2021 AIA HV AWARDS Publication No. 4

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AWARDS 2021 AIA Huron Valley Chapter No.4

Precast Prototypes Render Views | Ralph Nelson A primar y goal of the project was to develop prototypes that maximize evocative aesthetic qualities within strict economic and performance parameters

Front cover art adapted from Ralph Nelson’s taxonomy of prototypes. Back cover art adapted from Sean Ahlquist’s architectural research.

AIA Huron Valley AWARDS

| 2021



AIA HV Board of Directors & President’s comments


PRECAST PROTOTYPES: Ralph Nelson, Lawrence Technological University


THE ORCHID, THE DANDELION AND THE SLIDE: Sean Ahlquist, University of Michigan


Social Impact


AIA HV Award Submissions


AIA HV Award Winners


Thank you to our Sponsors and Members

AIA HURON VALLEY | 2021 Board of Directors Donald Barry – President Anna Anderson – Vice President Lindsey Suardini – Past President Kelsey Jensen – Secretary Anne Cox – Treasurer Adam Smith – Emerging Professionals Director Theresa Angelini – Continuing Education Director Sharon Haar – TCAUP Director Tiannuo Ouyang – AIAS Representative Damian Farrell – AIA Michigan Director

Editorial Board Bradford Angelini – Managing Editor Kelsey Jensen – Art Director Martin Schwartz – Editorial Director Shraddha Jain – Publication Designer Sadashiv Mallya – Consulting Editor

2021 Awards Jury – Flint Chapter

Dave Bennett, AIA, Project Manager at THA Architects Engineers Jeffrey L. Bennett, AIA, Project Manager at THA Architects Engineers John Gazall, AIA, President & Owner at Gazall Lewis Architects Shannon White, AIA, Principal at Fun Architecture


AIA HURON VALLEY | President AIA Huron Valley Chapter Members and Friends,

This 2021 edition of AIA Huron Valley’s AWARDS publication, our fourth in the series, is indeed a product of its times. During this pandemic, descriptors like ‘new normal’ and ‘unprecedented’ have been bandied about plenty. Your Board of Directors found it impossible not to respond to the year’s social challenges in meaningful ways. This publication is no exception. In these pages you will find the exceptional work of our membership. Projects were considered for awards in conventional categories for new construction or renovation. Commercial, residential, interior architecture, and unbuilt projects all were considered for design excellence. However, in addition to the usual categories, we have expanded our recognition to include the subcategory of Community Benefit, respecting the urgency of issues such as climate change, equity and inclusion. We continue to offer an educational component. The first article by Ralph Nelson, a professor at Lawrence Technological University, presents his research on Precast Concrete Prototypes. This unique perspective puts the use of precast concrete into historical context and describes the author’s research and original building types.The second article by Sean Ahlquist concerns the design and construction of spaces for children with Autism. Sean sets his design work into the context of Autism describing the disorder and research to date. He then presents some beautiful constructed work. We have added a new segment entitled Social Impact. This section highlights efforts to address current community issues. It is our hope that this focus area will endure as a point of emphasis in the creative contributions of our Chapter. The relevance of our profession and its ability to attract the best, most-diverse talent depends on our abilities to address problems more comprehensive than fenestration or spatial sequence. Lastly, I want to recognize the continuing contributions of Kelsey Jensen, Martin Schwartz, and Brad Angelini to this series of volumes. Without their persistence, hard work, and thought leadership, this chronicle would not have been possible.


Donald F. Barry JD 2021 Chapter President, AIA Huron Valley



PRECAST PROTOTYPES a Seed OUT project with Kerkstra Precast, funded by CoAD maximum effect through minimum means

by Ralph Nelson

Precast Prototypes developed out of a collaboration between Kerkstra Precast and Lawrence Technological University, with the support of a Seed-OUT grant initiated in the College of Architecture and Design by Dean Karl Daubmann. The lead collaborator from Kerkstra was Zach Morrison and the LTU principal investigator is Ralph Nelson, who collaborated with LTU architecture students Danny Jeoung, Kevin Piotrowski and Ethan Sword. The academic goals of the project included structuring a close link between academia and industr y, fostering direct student engagement with industr y, and reinforcing student and faculty collaboration in both academia and practice. Working at the confluence of design, technology and practice, the project demonstrates the opportunity for innovation and excellence in a building type that typically exhibits uncreative solutions and limited performance. Precast Prototypes speculates on a new era for precast concrete, a renaissance for the industr y.

The Project

Precast Prototypes is a design research project exploring innovative commercial building prototypes that employ precast concrete elements as the primary construction system. The project is an ongoing experimental collaboration between Kerkstra Precast in Grandville, Michigan and Lawrence Technological University in SouthďŹ eld, Michigan. The project addresses design innovation through the expression of optimized precast systems in structure and enclosure. The project leverages technological innovation in the industry including CNC fabrication of formwork and testing new applications of robotic and 3-D printed fabrication to optimize elements while minimizing cost and material. The project demonstrates innovation in practice by synthesizing design and industrial production in a close-knit collaborative partnership.

The project was conceived around the design opportunities presented by a building system and manufacturing industry that has evolved slowly since its inception, revealing latent potentials to be leveraged for new and relevant expression. Therefore, a primary goal of the project was to develop serial building prototypes that maximize evocative aesthetic qualities within strict economic and performance parameters. 7

A Brief History of Precast The history of plant-fabricated prestressed precast concrete for building systems in the United States has its origin in the technological, industrial, and transportation advances following the Second World War. Technological innovations included the application of stranded cables in the pre-stressing of structural concrete elements to resist high tensile forces and concrete creep, the refinement of structural profiles to optimize load vectors, and the testing and advancement of material knowledge acquired by the military, university researchers, and industry entrepreneurs.

The military-industrial complex established during the war continued post-war with re-purposed production plants, processes and financial backing in support of massproduced products for infrastructure and building application. In 1949 the first concrete pre-tensioning plant was established in Pennsylvania to create bridge box-girders, in 1951 the first U.S. prestressed concrete conference was held at the Massachusetts Institute of Technology, and by 1952 plants for precast concrete building elements were established in the states of Colorado, Florida and Washington.1

Prestressed Concrete of Colorado, established in 1952 by founders Jack and Leonard Perlmutter who had visited the Pennsylvania plant, was responsible for early and lasting innovation in precast building systems. Their work, in collaboration with architect Nat Sachter and structural engineer George Hanson, led to the invention of the 1953 “Twin Tee.”2 This structural element, now referred to as a double-tee in the precast industry, was the first of its kind to be mass-produced and prestressed in a purpose-built pretensioning casting bed at an off-site factory, then transported to a job site. The first building designed and constructed with the Twin Tee was a cold storage warehouse for Beatrice Foods in Colorado constructed in late 1952.

(left) The “Twin Tee” and (right) its first use in a warehouse building

The ubiquitous double-tee remains an essential and relatively unchanged product of the contemporary precast industry. The work of Prestressed Concrete of Colorado established a market presence by providing inexpensive and robust precast structural elements that could be produced and erected quickly, creating resilient buildings primarily for storage 8

and industrial uses. Their business grew ten-fold in four years and precast plants began to appear throughout the United States, founded by construction and engineering entrepreneurs in pursuit of market opportunity in their respective regions.

Flat Slab, span up to 8 ft 4 in.

Channel, span up to 8 ft

Channel, span 16 to 32 ft

Span upto 18 ft 6 in.

Ribs at 5 ft 6 in. spacing Span 33 ft3 in.

Span upto 38 ft

Span upto 48 ft

Evolutionar y development of precast floor and roof structural elements, culminating in the 1952 “Twin Tee.”

The development and growth of the precast concrete industry in the United States during the 1950’s was predicated on robust transport vehicles and a high-quality road system to connect precast plants with building construction sites. The Second World War had created advances in transportation vehicles, specifically heavy-duty semi-trailers. These trailers were capable of transporting heavy precast concrete elements and were readily available as army surplus. However, they still had limited access to the nation’s existing and relatively primitive road system. The seemingly unrelated experiences of U.S. General Dwight Eisenhower, who witnessed first-hand the German national autobahn network during the Second World War, led to a recognition of defense and commercial opportunities in a robust and rationally interconnected road system. The Federal Highway Act of 1956, initiated by then President Dwight Eisenhower, led to the expansion

Expansion of vehicles and transportation network


Yamasaki’s Northwestern Life, Minneapolis, MN 1968

of inter-state highways and the creation of national freeways in the United States.3 The establishment of federal maximum gross vehicle limits for trucks, capped at 73,280 pounds, opened the road system to greater vehicle capacity by weight and number. By 1960, the roads available for heavy-duty transport had increased significantly for all sectors of industry transporting commercial goods, and the expansion of the precast concrete industry grew in parallel.

The decade of the 1960’s witnessed the rise Yamasaki’s Pacific Science Center, Seattle, WA 1961 of precast concrete buildings designed by architects, expanding beyond the storage and industrial program uses at the advent of the industry. Although cast-in-place concrete was popular internationally and utilized nationally, the rising relative cost of construction labor allowed precast concrete to maintain a competitive market edge and a significant number of precast buildings were designed Yamasaki’s Medical Society, Lansing, MI and built with architectural elegance and integrity throughout the United States. Michigan-based architect Minoru Yamasaki was noted for his experiments with the pragmatic and expressive potential of precast concrete. The precast concrete elements of structure and enclosure developed in the 1960’s have remained relatively unchanged in the ensuing sixty years. The precast building industry has grown to $13 billion annually and 1,875 precast businesses operated nationally in 2019.4

In 1962 Larry Kerkstra established a business in western Michigan, initially producing precast concrete septic tanks to serve an expanding residential construction market. The business grew to include precast structural systems for buildings and the company is now led by his grandson Greg Kerkstra. The Kerkstra Precast plants in Michigan now produce both structural and non-structural precast elements for a range of building types including parking structures and commercial, institutional, and multi-unit residential buildings.

