ADAM BOWEN
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STUDIO ARTS BOULDER CAMPUS PORTLAND SCHOOL OF THE STUDIO ARTS
REFLECTION BRIDGE
DAILY RIDER
INDEX
GRADUATE APPLICATION PORTFOLIO
“Keep it simple, stupid” -Unknown
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RIFT: A COLD WAR MUSEUM BOULDER DEMONSTRATION FARM
CRISSCROSS LOUNGE CHAIR
MIXED MEDIA
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STUDIO ARTS BOULDER VALMONT BUTTE BOULDER, CO, USA PARTNER - COLIN OSTMAN INSTRUCTOR - ROB PAYATT UNIVERSITY OF COLORADO STUDIO 3 - SPRING 2011
Work was done in collaboration with Studio Arts Boulder in order to ďŹ gure out potential needs and design options for their future campus. Research was done on the sites that Studio Arts Boulder are actively pursuing and student work is to be used to gain community interest and to raise funds for this much needed community program. The ďŹ rst interest building event was held at the Boulder Museum of Contemporary Art where this project was on display for hundreds of visitors. The driving force in this campus design is to create a studio arts campus that encourages creative collaboration between the different studio art disciplines. The site is located on Valmont Butte, east of Boulder, Colorado. The butte is exposed to the harsh year around weather leaving behind an overwhelmingly vast and barren landscape. Also, there is currently an important Native American historical site that sits on the butte just above the studio campus. The courtyard campus is our solution to the needs of the clients, the Native Americans, and the unique site characteristics.
The courtyard is used to create an outdoor space sheltered from the harsh surrounding landscape that allows people to work and interact outdoors. The architecture is sited to direct circulation and view corridors while creating a small micro climate within the courtyard. The courtyard is surrounded by the different studios leaving a void space for collaboration between the different disciplines. People continuing through the campus to the historical preserve are directed past the gallery and courtyard giving them the opportunity to experience the studio arts.
A. CAMPUS SITE B. NATIVE AMERICAN LANDMARK C. ABANDONED MINING MILL D. HISTORICAL CEMETERY
PRIVATE
1200SF 1200SF1200SF 1200SF Resident Resident Artist Resident ArtistArtistArtist Resident 3024SF 3024SF3024SF 3024SF Print PrintPrintPrint
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The buildings are split to create a courtyard that frames the western view towards the mountains.
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The required program is organized from public to private and positioned to utilize the topography.
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500SF 500SF Administration Administration Administration500SF 864SF 864SF Store Store Store864SF 800SF 800SF 800SF Cafe Cafe Cafe 500SF Administration 2000SF 2000SF 864SF 2000SF Gallery GalleryStore Gallery 800SF Cafe 2000SF Gallery PUBLIC PUBLIC PUBLIC
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Primary and secondary circulation cut through the campus connecting the parking lot, campus and Native American landmark.
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A. ARTISTS IN RESIDENCE B. METAL STUDIO C. WOOD STUDIO D. PRINT MAKING STUDIO E. CAFE F. COURTYARD G. CERAMIC STUDIO H. GALLERY I. STORE
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Corrugated metal roof designed to allow northern light to illuminate the gallery
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Steel structural system
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Load bearing rammed earth walls
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SITE SECTION AA
Rainwater catch basin provides water for landscaping and nonpotable plumbing Prevailing winds provide natural circulation
Plaster partition walls and built in cherry cabinets
Landscaping provides a micro climate within the courtyard
Pottery storage shelving diffuses direct sunlight while displaying the artwork outside the studio
Cafe and gallery (top left) Wood studio (top right) Typical classroom (bottom right)
Gallery
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All over the United States are unseen remains of the Cold War. Trapped 60 feet underground are the tunnels, silos and domes of the Titan 1 Missile Program, forgotten monuments to what may have been the most dangerous weeks of human civilization. The cold war is the story of two super powers split by suspicion, competition and propaganda. But it is also the story of the people and smaller countries that got caught up in the fray and trapped on one side or the other. The goal of this design was to tell the story of the events of the cold war in an environment that captured all the tension, uncertainty and scale of the times, while also telling the story of the individuals, citizens and societies that suffered the rippling repercussions of those events. A. Launch Silo B. Propellant Terminal C. Equipment Terminal D. Control Center Dome E. Entry Portal F. Powerhouse Dome G. Powerhouse Air Filtration Facility H. Powerhouse Exhaust Facility I. Personnel Tunnel J. Antenna 1 K. Antenna 2
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WAR IN THE MODERN DAY GALLERY
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LOBBY ADMINISTRATION CLASSROOMS SPECIAL GALLERY WORKSHOP
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RIFT: A COLD WAR MUSEUM TITAN 1 MISSILE BASE CHICO, CA, USA INSTRUCTOR - KEVIN NUTE UNIVERSITY OF OREGON STUDIO - WINTER/SPRING 2012/13
USSR GALLERY
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ISOMETRIC PLAN 1”-150’
GEOMETRY OF THE EXISTING
CONCEPT
The complex is separated into two general program zones. All the administration and educational spaces exist within the first excavation. This allows for quick access and non museum events too all take place in one area and do not interfere with the gallery experience. The gallery spaces now can act alone, allowing the visitor to fully feel the emotional qualities of the spaces and exhibits without any distractions.
