SPACEWORK 01

SPACEWORK ISSUE NUMBER 1 Philadelphia University College of Architecture and the Built Environment

SPACEWORK

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Contents

03 04 06

Introduction Dedication to Amber Long Spacework: ACT 1

08–27

28–43

RESPOND

TRANSLATE

10

30

14 20 24 26

Conversation: Chris Harnish Projects John Stewardson Memorial competition Projects ACT 2

32 34 38 40 42

Conversation: Michael Spain Projects Conversation: Ivano D’Angella and David Kratzer Sketches Abroad First and Fifth ACT 3

44–63

64–83

84–103

MEDIATE

SCALE

DEVIATE

46 48

66 70

86

52 54 58 62

Projects Interview: Professors Baumbach, Philips, Tucci Looking up ASCA Steel Competition Projects ACT 4

74 82

Projects Conversation with James Doerfler Projects ACT 5

90 91 92 96 98 100

Conversation: Troy Hannigan FBD Role with it Projects Comcast Competition Single Bullet Spacework: Make it Interesting

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Introduction I am pleased to announce the inaugural edition of Philadelphia University’s College of Architecture and the Built Environment (CABE) student work journal: SPACEWORK. It represents the outstanding work of our talented and dedicated students and would not have been possible without their perseverance and passion. SPACEWORK will be published annually as a representation of selected student work across all programs edited through the lens of our students. As such, SPACEWORK is not only a collection and representation of student design work, but also an educational tool teaching students the value of critical reflection.

Since my arrival as new Executive Dean of the College of Architecture and the Built Environment in August 2012, the college has made great strides towards national and international recognition as an educational leader in sustainable integrated design and practice. Like no other college in the United States, CABE offers a unique combination of majors providing an unparalleled opportunity for interdisciplinary collaboration and innovation across disciplines and college boundaries. In a very powerful way, our students not only learn to be successful in their own disciplines, but also to communicate and collaborate in teams with students from other fields. At the heart of our education lies PhilaU’s Nexus Learning approach, an active, collaborative, real-world experience infused with the liberal arts, preparing our graduates to become successful leaders in the global marketplace. The integrated practice model and the curricular focus on sustainable design are reflected in the student work and offer evidence of the programs’ excellence and relevance.

As the student work in this publication reveals, the academic year 2013-14 proved to be very successful for CABE programs. Among the many awards that our students took home, the following are highlights of the year: a team of students from the architecture and interior design programs won first prize in the 2013 ACSA Steel Student Design Competition; Philadelphia University’s architecture program won the 2014 Pennsylvania-wide John Stewardson Memorial Fellowship; students from the Interior Design Program won first, second, and third prizes in the tri-state International Interior Design Association (IIDA) competition; and the Interior Design Program was ranked nationally a top ten program by DesignIntelligence.

In an effort to expand the educational model for sustainable integrated practice and design, this year the college added GeoDesign to its graduate degree offerings as well as a new Master of Science in Architecture. With a new graduate core across all graduate programs focusing on sustainable design and integrated practice, the college continues to be committed to educating the next generation of leaders for a sustainable future.

I would like to thank our dedicated students and faculty involved in this ambitious project, Professor Donald Dunham and Orly Zeewy, as well as Amanda Gibney Weko, who guided our students and edited the journal. I am very grateful for the financial support provided by the CABE Advancement Council, making this publication possible.

This journal celebrates the excellent work of our students and faculty. I am proud of their achievements and I invite you to read and enjoy the collection of student work!

Barbara Klinkhammer Executive Dean

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Dedication to Amber Long “Amber was a talented architect, working in a field she loved in the city she had come to love.” I wrote that sentence in a letter to the Philadelphia University community the day after we lost Amber Long.

We’ve had several months to absorb losing her. The intensity of the emotion has not faded but the direction has been altered and, I think, become positive.

She loved connecting beautiful design with practical needs. She told me many times, “I like designing beautiful buildings that people want to use.”

She also was a talented artist. I commissioned Amber to paint “The Reichlin House,” an iconic building on our campus. This lovely painting hangs in the dining room of the President’s House, where my wife, Carol, and I live. It is a poignant reminder that the beauty of Amber is enduring if we choose to make it so. Philadelphia University’s College of Architecture and the Built Environment is celebrating Amber in this publication and will continue the process of creating beauty through the young, talented and ambitious Amber Long. It is not only a tribute to Amber but also our University’s desire to celebrate that which is good and beautiful. Our community is uplifted and inspired by our friend and alumnae.

Thank you, Amber.

Steven Spinelli President, Philadelphia University

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SPACEWORK: Act 1 The impulse to create a student publication began as a means to extend the critical reflection found in end-of-year reviews. This vital component of education is a place where student effort confronts professional experience and presentations serve as concentrators for conversation. It marks the point of departure from studio, before students leave in pursuit of careers or summer vacations.

The constantly refreshing student population requires a medium through which the college can retain the knowledge of each year.

We identified a publication as providing the necessary fixity for this task, pinning down fleeting ideas into which future classes may dig.

1

The strength of the college lies in its proximity to other design programs. Leveraging this strength to fortify connections between students became our mission. CABE is liberated from a dominant pedagogy, which allows for a healthy mix of competing strategies for understanding the built environment. Still, we sought to establish a base for reviewing student projects to build productive discourse.

Our initial explorations focused on finding ways to expose the enormous body of work produced during an academic year. We began to collect and catalogue all of the student projects within the college. This was problematic due to the lack of an existing infrastructure through which we could navigate. Furthermore, the paradox of curating an academic year while still immersed within it imploded the linear steps of collection, curation, and generation into the necessarily non-linear process we adopted. The solution

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became a flexible framework that allowed editors to assess student projects as they developed.

Five lenses were clarified as a means of building relations between typically disassociated works, and conveniently codified an editorial instinct for combining thematically linked projects. The publication is necessarily curatorial and cannot be a yearbook.

For the debut issue, we chose terms that form a loose framework for the process of design. They are not prescriptive, and are meant to provoke discussion and revision. Many of our pieces are overlaid with conversations documented with select professionals.

This reduced the amount of content editors needed to impose on the publication and enabled them to take journalistic stances. We imagine these lenses will be refreshed annually to address changing attitudes of the college.

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RESPOND A designer’s central role is to incorporate a site’s specific context into the design. Physical attributes, such as the surrounding environment and climate, as well as social and cultural contexts inform design decisions.

The designs that best illustrate a holistic response are the projects that relate every part of the design – building envelope, interior, landscape, program, and functionality – to the site’s unique context. By understanding and empathizing with the culture of a particular place, designers can create highly innovative, profound, and provocative designs.

Designers can weave their responses to social and cultural issues into the building program and the overall architectural design. At Philadelphia University, students are asked to research a project site in great detail, utilizing a multitude of informational resources including precedent studies, and most importantly, site visits. Inclusive research allows for a deeper understanding of for whom and what they will be designing. Site visits are crucial as they allow the designer and the potential users of the project to interact and exchange ideas and opinions that could otherwise not occur.

In some cases, such as with geographically distant sites, it is not always possible to visit. Nevertheless, a project’s design can still be successful through vigorous comprehensive research that employs both conventional and cutting-edge methodologies. Today, a designer can investigate local cultures, social trends, political issues, and views and opinions of the people in the communities via social media and web sites. This virtual research provides the designer with the tools to develop a project program and to generate an overall design for the intended users, with the hope of bettering the user’s lives.

S E R

O N D

P

RESPOND

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SPACEWORK 10

CONVERSATION WITH CHRIS HARNISH

F O R P L A F O R S PA

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E I G N C E S E I G N C E S

Chris Harnish is an Assistant Professor of Architecture at Philadelphia University, in Philadelphia Pennsylvania, USA. His research and teaching focuses upon resilient humanitarian design and sustainable development in the emerging Global South, including design methodologies in emerging contexts, and considerations for designers operating in a global context. In 2007 he lived in Limpopo, South Africa while managing construction of the Youth With A Vision Community Centre, and in 2010 designed the Pete Patsa Community Arts Centre in Viljounskroon, Free State, SA. He is currently the design architect for the revitalization of the eNtokozweni Cultural Centre in Alexandra Township, Johannesburg, South Africa. The centre’s cultural and political history includes President Nelson Mandela and jazz legend Hugh Masekela, and was a critical hub of resistance during the Apartheid struggle.

Today, through collaborations with users, long-time Centre leaders, and potential funding organizations, a new typology of culture centre is emerging with a model for long-term organizational resilience.

RESPOND

B

JASON BRADSHAW: Why design in South Africa?

CHRIS HARNISH: Mostly because, of all the places I’ve been, I find South Africa to be the most compelling context on earth.

The various cultures merging in a stunningly beautiful context enables fantastic architecture.

The emerging country feels ripe with opportunity, and the architecture reflects that.

B

JB: How does western design education influence or hinder designing in a foreign cultural setting?

CH: It depends on your education, what you put into it, and what you get out of it, I suppose. I can’t point to one specific instance in my formal education that directly influenced or hindered my capacities for design in a unique context. Rather, I find myself inspired by unique experiences and opportunities; and design in a foreign context is certainly that.

JB: How do you as an outsider immerse yourself in the local culture?

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IT’S OFTEN IN THE MYSTERIOUS

CH: I think you immerse yourself in any project you’re doing, or you should. There are characteristics that we as homo sapiens all share regardless of location, and there are characteristics that are unique. A good architect identifies each of these characteristics as a starting point. Architecture is not a quantitative problem to solve – it’s a practice.

You accumulate all the data you can, but then you’re left to make something beautiful and functional. More simply, I like to get to know people informally, and try to extract their experiences and feelings, more than needs and wants. It’s often in the mysterious and unspeakable that the best architecture reveals.

AND UNSPEAKABLE THAT THE BEST JB: How do you design the program for an ARCHITECTURE REVEALS

informal culture?

A

B

Erik Tsurumaki ARCH D10 – Global Urbanism Studio

Natasha Trice ARCH D10 – Global Urbanism Studio

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CH: I think you mean ‘in comparison to the formal’. For the most part, it’s exactly the same.

It seems as though what you’re touching on is that architects have become lazy in formal contexts. A client comes to them and says ‘we need a school.’ The lazy architect designs by presumption, by rote, as in ‘All schools have square classrooms so the new school must have a square classroom.” In informal contexts it’s impossible to be lazy. They tend to be cultures unaccustomed or uninterested in normative typologies; so you have to make something new, something different; that requires significant investigation and deep research. What that means is that you have to genuinely examine peoples’ activities as opposed to assume you know what they want.

JB: What sensitivity is specifically needed in Alex?

CH: Post-colonial contexts are amazing.

There’s an idiosyncratic relationship between Alexandrans and their built environment. While their culture is dynamic, their spatial condition is in stasis. These contexts provide creative opportunities because there are so few givens.

In Alex, you have to ask a million questions from many different angles in order to get to a depth that results in good research.