Precast Prototypes The Precast Prototypes project began in June 2019 with our tour of the 50-acre Kerkstra precast yard and plant in Grandville, Michigan to gain an understanding of the fabrication process, the range of precast elements produced, and the constants and variables open for design opportunities. For us, architects and architecture students, the experience was like leading kids through a candy shop. The bits and pieces of 11

building components were everywhere, filled with potential, and they whetted the appetite for design.

Following the plant tour, the LTU team met with the Kerkstra team including engineers, line managers, and marketing staff to define the initial pragmatic project criteria that would serve the needs of Kerkstra Precast. The project was organized to utilize existing Kerkstra products, with an innovative approach to the way they would be configured and expressed. Variations on Kerkstra products would be supported, as long as they remained within the current means and methods of fabrication. A ratio of 85% convention to 15% innovation was established as the appropriate relationship for economy of means and design integrity.

The design process for Precast Prototypes was developed over a period of 12 weeks in which 12 Building Types and 36 Building Variants emerged as clear expressions of the project goals and principles. The LTU architecture students were primarily responsible for the design work, under the guidance of the principal investigator and with feedback from Kerkstra Precast. The design process was highly iterative in nature and began by activating both conventions and innovations currently present in the precast concrete industry serving the building construction enterprise. With each successive week the somewhat crude initial designs evolved and refined in form and spirit.

Design Parameters Several design parameters were established during the active collaborative process with Kerkstra Precast. All buildings would be designed as “total precast solutions� utilizing precast structural and thermal enclosure elements for the entire building, excepting fenestration. A minimum of 100,000 square feet of precast element area (primary surface area) was used for each building designed, to meet the cost/benefit ratio from a Kerkstra business and logistics perspective. Translating this element area into building floor area also naturally led to a relatively common size for institutional and commercial buildings. Each design would be programmatically flexible, to accommodate a range of possible uses, including covered parking. A finite number of building morphology types were developed, in concert with the range of unique structural elements that could be reasonably combined to make a complete building. Each morphological type was developed in two, three, and four-story variant configurations.

The LTU design team established a set of relevant performance and aesthetic parameters to complement the pragmatic parameters already established with Kerkstra. Each building variant was designed to respond to specific cardinal orientations, with unique expression of the south, north, east and west sides. All buildings were designed for climate zone 5A that is characteristic of southern 12

Michigan. Each building has a fully integrated daylight system and strategy to illuminate precast structure, form, and space. Each building is comprised of a logical and modular structural matrix, that includes a variety of spatial variations and intuitive asymmetrical relationships of space and form. Horizontal and vertical circulation is defined with explicit precast elements and designed to meet egress requirements with experiential interest. Sectional heights were established on a seven-inch and a seven-foot module, to allow a standard precast stair to work with any building. Each building has a prominent main entry with integrated overhead shelter and each service entry is as wonderful as the main entry.

A unique and contextual representation strategy for the project was implemented to reflect its military-industrial origin and to communicate the spirit of an anticipated renaissance for the precast concrete building industry. Hybrid imagery utilizing a mash-up of military-industrial stencil markings and nomenclature of sober technical information was combined with 16th Century costumed figures in evocative American landscapes to capture the spirit of the project. These features were synthesized to express a vision for the future that is both connected to the past and radically different from it. The critical presence of climate change speaks through the representational skies, as each building vies for the right to communicate within an expansive American environment. Each building variant is named under the NATO phonetic alphabet, and each is considered a living figure within a larger ecosystem.

The NATO phonetic alphabet


Design Principles In addition to the design parameters, the design team also established a set of design principles, building on the virtues of precast concrete systems. The first principle, “minimum of means to maximum effect” was established in response to the potential of a fully integrated precast building to utilize a minimum of elements, each with an essential and visible role. Precast structural elements require no fireproof cover and all the connections can be revealed. Precast elements of enclosure can have a fully integrated system to resist water, air, vapor and thermal transfer.

The exterior and interior concrete surfaces can be fully revealed and include a broad spectrum of color and texture qualities to engage human experience and weather gracefully over time.

The second principle, “clear expression of element forces” was established in response to the ability of precast concrete to define element form and profile in relationship to the physical forces to be channeled through each element. There is great potential within the precast industry to further develop and refine precast elements to minimize material use and optimize expressive character. The simple fact that concrete begins in liquid form and adapts precisely to formwork as it becomes solid offers both pragmatic and aesthetic opportunities


for design. The flow of concrete can follow the flow of forces.

The final established principle, “elegant proportion and character” emerged in response to Chicago architect Louis Sullivan’s assertion that American architects might “concentrate acutely on the production of buildings well formed and comely in the nude.” 5 Buildings created from precast concrete systems have the potential for raw and direct expressive power through essential elements, relying on well proportioned form and space to convey a range of possible character, from subtle to sublime. The resiliency of concrete in building system form allows the bare bones of a skeletal structure and the deep skin of enclosure to carry high aesthetic content while meeting all the pragmatic conditions of environment and use.




End Notes 1. “Reflections on the Beginnings of Prestressed Concrete in America,” (Chicago; Prestressed Concrete Institute, 1981): 364-365. 2. “The Legacy and Future of an American Icon: The Precast, Prestressed Concrete Double Tee,” PCI Journal (July-August 2015): 52-53. 3. “Federal-Aid Highway Act of 1956; Creating the Interstate System,” Public Roads Volume 60 No. (Summer 1996): 1-9. 4. “Precast Concrete Manufacturing in US Industr y Statistics,” IBISWorld (2019 Report) 5. “Ornament in Architecture,” Kindergarten Chats and Other Writings, by Louis Sullivan (New York: Wittenborn, 1976): 185

By Ralph Nelson © All rights reser ved September 12, 2020

ABOUT THE AUTHOR | Ralph Nelson Ralph Nelson is an architect and associate professor in the College of Architecture and Design at Lawrence Technological University. His teaching and research focus on design from a material and ethical perspective, with emphasis on elegant integration. He is a founding principal of Loom, based in Ann Arbor, Michigan. His work has been published widely and has received several design awards including three Progressive Architecture Awards and an R+D award. He holds a Master of Architecture degree from Yale University.


T H E O R C H I D, T H E DANDELION & THE SLIDE shifting design agency to activate neurodiversity by Sean Ahlquist

Projects shown in this article have been developed with a multidisciplinar y team at the University of Michigan that includes structural engineering – Prof. Evgueni Filipov and Maria Redoutey, CNC knit design and engineering – Tracey Weisman and Yingying Zeng, and kinesiology – Larkin Marra. The research is supported by funding from the Taubman College of Architecture and Urban Planning at the University of Michigan, Exhibit Columbus, and the Ann Arbor HandsOn Museum. Portions of the text and imager y in this article have been reprinted and paraphrased from “Sociomaterial Architectures: The Integration of Sensorial Agency as Means to Address Autism, Neurodiversity and Inclusion” in the World Architecture Magazine Building for Children: Beyond Vibrancy issue published on August 18, 2020. All drawings, diagrams and images are credited to Sean Ahlquist, University of Michigan.

MY PATIENT ZERO – ARCHITECTURE, COMMUNICATION, AND ARA Ara is my daughter – a charismatic 11-year-old girl with autism spectrum disorder. She is a non-verbal communicator. Her neurological make-up inhibits the proper signaling and articulation of muscles that are required to shape sounds into words and build sentences into conversations. But, by other means, she is a tireless and expressive communicator. In the words of the autistic self-advocate Carly Fleischmann, this occurs because: In a world of silence, communication is everywhere. You just need to know where to look1 This means for Ara, I am a necessary participant in the search for meaning from her everywhere. In Ara’s toolbox of strengths is her ability to exploit creativity as means to turn her physical and social world into novel multi-modal means of communication. As a professor of architecture at the University of Michigan, I find myself intrigued at how objects, spaces and social environments can operate either disruptively or productively within her effort to form ad-hoc language. As a parent, it’s critical to the formation of a functional, reciprocal dialogue and evolution of a supportive, equitable relationship. This delicate and highly influential teeter between architecture’s potential for discord or affordance is exemplified in my daughter’s experiences with one of the most ubiquitous components of the playground – the slide. A common part 21

of the autistic child’s repertoire can be moments of sensory seeking – achieving a calming effect through the experience, often ritualistic, of simple but strong stimulations 2 Going down a slide could be classified as one of Ara’s sensory seeking moments (Figure 1a). But, in certain circumstances, I found Ara to be more interested in staying at the top of the slide than going down. A correlation was eventually discerned that defined this as an act of separation – a rejection to my communications with her indicating that we soon needed to leave the playground and head home. A cheeky grin and wagging tongue could be read as un-verbalized defiance to my utterances (Figure 1b).

