SPACEWORK 05

06-21 MIND control

CONTROL

Stewardson ArchOutLoud

22-37

Though often attributed a negative connotation, the essence of control is desirable for any individual seeking autonomy. Through the balance of responsibilities and authorities inherent to control, one can understand how society functions, survives, and thrives.

OUT OF

In appreciating the complexities of control, one may better understand the factors that influence each decision, each action, and each person. One can both have control and lose control, be in control or under control. Through control, we understand and navigate our surroundings. We strive to practice self-control, but we may discover ourselves losing it. It is the greatest act of independence for someone to take back control, defying all attempts of mind control and entropy that seek to undermine self-determination.

control

Studio Confessional Trudy Watt & Kihong Ku

Control is deeply rooted in the minds and creations of designers. We consider our logic to be unique and particular, yet we may be entirely programmed by influence. A design may merely influence behavior, or it may govern every action. User experience, however, does not always abide by an intended design. With this awareness, we can view controls we may think we have with a false sense of authority.

38-51 IN

The built environment has been used to reflect and promote the wealth, power, and intellectual achievements of societies as well as a tool to control it. Architectures of control are inescapable, like architecture itself.

control Lisa Phillips & Suzanne Singletary Cabin Competition EPA Campus Rainworks Challenge

The built environment cannot be ignored or bypassed. Buildings, monuments, and public spaces mold the psychological state of a population. Given the ability of design to spread ideas and beliefs beyond a physical mass, control in design has gained a negative connotation for its common use in promoting exclusion, nationalism, and authority throughout history.

52-73

How might the role of control be reimagined in the built environment? In what ways can we as designers reimagine, reinterpret, or repurpose architectures of control?

LOST

Through this issue of SPACEWORK, the students and faculty of the College of Architecture and the Built Environment explore the many facets of control. The personal stories of struggle, success, and self-discovery build a compelling narrative that speaks to us all. No matter our age, major, or position at the college, we have experienced control and can appreciate its influence on our lives and education. And in the end we all can confirm the importance of having control in our own lives and in our time here at Jefferson.

control

Suzanna Barucco & Carol Herman Material Exploration Student Voices

We encourage you to peruse these testimonies and showcased projects from the College of Architecture and the Built Environment at Jefferson. Hear in our own words and see in our heartfelt creations how the community perceives, experiences, and takes control.

74-95 TAKE control

Andrew Hart & Suzanne Singletary 2018 DOE Race to Zero Dean Barbara Klinkhammer

spacework 5

2

3

Jefferson | C_ABE

06-21 MIND control

CONTROL

Stewardson ArchOutLoud

22-37

Though often attributed a negative connotation, the essence of control is desirable for any individual seeking autonomy. Through the balance of responsibilities and authorities inherent to control, one can understand how society functions, survives, and thrives.

OUT OF

In appreciating the complexities of control, one may better understand the factors that influence each decision, each action, and each person. One can both have control and lose control, be in control or under control. Through control, we understand and navigate our surroundings. We strive to practice self-control, but we may discover ourselves losing it. It is the greatest act of independence for someone to take back control, defying all attempts of mind control and entropy that seek to undermine self-determination.

control

Studio Confessional Trudy Watt & Kihong Ku

Control is deeply rooted in the minds and creations of designers. We consider our logic to be unique and particular, yet we may be entirely programmed by influence. A design may merely influence behavior, or it may govern every action. User experience, however, does not always abide by an intended design. With this awareness, we can view controls we may think we have with a false sense of authority.

38-51 IN

The built environment has been used to reflect and promote the wealth, power, and intellectual achievements of societies as well as a tool to control it. Architectures of control are inescapable, like architecture itself.

control Lisa Phillips & Suzanne Singletary Cabin Competition EPA Campus Rainworks Challenge

The built environment cannot be ignored or bypassed. Buildings, monuments, and public spaces mold the psychological state of a population. Given the ability of design to spread ideas and beliefs beyond a physical mass, control in design has gained a negative connotation for its common use in promoting exclusion, nationalism, and authority throughout history.

52-73

How might the role of control be reimagined in the built environment? In what ways can we as designers reimagine, reinterpret, or repurpose architectures of control?

LOST

Through this issue of SPACEWORK, the students and faculty of the College of Architecture and the Built Environment explore the many facets of control. The personal stories of struggle, success, and self-discovery build a compelling narrative that speaks to us all. No matter our age, major, or position at the college, we have experienced control and can appreciate its influence on our lives and education. And in the end we all can confirm the importance of having control in our own lives and in our time here at Jefferson.

control

Suzanna Barucco & Carol Herman Material Exploration Student Voices

We encourage you to peruse these testimonies and showcased projects from the College of Architecture and the Built Environment at Jefferson. Hear in our own words and see in our heartfelt creations how the community perceives, experiences, and takes control.

74-95 TAKE control

Andrew Hart & Suzanne Singletary 2018 DOE Race to Zero Dean Barbara Klinkhammer

spacework 5

2

3

Jefferson | C_ABE

MIND CONTROL Deceiving. Manipulating. Lying. Enticing. Appealing. Saving.

Human culture sets up scenarios where one entity is in a position of higher power and has a position of control over others. How is this power maintained once it is in place? Does the controller subliminally coerce the controlled into willing compliance or is control overt?

Propaganda: a tool used by controllers to make their message captivate the masses.

As one of the landmarks of a civilization, the built environment reflects the belief system of the culture it inhabits. Architecture can serve as a symbol of a regime, a constant reminder pointing to who has control.

Architecture is propaganda. Long after the ideas have faded, the architecture will remain. The environment we inhabit influences us. If not obviously and physically through plastered faces and monumental statues, then subliminally and mentally through grandiose buildings and controlled courtyards, or storefronts so enticing that they must be entered, and park paths that draw you in, promising adventure.

Propaganda surrounds us at Jefferson and in C_ABE, hanging on the walls, on our desks. We see awardwinning student designs. We are invited to attend lectures by renowned professionals. We read the national program rankings. This propaganda invades our spaces so we don’t forget: “You made the right choice coming here. Your education has value. You made a good investment.”

As students, we are taught both to be the controlled and the controller of our work, our future, and our own interests. There is a constant struggle between taking a professor’s words as gospel and taking our own direction. Forging our own path could end in failure or be an innovative, original idea. We want to live up to our full potential.

We want to see our work published in SPACEWORK. We strive to be part of the propaganda because, as we’ve been told, we are members of a successful system. If we are successful, we become the catalysts for continuing the cycle of bringing in more propaganda makers. We create a self-sustaining system that feeds off our continued success. Success for our school equals success for us. Success for us equals success for our school.

This begs the question: For whom are WE working?

spacework 5

4

5

Jefferson | C_ABE

MIND CONTROL Deceiving. Manipulating. Lying. Enticing. Appealing. Saving.

Human culture sets up scenarios where one entity is in a position of higher power and has a position of control over others. How is this power maintained once it is in place? Does the controller subliminally coerce the controlled into willing compliance or is control overt?

Propaganda: a tool used by controllers to make their message captivate the masses.

As one of the landmarks of a civilization, the built environment reflects the belief system of the culture it inhabits. Architecture can serve as a symbol of a regime, a constant reminder pointing to who has control.

Architecture is propaganda. Long after the ideas have faded, the architecture will remain. The environment we inhabit influences us. If not obviously and physically through plastered faces and monumental statues, then subliminally and mentally through grandiose buildings and controlled courtyards, or storefronts so enticing that they must be entered, and park paths that draw you in, promising adventure.

Propaganda surrounds us at Jefferson and in C_ABE, hanging on the walls, on our desks. We see awardwinning student designs. We are invited to attend lectures by renowned professionals. We read the national program rankings. This propaganda invades our spaces so we don’t forget: “You made the right choice coming here. Your education has value. You made a good investment.”

As students, we are taught both to be the controlled and the controller of our work, our future, and our own interests. There is a constant struggle between taking a professor’s words as gospel and taking our own direction. Forging our own path could end in failure or be an innovative, original idea. We want to live up to our full potential.

We want to see our work published in SPACEWORK. We strive to be part of the propaganda because, as we’ve been told, we are members of a successful system. If we are successful, we become the catalysts for continuing the cycle of bringing in more propaganda makers. We create a self-sustaining system that feeds off our continued success. Success for our school equals success for us. Success for us equals success for our school.

This begs the question: For whom are WE working?

spacework 5

4

5

Jefferson | C_ABE

MIND Austin Dimare 5th Year Architecture Interviewed by Breanna Sheeler BS: I believe there was a special award that you won recently?

AD: Yes, I won the 117th John Stewardson Competition. It was kind of crazy to hear that I won because I got a phone call from Professor John Hubert the night before the ceremony, the reveal of the finalists. When I got that call I was actually laying down in my bed taking a break from studio work and he says, “Yeah, you might want to lie down for this.” I laughed because I already was. He says, “Well, you won the Stewardson.” Andrew Hart was in the background like a little kid like “Austin, Austin!”

Then Hubert handed him the phone so he can say, “We’re here in the studio. We’re really excited! What are you gonna do now?” and I was honest and said “I don’t know? I’m just going to do more work then go to bed. I have studio tomorrow.”

So the celebrating had to wait a day.

BS: And it was completely unexpected. What did you think your chances were when you submitted?

AD: You know as a designer, architect, and me as an artist personally I always shortchange myself in terms of what I can do and if I am really giving 100 percent. I always want to push myself but then I push myself sometimes too far. So this project I kind of let it be and whatever happened, happened. It was a short oneweek charette project so I really had no room to go back and second-guess myself. It’s tough to have that kind of self-control to be able to determine when what you have is good enough, or when there are other priorities that must take precedent.

Austin Dimare Competition B.Arch ‘18 spacework 5

6

7

Jefferson | C_ABE

MIND Austin Dimare 5th Year Architecture Interviewed by Breanna Sheeler BS: I believe there was a special award that you won recently?

AD: Yes, I won the 117th John Stewardson Competition. It was kind of crazy to hear that I won because I got a phone call from Professor John Hubert the night before the ceremony, the reveal of the finalists. When I got that call I was actually laying down in my bed taking a break from studio work and he says, “Yeah, you might want to lie down for this.” I laughed because I already was. He says, “Well, you won the Stewardson.” Andrew Hart was in the background like a little kid like “Austin, Austin!”

Then Hubert handed him the phone so he can say, “We’re here in the studio. We’re really excited! What are you gonna do now?” and I was honest and said “I don’t know? I’m just going to do more work then go to bed. I have studio tomorrow.”

So the celebrating had to wait a day.

BS: And it was completely unexpected. What did you think your chances were when you submitted?

AD: You know as a designer, architect, and me as an artist personally I always shortchange myself in terms of what I can do and if I am really giving 100 percent. I always want to push myself but then I push myself sometimes too far. So this project I kind of let it be and whatever happened, happened. It was a short oneweek charette project so I really had no room to go back and second-guess myself. It’s tough to have that kind of self-control to be able to determine when what you have is good enough, or when there are other priorities that must take precedent.

Austin Dimare Competition B.Arch ‘18 spacework 5

6

7

Jefferson | C_ABE

MIND Gaman “Gaman” is a Japanese term meaning endurance of the seemingly unbearable with patience, and dignity. Gaman is commonly translated into English as perseverance, patience or tolerance.

Interior perspective of Sphere 01 viewing George Nakishima’s Altar for Peace with white marble sculpture by Masayuki Nagare.

North Star

Gaman: House of Peace In 1942 George Nakashima along with his wife and daughter were sent to an Internment camp in Minidoka, Idaho. While in the camp Nakashima rigorously refined his skills by building from army cots and other scrap materials. After enduring the horrors of the camp the Nakashima family was able to find a sponsor and travel to New Hope, Pennsylvania.

“Gaman” is a Japenese term meaning endurance of the seemingly unbearable with patience and dignity. “Gaman” is commonly translated into English as perseverance, patience or tolerance.

For a building and it’s environment to exist in a peaceful harmony, one must not harm the other. Building foundations cut into the earth while natural disasters and shifts in the earth may crumble buildings.

For the man-made structure to exist peacefully in nature the two must adapt to one another.

Eurasian and North-American tectonic plate boundaries slice through Iceland and can be seen at Þingvellir National Park. The meeting of the tectonic plates causes Þingvellir’s grounds to be constantly active with movement. For a house of peace to reside in Þingvellir, the design and the landscape must be in a constant conversation.

“Gaman: House of Peace” is a strategy to create a stronger peace between architecture and the natural environment to encourage a stronger peace between its users. The design of “Gaman: House of Peace” allows for the landscape to choose the location of each structure. Like Nakashima, “Gaman: House of Peace” gracefully endures the seemingly unbearable while establishing a peaceful being.

Arthur Loree Competition B.Arch ‘18

a struggle in cultivating ideas h in our originality.

To trust a struggle in cultivating ideas to an idea can be great hmit in our originality.

To atrust e.

Before of mit to an“Gaman: idea canHouse be a great ame to fruition, several good e. Before “Gaman: House of wereto abandoned with the ame fruition, several good t there would be awith better were abandoned theone. resulted scheme tontent there would beina abetter one. lengedresulted the foundation ontent in a scheme ge of what building could lenged the afoundation ge of what a building could

Gaman: House of Peace

Site plan at North West corner of Þingvellir National Park

spacework 5

8 Sphere 03

In 1942 George Nakashima along with his wife and daughter were sent to an Internment camp in Minidoka, Idaho. While in the camp Nakashima rigorously refined his skills by building from army cots Sphere 02 Elevation 1/16”the = 1’ - 0” of the camp Sphere 01 Elevation 1/16” = 1’ - 0” and other scrap materials.

After enduring horrors the Nakashima family was able to find a sponsor and travel to New Hope, Pennsylvania.

“Gaman” is a Japenese term meaning endurance of the seemingly unbearable with patience and dignity. “Gaman” is commonly translated into English as perseverance, patience or tolerance.

For a building and it’s environment to exist in a peaceful harmony, one must not harm the other. Building foundations cut into the earth while natural disasters and shifts in the earth may crumble buildings.

For the man-made structure to exist peacefully in nature the two must adapt to one another.

Eurasian and North-American tectonic plate boundaries slice through Gaman: House of Peace Iceland and can be seen at Þingvellir National Park. The meeting of the tectonic plates causes Þingvellir’s grounds to be constantly acIn 1942 George Nakashima tive with movement. For a house of peace to reside in Þingvellir, the along with his wife and daughter were sent conversation. to an Internment camp in Minidoka, Idaho. While in the camp design and the landscape must be in a constant Nakashima rigorously “Gaman: House of Peace” is a strategy to create a stronger peace refined his skills by building from army cots and other materials. between architecture and the natural environment to scrap encourage a After enduring the horrors of the camp the family stronger peace between its users. The design ofNakashima “Gaman: House ofwas able to find a sponsor and travel to New Hope, Pennsylvania.

Peace” allows for the landscape to choose the location of each struc“Gaman” is a Japenese ture. Like Nakashima, “Gaman: House of Peace” gracefully endures term meaning endurance of the seemingly unbearable patience and dignity. “Gaman” is commonly transthe seemingly unbearable while establishing a peacefulwith being. lated into English as perseverance, patience or tolerance.

For a building and it’s environment to exist in a peaceful harmony, one must not harm the other. Building foundations cut into the earth while natural disasters and shifts in the earth may crumble buildings.

For the man-made structure to exist peacefully in nature the two must adapt to one another.

Eurasian and North-American tectonic plate boundaries slice through Iceland and can be seen at Þingvellir National Park. The meeting of the tectonic plates causes Þingvellir’s grounds to be constantly active with movement. For a house of peace to reside in Þingvellir, the design and the landscape must be in a constant conversation.

“Gaman: House of Peace” is a strategy to create a stronger peace between architecture and the natural environment to encourage a 9 stronger peace between its users. The design of “Gaman: House of Peace” allows for the landscape to choose the location of each struc-

There There is is aa struggle struggle in in cultivating cultivating ideas ideas with faith in our originality.

To trust with faith in our originality. To trust and and commit commit to to an an idea idea can can be be aa great great challenge.

Before “Gaman: House challenge. Before “Gaman: House of of Peace” Peace” came came to to fruition, fruition, several several good good designs designs were were abandoned abandoned with with the the faith faith that that there there would would be be aa better better one. one.

This discontent resulted in a scheme This discontent resulted in a scheme that that challenged challenged the the foundation foundation knowledge of what a knowledge of what a building building could could Sphere 04

For a building and its environment to exist in a peaceful harmony, one must not harm the other. Building foundations cut into the earth while natural disasters and shifts in the earth may crumble buildings. For the man-made structure to exist peacefully in nature the two must adapt to one another.

Eurasian and North-American tectonic plate boundaries slice through Iceland and can be seen at Þingvellir National Park. The meeting of the tectonic plates causes Þingvellir’s grounds to be constantly active with movement. For a house of peace to reside in Þingvellir, the design and the landscape must be in a constant conversation.

Gaman: House of Peace is a strategy to create a stronger peace between architecture and the natural environment to encourage a stronger peace between its users. The design of Gaman: House of Peace allows for the landscape to choose the location of each structure. Like Nakashima, Gaman: House of Peace” gracefully endures the seemingly unbearable while establishing a peaceful being.

Jefferson | C_ABE

MIND Gaman “Gaman” is a Japanese term meaning endurance of the seemingly unbearable with patience, and dignity. Gaman is commonly translated into English as perseverance, patience or tolerance.

Interior perspective of Sphere 01 viewing George Nakishima’s Altar for Peace with white marble sculpture by Masayuki Nagare.

North Star

Gaman: House of Peace In 1942 George Nakashima along with his wife and daughter were sent to an Internment camp in Minidoka, Idaho. While in the camp Nakashima rigorously refined his skills by building from army cots and other scrap materials. After enduring the horrors of the camp the Nakashima family was able to find a sponsor and travel to New Hope, Pennsylvania.

“Gaman” is a Japenese term meaning endurance of the seemingly unbearable with patience and dignity. “Gaman” is commonly translated into English as perseverance, patience or tolerance.

For a building and it’s environment to exist in a peaceful harmony, one must not harm the other. Building foundations cut into the earth while natural disasters and shifts in the earth may crumble buildings.

For the man-made structure to exist peacefully in nature the two must adapt to one another.

Eurasian and North-American tectonic plate boundaries slice through Iceland and can be seen at Þingvellir National Park. The meeting of the tectonic plates causes Þingvellir’s grounds to be constantly active with movement. For a house of peace to reside in Þingvellir, the design and the landscape must be in a constant conversation.

“Gaman: House of Peace” is a strategy to create a stronger peace between architecture and the natural environment to encourage a stronger peace between its users. The design of “Gaman: House of Peace” allows for the landscape to choose the location of each structure. Like Nakashima, “Gaman: House of Peace” gracefully endures the seemingly unbearable while establishing a peaceful being.

Arthur Loree Competition B.Arch ‘18

a struggle in cultivating ideas h in our originality.

To trust a struggle in cultivating ideas to an idea can be great hmit in our originality.

To atrust e.

Before of mit to an“Gaman: idea canHouse be a great ame to fruition, several good e. Before “Gaman: House of wereto abandoned with the ame fruition, several good t there would be awith better were abandoned theone. resulted scheme tontent there would beina abetter one. lengedresulted the foundation ontent in a scheme ge of what building could lenged the afoundation ge of what a building could

Gaman: House of Peace

Site plan at North West corner of Þingvellir National Park

spacework 5

8 Sphere 03

In 1942 George Nakashima along with his wife and daughter were sent to an Internment camp in Minidoka, Idaho. While in the camp Nakashima rigorously refined his skills by building from army cots Sphere 02 Elevation 1/16”the = 1’ - 0” of the camp Sphere 01 Elevation 1/16” = 1’ - 0” and other scrap materials.

After enduring horrors the Nakashima family was able to find a sponsor and travel to New Hope, Pennsylvania.

“Gaman” is a Japenese term meaning endurance of the seemingly unbearable with patience and dignity. “Gaman” is commonly translated into English as perseverance, patience or tolerance.

For a building and it’s environment to exist in a peaceful harmony, one must not harm the other. Building foundations cut into the earth while natural disasters and shifts in the earth may crumble buildings.

For the man-made structure to exist peacefully in nature the two must adapt to one another.

Eurasian and North-American tectonic plate boundaries slice through Gaman: House of Peace Iceland and can be seen at Þingvellir National Park. The meeting of the tectonic plates causes Þingvellir’s grounds to be constantly acIn 1942 George Nakashima tive with movement. For a house of peace to reside in Þingvellir, the along with his wife and daughter were sent conversation. to an Internment camp in Minidoka, Idaho. While in the camp design and the landscape must be in a constant Nakashima rigorously “Gaman: House of Peace” is a strategy to create a stronger peace refined his skills by building from army cots and other materials. between architecture and the natural environment to scrap encourage a After enduring the horrors of the camp the family stronger peace between its users. The design ofNakashima “Gaman: House ofwas able to find a sponsor and travel to New Hope, Pennsylvania.

Peace” allows for the landscape to choose the location of each struc“Gaman” is a Japenese ture. Like Nakashima, “Gaman: House of Peace” gracefully endures term meaning endurance of the seemingly unbearable patience and dignity. “Gaman” is commonly transthe seemingly unbearable while establishing a peacefulwith being. lated into English as perseverance, patience or tolerance.

For a building and it’s environment to exist in a peaceful harmony, one must not harm the other. Building foundations cut into the earth while natural disasters and shifts in the earth may crumble buildings.

For the man-made structure to exist peacefully in nature the two must adapt to one another.

Eurasian and North-American tectonic plate boundaries slice through Iceland and can be seen at Þingvellir National Park. The meeting of the tectonic plates causes Þingvellir’s grounds to be constantly active with movement. For a house of peace to reside in Þingvellir, the design and the landscape must be in a constant conversation.

“Gaman: House of Peace” is a strategy to create a stronger peace between architecture and the natural environment to encourage a 9 stronger peace between its users. The design of “Gaman: House of Peace” allows for the landscape to choose the location of each struc-

There There is is aa struggle struggle in in cultivating cultivating ideas ideas with faith in our originality.

To trust with faith in our originality. To trust and and commit commit to to an an idea idea can can be be aa great great challenge.

Before “Gaman: House challenge. Before “Gaman: House of of Peace” Peace” came came to to fruition, fruition, several several good good designs designs were were abandoned abandoned with with the the faith faith that that there there would would be be aa better better one. one.

This discontent resulted in a scheme This discontent resulted in a scheme that that challenged challenged the the foundation foundation knowledge of what a knowledge of what a building building could could Sphere 04

For a building and its environment to exist in a peaceful harmony, one must not harm the other. Building foundations cut into the earth while natural disasters and shifts in the earth may crumble buildings. For the man-made structure to exist peacefully in nature the two must adapt to one another.

Eurasian and North-American tectonic plate boundaries slice through Iceland and can be seen at Þingvellir National Park. The meeting of the tectonic plates causes Þingvellir’s grounds to be constantly active with movement. For a house of peace to reside in Þingvellir, the design and the landscape must be in a constant conversation.

Gaman: House of Peace is a strategy to create a stronger peace between architecture and the natural environment to encourage a stronger peace between its users. The design of Gaman: House of Peace allows for the landscape to choose the location of each structure. Like Nakashima, Gaman: House of Peace” gracefully endures the seemingly unbearable while establishing a peaceful being.

Jefferson | C_ABE

MIND PROGRAM

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THE 117th JOHN STEWARDSON MEMORIAL FELLOWSHIP IN ARCHITECTURE - 2018

Christopher Murnin Competition B.Arch ‘18

George Nakashima manifested the idea of joining two large slabs of Black Walnut wood to form one object, while simultaneously remaining separate to signify peace.