When the visitor enters the main gallery hall, they are immediately overwhelmed by the scale of the space. The walls begin below them as they move along the walkway and stretch all the way up past the level of grade. These walls are not only tall, but also lean in The Cold War was fueled by a gap in understanding The geometry of the new built is derived from the on the visitor increasing the feeling of tension and uncertainty. Much like during the times of the cold and fear between each side. This museum’s goal is existing Titan 1 silo complex war, the visitor is wary that at any moment everything to teach both sides of the story so that we may all they know could fall in on them. In this space the become more understanding and tolerant. visitor looks down on exhibits depicting events of the cold war, exhibits and events that look different CIRCULATION PROGRAM DISPOSITION depending on which wall you are standing on. USSR GALLERY
WELCOME PLAZA
USA GALLERY
ENTRY LOOKOUT (VIEW 2)
WAR IN MODERN TIMES GALLERY
Visitors arrive at the southern most point of the complex where they first get a sense of the enormity of the project. From the welcome plaza they have the option to enter the museum spaces or the administration building.
If the main gallery space becomes too overwhelming, the visitor can seek retreat in the more human scaled side galleries that run across the main hall. These galleries tell the stories of the characters and citizens affected by the cold war. Here is where visitors learn how people actually felt about the events depicted in the main hall gallery in an attempt to put a human face on the tragedy of war.
PROBLEMS...
... SOLUTIONS
Site is completely land locked on all sides by another piece of property. One easement road is the only entrance and exit onto the site.
Excavate portions of the existing structure to let natural daylight illuminate some rooms. Terrace the excavations so that when it does rain, water can be collected for landscaping and non-potable plumbing
The missile silos are by far the most impressive spaces in the complex. They are 40 ft diameter tubes that go 160 ft into the ground. Being in these spaces provides an overwhelmingly beautiful and humbling experience, but fitting usable program into these spaces could be difficult.
The personnel tunnels are 60 ft underground... open up slices of tunnels all the way up to the ground level to give visitors an understanding of the depth, lengths and extent that the government went to build the original complex
The soil on site is heavily disturbed. Almost the entire site was dug up then back filled in when the original complex was built so the top soil has almost no nutrients to support large vegetation. Also, chemical pollution is a concern from activities done in the complex. There is only one entrance to the existing complex. The existing circulation throughout the complex happens at 60 ft below grade and the hallways are only large enough for two people max. ADA regulations were not taken into account during original construction. There is also no natural lighting in much of the complex. There is only one entry on to the site. The site is close to the airport, but far away from the city center proper and the highway. How do we get visitors to the museum and how do we get them to come back a second and third time? What do we contribute to the community?
Use exposed antenna silos, that are far away from main complex, as entry gate. Visitors begin to interact with the existing complex before they even get out of their car A 3 stage planting plan to add nutrients to the soil, bring back native species and increase stability of soil STAGE 1: Erosion Control -Geotextile -Monkey Flower STAGE 2: Small Brush -Coyote Brush -Western Raspberry STAGE 3: Large Brush -Buck Brush -Toyon
VIEW 1
VIEW 3
Further down the main hall the visitor can choose to venture down into the gallery spaces dedicated to the homelands of either the USA or USSR. In these galleries there are exhibits depicting how the societies, environments and economies of either nation were affected by the cold war. At the end of the main hall lies the ‘War in the Modern Day Gallery.’ Here visitors interact with ever changing and relevant exhibits that relate what they have previously seen with events and problems that are currently happening in the world around them.