Figure 01a Ara’s sensor y seeking moments

Figure 01b Her un-verbalised defiance

Several key ramifications are unmasked as the architectural object becomes repurposed. First, Ara has enhanced the convention of the slide – disabling the action of sliding down it. It becomes an armature that privileges her position at the most distant and largely unreachable point on the playground (I’m never up for trying to wrangle her down from the top of a slide, and she knows this!). The position, the rejection of the slide’s accepted usage and the facial expression become an in-situ language that replaces the verbal response of “No, I’m … not … leaving.” But, another, now problematic ramification grows from the imposition of accepted usage, within a larger social dialogue. Shared knowledge and experience within a community indelibly shapes the expectations for how one is to operate on the playground. A differently-abled community, though, will tread different modes of education, social opportunities and physical access, not being privy or exposed to the conventional norms of use and etiquette. On the slide (Ara’s beacon for nonverbal opposition), behavior, while seemingly ingenious, is non-conforming to the rules. As a result, Ara is deemed the obnoxious child, causing the traffic jam of children on the ladder who are eager to get their turn. I, subsequently, am targeted as the entitled parent allowing, nay celebrating, this child’s deviant behavior. 22

Conflict arises from the irrevocable language of the slide, ultimately dictating a nowin situation. If we ask Ara to normalize her behavior and follow the conventions of the playground, we are negating her creativity. She is robbed of the apparatus that she feels is necessary, at that moment, to communicate her message back to the neuro-typical world (meaning me). As a result, and as the emptiness of the background in the pictures of Figure 1 show, we go to the playground at times with few other children and families present. It fulfills Ara’s ability to do her magic in making the objects of her world talk. Yet, she is prevented from experiencing social interaction, and others prevented from being party to her ingenuity. When playing in the isolation of others, there is no capacity for developing and practicing the skills of socialization among peers – a fundamental aspect of the playground for childhood development – outside of her specialized classrooms and limited social circles. While meaningful in building a shared language with Ara, this moment sets a specific benchmark for architecture’s potential for embracing diversity, yet also its general culpability in creating exclusionary spaces.

The fixity that shapes exclusion Every design move inserts an unavoidable bias. A particular juxtaposition of angles, proportions, steps and smooth surfaces evoke the perception of a slide and subsequently imply its intended manner of operation. Such authorship of geometric design and architectural narratives unavoidably exacerbates the social distinctions between typical, abled, diverse, and differently-abled. Efforts to dissolve these distinctions often align with two motivations: empathy for an underserved community, or a scholarly inquiry of the factors that define the illfittedness of certain communities to the physical, social world. I would argue that each is fraught with limitations and ultimately inhibit diversity as being an expression unto architectural form. As with the example of the slide, experience equals knowledge and is constructed in situ. Any a priori narrative, motivation or assumption is then counter-productive to the formation of such knowledge. Empathy is commonly construed as an ability to relate. But this does not align, as with the relationship to my daughter, when the projection of one’s own knowledge, perceptions, and experiences does not map onto another. Empathy is thus specific and situational not global and instinctive. No foundation for empathy can exist when diverse paths of culture and education are trodden. Robert Adams, a colleague in architecture at the University of Michigan addressing disability culture, characterizes the problematic nature of an empathic approach as an oppression of compassion 3 . The ceiling of one’s intentions to relate through a lens of “constrained literacy and intellectual thought” makes incapable the ability to generate an authentic understanding of an otherly set of circumstances. I would argue it is not appropriate to even tread such territory. It is paradoxical to both embrace diversities on their own terms and try to relate through a lens of normalization. 23

If not empathy, or not solely empathy, scholarly inquiry is seen as a resource to unfurl the intricacies within differing perceptions of environment and communication. But often in the writings and research on disability there is a troubling hierarchy to overcome. Tobin Siebers, in the seminal work Disability Theory, pinpoints the problematic notion of identity where it is used to define a minority purely by shared defect. He calls this the medical model of disability or ableism. Shared by the medical community, public opinion, and in scholarly publications, the focus remains on the eradication of a defect, seen as a “personal tragedy”, in order to “restore a person to the superior state of health required by the ideology of ability”4 . The deficit-perspective is readily apparent through architecture’s focus on technology-assistance as the classifier of a defect in physical ability. The wheelchair and other assistive devices denote a technological necessity for achieving mobility, triggering the insertion of handicap signage and access ramps. Yet stairs, their strict dimensions and global uniformity, are a technological necessity for movement between differing elevations. All parameters are driven by the body’s inherent limitations for climbing terrain of a certain vertical slope. Jill Gravink, director of Northeast Passage – a hiking program for people with disabilities, challenged the able-ist’s view in the simple question: if there is no desire to provide handicap access, then “why bother putting steps on the [building] at all? Why not drag yourself in through a window?” 5 . In Figure 2a, Ara exhibits her sensorial desire to combine small spaces and motion. This is part of a protocol to help shape communication through utilizing activities that are solely initiated by Ara, by following her lead. The effort builds types of back-andforth communication through the means of specific sensory-rich actions. Since the actions are highly desired, a pause can be used to provoke a response. A little eye contact becomes communication to propel forward, rolling her through the house while tucked inside the suitcase. Through not only repetition but iteration of this sequence of events – going backwards, rolling over different terrains – we constructed the mechanics of a language that included eye contact, different utterances for stop and go, and hand gestures to 24

Figure 02a

Figure 02b

indicate directionality. This, to me, is a model for design process (Figure 02b). But it is one that only functions in the current tense. Nothing is explicitly tailored to my daughter (she still wants to ride in the suitcase, but they don’t make them that fit 11-year olds) but knowledge in how to best operate the objects, navigate through environment and communicate is done in time, in situ. THE SOCIAL ORCHIDS AND VULNERABLE DANDELIONS Elaine Aron in her 1996 book popularized the term “highly sensitive person” or HSP6 . This characterizes keen observers who are highly impressed upon by or reactive to the conditions of their environment. One framework, emerging from this theory of environmental sensitivity, that helps characterize autism’s neurodiversity is differential susceptibility or contextual susceptibility. W. Thomas Boyce, an American pediatrician researching child development, characterizes highly sensitive people as being “orchid-like” – a “disproportionate, neurobiological sensitivity” where the quality of behavioral outcomes is acutely contingent upon environment 7. Alternatively, the dandelion is viable in almost all circumstances except the most extreme. But these are not immutable characteristics, ones often seen locked to the individual. Our current circumstance, in the midst of a pandemic, sheds light on the dandelion’s recognition and susceptibility to a discord with environment. The near elimination of routine social opportunities, confinement to the home as venue for both family and work, and the drain of virtual communications is all un-tread territory. The lack of adaptability and practice with such scenarios superimposes repercussions onto social, emotional and physiological performance. The dandelion slips into being in the territory of an orchid. It is the immutability of the discordant environment that drags behavioral outcomes. The valuable lesson that Boyce provides is contingency. Stressful conditions likely lead to poor trajectories of health and development for the high-reactive orchid. Yet, a supportive context produces exceptional outcomes, better than even the largely resilient “dandelion-like” peer 8 . For the orchid-Ara, the playground’s slide functions beautifully as the component of a conversation in the presence of my understanding that it projects more than the function of sliding. She is successfully social, communicative and expressive. Conversely, maladaptive behavior quickly emerges in the unsupportive context of others who perceive her actions as aberrant and confusing. This disables her critical ability to make the slide a part of her messaging. Ara, in response, reacts with physical emotion, as non-verbal means to counter the rejection and communicate frustration. The change of social participants in environment has drastically different consequences in the success of social and behavioral development. Autism is often tagged as an “invisible” or “hidden” disorder. Many traits only arise within social circumstances. Observations of stereotypical autistic behavior might include an “out-of-sync” awkwardness or a perceived lack of emotional discipline. To desire inclusion requires recasting such characterizations of one’s traits from being problems to being an equal negotiation of differences across social bodies. 25

Once conceived as a single space of a social collective, then the negotiation of differences has radiant effects as modelled in Figure 03. My daughter’s anxiety on the slide, in the context of disapproving peers, degrades my sense of resilience. As a party to this specific social conflict, her peers are also judged as ill-equipped. This defines a inability of the collective to form a shared language Figure 03 so that all can successfully navigate the social experiences of the playground. Everyone has slid towards the “orchid” that lacks resiliency to the social and physical environment. This is likely a better starting point to discuss equitable spaces than simply addressing Ara’s perceived ill-fittingness as the sole source of discord. PLAYSCAPES Gordon Pask, in applying cybernetic theory to art, architecture and theatre, exemplifies an in situ unravelling of design and sensorial experience through his Musicolour project. The device transformed orchestral sounds into electrical signals and projected light patterns. Most importantly, it did so with a unique capacity to “get bored”. Upon discerning repeated auditory frequencies, the corresponding light patterns would increasingly dissipate and ultimately mute. This evolving system, intended to be to be initially “opaque and inscrutable to the musical performer” – necessitates a construction of space to occur in time with the device, the conductor, the orchestra and the ever-transforming symphony of

Figure 04

sounds 9. The live activation of a design space is not simply exploration but rather a discovery of knowledge. A situated intelligence emerges – inextricably formed in the moment of experience, rather than a priori (defined independent of experience) or a posteriori (known on the basis of experience). 26

When David Katz discusses the tactile domain of the sensory system, he finds provocation as the only means to discern the environmental characteristics: The tactual properties of our surroundings do not chatter at us like their colors, they remain mute until we make them speak10 . Such inherent motivation, to make the tactile speak, is the grounds for our use of textiles as the primary architectural medium (Figures 4-5, 8-10). In Gottfried Semper’s “principle of dress”, textile is both expression and record for the “relationship of materials, tectonics, and ornament and the partnership of technology and cultural practice in the development of architectural Figure 05a form”11. Pask’s Musicolour synthesizes the materiality of sound and light through the culture and practice of the orchestra. As a sensorial instrument, Semper poignantly notes development as another key engine to shape meaning. The proposition, then, of an architectural “dress” entails the partnerships between the design of the process for making, the making itself, Figure 05b the thirst for its “wearing” and the sensation in the process of “wearing”. To become of the body, and therefore inextricable to the characteristics of its form and motion, makes the material speak of a situational intelligence, individual creativity and exuded expression.