Thus the Altar for Peace came to fruition.

Located in Þingvellir National Park, Iceland, Coalesce is to house the Altar for Peace. The Park was formed by volcanic activity, so the area is in a constant state of transformation; and the concept examines how space is formed through a convergence of monolithic forces. A form is generated around the idea of transformative molten rock,

Adelaide McInnis Competition B.Arch ‘18

which has joined at a centroid and appears to cool into a series of rock formations. Intersecting vectors, which divide the space at tangents mimic the sequential cooling pattern of igneous rock and serve as a division in the building program with the altar at its center. Reinforcing the monolithic volcanic quality of space is the reduction and careful mitigation of natural daylight through skylights, which house photo-voltaic cells to power the space, slicing each apex; and oriented north to view the northern lights.

The park’s ecosystem is delicate so integration within the site and minimal impact is critical. This is accomplished by a low profile, aerodynamic blade-like forms and visual recession into the environment.

UNION

SOLIDIFY

CRYSTALLIZE

Molten rock converges at the proposed centroid of the site.

As molten rock cools, the form becomes apparent. Dividing vectors determine the hierarchy of space.

Intersecting vectors subdivide space; the union of form represents solidarity and reliance.

Both important requirements for peace.

Matthew Zepp Competition C O A L EB.Arch S C ‘18 E

STRUCTURE

VOID

Friðarhús (House of Peace)

Light is carefully controlled via skylights which slice light through the space. This reinforces the monolithic quality of the cooling molten rock.

ALTAR ROOM MEDITATION ROOM MEDITATION ROOM ENTRY/ GALLERY WOMEN’S LAV. MEN’S LAV. CUSTODIAN STORAGE OFFICE RECEPTION STORAGE FULL TIME OFFICE BREAKOUT SPACE PART TIME OFFICE MECHANICAL

Wood is slotted together into an egg crate formation to make the form lightweight and easily transportable.

Stamped concrete panels along the interior and exterior walls create rigidity.

PRE-FABRICATION Each cell is manufactured off site via specifications with computing. The modules are then disassembled and moved to the site to be reassembled by hand.

AXONOMETRIC

SITE adjacent to the gorge

0’

3’

9’

18’

36’

PROGRAM

Christopher Murnin Competition B.Arch ‘18

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Adelaide McInnis Competition B.Arch ‘18

COALESCE

VOID

STRUCTURE

Friðarhús (House of Peace)

Light is carefully controlled via skylights which slice light through the space. This reinforces the monolithic quality of the cooling molten rock.

Exhibited here are four fifth year student submissions to the 117th John W. Stewardson Competition. Due to the charette-like timeline of the project, visualization needs to become a powerful tool for communicating one’s concept.

ALTAR ROOM MEDITATION ROOM MEDITATION ROOM ENTRY/ GALLERY WOMEN’S LAV. MEN’S LAV. CUSTODIAN STORAGE OFFICE RECEPTION STORAGE FULL TIME OFFICE BREAKOUT SPACE PART TIME OFFICE MECHANICAL

Wood is slotted together into an egg crate formation to make the form lightweight and easily transportable.

Stamped concrete panels along the interior and exterior walls create rigidity.

Chris Murnin’s visuals implemented an element of realism in the rendering quality, with juxtaposition of collagelike elements. Maura Turlip implemented a collage-like deconstructed visualization style.

PRE-FABRICATION

View of nature slit and look-outs.

Each cell is manufactured off site via specifications with computing. The modules are then disassembled and moved to the site to be reassembled by hand.

View looking down through glass floors at Altar for Peace

AXONOMETRIC

SITE adjacent to the gorge

0’

3’

9’

18’

36’

Maura Turlip Competition B.Arch ‘18 Exterior Space

Adelaide McInnis Competition B.Arch ‘18

Matthew Zepp B.Arch ‘18

Both Matthew Zepp and Adelaide McInnis created an ethereal aesthetic with their visualizations by heavily Photoshopping their images, promoting a strong sense of atmosphere.

Fire Stairs

Look-out Meditation Space

Admin/ Restrooms/ Storage/Control Room

spacework 5

Altar for Peace (below)

10

11

Entry Vestibule

Meditation Space Elevator 5’

5’

Jefferson | C_ABE

MIND PROGRAM

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

THE 117th JOHN STEWARDSON MEMORIAL FELLOWSHIP IN ARCHITECTURE - 2018

Christopher Murnin Competition B.Arch ‘18

George Nakashima manifested the idea of joining two large slabs of Black Walnut wood to form one object, while simultaneously remaining separate to signify peace.

Thus the Altar for Peace came to fruition.

Located in Þingvellir National Park, Iceland, Coalesce is to house the Altar for Peace. The Park was formed by volcanic activity, so the area is in a constant state of transformation; and the concept examines how space is formed through a convergence of monolithic forces. A form is generated around the idea of transformative molten rock,

Adelaide McInnis Competition B.Arch ‘18

which has joined at a centroid and appears to cool into a series of rock formations. Intersecting vectors, which divide the space at tangents mimic the sequential cooling pattern of igneous rock and serve as a division in the building program with the altar at its center. Reinforcing the monolithic volcanic quality of space is the reduction and careful mitigation of natural daylight through skylights, which house photo-voltaic cells to power the space, slicing each apex; and oriented north to view the northern lights.

The park’s ecosystem is delicate so integration within the site and minimal impact is critical. This is accomplished by a low profile, aerodynamic blade-like forms and visual recession into the environment.

UNION

SOLIDIFY

CRYSTALLIZE

Molten rock converges at the proposed centroid of the site.

As molten rock cools, the form becomes apparent. Dividing vectors determine the hierarchy of space.

Intersecting vectors subdivide space; the union of form represents solidarity and reliance.

Both important requirements for peace.

Matthew Zepp Competition C O A L EB.Arch S C ‘18 E

STRUCTURE

VOID

Friðarhús (House of Peace)

Light is carefully controlled via skylights which slice light through the space. This reinforces the monolithic quality of the cooling molten rock.

ALTAR ROOM MEDITATION ROOM MEDITATION ROOM ENTRY/ GALLERY WOMEN’S LAV. MEN’S LAV. CUSTODIAN STORAGE OFFICE RECEPTION STORAGE FULL TIME OFFICE BREAKOUT SPACE PART TIME OFFICE MECHANICAL

Wood is slotted together into an egg crate formation to make the form lightweight and easily transportable.

Stamped concrete panels along the interior and exterior walls create rigidity.

PRE-FABRICATION Each cell is manufactured off site via specifications with computing. The modules are then disassembled and moved to the site to be reassembled by hand.

AXONOMETRIC

SITE adjacent to the gorge

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PROGRAM

Christopher Murnin Competition B.Arch ‘18

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Adelaide McInnis Competition B.Arch ‘18

COALESCE

VOID

STRUCTURE

Friðarhús (House of Peace)

Light is carefully controlled via skylights which slice light through the space. This reinforces the monolithic quality of the cooling molten rock.

Exhibited here are four fifth year student submissions to the 117th John W. Stewardson Competition. Due to the charette-like timeline of the project, visualization needs to become a powerful tool for communicating one’s concept.

ALTAR ROOM MEDITATION ROOM MEDITATION ROOM ENTRY/ GALLERY WOMEN’S LAV. MEN’S LAV. CUSTODIAN STORAGE OFFICE RECEPTION STORAGE FULL TIME OFFICE BREAKOUT SPACE PART TIME OFFICE MECHANICAL

Wood is slotted together into an egg crate formation to make the form lightweight and easily transportable.

Stamped concrete panels along the interior and exterior walls create rigidity.

Chris Murnin’s visuals implemented an element of realism in the rendering quality, with juxtaposition of collagelike elements. Maura Turlip implemented a collage-like deconstructed visualization style.

PRE-FABRICATION

View of nature slit and look-outs.

Each cell is manufactured off site via specifications with computing. The modules are then disassembled and moved to the site to be reassembled by hand.

View looking down through glass floors at Altar for Peace

AXONOMETRIC

SITE adjacent to the gorge

0’

3’

9’

18’

36’

Maura Turlip Competition B.Arch ‘18 Exterior Space

Adelaide McInnis Competition B.Arch ‘18

Matthew Zepp B.Arch ‘18

Both Matthew Zepp and Adelaide McInnis created an ethereal aesthetic with their visualizations by heavily Photoshopping their images, promoting a strong sense of atmosphere.

Fire Stairs

Look-out Meditation Space

Admin/ Restrooms/ Storage/Control Room

spacework 5

Altar for Peace (below)

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Entry Vestibule

Meditation Space Elevator 5’

5’

Jefferson | C_ABE

MIND Chasm: An Underground Bath House “Arch out loud” is an architectural research initiative that hosts open competitions which several Jefferson students have participated in.

The design provides a space of reflection by challenging our sense of scale as we dive into the earth. A large room sitting over a shallow pond with only small slices of light make the individual distrust his/ her surroundings. The form is derived from the current urban architecture of Japanese cities as they lay juxtaposed with the mountainous environment. spacework 5

Matthew Zepp Competition B.Arch ‘18 12

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Jefferson | C_ABE

MIND Chasm: An Underground Bath House “Arch out loud” is an architectural research initiative that hosts open competitions which several Jefferson students have participated in.

The design provides a space of reflection by challenging our sense of scale as we dive into the earth. A large room sitting over a shallow pond with only small slices of light make the individual distrust his/ her surroundings. The form is derived from the current urban architecture of Japanese cities as they lay juxtaposed with the mountainous environment. spacework 5

Matthew Zepp Competition B.Arch ‘18 12

13

Jefferson | C_ABE

MIND Labyrinth In the summer of 2017, arch out loud challenged designers with the task of designing a system to deter human intrusion into the waste isolation pilot plant for the next 10,000 years.

This massive labyrinth gives no access to the Waste Isolation Pilot Plant. The labyrinth opens only on four exterior sides. This establishes that the only good outcome of entering the labyrinth is a successful escape. In response to humanity’s inability to understand a circumstance 10,000 years into the future, the legend of the labyrinth will be understood as a bad omen.

This recognition of a negative energy shall reject imposition for 10,000 years. spacework 5

Adelaide McInnis | Arthur Loree Competition B.Arch ‘18 14

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Jefferson | C_ABE

MIND Labyrinth In the summer of 2017, arch out loud challenged designers with the task of designing a system to deter human intrusion into the waste isolation pilot plant for the next 10,000 years.

This massive labyrinth gives no access to the Waste Isolation Pilot Plant. The labyrinth opens only on four exterior sides. This establishes that the only good outcome of entering the labyrinth is a successful escape. In response to humanity’s inability to understand a circumstance 10,000 years into the future, the legend of the labyrinth will be understood as a bad omen.

This recognition of a negative energy shall reject imposition for 10,000 years. spacework 5

Adelaide McInnis | Arthur Loree Competition B.Arch ‘18 14

15

Jefferson | C_ABE

MIND

Anna Petronio 4th Year Interior Design Interviewed by Kelsey Donato KD: When was a time you felt not in control?

AP: I think this semester with working on Capstone, so everything is kind of our own idea, but then you also have professors putting in their ideas.

There comes points when they either tell you “No” or they switch it; that’s when I feel most out of control because then my design went a totally different way that I wasn’t anticipating or wanting.

KD: Can you talk about group projects of which you’ve been a part of?

AP: Junior year was a group project with architects and interiors and that was pretty much my first time doing a design project with people not in my discipline. That kind of loss of control was a very eyeopening experience because this is how it’s really going to be in real life. I had a much better experience than some people.

I think I was able to teach them some things about interiors and I was able to learn some things about facades.

Monica Tabet D7 Interior Design ‘18

KD: Can you talk a little bit about how you deal with people that you don’t necessarily get along with?

AP: I’m kind of an aggressive person, very upfront, so when I don’t like someone it’s very obvious. But I’ve found that its just not worth it to argue with them. You can only control what you’re doing, so trying to control how someone else is acting or thinking isn’t worth it.

KD: So when you meet people who have similar aggressive personalities, like you, how do you try to make that work?

AP: I think part of that is just accepting that all people are different, and you just have to feel out how people are and just adjust what you’re doing. spacework 5

Anna Petronio D8 Interior Design ‘18 16

Autumn Stewart D7 Interior Design ‘18 17

Jefferson | C_ABE

MIND

Anna Petronio 4th Year Interior Design Interviewed by Kelsey Donato KD: When was a time you felt not in control?

AP: I think this semester with working on Capstone, so everything is kind of our own idea, but then you also have professors putting in their ideas.

There comes points when they either tell you “No” or they switch it; that’s when I feel most out of control because then my design went a totally different way that I wasn’t anticipating or wanting.

KD: Can you talk about group projects of which you’ve been a part of?

AP: Junior year was a group project with architects and interiors and that was pretty much my first time doing a design project with people not in my discipline. That kind of loss of control was a very eyeopening experience because this is how it’s really going to be in real life. I had a much better experience than some people.

I think I was able to teach them some things about interiors and I was able to learn some things about facades.

Monica Tabet D7 Interior Design ‘18

KD: Can you talk a little bit about how you deal with people that you don’t necessarily get along with?

AP: I’m kind of an aggressive person, very upfront, so when I don’t like someone it’s very obvious. But I’ve found that its just not worth it to argue with them. You can only control what you’re doing, so trying to control how someone else is acting or thinking isn’t worth it.

KD: So when you meet people who have similar aggressive personalities, like you, how do you try to make that work?

AP: I think part of that is just accepting that all people are different, and you just have to feel out how people are and just adjust what you’re doing. spacework 5

Anna Petronio D8 Interior Design ‘18 16

Autumn Stewart D7 Interior Design ‘18 17

Jefferson | C_ABE

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FIRST FLOOR PLAN CIRCULATION DIAGRAM SCALE: 1/ 8" = 1'-0" SECOND FLOOR PLAN

COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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SCALE: 1/ 8" = 1'-0" EXTERIOR ELEVATION

AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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SCALE: 1/ 8" = 1'-0" LONGITUDINAL SECTION

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SCALE: 3/ 8" = 1'-0" SECOND FLOOR PLAN

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SCALE: 1/ 8" = 1'-0" 10 RECEPTION ELEVATION

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SCALE: 1/ 8" = 1'-0" SPACE USE DIAGRAM

EXTERIOR PERSPECTIVE

EXAM ROOM PERSPECTIVE FIRST SCALE:FLOOR 1/ 8" = PLAN 1'-0" SCALE: 1/ 8" = 1'-0"

PERGOLA PERSPECTIVE

SCALE: 1/ 8" = 1'-0" FIRST FLOOR PLAN

SCALE: 1/ 8" = 1'-0"

SCALE: 1/ 8" = 1'-0"

MIND

1

COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0"

AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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EXTERIOR ELEVATION MATERIALS AND FINISHES SCALE: 1/ 8" = 1'-0"

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PERGOLA PERSPECTIVE

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CIRCULATION DIAGRAM COMMON AREA PERSPECTIVE 7 LONGITUDINAL SECTION SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0"

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RECEPTION ELEVATION

SCALE: 1/ 8" = 1'-0"

AMITY SENIOR WELLNESS AMITY SENIOR WELLNESS AMITY SENIOR WELLNESS AMITY SENIOR WELLNESS MITY SENIOR WELLNESS 2

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COMMON

SCALE: 1/

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SECOND FLOOR PLAN

SCALE: 1/ 8" = 1'-0"

AMBULATORY PERSPECTIVE 8 EXTERIOR PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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MATERIALS AND FINISHES

PERGOLA PERSPECTIVE 9 EXAM ROOM PERSPECTIVE 6 SCALE: 1/ 8" = 1'-0" The Amity Senior Wellness Center is a healthcare designed SCALE: facility 1/ 8" = 1'-0" to provide a holistic wellness service to seniors through the use of

LONGITUDINAL SECTION SCALE: 1/ 8" = 1'-0"

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are paired directly with a family center and home. The goal of SCALE: 1

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PROTECT

CONNECT

EMBED

SUN PATH

ELEVATION

3/ 8" = 1'-0"

7

FIRST FLOOR PLAN

this was to create a program which facilitates the growth and SCALE: 1/ 8" = 1'-0" AREA PERSPECTIVE The Amity Senior Wellness Center is a healthcare facility designed improvement of a community.

8"EXTERIOR = 1'-0" to provide a holistic wellness service to seniors through the use of SECOND FLOOR PLAN ENGAGE PERSPECTIVE collaborative, and biophilic spaces. These spaces SCALE: 1/interactive, 8" = 1'-0"

CIRCULATION DIAGRAM

ENGAGE

interactive, collaborative, and biophilic spaces. These spaces RECEPTION

PROTECT SPACE USE DIAGRAM

SCALE: 1/ 8" = 1'-0"

8

COMMON AREA PERSPECTIVE

SCALE: 1/ 8" = 1'-0"

CONNECT FIRST FLOOR PLAN 1 AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0"

EMBED

The users of the spaces are treated as hosts to the building are paired directly with a family center and home. The goal of MATERIALS EXTERIOR ELEVATION AND FINISHES SECOND FLOOR PLAN 3 2 PERGOLA PERSPECTIVE 9 SCALE: 1/ 8" = 1'-0" FIRST FLOOR PLAN COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0" rather than patients, the building various activities which 7 1 offering AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0" this was to create a program which facilitates the growth and SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" WellnessPERSPECTIVE Center is a healthcare designed fill the voidfacility time often associated with waiting for a check-up.

SCALE:The 1/ Amity 8"EXAM = Senior 1'-0"ROOM LONGITUDINAL SECTION DIAGRAM CIRCULATION 4 EXTERIOR ELEVATION improvement of a community.

3 ELEVATION 10 RECEPTION SCALE: 1/ 8" = 1'-0" SECOND FLOOR PLAN SCALE: 1/ 8" = 1'-0" COMMONtoAREA PERSPECTIVE FIRST FLOOR PLAN provide a holistic1/ wellness service to seniors through the use of SCALE: 8" = 1'-0" 7 1 The program provides space for2 both tenents ofENGAGE the existing SCALE:EMBED 3/ 8" = 1'-0" AMBULATORY PERSPECTIVE PROTECT CONNECT SUN PATH 8

6

SCALE: 1/ 8" = 1'-0"

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SPACE USE DIAGRAM

SCALE: 1/ 8" = 1'-0"

EXTERIOR ELEVATION SCALE: 1/ 8" = 1'-0"

SCALE: 3/ 8" = 1'-0"

SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0"

SCALE: 1/interactive, 8" = 1'-0"collaborative, and biophilic spaces. building andThese daily spaces visitors. The neutral and green palette coupled LONGITUDINAL SECTION 4 The users of the spaces are treated as hosts to the building EXTERIOR PERSPECTIVE SPACE USESCALE: DIAGRAM 5 PERGOLA PERSPECTIVE 1/ 8" = 1'-0" EXTERIOR ELEVATION SECOND FLOOR PLAN 3 2 SCALE: 1/ 8" = 1'-0" are paired directly with a family center and home.

The goal of PERGOLA PERSPECTIVE with installments of greenery and biophilia make these spaces 9 SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" offering various activities which MATERIALS AND FINISHES SCALE: 1/ 8" = 1'-0" rather than patients, the building SCALE: 1/ 8" = 1'-0" FIRST FLOOR PLAN COMMON AREA PERSPECTIVE 7 1

8

SUN PATH

7

COMMON AREA PERSPECTIVE

SCALE: 1/ 8" = 1'-0"

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AMBULATORY PERSPECTIVE

SCALE: 1/ 8" = 1'-0"

PERGOLA PERSPECTIVE 9 COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0"

SCALE: 1/ 8" = 1'-0"

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RECEPTION ELEVATION

SCALE: 3/ 8" = 1'-0" AMBULATORY PERSPECTIVE

SCALE: 1/ 8" = 1'-0"

this was to create a program which facilitates the and capable of growth housing the1/ growth SCALE: 8" = 1'-0" and wellness of the neighborhood SCALE: 1/ 8" = 1'-0" EXAM ROOM PERSPECTIVE fill the void time often associated with waiting for a check-up.

EXTERIOR PERSPECTIVE 6 CIRCULATION DIAGRAM SPACE USE DIAGRAM 5 LONGITUDINAL SECTION 4 The Amity Senior Wellness Center is a healthcare facility designed EXTERIOR ELEVATION 3 SCALE: 1/ 8" = 1'-0" ELEVATION AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0" PERGOLA PERSPECTIVE 10 RECEPTION improvement of a community.

SCALE: 1/ 8" = 1'-0" 9 community SCALE: 1/ 8" = 1'-0" MATERIALS AND FINISHES The program provides space for2 both tenents of the existing SCALE: 3/ 8" = 1'-0" SECOND FLOOR PLAN SCALE: 1/ 8" = 1'-0" FIRST FLOOR PLAN COMMON AREA PERSPECTIVE to provide a holistic service to seniors through the use of 7 1 AMBULATORY PERSPECTIVE ENGAGE PROTECT CONNECT EMBED 8 SUN PATH 1/wellness 8" = 1'-0" RECEPTION ELEVATION SCALE: 1/ 8" = 1'-0" 10 SCALE: SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" EXAM ROOM PERSPECTIVE SCALE: 1/ 8" = 1'-0" 6 building and daily visitors. The neutral and green palette coupled CIRCULATION DIAGRAM LONGITUDINAL SECTION 4 FIRST FLOOR COMMON AREA PERSPECTIVE interactive,SCALE: collaborative, biophilic spaces.

These PLAN spaces EXTERIOR PERSPECTIVE 7 SCALE: 1/ 8" = 1'-0" SPACE USESCALE: DIAGRAM 5 3/ users 8"and =1 1'-0" 10 RECEPTION ELEVATION 1/ 8" = 1'-0" The of the spaces are treated as hosts to the building SCALE: 1/ 8" = 1'-0" EXTERIOR ELEVATION SCALE: 3/ 8" = 1'-0" with installments of greenery and biophilia make these spaces SECOND PLAN 3 2 SCALE: = 1'-0" 1/ 8" =FLOOR 1'-0" PERGOLA PERSPECTIVE are paired directly with a family center and home. 1/ The8"goal of MATERIALS AND FINISHES AMBULATORY PERSPECTIVE 9 SCALE: 8 SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" rather than patients, the building offering various activities which SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" FIRSTthe FLOOR PLAN and wellness of the neighborhood COMMON AREA PERSPECTIVE PERGOLA PERSPECTIVE capable of 1housing growth 7 EXAM ROOM PERSPECTIVE this was to create a program which facilitates the growth and1/ 8" = 1'-0" EXTERIOR PERSPECTIVE 6 CIRCULATION DIAGRAM SPACE USE DIAGRAM 5 SCALE: SCALE: 1/ 8" = 1'-0" fill the void time designed often associated with waiting for a check-up. ty Senior Wellness SCALE: Center is a 1/ healthcare facility LONGITUDINAL SECTION SCALE: 1/ 8" = 1'-0" 4 SCALE: 1/ 8" = 1'-0" EXTERIOR ELEVATION 8" = 1'-0" community 3 SPACE USE DIAGRAM RECEPTION ELEVATION PERGOLA PERSPECTIVE 10 improvement of a community.

