for Attaching 1/2”Maple PlyKawneer 451 SillKawneer 451 Double GlazingSilicone SealantBacker RodKawneer 451 Extruded Aluminum JambBlocking for Thermal BreakSteel Lintel with Copper FlashingCopper FlashingLight Gage Steel for Attaching Copper FlashingWeather Resistant BarrierUSG Densglass Gypsum Sheathing1/2” Finish Maple Ply3/4” OSB Sheathing10” 20 Gage Metal Stud3” Rigid InsulationBrick Vaneer Anchor TieBrick VaneerMortar
Drawing 73” = 1’Ben Prager // TTh 6:00ARCH 571 // Project 2 // Cycle 2
Vertical Expansion JointRunning Bond Brick Vaneer
Flashing with Steel Angle Bracket
Flashing with Steel Angle Bracket
Precast Concrete Parapet CapFlashing
Canopy Glazing1.25”x1.25” Steel Perlins7.5” Steel I Beam with TaperC Channel Steel
Kawneer 451T Type B Assembly
Kawneer 451T Type B Assembly
Kawneer 451T Entrance Door with Husky Closer
35
Precast Concrete Parapet CapHSS Tube for Roof DeckingRunning Bond Brick VaneerHSS Tube ColumnSteel Angle with Copper Flashing (See Drawing 8)20 Gage 10” Steel Wall Studs
Kawneer 451 Extruded Aluminum WindowsGlass CanopyRain GutterC Channel (See Drawing 9)1”x1” Steel Canopy Supports with Rubber GasketTapered I Beam
HSS Tubular Steel Support for Canopy
Center Line
36
a facade study that explored standing seam metal roofing, cedar siding, and steel cross bracing as potential facade composition elements. it also determined the appropriate level of height for
roof lines and floor decking.
37
spirituality + ecological restorationbig roof for buddha
location portland, oregon |fender’s blue, buddhist community |
media rhino 3d + vrayautocadadobe illustrator + photoshopchalk pastelred ink
|
intent this proposal addresses sustainability through multiple lenses (environmental, fiscal, social, personal) to marry them with the programmatic needs of a spiritual client while considering an architecture of infill.
the big roof creates flexibility within a space so that it suits the immediate needs of the existing client, the future needs of the same client, and the potential needs of a new inhabitant. it determines a framework that supports a variety of activity without being overly prescriptive, generating a variety of complexity based on the elegance of simplicity.
|
modeling museum boardwoodplastergelatin
|
primary stakeholders
through collaboration with students in the department of landscape architecture, i developed the endangered species web above to identify which endangered species could benefit most from wetland restoration on site while also benefiting the client financially. the fender’s blue butterfly became the ideal stakeholder ecologically and financially as the site could generate fender’s blue restoration while also generating funding through tourism of a fender’s blue monastery.
plaster and gelatin models identified programmatic configurations. the gelatin molds explored the role of diffusion and
blurred thresholds in a buddhist space.
the meandering path set out through the site to highlight day-lit streams that were once buried throughout. simultaneously it solidified locations in the built form that completely dissolved the threshold between the built form and the landscape by varying decking height.
developing a module that varied sufficiently in section allowed for small, medium, and large spaces that accommodated the needs of the buddhist client for congregating, private meditation, and a blurred edge that continuously connected the interior and exterior.
right | the model casts identified the ideal conceptual section, highlighting a need to lift the building off of the ground to allow a permeability underneath for low-lighting biology to thrive and through the center of the building for communal activities. to flourish.
by focusing on incorporating the restoration of the fender’s blue butterfly as part of the core design criteria, it was possible to consider ecotourism as part of the additional revenue stream that the buddhist client could recognize in order to maintain its regular operations and continue serving the community.
= $
42
left | the final ascent from domitian’s circus, a shift from a large outdoor room to a small indoor room, frames the final view, a glimpse of the colosseum that connects the final view with the initial sight of the colosseum from the bus stop at the san gregorio gate.