Materializing agency and communication Historically, knitting recalls an intimacy between the garment and its making, from the woolen fisherman’s sweater to the delicate stocking. Just as with the immutable message that the geometry of the slide exudes, this reminiscent appeal of the knitted medium is problematic and requires a re-contextualization. Disabling the inherent readings enables a necessary indeterminacy. Where design can access the construction of knitted material from its finest scales – a premise that is both exhilarating in possibilities and daunting in scope – then each facet within the material hierarchy can unlock its own sensorial capacities. This is a critical yet also paradoxical moment. Through a level of extreme precision, in the exhaustive bottom-up creation of material, emerges an ever-broadening variety of sensorial capacities. The deeper the level of precision – the more 27

indeterminate its sensorial capacity, as a wider number of characteristics can be tuned towards creating variability in this particular effect. This is played out in our research with the simple but multivalent consideration of elasticity. Well suited to the knitted textile due to its inherent conformability, the finest scale operates with delicate elastane fibers – eluding to the sensuousness of the stocking (Figure 6). As a spatial system, surfaces are formed into a cacophony of volumes, patterns and apertures – like distorted transformations of the seamless knitted sweater. As a compliant structure, the seamless manifold textile acts in tension as defined by its relationship with a bending-active composite boundary (Figure 7), harkening back toward the anticlastic surfaces of Frei Otto’s

Figure 07a

Figure 07b


Figure 06

work in researching the structures of natural systems. The technical properties of elasticity and compliance become the primary design driver. Precision, more appropriately exhaustiveness, in deploying this property across all material scales embeds responsivity to differential degrees of sensorial interaction. This defines a requisite variety – the right variety of possible responses to adapt to the right variety of environmental circumstances12 . Simon Penny’s demand for interaction to operate with “agent-like behavior on both

Figure 08a

Figure 08b

Figure 09a

Figure 09b


sides”13 is achieved through the material’s response of forgiveness and resistance to the physical transformation of the social actor. The “hand” of the textile changes with the stretch of the material – as it increases its want to rebound – or in the movement across the contours of surfaces as changes in pattern become identified (Figure 8). Reverberations ensue across the system of interconnected materials at the imposition of the body – exuding a real awareness for owning the behavior of environment (Figure 9a). AN ARCHITECTURE THAT ERRS The moments at which Ara’s environment becomes an extension of her – when it is owned by her, consumed by her, transformed by her, in manners that boggle the mind – are a bottomless well of fascination. She bends people, place, time and emotion into her own non-verbal “voice” and constructs a dictionary full of meanings of her own spatial manifold language. Her captivation with any one element marks indelible bindings between all constituents. Her sensorial hyperawareness sees the entirety of the social and environmental composition that enables a moment of functional success. Initiated with a dictionary of only blank pages, the process of owning environment is the only means through which Ara’s versions for a spatial and emotional inclusion become written.

SensoryPlayscape [EC], Exhibit Columbus, Columbus, Indiana, April 2019. In measuring the range of sensorial interactions across each region of a small prototype, the capacity for a child’s individual agency is shaped through the freedom to define sensorial functionality. Highlighted in two instances (right), Region 4 is distinctly transformed by one child into a tactile landscape (bottom) and into more grand kinesthetic activities, by another (top).

This also entails the inevitable moments of discovery for what Ara’s language is not – the wall of discord that prevents communication – the enaction of creativity. If empathy is to be anything relevant to architecture at this moment, it is the following: (1) accepting that a lack of knowledge is necessary to avoid prejudice in drawing normative “relationships,” (2) the search for common ground necessitates trial and error through indeterminate iterations, and (3) understandings only arise collectively. As a parent, this offers some relief to my many fuck-ups. The mistakes in trying to problem-solve through my contrived lens of Ara’s world only exacerbates her frustration. These are simply engines that impede construction of a shared language. Yet, the error necessitates the feedback and the next iteration. I only learn about Ara by learning from Ara, and over the course of time and place. The societal savior-isms for doing good, the top-down charity models fail for an inability to iterate on both premise and practice. If Ara is the metric, then the first several attempts are always wrong.

Figure 10

This exact frustration in myself, to detrimentally draw inferences, relationships, forgo iteration and set expectations foreign to specific circumstances, sows my weariness in architecture. To yield, to offer complete submission to the other, to understand the otherness while suspending the self, can architecture do that? Can architecture allow for – in order to transcend – the inevitable fuck-ups? The slide is exclusionary for myself and my daughter. It has no ability to change. It cannot bear the effort of iteration in order to explore access alongside a wider community. Embedded in the discourse of diversity is the acknowledgement of an, at least initial, unknowing-ness. One that demands yielding authorship. There is no ability to fill new pages of the dictionary when there’s a certainty that its already been fully written. An architecture that can wait, can leave process as something beyond its own hand, allows diversity to shape its very language. 31

Sensory Playscape Platform. Central to this research in studying architectures linkages to social behavior is the development of an software, hardware and material platform that allows for the exploration of prototypes across a range of scales, forms, tactility, interactivity, deployability and spatial organization.

End Notes 1. Fleischmann, A., & Fleischmann, C. (2012). Carly’s voice: Breaking through Autism. Simon and Schuster. 2. Boyd, B. A., Baranek, G. T., Sideris, J., Poe, M. D., Watson, L. R., Patten, E., & Miller, H. (2010). Sensor y features and repetitive behaviors in children with autism and developmental delays. Autism Research, 3(2), 78-87. 3. Adams, R. (2019) Personal communication. December 4, 2019. 4. Siebers T. Disability theor y. Ann Arbor, MI: University of Michigan Press, 2008. 5. ibid. 6. Aron, E. (1996) The Highly Sensitive Person: How to Thrive When the World Over whelms You. Birch Lane Press. 7. Boyce, W. T. (2016). Differential susceptibility of the developing brain to contextual adversity and stress. Neuropsychopharmacology, 41(1), 142-162. 8. Ellis BJ, Boyce W T, Belsky J, et al. Differential susceptibility to the environment: an evolutionar yneurodevelopmental theor y. Dev Psychopathol 2011; 23(1): 7–28. 9. Pickering A. (2002) Cybernetics and the Mangle: Ashby, Beer and Pask. Social Studies of Science, 32(3): 413–437. 10. Katz D. The world of touch (trans. LE Krueger). New York: Routledge, 2016 [1989]. 11. Holliday K. Unraveling the textile in modern architecture: guest editor’s introduction. Stud Decor Arts 2009; 16(2): 2–6. 12. Glanville, R., Dubberly, H., & Pangaro, P. (2007). Cybernetics and ser vicecraft: language for behavior focused design. Kybernetes. 13. Penny, S. (2017). Making sense: Cognition, computing, art, and embodiment. Cambridge, MA: MIT Press.

By Sean Ahlquist © All rights reser ved September 29, 2020

ABOUT THE AUTHOR | Sean Ahlquist Sean Ahlquist is an Associate Professor of Architecture at the University of Michigan – Taubman College of Architecture and Urban Planning. He directs the Lab for Socio-Material Architectures, conducting collaborative research that ranges from structural engineering to health science. Ahlquist received his masters degree at the Architectural Association from the Material Systems MSc program. He is currently completing his Phd with the Institute for Computational Design (ICD) at the University of Stuttgart.




President’s letter to the Ann Arbor City Council


Super Temporary


Ann Arbor 2030 District


President’s Statement re: Diversity & Inclusion


NOMA-D pipeline project


Hip Hop Architecture Camp & Design Justice Competition

AIA HURON VALLEY | President’s letter to Ann Arbor City Council May 29, 2020 Ann Arbor City Council C/O Missy Stults, PhD Sustainability and Innovations Manager

Re: An Architectural Approach to Embodied Carbon Reduction in New Construction

Ms. Stults, I am informed that the Ann Arbor City Council has requested feedback from The American Institute of Architects Huron Valley Chapter regarding the role of embodied carbon in new building construction and strategies for reducing this impact. I must begin by saying that, while I am responding consistent with my role as AIA Huron Valley President and will make every attempt to portray views that are consistent with those of our national organization and local membership, architects are a very diverse community and I cannot speak for all. As a profession, we recognize that building operation and construction have a significant effect on increased carbon levels and we have a responsibility to the public to reduce this impact. It is our goal, along with partners like Architecture 2030, to achieve net-zero emissions in the building sector by 2050. We recognize that this goal entails partnership with policy makers like yourselves, changes in codes and building materials, and educating our clients, as well as our colleagues and the public, in best practices. While much of our focus before now has been on operational efficiencies, Architecture 2030 estimates that embodied carbon will be responsible for nearly half of all new construction emissions between now and 2050. Given the increasing effect of embodied carbon in new construction, it has become essential that we expand our efforts to include the development of strategies that address both embodied and operational carbon emissions. It is estimated that 55% of a commercial building’s carbon footprint is due to building structure, while building enclosure represents about 33%. Since these two elements represent the lion’s share of a new building’s carbon footprint, the following strategies focus primarily on these concerns:

Renovate First:

Reuse of old buildings saves 50-75% of embodied carbon as compared to new construction. Saving the building structure is key here.

Reuse Materials:

Carbon used to manufacture reused materials such as masonry, metal, or wood has already been spent and the net effect is zero.


Require Low-Carbon Concrete Mixes:

Due to its weight and prevalence, concrete has a disproportionate impact on total embodied carbon on nearly every new construction project.

Choose materials carefully:

Focus on high-volume materials. Limit the use of carbonintensive materials like aluminum, plastics and foam insulation. Use lower carbon alternatives like wood structural

Use Recycled Materials:

This is especially important for metals. Virgin steel can have up to five times higher embodied carbon as high-recycled

Maximize Structural Efficiency:

Utilize advanced framing, or optimum value engineering (OVE), for wood structures. Design efficient structural sections and slabs to maximize efficiency and minimize material use.

Reduce Finish Materials: Exposed structural material used as finish reduces embodied carbon. For example, exposed ceiling structure eliminates the need for acoustical ceiling tiles and grid, and polished concrete slabs do away with carpet or tile. Minimize Waste:

Modular design and design that anticipates the standard dimensions of materials reduces waste.


There are a number of tools available for calculating embodied carbon but they are new and not widely used. Architects, researchers, and policy makers must work together to develop a clearinghouse for benchmarks, calculators, and environmental product declarations (EPDs).