MATERIALS AND FINISHES SCALE: 1/ 8" = 1'-0" 9 SECOND FLOOR PLAN SCALE: 1/ 8" = 1'-0" 2 provides The program space for both tenents of the existing SCALE: 3/ 8" = 1'-0" de a holistic wellness service to seniors through the use of SECOND FLOOR PLAN SCALE: 1/ 8" = 1'-0" 2 AMBULATORY PERSPECTIVE

SITE PLAN

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LEGEND ENGAGE

SCALE: 1/ 8" SCALE: = 1'-0" 1/ 8" = 1'-0"

PROTECT

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FIRST FLOOR PLAN EMBED CONNECT 1 AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0"

COMMON AREA PERSPECTIVE SUN PATH 7 EXAM ROOM PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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SITE PLAN

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CIRCULATION DIAGRAM

SCALE: 1/ 8" = 1'-0" and daily visitors. The neutral and green palette coupled AND FINISHES LONGITUDINAL SECTION SCALE: 1/ 8" = 1'-0" ive, collaborative, and MATERIALS biophilicbuilding spaces.

These spaces SCALE: 1/ 8" = 1'-0" 4 EXTERIOR PERSPECTIVE SPACE DIAGRAM 10 RECEPTION ELEVATION Mathew Conrad | Kyle Chang D6 as B.Arch ‘20theJohn Adam Plenge |5Elizabeth Hassler Rothman D6 Interior Design ‘19USESCALE: 1/ 8" = 1'-0" The users of the spaces are treated hosts to building RECEPTION ELEVATION SCALE: 1/ 8" = 1'-0" EXTERIOR ELEVATION SCALE: 3/ 8" = 1'-0" with installments of greenery and biophilia make these spaces SECOND FLOOR PLAN 3 ed directly with a family center and home. The goal of 2 PERGOLA PERSPECTIVE MATERIALS AND FINISHES AMBULATORY PERSPECTIVE 9 8 SCALE: 1/ 8" = 1'-0" FLOOR PLAN COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0" ratherFIRST thanCIRCULATION patients, the building offering various activities which FIRST FLOOR PLAN COMMON AREA PERSPECTIVE 7 1 SCALE: 3/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" 7 1 11.

Private Restroom 1.

Pergola 6. Restrooms DIAGRAM EXTERIOR SCALE: 1/ 8" = 1'-0" capable the growth andELEVATION wellness of the neighborhood spacework which 5 3housing to create a program facilitates theofgrowth and EXAM18 ROOM SCALE: 1/ 8" = 1'-0" SCALE:PERSPECTIVE 1/ 8" = 1'-0" EXTERIOR PERSPECTIVE 6 CIRCULATION DIAGRAM SPACE USE DIAGRAM PERGOLA PERSPECTIVE 5 1/ 8"associated = 1'-0" with SCALE: 1/ 8" = 1'-0" 9 fill theSCALE: void time often waiting for a1/ check-up.

SECTION SCALE: 1/ 8" = 1'-0" SCALE: = 1'-0" SCALE: 1/ 8" = 1'-0" 4 8" LONGITUDINAL EXTERIOR ELEVATION community 3 ement of a community.

RECEPTION ELEVATION PERGOLA PERSPECTIVE MATERIALS AND FINISHES 10 Reception 12. Storage 2. Common Area 7.

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Elizabeth Hassler D5 Interior ‘19 FIRST FLOOR PLAN 1

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SCALE: 1/ 8" = 1'-0"

Jefferson | C_ABE

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SECOND FLOOR PL SCALE: 1/ 8" = 1'-0"

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FIRST FLOOR PLAN CIRCULATION DIAGRAM SCALE: 1/ 8" = 1'-0" SECOND FLOOR PLAN

COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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SCALE: 1/ 8" = 1'-0" EXTERIOR ELEVATION

AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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SCALE: 1/ 8" = 1'-0" LONGITUDINAL SECTION

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SCALE: 1/ 8" = 1'-0" 10 RECEPTION ELEVATION

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SCALE: 1/ 8" = 1'-0" SPACE USE DIAGRAM

EXTERIOR PERSPECTIVE

EXAM ROOM PERSPECTIVE FIRST SCALE:FLOOR 1/ 8" = PLAN 1'-0" SCALE: 1/ 8" = 1'-0"

PERGOLA PERSPECTIVE

SCALE: 1/ 8" = 1'-0" FIRST FLOOR PLAN

SCALE: 1/ 8" = 1'-0"

SCALE: 1/ 8" = 1'-0"

MIND

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COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0"

AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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CIRCULATION DIAGRAM COMMON AREA PERSPECTIVE 7 LONGITUDINAL SECTION SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0"

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RECEPTION ELEVATION

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AMITY SENIOR WELLNESS AMITY SENIOR WELLNESS AMITY SENIOR WELLNESS AMITY SENIOR WELLNESS MITY SENIOR WELLNESS 2

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COMMON

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SCALE: 1/ 8" = 1'-0"

AMBULATORY PERSPECTIVE 8 EXTERIOR PERSPECTIVE SCALE: 1/ 8" = 1'-0"

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MATERIALS AND FINISHES

PERGOLA PERSPECTIVE 9 EXAM ROOM PERSPECTIVE 6 SCALE: 1/ 8" = 1'-0" The Amity Senior Wellness Center is a healthcare designed SCALE: facility 1/ 8" = 1'-0" to provide a holistic wellness service to seniors through the use of

LONGITUDINAL SECTION SCALE: 1/ 8" = 1'-0"

10

are paired directly with a family center and home. The goal of SCALE: 1

2

PROTECT

CONNECT

EMBED

SUN PATH

ELEVATION

3/ 8" = 1'-0"

7

FIRST FLOOR PLAN

this was to create a program which facilitates the growth and SCALE: 1/ 8" = 1'-0" AREA PERSPECTIVE The Amity Senior Wellness Center is a healthcare facility designed improvement of a community.

8"EXTERIOR = 1'-0" to provide a holistic wellness service to seniors through the use of SECOND FLOOR PLAN ENGAGE PERSPECTIVE collaborative, and biophilic spaces. These spaces SCALE: 1/interactive, 8" = 1'-0"

CIRCULATION DIAGRAM

ENGAGE

interactive, collaborative, and biophilic spaces. These spaces RECEPTION

PROTECT SPACE USE DIAGRAM

SCALE: 1/ 8" = 1'-0"

8

COMMON AREA PERSPECTIVE

SCALE: 1/ 8" = 1'-0"

CONNECT FIRST FLOOR PLAN 1 AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0"

EMBED

The users of the spaces are treated as hosts to the building are paired directly with a family center and home. The goal of MATERIALS EXTERIOR ELEVATION AND FINISHES SECOND FLOOR PLAN 3 2 PERGOLA PERSPECTIVE 9 SCALE: 1/ 8" = 1'-0" FIRST FLOOR PLAN COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0" rather than patients, the building various activities which 7 1 offering AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0" this was to create a program which facilitates the growth and SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" WellnessPERSPECTIVE Center is a healthcare designed fill the voidfacility time often associated with waiting for a check-up.

SCALE:The 1/ Amity 8"EXAM = Senior 1'-0"ROOM LONGITUDINAL SECTION DIAGRAM CIRCULATION 4 EXTERIOR ELEVATION improvement of a community.

3 ELEVATION 10 RECEPTION SCALE: 1/ 8" = 1'-0" SECOND FLOOR PLAN SCALE: 1/ 8" = 1'-0" COMMONtoAREA PERSPECTIVE FIRST FLOOR PLAN provide a holistic1/ wellness service to seniors through the use of SCALE: 8" = 1'-0" 7 1 The program provides space for2 both tenents ofENGAGE the existing SCALE:EMBED 3/ 8" = 1'-0" AMBULATORY PERSPECTIVE PROTECT CONNECT SUN PATH 8

6

SCALE: 1/ 8" = 1'-0"

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SPACE USE DIAGRAM

SCALE: 1/ 8" = 1'-0"

EXTERIOR ELEVATION SCALE: 1/ 8" = 1'-0"

SCALE: 3/ 8" = 1'-0"

SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0"

SCALE: 1/interactive, 8" = 1'-0"collaborative, and biophilic spaces. building andThese daily spaces visitors. The neutral and green palette coupled LONGITUDINAL SECTION 4 The users of the spaces are treated as hosts to the building EXTERIOR PERSPECTIVE SPACE USESCALE: DIAGRAM 5 PERGOLA PERSPECTIVE 1/ 8" = 1'-0" EXTERIOR ELEVATION SECOND FLOOR PLAN 3 2 SCALE: 1/ 8" = 1'-0" are paired directly with a family center and home.

The goal of PERGOLA PERSPECTIVE with installments of greenery and biophilia make these spaces 9 SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" offering various activities which MATERIALS AND FINISHES SCALE: 1/ 8" = 1'-0" rather than patients, the building SCALE: 1/ 8" = 1'-0" FIRST FLOOR PLAN COMMON AREA PERSPECTIVE 7 1

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SUN PATH

7

COMMON AREA PERSPECTIVE

SCALE: 1/ 8" = 1'-0"

8

AMBULATORY PERSPECTIVE

SCALE: 1/ 8" = 1'-0"

PERGOLA PERSPECTIVE 9 COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0"

SCALE: 1/ 8" = 1'-0"

10

RECEPTION ELEVATION

SCALE: 3/ 8" = 1'-0" AMBULATORY PERSPECTIVE

SCALE: 1/ 8" = 1'-0"

this was to create a program which facilitates the and capable of growth housing the1/ growth SCALE: 8" = 1'-0" and wellness of the neighborhood SCALE: 1/ 8" = 1'-0" EXAM ROOM PERSPECTIVE fill the void time often associated with waiting for a check-up.

EXTERIOR PERSPECTIVE 6 CIRCULATION DIAGRAM SPACE USE DIAGRAM 5 LONGITUDINAL SECTION 4 The Amity Senior Wellness Center is a healthcare facility designed EXTERIOR ELEVATION 3 SCALE: 1/ 8" = 1'-0" ELEVATION AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0" PERGOLA PERSPECTIVE 10 RECEPTION improvement of a community.

SCALE: 1/ 8" = 1'-0" 9 community SCALE: 1/ 8" = 1'-0" MATERIALS AND FINISHES The program provides space for2 both tenents of the existing SCALE: 3/ 8" = 1'-0" SECOND FLOOR PLAN SCALE: 1/ 8" = 1'-0" FIRST FLOOR PLAN COMMON AREA PERSPECTIVE to provide a holistic service to seniors through the use of 7 1 AMBULATORY PERSPECTIVE ENGAGE PROTECT CONNECT EMBED 8 SUN PATH 1/wellness 8" = 1'-0" RECEPTION ELEVATION SCALE: 1/ 8" = 1'-0" 10 SCALE: SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" EXAM ROOM PERSPECTIVE SCALE: 1/ 8" = 1'-0" 6 building and daily visitors. The neutral and green palette coupled CIRCULATION DIAGRAM LONGITUDINAL SECTION 4 FIRST FLOOR COMMON AREA PERSPECTIVE interactive,SCALE: collaborative, biophilic spaces.

These PLAN spaces EXTERIOR PERSPECTIVE 7 SCALE: 1/ 8" = 1'-0" SPACE USESCALE: DIAGRAM 5 3/ users 8"and =1 1'-0" 10 RECEPTION ELEVATION 1/ 8" = 1'-0" The of the spaces are treated as hosts to the building SCALE: 1/ 8" = 1'-0" EXTERIOR ELEVATION SCALE: 3/ 8" = 1'-0" with installments of greenery and biophilia make these spaces SECOND PLAN 3 2 SCALE: = 1'-0" 1/ 8" =FLOOR 1'-0" PERGOLA PERSPECTIVE are paired directly with a family center and home. 1/ The8"goal of MATERIALS AND FINISHES AMBULATORY PERSPECTIVE 9 SCALE: 8 SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" rather than patients, the building offering various activities which SCALE: 1/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" FIRSTthe FLOOR PLAN and wellness of the neighborhood COMMON AREA PERSPECTIVE PERGOLA PERSPECTIVE capable of 1housing growth 7 EXAM ROOM PERSPECTIVE this was to create a program which facilitates the growth and1/ 8" = 1'-0" EXTERIOR PERSPECTIVE 6 CIRCULATION DIAGRAM SPACE USE DIAGRAM 5 SCALE: SCALE: 1/ 8" = 1'-0" fill the void time designed often associated with waiting for a check-up. ty Senior Wellness SCALE: Center is a 1/ healthcare facility LONGITUDINAL SECTION SCALE: 1/ 8" = 1'-0" 4 SCALE: 1/ 8" = 1'-0" EXTERIOR ELEVATION 8" = 1'-0" community 3 SPACE USE DIAGRAM RECEPTION ELEVATION PERGOLA PERSPECTIVE 10 improvement of a community.

MATERIALS AND FINISHES SCALE: 1/ 8" = 1'-0" 9 SECOND FLOOR PLAN SCALE: 1/ 8" = 1'-0" 2 provides The program space for both tenents of the existing SCALE: 3/ 8" = 1'-0" de a holistic wellness service to seniors through the use of SECOND FLOOR PLAN SCALE: 1/ 8" = 1'-0" 2 AMBULATORY PERSPECTIVE

SITE PLAN

8

9

LEGEND ENGAGE

SCALE: 1/ 8" SCALE: = 1'-0" 1/ 8" = 1'-0"

PROTECT

8

8

FIRST FLOOR PLAN EMBED CONNECT 1 AMBULATORY PERSPECTIVE SCALE: 1/ 8" = 1'-0"

COMMON AREA PERSPECTIVE SUN PATH 7 EXAM ROOM PERSPECTIVE SCALE: 1/ 8" = 1'-0"

6

15

SITE PLAN

15

15

CIRCULATION DIAGRAM

SCALE: 1/ 8" = 1'-0" and daily visitors. The neutral and green palette coupled AND FINISHES LONGITUDINAL SECTION SCALE: 1/ 8" = 1'-0" ive, collaborative, and MATERIALS biophilicbuilding spaces.

These spaces SCALE: 1/ 8" = 1'-0" 4 EXTERIOR PERSPECTIVE SPACE DIAGRAM 10 RECEPTION ELEVATION Mathew Conrad | Kyle Chang D6 as B.Arch ‘20theJohn Adam Plenge |5Elizabeth Hassler Rothman D6 Interior Design ‘19USESCALE: 1/ 8" = 1'-0" The users of the spaces are treated hosts to building RECEPTION ELEVATION SCALE: 1/ 8" = 1'-0" EXTERIOR ELEVATION SCALE: 3/ 8" = 1'-0" with installments of greenery and biophilia make these spaces SECOND FLOOR PLAN 3 ed directly with a family center and home. The goal of 2 PERGOLA PERSPECTIVE MATERIALS AND FINISHES AMBULATORY PERSPECTIVE 9 8 SCALE: 1/ 8" = 1'-0" FLOOR PLAN COMMON AREA PERSPECTIVE SCALE: 1/ 8" = 1'-0" ratherFIRST thanCIRCULATION patients, the building offering various activities which FIRST FLOOR PLAN COMMON AREA PERSPECTIVE 7 1 SCALE: 3/ 8" = 1'-0" SCALE: 1/ 8" = 1'-0" 7 1 11.

Private Restroom 1.

Pergola 6. Restrooms DIAGRAM EXTERIOR SCALE: 1/ 8" = 1'-0" capable the growth andELEVATION wellness of the neighborhood spacework which 5 3housing to create a program facilitates theofgrowth and EXAM18 ROOM SCALE: 1/ 8" = 1'-0" SCALE:PERSPECTIVE 1/ 8" = 1'-0" EXTERIOR PERSPECTIVE 6 CIRCULATION DIAGRAM SPACE USE DIAGRAM PERGOLA PERSPECTIVE 5 1/ 8"associated = 1'-0" with SCALE: 1/ 8" = 1'-0" 9 fill theSCALE: void time often waiting for a1/ check-up.

SECTION SCALE: 1/ 8" = 1'-0" SCALE: = 1'-0" SCALE: 1/ 8" = 1'-0" 4 8" LONGITUDINAL EXTERIOR ELEVATION community 3 ement of a community.

RECEPTION ELEVATION PERGOLA PERSPECTIVE MATERIALS AND FINISHES 10 Reception 12. Storage 2. Common Area 7.

10

15

3

4

Elizabeth Hassler D5 Interior ‘19 FIRST FLOOR PLAN 1

15

10 15

8 15

SITE PLAN

191215

14

SCALE: 1/ 8" = 1'-0"

Jefferson | C_ABE

2

SECOND FLOOR PL SCALE: 1/ 8" = 1'-0"

OUT OF CONTROL

One moment has the power of infinite change.

In life, a narrow window of time relies on a choice. Your decision has the ability to change life entirely and one can never expect what happens next, nor what The Butterfly Effect entails in the end, until reflection.

Beyond this moment, our lives are out of our control. Destiny has control. Others might say God has control. Isn’t it a contradiction that we believe our lives are in our control when truly that power does not exist or belong to us?

Look at the end result. To be in control of life, is to be in control of time. That power is evident more and more as we reflect back in time…

Studying architecture and design is our primary goal. Where we chose to study design came down to money, time, place, etc., but we considered the best option to be Philadelphia University. Now we attend Jefferson.

Who would have thought that the school which we now attend would change names and platforms? This divisive action which was out of our control has the potential to drastically change our collegiate experience.

But that is not to say we have no autonomy in how we engage in this new environment and make the most of these new opportunities.

Sometimes, change is for the better. With architecture and design we intend the final project to look one way, but through code, analysis, time, money, and so many more defining factors, the overall appearance of the building can drastically change. Our decisions through these factors lead to an end result that is different than what we may expect.

Sometimes we think we choose what happens in our lives, but truly it’s all up to destiny. We may come to Jefferson University to become a great architect, but we may graduate as one of the world’s happiest photographers, or one of the world’s trendiest fashion designers.

We don’t have control of our world and our lives. We only have control of ourselves and the moment.

spacework 5

20

OUT OF CONTROL

One moment has the power of infinite change.

In life, a narrow window of time relies on a choice. Your decision has the ability to change life entirely and one can never expect what happens next, nor what The Butterfly Effect entails in the end, until reflection.

Beyond this moment, our lives are out of our control. Destiny has control. Others might say God has control. Isn’t it a contradiction that we believe our lives are in our control when truly that power does not exist or belong to us?

Look at the end result. To be in control of life, is to be in control of time. That power is evident more and more as we reflect back in time…

Studying architecture and design is our primary goal. Where we chose to study design came down to money, time, place, etc., but we considered the best option to be Philadelphia University. Now we attend Jefferson.

Who would have thought that the school which we now attend would change names and platforms? This divisive action which was out of our control has the potential to drastically change our collegiate experience.

But that is not to say we have no autonomy in how we engage in this new environment and make the most of these new opportunities.

Sometimes, change is for the better. With architecture and design we intend the final project to look one way, but through code, analysis, time, money, and so many more defining factors, the overall appearance of the building can drastically change. Our decisions through these factors lead to an end result that is different than what we may expect.

Sometimes we think we choose what happens in our lives, but truly it’s all up to destiny. We may come to Jefferson University to become a great architect, but we may graduate as one of the world’s happiest photographers, or one of the world’s trendiest fashion designers.

We don’t have control of our world and our lives. We only have control of ourselves and the moment.

spacework 5

20

STUDIO CONFESSIONAL

Tell us your secrets your candid thoughts your honest opinions

Be bold Be blunt Be controversial

“I’m afraid of the people graduating after me being better than me.”

“I don’t think I could possibly live a healthy life right now and also be learning as much as I need to.

But its not forever, and I know I will be better for tomorrow for the sacrifices I make today.”

“I should go call my parents.”

“Doing work all the time is not fun... but what else would I do with my free time?”

22

“There’s not really any bloodshed... unless it’s an xacto blade cut”

“I feel like so often we show up to studio with a model, and people think that that’s all you’ve worked on but what they don’t see is all the mistakes, and corrupt laser cut files and the glue that just won’t dry they just see the final product is almost misleading because in order to get it to look that clean it takes a lot of time.”

“Students can be such pigs sometimes.”

“I don’t think there is enough of a conversation regarding mental health on campus, especially in architecture, interior design, and the related programs.”

“I’m so tired of being tired.”

spacework 5

“Really, it was a lot of coffee, complaining, and bags under the eyes. That’s architecture in a nutshell.”

23

“In my free time? ...

I sleep.”

Jefferson | C_ABE

STUDIO CONFESSIONAL

Tell us your secrets your candid thoughts your honest opinions

Be bold Be blunt Be controversial

“I’m afraid of the people graduating after me being better than me.”

“I don’t think I could possibly live a healthy life right now and also be learning as much as I need to.

But its not forever, and I know I will be better for tomorrow for the sacrifices I make today.”

“I should go call my parents.”

“Doing work all the time is not fun... but what else would I do with my free time?”

22

“There’s not really any bloodshed... unless it’s an xacto blade cut”

“I feel like so often we show up to studio with a model, and people think that that’s all you’ve worked on but what they don’t see is all the mistakes, and corrupt laser cut files and the glue that just won’t dry they just see the final product is almost misleading because in order to get it to look that clean it takes a lot of time.”

“Students can be such pigs sometimes.”

“I don’t think there is enough of a conversation regarding mental health on campus, especially in architecture, interior design, and the related programs.”

“I’m so tired of being tired.”

spacework 5

“Really, it was a lot of coffee, complaining, and bags under the eyes. That’s architecture in a nutshell.”

23

“In my free time? ...

I sleep.”

Jefferson | C_ABE

OUT OF The concept of liminality explores the idea of being inbetween two stable states.

A state of liminality may yield an extended feeling of ambiguity for those in the liminal state. This feeling of ambiguity can be the result of a fear of the unknown that occurs in the change from one stable state to another.

Exploring this in-between state of liminality can result in situations in the built environment that explore many different concepts.

Creating a feeling of ambiguity requires that careful control of information.

Yonaton Levi D10 B.Arch ‘18 spacework 5

Adelaide McInnis D10 B.Arch ‘18 24

25

Jefferson | C_ABE

OUT OF The concept of liminality explores the idea of being inbetween two stable states.

A state of liminality may yield an extended feeling of ambiguity for those in the liminal state. This feeling of ambiguity can be the result of a fear of the unknown that occurs in the change from one stable state to another.

Exploring this in-between state of liminality can result in situations in the built environment that explore many different concepts.

Creating a feeling of ambiguity requires that careful control of information.

Yonaton Levi D10 B.Arch ‘18 spacework 5

Adelaide McInnis D10 B.Arch ‘18 24

25

Jefferson | C_ABE

OUT OF

,

/

The built environment can give clues about how it is supposed to be used. Exploring the concept of liminality can result in moments in the built environment that delve deep into topic that are often seen as taboo, including concepts that are hard to approach in the world that we live in, such as global warming or gentrification.

The enormity of these topic can quantify them as “hyperobjects” which are ideas that are so large that they cannot hope to be tackled quickly or by one person. The navigation of hyperobjects is an extremely daunting and nearly impossible thought, but is still extremely important.

Shift. Shift.Shift.Shift.

Dylan Beckwith D10 B.Arch ‘18

Kelsey Donato D10 B.Arch ‘18 spacework 5

26

Isolated Isolated Enviroment.

Isolated Enviroment.

Isolated Enviroment.

Enviroment.

Ghost.Ghost.

Ghost.

Ghost.

Communities Communities Communities seperated Communities seperated seperated by circumstance, seperated by circumstance, by circumstance, by isolated circumstance, isolated inisolated a inisolated a inAn a in infinite An a infinite An path, infinite An that path, infinite is path, that undefined path, that is undefined isthat undefined andisshifts undefined and to shifts and shifts and to shifts to to state of state purgatory. state of purgatory. state of purgatory. of purgatory. circumstance. circumstance. circumstance. circumstance.

SittingSitting on the Sitting on brink Sitting the onof brink the an onbrink unsolidified the of an brink ofunsolidified anof unsolidified state an unsolidified of state being. state of being. state of being. of being.