JB: How do students respond to those issues given that they have not experienced the culture?

CH: This semester they’ve had amazing success, which I think reveals the validity of thorough research and faith in their creative process. Academics aren’t idiots, so when you base your own novel research and design process on valid academic research, you have a legitimate starting point from which to design.

That’s enough to get creative; the rest is up to the designer. A second point on this is that as the practice of architecture becomes more

SPACEWORK 12

A

global, architects are more and more placed into the challenging position of having to design in places they may have never been. It’s not at all uncommon. As mentioned earlier, you simply extract as much data as you can get your hands on, and then get creative. You can never ‘know it all’ then start designing.

JB: How do you respond to those issues? Does it differ from how students respond given that you have experienced the culture?

CH: I think there are a few ways to frame the design problems; if you let students base their work on their own research, they feel empowered to move forward. I think getting students to design in foreign contexts is mostly about getting them to dispel the preconceptions we all have about ‘elsewhere’ places, and then helping them to become confident in the validity of their work. Confidence is important, and harder to instill in foreign contexts than when they’re designing a typical typology or in a typical cultural context.

JB: Do you use methodology your students use? How similar or different is it?

CH: Every student is different. Some gravitate toward form making, others to detailing, others to programming. In the end, really good designers start with one method, but re-examine their work through multiple lenses.

When your work is successful at all levels, you’re winning.

A

JB: Often, a well-designed program can help limit the cost of building. When working with limited resources, how much does programming shape the design?

CH: You said it. In my design process, program is everything. In a community arts center I designed a few years ago, we were able to reduce the size of the building by two thirds, relative to the client’s original spatial desires, simply by really thorough program analysis.

B

JB: Has experiencing the culture affected the way you approach design now?

CH: I think experiencing other cultures makes you as a designer ask more critical questions, and examine issues more deeply. That makes you a better designer, plain and simple.

A

B

C

D

Marika Mavroleon ARCH D10 – Global Urbanism Studio

Muzalier Gaussaint ARCH D10 – Global Urbanism Studio

Melanie Whedon ARCH D10 – Global Urbanism Studio

Erik Tsurumaki ARCH D10 – Global Urbanism Studio

RESPOND

GETTING STUDENTS TO DESIGN IN FOREIGN CONTEXTS IS MOSTLY ABOUT GETTING THEM TO DISPEL THE PRECONCEPTIONS WE ALL HAVE ABOUT ‘ELSEWHERE’ PLACES

C

A

13

D

SPACEWORK 14 A

MALAMULO STUDENT AND DOCTOR HOUSING The Design to Build studio, an architectural Design 9 studio option, specifically focused on global research and design.

The design program utilized humanitarian architectural design in order to provide housing for the Malamulo Hospital in Malamulo, Malawi.

The purpose of the studio was to practice ‘real-world’ architecture on the global scale, producing construction documents for housing units that could actually be built.

The designs incorporate local materials and construction methods for local contractors.

B

B

A

B

Nicole Boris, Fatema Kanji, Nhan Lieu, Natasha Trice ARCH D9 – Malawi Student Housing

Thomas Frank, Marian Jony, Eike Maas, Mike Rothman, Brandon Saiz, David Trapp ARCH D9 – Malawi Doctor Housing

RESPOND

15 A

B

SPACEWORK 16 A

ENGAGING THE SENSES The Sensory Museum explores the mind’s response to various sensory experiences though distinctive exhibits. The design is defined by a sculptural interpretation of the central nervous system and interprets the body’s electrical pulses generated by stimuli as a means of designing circulation through the five areas of sensory exploration. The exhibits are designed as immersive and interactive features that provide both intuitive and scientific learning, enabling visitors to have intimate moments of discovery while learning how each of their senses is unique.

AUTISM SPACE The design of an autism space takes an existing recreation center and transforms it into a private school for autistic individuals. Autistic individuals can have trouble learning with traditional methods, so this center provides education specific to the autism spectrum through use of a sensory diet, a carefully personalized activity plan based on sensory experiences. The design creates space with visual and contextual cues that help to provide reasoning for autistic individuals in real-world settings. The combination of the sensory diet and the real-world setting helps users quickly reach independence.

B

A

B

Julia Larson INTD D8 – Sensory Museum

Shannon Rafferty INTD D8 – Autism Space

RESPOND

17 A

B

SPACEWORK 18 A

DISASTER RELIEF This architecture Design 8 studio focuses on disaster response and designing a disaster relief center for community aid. The relief centers serve the needs of community members and also respond to the corresponding sites and disaster aftermath in which they are needed. The historical disasters vary from hurricanes to earthquakes to wildfires; each programmatic design differs depending on the disaster and how it affected the site. This is the first comprehensive studio that architecture majors encounter, meaning all aspects of design must be considered as if it were a real-world design challenge.

Budgets were established, and very specific programmatic developments were defined.

B

A

B

Iulia Cazan, Kathleen Garner, Akshar Patel ARCH D8 – Disaster Relief

Kyle Ferrier, Heather Martin, Kevin Ryan ARCH D8 – Disaster Relief

RESPOND

19 C, D

D

C

D

Dylan Herman, Stefanie Lovallo, Calleigh McDonald ARCH D8 – Disaster Relief

Amanda Bonelli, Aaron Kim, Corey Pedersen ARCH D8 – Disaster Relief

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113TH JOHN STEWARDSON COMPETITION

THE 113TH JOHN STEWARDSON FELLOWSHIP IN ARCHITECTURE The Stewardson Scholarship Competition is an annual design competition for students enrolled in or graduates of architecture schools in Pennsylvania.

Students are given 10 days of unsupervised direction to complete a design proposal that responds to a project brief given by the competition board.

This year’s competition brief for students in architecture Design 10 studio, was to redevelop a street in Philadelphia that would bring the community together. The redevelopment included the residential homes, commercial buildings, and art facilities to bring a renewal to the area.

Stewardson Competition First Place Winner: Dan Silberman This design sought to revitalize and reunite the street corridor by utilizing a ‘canvas’ storefront. This storefront is comprised of a modular panel system that can be used to communicate ideas, events, and art.

The facade panels can be used for varying purposes that allow each building to have an identity, whether it be company branding, artwork, a medium to grow greenery, or even a simple blank canvas that can used as a projection screen for films and images. This unique design gives a distinct identity and unity to the area that allows passersby to experience culture and place.

Stewardson Competition Finalist Winner: Melanie Whedon This design was meant to create to an area of natural beauty in the streetscape. The building complex creates an internal piazza that is encompassed by the commercial shops and a community garden. This will allow residents and visitors to experience the culture and identity of the area in a beautiful outdoor space. To solidify the identity of the area, the buildings will be thought of as a single, continuous structure rather than separating them. This singular design will complement the aesthetics of the existing buildings while bringing new life and identity to the area.

RESPOND

21 A

1ST PLACE B

3RD PLACE A

B

Dan Silberman ARCH D10 – John Stewardson Memorial Competition

Melanie Whedon ARCH D10 – John Stewardson Memorial Competition

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Thomas J. Burghart ARCH D10 – Stewardson Competition

Natasha A. Trice ARCH D10 – Stewardson Competition Nathan Ellenberger ARCH D10 – Stewardson Competition

Ryan Doll ARCH D10 – Stewardson Competition

Ryan Doll ARCH D10 – Stewardson Competition

Austin McInnis ARCH D10 – Stewardson Competition

Stephanie Geraghty ARCH D10 – Stewardson Competition

RESPOND

Melanie Whedon ARCH D10 – Stewardson Competition

Staphanie Geraghty ARCH D10 – Stewardson Competition

Erik Tsurumaki ARCH D10 – Stewardson Competition

Sara DeMuth ARCH D10 – Stewardson Competition

Thomas Frank ARCH D10 – Stewardson Competition

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SPACEWORK 24 A

GERMANTOWN THEATER Philadelphia’s historic Germantown neighborhood exemplifies an area in constant tension between what was and what is. Similar tension and stress can be observed in the body of a dancer during and between movements. However, dancers rarely expose their physical stress or tension; instead, they transform it artfully into fluid movements.

A proposed dance theater in Germantown seeks to replicate that demonstration of ease.

Colleen Barry expresses tension as a segmented series of leaning walls that create a sublime auditorium space.

Where walls overlap, light is allowed to penetrate the space. The effect is a sense of fluid space that complements the structural uncertainty of the leaning walls and the suppressed tension of the performers visible on stage.

REVITALIZE The RE_Theater concept by Heather Robinson will serve as a venue for free expression for rap artists and the community.

Rap music has the ability to express an idea, concern, or thought, as well as the power to create a movement or change. By embodying the multi-layer aspect of rap music, and through the use of lines and solids, the theater reveals the movement found within rap songs. The theater design adapts to each performance.

Retractable bench seating can transform the theater from a more traditional performance space to a ‘club-like’ atmosphere.

A

B

Colleen Barry INTD D7 – Theater

Heather Robinson INTD D7 – Theater

B

B

RESPOND

25 A

B

RESPONDING THROUGH THE ARTS IN GERMANTOWN

Act 2

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Collection

2 Curation

Lenses

Lenses

Critical Reflection

Interest Pieces

27

Binding Agent Project Review

Lenses

Self-Reflective

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TRANSLATE Translate from Latin translatus: “carried over.�

Translation is a process of connection: a line connects two points when the tip of a marker is translated from one point to the other; a conversation connects two people when an idea, through speech or media, is translated from one person to another.

Translation is a process of mediation between the illusory and the real: an idea can translate into physical impetus, the motion of which can be translated into object, the impression of which can be translated back into idea.

Translation is a process of transformation: to translate an object from point A to point B; to translate a line from elevation to axonometric projection; to translate a word from one language to another; to translate an image from thought to reality.

To translate is to connect, mediate, and transform: actions that define the design process by forcing us to continually redefine our designs.

TRANSLATE

TRANS

LATE

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SPACEWORK 30

CONVERSATION WITH ARCHITECT MICHAEL SPAIN

MUZALIER GAUSSAINT: In your submission for the AIAS Napkin Sketch, you drew universally recognized, iconic views of Philadelphia. How do your sketches speak of your personal experiences in Philadelphia?

MICHAEL SPAIN: I thought the iconic nature of these buildings or views would not only make a connection to my city but, quite frankly, might also be appealing to the viewers. On a more personal level, each had its own attraction. The Philadelphia Museum of Art and the PSFS Building have been my personal favorites for a long time.

The art museum for its siting, grand-yetappropriate scale and presence, its color, and its connection to one of the most gifted and prolific American designers of NeoClassical architecture, Julian Francis Abele.

I’ve sketched it a number of times but never at the scale of a napkin.

The PSFS building for its simple, yet highly sophisticated composition of forms presents the observer with so many different

TRANSLATE

interpretations and perspectives comprised of local symmetries within the asymmetrical play of major building elements. The composition of a buildings edge as it turns the corner to play a different role in another set of elements; the verticals against the horizontals – I could go on and on.