Resources & Policy Models: The following resources represent some examples of the strategies mentioned on this list but inclusion here does not constitute full endorsement in every case: Bay Area Low-Carbon Concrete Codes Project https://www.marincounty.org/depts/cd/divisions/sustainability/low-carbon-concrete-project

AB 262: Buy Clean California Act http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180AB262

Athena – Life Cycle Analysis (LCA) and carbon calculator http://www.athenasmi.org/our-software-data/overview/

EC3 embodied carbon calculator https://www.buildingtransparency.org/en/

AIA report on the value of renovation http://content.aia.org/sites/default/files/2019-07/RES19_227853_Retrofitting_Existing_Buildings_ Report_Guide_V3.pdf

ICE database of embodied carbon of materials https://circularecology.com/embodied-carbon-footprint-database.html#.XcsL8r97lTY

One-Click embodied carbon calculator https://circularecology.com/embodied-carbon-footprint-database.html#.XcsL8r97lTY

Advanced House Framing https://www.energy.gov/energysaver/energy-efficient-home-design/advanced-house-framing

Tally embodied carbon calculator for Revit https://kierantimberlake.com/page/tally

The International EPD System https://www.environdec.com/

On behalf of the Huron Valley Chapter of The American Institute of Architects, I would like to thank you for the opportunity to present this information. As we approach this crossroads of environmental stewardship, I commend you for your community-based approach to tackling this issue. Each of us must take part in this effort if we are to meet the considerable challenges that lie ahead. If I can be of further assistance to you please don’t hesitate to reach out.


Donald F. Barry JD President American Institute of Architects, Huron Valley Chapter



The 2020 Super Temporary awards was a competition to design and install a temporary glowing gateway installation for the annual FoolMoon celebration in Ann Arbor, Michigan. The installation was meant to be a beacon for the event at the entry point to the festivities. The following entries and winners are quick to assemble, and managed to create an exciting environment for everyone.


S U B MI SS I O NS | Super Temporary 2020

ILLUMI-NATURE | Dustin DeWitt, Natalia Ipince

SENSE FACULTY | Johnathon Smith

SUBMERGE | Sara Corneliussen, Vanessa Flebbe

INFINITE MOON | Christopher Prinsen, Freddy Foote, Jacqueline Daniel, Waylon Richmond

SHADOW OF WATER | Yangtian angtian Yan, Jacob Pyles


H O NO RABLE MEN TION | Super Temporary 2020

DUNNAGE CREATURES | MEGAN PETERS Under the grey Michigan skies, ten wonderous creatures were born from the collective wish for colour and light. Catch them once the sun has set but be quick - their illuminating bodies will fade once the moon is no longer lit.


W INNER | Super Temporary 2020

NO THANK YOU //plastic bags | NEUMANNSMITH ARCHITECTURE Ernesto Whitsitt, Clayton Wenrick, Trent Schmitz, Jason Baker, Megan Hon, Charlott Glaab, Zach Funk, Dima Daimi, Jamie Millspaugh, Norm Tavian, Phil Herriges

Plastic bags were originally designed as a sustainable solution to deforestation due to production of paper bags. Unfortunately, we know that is not the case now and plastic is disrupting our ecosystems especially our oceans at an exponential rate. According to EcoWatch, 1 trillion plastic bags are used annually worldwide which equates to 160,000 plastic bags used every second! The 4,000 bags used for this installation depict only 2.5% of bags used every second. Approximately 1 square foot of this installation took 12 plastic bags which coincidentally is also the average number of MINUTES a single plastic bag is used for. This essentially is the time from the checkout aisle to when you unload the items at home or sometimes it’s just to the car. Next time you reach for a plastic bag try to ask yourself, “Is there a better alternative for me?” We

have gathered our plastic bags from co-workers, family, friends, and partner companies in efforts to create an awareness and ensure these plastic bags are being reused and properly recycled. We have weaved the bags together to create a fabric netting to catch the attention of the public as they realize how our plastic use has negatively merged 42

with our natural world. The organic form of the installation simulates the waves of the ocean to connect the experience to nature. Conceptually, part of the installation will come down to embrace the user and allow them to physically connect with the art. The bags will resonate with the awareness of plastic use as the public brush their hands past the bags. Colored LED lights will shine up and through the bags as they dance with the wind and music of the FoolMoon’s air; paying an abstract homage to the parade of home-made luminaires as it finishes at the market. Within the blanket of plastic bags, there will be pockets with facts about plastic to further emphasize the message of the installation and create moments of realization. Additionally, the installation will also contain QR codes to enhance the experience as the public will walk out more informed with facts and how to properly recycle plastic. At the end of the night, the installation will be taken down and it may continue its life as a moving sculpture as we work with our alma maters to display the earth conscious installation; University of Michigan, University of Detroit Mercy, and Lawrence Tech University. Ultimately, the plastic bags will be properly recycled.


A n n Ar b or 2 0 30 Dist rict The Ann Arbor 2030 District ÂŽ, supported this year by AIA Huron Valley

Ann Arbor 2030 District is a non-profit, membership organization that bridges the gap between the private and public sector to reduce the environmental impacts of buildings in Ann Arbor. Our members have made the commitment to significantly reduce water and energy use, and carbon emissions from transportation by the year 2030. The impacts from buildings and transportation emissions are two leading contributors to climate change. Our unique relationships with the community, private sector, public officials, and building owners positions us as an important nexus for dramatically improving the health and environment of the community.

We are part of the 2030 Districts Network founded by Architecture 2030 in 2010 to implement the 2030 Challenge for Planning and achieve a low carbon economy. Launched in 2018, the Ann Arbor 2030 District is working with the City of Ann Arbor to implement the A2 Zero Carbon Neutrality Plan with commercial and multi-family buildings. Currently, the District has 32 Property Owner/Manager members representing 90 buildings, 32 Professional Stakeholder members (including 16 Ann Arbor architectural firms/architects), and 10 community members.


Key accomplishments Education Hosted our first annual meeting and 3 educational Power Hours in collaboration with the City of Ann Arbor for different building types focused on energy waste reduction and renewable energy. We also made a dozen presentations on our work in the community. This fall we are kicking off a virtual education series in collaboration with AIA Huron Valley and Washtenaw Contractors Association on implementing the A2 Zero Carbon Neutrality Plan.

The District is primarily funded through Professional Stakeholder membership fees, DTE sponsorship, and grants from Michigan Office of EGLE and the City of Ann Arbor. The District is governed by a Leadership Council representing the diversity of our membership.

Reducing building related GHG emissions Completed 20 free ASHRAE Level II audits for member buildings. 10 more audits are scheduled by the end of 2020. Completed a building stock analysis and water baseline for all buildings in Ann Arbor. We are presently work on developing a transportation survey to establish a transportation baseline. Developed an Energy Treasure Hunt model for Houses of Worship that facilitates congregations doing their on energy audit while delivering energy efficiency education at the same time. Developing energy, water and transportation benchmarking dashboards for all member buildings through data entered into Energy Star Portfolio Manager.


Photos by Kai Brown

A IA HU RO N VALLEY | President’s message re: Diversity & Inclusion In June of 1968 Whitney M. Young, then Executive Director of the National Urban League, addressed the American Institute of Architects at the annual convention in Portland, Oregon. In those remarks he said, “…you are not a profession that has distinguished itself by your social and civic contributions to the cause of civil rights, and I am sure this has not come to you as any shock. You are most distinguished by your thunderous silence and your complete irrelevance… (T)he time has come when no longer the kooks and crackpots speak for America. The decent people have to learn to speak up.”

Recent events surrounding the killing of George Floyd (and Jamar Clark, Philando Castile, Dreasjon Reed, Breonna Tayler, Ahmaud Arbery, and countless others that haven’t made national news) have given me pause to consider how far we really have come as a profession in those 52 years. I would posit that our complacency has had a limiting effect on this progress. Last night the Board of Directors of AIA Huron Valley held its monthly meeting. At that meeting our Secretary, Kelsey Jensen, presented demographic data for the chapter. Of the 189 active members in our five-county area, 11 reported as Asian, 7 as Black/African American, and 1 as Hispanic. One. Perhaps it is time that each of us ask ourselves why this is the case. As I read the recent statement of AIA President, Jane Frederick, entitled “Everyone deserves universal respect and human dignity” I thought “Yes…but.” Yes, but the common thread that runs through these incidents is that the victims were disproportionately black. Yes, but what are we doing to address the institutions that have allowed this to happen? I am proud to be an architect and to be a member of this profession, but I am mortified that our community is not a true reflection of the society in which we live. I am, yes, but what am I going to do about it? I recently reached out to a colleague, Michael Ford, who is best known for his work in Hip-Hop inspired architecture. He was happy to have me share his recent article in Azure magazine on this subject but warned that there was “graphic language and content” in the video. If you are offended by rough language then I apologize and would caution you not to follow the <link on the left> but… really? After the horrors we have witnessed are we that concerned about a little graphic free speech? As Mike says, “There is a stain on your masterpiece.” The point of all of this is to encourage each of you to take action in your own way. Too often, we are cautious because we are afraid of offending a potential customer. We may have a sensitive colleague or might not want to deal with the potential fallout. But I would still encourage you to consider speaking at a public meeting, writing a letter, joining a peaceful demonstration, running for office, or just talking to a friend about this or any issue that you are passionate about. Actively listen and come together. And maybe, the next time you hire a staff member, consider that more diversity in our professional community could be a great asset.

Donald F. Barry JD President American Institute of Architects, Huron Valley Chapter


N O MA-D Pi p eline Project NOMA Detroit Pipeline Project AIA Huron Valley is a Silver Sponsor this year

In order to advance its mission of a professional architectural organization rooted in a rich legacy of activism, to empower local chapters and membership to foster justice and equity in communities of color through outreach, community advocacy, professional development and design excellence. The National Organization of Minority Architect (NOMA) has created Project Pipeline, a free architecture camp for minority middle and high school students.