A path,Avoid, path, A path, and void, Adistance path, void, and distance void, and that distance and can that distance bethat can defined be can that defined be by can defined the beby eye defined the by . eye theby .eye the. eye .

Undefined Undefined Undefined . . . Undefined ... ... ...

27

Jefferson | C_ABE

OUT OF

,

/

The built environment can give clues about how it is supposed to be used. Exploring the concept of liminality can result in moments in the built environment that delve deep into topic that are often seen as taboo, including concepts that are hard to approach in the world that we live in, such as global warming or gentrification.

The enormity of these topic can quantify them as “hyperobjects” which are ideas that are so large that they cannot hope to be tackled quickly or by one person. The navigation of hyperobjects is an extremely daunting and nearly impossible thought, but is still extremely important.

Shift. Shift.Shift.Shift.

Dylan Beckwith D10 B.Arch ‘18

Kelsey Donato D10 B.Arch ‘18 spacework 5

26

Isolated Isolated Enviroment.

Isolated Enviroment.

Isolated Enviroment.

Enviroment.

Ghost.Ghost.

Ghost.

Ghost.

Communities Communities Communities seperated Communities seperated seperated by circumstance, seperated by circumstance, by circumstance, by isolated circumstance, isolated inisolated a inisolated a inAn a in infinite An a infinite An path, infinite An that path, infinite is path, that undefined path, that is undefined isthat undefined andisshifts undefined and to shifts and shifts and to shifts to to state of state purgatory. state of purgatory. state of purgatory. of purgatory. circumstance. circumstance. circumstance. circumstance.

SittingSitting on the Sitting on brink Sitting the onof brink the an onbrink unsolidified the of an brink ofunsolidified anof unsolidified state an unsolidified of state being. state of being. state of being. of being.

A path,Avoid, path, A path, and void, Adistance path, void, and distance void, and that distance and can that distance bethat can defined be can that defined be by can defined the beby eye defined the by . eye theby .eye the. eye .

Undefined Undefined Undefined . . . Undefined ... ... ...

27

Jefferson | C_ABE

KD: Chaos or Control?

TW: My end goal is what I think would be perceived by other people as something chaotic or indescribable or ambiguous, but the means I use to get there are always really controlled. So I find that the best way to explore ambiguity is paradoxically to set up really strict rules and take things sort of a bite at a time. Part of that is so that you can prolong the sense of arriving at an answer. So in a way you satisfy that desire incrementally. In each step you can answer a little piece of the question that helps to keep at bay the desire to come up with a totalizing or encompassing answer, which I’m almost never interested in. So you have to come up with methods to prevent yourself from making that leap, because I think as architects we have a tendency to want to solve problems with a building that is, to a large extent, a really circumscribable object. So really what I’m interested in are things that are process-oriented and therefore could be seen as a little bit more chaotic. It’s less of a distinct answer and I need lots of rules to get there.

KD: Do you think students usually respond well to that?

TW: Yeah! Which I’m really surprised about. I’m always hesitant whenever I introduce a new rule. I feel a bit shy about it because I’m thinking “this is going to be the one that they hate me for. There’s going to be a mutiny,” but that hasn’t happened yet. And there are ways that people break the rules and it is very productive. So I try to be open to that and let people know that I do believe that rules are made to be broken. But I believe that you have to do it judiciously, rigorously, and with full control and knowledge of how and why you’re doing it.

KD: Do you ever find that control limits?

TW: Yes. For me professionally, that has shown up the most in project management and collaborative work, because I am a very organized thinker. So in my own work one of the controls I almost always use is starting with a grid. And I never reuse grids; I always end up redrawing them. It’s like one of the meditative things that gives me a signal that a new project is starting. So I am almost obsessively controlling of my own process and when I’m in collaboration with other people I want them to find that is effective for them as well. But it can be really hard to learn how to compromise and have my way of controlling my own process be a contribution that complements the processes of other people, some of whom align with the way I’m controlling, and some of which are wildly different. And control really seems to me to be about comfort. So while control to me looks like grids, control to someone else looks like having four days of random brainstorming in a controlled environment.

Every architecture project, whether it’s theoretical or not, is fundamentally about something that will occur in the future.

So it is a very forward-looking speculative tool for creating the world that we will live in which is different than the world we live in now.

KD: What are you afraid of or hopeful for in the future?

TW: Well I think architecture can save the world. I think things that worry me in architecture is when the disciplinary conversation becomes too introverted. We’re developing all these disciplinary conversations in academia and then only academics are talking about them and the power of that conversation doesn’t get out to non-architects or other fields. I don’t think architecture has enough ambassadors that are helping to connect that disciplinary practice with a non-architectural audience.

Trudy Watt Adjunct Professor, Architecture Interviewed by Kelsey Donato

spacework 5

28

DB: How do we control ourselves?

KK: The overall framework is designed to control the learning outcomes. There is a top-down vision on how you would establish the learning outcome and the outcomes. They are being constructed from the basic level that exposes students who are new to architecture and the fundamental skills and theoretical background and foundation. Step by step, being composed and contributing to architecture, not just the design process, but the design thinking. It’s following the traditional education of architecture and design thinking as the center of education. The program is being designed to nurture creative thinking and nurture the ability to think beyond the current state of architecture, and for the students who become thinkers change the status quo of architecture.

DB: In attempting to maintain control, do we limit ourselves?

KK: Being the fifth year coordinator since Spring of 2016, we have the topic studios that we propose, and gather interests from students. We are striving to give enough freedom to the students to pursue their interest, but we control the content and the delivery mechanism. To compare to an open thesis studio, to define their own problem and proposal to teach it.

We control the theme and autonomy into a structured way, but allow freedom to explore it. It does not limit the creativity of students but always is founded in what students find interesting.

Most students want to get licensed and come here for the intent, first interested in the professional experience.

Our five-year program attracts people, but so many students are searching for post-related fields that touch architecture.

DB: Is there a struggle for control in regard to collaborative projects?

KK: I don’t control the team dynamics. One way to control them is to form teams with a specific manner, to run a personality test and skill set test and make sure the teams are formed with compatible characteristics and personality. I personally do not get involved. In reality, firms look for people who are compatible matches, but once you are in the office, there are still different personalities. There is a hierarchy, people with more managing experience and people with digital experience, with team members you get more of an interesting dynamic and people have to adapt and contribute to the overall outcome of the team. Sometimes the personalities hinder the process or the common goal. Sometimes I have to intervene, but most of the times students adapt to the balance of control. Most of my students contribute enough in teams, and it seems to work out.

Kihong Ku Associate Professor, Architecture Interviewed by Dylan Beckwith

29

Jefferson | C_ABE

KD: Chaos or Control?

TW: My end goal is what I think would be perceived by other people as something chaotic or indescribable or ambiguous, but the means I use to get there are always really controlled. So I find that the best way to explore ambiguity is paradoxically to set up really strict rules and take things sort of a bite at a time. Part of that is so that you can prolong the sense of arriving at an answer. So in a way you satisfy that desire incrementally. In each step you can answer a little piece of the question that helps to keep at bay the desire to come up with a totalizing or encompassing answer, which I’m almost never interested in. So you have to come up with methods to prevent yourself from making that leap, because I think as architects we have a tendency to want to solve problems with a building that is, to a large extent, a really circumscribable object. So really what I’m interested in are things that are process-oriented and therefore could be seen as a little bit more chaotic. It’s less of a distinct answer and I need lots of rules to get there.

KD: Do you think students usually respond well to that?

TW: Yeah! Which I’m really surprised about. I’m always hesitant whenever I introduce a new rule. I feel a bit shy about it because I’m thinking “this is going to be the one that they hate me for. There’s going to be a mutiny,” but that hasn’t happened yet. And there are ways that people break the rules and it is very productive. So I try to be open to that and let people know that I do believe that rules are made to be broken. But I believe that you have to do it judiciously, rigorously, and with full control and knowledge of how and why you’re doing it.

KD: Do you ever find that control limits?

TW: Yes. For me professionally, that has shown up the most in project management and collaborative work, because I am a very organized thinker. So in my own work one of the controls I almost always use is starting with a grid. And I never reuse grids; I always end up redrawing them. It’s like one of the meditative things that gives me a signal that a new project is starting. So I am almost obsessively controlling of my own process and when I’m in collaboration with other people I want them to find that is effective for them as well. But it can be really hard to learn how to compromise and have my way of controlling my own process be a contribution that complements the processes of other people, some of whom align with the way I’m controlling, and some of which are wildly different. And control really seems to me to be about comfort. So while control to me looks like grids, control to someone else looks like having four days of random brainstorming in a controlled environment.

Every architecture project, whether it’s theoretical or not, is fundamentally about something that will occur in the future.

So it is a very forward-looking speculative tool for creating the world that we will live in which is different than the world we live in now.

KD: What are you afraid of or hopeful for in the future?

TW: Well I think architecture can save the world. I think things that worry me in architecture is when the disciplinary conversation becomes too introverted. We’re developing all these disciplinary conversations in academia and then only academics are talking about them and the power of that conversation doesn’t get out to non-architects or other fields. I don’t think architecture has enough ambassadors that are helping to connect that disciplinary practice with a non-architectural audience.

Trudy Watt Adjunct Professor, Architecture Interviewed by Kelsey Donato

spacework 5

28

DB: How do we control ourselves?

KK: The overall framework is designed to control the learning outcomes. There is a top-down vision on how you would establish the learning outcome and the outcomes. They are being constructed from the basic level that exposes students who are new to architecture and the fundamental skills and theoretical background and foundation. Step by step, being composed and contributing to architecture, not just the design process, but the design thinking. It’s following the traditional education of architecture and design thinking as the center of education. The program is being designed to nurture creative thinking and nurture the ability to think beyond the current state of architecture, and for the students who become thinkers change the status quo of architecture.

DB: In attempting to maintain control, do we limit ourselves?

KK: Being the fifth year coordinator since Spring of 2016, we have the topic studios that we propose, and gather interests from students. We are striving to give enough freedom to the students to pursue their interest, but we control the content and the delivery mechanism. To compare to an open thesis studio, to define their own problem and proposal to teach it.

We control the theme and autonomy into a structured way, but allow freedom to explore it. It does not limit the creativity of students but always is founded in what students find interesting.

Most students want to get licensed and come here for the intent, first interested in the professional experience.

Our five-year program attracts people, but so many students are searching for post-related fields that touch architecture.

DB: Is there a struggle for control in regard to collaborative projects?

KK: I don’t control the team dynamics. One way to control them is to form teams with a specific manner, to run a personality test and skill set test and make sure the teams are formed with compatible characteristics and personality. I personally do not get involved. In reality, firms look for people who are compatible matches, but once you are in the office, there are still different personalities. There is a hierarchy, people with more managing experience and people with digital experience, with team members you get more of an interesting dynamic and people have to adapt and contribute to the overall outcome of the team. Sometimes the personalities hinder the process or the common goal. Sometimes I have to intervene, but most of the times students adapt to the balance of control. Most of my students contribute enough in teams, and it seems to work out.

Kihong Ku Associate Professor, Architecture Interviewed by Dylan Beckwith

29

Jefferson | C_ABE

OUT OF Flow + Flux The Flow + Flux tower on the edge of Brooklyn’s Tech Triangle pushes the building facade design to embrace the flow and flux of the site’s most unique resources: people, information, and city.

Verti_Park The Verti_Park Tower on 500 Kent Avenue explores the role of a healthy working environment in an office space by its inhabitants, site, and façade. This is achieved through the integration of green spaces, views, ventilation, fitness, natural light, and interaction throughout the design.

An understanding of the various site forces acting upon the tower focused the design on harvesting wind and solar energy while increasing user productivity. The independent facade module features sharply pleated geometry and a piezoelectric energy harvesting system. The latter allows wind to flow around the sides of each module and forces higher wind pressures into the piezoelectric sails, generating electricity.

The tower creates a vertical connection to the park below by its vertical green spaces.

This lets workers work in a new kind environment and break free from the typical office life that millennials find restricted.

The façade acts as a shading device as well as serving for ventilation purposes. The modular façade panels collect sun energy on the south façade and also redirects wind into the double layer façade system.

From this, the Verti_Park Tower creates a healthy living and working environment for its users and the community. spacework 5

Christopher Hrenuik | Tori Febrizio D9 B.Arch ‘18 30

Adelaide McInnis | Mathew Lombardo

As a result, the highperformance facade system addresses energy demands, thermal performance goals, and interior comfort. The facade geometry is the result of computational fluid dynamics software, wind tunnel simulators, and algorithmic radiance and daylight scripts from Grasshopper for Rhino 5 3D.

D9 B.Arch ‘18 31

Jefferson | C_ABE

OUT OF Flow + Flux The Flow + Flux tower on the edge of Brooklyn’s Tech Triangle pushes the building facade design to embrace the flow and flux of the site’s most unique resources: people, information, and city.

Verti_Park The Verti_Park Tower on 500 Kent Avenue explores the role of a healthy working environment in an office space by its inhabitants, site, and façade. This is achieved through the integration of green spaces, views, ventilation, fitness, natural light, and interaction throughout the design.

An understanding of the various site forces acting upon the tower focused the design on harvesting wind and solar energy while increasing user productivity. The independent facade module features sharply pleated geometry and a piezoelectric energy harvesting system. The latter allows wind to flow around the sides of each module and forces higher wind pressures into the piezoelectric sails, generating electricity.

The tower creates a vertical connection to the park below by its vertical green spaces.

This lets workers work in a new kind environment and break free from the typical office life that millennials find restricted.

The façade acts as a shading device as well as serving for ventilation purposes. The modular façade panels collect sun energy on the south façade and also redirects wind into the double layer façade system.

From this, the Verti_Park Tower creates a healthy living and working environment for its users and the community. spacework 5

Christopher Hrenuik | Tori Febrizio D9 B.Arch ‘18 30

Adelaide McInnis | Mathew Lombardo

As a result, the highperformance facade system addresses energy demands, thermal performance goals, and interior comfort. The facade geometry is the result of computational fluid dynamics software, wind tunnel simulators, and algorithmic radiance and daylight scripts from Grasshopper for Rhino 5 3D.

D9 B.Arch ‘18 31

Jefferson | C_ABE

Bent, Bowed, & Broken

Using lightweight members and innate properties of resisting forces, the structures are created by each module’s forces resisting each other, which in turn determines the formal outcomes of its overall geometry. These structures are parametric, as the ability to change the degree of deformation by stress within each module affects its adjacent modules, allowing for endless surface structure configurations The individual members were developed from an intensive series of bending and twisting tests in thin strips of wood, to gain an understanding of how grain, length/width, and deformation types all operate together. These studies led to a finalized loop shape that combines the structural forces of arcs and twists into one fluid shape.

The strip’s ends are clamped together at a specific angle.

This angle, developed through Grasshopper scripting, allows for a range in how open or closed the loop shape is.

Wider loops grouped together create concave surface curvatures, while narrower loops create convex surface curvatures. Given that the members can be made from simple wood strips and 3d printed angular clips, these structures can be rapidly designed, fabricated, and deployed, while also holding the added benefit of being incredibly lightweight.

Mathew Lombardo Final Model perspective 3

Mathew Lombardo Ex. Structures B.Arch ‘18 spacework 5

32

33

Jefferson | C_ABE

OUT OF

This project explores the manipulation of sheet and strip-based structural members that use bends, bows, and twists as a means of achieving form and integrity.

These structures use the internal stresses acting upon individual units in order to hold a shape when fit together.

Bent, Bowed, & Broken

Using lightweight members and innate properties of resisting forces, the structures are created by each module’s forces resisting each other, which in turn determines the formal outcomes of its overall geometry. These structures are parametric, as the ability to change the degree of deformation by stress within each module affects its adjacent modules, allowing for endless surface structure configurations The individual members were developed from an intensive series of bending and twisting tests in thin strips of wood, to gain an understanding of how grain, length/width, and deformation types all operate together. These studies led to a finalized loop shape that combines the structural forces of arcs and twists into one fluid shape.

The strip’s ends are clamped together at a specific angle.

This angle, developed through Grasshopper scripting, allows for a range in how open or closed the loop shape is.

Wider loops grouped together create concave surface curvatures, while narrower loops create convex surface curvatures. Given that the members can be made from simple wood strips and 3d printed angular clips, these structures can be rapidly designed, fabricated, and deployed, while also holding the added benefit of being incredibly lightweight.

Mathew Lombardo Final Model perspective 3

Mathew Lombardo Ex. Structures B.Arch ‘18 spacework 5

32

33

Jefferson | C_ABE

OUT OF

This project explores the manipulation of sheet and strip-based structural members that use bends, bows, and twists as a means of achieving form and integrity.

These structures use the internal stresses acting upon individual units in order to hold a shape when fit together.

Vinculum is an urban response to the prevalent threat of earthquakes in major cities.

Geographic locations such as Japan are highly susceptible to seismic activity due to the four fault lines that intersect Japan. As a precedent, bones were analyzed due to the deconstructive properties and their applications on both a micro and macro scale in addition to the consideration in regard to their ability to handle loads and forces while remaining lightweight.

The application led to the creation of a double-layered facade that reacts to lateral and seismic forces and has the ability to mitigate the negative effects of those forces. This is accomplished by interlocking both layers of the facade via ball-and-socket joint connections, which are flexible in all directions. The inner layer of the facade is connected directly to the floor plates and interior structure, while the outer facade layer is connected to the ground and rests on seismic isolators.

The disconnect between both layers of the facade allows for independent motion.

Similar to a tank of water, as the building moves the interior structure remains stationary since the outer facade moves with the ground.

The connections between both layers then begin to flex and move (movement which is mitigated via a system of springs which absorb contact between the joint and facade).

This intersection between a lightweight structural system and integration of technology proposes a method of safer building construction in seismically active zones.

Matthew Zepp | Dylan Beckwith Ex. Structures B.Arch ‘18

spacework 5

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35

Jefferson | C_ABE

OUT OF

Vinculum

Vinculum is an urban response to the prevalent threat of earthquakes in major cities.

Geographic locations such as Japan are highly susceptible to seismic activity due to the four fault lines that intersect Japan. As a precedent, bones were analyzed due to the deconstructive properties and their applications on both a micro and macro scale in addition to the consideration in regard to their ability to handle loads and forces while remaining lightweight.

The application led to the creation of a double-layered facade that reacts to lateral and seismic forces and has the ability to mitigate the negative effects of those forces. This is accomplished by interlocking both layers of the facade via ball-and-socket joint connections, which are flexible in all directions. The inner layer of the facade is connected directly to the floor plates and interior structure, while the outer facade layer is connected to the ground and rests on seismic isolators.

The disconnect between both layers of the facade allows for independent motion.

Similar to a tank of water, as the building moves the interior structure remains stationary since the outer facade moves with the ground.

The connections between both layers then begin to flex and move (movement which is mitigated via a system of springs which absorb contact between the joint and facade).

This intersection between a lightweight structural system and integration of technology proposes a method of safer building construction in seismically active zones.

Matthew Zepp | Dylan Beckwith Ex. Structures B.Arch ‘18

spacework 5

34

35

Jefferson | C_ABE

OUT OF

Vinculum

IN CONTROL

In control of our mind, in control of our outcome, and in control of what we pass on after we find ourselves out of control.

Not easily achieved, and once achieved, not easily maintained, control walks a thin line.

Control is like a golden thread that represents something perfectly balanced. To be in control is to be satisfied with both process and product. Control is a euphoric state, but also perhaps one of denial. Can anyone fully have control? Are we fools to try? Loss of control lurks in the shadows; at any moment the most miniscule of factors can suddenly change a controlled situation to an out-of-control event.

Society controls and often determines the destiny of the built environment. Architecture lasts when society, the controller, approves. The designer remains in control for only a short time, frantically developing the controlled ideas from their imagination and education.

The built environment serves as a constant reminder of the relationship that designers have on civilization.

Good design strives to achieve some semblance of control, even if only in provocation: doors control circulation, outdoor pathways suggest control, and color encourages certain moods and behavior.

We as students and designers can only control so much. Do we control our future or does our future control us? Though we may think we’re in control, the reality is that we are constantly regaining control from unforeseen circumstances. Though the future is a fog that only grows clear as we navigate through it, it is important to keep controlling our mind, body, and work.

Despite the many external influences that undermine our autonomy, we have the ultimate control in how we engage with the rest of the world. Our self-discipline and everyday practices could make the difference between a passive existence surviving day by day and a happy, fulfilled life.

Why? Because unlike the future, we can have control of our mind, body, and what we produce.

spacework 5

36

37

Jefferson | C_ABE

IN CONTROL

In control of our mind, in control of our outcome, and in control of what we pass on after we find ourselves out of control.

Not easily achieved, and once achieved, not easily maintained, control walks a thin line.

Control is like a golden thread that represents something perfectly balanced. To be in control is to be satisfied with both process and product. Control is a euphoric state, but also perhaps one of denial. Can anyone fully have control? Are we fools to try? Loss of control lurks in the shadows; at any moment the most miniscule of factors can suddenly change a controlled situation to an out-of-control event.

Society controls and often determines the destiny of the built environment. Architecture lasts when society, the controller, approves. The designer remains in control for only a short time, frantically developing the controlled ideas from their imagination and education.

The built environment serves as a constant reminder of the relationship that designers have on civilization.

Good design strives to achieve some semblance of control, even if only in provocation: doors control circulation, outdoor pathways suggest control, and color encourages certain moods and behavior.

We as students and designers can only control so much. Do we control our future or does our future control us? Though we may think we’re in control, the reality is that we are constantly regaining control from unforeseen circumstances. Though the future is a fog that only grows clear as we navigate through it, it is important to keep controlling our mind, body, and work.

Despite the many external influences that undermine our autonomy, we have the ultimate control in how we engage with the rest of the world. Our self-discipline and everyday practices could make the difference between a passive existence surviving day by day and a happy, fulfilled life.

Why? Because unlike the future, we can have control of our mind, body, and what we produce.

spacework 5

36

37

Jefferson | C_ABE

BS: In our studios, we glorify people like Frank Lloyd Wright or Zaha Hadid or BIG, where they take their designs and run with them. In these cases it is all about the concept or those big sculptural moves that they make. It is not a realistic position that many architects can get into throughout their career.

SS: No, it’s not. And talking about BIG, which is a very popular firm, they’re smart, they’re strategic, they work within the system, and they manipulate it really well. And Frank Lloyd Wright too I think he is the archetype of the romantic architect, breaking the rules and not giving a damn about anything or anybody. But he had to work through a dry spell for decades. He had to constantly reinvent himself and he was very much about self-constraint and self-construction as a brand, so there’s more to it than just the romantic side.

To me, knowledge is power and architecture is such a broad field that requires so many stakeholders to make things happen.

So the more you understand about that process the better.

BS: In terms of responsibility of ethics and respecting heritage, how does a firm maintain or develop that ethical and moral consciousness while also trying to make money?

SS: This is where a savvy designer who understands the economics can play that game to their best end. If you understand how to play the money game you have a better chance of arguing from that point of view for what you believe in. But if you’re working with a developer you have to convince them that it is financially to their best interest to present this building and this is why. So you know how to do that.

You have to know how to do market analysis evaluation; you have to understand about finance and investment and what that might mean.

It may not be your cup of tea, but it’s the way to really have more control over what happens.

Suzanne Singletary Associate Professor, Architectural Studies Interviewed by Breanna Sheeler

spacework 5

38

BS: What insight can you provide into how the interior design studios run here at Jefferson?

LP: So the first important aspect is how we work with our students.

The way that I personally work with my students, I like to say to them all the time, “Listen, I want your project to reflect you. No matter what I suggest to you, I want it to reflect you.” So I don’t care if you don’t do what I suggest. I think it’s really important that the project reflects you, and is your manifestation no matter what I suggest.