The Barnes’ basic composition, with its hierarchy of the light box tempered and complemented by the simplicity of the flanking buildings, along with its veiled reference to the African Kente Cloth design played out in its main facade organization of panels, made it attractive to me.

The city skyline is always a desirable study.

I had never attempted it before and it had a bit of everything that was Philly.

MG: Within the realm of architectural practice, how would you define the term “translate”?

MS: In this context, to translate is to present, in your own words (and by words, I mean the architectural and referential vocabulary built and influenced by one’s personal sensibilities influenced by life experiences, formal training, visual retention, etc.), the development of a premise or idea through a process that graphically uses those words to communicate one’s understanding and possible outcomes of that premise.

MG: What is the benefit of using the sketch as a tool to translate design intent?

MS: The fact that a sketch is inexact and somewhat ambiguous at times is often the beauty of it, and is one of its best benefits. The maker can often see

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alternatives of an idea from the lines that are drawn, even at the exact moment they are being put on paper, opening the door to endless possibilities. Conveying those ideas that are seen through the eyes of different translators left open to their own interpretations can lead to great collaboration and wonderful results.

Another benefit of the sketch is that it is a way to get ideas out of your head and down on paper quickly so that it may speak to you, connect with you, and relay those ideas that would also speak to the reader and allow them to have a conversation with you about what is being developed. It’s the way we as designers interact, the way we “talk” to one another.

The sketch is also emotive. It can convey your emotions and connection to the idea and sketch while also eliciting emotions from others as they interpret the lines, forms, textures, layers, prompting responses that add to the process of development or simply to the experience of observing it.

MG: Do you consider your sketches as a process of translation that captures a particular moment in time or one that evolves over time?

MS: Referencing the sketches for the AIAS event, I would say they are more like sketches that capture a particular moment in time; but, hopefully, when seen at different times by different eyes, their meanings or interpretations can evolve.

SPACEWORK 32 A

TRANSLATING THE GESTURE This theater project seeks to translate the experience of viewing a performance at a theater from the elegant expressions of contemporary dance. In Emma Rosenwinkel’s design, strands of light fluidly move towards the stage, drawing attention to the performing dancers while portraying the elegance of their forms. In Janay Pearson’s design, the expression of the theater moves towards the entrance, enriching the lobby space as well as the theater space. Color is used as a means of engagement in Brittany Greene and Coady Park’s theaters, each with a powerful theme that connects the theater as a whole.

B

C

A

B

C

D

Amanda Blecher INTD D7 – Theater

Brittany Greene INTD D7 – Theater

Coady Parks INTD D7 – Theater

Janay Pearson INTD D7 – Theater

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33 D, E

F, G

H

E

F

G

H

Krista Duguay INTD D7 – Theater

Emma Rosenwinkel INTD D7 – Theater

Brie McQuaide INTD D7 – Theater

Katie Blumberh INTD D7 – Theater

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C O M M U N I C AT I O N I N FAT U A T I O N CONVERSATION WITH IVANO D’ANGELLA AND DAVID KRATZER A

IVANO D’ANGELLA: Architecture is life.

It is! I keep telling the students that they need experience; they gotta get out there. There does seem to be a trend I’m noticing in the past couple of years, if not more, that talk is cheaper than it ever was.

DAVID KRATZER: Do you think more than it ever was? Or just a continuation of the same thing?

ID: It could be a continuation, but now I’m finding when I talk to the students, I hear: “My interpretation of the meaning of that word is…” and there is no interpretation of the meaning. There has to be a common ground that we can agree on what the word means. So, I find that we’re just doing a lot of

A Danielle Kanak INTD D7 – Theater

A

TRANSLATE 35

jabbering.

At the same time, I’ve become extremely fascinated with language and I listen to a lot of Islamic stuff, and I didn’t realize that in Islam they have twenty-eight different ways to say the word heart. The heart is the key.

Twenty-eight different metaphorical, physical, emotional, spiritual ways to put it into context that it reflects a different meaning. So, you get me talking to some students and I hear some words that they don’t even know what it means. “But,” they say, “I feel that it means this thing,” and it’s weird.

AUSTIN MCINNIS: To continue off of that it’s interesting that there may or may not be a separation between words and architecture.

How do you see writing working within education?

ID: Well… I was fairly naïve at your age.

DK: Just only then…? (laughing) ID: Well I’m feeling a little better about myself now! (laughs) When I get to a hundred and twenty I’ll feel even better. But I really think it goes back to life. The more words, or thoughts and experiences, that you can kind of put inside your body makes the architecture more powerful, more meaningful, more well-rounded.

So I think it’s experience.

PATRICIA: I was thinking about how can you talk through architecture? And Gehry’s Dancing Building came to mind.

DK: Well the most direct answer to the question is that architecture is a language.

EIKE MAAS: Then, what is slang in architecture?

DK: That’s a fun question. When I was in school I was in the middle of the Semiotic debate. When I did my master’s at Penn it was a question of what are the signs and symbols’ broader meanings; but I don’t think the issue of slang ever came up. But calling something slang would propose that you had some kind of language first that’s kind of accepted or that you could read.

MUZALIER GAUSSAINT: That everyone agreed on.

DK: Slang is a version of translation isn’t it? Isn’t slang about personalizing or making something your own?

P: Do you ever ask students, “If you could put a word to this architecture, what would it be?”

DK: I’ve stopped doing that. When I was going through school, the narrative was the thing that drove buildings. It was the thing by which you unfolded the conceptual agenda for your project. You’d pull out a narrative, which might be very literal — I might take a James Joyce essay and deconstruct it — and find some way to generate architectural form from it. The reason I stopped doing it is because I think students have been coming into school with less and less experience. You can talk about narrative when students have a lot of experience, because the narrative kicks in stuff.

If you don’t have a lot to bring to the table then it just confuses you. I took a creative writing class one time and the professor brought in a smelly sneaker and sat it on the table and said “You have 5 minutes to write about this.

Give me a story.” And I think that exercise was easier for most folks to relate to because it had an immediacy of experience. But architecture’s become pretty hard for people to get a handle on.

SPACEWORK 36

ID: They don’t have experience seeing a building or feeling one. How a building makes you feel.

DK: And, in general, I don’t think people are as perceptive anymore. I used to use the narrative to get my students to generate stuff. You had to write the story of the building alongside making one. You could make it an objective meaning by saying, “Here’s what this building means,” or you could take another route and say, “All of this stuff is just happening inside this building.”

ID: But you can’t pull out that story if you don’t have experience to pull from.

DK: It just becomes a gestural game. And I think architectural education of late has become how do you move through the gesture?

But the gestures are just naïve. There’s not much behind them.

EIKE MAAS: Do you think it has something to do with us sitting in front of TV’s or computers, or kind of isolating ourselves?

DK: I think it is a little bit. When my daughter was in high school we sent her off on this 2-month whirlwind tour of Europe, and she’d describe getting in these tour buses and cruising up to St. Peter’s and they’d open the door and say, “This is the world’s largest, et cetera, et cetera…. You have 5 minutes.” And how in the world would a person soak up any of that in 5 minutes? There’s no way that you gain anything from that. It’s a superficial experience.

ID: I think maybe it’s a fault of the Internet and also global commercialism. I mean when we went to Italy and you had to sleep during lunch time because nothing was open, at first it was like, “What am I gonna do?” but the second day you got it, you went right to bed with the rest of the Italians, happy as a lark. (laughing)

A Kathleen Garner ARCH D7 – Study Abroad

But nowadays when young people have more in common with people in Denmark or China than with the older generation, there’s a certain peculiarity; because, if you can relate more with a Scandinavian, because they have an iPhone or shop at the GAP, than you can with your parents that are right in the immediacy of it all, there’s a bigger issue going on.

EM: And now community design, and architecture, has to respond to communities that aren’t physical anymore, or at least not as much, or not always.

DK:: That’s it you nailed it right there.

EM:: So with architecture being primarily a physical trade, where we design physical objects that frame spaces, how do we design space when our experiences are digital?

DK:: Well, how do you design space when your reference is suburbia? I mean suburbia is kind of anti-community space isn’t it? By nature you’re off in your own little house spread out in this matrix, and maybe you know your neighbor and maybe not.

ID:: We’ve had constant conversations about struggling with students in the earlier years where these kids are required to come up with a gestural concept to begin the project, and I banned it immediately. I said “Let’s begin with solving a problem.” I don’t think you have to start with this discussion of idea. It will come… if you’re into it and start to address the problems, and allow the narrative or the thoughts and the meaningfulness of it to take it from the pragmatic to the more potentially spiritual, it’ll come.

DK: And that’s translational.

ID: That’s translational?

YOU HAD TO WRITE THE STORY OF THE BUILDING ALONGSIDE MAKING ONE

TRANSLATE

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A

DK: Absolutely. You’re translating from experiences that you have into the creation of form that’s going to affect other experiences.

That’s kind of the translation.

Architectural translation, literally, is getting out of your brain and down to your hand somehow. I’m either drawing it or I’m making it or I have an intention and I make or model or create something.

To me that’s kind of the first level. The second level is taking whatever you translated to paper, or model, or specs, or whatever, and somebody else takes that thing and builds something from it. And then the third translational act is that I’m experiencing what’s happened. If there is meaning that can translate through all those things, then you’ve done well.

YOU’RE TRANSLATING FROM EXPERIENCES THAT YOU HAVE INTO THE CREATION OF FORM

A

EM: So what is the role of media in making a building?

DK: My favorite example is that I went into a 3rd grade class and asked them what they thought an architect did, and the 2nd kid I asked stood up and said, verbatim, “Oh architects make drawings of thing and give them to other people who build buildings.” And I said “how did you know that?” and he answered, “well, my dad’s a contractor.” And by that phrasing he meant that architects don’t draw or create buildings, but rather just things, and then give those things to someone else who actually builds a building; and, if the translation isn’t clear, they just build whatever they want.

We did a project in Trinidad a number of years ago and the only way that we could communicate with the contractor was over a fax machine – it was too expensive to make a phone call – so the only way to communicate with them was to draw. Now, that would be a fun studio project.

[ dessert is brought to the table ] ID: I was listening to Italian music, and when I was listening to it I was wondering if a nonItalian gets the same sort of meaning, or I think it’s about a feeling, it’s about…. When I say something to you, how the words resonate, what’s going on to the human is what I’m concerned about. So I was wondering if at least the basic emotion or feeling of it could come through. Could we listen to a song in Arabic or German or Gaelic and still get the same feeling?

DK: I remember going to a play by Philip Glass “1000 Airplanes on the Roof”. I remember him saying that everything’s noise, but if we like it, or if it works, then it’s music.

P: It has a lot to do with people’s personalities.

What he finds to be music is just noise to me.

So I guess sometimes it’s such a grand question of, “what is music vs. noise?” I guess it’s the same in architecture. What I think is great work might not be great to you. I find that it’s very interesting how sometimes architects criticize other buildings and it always seems like it comes down to a matter of your dislikes and likes.