43
landscape urbanismintervention at the palatine
location rome, italy |city and citizens of rome
media rhino 3d + maxwellautocadgoogle sketchuparcgisadobe illustrator + photoshopchalk pastelgraphite
|
intent this design proposal for intervention at the san gregorio, the south-east entry sequence to the palatine hill, balances a socially sustainable design ethic within an ancient roman palimpsest. the existing above-grade design displays little of the site’s rich history. sparsely posted signage serves as the only indicator of important historic features devoid of a greater urban connection.
through layering excavation maps, i devised a path that, excavated, shows variegated layers of buried roman history using a sequence of compression and expansion. a copper line turned wall turned ceiling turned floor highlights the history, offering a new celebration of public space.
|
modeling museum boardgraphite
|
primary stakeholders
44
center (top to bottom) | a section model through a core of the sequence demonstrates how the copper (black) serves as the datum against which a roman can read the palimpsest of the excavated hill (white). the copper weaves from the landscape above (top), down through an opening that sheds light into the compressed passage below (middle), unfolding into expanse of finish flooring in the following room (bottom).
right | the sliver of copper that continues from the model on the left shows the material embedded in the street, rising up to form a wall and then an overhead covering before it wraps back down to begin weaving through the palatine hill itself, alternating services as a floor, wall, ceiling, line, and frame, compressing the individual and then releasing her onto the climactic view of the colosseum.
45
46
47
a compression into darkness before the penultimate release of the journey into domitian’s circus
48
49
an eruption of light into domitian’s circus (center) precedes a compression into a darkness for the final ascent towards the colosseum (right)
arakawa hanging systems | picture frame hanging systems
fiction| brand strategy
nutcase helmets| athletic equipment
architecture studio | architectural services
32ohm| highh-end audio equipment
moonbrine pickles| artisan food manufacture
4400 sf
5031 sf
4000 sf
1322 sf
400 sf
$1100
sample program (one parcel)
$1258
mame| restaurant 2000 sf $500
$1000
3000 sf $750
advocacy group| non-profit 1600 sf $400
artist’s studio | studio 800 sf $250
$330
$100
construction cost in 1000’s @ $250/sf
cultural valuesize
MM
M
M
SXS
L
L
L
51
conceptual design + feasibility study
location eugene, or |client, eweb, city of eugene |
details speranza architecturewinter 2013-2014mixed-use light industrial60,000 sf
|
intent as part of a riverfront redevelopment master plan, the SEED project was a conceptual design and feasibility study for a mixed-use light industrial building in downtown eugene, or. as part of the design team, my work involved pro-forma analysis, demographic and socio-economic research, and conceptual architectural design work. i assisted with presenting work and findings to the client, members of city planning, and the Eugene City Manager. i also provided regular feedback and critiques to a team of four model builders and assisted with conceptual renderings, cost of construction estimates, and programming analysis.
|
primary stakeholders
SEED maker space
52
53
acoustically responsive installation + furnitureacoustabooth (built)
location eugene, oregon |student body, faculty advisor |
media rhino 3d + grasshopperautocadadobe illustrator + photoshop
|
intent every architecture school has an acoustics problem. studios are wide open. no privacy. hallways are noisy. there’s nowhere for a student to take a phone call.
the digital media collaborative of the university of oregon decided to make a place. we called it the parametrically designed acoustically responsive phone booth (PDARPB). the curved ribs take on a human form while the external skin both responds to the rib curvature and offers a medium against which LEDs flickering in response to the human voice notify passersby that a phone call is in progress.
|
modeling maple plysteelacoustically controlled LEDs
|
roles project managementdigital designfabrication
|
primary stakeholders
we instituted a workflow that moved quickly between digital and analog design. numbering and routing all components in order to minimize construction time with over 600 unique parts.