BS: I think we’re always trying to promote creativity. But how do you balance between encouraging a student’s individual design intuition and preventing them from pursuing designs you can see will not work?

LP: I can’t speak to the whole program but it’s just not what I do. But I will always try to suggest to students some alternatives that may help them discover new opportunities in their design. Maybe they always do something curvy, so I suggest maybe they try something a little bit square or something more angular. But always I want the student to feel that the project is theirs.

IN

BS: Do you think that the general architecture education prepares students?

SS: I don’t think it does. Let’s face it, there’s a lot to learn in the four or five years that you have as a student. It’s a jam-packed curriculum and very difficult, but it is beneficial for everyone to have that challenge. And it’s great when you have the opportunity to further that education, because not everywhere does, and we have so many here. Construction management, real estate, sustainable design... these are all things that are really great, and the study of which can be added credentials or just states of mind. To me, knowledge is power and architecture is such a broad field that requires so many stakeholders to make things happen. So the more you understand about that process the better. I have talked to some students who have taken real estate courses and they have all said that every architecture student should have one class in this. And I think they are right, I would like to see everybody have of course in preservation too because you’re going to be out there dealing with what is already built much of the time. I’m not saying that everything should be preserved but there certainly is a reason to understand what those issues are.

That’s something else that’s not usually part of the typical education.

BS: Do you think we have a good program?

LP: Absolutely. And I think it’s something that’s learned by the students throughout their time here of how to start taking the initiative and add their own personal deadlines. But coming in as a freshman and underclassmen without having any kind of experience... it’s a very hard transition.

BS: So do you see that growth? What kind of growth do you see between the freshmen up to the fourth year thesis projects?

LP: Oh my gosh, yes, absolutely. I ask for feedback always at the end of the semesters, like what can we change, what can we do different, etc. Because the students always have valuable input and I always want to change what I’m doing to respond to them, and there were some excellent suggestions. So I’m constantly editing and changing what I do based on the feedback of the last semester. It will continue to get better and better. The students understand what they need to do to continually improve the program. So even though it does continually improve, they’re always coming up with good suggestions to improve it. It’s amazing to think when they see those projects when they’re freshmen, they think “I’m never going to be able to do that.”

And then when they are at the end, they can’t believe they achieved all that they did. Because a lot of times we get so bogged down and are extremely self-critical. It’s harder for us to step back and acknowledge, especially as the seasons progress. I’m amazed at the work that our design department produces.

I think it’s really important that the project reflects you, and is your manifestation no matter what I suggest.

Lisa Phillips Associate Professor, Interior Design Interviewed by Breanna Sheeler

39

Jefferson | C_ABE

BS: In our studios, we glorify people like Frank Lloyd Wright or Zaha Hadid or BIG, where they take their designs and run with them. In these cases it is all about the concept or those big sculptural moves that they make. It is not a realistic position that many architects can get into throughout their career.

SS: No, it’s not. And talking about BIG, which is a very popular firm, they’re smart, they’re strategic, they work within the system, and they manipulate it really well. And Frank Lloyd Wright too I think he is the archetype of the romantic architect, breaking the rules and not giving a damn about anything or anybody. But he had to work through a dry spell for decades. He had to constantly reinvent himself and he was very much about self-constraint and self-construction as a brand, so there’s more to it than just the romantic side.

To me, knowledge is power and architecture is such a broad field that requires so many stakeholders to make things happen.

So the more you understand about that process the better.

BS: In terms of responsibility of ethics and respecting heritage, how does a firm maintain or develop that ethical and moral consciousness while also trying to make money?

SS: This is where a savvy designer who understands the economics can play that game to their best end. If you understand how to play the money game you have a better chance of arguing from that point of view for what you believe in. But if you’re working with a developer you have to convince them that it is financially to their best interest to present this building and this is why. So you know how to do that.

You have to know how to do market analysis evaluation; you have to understand about finance and investment and what that might mean.

It may not be your cup of tea, but it’s the way to really have more control over what happens.

Suzanne Singletary Associate Professor, Architectural Studies Interviewed by Breanna Sheeler

spacework 5

38

BS: What insight can you provide into how the interior design studios run here at Jefferson?

LP: So the first important aspect is how we work with our students.

The way that I personally work with my students, I like to say to them all the time, “Listen, I want your project to reflect you. No matter what I suggest to you, I want it to reflect you.” So I don’t care if you don’t do what I suggest. I think it’s really important that the project reflects you, and is your manifestation no matter what I suggest.

BS: I think we’re always trying to promote creativity. But how do you balance between encouraging a student’s individual design intuition and preventing them from pursuing designs you can see will not work?

LP: I can’t speak to the whole program but it’s just not what I do. But I will always try to suggest to students some alternatives that may help them discover new opportunities in their design. Maybe they always do something curvy, so I suggest maybe they try something a little bit square or something more angular. But always I want the student to feel that the project is theirs.

IN

BS: Do you think that the general architecture education prepares students?

SS: I don’t think it does. Let’s face it, there’s a lot to learn in the four or five years that you have as a student. It’s a jam-packed curriculum and very difficult, but it is beneficial for everyone to have that challenge. And it’s great when you have the opportunity to further that education, because not everywhere does, and we have so many here. Construction management, real estate, sustainable design... these are all things that are really great, and the study of which can be added credentials or just states of mind. To me, knowledge is power and architecture is such a broad field that requires so many stakeholders to make things happen. So the more you understand about that process the better. I have talked to some students who have taken real estate courses and they have all said that every architecture student should have one class in this. And I think they are right, I would like to see everybody have of course in preservation too because you’re going to be out there dealing with what is already built much of the time. I’m not saying that everything should be preserved but there certainly is a reason to understand what those issues are.

That’s something else that’s not usually part of the typical education.

BS: Do you think we have a good program?

LP: Absolutely. And I think it’s something that’s learned by the students throughout their time here of how to start taking the initiative and add their own personal deadlines. But coming in as a freshman and underclassmen without having any kind of experience... it’s a very hard transition.

BS: So do you see that growth? What kind of growth do you see between the freshmen up to the fourth year thesis projects?

LP: Oh my gosh, yes, absolutely. I ask for feedback always at the end of the semesters, like what can we change, what can we do different, etc. Because the students always have valuable input and I always want to change what I’m doing to respond to them, and there were some excellent suggestions. So I’m constantly editing and changing what I do based on the feedback of the last semester. It will continue to get better and better. The students understand what they need to do to continually improve the program. So even though it does continually improve, they’re always coming up with good suggestions to improve it. It’s amazing to think when they see those projects when they’re freshmen, they think “I’m never going to be able to do that.”

And then when they are at the end, they can’t believe they achieved all that they did. Because a lot of times we get so bogged down and are extremely self-critical. It’s harder for us to step back and acknowledge, especially as the seasons progress. I’m amazed at the work that our design department produces.

I think it’s really important that the project reflects you, and is your manifestation no matter what I suggest.

Lisa Phillips Associate Professor, Interior Design Interviewed by Breanna Sheeler

39

Jefferson | C_ABE

IN Hunter Faddis | Rosie Seiji D8 Interior Design ‘18 spacework 5

40

41

Jefferson | C_ABE

IN Hunter Faddis | Rosie Seiji D8 Interior Design ‘18 spacework 5

40

41

Jefferson | C_ABE

ORE T S OOK STORE B ES BOOK ES

CCR R

THE DESIGN GOAL OF THIS PROJECT WAS TO RENOVATE AN EXISTING RETAIL SPACE, WHICH IS ZARA’S FLAGSHIP STORE IN ROME, ITALY INTO A BOOKSTORE CAFE. INSPIRATION STARTED WITH A CLIENT WHO WE CHOSE TO BE ONE OF ITALY’S MOST TALENTED AND BELOVED TENOR SINGERS, ANDREA BOCELLI. THE BOOKSTORE IS DESIGNED AROUND HIS FAMOUS MUSICAL SCORES WHICH EXEMPLIFY SOUNDS OF CRESCENDO. OFWHICH THE MAIN CHALLENGES TRYING THE DESIGN GOAL OF THIS PROJECT WASRYTHMIC TO RENOVATE AN EXISTING RETAIL ONE SPACE, IS ZARA’S FLAGSHIPWAS STORE IN INCORPORATE CONTEMPORARY DESIGNS INTO A OF RENAISSAINCE ROME, ITALY INTO A BOOKSTORE CAFE. INSPIRATIONTO STARTED WITH A CLIENT WHO WE CHOSE TO BE ONE ITALY’S MOSTBUILDING. TALENTED AND THIS BUILDING IN PARTICULAR 26MUSICAL COLUMNS, 4 FLOORS AND HEAVY BELOVED TENOR SINGERS, ANDREA BOCELLI. THE BOOKSTORE IS DESIGNED AROUNDINCLUDED HIS FAMOUS SCORES WHICH EXEMPLIFY EXTERIOR RUSTIFICATION. WECRESCENDO. TOOK THESE QUALITIES INTOCHALLENGES CONSIDERATION RYTHMIC SOUNDS OF ONE OF THE MAIN WAS TRYING AND DESIGNED AN EXPERIENCE THAT WAS DESIGNS FULFILLING, AND BUILDING. TO INCORPORATE CONTEMPORARY INTOCOMMUNAL A RENAISSAINCE POETIC. THIS BUILDING IN PARTICULAR INCLUDED 26 COLUMNS, 4 FLOORS AND HEAVY EXTERIOR RUSTIFICATION. WE TOOK THESE QUALITIES INTO CONSIDERATION DESIGNED AN EXPERIENCE PROJECTAND TYPE: RENOVATION RETAIL THAT WAS FULFILLING, COMMUNAL AND POETIC. CLIENT: ANDREA BOCELLI PROJECT TYPE: RENOVATION RETAIL FOCUS: DESIGNING FOR MENTAL LEISURE IN HISTORIC PLACES CLIENT: ANDREA BOCELLI

LOCATION: PALAZZO BOCCONI; VIA DEL CORSO, ROME ITALY FOCUS: DESIGNING FOR MENTAL LEISURE IN HISTORIC PLACES

EST SIDE

LOCATION: PALAZZO BOCCONI; VIA DEL CORSO, ROME ITALY

TRY VIEW FROM WEST SIDE

LIGHTING STRATEGY LIGHTING STRATEGY

EXISTING LAYOUT EXISTING LAYOUT +26.28

+21.66 +26.28

+5.35 +5.21

+5.06

+4.18

+21.66

+15.91

±0.00 +5.35 +5.21

+5.67 +5.53

+5.06

+5.38

+4.18

+4.50

+15.91

EXPANSION

±0.00

+9.97

+5.67 +5.53

±0.00

+5.38

+4.50

+3.29

Monica Tabet D7 Interior Design ‘18

+5.23

±0.00

+9.97

+4.47

+4.62

+4.17

+3.59

±0.00

SECTION 1 *NOTE DIMENSIONS ARE IN METERS

±0.00

+4.79

+3.29

+3.50

+4.47

+3.50

+5.23

+4.48 +4.32

±0.00

±0.00 +4.79

+3.40

+3.50

+4.62

+3.00 +3.59

GEOMETRY

+3.50

-3.96

±0.00

±0.00

±0.00

+3.40

+3.50

+3.50

+3.00

GEOMETRY

-3.96

PROCESS PROCESS

C

SECTION 1 *NOTE DIMENSIONS ARE IN METERS

+4.48 +4.32

+4.17

±0.00

E R O T S K O O B ES

R

IN

EXPANSION

Kaitlyn Deberas | Tania Garcia 4th Year Interior Design Interviews by Nicole Camara NC: How do you feel about control in your design process?

KD:FLAGSHIP I think professors THE DESIGN GOAL OF THIS PROJECT WAS TO RENOVATE AN EXISTING RETAIL SPACE, WHICH IS ZARA’S STOREhave IN a lot of control of our work because ROME, ITALY INTO A BOOKSTORE CAFE. INSPIRATION STARTED WITH A CLIENT WHO WE CHOSE TO BE ONE OF ITALY’S MOST TALENTED AND they are kind ofEXEMPLIFY like a client in a BELOVED TENOR SINGERS, ANDREA BOCELLI. THE BOOKSTORE IS DESIGNED AROUND HIS FAMOUS MUSICAL SCORES WHICH way. You always want to satisfy RYTHMIC SOUNDS OF CRESCENDO. ONE OF THE MAIN CHALLENGES WAS TRYING the client who is the professor TO INCORPORATE CONTEMPORARY DESIGNS INTO and A RENAISSAINCE they are the oneBUILDING. grading THIS BUILDING IN PARTICULAR INCLUDED 26 COLUMNS, 4 FLOORS AND that HEAVY your project too. I think EXTERIOR RUSTIFICATION. WE TOOK THESE QUALITIES CONSIDERATION when INTO they make suggestions it’s important to follow what AND DESIGNED AN EXPERIENCE THAT WAS FULFILLING, COMMUNAL AND they say. It is important to find POETIC.

UNGE VIEW

PROJECT TYPE: RENOVATION RETAIL CLIENT: ANDREA BOCELLI

balance between controlling your own process to the design and more of professor control than your own control.

TG: I try to keep control of

my own and incorporate their FOCUS: DESIGNING FOR MENTAL LEISURE IN HISTORIC PLACES

TERIOR ELEVATION

GROUND FLOOR PLAN *NOTEGROUND DIMENSIONS IN METERS FLOORARE PLAN *NOTE DIMENSIONS ARE IN METERS

Kaitlyn Deberas | Tania Garcia D8 Interior Design ‘18 spacework 5

ENTRY VIEW FROM WEST SIDE

42

feedback in my work.

LOCATION: PALAZZO BOCCONI; VIA DEL CORSO, ROME ITALY 43

Jefferson | C_ABE

ORE T S OOK STORE B ES BOOK ES

CCR R

THE DESIGN GOAL OF THIS PROJECT WAS TO RENOVATE AN EXISTING RETAIL SPACE, WHICH IS ZARA’S FLAGSHIP STORE IN ROME, ITALY INTO A BOOKSTORE CAFE. INSPIRATION STARTED WITH A CLIENT WHO WE CHOSE TO BE ONE OF ITALY’S MOST TALENTED AND BELOVED TENOR SINGERS, ANDREA BOCELLI. THE BOOKSTORE IS DESIGNED AROUND HIS FAMOUS MUSICAL SCORES WHICH EXEMPLIFY SOUNDS OF CRESCENDO. OFWHICH THE MAIN CHALLENGES TRYING THE DESIGN GOAL OF THIS PROJECT WASRYTHMIC TO RENOVATE AN EXISTING RETAIL ONE SPACE, IS ZARA’S FLAGSHIPWAS STORE IN INCORPORATE CONTEMPORARY DESIGNS INTO A OF RENAISSAINCE ROME, ITALY INTO A BOOKSTORE CAFE. INSPIRATIONTO STARTED WITH A CLIENT WHO WE CHOSE TO BE ONE ITALY’S MOSTBUILDING. TALENTED AND THIS BUILDING IN PARTICULAR 26MUSICAL COLUMNS, 4 FLOORS AND HEAVY BELOVED TENOR SINGERS, ANDREA BOCELLI. THE BOOKSTORE IS DESIGNED AROUNDINCLUDED HIS FAMOUS SCORES WHICH EXEMPLIFY EXTERIOR RUSTIFICATION. WECRESCENDO. TOOK THESE QUALITIES INTOCHALLENGES CONSIDERATION RYTHMIC SOUNDS OF ONE OF THE MAIN WAS TRYING AND DESIGNED AN EXPERIENCE THAT WAS DESIGNS FULFILLING, AND BUILDING. TO INCORPORATE CONTEMPORARY INTOCOMMUNAL A RENAISSAINCE POETIC. THIS BUILDING IN PARTICULAR INCLUDED 26 COLUMNS, 4 FLOORS AND HEAVY EXTERIOR RUSTIFICATION. WE TOOK THESE QUALITIES INTO CONSIDERATION DESIGNED AN EXPERIENCE PROJECTAND TYPE: RENOVATION RETAIL THAT WAS FULFILLING, COMMUNAL AND POETIC. CLIENT: ANDREA BOCELLI PROJECT TYPE: RENOVATION RETAIL FOCUS: DESIGNING FOR MENTAL LEISURE IN HISTORIC PLACES CLIENT: ANDREA BOCELLI

LOCATION: PALAZZO BOCCONI; VIA DEL CORSO, ROME ITALY FOCUS: DESIGNING FOR MENTAL LEISURE IN HISTORIC PLACES

EST SIDE

LOCATION: PALAZZO BOCCONI; VIA DEL CORSO, ROME ITALY

TRY VIEW FROM WEST SIDE

LIGHTING STRATEGY LIGHTING STRATEGY

EXISTING LAYOUT EXISTING LAYOUT +26.28

+21.66 +26.28

+5.35 +5.21

+5.06

+4.18

+21.66

+15.91

±0.00 +5.35 +5.21

+5.67 +5.53

+5.06

+5.38

+4.18

+4.50

+15.91

EXPANSION

±0.00

+9.97

+5.67 +5.53

±0.00

+5.38

+4.50

+3.29

Monica Tabet D7 Interior Design ‘18

+5.23

±0.00

+9.97

+4.47

+4.62

+4.17

+3.59

±0.00

SECTION 1 *NOTE DIMENSIONS ARE IN METERS

±0.00

+4.79

+3.29

+3.50

+4.47

+3.50

+5.23

+4.48 +4.32

±0.00

±0.00 +4.79

+3.40

+3.50

+4.62

+3.00 +3.59

GEOMETRY

+3.50

-3.96

±0.00

±0.00

±0.00

+3.40

+3.50

+3.50

+3.00

GEOMETRY

-3.96

PROCESS PROCESS

C

SECTION 1 *NOTE DIMENSIONS ARE IN METERS

+4.48 +4.32

+4.17

±0.00

E R O T S K O O B ES

R

IN

EXPANSION

Kaitlyn Deberas | Tania Garcia 4th Year Interior Design Interviews by Nicole Camara NC: How do you feel about control in your design process?

KD:FLAGSHIP I think professors THE DESIGN GOAL OF THIS PROJECT WAS TO RENOVATE AN EXISTING RETAIL SPACE, WHICH IS ZARA’S STOREhave IN a lot of control of our work because ROME, ITALY INTO A BOOKSTORE CAFE. INSPIRATION STARTED WITH A CLIENT WHO WE CHOSE TO BE ONE OF ITALY’S MOST TALENTED AND they are kind ofEXEMPLIFY like a client in a BELOVED TENOR SINGERS, ANDREA BOCELLI. THE BOOKSTORE IS DESIGNED AROUND HIS FAMOUS MUSICAL SCORES WHICH way. You always want to satisfy RYTHMIC SOUNDS OF CRESCENDO. ONE OF THE MAIN CHALLENGES WAS TRYING the client who is the professor TO INCORPORATE CONTEMPORARY DESIGNS INTO and A RENAISSAINCE they are the oneBUILDING. grading THIS BUILDING IN PARTICULAR INCLUDED 26 COLUMNS, 4 FLOORS AND that HEAVY your project too. I think EXTERIOR RUSTIFICATION. WE TOOK THESE QUALITIES CONSIDERATION when INTO they make suggestions it’s important to follow what AND DESIGNED AN EXPERIENCE THAT WAS FULFILLING, COMMUNAL AND they say. It is important to find POETIC.

UNGE VIEW

PROJECT TYPE: RENOVATION RETAIL CLIENT: ANDREA BOCELLI

balance between controlling your own process to the design and more of professor control than your own control.

TG: I try to keep control of

my own and incorporate their FOCUS: DESIGNING FOR MENTAL LEISURE IN HISTORIC PLACES

TERIOR ELEVATION

GROUND FLOOR PLAN *NOTEGROUND DIMENSIONS IN METERS FLOORARE PLAN *NOTE DIMENSIONS ARE IN METERS

Kaitlyn Deberas | Tania Garcia D8 Interior Design ‘18 spacework 5

ENTRY VIEW FROM WEST SIDE

42

feedback in my work.

LOCATION: PALAZZO BOCCONI; VIA DEL CORSO, ROME ITALY 43

Jefferson | C_ABE

NC: How do we control ourselves when designing?

GV: We had ideas we were going to implement. There were limitations that give us a checklist of what deliverables needed to be added in. One might be too much or too little. So definitely developing a game plan and understanding what needed to get done really helped us .

NC: How did you control and share the work within the group?

BB: Understanding everyone’s strengths and what they were comfortable with to make sure everything got done and everyone got to be featured in the final submission for sure.

Rachel Meier | Victoria Hochuli | Griffin Voigt | Breah Banks spacework 5

44

D6 Landscape ‘19 45

NC: As a designer what super power would you like to have?

VH: I would pick control time, because it would be interesting to see what will my design look like in the future?

RM: I would control water by using it to define your site and directing it.

Jefferson | C_ABE

IN

Rachel Meier | Victoria Hochuli | Griffin Voigt | Breah Banks 3rd Year Landscape Architecture Interviewed by Nicole Camara

NC: How do we control ourselves when designing?

GV: We had ideas we were going to implement. There were limitations that give us a checklist of what deliverables needed to be added in. One might be too much or too little. So definitely developing a game plan and understanding what needed to get done really helped us .

NC: How did you control and share the work within the group?

BB: Understanding everyone’s strengths and what they were comfortable with to make sure everything got done and everyone got to be featured in the final submission for sure.

Rachel Meier | Victoria Hochuli | Griffin Voigt | Breah Banks spacework 5

44

D6 Landscape ‘19 45

NC: As a designer what super power would you like to have?

VH: I would pick control time, because it would be interesting to see what will my design look like in the future?

RM: I would control water by using it to define your site and directing it.

Jefferson | C_ABE

IN

Rachel Meier | Victoria Hochuli | Griffin Voigt | Breah Banks 3rd Year Landscape Architecture Interviewed by Nicole Camara

The confluence of the Wissahickon Creek and Schuylkill River is arguably the most important geographic feature in Northwest Philadelphia. The site holds many roles, acting as a gateway into the Wissahickon Valley, a major transfer point for SEPTA riders, and the beginning of Main Street, Manayunk.

The area is almost always busy and this density is felt by any who pass through it, whether by bike, car, or bus.

Its current condition buries the historic floodplain with concrete and asphalt while snuffing out the ecosystem.

The site’ s biodiversity has been reduced to a husk of its former self, leaving little room for wildlife.

Ascension is proof that transportation and habitat can be brought together to create not only a beautiful space, but also a functional one.

A sculptural bridge of steel and earth connects the train and the bus station, allowing people to transfer with ease while also providing a space to leisurely wait before arriving at their next destination.

The curving, S-shaped path transitions through a gradient of successive habitats, creating a whole new experience as the user transitions from meadow over across Ridge Avenue through old-field and descending into forest.

Julie Carbone D7 B.Arch ‘19 | Evan McNaught D7 Landscape ‘18 spacework 5

46

47

Jefferson | C_ABE

IN

Design 7 Landscape Collaborative Studio

The confluence of the Wissahickon Creek and Schuylkill River is arguably the most important geographic feature in Northwest Philadelphia. The site holds many roles, acting as a gateway into the Wissahickon Valley, a major transfer point for SEPTA riders, and the beginning of Main Street, Manayunk.

The area is almost always busy and this density is felt by any who pass through it, whether by bike, car, or bus.

Its current condition buries the historic floodplain with concrete and asphalt while snuffing out the ecosystem.

The site’ s biodiversity has been reduced to a husk of its former self, leaving little room for wildlife.

Ascension is proof that transportation and habitat can be brought together to create not only a beautiful space, but also a functional one.

A sculptural bridge of steel and earth connects the train and the bus station, allowing people to transfer with ease while also providing a space to leisurely wait before arriving at their next destination.