ID: Is architecture a matter of taste?

DK: Sure.

ID: It all comes down to taste?

MG. I’m not sure.

EM:: I’m not sure how much, but I think there are some small parts of it that we’re born to like. Like in music, for whatever reason, the pentatonic scale always reappears.

ID: So, fundamentally we might all have a shared understanding of what beauty is…

SPACEWORK 38

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Justin Shaffer ARCH D7 – Study Abroad

Olivia Cervasio ARCH D7 – Study Abroad

TRANSLATE

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Stefanie Lovallo ARCH D7 – Study Abroad

Matthew Ulassin ARCH D7 – Study Abroad

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SPACEWORK

40

First and Fifth Freshmen Lauren Ransom and Lauren Jester and fifth-year architecture student Philip Rivera discuss architectural education and whether, in fact, less is more.

Why did you decide to study architecture?

LR: I wanted to be in a career that is hands-on and creative. I love to research buildings and their histories and the events that happened in them, and to translate a space into something new and see how someone will use a space I design.

LJ: It has been a passion of mine since I was young, when I would build models for toys and take apart and rebuild LEGO sets into new things. I never outgrew the habit, and wanted to test my creativity with new media and forms.

PR: I come from a family with three generations of architects, and have always been interested in design. I was always building contraptions and models as a kid. But, the definite moment that I decided to study architecture was when I attended a summer charette at NJIT where we had to design a shelter out of cardboard boxes. After hours of work, my design actually won. That was when everything clicked; I had fun with the entire process.

Who is your favorite designer?

LR: I don’t have a favorite, but I definitely admire James Timberlake.

LJ: Eileen Gray.

PR: Louis Kahn. But, as a style, computational architecture has been equally influential.

Where do you expect to be in five years?

LR: Studying for my exams to get licensed, and hopefully practicing with a firm.

LJ: Graduating with a B. Arch and hopefully starting my career.

PR: Practicing and, hopefully, teaching in Philadelphia.

What is design?

LR: Creation with a purpose.

LJ: The purpose or intention with which something is created.

PR: Design is creative problem solving – drawing influences from precedents, research, and imagination in order to create a functional and beautiful project.

Does form follow function?

LR: Yes, but I think “function” now also means environmental performance, cost, material performance, and time.

LJ: Yes. PR: It better.

What do you know now that you wish you knew when you started?

LR: A design is never finished or completely “correct,” so listen to constructive criticism, learn from it, and use the advice to improve your future designs.

LJ: I wish I had known how to use software like the Adobe suite to better represent my early studio projects.

PR: Take risks all the time in design studio — we learn through failure. But more importantly, let yourself be influenced by industrial, interior, landscape, graphic, fashion design, etc. Don’t trap yourself in an architecture bubble.

Is less more?

LR: Yes. The simpler the better.

LJ: Sometimes.

PR: You start with less, you end with less.

What has been the most challenging studio project?

B

LR: Design 1, project 5 (Ordering principles investigation) LJ: Design 1, project 6 (Lighting fixture) PR: Design 5 (Community center/ grocery for single mothers in Francisville)

TRANSLATE

41 A, B, C

D, B

A

B

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Abigail Munns ARCH D1 – Shoe Project

Philip Rivera ARCH D9 – Skyscraper Competition

Lauren Ransom ARCH D2

Lauren Jester ARCH D2

Act 3

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Toolbox

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SPACEWORK 44

MEDIATE Designers do not have the luxury of working in a black and white world.

We live in an era where information is exchanged instantaneously and the definitions of cultures, beliefs, and ideas are blurred until they are almost incomprehensible. By creating objects that people can identify with on an intimate level, architects attempt to mediate these vast gray areas of today’s world.

Ideas converge through program, structure, or access to resources.

Programming defines the activity of a space and establishes a common ground among users, making it a crucial part of any design. The structure of a project includes the physical framework and its connections to existing infrastructure. In scenarios where a common need can be identified, architecture can mobilize progressive thinking to meet a community’s needs and disparate opinions. A building provides the fixity required to bring ideas together and establish a point of departure. A designer is responsible for identifying the most pressing issues and proposing resolutions that improve the collective welfare. While not every concern may be addressed, the most successful projects offer a fair compromise.

MEDIATE

MED

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SPACEWORK 46

RE-ENVISIONING: GERMANTOWN CULTURAL CORRIDOR

A

Architecture, landscape architecture, and urban design projects include some form of program to define the types of activity occurring in a prescribed space. Masterplans explore the interaction of spaces on a larger scale. In this project landscape architecture and architecture students teamed to re-envision a cultural corridor through the center of Philadelphia’s Germantown neighborhood.

Through a carefully arranged series of parks situated along the datum lines of old streams and rail lines, this project mediates the history of Germantown and its current vibrant culture that is deeply rooted in the arts.

The project’s linear pathway traverses a series of redeveloped plazas, each dedicated to a different aspect of Germantown’s community.

By congregating these plazas around a common axis, the neighborhood becomes walkable, enabling visitors and residents to get a taste of the culture within the span of a few blocks. Programmatic zones include commercial and artistic plazas where people can gather to promote local businesses and disseminate ideas through art.

Specifically, programming along Germantown Avenue is meant to draw visitors from the city into the neighborhood while, by contrast, programming along Chelten Avenue encourages people to stay and absorb the culture of the neighborhood.

A Taylor Klemm, Timothy Linehan, Vanessa Miller, Darpan Patel LArch + Arch D9 – Germantown Cultural Corridor

MEDIATE

47 A

A

SPACEWORK 48

INTERVIEW WITH LAUREN BAUMBACH, JAKE TUCCI, AND LISA PHILLIPS A

I N S I D E O U T S I D E ?

H

ow can design pedagogy mediate a perceived divide between architecture and interior design? What are the differences between the professions, if any? Three Philadelphia University design professors weighed in on the education and career of an interior designer and the profession’s relationship to architecture. Lisa Phillips is an NCIDQ certified interior designer who has been a full-time professor at Philadelphia University since 2007, teaching all levels of design courses.

Lauren Baumbach, a registered architect and NCIDQ certified interior designer, is an associate professor and Director of Interior Design at Philadelphia University. Jake Tucci taught at the University of North Carolina Greensboro before joining Philadelphia University in 2010. His background includes industrial, graphic, interior, and furniture design.

A Michelle Leff INTD D7 – Theater

MEDIATE

JN: Tell us a little about yourself, your career, and your education. When and why did you choose interior design?

B

C

DESIGN IS A FRAME OF MIND AND IT CAN BE APPLIED TO PROBLEM SOLVING ON MANY LEVELS AND IN MANY CONTEXTS.

B

C

Maura Dinardo INTD D7 – Theater

Lea DiSantis INTD D7 – Theater

LP: I received a Bachelor of Architecture degree from Temple University in 1993. After graduation, one of my first jobs was for a firm that designed many adaptive reuse medical projects.

At that time I didn’t really understand an interior designer’s role. It was not long before I realized how focused designers were on the interaction of users in the environment. I have always had an interest in psychology and this aspect greatly appealed to me. The idea that I could affect the way people moved through a space, encouraging them to linger or to socialize, was something I wanted to deal with more.

I have to admit that the softer side of material selection also greatly appealed to me. Selecting the fabrics that people touch was immediately of interest to me. I jokingly tell my students I came over to the “dark side” once my hand ran over a sample of mohair.

LB: I began to draw at a very early age. This strong proclivity toward the arts and creativity coupled with a rational scientific approach to problem solving, which I know I inherited from my father, led me to architecture.

By the time I was ready to go to college I had quite a vast portfolio of artwork. This portfolio won me a scholarship to RISD and I was thrilled to be immersed in an environment with a sole focus on the world of art and design. While

49

studying architecture, I took urban, interior, and furniture design studios in addition to the architecture studios. I have always viewed interior design as integral to architecture.

I have been lucky to work with some really talented and passionate architects and designers in small, medium, and large firms.

They practiced design at all scales, because they saw themselves as designers first. Design is a frame of mind and it can be applied to problem solving on many levels and in many contexts.

JT: I was good at art in high school and wanted to study something more practical in college. Originally I thought of architecture, but when I went to an open house at NC State, my twin brother and I were both immediately mesmerized by industrial design. While at NC State, I gained an additional interest and skill set in graphic design. One of my first design jobs out of college was working as a graphic designer for NC State’s large bus system, the Wolfline. During this time, my friend and I started a web design and branding company called Gravitation. Despite starting a new business, the Wolfline and graphic design started to get old. I dreamed of building things and teaching people, so I decided to go back to school. I chose UNCG for its graduate interior architecture program. I could study interior object design and interior design and they would allow me to teach classes as a teaching assistant. I did not expect how much I would fall in love with teaching and how interior architecture can affect human happiness.

JN: The theme for this section is mediate, so we wanted to address the divide between architecture and interior design (or any design field). Where is the line drawn between interior design and architecture, and who draws it?

LP: There is a great deal of give and take between most of the design fields. A good

SPACEWORK 50

designer or architect is going to push the boundaries and dabble in many arenas.

Honestly, though, it is difficult to do all things well, especially in the modern world where there are codes for many aspects of a project and technological issues in each field that make it challenging to keep up in one, let alone multiple, fields. I think the secret to an excellent design is to recognize our limitations and realize when it’s time to call an expert.

LB: I do not draw a hard line between the two disciplines of architecture and interior design. It is a continuum.

Architects must consider formal questions that lead to conceiving the whole building within the context of site and program. They have the specialized knowledge to design the building envelope with all of its materials, assemblies and detailing.

Interior designers have specialized knowledge in more intimate considerations inside buildings including interior detailing, color, materials, furniture, equipment, and myriad interior accessories.

Both disciplines ask and try to answer deeper conceptual questions about the meaning of space, form, and materiality in the built environment and its role in mediating between man and nature or man and man.

JT: Because of my variety of design experiences, I resist drawing a line for myself.

I believe design boils down to creative problem solving supported by a body of knowledge and skills. I think, in part, that the blurred line between the two fields stems from the fact that architects have privilege to handle design of the whole building while interior designs only have privilege to handle design of the interior, but have specialized training. I believe the law defines the line, culture defines the line, and each individual experience defines the line.

Q: Are you an interior designer or an interior architect? Is there a difference? Is it important?

A

B

Jake Tucci Table design

Krista Duguay INTD D8 – Capstone

LP: Honestly, the name game is all a result of how the public views the fields. For me, the problem is that clients often confuse designers and decorators. I have nothing against decorators but they don’t have any requirements for education so it is frustrating to hear the term used interchangeably. I would have no problem calling myself an interior designer if people didn’t think all I did was select draperies.

LB: In the U.S., practitioners rarely, if ever, use the term interior architect, but in Europe you will hear it used. Schools will sometimes name a program “interior architecture” to communicate that their approach to teaching interior design has strong spatial sensibility. However, there are many programs that use the name “interior design” that also teach with a strong spatial emphasis, as is the case with our undergraduate program.