Site Plan

Neighbourhood Park Bubble Diagram

Site Plan

/Student work by Amariah Woodson Elevation


NOMA - Michigan Chapters hosted a statewide virtual Project Pipeline Camp August 10th 17th. This year was the first ever statewide and virtual camp held by NOMA Michigan Chapters. The camp was surprisingly well attended from students across the state of Michigan and a few from out-of-state. The camp is intended for students of color grades 6th - 12th who are interested in architecture as a career profession. Each student received a design box, delivered to their doorstep, that included all the supplies they would need for the entire camp. Supplies included but were not limited to - activity books, scales, pencils, triangles, draft paper, tape measure, t-shirt and gift card for lunch. Tablets were also made available to students that were in need. Students were able to keep all of the supplies and electronics after the camp.

/Student work by Chun Huang


Hip-Hop Architecture | Camp + Design Justice The Hip Hop Architecture Camp ®, supported this year by AIA Huron Valley | #HipHopArch


Ford, the Hip Hop Architect calls Hip Hop - The Post Occupancy Evaluation of Modernism. Meaning, hip hop, especially its music, is a critique of the environment. But not only does the music critique the built environment, with a careful ear you can also hear lyrical references of future spaces, places, and objects which empower and enable black communities to overcome the current injustices faced in the built environment, including education disparities, environmental injustices and police brutality. The Design Justice Open Call for Submissions anticipated submissions in various mediums including, but not limited to drawings, songs, models, mobile app concepts, poems, fashion concepts, technological advances, products, etc. all aimed at displaying a Just City. A City which has defeated and dismantled racism.

The competition was in no way limited to architecture and welcomed those from other arts and design industries as well.

The Hip Hop Architecture Camp® is a one week intensive experience, designed to introduce under represented youth to architecture, urban planning, creative place making and economic development through the lens of hip hop culture. The Camp is based on the “4C’s” which are Creativity, Collaboration, Communication and Critical Thinking. During the camp, students are paired with architects, urban planners, designers, community activists and hip hop artists to create unique visions for their communities which include the creation of physical models, digital models and the creation of a Hip Hop Architecture track and music video summarizing their designs.

“Music is liquid architecture, Architecture is frozen music.” -Johann Wolfgang von Goethe


Hip-Hop Architecture | ‘Brackets’: third place tie Inspired by J.Cole’s ‘ Brackets’, off of his recent KOD album, the artwork is a literal interpretation of a verse in the song: If I’m givin’ y’all this hard-earned bread, I wanna know Better yet, let me decide - it’s 2018 Let me pick the things I’m funding from an app on my screen... Better that than letting wack congressman I’ve never seen Dictate where my money go, straight into the palms of some Money-hungry company that make guns that circulate the country And then wind up in my hood, making bloody clothes Stray bullet hit a young boy with a snotty nose

“Within the artwork, I imagine an app and “virtual interactive investing environment” (augmented reality) where a user has determined their taxes for that past year, and now has the power to fund those things in their community, their state, and even at the federal level that mean the most to them. That term “underserved” goes away because in a Just City, citizens of that community have the power to serve and fund and invest in their community. Community members can pan around and explore their built-environment digitally, clicking on investment opportunities and deciding where their money will go.” Kelsey Jensen, Secretar y AIA Huron Valley


A W A R D S 2021 Submissions no. 04

The following 17 entries from 9 offices for the 2021 Honor Awards represent the many hours of work, creativity, and intelligent architectural solutions of the members of the Huron Valley AIA.

2 0 21 AI A H V AWA RDS SUBM ISSIONS Building Award New Construction, Addition, or Renovation over 3,500 SF and $1M

Photo credit: Ryan Halsey Photography

A3C-Collaborative Architecture

Ozone House Yipsilanti, MI For over 50 years, thousands of young people have come through Ozone House’s front door to find a safe place to overcome trauma and build promising futures. The FRONT DOOR is now open wider. The 18,500 square foot “forever home” brings together Ozone House’s programs and staff originally located at multiple sites and nestles them in a natural environment while on a bus route between Ann Arbor and Ypsilanti.


Photo credit: David Lewis & Bonnie Greenspoon

Lewis Greenspoon Architects

Hill & Adams Townhomes Ann Arbor, MI This four-unit student apartment building combines a contemporar y aesthetic while respecting the traditional neighborhood context. The tall gabled dormers echo the scale & forms of typical residential elements while the overall composition & details create a modern expression of student housing. The four townhomes are arranged so that each occupies a corner, rather than a more typical row-house layout. This way ever y unit has two sides of day-lighting.


2 0 21 AI A H V AWA RDS SUBM ISSIONS Building Award New Construction, Addition, or Renovation over 3,500 SF and $1M

Photo credit: David Lewis & Bonnie Greenspoon

Lewis Greenspoon Architects

Sangha House, Zen Buddhist Temple Ann Arbor, MI Sangha House ser ves as an auxiliar y building for the Zen Buddhist Temple of Ann Arbor. This 3-stor y structure is part of a campus of buildings arranged around a garden courtyard. The building contains meditation spaces, a kitchen and dining area for communal cooking and eating, rooms to house visiting students and teachers, a large conference room, and living quarters for the resident priest.


Photo credit: Lindhout Associates

Lindhout Associates

Cooper Standard HQ Northville, MI This international automotive supplier’s headquarters provides views & daylight with larger window openings that limit glare and heat through self-tinting technology. Large & small collaboration zones spread throughout the plan allow cross-departmental collaboration. Three different bricks and two different metal panels create layering on the exterior. The semi-glazed black brick features an iridescent finish that shimmers and changes tones as daylight conditions change.


2 0 21 AI A H V AWA RDS SUBM ISSIONS Building Award New Construction, Addition, or Renovation over 3,500 SF and $1M

Photo credit: Maconochie Photography

Quinn Evans

Allegan District Library Allegan, MI The design of the new 12,000-SF addition, & renovation of the 8,500-SF existing Carnegie & its 1970s addition was inspired by the Kalamazoo River running along the property. The organizational flow doubles program areas & resolves accessibility issues by cascading down the hill, from the street entr y to the main level & to the lower level, parking, & river. A reading deck overlooks the river, as does the water-themed lower level program room.


Photo credit: Maconochie Photography

The Collaborative

Angela Athletic & Wellness Complex Notre Dame, IN Designed in 1977 by Helmut Jahn, the Angela Athletic Facility at Saint Mar y’s College in Notre Dame, Indiana, had little to no renovations for nearly four decades. As a result, it was failing to support the holistic approach to education that the institution embraces – cultivating the mind, body and spirit. Fortunately, a 44,000sf renovation and 61,000sf addition allows the facility to support this mission while improving its original program by bringing multiple ser vices under one roof.


2 0 21 AI A H V AWA RDS SUBM ISSIONS Building Award New Construction, Addition, or Renovation below 3,500 SF and $1M

Photo credit: The Ride

Lindhout Associates

The Ride Brighton, MI The Ride isn’t just an exercise studio; it is an atmosphere which fosters positivity and community. Good vibes and energy greet the riders as they walk in and stay with them as they are leaving. The architecture seeks to care for this atmosphere. The building was previously a vacant retail space which was completely renovated and retrofit to house a multi-functioning space.


Building Award Interior Architecture (Non-Residential)

Photo credit: Lindhout Associates

Lindhout Associates

BCS OfďŹ ce & Laboratory Renovation Farmington Hills, MI This renovation of a university classroom building combines the elemental aspects of light, open space, and color. It transforms an other wise rigidly organized space into a contemporar y and collaborative workspace. Ample amount of natural day-light light, bold colors, and multiple opportunities for engagemenet and collaborative work have resulted in a harmonious headquarters for a contemporar y workforce.


2 0 21 AI A HV AWARDS SUBM ISSION S Building Award Residential New Construction

Photo credit: Jeff Garland Photography

Angelini & Associates Architects

Zukey Lake Residence Pinckney, MI This small year-round residence at Zukey Lake is built partially on the footprint of a seasonal cottage from the 1920’s and is based on the typology of gable-fronted white cottages found throughout the chain of lakes. The main living spaces are defined by clear geometr y but they are open to one another and organized to maximize the orientation of the living spaces and views toward the lake.


Photo credit: Jim Haefner

Architectural Resource

Burh Becc at Beacon Springs Ann Arbor, MI The Living Building Challenge asks that we reconsider our relationship to the natural environment. It invites us to consider buildings as if they functioned like a flower: using only material resources from its immediate environment. This home has achieved that goal, and is one of only two residences on the planet to be recognized with Full Living Building Challenge certification. (This project will also be considered for the Sustainability Award)


2 0 21 AI A H V AWA RDS SUBM ISSIONS Building Award Residential Addition or Renovation

Photo credit: Sean Car ter Photography

In Parallel Architects + Builders

Box with Cut Ann Abor, MI Without adding significantly to the house’s existing footprint, the addition angles toward the sun bringing light into the kitchen and living room. An expansive window connects the interior to the backyard where kids often play. previously problematic foot traffic. The planted roof ser ves as a rainwater collector and private garden for the owners to enjoy.


Photo credit: Sean Car ter Photography

In Parallel Architects + Builders

Ceiling Plane Ann Abor, MI This c. 1940 house was facing roof leak issues as well as a lack of openness and connectivity in the dining room and kitchen. With a slight change of roof line and construction system, “Ceiling Plane� not only fixes a leaky roof, but also introduces skylights and a new ceiling texture, which provides a bright warmth to the entr y space, dining room and kitchen below.