The curving, S-shaped path transitions through a gradient of successive habitats, creating a whole new experience as the user transitions from meadow over across Ridge Avenue through old-field and descending into forest.

Julie Carbone D7 B.Arch ‘19 | Evan McNaught D7 Landscape ‘18 spacework 5

46

47

Jefferson | C_ABE

IN

Design 7 Landscape Collaborative Studio

IN Evan McNaught Visualization B.Arch ‘20 spacework 5

Hutten Moyer Visualization B.Arch ‘20 48

49

Jefferson | C_ABE

IN Evan McNaught Visualization B.Arch ‘20 spacework 5

Hutten Moyer Visualization B.Arch ‘20 48

49

Jefferson | C_ABE

LOST CONTROL

The books, laundry, and dishes all over the apartment are in disarray. The project deadline looms. The group member isn’t pulling his or her weight. Losing control can arise from many factors. When chaos sets in, you feel like you are losing control.

Sometimes, lost control can feel like being trapped in a box, with no way out. How does one stop the defeating feeling of losing control in the process of finishing something meaningful?

You either learn from the experiences that brought you to this point of lost control

... or let them defeat you.

The design student in a state of lost control is all too normal. Influences from professors, fellow students, and the endless plethora of building codes and project constraints inhibit the creativity and flow of the design process. The control you once had over the design slowly slips away to the bottom of the drafting board.

But from this loss can come a new sense of control. The design process is like a sweeping landscape, fluxing and flowing into peaks and valleys. Every challenge or perceived loss of control may be the valley that leads to the peak of regaining control.

Throughout the semester, the design process may be going smoothly. Until suddenly the professor gives feedback that takes you back to square one, re-doing large portions of the project. This may seem like a complete loss of control, but in reality, it could lead to something really amazing, and an experience from which to gain knowledge. It all depends on how you react and move forward.

It takes control to regain and maintain lost control.

An experience felt and worked through, in all aspects of life, requires losing and taking back control. The saying, “you live, and you learn,� is the manifestation of losing the feeling of lost control.

The puzzle pieces start to come together.

The picture becomes clearer.

Lost control can be a door to another experience.

spacework 5

50

51

Jefferson | C_ABE

LOST CONTROL

The books, laundry, and dishes all over the apartment are in disarray. The project deadline looms. The group member isn’t pulling his or her weight. Losing control can arise from many factors. When chaos sets in, you feel like you are losing control.

Sometimes, lost control can feel like being trapped in a box, with no way out. How does one stop the defeating feeling of losing control in the process of finishing something meaningful?

You either learn from the experiences that brought you to this point of lost control

... or let them defeat you.

The design student in a state of lost control is all too normal. Influences from professors, fellow students, and the endless plethora of building codes and project constraints inhibit the creativity and flow of the design process. The control you once had over the design slowly slips away to the bottom of the drafting board.

But from this loss can come a new sense of control. The design process is like a sweeping landscape, fluxing and flowing into peaks and valleys. Every challenge or perceived loss of control may be the valley that leads to the peak of regaining control.

Throughout the semester, the design process may be going smoothly. Until suddenly the professor gives feedback that takes you back to square one, re-doing large portions of the project. This may seem like a complete loss of control, but in reality, it could lead to something really amazing, and an experience from which to gain knowledge. It all depends on how you react and move forward.

It takes control to regain and maintain lost control.

An experience felt and worked through, in all aspects of life, requires losing and taking back control. The saying, “you live, and you learn,� is the manifestation of losing the feeling of lost control.

The puzzle pieces start to come together.

The picture becomes clearer.

Lost control can be a door to another experience.

spacework 5

50

51

Jefferson | C_ABE

KD: In general are your clients easy to work with?

SB: It is often frustrating. It often comes down to budget, and where my place is in the project. In my role as a consultant I often have to keep prodding the client in a certain direction which can often lead to a victory. But with some things I can keep trying to direct them a certain way and never get anywhere. But if I’m not the prime, I don’t have a direct voice to the client, it really depends on where I am in the project.

KD: Why do you think historic preservation advocacy and adaptive reuse are important?

SB: I think adaptive reuse is important because not every historic site can be a museum, but I think it is important to preserve historic buildings, even if they don’t have a huge significance, because they have a visual character and a depth of character that you really don’t see in new buildings. I think they make the environment richer and I think even people who aren’t preservationists can feel that. They add texture to your experience of the environment. Also, the quality is really there with the craftsmanship. I think advocacy is important because not everyone feels the way I do. I enjoy teaching the adaptive reuse studio and seeing how the students feel about adaptive reuse. I try to push them to be bolder because I feel like this is the time to really explore adaptive reuse. It can be a tough balance, and teaching the class helps me explore it too.

I think [historic buildings] make the environment richer, even people who aren’t preservationists can feel that. They add texture to your experience of the environment.

KD: What are your hopes and fears for the future of historic preservation?

SB: I’m hopeful that so many students are interested in adaptive reuse, because the more you guys are interested, the more people in general will be. So I’m very optimistic about that. I’m worried about some of the trends in Philadelphia with the amount of demolition.

Preservation is not often encouraged in the government, and there is no regulation to encourage preservation which is disappointing. I think we may have to review how we look at projects. Like the Secretary of the Interior, I believe they were written for loose interpretation. But I think it will be interesting to see how the standards will be interpreted in the future. I’m naturally optimistic, though naturally frustrated as anyone would be.

Suzanna Barucco Adjunct Professor, Architectural Studies Interviewed by Kelsey Donato

spacework 5

52

AY: Are there any specific instances where control has played a part in the studio with your freshman students?

CH: We have a student who at the beginning of the semester started working with the Richard Meier Smith House as her Case Study House. As the semester has continued on, revelations have come out about Richard Meier who as a star-architect has been controlling people with his office, taking advantage of people who might otherwise might not do certain things for him but feel required to do them because he’s their boss. And the student who is working with the Richard Meier Smith House has made a big decision. She decided to take control and she’s going to use her Design 2 project to make a statement about the abuse of power and the control over others by making her visitor’s center control and take power over the Smith House itself. I don’t know if it’s going to work out or not as a design project because she might not have the skills yet to make that happen, but I think that taking control over the situation is a positive step.

AY: Can we talk more about the aspects about control in design?

CH: There are at least two different ways to approach this. One is as a teacher and one is as a designer. As a teacher, do I tell my student “you must do this”. But how much control do I have over you, and am I trying to control you because it makes me feel powerful or am I trying to control you because we collectively feel if we can accomplish this? I hope that for most of your faculty, the reason we are trying to give you some prescribed steps of control is to help you get better. I don’t think any of us are doing it because we get a power trip. I don’t, but maybe some do. By giving you parameters for what you are going to accomplish, the hope would be that you as students learn how to control yourself with your own parameters later. The problem is for each student, the parameters they need may be different. The kind of control that they need, the kind of issues they face, and it is partially because within their project, there’s freedom in their projects and they’re at different stages in different points along the way. So next along the way is different than what another’s next step is going to be.

By giving you parameters for what you are going to accomplish; the hope would be that you as students learn how to control yourself with your own parameters later.

Carol Hermann Assistant Program Director, Architecture Interviewed by Aaron Young

53

Jefferson | C_ABE

KD: In general are your clients easy to work with?

SB: It is often frustrating. It often comes down to budget, and where my place is in the project. In my role as a consultant I often have to keep prodding the client in a certain direction which can often lead to a victory. But with some things I can keep trying to direct them a certain way and never get anywhere. But if I’m not the prime, I don’t have a direct voice to the client, it really depends on where I am in the project.

KD: Why do you think historic preservation advocacy and adaptive reuse are important?

SB: I think adaptive reuse is important because not every historic site can be a museum, but I think it is important to preserve historic buildings, even if they don’t have a huge significance, because they have a visual character and a depth of character that you really don’t see in new buildings. I think they make the environment richer and I think even people who aren’t preservationists can feel that. They add texture to your experience of the environment. Also, the quality is really there with the craftsmanship. I think advocacy is important because not everyone feels the way I do. I enjoy teaching the adaptive reuse studio and seeing how the students feel about adaptive reuse. I try to push them to be bolder because I feel like this is the time to really explore adaptive reuse. It can be a tough balance, and teaching the class helps me explore it too.

I think [historic buildings] make the environment richer, even people who aren’t preservationists can feel that. They add texture to your experience of the environment.

KD: What are your hopes and fears for the future of historic preservation?

SB: I’m hopeful that so many students are interested in adaptive reuse, because the more you guys are interested, the more people in general will be. So I’m very optimistic about that. I’m worried about some of the trends in Philadelphia with the amount of demolition.

Preservation is not often encouraged in the government, and there is no regulation to encourage preservation which is disappointing. I think we may have to review how we look at projects. Like the Secretary of the Interior, I believe they were written for loose interpretation. But I think it will be interesting to see how the standards will be interpreted in the future. I’m naturally optimistic, though naturally frustrated as anyone would be.

Suzanna Barucco Adjunct Professor, Architectural Studies Interviewed by Kelsey Donato

spacework 5

52

AY: Are there any specific instances where control has played a part in the studio with your freshman students?

CH: We have a student who at the beginning of the semester started working with the Richard Meier Smith House as her Case Study House. As the semester has continued on, revelations have come out about Richard Meier who as a star-architect has been controlling people with his office, taking advantage of people who might otherwise might not do certain things for him but feel required to do them because he’s their boss. And the student who is working with the Richard Meier Smith House has made a big decision. She decided to take control and she’s going to use her Design 2 project to make a statement about the abuse of power and the control over others by making her visitor’s center control and take power over the Smith House itself. I don’t know if it’s going to work out or not as a design project because she might not have the skills yet to make that happen, but I think that taking control over the situation is a positive step.

AY: Can we talk more about the aspects about control in design?

CH: There are at least two different ways to approach this. One is as a teacher and one is as a designer. As a teacher, do I tell my student “you must do this”. But how much control do I have over you, and am I trying to control you because it makes me feel powerful or am I trying to control you because we collectively feel if we can accomplish this? I hope that for most of your faculty, the reason we are trying to give you some prescribed steps of control is to help you get better. I don’t think any of us are doing it because we get a power trip. I don’t, but maybe some do. By giving you parameters for what you are going to accomplish, the hope would be that you as students learn how to control yourself with your own parameters later. The problem is for each student, the parameters they need may be different. The kind of control that they need, the kind of issues they face, and it is partially because within their project, there’s freedom in their projects and they’re at different stages in different points along the way. So next along the way is different than what another’s next step is going to be.

By giving you parameters for what you are going to accomplish; the hope would be that you as students learn how to control yourself with your own parameters later.

Carol Hermann Assistant Program Director, Architecture Interviewed by Aaron Young

53

Jefferson | C_ABE

RECTIFY The freest of spaces where users contemplate their

20

lives and practices. They are not directed anywhere, enabling people to recalibrated the next decisions they are going to make 19

8TH FLOOR

3 3 18

ENSEMBLE Rather than being exposed to the public, the band room is dedicated the southern tip of the building which recieves elusive yet stunning qualities of light. This space aims to focus the user on

7TH FLOOR

the other users in the space to promote colaboration

3 3

15

6TH FLOOR

CHECK Split seemlessly by the two towers of egress, the public and private sector reconvience on the in exposed

11

areas of practice such as the dance studio 14

16

5TH FLOOR

9

LOST

11

10

ENGAGE

12

Interaction flows from personal interations to stage audience engagement, ambulating around the

4TH FLOOR

blackbox theater 9

10 Chancellor St

Chancellor St

3RD FLOOR Saint James St

S. 13th St

S. Camac St

9 8 5

Locust St

DETERMINE Public gallery and lobby intercept pedestrian

7

traffic, along with the regular users and directs them SITE PLAN

throughout the building based upon the various

3

means of egress

3

Aaron Young | Tom Loerch D7 B.Arch ‘19 spacework 5

6

Kyle Chang D6 B.Arch ‘20 54

55

Jefferson | C_ABE

RECTIFY The freest of spaces where users contemplate their

20

lives and practices. They are not directed anywhere, enabling people to recalibrated the next decisions they are going to make 19

8TH FLOOR

3 3 18

ENSEMBLE Rather than being exposed to the public, the band room is dedicated the southern tip of the building which recieves elusive yet stunning qualities of light. This space aims to focus the user on

7TH FLOOR

the other users in the space to promote colaboration

3 3

15

6TH FLOOR

CHECK Split seemlessly by the two towers of egress, the public and private sector reconvience on the in exposed

11

areas of practice such as the dance studio 14

16

5TH FLOOR

9

LOST

11

10

ENGAGE

12

Interaction flows from personal interations to stage audience engagement, ambulating around the

4TH FLOOR

blackbox theater 9

10 Chancellor St

Chancellor St

3RD FLOOR Saint James St

S. 13th St

S. Camac St

9 8 5

Locust St

DETERMINE Public gallery and lobby intercept pedestrian

7

traffic, along with the regular users and directs them SITE PLAN

throughout the building based upon the various

3

means of egress

3

Aaron Young | Tom Loerch D7 B.Arch ‘19 spacework 5

6

Kyle Chang D6 B.Arch ‘20 54

55

Jefferson | C_ABE

Kristi Rice B.Arch ‘19

Sawyer DeMoll B.Arch ‘19

AJ Rupp B.Arch ‘19

LOST

Matthew Shafran | Hardi Shah D8 B.Arch ‘19

Experimental Structures

Tom Casey B.Arch ‘19 spacework 5

Adriana Hernandez Palomino B.Arch ‘19 56

The main goal of the Experimental Structures project was to implement biologically inspired systems to design a column. Through mimicking the structural logic observed in systems found in nature, students were able to develop strong, efficient , and innovative columns.

Sawyer DeMoll B.Arch ‘19 57

Jefferson | C_ABE

Kristi Rice B.Arch ‘19

Sawyer DeMoll B.Arch ‘19

AJ Rupp B.Arch ‘19

LOST

Matthew Shafran | Hardi Shah D8 B.Arch ‘19

Experimental Structures

Tom Casey B.Arch ‘19 spacework 5

Adriana Hernandez Palomino B.Arch ‘19 56

The main goal of the Experimental Structures project was to implement biologically inspired systems to design a column. Through mimicking the structural logic observed in systems found in nature, students were able to develop strong, efficient , and innovative columns.

Sawyer DeMoll B.Arch ‘19 57

Jefferson | C_ABE

Design 9 Evolo Competition Osseous is a proposed one kilometer high-rise located in Hong Kong, China. By 2050, the city will be so overpopulated that extremely tall skyscrapers will become the only mode of new development.

Moreover, the void spaces serve to differentiate air pressure and pull air inward from the exterior through an ETFE balloon facade. Prosolve 330E plastics filter the air as it moves inward and an equalization of air pressure causes it to be released back into the atmosphere.

Air filtration is achieved by the repetition of the facade inhaling and exhaling similar to a set of lungs.

The hope is that this tower will serve as a precedent for future high-rise environments which also function as air filtration towers.

Matthew Zepp D9 B.Arch ‘18 spacework 5

58

59

Jefferson | C_ABE

LOST

By breaking the tower up into a series of heterotopic neighborhoods, each section has its own feel and identity, similar to neighborhoods of a city. The void spaces serve as parks represented by one of Earth’s climatic biomes ranging from humid subtropical to tundra.

Design 9 Evolo Competition Osseous is a proposed one kilometer high-rise located in Hong Kong, China. By 2050, the city will be so overpopulated that extremely tall skyscrapers will become the only mode of new development.

Moreover, the void spaces serve to differentiate air pressure and pull air inward from the exterior through an ETFE balloon facade. Prosolve 330E plastics filter the air as it moves inward and an equalization of air pressure causes it to be released back into the atmosphere.

Air filtration is achieved by the repetition of the facade inhaling and exhaling similar to a set of lungs.

The hope is that this tower will serve as a precedent for future high-rise environments which also function as air filtration towers.

Matthew Zepp D9 B.Arch ‘18 spacework 5

58

59

Jefferson | C_ABE

LOST

By breaking the tower up into a series of heterotopic neighborhoods, each section has its own feel and identity, similar to neighborhoods of a city. The void spaces serve as parks represented by one of Earth’s climatic biomes ranging from humid subtropical to tundra.

Design 9 Evolo Competition (Right) Xian Village, an ancient neighborhood in the center of Guangzhou, China, is plagued by structural failures and cultural unrest. Houses in this village are collapsing and being demolished to make room for typical low-rise housing.

The Xian Community Tower is a proposal for a cultural safe haven to safely and comfortably house all members of this once-great village.

spacework 5

Jeff Sroka D9 B.Arch ‘18

Jeff Sroka D9 B.Arch ‘18

Jeff Sroka D9 B.Arch ‘18

Jeff Sroka D9 B.Arch ‘18

LOST

(Opposite) Nature has created some of the most efficient structures. As designers’ ability to understand and rationalize these systems improves, we will be able to create structures that will be formed based on the way the natural built environment is constructed. Through this lens, the most basic natural structure has been carefully studied to create a reinterpretation on a human scale. This structure is the future of the construction industry, based on computational design that is derived from bubble clusters. This method of creating structure is ideal for building scale 3D printing as well as limitless programmatic benefits, allowing for an efficient vertical city to be possible.

Jeff Sroka D9 B.Arch ‘18

Peter Nagel D9 B.Arch ‘18 60

61

Jefferson | C_ABE

Design 9 Evolo Competition (Right) Xian Village, an ancient neighborhood in the center of Guangzhou, China, is plagued by structural failures and cultural unrest. Houses in this village are collapsing and being demolished to make room for typical low-rise housing.

The Xian Community Tower is a proposal for a cultural safe haven to safely and comfortably house all members of this once-great village.

spacework 5

Jeff Sroka D9 B.Arch ‘18

Jeff Sroka D9 B.Arch ‘18

Jeff Sroka D9 B.Arch ‘18

Jeff Sroka D9 B.Arch ‘18

LOST

(Opposite) Nature has created some of the most efficient structures. As designers’ ability to understand and rationalize these systems improves, we will be able to create structures that will be formed based on the way the natural built environment is constructed. Through this lens, the most basic natural structure has been carefully studied to create a reinterpretation on a human scale. This structure is the future of the construction industry, based on computational design that is derived from bubble clusters. This method of creating structure is ideal for building scale 3D printing as well as limitless programmatic benefits, allowing for an efficient vertical city to be possible.

Jeff Sroka D9 B.Arch ‘18

Peter Nagel D9 B.Arch ‘18 60

61

Jefferson | C_ABE

LOST Marisa Mines D9 B.Arch ‘18

spacework 5

Katherine Meier D9 B.Arch ‘18

62

63

Jefferson | C_ABE

LOST Marisa Mines D9 B.Arch ‘18

spacework 5

Katherine Meier D9 B.Arch ‘18

62

63

Jefferson | C_ABE

Rib System

Rib + Pore

Modular

Weaving Shade

Nut + Bolt Connection

Design 9 Digital Methods

Tongue + Grove Connection

The water is then filtered through rain gardens located behind the carbon fiber facade.

After filtration, the water drains down through a system of pipes where it is then stored in tanks in the basement of the building to be used in a gray water system. “Down_Sprout” is able to collect over 500,000 gallons of water annually.

Christopher Murnin | Kelsey Donato D9 B.Arch ‘18

Dylan Beckwith | Tori Febrizio D9 B.Arch ‘18 spacework 5

The rainwater management system theorized in “Down_ Sprout” attempts to put a small level of control on the extremely difficult task of keeping a deluge of water off the streets of Philadelphia.

64

65

Jefferson | C_ABE

LOST

Exploded Weaving Connection

Using inspiration from a variety of plant systems, “Down_ Sprout” seeks to capture, filter, and store rain water falling on the roof and façade of the Hamilton Building on the Jefferson University Center City campus. The storm water management system in the City of Philadelphia is ineffective and overburdened by water runoff. In order to help alleviate some of this deluge “Down_Sprout” captures rainwater in its scoop-like façade.

Rib System

Rib + Pore

Modular

Weaving Shade

Nut + Bolt Connection

Design 9 Digital Methods

Tongue + Grove Connection

The water is then filtered through rain gardens located behind the carbon fiber facade.

After filtration, the water drains down through a system of pipes where it is then stored in tanks in the basement of the building to be used in a gray water system. “Down_Sprout” is able to collect over 500,000 gallons of water annually.

Christopher Murnin | Kelsey Donato D9 B.Arch ‘18

Dylan Beckwith | Tori Febrizio D9 B.Arch ‘18 spacework 5

The rainwater management system theorized in “Down_ Sprout” attempts to put a small level of control on the extremely difficult task of keeping a deluge of water off the streets of Philadelphia.

64

65

Jefferson | C_ABE

LOST

Exploded Weaving Connection

Using inspiration from a variety of plant systems, “Down_ Sprout” seeks to capture, filter, and store rain water falling on the roof and façade of the Hamilton Building on the Jefferson University Center City campus. The storm water management system in the City of Philadelphia is ineffective and overburdened by water runoff. In order to help alleviate some of this deluge “Down_Sprout” captures rainwater in its scoop-like façade.

LOST Lauren Ransom D9 B.Arch ‘18

Hardi Shah D7 B.Arch ‘19 spacework 5

66

67

Jefferson | C_ABE

LOST Lauren Ransom D9 B.Arch ‘18

Hardi Shah D7 B.Arch ‘19 spacework 5

66

67

Jefferson | C_ABE

Experimental Material Studies Design 6: Tectonics Studio

Matthew Scharff D6 B.Arch ‘20 Kelsey Reeser D6 B.Arch ‘20 Nikos Fasalotos D6 B.Arch ‘20

spacework 5

Ross Cappacio D6 B.Arch ‘20 Evelyn Juliano D6 B.Arch ‘20 Solomon Newman D6 B.Arch ‘20

68

Ross Cappacio D6 B.Arch ‘20

Alex Turchi D6 B.Arch ‘20 Austin Natkie D6 B.Arch ‘20 Adonis Hughes D6 B.Arch ‘20

Evelyn Juliano D6 B.Arch ‘20

69

Professor Craig Griffen set up an experimental form study in the D6 architectural studio with the use of concrete as the desired material to create structural towers. The premise of this project is to teach how concrete can be used in high-rise design and how this material can be manipulated with form-making. Through several iterations, students discovered the versatility of the material and the level to which they were able to control its final form.

Jefferson | C_ABE

Experimental Material Studies Design 6: Tectonics Studio

Matthew Scharff D6 B.Arch ‘20 Kelsey Reeser D6 B.Arch ‘20 Nikos Fasalotos D6 B.Arch ‘20

spacework 5

Ross Cappacio D6 B.Arch ‘20 Evelyn Juliano D6 B.Arch ‘20 Solomon Newman D6 B.Arch ‘20

68

Ross Cappacio D6 B.Arch ‘20

Alex Turchi D6 B.Arch ‘20 Austin Natkie D6 B.Arch ‘20 Adonis Hughes D6 B.Arch ‘20

Evelyn Juliano D6 B.Arch ‘20

69

Professor Craig Griffen set up an experimental form study in the D6 architectural studio with the use of concrete as the desired material to create structural towers. The premise of this project is to teach how concrete can be used in high-rise design and how this material can be manipulated with form-making. Through several iterations, students discovered the versatility of the material and the level to which they were able to control its final form.

Jefferson | C_ABE

Juan Pablo Barascout 4th Year B.Arch

Molly Pace 4th Year B.Arch

A big part of our success as designers is communicating with the public, because at the end of the day, that is who we are designing for. We are building for clients and stakeholders, but their building is going to be more successful when we do our research, and a lot of that research cannot be done in a library. It has to be done face to face. I think that the more we do that, the more people will understand what we do, and the more we can appreciate our role.