SIDE GALLERY (VIEW 4) (right) HOMELAND GALLERY (VIEW 5) (above)
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PORTLAND SCHOOL OF THE STUDIO ARTS PORTLAND, OR, USA INSTRUCTOR - DONALD CORNER UNIVERSITY OF OREGON STUDIO - FALL 2012 The Portland School of the Studio Arts was an opportunity to build upon ideas and concepts originally explored in the Studio Arts Boulder campus project. The driving force of the design remains constant from one project to another, proving a campus that promotes random interacting and collaborative opportunities. Inside the building this is achieved by having wide halls and common spaces, as well as very transparent studios that allow for process work to be seen by any and all building inhabitants. The idea was always that students could learn and be inspired not only from their teachers, but their peers as well.
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MAIN ENTRY LOBBY
SECTION A
SECTION B
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Research was done on crops, crop rotation and livestock in order to solve the problems that one might face when laying out an urban farm. This theoretical example is home to pigs, chickens and cows, all with ample living and grazing room. These animals also help to handle the waste of the farm and provide fertilizer for the crops, all in an attempt to make the farm completely self sustainable.
BOULDER DEMONSTRATION FARM BOULDER MUNICIPAL CAMPUS BOULDER, CO, USA INSTRUCTOR - SHAWN EDMONDS UNIVERSITY OF COLORADO STUDIO 1 - FALL 2010
In the Renaissance arts, “Arcadia” was celebrated as the unspoiled harmonious wilderness, it being the fruitful, beautiful and secluded area that separated the safety and social order of the urban cities from the wild and dangerous Barberia. The Boulder Demonstration Farm is meant to connect the urban core of downtown Boulder, CO with the wild, unkept Boulder Creek. Along with the farmland that makes up the site, the farmhouse itself also keeps with the spirit of connecting the urban and wild. The animal pens and human spaces, though in separate structures, share a common roof. Moving glass walls that provide a seamless connection between the food being processed and the land in which it was grown surrounds the lower workspace. And the office is housed in a glass box protruding from the structure to provide an external reflection space that blurs the lines between the build and the wild.
ROOF PLAN
SITE PLAN
9 AM SHADOW STUDY
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2ND FLOOR PLAN
80’
Shadow studies were conducted to assure that all crops and built spaces received ample daylight throughout the day and year.
125’
3 PM SHADOW STUDY
1ST FLOOR PLAN 1”- 20’
EAST ELEVATION
NORTH ELEVATION
WEST ELEVATION
SOUTH ELEVATION
SECTION A 1”- 20’
SECTION B
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REFLECTION BRIDGE BOULDER MUNICIPAL CAMPUS BOULDER, CO, USA INSTRUCTOR - SHAWN EDMONDS UNIVERSITY OF COLORADO STUDIO 1 - FALL 2010
The goal of this project was to create a structure that has two distinct spaces, one for internal reflection and one for external reflection, that are blurred together but still distinctly different. At one point of the day the sun illuminates the part of the structure closest to the walking path encouraging group interaction. In the later part of the day, the further end which extends over the creek below is illuminated. This area is now separate from the walking path by shadow and encourages individual reflection.
SITE PLAN
WEST ELEVATION
CIRCULATION
PROPORTION
SPACIAL HIERARCHY
STRUCTURE
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CRISSCROSS LOUNGE CHAIR INSTRUCTOR - GABRIEL TAN UNIVERSITY OF OREGON FURNITURE STUDIO - SUMMER 2012 The crisscross chair is an attempt to make a chair as simple as possible that gives the most sitting positions to the most amount of people. The design process started from the ground up… literally. The floor is actually one of my favorite places to sit, butt on the ground, back against the foot of a sofa. Its simple, stable, solid and provides an unlimited amount of leg and back positions (depending on pillow options). So when it came time to design a chair, I took these values to create a welcoming and friendly piece of furniture that not only allowed you to cuddle up on it, but also encouraged you to put your feet up. The question I kept asking myself at every design choice was ‘can I crisscross my legs on this thing.’ The materials for the piece were sourced as locally as possible. It is build of Oregon white ash, Oregon white ash veneer, wiggle wood and Pendleton wool from Pendleton, OR.