2 0 21 AI A H V AWA RDS SUBM ISSIONS Building Award Residential Addition or Renovation

Photo credit: Sean Car ter Photography

In Parallel Architects + Builders

Subterranean Ann Abor, MI Instead of fighting the basement-like qualities of this Ann Arbor basement, this project celebrates and amplifies the wonderful subterranean qualities of the space. Rich material tones, indirect lighting, cool surfaces, and subtractive design strategies come together to create this “subterranean” series of spaces for children’s play, storage, and respite.


Photo credit: Sean Car ter Photography

In Parallel Architects + Builders

Transparent Ann Abor, MI A small but precise 200 square foot addition, Transparent, provides a protected connection between home and homeoffice-above-garage while adding openness, lightness, and material interest to the historic home on which it builds. In order to make this connection happen, the geometr y of the space concisely negotiates a significant and swift elevation drop between the two spaces.


2 0 21 AI A H V AWA RDS SUBM ISSIONS Building Award Residential Addition or Renovation

Photo credit: ERI Creative

Studio Z Architecture

Frank Lloyd Wright Inspired Ranch Saline, MI


This ranch home was built in Saline by a father-and-son team with a strong appreciation for Frank Lloyd Wright’s work & amazing finish carpentr y skills. The public parts were filled with custom oak built-ins & meticulous details, but the master suite was right out of the 1970s. The floor was raised to remove stairs in the bedroom that moved past an open bathroom. The new roof gave an opportunity for a vaulted ceiling with deep soffits & oak trim, giving a Wrightian character to the bedroom.

Photo credit: ERI Creative

Studio Z Architecure

Modern Chef’s Kitchen Ann Abor, MI The homeowners purchased a midcentur y modern home designed by well-known modernist architect Robert Metcalf. Metcalf was known for meticulously-detailed wood and glass homes with small kitchens. The small 1960s galley kitchen and dining area were expanded by adding an 8’ wide addition to the south side of the house. The kitchen and dining room were switched in the new layout, giving the dining area a better view of the backyard and moving the kitchen closer to the garage.


2 0 21 AI A H V AWA RDS SUBM ISSIONS Building Award Residential Addition or Renovation

Photo credit: Max Wedge Photography

Studio Z Architecture

Screened Porch in the Treetops Ann Arbor, MI The new treetop sanctuar y is connected to the main level via a screened vestibule. The exposed rafters & wood ceilings bring a rustic feel & warmth to the screened-in space. The small exterior deck provides a space for grilling & stairs connecting to the grade below. In addition to a seamless integration with the existing space, the design creates an inviting transition from indoors to outdoors & is in harmony with the surroundings in materials & scale.


A W A R D S 2021 Winners no. 04

And the winners are->>

Thank you to our AIA neighbors from Flint for volunteering as the jury. Your insights and commentary on our work are very much appreciated.

Congratulations to the 2021 Awards Winners!




Building Award- New Construction, Addition, or Renovation over 3,500 SF and $1M Angela Athletic & Wellness Complex The Collaborative Saint Mary’s College, Notre Dame, IN

Weigand Construction Structural Engineer: LKL Engineers, LTD. MEP Engineer: MDA Engineering, Inc. Civil Engineer: ESA Engineers, Surveyors & Associates, LLC Food Service Consultant: Burkett Restaurant Equip. & Supplies

Photographer: Maconochie Photography

Originally designed in 1977 by Helmut Jahn, the Angela Athletic Facility at Saint Mary’s College in Notre Dame, Indiana, had little to no renovations for nearly four decades. As a result, the facility was failing to support the holistic approach to education that the all-women’s catholic liberal arts school embraces – cultivating the mind, body and spirit. Fortunately, a 44,000sf renovation and 61,000sf addition now allows the facility to support the College’s mission, while improving its original program by bringing multiple services under one roof. Renamed the Angela Athletic and Wellness Complex, the building now houses the Health and Counseling Center and the Belles Against Violence Office, as well as a performance gym, a multipurpose field house, a game-day lobby, a cafe, rest room facilities, a suspended running track, an athletic training suite, a fitness studio, a weight studio, coaches offices, locker facilities and a golf room.

“Striking Contemporary Building Entry flanked by subdued campus-flavored wings.” “Excellent solution for an extremely complex expansion of a submerged structure.”




Building Award- New Construction, Addition, or Renovation below 3,500 SF and $1M The Ride Lindhout Associates Architects AIA PC Brighton, MI

Dexterity Construction ERV Designer: Dan Briggs AV & Lighting Designer: Bob Sullivan, Go ALS Photographs provided by Lindhout Associates Architects and The Ride

The Ride isn’t just an exercise studio; it is an atmosphere which fosters positivity and community. Good vibes and energy greet the riders as they walk in and stay with them as they are leaving. The architecture seeks to care for this atmosphere. The building was previously a vacant retail space which was completely renovated and retrofit to house a multi-functioning space. The Ride not only provides a cycling studio, but also includes a circuit training room, a childcare area, a front lobby with retail functions, changing areas with cubbies, and showers for post workout cleansing. To construct the best experience, this project became a truly collaborative process between lighting experts, audio specialists, bicyclists, and architects. Finally, this project installed an Energy Recovery Ventilation System to take advantage of the existing HVAC systems to provide the necessary fresh air for the riders in an energy and cost-efficient manner.

“Every community could use something this exciting.” “A lot of useable space created by the tiered cycling auditorium with toilet rooms below.”




Building Award- Interior Architecture

BCS-AIS Office & Laboratory Renovation Lindhout Associates Architects AIA PC Farmington Hills, MI

Cunningham Limp MEP Engineer: MEEC Furniture: Interior Environments Photographs provided by Lindhout Associates Architects

Combining the elemental aspects of light, open space, and color, this renovation of a university classroom building transformed a rigidly organized space into a contemporary, collaborative workspace. Body Control Systems - Automotive Interface Solutions (BCS-AIS) is an innovative vehicular engineering and design firm, previously housed in more than four separate facilities throughout southeast Michigan. Seeking a way to promote collaboration, creativity, and enhanced employee amenities, they renovated a new regional headquarters to house all disparate departments in a single co-mingled facility. The new design provides uninterrupted cross-building views, ample natural light from skylights and exterior glazing, and an emphasis on unplanned opportunities to collaborate and creatively brainstorm.

“Great example of Adaptive Reuse done right.” “Very exciting contemporary spaces from the entry to the kitchen/lounge area and into the office spaces.”




Residential Award- New Construction

Zukey Lake Residence Angelini & Associates Architects Pinckney, MI

Johnson Brothers Construction Structural Engineer: sdi Photographer: Jeff Garland

This small year-round residence at Zukey Lake is built partially on the footprint of a seasonal cottage from the 1920’s and is based on the typology of gable-fronted white cottages found throughout the chain of lakes. The main living spaces are defined by clear geometry but they are open to one another and organized to maximize the orientation of the living spaces and views toward the lake. The building materials of cement board siding, baked ash siding, stone, steel, and glass differentiate aspects of the massing associated with “home”. The front entry porch cantilever over the red front door signifies hospitality. The open stairway is hung off the gable massing as a transparent glass saddle bag, providing a separation of public and private. The stone veneer fireplace provides a massing backdrop for the outdoor kitchen and covered outdoor dining area, which supports a private deck for watching sunsets

“Well organized site use and compact plan feels much larger than it is.” “Okay, the stair is simply awesome in its placement, showcase arrangement and intricate detailing.”




Residential Award- Addition or Renovation

Modern Chef’s Kitchen Studio Z Architecture Ann Arbor, MI

D.A. Haig Construction, LLC Structural Engineer: sdi Photographer: ERI Creative

The homeowners were two years into a three-year period of living in China when they purchased a midcentury modern home designed by well-known local modernist architect Robert Metcalf. Metcalf was known for meticulously-detailed wood and glass homes with small kitchens. The homeowners love to cook and entertain, so the 1960s galley kitchen was not sufficient for their needs. The small kitchen and dining area were expanded by adding an 8’ wide addition to the south side of the house. The kitchen and dining room were switched in the new layout, giving the dining area a better view of the backyard and moving the kitchen closer to the garage. The covered breezeway connecting the home and garage was enclosed to provide a mud room and walk-in pantry/prep space. The additions were carefully designed to fit seamlessly with the existing house, matching interior and exterior trim details, overhangs, and siding. Because the family was living in China during the design and construction of the addition, a lot of communication was through Facebook Messenger and FaceTime

“The original Architect, Bob Metcalf, would be very pleased.” “Such a small addition with such a huge visual and functional impact on the living environment.”




Recognition of Excellence – Sustainability Burh Becc at Beacon Springs Architectural Resource Ann Arbor, MI Fireside Home Construction Structural Engineer: sdi Sustainability Consultant: Keith Winn, Catalyst Partners Landscape Architect: InSite Design Studio, Inc. Lighting Design: Laurie Gross, Gross Electric Finish Carpentry: Detroit House Carpentry DHW Consultant: Gary Klein HVAC: Michigan Energy Systems LEED Green Rater: Alex Babycz, Natural Solutions Construction Rainwater Harvesting Consultant: Stark Rainwater Harvesting Passive Solar: Sunstructures Architects Active Solar: SUR Energy Interior Designer: Jane Huges Photographer: Haefner Photography

What if, rather than accepting that our buildings were transgressions on the natural environment, every act of building created a world that was a better place. The Living Building Challenge asks that we reconsider our relationship to the natural environment. It invites us consider buildings as if they functioned like a flower: using only the available current solar energy to power itself, the available water that falls from the sky to sustain it, and using only material resources from its immediate environment, rather than reaching across the planet. Burh Becc at Beacon Springs has achieved that goal, and is one of only two residences on the planet to be recognized with Full Living Building Challenge certification. It also has been certified LEED for Homes® Platinum.