The role of the architect should be defined by the role of architecture itself.

Architecture is really powerful, and not many people realize this. We don’t always emphasize the importance of viewing everything critically, and being aware of the impact our work can have. Designers can shape how people live, work, and hopefully enhance their lifestyle. But we must admit that there are some things that we as designers cannot control.

Emmanual Eshun Graduate Sustainable Design

Enya Barquia 3rd Year B.Arch

I think designers should be able to step into the shoes of the user. How do we design these spaces? Are we doing everything that we can to make sure that the project isn’t just successful for our sake, but for the health and safety and comfort of the people. We design more than spaces for people to inhabit, but that also represent the culture and community as well. It comes back to the profession: we are artists, but in that artistry there is something very technical.

spacework 5

70

71

LOST

Learning how to talk to people - not just other designers or presenting at a crit - but getting out into the community, is crucial. You need to engage with them in open conversation without acting like you know more than them, because often we don’t. They have a lot to teach us about this place where they live and we are designing. We need to step out of our comfort zones, and surround ourselves with people we don’t know. It makes us better designers and better people.

Jefferson | C_ABE

Juan Pablo Barascout 4th Year B.Arch

Molly Pace 4th Year B.Arch

A big part of our success as designers is communicating with the public, because at the end of the day, that is who we are designing for. We are building for clients and stakeholders, but their building is going to be more successful when we do our research, and a lot of that research cannot be done in a library. It has to be done face to face. I think that the more we do that, the more people will understand what we do, and the more we can appreciate our role.

The role of the architect should be defined by the role of architecture itself.

Architecture is really powerful, and not many people realize this. We don’t always emphasize the importance of viewing everything critically, and being aware of the impact our work can have. Designers can shape how people live, work, and hopefully enhance their lifestyle. But we must admit that there are some things that we as designers cannot control.

Emmanual Eshun Graduate Sustainable Design

Enya Barquia 3rd Year B.Arch

I think designers should be able to step into the shoes of the user. How do we design these spaces? Are we doing everything that we can to make sure that the project isn’t just successful for our sake, but for the health and safety and comfort of the people. We design more than spaces for people to inhabit, but that also represent the culture and community as well. It comes back to the profession: we are artists, but in that artistry there is something very technical.

spacework 5

70

71

LOST

Learning how to talk to people - not just other designers or presenting at a crit - but getting out into the community, is crucial. You need to engage with them in open conversation without acting like you know more than them, because often we don’t. They have a lot to teach us about this place where they live and we are designing. We need to step out of our comfort zones, and surround ourselves with people we don’t know. It makes us better designers and better people.

Jefferson | C_ABE

TAKE CONTROL

Regardless of the situation, we can find ourselves losing control.

It may be a bad critique of a project on which we worked very hard, or frustration from balancing work and school, or a busy schedule or relationships.

But, it is never too late to take back control and make a difference.

Some aspects of our lives may be out of our control, such as the influence of family and peers, or how society tends to put us into boxes according to how we look or our skills. But that does not imply that we have to sit in the dark and surrender our life to external factors and wait for the light to come to us. It is our right and obligation to step up and take control over what we want to do in life and how we are going to achieve our goals.

Being in college allows us to take back control regardless of our stage of life. It is never too late to regain control through the decisions we as individuals take to make our lives worth living. It only takes a step to make a difference.

It is important to take advantage of the opportunities given to us.

Going to school at Jefferson University and being part of CABE presents the opportunity to become great designers and prepares us to be professionals. However, it takes initiative and courage to get out of our comfort zones. It is up to each of us to explore all of the opportunities offered, achieve our goals, and discover more about ourselves.

It is your decision to take back control over your life and make it better. Will you?

spacework 5

72

73

Jefferson | C_ABE

TAKE CONTROL

Regardless of the situation, we can find ourselves losing control.

It may be a bad critique of a project on which we worked very hard, or frustration from balancing work and school, or a busy schedule or relationships.

But, it is never too late to take back control and make a difference.

Some aspects of our lives may be out of our control, such as the influence of family and peers, or how society tends to put us into boxes according to how we look or our skills. But that does not imply that we have to sit in the dark and surrender our life to external factors and wait for the light to come to us. It is our right and obligation to step up and take control over what we want to do in life and how we are going to achieve our goals.

Being in college allows us to take back control regardless of our stage of life. It is never too late to regain control through the decisions we as individuals take to make our lives worth living. It only takes a step to make a difference.

It is important to take advantage of the opportunities given to us.

Going to school at Jefferson University and being part of CABE presents the opportunity to become great designers and prepares us to be professionals. However, it takes initiative and courage to get out of our comfort zones. It is up to each of us to explore all of the opportunities offered, achieve our goals, and discover more about ourselves.

It is your decision to take back control over your life and make it better. Will you?

spacework 5

72

73

Jefferson | C_ABE

NC: How do you think we control ourselves as designers?

AH: I spend a lot of time teaching beginning years of design, and it always amazes me how much all designers at the very start of the process are so afraid of giving up control. They are so reticent to take risks or perhaps lose control. Which I find being very limiting. The other thing that I find interesting on the other side of the spectrum is when given the liberty to do just about anything, people are equally paralyzed. So there is this mediation between too much and not enough control that I always find really interesting, especially at the beginning and end of the design experience. When you start out, it is almost maddening how many possibilities there are. Then at the very end when you wish, “Oh I just want one more thing, I just want one more thing,” but you can’t have that one more thing anymore. So it’s the beauty of when you are in that middle ground where you have a set of rules but you have also taken the risks of breaking couple of them. It is also interesting how at the beginning of the design process there is a lesser set of rules but students tend to be very conservative, and not wanting to take risks yet.

NC: In attempting to maintain control, do we limit ourselves?

AH: Design at its heart is a melding between material and craft and art and the physical realities of gravity and glue. If you get to a point where none of those things are exporting a majority of control over the process, that’s the sweet part to designing. But if any of these parts become out of balance and you spend too much time worrying about the material, the end product, or the design idea and it is not balanced by other pieces... that is where control becomes a problem. To really learn and get feedback from design, that means giving up some control.

NC: What is your opinion on clients or inhabitants having control over projects you design?

AH: The opposite of control is collaboration. Design works when it is a good collaboration. Everyone in the team respects one another ‘s abilities and the team communicates clearly, and there is trust that people will do what they need to do. My best projects that I have been a part of in school and professionally are when everyone would work together and trust each other, and giving up parts to trust each other. Collaboration involves giving over control.

The opposite of control is collaboration. Design works when it is a good collaboration. Collaboration involves giving over control.

spacework 5

74

TAKE

NC: Do we have control of the user? Should the user have more or less control of the design?

AH: Some of my favorite buildings are when the users have an active role in the engagement and creation of the space. Think about a theater. A theater is nothing without the people going to see a production. You need the space and you need the people. It is an active collaboration between the active users and designers even after the completion of design.

Andrew Hart Associate Professor, Architecture Interviewed by Nicole Camara

Victoria Oak D1 C_ABE 75

Jefferson | C_ABE

NC: How do you think we control ourselves as designers?

AH: I spend a lot of time teaching beginning years of design, and it always amazes me how much all designers at the very start of the process are so afraid of giving up control. They are so reticent to take risks or perhaps lose control. Which I find being very limiting. The other thing that I find interesting on the other side of the spectrum is when given the liberty to do just about anything, people are equally paralyzed. So there is this mediation between too much and not enough control that I always find really interesting, especially at the beginning and end of the design experience. When you start out, it is almost maddening how many possibilities there are. Then at the very end when you wish, “Oh I just want one more thing, I just want one more thing,” but you can’t have that one more thing anymore. So it’s the beauty of when you are in that middle ground where you have a set of rules but you have also taken the risks of breaking couple of them. It is also interesting how at the beginning of the design process there is a lesser set of rules but students tend to be very conservative, and not wanting to take risks yet.

NC: In attempting to maintain control, do we limit ourselves?

AH: Design at its heart is a melding between material and craft and art and the physical realities of gravity and glue. If you get to a point where none of those things are exporting a majority of control over the process, that’s the sweet part to designing. But if any of these parts become out of balance and you spend too much time worrying about the material, the end product, or the design idea and it is not balanced by other pieces... that is where control becomes a problem. To really learn and get feedback from design, that means giving up some control.

NC: What is your opinion on clients or inhabitants having control over projects you design?

AH: The opposite of control is collaboration. Design works when it is a good collaboration. Everyone in the team respects one another ‘s abilities and the team communicates clearly, and there is trust that people will do what they need to do. My best projects that I have been a part of in school and professionally are when everyone would work together and trust each other, and giving up parts to trust each other. Collaboration involves giving over control.

The opposite of control is collaboration. Design works when it is a good collaboration. Collaboration involves giving over control.

spacework 5

74

TAKE

NC: Do we have control of the user? Should the user have more or less control of the design?

AH: Some of my favorite buildings are when the users have an active role in the engagement and creation of the space. Think about a theater. A theater is nothing without the people going to see a production. You need the space and you need the people. It is an active collaboration between the active users and designers even after the completion of design.

Andrew Hart Associate Professor, Architecture Interviewed by Nicole Camara

Victoria Oak D1 C_ABE 75

Jefferson | C_ABE

AB

PROJECT REPORT

SYNERGY

JEFFERSON UNIVERSITY RACE TO ZERO 2018

PROJECT INTRODUCTION

THE HEART

[COURTYARD]

The pump house. The role to provide the body with oxygen and nutrients while also carrying away waste. Recieving blood, and pumping blood out.

THE LUNGS

[HVAC SYSTEMS]

The role of the lungs primarily is to bring air from the atomosphere and pass oxygen into the bloodstream; allowing the rest of the body to circulate the oxygen.

THE SPINE

Synergy is a project that incorporates dynamic design and innovative technologies, adapting to its surrounding environment to become a living, breathing machine.

Synergy’s goal is to create a living environment that effectively benefits the city and its occupants by generating a better quality of life while achieving a net zero energy outcome.

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THE EYES

[WINDOWS]

to convert light from the outside world into electrical nerve impulses.

THE KIDNEYS [WATER COLLECTION] The kidneys maintain our body’s water balance by controlling the water concentration of blood plasma.

THE SKIN

[BUILDING ENVELOPE]

The role of the skin is to protect, regulate and stimulate sensation. Its primary role is to act as a barrier.

THE BODY

TAKE

Through the development of Synergy we began to characterize the mechanical, electrical, and other systems as well as the design of the building envelope to things comparable to the human body. Each part of the building begins to take on a human quality that allows for the building to become this living, breathing machine.

Through understandings of vital organs such as the heart, lungs, eyes, kidneys, and skin we understand how to make a building become a successful living organism.

These decisions will allow its inhabitants to be happy, healthy organisms as well.

[MODULARITY]

The role of the spine serves as a pillar to support the body’s weight and to protect the spinal cord.

Synergy Small Multi-Use Apartments 2018 DOE Race to Zero

13

Julie Carbone | Tori Febrizio | Austin Dimare D9 - D10 B.Arch ‘18 76

77

Jefferson | C_ABE

AB

PROJECT REPORT

SYNERGY

JEFFERSON UNIVERSITY RACE TO ZERO 2018

PROJECT INTRODUCTION

THE HEART

[COURTYARD]

The pump house. The role to provide the body with oxygen and nutrients while also carrying away waste. Recieving blood, and pumping blood out.

THE LUNGS

[HVAC SYSTEMS]

The role of the lungs primarily is to bring air from the atomosphere and pass oxygen into the bloodstream; allowing the rest of the body to circulate the oxygen.

THE SPINE

Synergy is a project that incorporates dynamic design and innovative technologies, adapting to its surrounding environment to become a living, breathing machine.

Synergy’s goal is to create a living environment that effectively benefits the city and its occupants by generating a better quality of life while achieving a net zero energy outcome.

spacework 5

THE EYES

[WINDOWS]

to convert light from the outside world into electrical nerve impulses.

THE KIDNEYS [WATER COLLECTION] The kidneys maintain our body’s water balance by controlling the water concentration of blood plasma.

THE SKIN

[BUILDING ENVELOPE]

The role of the skin is to protect, regulate and stimulate sensation. Its primary role is to act as a barrier.

THE BODY

TAKE

Through the development of Synergy we began to characterize the mechanical, electrical, and other systems as well as the design of the building envelope to things comparable to the human body. Each part of the building begins to take on a human quality that allows for the building to become this living, breathing machine.

Through understandings of vital organs such as the heart, lungs, eyes, kidneys, and skin we understand how to make a building become a successful living organism.

These decisions will allow its inhabitants to be happy, healthy organisms as well.

[MODULARITY]

The role of the spine serves as a pillar to support the body’s weight and to protect the spinal cord.

Synergy Small Multi-Use Apartments 2018 DOE Race to Zero

13

Julie Carbone | Tori Febrizio | Austin Dimare D9 - D10 B.Arch ‘18 76

77

Jefferson | C_ABE

Sharswood Crossing Elementary School 2018 DOE Race to Zero Kevin King 5th Year Architecture Interviewed by Breanna Sheeler BS: You are extremely involved in the college. Could you share ways that you found to balance studio work with other commitments and your personal life?

KK: I find that it is very hard to balance as much that I do if you don’t care about all of it. And the reason that I keep getting involved in things, and the reason that I am a yes man, is because that I care so much about each one. The passion that drives all of the different aspects that I work in make me a more well-rounded person.

It was for the people and organizations initially, and it was initially selfless, but it has now become selfish. It is a goal to do what I can while I am here to influence the university for years after I graduate.

spacework 5

The design of Brewhub proposes that there may be a more innovative design approach to attached housing than the row-home. Attached housing in Philadelphia has historically been horizontal. The design of Brewhub challenges this notion in proposing a vertically stacked scheme. This innovative approach creates several architectural conditions that render Brewhub as a more efficient design when compared to a horizontal row-home.

Kevin King D10 | Ryan Allsop D10 | Alison Eberhardt D8 | Breanna Sheeler D8 B.Arch 78

Architectural designs tend to remove a user from the outside environment and create a new more comfortable setting.

Brewhub is able to celebrate a lower energy load by acknowledging a sense of place in an outside environment.

Arthur Loree D10 | Dan Bachelder D10 | Alex Ashgar D8 B.Arch 79

Jefferson | C_ABE

TAKE

BS: What lessons have you learned about the ability of having a good control over yourself and your life, and what advice do you have to pass on to others?

KK: Really what I’ve learned is, it’s easier to manage your time if you care. I am proud to say that I have never pulled an all-nighter, and that is because I balance my time doing what I care about. I care deeply about design, but I also care deeply about myself, my physical health, and my mental health. If you give yourself the time that you think a project deserves, but also give yourself the time that you deserve, your work will be richer and you will be a happier individual. It’s not easy, and I don’t claim that it is, but every now and then you need to say “I need to take some time for myself.

Brewhub Attached Housing 2018 DOE Race to Zero

Sharswood Crossing Elementary School 2018 DOE Race to Zero Kevin King 5th Year Architecture Interviewed by Breanna Sheeler BS: You are extremely involved in the college. Could you share ways that you found to balance studio work with other commitments and your personal life?

KK: I find that it is very hard to balance as much that I do if you don’t care about all of it. And the reason that I keep getting involved in things, and the reason that I am a yes man, is because that I care so much about each one. The passion that drives all of the different aspects that I work in make me a more well-rounded person.

It was for the people and organizations initially, and it was initially selfless, but it has now become selfish. It is a goal to do what I can while I am here to influence the university for years after I graduate.

spacework 5

The design of Brewhub proposes that there may be a more innovative design approach to attached housing than the row-home. Attached housing in Philadelphia has historically been horizontal. The design of Brewhub challenges this notion in proposing a vertically stacked scheme. This innovative approach creates several architectural conditions that render Brewhub as a more efficient design when compared to a horizontal row-home.

Kevin King D10 | Ryan Allsop D10 | Alison Eberhardt D8 | Breanna Sheeler D8 B.Arch 78

Architectural designs tend to remove a user from the outside environment and create a new more comfortable setting.

Brewhub is able to celebrate a lower energy load by acknowledging a sense of place in an outside environment.

Arthur Loree D10 | Dan Bachelder D10 | Alex Ashgar D8 B.Arch 79

Jefferson | C_ABE

TAKE

BS: What lessons have you learned about the ability of having a good control over yourself and your life, and what advice do you have to pass on to others?

KK: Really what I’ve learned is, it’s easier to manage your time if you care. I am proud to say that I have never pulled an all-nighter, and that is because I balance my time doing what I care about. I care deeply about design, but I also care deeply about myself, my physical health, and my mental health. If you give yourself the time that you think a project deserves, but also give yourself the time that you deserve, your work will be richer and you will be a happier individual. It’s not easy, and I don’t claim that it is, but every now and then you need to say “I need to take some time for myself.

Brewhub Attached Housing 2018 DOE Race to Zero

Hutten Moyer 3rd Year Architecture Interviewed by Breanna Sheeler BS: As a design student, you have a lot of work on your plate. How have you found a balance?

HM: It comes down to discipline. I always think about the repercussions if I don’t do something, or what might happen if I do it a certain way.

The bad part is that I compare myself to others - to other people and other projects, and it ends up holding me back because I am stressing about achieving that status. So when it comes to self control, I know that I need to question ‘how do I control my inner ambition?’ I know I need to not focus on what I have seen from others or what my end goal is. I think coming into architecture, I became a lot more careful. The characteristics of a person change when they enter such a niche field, and I definitely have changed.

BS: Do you think it is a bad thing that you’ve lost this carefree attitude?

HM: Not at all, but I think there are times when you have to learn to be careless, and times you need to be carefree. It’s that good balance of both that led me to become who I am today.

spacework 5

TAKE

BS: Are there tricks that you’ve found to help you in maintaining that balance?

HM: Everyone loves sleep, but I’ve actually found that when I maintain five hours a night I do my best work. If I sleep anymore than that I’m groggy and struggle throughout the day. So I have had to train myself that, even if I don’t have a particular reason to get up, I try to avoid hitting the snooze button. Getting up and doing something productive even if it’s just cleaning my room - feels better than wasting time in bed on social media.

Hutten Moyer D6 B.Arch ‘19 80

81

Jefferson | C_ABE

Hutten Moyer 3rd Year Architecture Interviewed by Breanna Sheeler BS: As a design student, you have a lot of work on your plate. How have you found a balance?

HM: It comes down to discipline. I always think about the repercussions if I don’t do something, or what might happen if I do it a certain way.

The bad part is that I compare myself to others - to other people and other projects, and it ends up holding me back because I am stressing about achieving that status. So when it comes to self control, I know that I need to question ‘how do I control my inner ambition?’ I know I need to not focus on what I have seen from others or what my end goal is. I think coming into architecture, I became a lot more careful. The characteristics of a person change when they enter such a niche field, and I definitely have changed.

BS: Do you think it is a bad thing that you’ve lost this carefree attitude?

HM: Not at all, but I think there are times when you have to learn to be careless, and times you need to be carefree. It’s that good balance of both that led me to become who I am today.

spacework 5

TAKE

BS: Are there tricks that you’ve found to help you in maintaining that balance?

HM: Everyone loves sleep, but I’ve actually found that when I maintain five hours a night I do my best work. If I sleep anymore than that I’m groggy and struggle throughout the day. So I have had to train myself that, even if I don’t have a particular reason to get up, I try to avoid hitting the snooze button. Getting up and doing something productive even if it’s just cleaning my room - feels better than wasting time in bed on social media.

Hutten Moyer D6 B.Arch ‘19 80

81

Jefferson | C_ABE

CUBE Second Place AGI Glass Competition 2018

spacework 5

Hutten Moyer D6 B.Arch ‘20

Lightwave blends geometry and light together to create unique study spaces that mimic the wavelengths found in natural daylight evenly diffused across the surface of a laminated glass parabola.

The result is bright ambient light that enhances the worksurfaces of the pod, enabling students to focus without distraction. LED’s shine up from the base of the track frame, bouncing light at equal segments. The pods come equipped with 8 portable chairs and 4 glass-topped wireless-charging tables, also on wheels, removing the need for dangling cords and electrical outlets while still offering power and flexible space in the center.

Derek Sibinga D6 B.Arch ‘20 82

83

Jefferson | C_ABE

TAKE

“Starting into the competition, I had what I thought was a good idea, but my professor gave some suggestions that helped me realize that I was trying to achieve a very minimal design.

He said that I kept on talking about minimalism but I was not showing it. So as I continued the project I really tried to make sure that the visualization was clear and demonstrating the simplicity of the design.

Working through the design process, I came down to the glass box, and I know that my work may have been criticized by other students because it was so simple, but that is what I was aiming for. I did not expect to win at all, but I was just so surprised and honored to place with such great other designers.”

Lightwave AGI Glass Competition 2018

CUBE Second Place AGI Glass Competition 2018

spacework 5

Hutten Moyer D6 B.Arch ‘20

Lightwave blends geometry and light together to create unique study spaces that mimic the wavelengths found in natural daylight evenly diffused across the surface of a laminated glass parabola.

The result is bright ambient light that enhances the worksurfaces of the pod, enabling students to focus without distraction. LED’s shine up from the base of the track frame, bouncing light at equal segments. The pods come equipped with 8 portable chairs and 4 glass-topped wireless-charging tables, also on wheels, removing the need for dangling cords and electrical outlets while still offering power and flexible space in the center.

Derek Sibinga D6 B.Arch ‘20 82

83

Jefferson | C_ABE

TAKE

“Starting into the competition, I had what I thought was a good idea, but my professor gave some suggestions that helped me realize that I was trying to achieve a very minimal design.

He said that I kept on talking about minimalism but I was not showing it. So as I continued the project I really tried to make sure that the visualization was clear and demonstrating the simplicity of the design.

Working through the design process, I came down to the glass box, and I know that my work may have been criticized by other students because it was so simple, but that is what I was aiming for. I did not expect to win at all, but I was just so surprised and honored to place with such great other designers.”

Lightwave AGI Glass Competition 2018

The Foundry Situated in the Station North Arts & Entertainment District of Baltimore, the project exists at the location of the former bell foundry, a dated industrial building turned cooperative multi-use artist space and makeshift group housing. This type of informal space-making is inherent to the neighborhood. Station North itself is a vibrant and diverse community with a variety of art collectives and creative spaces inhabiting the often dilapidated industrial complexes of north Baltimore.

The Foundry is a new mixed-use community building that provides refugee and integration services, 18 housing units, a fresh food grocer, and a business incubator. The scheme incorporates a level of structured flexibility, incorporating multi-use spaces in support of both building residents and the surrounding community as well as variation in housing units.

Sam Horochoswski | Ben Manarski D8 B.Arch ‘19 spacework 5

84

85

Jefferson | C_ABE

TAKE

Drawing on this heritage and the nature of the surrounding arts community, the goal for the project Is to embrace an informal spatial condition and introduce a level of transparency to the program.

This inversion of the arts warehouse provides plenty of new opportunities for incoming refugees in an environment that fosters collaboration, acceptance, and creativity.

The Foundry Situated in the Station North Arts & Entertainment District of Baltimore, the project exists at the location of the former bell foundry, a dated industrial building turned cooperative multi-use artist space and makeshift group housing. This type of informal space-making is inherent to the neighborhood. Station North itself is a vibrant and diverse community with a variety of art collectives and creative spaces inhabiting the often dilapidated industrial complexes of north Baltimore.

The Foundry is a new mixed-use community building that provides refugee and integration services, 18 housing units, a fresh food grocer, and a business incubator. The scheme incorporates a level of structured flexibility, incorporating multi-use spaces in support of both building residents and the surrounding community as well as variation in housing units.