JT: Personally, I am just a designer.

Professionally, I call myself an interior designer and sometimes furniture designer. The title interior architect sounds more authoritative, but it is not legally recognized. I believe the title comes from the need for well-educated interior designers and rigorous interior design programs to distinguish themselves from interior decorators who call themselves interior designers.

Q: The recent ACSA competition paired architecture, interior design, and landscape students. How did students navigate their roles?

LP: This is my third year coordinating the collaboration between architecture and interior design students with Assistant Professor of Architecture Donald Dunham. I

I WOULD HAVE NO PROBLEM CALLING MYSELF AN INTERIOR DESIGNER IF PEOPLE DIDN'T THINK ALL I DID WAS SELECT DRAPERIES.

A

B

MEDIATE

have seen quite a variety of ways that the teams operate. I think the most successful teams are those where the students are curious about each other’s fields.

Generally, those are the teams that respect each other; that respect leads to unity between the team and encouragement.

I saw teams where the interior designer was talking about structure like it was their job. It was really fun to witness and I knew those teams were really getting the most out of the collaborative process.

C

A WELL EDUCATED INTERIOR DESIGNER HAS THE SKILLS TO HANDLE MANY ASPECTS OF AN ARCHITECTURE PROJECT.

LB: The students were prepared by the professors as to the nature and value of interdisciplinary collaboration. Successful teams can create a cohesive, unified, and powerful vision in the design of a building and its environs. Their creative energies feed off of each other and their collective efforts multiply productivity.

JT: I was not one of the instructors for that project but, from conversations I had with students, the most successful groups with positive experiences had two common elements: respect and humility between partners.

Q: How do you see the transformative power of an interior designer changing? Where do you see the discipline expanding?

D

LP: There are so many advances in our field that it is always changing and growing. Interior designers need to keep up on trends and new products to continue to remain productive and competitive. I feel that the impact of human behavior studies on design has increased in recent years and there is more of an expectation from the client that their designers will know this

51

information.

LB: Interior design will continue to evolve in multiple ways. Integration of innovative and sustainable materials, new lighting, and building system technologies will grow. The public’s concern for healthy environments is leading to whole new areas within the field such as “environments for health.” Health issues related to sedentary jobs and lifestyles, toxic indoor air, lack of natural light, and indoor noise pollution need to be addressed. Also, as global travel and exposure to different cultural norms have spread, there is some integration of different cultural approaches toward space and design. However, as this happens there is also a rapid loss of these cultural differences as much of the world races toward a very narrow concept of modernity. It will be a shame to lose some of these wonderful cultural building traditions that can teach us so much.

As designers, I think we have the power to educate our clients, to advocate for, and to preserve some of the best of these traditions.

JT: In two ways: legally and digitally. Currently, Pennsylvania does not legally recognize a certified NCIDQ interior designer. The next big thing for interior design is for it to be recognized as a legally registered profession in every state.

As interior design students are becoming more digitally savvy, they are entering the workforce with equal, if not better, digital skills than architecture students, because interior design students tend to be better at representing lighting, finishes, and furniture in their 3D models. Interior designers skilled at BIM have and will continue to affect the cultures at firms. More architecture firms will utilize interior designers on code and space planning (in addition to typical responsibilities) than ever before. A well educated interior designer has the skills to handle many aspects of an architecture project.

C

D

Laura Colgan INTD D8 – Capstone

Christine Obermeyer INTD D7 – Theater

SPACEWORK 52

PHILADELPHIA: LOOKING UP

A Feras Alsaggaf Black and White Photography

MEDIATE

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SPACEWORK 54

2013-2014 ACSA/AISC STEEL COMPETITION A

B

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B

Amanda Haug, Thaddeus Heinz ARCH + INTD D6 – Border Crossing

Tyler Scire, Alexandra Sebastian ARCH + INTD D6 – Border Crossing

MEDIATE

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CROSSING BOUNDARIES: CONNECTING PEOPLE WITH SPACE AND STRUCTURE The 2013-2014 ACSA/AISC Student Design Competition asked students to design a border-crossing between two countries anywhere in the world. Hosted by the Association of Collegiate Schools in Architecture (ACSA) and sponsored by the American Institute of Steel Construction (AISC), this is an annual competition with few requirements aside from using steel as the main structural element. Third-year students in architecture, interior design, and landscape architecture collaborated on the six week project, working in teams of two or three.

Teams had to determine how their projects engaged the border. Whether the building spanned the boundary as a bridge or was a single structure deeply rooted in both countries, the tectonic language of the architecture had to relate to the function of the interior spaces as well as the cultures of each country. Each project developed its own method for mediating differences across the border. While some projects dealt with relatively cooperative governments, some were forced to facilitate a union between nations that co-exist in a fragile indeterminate state. The initial gesture of these proposals reflected the design team’s reaction to the site.

Projects on the steep slope of the Kashmir border were more massive, anchoring in the landscape and refusing to budge. On the other hand, projects which spanned a body of water implemented structures with fluid forms which seemed to be a continuation of the water itself. In arid climates, umbrella-like roofs over open markets and performance spaces were a common strategy for bringing people together, while one project located in an area of political tension and economic disparity utilized recycled steel shipping containers to link the two nations. Regardless of how each team organized the program or addressed the details of their project, the concept and basic gesture determined how the building united both sides of the border through its resultant interior and exterior spaces.

SPACEWORK 56

Amanda Haug, Thaddeus Heinz ARCH + INTD D6 – Border Crossing

Melissa Mancha, Theresa Starrs ARCH + INTD D6 – Border Crossing

Samuel Siegel, Ryan Thompson, Victoria Wetzelberger ARCH + INTD D6 – Border Crossing

Louis Iannone, Jakob Passernig ARCH + INTD D6 – Border Crossing

Sylvia Berger, Erik Smith ARCH + INTD D6 – Border Crossing

Matthew McMahon, Trevor Mitchell ARCH D6 – Border Crossing

MEDIATE

Meghan Ford, Veronica Magner ARCH D6 – Border Crossing

Lillian Hale, Alexander Klohr ARCH + INTD D6 – Border Crossing

Kalia Choi, Ha Pham ARCH D6 – Border Crossing

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SPACEWORK 58 A

SMART CAMPUS: INTERACTIVE STUDIO The process of developing prototypes is inherently structural as it involves an intense digital framework of coding and programming to produce the desired result.

Design 10 architecture students are attempting to create a smart campus by utilizing these techniques. While learning to make the physical constructs and the digital code behind it, they are designing a series of games, surfaces, and apertures with which students can interact. These robotic structures aim to assist students in understanding themselves and their surroundings by monitoring mood, manipulating visual perceptions, and encouraging collaborative learning.

B

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Philip Rivera, Michael Rothman Arch D10 – Robotics

Ryan Doll, Brandon Lansing Arch D10 – Robotics

MEDIATE

59 C, D

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Tristan Emig, Austin McInnis Arch D10 – Robotics

Jared Bilzak, William Brostowicz Arch D10 – Robotics

Marian Jony, Nhan Lieu Arch D10 – Robotics

Kyle Burke, Kenneth Roposh Arch D10 – Robotics

SPACEWORK 60 A

MAKING COMMUNITY: POINT BREEZE A city can be broken down into communities; each one is comprised of people from a wide range of social, economic, and political backgrounds with their own set of needs.

Architecture must be conscious of a community’s needs and propose solutions that address commonalities. The Point Breeze neighborhood in South Philadelphia has one of many recently abandoned public school buildings . Proposals for a community center at this site address the need for general education and awareness of healthy lifestyles.

B

A

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C

Jessica Nonnenman ARCH D5 – Point Breeze Market

Alexander Klohr ARCH D5 – Point Breeze Market

Jakob Passernig ARCH D5 – Point Breeze Market

MEDIATE

61 C

A

Act 4

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SCALE Working on a project at a ‘variety of scales’ is perhaps one of an architectural educations greatest tropes. This time-tested method of thinking can engender relationships between unlike things: building details, spatial organization strategies, even cultural notions about discrete materials and their assembly.

Within that nebulous space between two distinct scales, the synthesizing of a disparate array of contingencies takes place, suggesting narratives which begin to order the built environment.

Projects featured under this lens aim to address the notion of scale headon, investigating the potential of prefabrication or the body itself as a basic unit of organization. Such strategies act as viable means to an end in a professional context of ever-faster project deliveries emphasizing flexibility and connectedness. These terms play key roles in projects operating at larger scales. The revitalization of socioeconomically diverse neighborhoods, for instance, often requires interdisciplinary teams of designers, ecologists, and civic representatives capable of accommodating pedestrians, automobiles, and local ecosystems. The increasingly complex problems with which designers are tasked requires academic exposure to the arrays of systems in which design is inscribed and solutions which perform at a ‘variety of scales.’

SCALE

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SPACEWORK 66 A

LARGE SCALE Masterplanning lays the framework for the individual’s experience of an institution’s presence within a larger community. Given the tendency towards marketing techniques such as campus branding and iconicity, one of the greater concerns of these institutions is their impact on a variety of contexts.

The relationship between a university, for instance, and the greater city is largely defined at the scale of urban planning and design. Drexel University in West Philadelphia is adjacent to the University of Pennsylvania as well as several other schools.

Each has its own distinct characteristics but inevitably becomes an integral part of the urban fabric of Philadelphia.

Architecture students in Design IX were presented with the task of reimagining Drexel University’s Masterplan in the fall of 2013. The campus is slated to expand by nearly 50%, which proved challenging in this dense urban context.

One team, consisting of students Sara DeMuth, Amber Freedman, and Ryan Kane, divided the campus into three zones: live, work, and play.

Each student then developed a unique masterplan scheme while articulating several of its more personal moments.

Smaller pieces were designed with larger implications in mind. Similarly, Interior Design student Erik Smith’s project for a Sephora showroom and boutique required a nuanced understanding of how design decisions at the scale of a shopper would inflect the perception of the company’s identity.

A

B

Ryan Kane ARCH D9 – Sustainable Campus

Sara DeMuth, Amber Freedman, Ryan Kane ARCH D9 – Sustainable Campus

SCALE

67 A

B, A

SPACEWORK 68 A

DESIGNING FOR A LARGER IDENTITY In Sara DeMuth, Amber Freedman, and Ryan Kane’s project, the campus is divided into three zones: live, work, and play. From here, each student focused on developing an overall scheme as well as defining smaller “moments.”

Individual, smaller pieces were designed with the larger identity in mind. Other projects as well as an interior design project for the corporate cosmetic company Sephora, students reinterpreted the current standards of the larger identity to create additional smaller, humanizing pieces.

B

A

B

C

Erik Smith INTD D5 – Sephora

Amber Freedman ARCH D9 – Drexel ExCite

Sara DeMuth ARCH D9 – Drexel Play

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C

B

SPACEWORK 70

A

COVERSATION WITH JIM DOERFLER A

A G A M U T O F S C A L E S

A

conversation about the role of scale in the design process with James Doerfler, Professor of Architecture and Program Director of Architecture and Architectural Studies.