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DAILY RIDER INSTRUCTOR - RICH BERNOULL, MIKE DeSALVO UNITED BICYCLE INSTITUTE TITANIUM FRAME BUILDING CLASS NOVEMBER 2015 The majority of Americans still chose the personal automobile for their daily transport. But as the population of our cities grow, it will be impossible for the infrastructure of these cities to support the transportation needs of everyone traveling by car. Out of the need for transport, the convenience of traveling by public transport and bicycle will surpass the convenience of traveling by personal automobile. More and more people are choosing to commute by bicycle. But many people still chose to ride bikes designed around professional bicycle racing. These place riders in uncomfortable positions that promote speed, but lack comfort and visibility. These racing bikes are also made of materials that are designed to be light weight at the sacrifice of durability. The goal of this project was to create a bike that can be ridden day in and day out with the focus on comfort, practicality and durability.
With the help of the instructors at the United Bicycle Institute in Ashland, OR I was able to prototype a frame for the project. During the class I learned how to choose and source materials to fit the application of the bicycle. Then we were taught the theory and qualities behind different geometries when designing a bike. After the bike was designed on paper, we proceeded to learn how to miter and weld the tubes together in a strong, safe and professional way. We finally learned how to prep and finish a frame so that a mechanic can mount the parts and a customer can ride the bike safely.
The Bike Has to... ... Be Safe
First and foremost, the bike needs to be safe. It needs to be sturdy and well built as well as have brakes that work well no matter the conditions.
... Be Comfortable
If your bike is not comfortable, then you won’t ride it, simple as that. Your commute should be an enjoyable experience, which means putting the rider in an upright position so that they can easily see what is going on around them. The rider should not feel like they need to put spandex on to ride this bike... normal clothes ... Deal with the Rain Not every commute can be sunny. Every now only. and then you will have to ride in the rain. The bike should be prepared.
... Ride on All Roads
... Not Rust
Rust is the main killer of bike frames (after crashes). A good frame should stand up to the elements and owner neglect.
... Carry a Load
You should be able to run errands with your bike. That includes picking up groceries and delivering packages.
In addition to riding on tarmac, the bike should be able to ride on dirt roads and trails.
... Be Fast
You should never be late because you are commuting by bike. When riding, you should be faster than rush hour traffic.
... Be Durable
You should not have to baby your bike. The urban environment is hard on a bike and your bike needs to last you for a lifetime.
... Not Flashy
Bike theft is a major problem in large cities. A bike should have features that make it harder to steal. But it should also be understated and not call attention to itself. It should not attract unwanted attention.
... See in the Dark
No matter the time of day or time of year, the rider needs bright lights to see the road and for other road users to see the rider.
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Though the class was extremely educational and thorough, time constraints made it impossible for certain ideas to be realized. Certain design elements had to be changed from the original concept, but the bike still addresses all the problems that the original set out to solve. I see this bike as the first attempt at a project that I hope to continue to work on in the future.
A. 650b. The bike was built around a 650b sized wheel. This size is smaller than a traditional road bike wheel. A smaller rim means you can have a larger tire that will give the rider a smoother, more comfortable ride. B. Full fenders. When the roads are wet, a rider can easily get drenched from the tires kicking up water. Fenders are the best protection against the wet. C. Titanium. The frame is made from titanium, a durable, long lasting and, most importantly, corrosion resistant material. Titanium will never rust, no matter the conditions it is exposed to. D. Saddle. The saddle chosen is made of rubber. The saddle will not soak up water as a normal foam saddle will. Even if left in the rain, simply wipe off and hop on. E. Drivetrain. The shifting system was chosen for its durability and ease of use. There is only one derailleur and no redundant gears. F. Front rack. A light weight front rack is equipped to the fork. The bike can be used to pick up groceries and packages. No need for a backpack that can make the rider sweaty during the ride. The geometry of the bike is designed to take a front load well. G. Lights. Front and rear lights provide the rider with a clear vision of the road no matter the time of day. Lights are essential for road safety. H. Dynamo. A dynamo hub generates power as the bike is in motion. The hub powers the lights and charges a USB device. No batteries needed.
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MIXED MEDIA