Sam Horochoswski | Ben Manarski D8 B.Arch ‘19 spacework 5

84

85

Jefferson | C_ABE

TAKE

Drawing on this heritage and the nature of the surrounding arts community, the goal for the project Is to embrace an informal spatial condition and introduce a level of transparency to the program.

This inversion of the arts warehouse provides plenty of new opportunities for incoming refugees in an environment that fosters collaboration, acceptance, and creativity.

+0

sequence sequence

residence

community spaces existing

sequence

residential

levels

Through integrating social circulation and a play of sight lines, we are creating residence neighborhoods within the building that collectively existing become a landmark and street view street view catalyst for change to the city of south salt lake. communityspaces spaces community

street view

+42 +42 +30 +30 +18 +18 +44 +44

+42 +30 +18 +44

sequence

sequence sequence program

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Jessica Schell | Danielle Falcone D8 B.Arch ‘19

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street view

E

MA

existing existing Through integrating integrating social Through social circulation and play of of circulation and aa play residentail organization sight lines, lines, we we are are creating creating sight neighborhoods within within the the neighborhoods building that that collectively collectively building residence become aa landmark landmark and and become catalystfor forchange changeto tothe thecity city catalyst existing residential ofsouth south saltlake. lake. of salt +30 +20 +11.5 +10 +0

program

F CA E GALLERY KET R

TUR

residence residence

RESRESID IDENENT TIALIAL

socialcirculation circulation social

Through integrating integrating social social Through circulation and and aa play play of of circulation sight lines, lines, we we are are creating creating sight neighborhoods within within the the neighborhoods building that that collectively collectively building become aa landmark landmark and and become residentail organization catalystfor for change tothe thecity city catalyst change to Through integrating ofsouth south saltlake. lake.social of salt circulation and a play of sight lines, we are creating socialcirculation circulation social neighborhoods within the building that collectively become a landmark and catalyst for change to the city of south salt lake.

LELCECprogram FFEE TUTURR ELREYRY CCAA EEGAGLALL KREKTET ARA MM

residential residential levels levels

+42 +30 +18 +44

social circulation residential

TT AARR

IDEN

+30 +30 +20 +20 +11.5 +11.5 +10 +10 +0+0

levels

+30 +20 +11.5 +10 +0

community spaces

levels levels

existing existing

social circulation

87

+42 +42 +30 +30 +18 +18 +44 +44

(left and opposite) Cascade +30 +30 +20 +20

+11.5 integrating social levels +11.5 Through +10 +10 +0+0 circulation and a play of sight lines, neighborhoods are created within the building that collectively become a organization residentail organization residentail landmark and catalyst for residential residential change to the City of South +42 Salt Lake. +30 +18 +44

(opposite top) +30 +20 Diaspora +11.5 +10 +0

The building aims to welcome and engage refugees into their new environment by integrating the Minneapolis skyway system into the residential circulation. Creating an elevated street level within the building provides not only connections and accessibility throughout the cold winter months, but alsoorganization residentail organization residentail allows the opportunity for serendipitous encounters with the existing community. By integrating the skyway into the building, as well as shifting in scale, this building aims to bridge the gap between the Warehouse and Building Districts in Minneapolis, while simultaneously linking the refuges to the Minneapolis residentail organization natives.

Jefferson | C_ABE

TAKE

street view

+0

sequence sequence

residence

community spaces existing

sequence

residential

levels

Through integrating social circulation and a play of sight lines, we are creating residence neighborhoods within the building that collectively existing become a landmark and street view street view catalyst for change to the city of south salt lake. communityspaces spaces community

street view

+42 +42 +30 +30 +18 +18 +44 +44

+42 +30 +18 +44

sequence

sequence sequence program

Through integrating social circulation and a play of OUN are creating sight lines, Lwe GE L IA CLA T neighborhoods within the N SS E RES SID IDEN E R TIAL building that collectively Bcommunity spaces USINE S become a S landmark and T L FE ECT AR A catalyst for change URE LLERY T Cto the city GA ARKE M of south salt lake.

program

social circulation

LOU

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IALC ENT LAS

ID RES T AR

S

RES

BUSIN

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sequence

Through integrating social circulation and a play of program program sight lines, wespaces are creating communityspaces community neighborhoods within the organization buildingresidentail that collectively LLOOUU NGGE become a Nlandmark and E AILACLLCALA I T T N catalyst ISfor to the city SSSS DIEDNE change RESRESI IDENDEN RERSE TIATLIAL of south salt lake.

BUBUS

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F CA

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TT R AAR 86

LELCEC FFEE TUTURR ELREYRY CCAA E EAGLspaces ALL KREKTET community socialGcirculation

program program

IALC ENT LAS

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Jessica Schell | Danielle Falcone D8 B.Arch ‘19

SINEINSESS S

R MAMA

LOU

RES

spacework 5

street view

E

MA

existing existing Through integrating integrating social Through social circulation and play of of circulation and aa play residentail organization sight lines, lines, we we are are creating creating sight neighborhoods within within the the neighborhoods building that that collectively collectively building residence become aa landmark landmark and and become catalystfor forchange changeto tothe thecity city catalyst existing residential ofsouth south saltlake. lake. of salt +30 +20 +11.5 +10 +0

program

F CA E GALLERY KET R

TUR

residence residence

RESRESID IDENENT TIALIAL

socialcirculation circulation social

Through integrating integrating social social Through circulation and and aa play play of of circulation sight lines, lines, we we are are creating creating sight neighborhoods within within the the neighborhoods building that that collectively collectively building become aa landmark landmark and and become residentail organization catalystfor for change tothe thecity city catalyst change to Through integrating ofsouth south saltlake. lake.social of salt circulation and a play of sight lines, we are creating socialcirculation circulation social neighborhoods within the building that collectively become a landmark and catalyst for change to the city of south salt lake.

LELCECprogram FFEE TUTURR ELREYRY CCAA EEGAGLALL KREKTET ARA MM

residential residential levels levels

+42 +30 +18 +44

social circulation residential

TT AARR

IDEN

+30 +30 +20 +20 +11.5 +11.5 +10 +10 +0+0

levels

+30 +20 +11.5 +10 +0

community spaces

levels levels

existing existing

social circulation

87

+42 +42 +30 +30 +18 +18 +44 +44

(left and opposite) Cascade +30 +30 +20 +20

+11.5 integrating social levels +11.5 Through +10 +10 +0+0 circulation and a play of sight lines, neighborhoods are created within the building that collectively become a organization residentail organization residentail landmark and catalyst for residential residential change to the City of South +42 Salt Lake. +30 +18 +44

(opposite top) +30 +20 Diaspora +11.5 +10 +0

The building aims to welcome and engage refugees into their new environment by integrating the Minneapolis skyway system into the residential circulation. Creating an elevated street level within the building provides not only connections and accessibility throughout the cold winter months, but alsoorganization residentail organization residentail allows the opportunity for serendipitous encounters with the existing community. By integrating the skyway into the building, as well as shifting in scale, this building aims to bridge the gap between the Warehouse and Building Districts in Minneapolis, while simultaneously linking the refuges to the Minneapolis residentail organization natives.

Jefferson | C_ABE

TAKE

street view

Jeff Sroka D10 B.Arch ‘18

Sanjeev Rao | Christopher Murnin D10 B.Arch ‘18

Matthew Zepp | Katherine Meier D10 B.Arch ‘18

Sanjeev Rao | Christopher Murnin D10 B.Arch ‘18

Sanjeev Rao | Christopher Murnin spacework 5

Mathew Lombardo D10 B.Arch ‘18 88

The Design 10 architectural studio involves explorations into kinetic architecture and arduino actuation. Students integrated responsive systems into surfaces and structures.

Actuation included responding to daylighting, humidity, wind, air pressure, and human contact and occupancy. The experimental surfaces are projected to be on display at the 2018 Philadelphia Science Festival.

Chris Hreniuk D10 B.Arch ‘18 89

Jefferson | C_ABE

TAKE

Design 10 Digital Design Methods

Jeff Sroka D10 B.Arch ‘18

Sanjeev Rao | Christopher Murnin D10 B.Arch ‘18

Matthew Zepp | Katherine Meier D10 B.Arch ‘18

Sanjeev Rao | Christopher Murnin D10 B.Arch ‘18

Sanjeev Rao | Christopher Murnin spacework 5

Mathew Lombardo D10 B.Arch ‘18 88

The Design 10 architectural studio involves explorations into kinetic architecture and arduino actuation. Students integrated responsive systems into surfaces and structures.

Actuation included responding to daylighting, humidity, wind, air pressure, and human contact and occupancy. The experimental surfaces are projected to be on display at the 2018 Philadelphia Science Festival.

Chris Hreniuk D10 B.Arch ‘18 89

Jefferson | C_ABE

TAKE

Design 10 Digital Design Methods

mora2137@mail.philau.edu desCONTROL

mora2137@mail.philau.edu CONTROL

SPACEWORK Design Competition 2018 Control is a multi-faceted word. One can both have control and lose control; be in control or under control.

The built environment has been used as a vessel to reflect and promote the wealth, power, and intellectual achievements of societies as well as attempt to control them. Architectures of control, like architecture itself, are inescapable. Through control we understand and navigate our surroundings.

In what ways is it possible to re imagine, reinterpret or re-purpose architectures of control?

hayes1737@mail.philau.edu

1st place: Jorge Mora Architecture

2nd place Kelly Hayes Architecture ‘18

“There is a great and crying evil in modern society. It is want of purpose. It is that narrowness of vision which shuts out the wider vistas of the soul. It is the absence of those sublime emotions which, wherever they arise, do not fall to exalt and consecrate existence” -Felix Adler

2nd

On March 24th I went to March for Our Lives. As I stood with nurses, secretaries, chefs, plumbers, other high school students, I wondered if any concept I put forth in this competition would make a difference in the world we live in right now. As architects, we like to believe that everything is about the future. We tell ourselves that our buildings and their sustainability will make the world a better place years into the future when it is built. How can we say we want to build a better world when we don’t even want to acknowledge now what is happening in it? It is our duty as young architects to remain aware and vigilant of the issues at hand now.

In a simple tic-tac-toe, control always wins. Control needs strategy. It needs ambition. It needs a grid. Control tells you what you need, so it can give it to you. Control tells you where to go, so it will get there before you. Control surrounds you, but control makes you look somewhere else, so you don’t feel imprisoned. Control defines freedom, it defines happiness.

3rd spacework 5

Are you happy? Are you free?

90

91

3rd place: Drake Schaefer Architecture ‘20 Too often people want suburban living with city convenience and country space. Urban sprawl and gentrification represent the negative power that architecture has, and it is our responsibility as profession­als to take control of our demons to better the world for everyone. The idea was to highlight these issues with a propaganda styling, using simple, common imagery to sell the unsettling normality these issues have.

Jefferson | C_ABE

TAKE

1st

mora2137@mail.philau.edu desCONTROL

mora2137@mail.philau.edu CONTROL

SPACEWORK Design Competition 2018 Control is a multi-faceted word. One can both have control and lose control; be in control or under control.

The built environment has been used as a vessel to reflect and promote the wealth, power, and intellectual achievements of societies as well as attempt to control them. Architectures of control, like architecture itself, are inescapable. Through control we understand and navigate our surroundings.

In what ways is it possible to re imagine, reinterpret or re-purpose architectures of control?

hayes1737@mail.philau.edu

1st place: Jorge Mora Architecture

2nd place Kelly Hayes Architecture ‘18

“There is a great and crying evil in modern society. It is want of purpose. It is that narrowness of vision which shuts out the wider vistas of the soul. It is the absence of those sublime emotions which, wherever they arise, do not fall to exalt and consecrate existence” -Felix Adler

2nd

On March 24th I went to March for Our Lives. As I stood with nurses, secretaries, chefs, plumbers, other high school students, I wondered if any concept I put forth in this competition would make a difference in the world we live in right now. As architects, we like to believe that everything is about the future. We tell ourselves that our buildings and their sustainability will make the world a better place years into the future when it is built. How can we say we want to build a better world when we don’t even want to acknowledge now what is happening in it? It is our duty as young architects to remain aware and vigilant of the issues at hand now.

In a simple tic-tac-toe, control always wins. Control needs strategy. It needs ambition. It needs a grid. Control tells you what you need, so it can give it to you. Control tells you where to go, so it will get there before you. Control surrounds you, but control makes you look somewhere else, so you don’t feel imprisoned. Control defines freedom, it defines happiness.

3rd spacework 5

Are you happy? Are you free?

90

91

3rd place: Drake Schaefer Architecture ‘20 Too often people want suburban living with city convenience and country space. Urban sprawl and gentrification represent the negative power that architecture has, and it is our responsibility as profession­als to take control of our demons to better the world for everyone. The idea was to highlight these issues with a propaganda styling, using simple, common imagery to sell the unsettling normality these issues have.

Jefferson | C_ABE

TAKE

1st

BS: Our theme this year is about control, both as conceptual term and how it applies to the various realms that SPACEWORK influences. So the students experience here, especially in the studio, how our faculty feel about their roles in the profession, the students perception of those different fields of architecture and interior design and landscape, and in general, how a person has control over themselves in their life versus having all these exterior factors that can play into your personal and professional fields. So to start, what is your perception of control is, and how you have experienced that throughout your personal life?

BK: I think there are a lot of factors where you have to really consider how much you are in control of your own life. How much are you in control of your own decisions or the decisions that are being made by your parents or by peers or how you are influenced, and how much of that is really where you are in control of your decisions moving forward in your life. I think the one of the big things to consider is really once you are studying any of the design disciplines, is seeing in what way are you in control of your own decision making in how you move through a program, and taking action very early on. You should look at opportunities in the program that will give you a higher value education. Here at Jefferson, for example, we have opportunities for students to choose courses from our graduate programs that will allow you to go into accelerated dual degree programs where our students can get a professional degree at the undergraduate level and pair that with a professional degree or a specialization degree at the graduate level and get advanced standing. We have created this, but what we need are the students to have a plan for their own academic education. We guide them, but the student has to be the one that initiates it.

Before we are designers, we are people with our own identities, our own needs, and our first responsibility is to ourselves.

Dean Barbra Klinkhammer Dean of C_ABE Interviewed by Breanna Sheeler

spacework 5

92

DK: So a work-life balance is one of the most important things that we should talk about. You cannot have a fulfilled life if you’re controlled by pressures from outside. You have to learn to turn that so you are in control and you’re the one who is determining the work-life balance according to what your needs are. I would say it’s even difficult for somebody who’s my age and with my experience to sometimes really find that balance. I really had to learn the hard way that I had to say no, and I had to make room in my life to have time for my family and for myself. It is so important to make that room that allows you to have a different perspective on life. We need to have that time to recover and to reflect. I think this is what is missing in the academic education and in the profession. There’s very little time in between all the tasks to really reflect on the work that you do. You can only be a good designer if you have time to reflect. You need to have that time where your spirit can wander.

BS: Because so much of our career is focused on what we produce, and not so much on the individual that produces it, we lose track of that personal identity and taking care of ourselves. Many people have brought up concerns regarding mental health, stress and taking care of the self, the body, and the mind so that we’re able to create of which we are proud.

BK: I’m very concerned about that. I have talked with our dean of students, and we are looking into this here in our college. I hope that we don’t have such high numbers of students with issues regarding mental health, but I am concerned. We have very demanding programs with a lot of pressure. We want to make sure that students here learn time management and we want them to be able to take care of their own well-being of the mind and the body. I think if you don’t learn it now, you won’t have the skills later when your professional life where the pressures even get higher.

BS: That is a very important note, that there’s preparation that needs to be done in making sure you have the skills or the knowledge going into making a key decision like that. And then there is the retroactive control, that you can take when you realize you are in a situation like that, and what can you do to make sure you’re maintaining the track that you set for yourself. Several people that we’ve interviewed discussed how you can never know for sure what the future holds and what obstacles may come into your path. But knowing your end goal and knowing that you have the skills that will help get you there eventually is extremely important.

BK: It’s stunning that college, which is such an important time, it’s the foundation for your life in many ways. This is really where you take matters into your own hands. I think it’s very true what you’re saying. First of all, you do it at your own pace, and nobody can dictate at what time you do these things. I do think that you should set your own timeline and you should do things at the time when they actually meet your needs going forward. And I do think that when you study here at Jefferson there’s so many opportunities for students to discover who they are as a professional, and to add co-curricular experiences, or to find opportunities where they can step into leadership positions. There are incredible opportunities here that really allow you to become a very layered person, if I may say so.

BS: A lot of times I think those pressures become internalized, where we initially perceive these expectations from other people or from what we perceive as the ideal architect and designer. And then we internalize them to the point that we’re unable to view any other way of how we should go about living our lives as students or pursuing our professions. But I wonder, when we do have those actual external factors like a dynamic with the professor or with the team which we may be having issues collaborating with - how do you maintain your personal drive and the confidence that you are doing the work that you believe?

BK: That’s a really interesting question. I think you have to get a very good sense for yourself. The responsibility of you as a young design professional is to really make sure that you can bring that passion and dedication, but at the same time that you take care of yourself in a way that you can be productive. That means that you have to take breaks. That means that you have to actually change perspective, that you have to get away from your workplace to do things like meeting friends, meeting colleagues, or taking time for yourself. And you have to recognize this as an important part of your productivity.

Before we are designers we are people with our own identities, our own needs, and our first responsibility is to ourselves.

BS: So much makes up a person’s identity more so than their education or their experience. We have all these extra passions that we have to find a way to make them work together. The big thing we talk about is work-life balance, especially with how intense design studio can be with time management.

What is your perception on what you have seen from the students. Once you get into the professional field, how are you able to manage being a successful professional, while being happy and fulfilled with your life?

93

Jefferson | C_ABE

BS: Our theme this year is about control, both as conceptual term and how it applies to the various realms that SPACEWORK influences. So the students experience here, especially in the studio, how our faculty feel about their roles in the profession, the students perception of those different fields of architecture and interior design and landscape, and in general, how a person has control over themselves in their life versus having all these exterior factors that can play into your personal and professional fields. So to start, what is your perception of control is, and how you have experienced that throughout your personal life?

BK: I think there are a lot of factors where you have to really consider how much you are in control of your own life. How much are you in control of your own decisions or the decisions that are being made by your parents or by peers or how you are influenced, and how much of that is really where you are in control of your decisions moving forward in your life. I think the one of the big things to consider is really once you are studying any of the design disciplines, is seeing in what way are you in control of your own decision making in how you move through a program, and taking action very early on. You should look at opportunities in the program that will give you a higher value education. Here at Jefferson, for example, we have opportunities for students to choose courses from our graduate programs that will allow you to go into accelerated dual degree programs where our students can get a professional degree at the undergraduate level and pair that with a professional degree or a specialization degree at the graduate level and get advanced standing. We have created this, but what we need are the students to have a plan for their own academic education. We guide them, but the student has to be the one that initiates it.

Before we are designers, we are people with our own identities, our own needs, and our first responsibility is to ourselves.

Dean Barbra Klinkhammer Dean of C_ABE Interviewed by Breanna Sheeler

spacework 5

92

DK: So a work-life balance is one of the most important things that we should talk about. You cannot have a fulfilled life if you’re controlled by pressures from outside. You have to learn to turn that so you are in control and you’re the one who is determining the work-life balance according to what your needs are. I would say it’s even difficult for somebody who’s my age and with my experience to sometimes really find that balance. I really had to learn the hard way that I had to say no, and I had to make room in my life to have time for my family and for myself. It is so important to make that room that allows you to have a different perspective on life. We need to have that time to recover and to reflect. I think this is what is missing in the academic education and in the profession. There’s very little time in between all the tasks to really reflect on the work that you do. You can only be a good designer if you have time to reflect. You need to have that time where your spirit can wander.

BS: Because so much of our career is focused on what we produce, and not so much on the individual that produces it, we lose track of that personal identity and taking care of ourselves. Many people have brought up concerns regarding mental health, stress and taking care of the self, the body, and the mind so that we’re able to create of which we are proud.

BK: I’m very concerned about that. I have talked with our dean of students, and we are looking into this here in our college. I hope that we don’t have such high numbers of students with issues regarding mental health, but I am concerned. We have very demanding programs with a lot of pressure. We want to make sure that students here learn time management and we want them to be able to take care of their own well-being of the mind and the body. I think if you don’t learn it now, you won’t have the skills later when your professional life where the pressures even get higher.

BS: That is a very important note, that there’s preparation that needs to be done in making sure you have the skills or the knowledge going into making a key decision like that. And then there is the retroactive control, that you can take when you realize you are in a situation like that, and what can you do to make sure you’re maintaining the track that you set for yourself. Several people that we’ve interviewed discussed how you can never know for sure what the future holds and what obstacles may come into your path. But knowing your end goal and knowing that you have the skills that will help get you there eventually is extremely important.

BK: It’s stunning that college, which is such an important time, it’s the foundation for your life in many ways. This is really where you take matters into your own hands. I think it’s very true what you’re saying. First of all, you do it at your own pace, and nobody can dictate at what time you do these things. I do think that you should set your own timeline and you should do things at the time when they actually meet your needs going forward. And I do think that when you study here at Jefferson there’s so many opportunities for students to discover who they are as a professional, and to add co-curricular experiences, or to find opportunities where they can step into leadership positions. There are incredible opportunities here that really allow you to become a very layered person, if I may say so.

BS: A lot of times I think those pressures become internalized, where we initially perceive these expectations from other people or from what we perceive as the ideal architect and designer. And then we internalize them to the point that we’re unable to view any other way of how we should go about living our lives as students or pursuing our professions. But I wonder, when we do have those actual external factors like a dynamic with the professor or with the team which we may be having issues collaborating with - how do you maintain your personal drive and the confidence that you are doing the work that you believe?

BK: That’s a really interesting question. I think you have to get a very good sense for yourself. The responsibility of you as a young design professional is to really make sure that you can bring that passion and dedication, but at the same time that you take care of yourself in a way that you can be productive. That means that you have to take breaks. That means that you have to actually change perspective, that you have to get away from your workplace to do things like meeting friends, meeting colleagues, or taking time for yourself. And you have to recognize this as an important part of your productivity.

Before we are designers we are people with our own identities, our own needs, and our first responsibility is to ourselves.

BS: So much makes up a person’s identity more so than their education or their experience. We have all these extra passions that we have to find a way to make them work together. The big thing we talk about is work-life balance, especially with how intense design studio can be with time management.

What is your perception on what you have seen from the students. Once you get into the professional field, how are you able to manage being a successful professional, while being happy and fulfilled with your life?

93

Jefferson | C_ABE

Dylan Beckwith

Donald Dunham

SPACEWORK EDITORIAL TEAM

FACULTY EDITOR

Breanna Sheeler

PUBLICATION EDITORS

Amanda Wecko

Matthew Zepp

CONSULTING EDITOR

Aaron Young

Nicole Camara

Kelsey Donato

Clay Helfrick

DESIGN EDITORS

Tori Febrizio

Katie Meier

Chris Hreniuk

Adelaide McInnis

TECHNICAL EDITORS

Austin Dimare

spacework 5

94

Arthur Loree

95

Jefferson | C_ABE

Dylan Beckwith

Donald Dunham

SPACEWORK EDITORIAL TEAM

FACULTY EDITOR

Breanna Sheeler

PUBLICATION EDITORS

Amanda Wecko

Matthew Zepp

CONSULTING EDITOR

Aaron Young

Nicole Camara

Kelsey Donato

Clay Helfrick

DESIGN EDITORS

Tori Febrizio

Katie Meier

Chris Hreniuk

Adelaide McInnis

TECHNICAL EDITORS

Austin Dimare

spacework 5

94

Arthur Loree

95

Jefferson | C_ABE