d18
d45
d68
d57
d19
d56
d17
d69
d74
d81
d44
d9
d16
d80
d70
d62
d75
d10
d48
d67
d82
d15
d46
d11
d55
d14
d58
d43
d47
d12
d79
d60
d37
d59
d13
d51
d20
d66
d8
d71
d54
d83
d21
d42
d7
d50
d78
d36
d22
d72
d49
d6
d24
d41
d23
d53d5
d39 d63
d34
d61d25
d77
d4
d33
d65
d52
d26
d3
d84
d38
d32
d40
d27
d2
d31
d73
d76
d30
d28
d1
d64
d35
d29
L44
L12
L35
L24
L34
L33
L36
L32
L31
L30
L48
L29
L28
L27
L60
L26
L25
L23
L72
L22
L21
L20
L84
L19
L18
L17
L16
L15
L14
L13
L83
L11
L10
L9
L82
L8
L7
L6
L81
L5
L4
L3
L80
L2
L1 L38
L79
L39
L40
L41
L78
L42
L43
L45
L77
L46
L37
L47
L76
L49
L50
L51
L75
L52
L53
L54
L74
L55
L56
L57
L73
L58
L59
L61
L71
L62
L63
L64
L70
L65
L66
L67
L69
L68
project cost (hard + soft)
router bitsmaterials (dollars)
threaded rods, nuts, washersstain, eye bolts, cable tiescable clamps, cable1/8” maple ply3/4 maple ply
materials total
72.5217.0112.19
53.48103.60522.30
Tygon tubingLED strip lighting
25.20207.76
$1,014.06
schematic design (8 weeks)labor (hours)
132.5design development (12 weeks) 383.5construction documents (4 weeks) 32.5
the human spine served as the starting point for form generation of the seating structure. it also served as the catalyst for the waffle connection that ultimately created sufficient corner stiffness to make the whole structure free standing.
manufacturing + assembly (6 weeks) 1092.0
labor totalgeneral + administrative 80.0
1720.5
the problemthere’s nowhere to take a phone call in lawrence hall. studio spaces are too public and phone conversations held inside studio disrupt the flow and energy of design students.
users wanted a place to sit that was both comfortable enough to sit in for a brief call and long enough to accommodate a quick nap. the school also required that the structure be free standing so as to not damage the existing walls and floor.
users also wanted to feel as if they would not be seen or heard while holding a conversation in order to have a sense of perceived privacy, regardless of whether the privacy was real.
phone conversation begins
sound sensor measures dB
lights illuminate panels to indicate conversation is ongoing. passersby quite down.
the solution
56
1/16” ply sprayed black
1/2” stainless steel washer
1/8” stainless steel threaded rod1/8” stainless steel wingnut
3mm black wire ties
1/16” steel wire rope
.1067”
.132”
.0966”
.4293”
.743”
1.245”
1.17”
.20”
2.34”
1/16” ply sprayed black
1/2” stainless steel washer
1/8” stainless steel threaded rod1/8” stainless steel wingnut
3mm black wire ties
1/16” steel wire rope
.1067”
.132”
.0966”
.4293”
.743”
1.245”
1.17”
.20”
2.34”
(1)
1”=1” happy connection detailnote that the connection detail does not connect one panel at every meeting of 4 panels. this allows sufficient flexibility to allow the panels that form the skin to bend to structural spine curvature.
(1) early sketch models define the skin connector schematic (2) various shape , size, and material tests for strength and aesthetic quality. (3) different slot and fastener type trials for identification of sufficient tolerances to allow the skin to flex dynamically. (4) finish color tests created clear branding identity for the acoustabooth. (5) the final connector, a matte black spray painted 1/8” plywood.
(2)
(3)
(4)
(5)
58
human factors were the primary concern in the design. rib sections were derived from the actual curvature of a spine in order to accommodate the human body. the corner of the booth was directed at an angle so that an individual looking to make a phone call in comfort, perhaps with a pillow and blanket, could do so in the fetal position, frequently claimed to be the most comfortable.
not everyone can see it.everything has value.