C

A David Trapp ARCH D10 - Prefabrication

SCALE

WHERE WE’RE MOVING INTO TODAY IS THE IDEA OF MASS CUSTOMIZATION, OR DIGITAL CUSTOMIZATION.

The idea of using this as a methodology for moving into a better, sustainable product was something that was driving me personally at the time. Also given the history of prefabrication, it’s really interesting that there essentially was almost nothing prefabricated before 1851, with the exception of the Crystal Palace.

MELANIE WHEDON: Do you think that Dave’s project in particular is a good example of customization, so that the prefabrication process suites the client or site more appropriately?

JIM DOERFLER: Yes. Dave’s project is good at that level, and some others as well.

Dave is playing off of one existing cast-in-place site element, and how the modules fit to that.

The design works at a number of different scales because he’s interested in seeing how things meet or join. So it’s how this cast site element joins to the soil of the site; how the module joins to the cast site element; how the roof joins to the module; and then all the scales of detail involved in that—the macro, the site as a whole, all the way down to nuts and bolts.

B

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MW: So for Eike, do you think that prefabrication methods are just a way to achieve the end result?

JD: Well maybe not on the overall building form, pre-fabrication isn’t the only way to do it. But the way that he’s considering the way that the apartments will be done, there will be a certain palette that the people will choose from, for one, two, three, four apartment modules and that there’s a certain area that the people will actually live on. So say they buy four modules worth of three-dimensional space, but they only create a three-module apartment. This gives them the opportunity to have some outdoor space, that extra module that’s not being used. Or potentially the later, and potentially expand and create another bedroom or office.

JD: We were always talking about pre-fabrication as an opportunity for architects to design things that would create more efficiencies on a job site. Then you would not have to worry about weather and other environmental issues, because most of the stuff is built and you just put it in quickly.

What I also appreciate is that is one way that I saw as working toward a sustainable future of architecture because it minimizes waste, creates a higher efficiency, and you can create better levels of enclosure in the building system, because it’s all in a factory, and then out in the field. Therefore, it uses less energy and has higher qualities of insulation than many other types of construction. That was my take on where this is going, at least a number of years ago.

MW: So then this frame could eventually evolve to do whatever people eventually down the road want?

JD: Right. So it’s potentially multigenerational, and it’s changeable in that the next owner may come in and do something different. Again I think that he’s been fighting with himself about this idea of how many rules do I create versus how freely do I let it happen?

So one of the concepts he’s working with is that every apartment has light and air on two sides. So you can get cross-ventilation through.

That happens either by the width or the internal mass of the building, or it can happen to the light shaft going down the middle of the building.

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Timothy Schaefer ARCH D10 - Prefabrication

Eike Maas ARCH D10 - Prefabrication

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However, Eike’s been struggling trying to rationalize the structure for the core and have that relate to the placement of the floor plates. That’s something that he recently began to figure out so the next step will be to start placing things in section to see how the apartments work.

JD: I like the way that they fractured the volume at the top, so it isn’t just your standardissue developer project, similar to Corb’s later work; how he cuts into the mobile villas to get light and air deep into the slab. So you’re seeing those kinds of thoughts of cross ventilation, and views, and private outdoor space in a tower all coming to bear in that project too.

MW: The punching out of wholes to minimize the volume in order to access the core seems to be a common theme in both Eike’s residential tower and Bloomspace.

JD: Or creating a big enough volume so you have enough program space to actually place with the amount of light and air you’re punching through.

a temporary community that might need to be up for a year or two, with combining the photovoltaics with the condensed very dense pattern. I think it works really well at that level. The actual physical layout needs some help, but conceptually the idea of creating a pre-fab module with a sunshade in this particular climate (and the sunshade does two or three things) is great for an emergency shelter. But another thing that needs to be considered in this type of project is the amount of infrastructure needed: toilets, kitchens, and how you’d get those services to these various places.

JD: Both projects, Bloomspace and the theaters, have a really nice consideration of human experience. Austin, Erik, and Phil have this nice rendering where the park is there at one level, and in some ways that’s actually similar to this insertion of a park in Eike’s project, where he’s inserting community or group experiential points in the project.

The internal experience isn’t totally shown in this, right? Like if they had a view from one of these outdoor spaces or even an apartment space through that screen. That would’ve been a lovely immersive view from within the project.

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JD: So this is interesting in the fact that it’s meant to be more like the first version of the Henry Ford manufacturing process, where emergency shelters need to be made quickly, and there’s not necessarily a need for customization because they are shortterm housing. It’s really just to get them out there and to be functional. In that sense, this strategy is very efficient and answers the need for quick, easy housing. It does create

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Austin McInnis, Philip Rivera, Erik Tsurumaki Arch D9 - Evolo Tower

Jason Bradshaw, Lauren Lees, Rachel Migliacci Arch D8 - Disaster Relief

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A PROJECT IS THE MOST HOLISTIC WHEN TYING IT TOGETHER FROM THE CONCEPTUAL AND ANALYTICAL INTO THE DETAILING.

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MEDIUM SCALE Architecture and design don’t always fit neatly into given contexts. In such cases, projects work both externally, to actively engage the city’s networks, and internally, to foster a sense of collective, while creating efficient and functional spaces.

Interior Design VII students investigated a variety of strategies for engaging context in the design of an interior. Their proposals for the rehabilitation of the Germantown Theater negotiated interactions between the body, the audience, and the greater local community.

Student Randyll Brooks, for instance, worked with the Germantown Dance Group to design a more flexible modern dance theater. It became clear during the project that the intersection of several typically disparate community groups could be accomodated by the theatre.

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Randyll Brooks INTD D7--Theater

Laura Carone INTD D7--Theater

Michelle Leff INTD D7--Theater

Kaitlin Shenk INTD D7-- Theater

Laura Colgan INTD D7--Theater

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SMALL SCALE An individual’s experience of a particular location often informs judgements about a larger community. This concern is highly relevant because designs sensitive to pedestrians are easy to understand and accept. In many cases, discrete experiences or moments can serve as the glue for master plans while family-friendly green space like pocket parks can act as common ground in community development proposals.

During a collaborative studio held in the fall 2013 semester, Architecture students TJ Burghart and Marika Mavroleon, with Landscape Architecture students Richard Cianfrini and Megan Krieg, redesigned a neighborhood of Germantown, Philadelphia as an eco-district.

This project was driven by a series of intimate moments occurring along an internal site corridor. Engaging both the natural and built environments tied discrete buildings together and created interstitial spaces for interaction at a personal scale.

Thomas Burghart, Marika Mavroleon, Richard Cianfrini, Megan Krieg ARCH + LARCH D 9 – Germantown Eco-district

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SMALL SCALE The range of scales addressed in featured projects suggests a level of detail necessary for a convincing proposal. In Drew Lackman’s Surf Resort, a large, figural, molded-plywood wave envelops visitors in the entrance lobby. Smaller ‘waves’ are then extended and diverge to visually connect the lobby with the bar, dining hall, and reading lounge.

In student Dylan Catino’s design for a Music School, a robust structural system is manipulated to create smaller internal courtyards, which are connected under a fragmented roof.

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Dylan Catino ARCH D3 – Music School

Andrew Lackman ARCH D8 – Capstone

Haley Saul ARCH D8 – Capstone

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XL The largest architectural scale is often considered to be skyscrapers, yet even these dominant structures and their resultant urban spaces can be defined through smaller moments of urban design or more socially considered use.

In Kyle Burke’s Stormwater Tower design, the inspiration for the form was derived from a combination of efficient stormwater pumping with new views to the Delaware River in Philadelphia. The larger top creates a large outdoor park, while the base houses the current transportation system at 30th street station. Meanwhile, the project, Aquagenesis, creates additional housing and communities off-land of major cities. The form was derived according to environmental factors, such as wind and rain.

Though these projects are sculptural, the user experience of space is considered through a multitude of levels. Whether the person is staring at the tower miles away, or about to approach it’s entrance, the designers made clear to articulate that experience. The constant zooming between a larger expression to the smaller moments inform each other, as well as creating a stronger design.

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Kyle Burke ARCH D9 – Evolo Tower

Jared Bilsak, Daniel Rich, Dylan Wilson ARCH D9 – Evolo Tower

William Brostowicz, Brandon Runnels ARCH D9 – Evolo Tower

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Act 5 1 The page size of the publication is eight by ten inches. This proportion contains two squares overlapped at three quarters of their lengths.

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2 By choice, the squares are divided by root 4 rectangles because of the root’s property to exhaust divided areas, and the 4’s whole number increments that are useful for margins and bleeds.

Within the overlapped squares there are four vertical root four rectangles (L=WxROOT 4), that divide into four horizontal root 4 rectangles. This division process occurs infinately.

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3 The grid is divided until vertical divisions of three points are obtained. Here a baseline is set for the text that coincides with the document grid.

4 All master pages, as well as text and images align with divisions on the grid.

ALL OF THE TEXT AND IMAGES SIT ON BOTH THE BASELINE GRID AND THE DOCUMENT GRID.

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DEVIATE There are a number of firms today working beyond the traditional realm of practice. Whether they take the form of research-practice models, designbuild models, or anything in between, architects are seeking new operative territories between the twin poles of the academy and the market. These positions seem increasingly attractive to students and practitioners for a wide variety of reasons. Some wish to avoid the myriad of inefficient bureaucracies that influence projects, what many would call the ‘reality’ of the situation. Others seek to use their architectural education as coordinators and directors of community development corporations and the like. Architect-lead fabrication studios suggest a revived engagement with more intimate relationships between user and building. And what about those who contribute to the discipline through more ephemeral media; columnists, editors, and armies of publication staff members reviving the practice of independent architectural publications?

Such activity suggests that building design may only mark the beginning of a career in architecture. Indeed, one of the few characteristics shared by these architects is a determination to leverage their professional and academic resources to carve out spaces in seemingly ‘foreign’ professions.

The beginning of this potential for being otherwise, professionally speaking, is the willingness of the student to engage the unknown. This trait was the primary criteria for content featured in the following pages. The selected projects attempt to address the changing role of the practicing architect in hopes of opening up possibilities for being otherwise.

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A R C H I T E CT U R E W I T H O U T A R C H I T E CT U R E

CONVERSATION WITH TROY HANNIGAN

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ingering effects of the most recent economic crisis tend to remind us of the increasingly polar nature of the construction industry to which the architectural profession is inevitably bound. Naturally, the unreliable behavior of such a bedfellow is on the mind of most students graduating today and engenders a variety of alternative approaches for employing an architectural education. In an attempt to detail one of many possible career paths, the editors of Workspace sat down with Troy Hannigan (‘09) to discuss his thoughts before the plunge and the path he took to his position as project manager at Habitat for Humanity Philadelphia.