“The Architect has gone to such extreme measures to create a self-sufficient living environment, yet the solution is simply expressed as if it was no effort at all.” “Great use of both technical and passive energy efficient measures. Demonstrates a superior knowledge of Green Architecture and the ability to apply it in the real world”




Recognition of Excellence – Community Benefit Ozone House A3C – Collaborative Architecture Ann Arbor, MI Phoenix Contractors Structural Engineer: Robert Darvas Associates MEP Engineer: MA Engineering Civil Engineer: Washtenaw Engineering Solar Installation and Training: Distributed Power Interior Design: Buffy McConnell Interior Design Photographer: Ryan Halsey Photography

Every night, hundreds of youth throughout the greater Ann Arbor community flee abuse, violence, and families that are shattered by parental substance abuse or mental illness. These youth are traumatized and they are alone. They don’t have clothes, money or food. They don’t have hope for their future. For over 50 years, thousands of young people have come through Ozone House’s front door to find a safe place to overcome trauma and build promising futures. The FRONT DOOR is now open wider. Our relationship with Ozone House began in 2010, with an assessment of their facilities and assistance with developing a program for current and future needs. Working with staff and their board, it became clear that a new facility was the best way forward. We developed a checklist of criteria to guide a property search and set a preliminary project budget. With these tools in hand, the board launched a capital campaign. The property search led us to a 5+ acre riverfront parcel, owned by the City of Ypsilanti. It came with a sewage lift station, storm drain, wooded steep slopes, an abandoned well, electrical easement and wetland. The price was perfect and following the deer trails through poison ivy and brambles revealed the site had great potential and challenges. The 18,500 square foot “forever home” brings together Ozone House’s programs and staff originally located at multiple sites and nestles them in a natural environment while on a bus route between Ann Arbor and Ypsilanti

“Quality Architecture combines with an obvious passion to serve community members in need and serve them well.” “A good balance of contemporary living environment with residential comfort for residents who may never have experienced either”



$1000 Sponsors

MA Engineering 400 S Old Woodward, Suite 100 Birmingham, MI 48009 248.258.1610 c/o: Salim Sessine SSessine@ma-engineering.com

Michigan Architecture Foundation 4219 Woodward Ave, Suite 205 Detroit, MI 48201 c/o: Damian Farrell damian@dfdg.design

$500 Sponsor PBA | Illuminart 5145 Livernois, Suite 100 Troy, MI 48098 248.879.5666 c/o: Julie Roop jroop@pbanet.com



George L. Craven, AIA

Kevin Adkins, AIA

Jan K. Culbertson, FAIA

Mitchell Alfaro, AIA

John Culotta, AIA

Anna Anderson, AIA

Darryl H. Daniels, AIA

Bradford L. Angelini, AIA

Paul W. Darling, AIA

Theresa L. Angelini, AIA

Karl Daubmann, AIA

Mary L. Bachelor, AIA

Hannah Dean, Assoc. AIA

Elizabeth Baird, AIA

Ann K. Dilcher, AIA

James E. Barnas, AIA

Tom Dillenbeck, AIA

Scott A. Barnes, AIA

Kathryn Dobija, AIA

Daniel J. Barry, AIA

Nathan T. Doud, AIA

Donald F. Barry, Esq., AIA

Honglin Du, Assoc. AIA

Matt Biglin, Assoc. AIA

Frank W. Enneking, AIA

Craig Borum, FAIA

Jason Ennis, Assoc. AIA

Scott M. Bowers, AIA

David Esau, AIA

Kurt Brandle, AIA

Amlin I. Eshita, Assoc. AIA

Kemba S. Braynon, AIA

Danielle Etzler, AIA

Michael J. Brehmer, AIA

Claude J. Faro, AIA

Brian T. Burkett, AIA

William P. Farrand, AIA

Tamara E. Burns, FAIA

Damian Farrell, FAIA

Gene A. Carroll, AIA

Shuai Feng, Assoc. AIA

Alexis L. Cecil, AIA

Bruce Paul Findling, AIA

James Chaffers, FAIA

Nicholas B. Foussianes, AIA

Ruixin Chen, Assoc. AIA

John J. Francey, AIA

James Chesnut, AIA

David R. Gebhardt, AIA

Youngsung Choi , Assoc. AIA

Lovejeet Gehlot, Assoc. AIA

Wayne E. Chubb, AIA

Eric L. Geiser, AIA

Eugene L. Chun, AIA

Kristina A. Glusac, AIA

Denise Close, AIA

Scott M.B. Gustafson, AIA

Robert F. Cole, AIA

Sharon H. Haar, FAIA

Gary J. Cornillaud, AIA

Todd W. Hallett, AIA

Andrew J. Cottrell, AIA

William Harvey, AIA

Anne M. Cox, AIA

Andrew G. Hauptman, AIA


Alison M. Haynes, Assoc. AIA

Anthony M. Kraatz, AIA

Cynthia Hayward, FAIA

Julia M. Krieger, AIA

Jinhui He, Assoc. AIA

Timothy B. Landini, Assoc. AIA

Joshua L. Hendershot, AIA

YuHang Leung, Assoc. AIA

Richard L. Henes, AIA

David B. Lewis, AIA

Henry J. Henrichs, AIA

Heather Graham Lewis, AIA

Jennifer K. Henriksen, AIA

Anhong Li, Assoc. AIA

Russell W. Hinkle, AIA

Zhenya Li, Assoc. AIA

John J. Hinkley, AIA

Ronald S. Lincoln, AIA

Alecia J. Hlebechuk, Assoc. AIA

William P. Lindhout, AIA

William S. Hobbs, AIA

Kunshi Liu, Assoc. AIA

Scott T. Hoeft, AIA

Zhipeng Liu, Assoc. AIA

Eugene C. Hopkins, FAIA

Carl F. Luckenbach, FAIA

Carl O. Hueter, AIA

Deanna D. Mabry, AIA

Van R. Hunsberger, AIA

Donald D. MacMullan, AIA

Benedict D. Ilozor, Assoc. AIA

Jennifer L. Maigret, AIA

James S. Jacobs, AIA

Sadashiv S. Mallya, Assoc. AIA

William L. James, AIA

Diane M. McIntyre, AIA

Catherine T. Jeakle, Assoc. AIA

Julia H. McMorrough, AIA

Kelsey Jensen, AIA

Mark S. Melchi, AIA

Gregory A. Jones, AIA

David C. Milling, AIA

Steven C. Jones, AIA

Richard W. Mitchell, AIA

George M. Kacan, AIA

Stanley J. Monroe, AIA

Susan R. Karczag, Assoc. AIA

J. Bradley Moore, AIA

Kyle M. Keaffaber, AIA

George A. Morkos, Assoc. AIA

Douglas S. Kelbaugh, FAIA

Keerti Nair, Assoc. AIA

Michael J. Kennedy, AIA

Karin L. Neubauer, AIA

Ann A. Kenyon, AIA

Michael P. Nicklowitz, AIA

Kevin L. King, AIA

Jason R. Nolff, AIA

Michael S. Kirchner, AIA

M. Celeste Novak, FAIA

Michael R. Klement, AIA

Kristen A. Nyht, AIA

John Knauss, Assoc. AIA

Seth Penchansky, AIA

Daniel E. Kohler, AIA

Shannon Riley Perry, AIA

Henry S. Kowalewski, AIA

David D. Pezda, AIA


Lindsey M. Pickornik, AIA

David A. Teare, AIA

Daniel R. Pierce, AIA

Benjamin Telian , AIA

Lincoln A. Poley, AIA

Ronald L. Thomas Jr., AIA

Philip S. Proefrock, AIA

Brian K. Threet, AIA

Jessica G. Quijano, Assoc. AIA

Anita M. Toews, AIA

Richard J. Reinholt, AIA

Ilene R. Tyler, FAIA

Richard J.P. Renaud, AIA

Michael T. Van Goor, AIA

Brenda Rigdon, AIA

Adriaan N. Van Velden, Assoc. AIA

Connie Rizzolo Brown, AIA

Elizabeth K. Vandermark, AIA

Patrick M. Roach, AIA

Albert J. Vegter, AIA

Elizabeth C. Roach, AIA

Ekaterina Velikov, AIA

B. N. Robinson, AIA

Aaron J. Vermeulen, AIA

David B. Rochlen, AIA

Kasey Vliet, AIA

Marc M. Rueter , AIA

John L. Wacksmuth, AIA

Keith W. Russeau, AIA

Nicole Wallace, Assoc. AIA

Robert S. Saxon Jr., AIA

Keith F. Weiland, AIA

Bonnie Jean Scheffler, AIA

L. Welch, AIA

Tamara J. Schoener, Assoc. AIA

Donald Wesley, AIA

Rebecca A. Selter, AIA

Daniel E. Whisler, AIA

Elizabeth Sensoli, Assoc. AIA

Ernesto Whitsitt, AIA

Russell R. Serbay, AIA

Ajae M. Whittaker, Assoc. AIA

Wayne G. Sieloff, AIA

Edwin R. Wier, AIA

Scott R. Silvers, AIA

Lanette V. Williams, Assoc. AIA

Maria Sinishtaj, Assoc. AIA

Stephen M. Wilson, AIA

Adam M. Smith, AIA

Heather M. Woodcock, Assoc. AIA

Aaron P. Sondgeroth, Assoc. AIA

Gregory D. Wright, AIA

Karen Lee Souders, AIA

Jacob B. Wright, AIA

Jon M. Stevens, AIA

Chuchu Wu, ]Assoc. AIA

Morley S. Stevenson, AIA

Walter P. Wyderko, AIA

Michelle R. Stock, AIA

Diwen Yang, Assoc. AIA

Michael R. Strother, AIA

Robert L. Yurk, AIA

Imman Suleiman, Assoc. AIA

Dawn Zuber, FAIA

Xinlu Sun, Assoc. AIA

E. James Zwolensky III, AIA

Tyler J. Suomala, Assoc. AIA 89

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