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ET: So, the recent housing bubble’s effects hit the construction industry about a year before you graduated. Is it safe to assume this is why you began working with Habitat?

TH: When I graduated in 2009 there were no jobs, nothing. People who had graduated within the previous two years were getting laid off.

Very few people were in Philadelphia which I think is very unfortunate because it’s a great place to practice architecture. I was fortunate enough to find this position with Habitat. I had done FBD and in my 5th year Alternative Spring Break with Habitat and the university. We went to my hometown in York, PA, oddly enough, and the construction supervisor there told me to look at Habitat as a first step into what I was interested in doing in the long run.

AND THE RECESSION WILL BE BETTER IN A YEAR... THAT DIDN’T HAPPEN.

So I researched Habitat in Philadelphia and found two AmeriCorps positions in the city. One was a construction assistant involving on-site work; building every day. But I was hired for a new position called a Rehab Specialist, sort of a strange title, which essentially involved working with our project planning department and streamlining our housing rehabilitation program. We do a mix of new construction and rehab of rundown or vacant structures and there was a city funding program that we were beginning to use and we needed someone to manage that process and work with the architects. Effectively managing the entire rehab process. So that was my first position which threw me into a whole unknown world.

A little was architecture, working with a few offices on the designs of homes, which was in part my reasoning for taking this position.

We worked with WRT who had done seven LEED Silver homes for us and were designing two more. I thought, “They’ll get to know me really well and they’ll want to hire me and the recession will be better in a year.” That didn’t happen.

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TJ: Is that is why you stayed on?

TH: Admittedly, I stayed partly for that reason but mostly because I find the work truly fulfilling. So my second year out of school I worked at Habitat again but there wasn’t funding for my position that I had previously held so I became a construction assistant, working on site every day building our houses.

And what was cool was that the projects I had started my first year and later helped build in my second were being sold to families in my third. So I got to see the entire process.

From acquiring the property to designing the houses to building the houses and ultimately getting to see people move in, which very few AmeriCorps members at Habitat were able to do.

During that second year of AmeriCorps, I realized that I probably wasn’t going back to a traditional architecture career after working on the ground in communities, building homes and interacting with residents. Additionally, I decided to pursue a Masters in urban studies with a concentration in community development at Eastern University which I completed last year. My experience as an AmeriCorps and my graduate studies enabled me to propose a position where I saw a need within the organization and I was hired in 2011 as project manager. It was a great opportunity for me to get my foot in the door permanently and I’ve now been in that role for over two and a half years.

TJ: So how do you see your architectural education inflecting your work there?

TH: What’s further rewarding for me is that I’ve been able to bring my own interests to the table. For instance, I was really the guy who started to push LEED certification at Habitat because in order to showcase to our funders how efficiently we were building I felt the houses needed that label. We recently

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completed LEED certification for two Habitat homes in North Philly and I am happy to report that we achieved LEED Platinum certification!

On another note, in our work with architects, I’m able to understand and interpret what they’re attempting and bring it into our very construction- oriented organization; justifying these largely aesthetic details in the context of the communities so the houses don’t look like standard-issue affordable housing.

That’s one of the things Habitat Philly really prides itself in. We’ve created our own sort of little aesthetic pocket and it works. We’ve been trying to push a more contemporary aesthetic for six homes in Point Breeze with JKR partners, who do a lot of housing here in Northern Liberties and Fishtown. I’m allowing them to push us into something more contemporary because we want that. We need that. Furthermore, we’ve been simplifying our construction through modular systems in an attempt to streamline the floor plan and construction techniques so we can replicate it across neighborhoods. That’s where we’re going, away from an ad hoc approach, because we’ve expanded a lot over the course of my stay at Habitat. The first year I was there we built five homes; this year we are going to build 10; and in the future we’re aiming for 40 a year. This streamlining process is intended to ease this growth. In fact, we’re starting our first modular project and have identified a site where this approach to construction will work So we have developed our standard construction techniques since those LEED Silver homes, which were sort of an extreme case, where we utilized insulated concrete forms for three stories. They’re essentially styrofoam building blocks with rebar inside that you then pour concrete in between like giant LEGO’s. They provide great insulation value and structure and wasted material is minimized because you don’t need to remove the forms after pouring. Since those seven homes,

we’ve been using the ICF’s for basements and we can utilize volunteers to construct the basement walls rather than contracting that out. On top of that we use advanced framing techniques which cuts down on the amount of lumber while providing superior insulation.

Coincidentally, last semester we invited Chris Harnish to our Germantown project and he brought students from his Tech. 1 sections and as you know he has them build a basswood model of the house to learn the basics of wood framing. However, I probably should have told him a little more about the project before he came out, for example the fact that we were using advanced framing. When he arrived on site with his students he said, “Troy what’s this? What is going on here?” And we’ve had to explain advanced framing to a lot to contractors, architects, and inspectors but we have the documentation to prove that it works. Also there are a number of firms and developers using these techniques in Philadelphia, which helps it become more widely accepted.

I’M ABLE TO UNDERSTAND AND INTERPRET WHAT THEY’RE ATTEMPTING AND BRING IT INTO OUR VERY CONSTRUCTION- ORIENTED ORGANIZATION

AM: But that’s refreshing, in my mind that’s a great way to revitalize the architectural discipline in general; looking at the building process and production. The architectural theory course we’re taking right now is great but it doesn’t seem as critical to architecture as this sort of stuff.

TH: So through the AIA, we’re doing the Stories from Architects series where we have conversations with young emerging architects in the city. A lot of them are saying that the trend in our generation of architects, being those under 40, is recreating a role for the architect. Earlier this week, MAKE (Brian Szymanik and David Quadrini) told me that

Amanda Bonelli, William Brostowicz, Thomas J. Burghart, Francis Hanssens, Dylan Herman, Aaron Kim, David Trapp, Chelsey Love, Calleigh McDonald, Corey Pederson EW RHODES PLAYGROUND CHARRETTE

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they’re creating one unique item in each project that they build themselves that makes the experience more tactile. They don’t have to rely on the builder to create these things that they have in their head. Of course there’s a fine line there concerning liability; taking that risk of what is architecture and blending it to make the architect a master builder.

I’M LEARNING MORE ABOUT THE ENTIRE DEVELOPMENT PROCESS AND NOT JUST THE BUILDING

AM: That’s interesting, there’s actually a professor on campus working in construction safety and how architects offset their liability because they don’t want to get involved in determining safety precautions. So reintroducing that back into the profession could be a good way to move the practice forward. And they’re doing that in the UK, where they’re making sure that none of their designs would be dangerous to build.

TH: Yes many architects have lost the construction administration aspect of the process, which is a huge fee. Developers and owners say they can do it on their own.

When we talked with David and Brian, they mentioned that they write that into their proposals: “If you don’t select the construction administration line item, that anytime you call us to talk about construction administration you will be billed at this principle, very high rate because you’re not utilizing our entire service.

They spelled it out. I think it’s a very bold way of doing things.

ET: Your responsibilities would presumably be different in a similar position at a more traditional office.

Have you found that you have more freedom at Habitat to push these progressive approaches to the built environment than you might otherwise?

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TH:: I’ve talked a lot about the architectural pieces of my job but there are so many other aspects to it that I appreciate and have learned from that I wouldn’t have gotten in a traditional firm. For instance, my boss and I do all of Habitat’s property acquisition. We are going out there selecting properties; working with the city and realtors to acquire the properties. We’re doing the surveying and geotechnical analysis.

These sorts of things the owner or developer would do before coming to the architect. So i’m learning more about the entire development process and not just the building. And i do all the zoning and permitting with the city. And something I did not anticipate when I started at Habitat was that I’d be the one selling the houses to the families. So in 4 years I’ve had to learn about mortgages and settlements.

Two years ago i rewrote Habitat ‘s mortgage documents, which is a 30 page document and i was working with 2 lawyers. But I was responsible for figuring out how our families would pay for these houses over 30 years and what’s affordable and the structure. I think architecture education taught me how to think critically and problem solve all these issues that we come across.

Troy Hannigan is currently Assistant Program Director at Community Ventures and Associate Director on AIA Philadelphia’s Board of Directors. At the time of this interview he was Project Manager at Habitat for Humanity Philadelphia. He has also worked for Project HOME and Qb, a design studio specializing in architecture, graphic design and product design, and while at Philadelphia University was co-founder/project manager of AIAS Freedom by Design and co-founder of AIAS Freedom by Design at Philadelphia University

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AIAS Freedom by Design is a community service program that utilizes the talents of architecture students to radically impact the lives of people in their community with different abilities through modest design and construction solutions.

Architectural activism is an emerging trend in the profession that re-thinks the potential of what architecture can be. A new buildings is not the only way architecture can be defined, and very often a large building project is not necessary to solve individual or societal problems. Operating with this philosophy, Freedom by Design provides an opportunity for students to meet clients, raise funds, work with professionals, and design and construct. Recent PhilaU FBD projects have been small scale, large impact solutions that have addressed accessibility issues for disabled clients. Working with Philadelphia resident “Ms. Gene,� FBD students collaborated on a design to address her current less-than-satisfactory inhome accessibility situation and solved it through material experimentation and a thoughtful, open approach. Students then constructed a new, innovative handrail and balustrade that allows her to move up and down the stairs in a safer and more comfortable manner. This diminutive architectural project has had a positive impact on Ms. Gene and the FBD students: improving the quality of life for a disabled person while foraging new relationships through community minded design and construction .

AIAS FREEDOM BY DESIGN PROJECT FOR MS. GENE

E.W. RHODES ELEMENTARY SCHOOL PLAYGROUND CHARRETTE

E.W. Rhodes Elementary School Playground Charrette Fourth year students are working alongside a local elementary school to develop a vision plan for a playground through a series of community design charrettes. The recently renovated high school building does not support the needs of the new age groups.

A Matthew Anderson, Thomas J. Burghart, Sara Demuth, Kenneth Roposh, Timothy Schaefer, Daniel Silberman, David Trapp, Natasha A. Trice, Ellen Wright AIAS FREEDOM BY DESIGN

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ROLE WITH IT...

Martin Scorsese and Terrence Malick represent two polar approaches to film direction. Scorcese tells it like it is, guiding the viewer through generally linear and cohesive narratives while Malick allows the plot to fade in and out of focus, prompting the viewer (for better or worse) to construct their own understanding. The implicit distinction here is not the subject matter in itself but rather how it is conveyed, which is largely a matter of taste. These directors represent two polar attitudes about their roles within a disciplinary context.

Keeping such cinematic themes in mind, faculty members were asked to expand on the following short questions within the context of this lens.

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IS THE DESIGNER TODAY MORE LIKE A DIRECTOR OR AN ACTOR? Facilitator.

The Architect is definitely more like a director, coordinating the work of many different professionals and keeping them headed towards a common vision in a timely manner.

More often than not the designer is whatever the audience wants him or her to be. However, a great designer can guide the process in the best direction while keeping the entire team involved.

In the real world, they both exist. Not everyone is suited to fit the role as the director; equally, not everyone is built to be an actor...

The art of architecture and design requires the professional architect and designer to be versatile in technology and in art. The profession may require one to take leadership in the interdisciplinary field, thus the role may require one to be a director as well as actor.

In general, the architect has always been more of a director as evidenced by her understanding of the work in its context.

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CROP: COSTA RICA OBSERVATION POINT The CROP studio is driven by a novel design-build curriculum called Ecosystem-inflected design. This Nexus learning project was a collaborative effort between architecture and construction management students supported by Jeff Klemens, a Philadelphia University biologist with extensive research experience of Costa Rica’s ecosystems.

Informed by research and analysis of the Costa Rican National Park system, specifically Guanacaste National Park, a need for relief points along the trail system was revealed. These relief points or stations would act as a minimally invasive infrastructure for future visitors.

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The studio’s aim was a designbuild project which could be implemented in multiple areas around the park system for use by both tourists and researchers. Furthermore, the tectonic development of the design was foregrounded by a desire to use local material assemblies and techniques, promoting economic development on a variety of scales.

A full scale observation unit built at the end of the semester is intended to further refine the tectonic methods and construction details necessary for implementation of the relief stations in Costa Rica’s Guanacaste National Park.

A Matthew Anderson, Nathan Ellenberger, Michael Opdahl, Ryan Kane, Jesse Smith, Joshua Voshell Arch D10 – Costa Rica Observation Tower

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DO YOU FANCY YOURSELF A SCORSESE OR A MALICK? Neither.

As a designer I am a Malick and as a producer I am a Scorsese.

I suggest you look at the work of Ken Loach or Mike Leigh for other (potentially more) relevant analogies for the ‘project’ seen as a collaborative venture facilitated, designed, and to some extent ‘curated’ by the designer.

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I’ve always felt strongly that in order to become a great designer, one must know their audience. The needs of an audience can vary greatly and I’m always willing to adapt my role to what is needed. I believe that humility should never be lost as a designer.

I’m starting to believe in the efforts of working within a system of parameters for a creative mind to manipulate, de-construct, re-construct and communicate it back to the world through the eyes of the story teller.

When you allow those to interpret or formulate their opinions about the vision you bring forth, the beauty behind the intent will be lost.

Malick.

The 19th century French Symbolist poet Stéphane Mallarmé heretically stated: “To name an object is to suppress three-quarters of the enjoyment of the poem, which derives from the pleasure of step-by-step discovery; to suggest, that is the dream.”

B Lauren Arrington, Robert Garcia, Taylor Klemm, Brandon Runnels, Stephanie Smith, Dylan Wilson Arch D10 – Costa Rica Observation Tower

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COMMUNITY AS PROCESS In an interdisciplinary urban design studio, architecture and landscape architecture students worked together along with the Germantown community to create “vision” plans for future Germantown development.

Students worked directly with community members to facilitate larger discussions regarding current community concerns. Each design review was preceded by round-robin community meetings for design teams to gain the varying perspectives of individuals living in Germantown.

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Issues such as limited education opportunities, dangerous park spaces, and limited fresh food accessibility were uncovered through community dialogue.

By communicating directly with neighborhood residents, students were able to translate community concerns into proposals. Ultimately, the process became more important than the proposed masterplan, as it brought together a fragmented neighborhood.

The community meetings were for many the first time some neighborhood residents met, so the process connected distant, like-minded individuals.

The collaboration between students and neighborhood residents resulted in the masterplan vision concepts being adopted by the community as vital tools for moving forward. This project is an example of how direct community engagement with the design studio can successfully offer results not possible in the more traditional model of design pedagogy where students are submerged abstractly into real-world problems.

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Andrew Calderone, Stephanie Smith, Ellen Wright, Joseph Young LARCH + Arch D9 – Germantown Urban Farming

Jordan Force, Stephanie Geraghty, Philip Luu, Ian Schieve LARCH + ARCH D9 – Germantown Urban Market

Logan Dry, Justin Lentz, Chris Lousos, Kevin Peters LARCH + ARCH D9 – Vernon Park Town Center

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SHOULD (CAN) SCHOOLS PREPARE STUDENTS TO BE GENERALISTS OR SPECIALISTS? Design schools should prepare students to prepare themselves.

They should prepare students with the basics and then allow them to try out many specializations.

Undergraduate architecture education is about being a generalist. In a more directed graduate program or in practice, one may become a specialist, but not until after learning the breadth of the field. One is considered to be a young architect until the age of 40.

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We of course need both working together. It might be argued that a person’s individual psyche (pre) determines the nature of one’s view and so the composition of the ‘team’ matching the aspirations of the project (and the ability to constructively communicate with the client) becomes the critical factor.

To be good at the specifics of something, it comes with years of training and experience. To assume that it could be taught in school is nonsense. The generalist should be allowed to build their knowledge, their bag of tools, and learn how to use them proficiently. When we become too specific too early on in the education, the creativity, the innovation, the advancement of the profession becomes stifled.

Both. Yes. The two are often intertwined, interdependent and concurrent.

Louis Chang Kim Douglas Susan Frostén Carol Hermann Alexander Messinger Richard Newton Jesse Vaughn

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2020: THE FUTURE OF HOME Architecture, landscape architecture, interior design, and MBA students were sponsored by members from the Comcast Innovation Lab to explore these ideas in an industry challenge.

Students were shown emerging technological and media products developed by the Innovation Lab team and asked how they might be incorporated to reimagine the home of 2020.

One week later, students presented their ideas to a jury of Comcast officials, who selected the aptly titled Ghost as the winning project. The project featured the use of “swarm� behavior programming and voice commands to create a more intelligent and responsive home. The second place project, Economic and Social Rowhouses, proposed solar panels, green walls and backyard terraces to help ramp up sustainability in the typical Philadelphia row home.

Comcast Home: Wireless Energy was awarded third place for its solution to create a wireless power source by harnessing kinetic energy-sensitive floor tiles. Another project, Digital Gypsy Caravan (the student choice award), imagined a device providing shelter and data-syncing capabilities that could also fold to fit into a backpack.

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Katherine Blumberh, Lea DiSantis, Tim Linehan, Brandon Saiz, Melanie Whedon Comcast Home of 2020 - Second Place

Stephanie Geraghty, Andrew Lackman, Marika Mavroleon, Ian Schieve, Natasha Trice Comcast Home - Third Place

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Richard Cianfrini, Tom Frank, Philip Rivera, Sean Tichy Comcast “Ghost” - First Place

Colleen Barry, T.J. Burghart, Jordan Force, Daniel Silberman, David Trapp Digital Gypsy Caravan - People’s Choice

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SINGLE BULLET EXHIBITION In commemoration of the 50th anniversary of John F. Kennedy’s assassination, architecture, graphic design, and law and society students collaborated with faculty and staff to create an exhibit giving shape to Single Bullet: The Warren Commission’s Investigation of the JFK Assassination. The turbulent atmosphere surrounding the events of Kennedy’s assassination left the nation reeling in a state of confusion, sorrow, and anger, an environment that the exhibit intended to capture and communicate for a cross-section of generations. Supported by a $100,000 grant from the PNC Foundation, the exhibit commemorated the life and legacy of the late United States Senator Arlen Specter. Specter was the longest-serving U.S. Senator and a key member of the Warren Commission who singlehandedly devised the single bullet theory – a theory that effectively dismantled the possibility of a Soviet conspiracy to murder Kennedy and prevented a potential nuclear holocaust.

A variety of exhibition media was distributed among the Paul J. Gutman Library’s three floors, each corresponding to a different stage of the investigative process. Careful consideration toward the inherently controversial nature of the Warren Commission required students to immerse themselves in the sea of media attention and discourse surrounding the investigative process. Following a thorough analysis of the JFK assassination and subsequent events, a group of fourth and fifth year architecture students, advised by Professor David Kratzer, designed and built a series of installations, including a scale model of Dealey Plaza showing the motorcade and proposed bullet trajectories, and a full scale model of the 1961 Lincoln limousine that carried the President that day. This was the most powerful element for many visitors who were able to sit in the same position as President Kennedy and simultaneously observe three potential vantage points from which the shot could have been fired.

The array of simple media used to engender such powerful moments speaks to an increasingly expanded notion of the spatial agency practiced by architects. Students on the design-build team were required to steer a wide range of information, including documents provided by the Arlen Specter Center, into a cohesive narrative that inflected the space of the library without compromising function. This balancing act extended to the coordination of several disciplines, which speaks to the complexity and sensitivity of the task and reflects a facet of practice not typically discussed in school.

Amanda Bonelli, Brian Corcodilos, Ryan Doll, Tim Edling, Edwin Figueroa, Robert Garcia, Zachary Garman, Frank Hanssens, Dylan Herman, Michael Holland, Christian Kaulius, Aaron Kim, Taylor Klemm, Stefan Lesiuk, Miguel Mantilla, Calleigh McDonald, Kellie Meyers, Niko Nasis, Theodore Nicholas, Matthew Otricelli, Corey Pederson, Scott Rose, Henry Thomas

DEVIATE

99

SPACEWORK 100

SPACEWORK: Make It Interesting

101

As the semester drew to a close, the editors of SPACEWORK joined architecture professor Donald Dunham for a conversation about what the past and the future might hold for the publication, architecture, and casual relationships with rocks.

Dunham: I think the question that we’re all struggling with and will continue to struggle with is: what is architecture and what is the human relationship to architecture and the planet? We make buildings which are really just bits of wax. We are merely making temporary constructions in the big scheme of things. We make them, and then they get destroyed or fall apart, we make more of them, and they get knocked down— whether it’s nature, neglect or because we just get tired of them.

So we are constantly trying to figure out what architecture is and we continue to make it through trial and error. If we like a building enough then we keep it as long as we can. For example, Falling Water, yeah we like it, everyone likes it, so we continue to spend money to maintain it.

Or the Coliseum or the Parthenon: we preserve and maintain these structures because they have value to us though we aren’t even sure what it is.

On the other hand, historical age doesn’t always seem to be that valuable. So what if it’s two or three thousand years old?

It doesn’t matter. We pick up a rock off the ground that’s probably ten thousand years old and we just toss it.

It’s a rock. It’s been around and shaped over thousands of years and we are pretty casual with it. Perhaps we should pay more attention to rocks.

But human constructions, especially those which have some apparent meaning beyond basic shelter have come to define as architecture. We try to understand these constructions through other forms. We use representations: we talk about it, write about it, we make models, do drawings. And these representations, similar to exhibitions, are another way to show architectural artefacts. In fact, these forms of media help us focus our understanding of what architecture is. These artifacts have

been selected because they inform; they seem to have value to our culture; they give us pleasure. However, I don’t think we use or look at buildings in order to understand the meaning or value of architecture as I don’t think we go to museums to try and figure out the meaning of art.

Architecture is in itself, fundamentally an exhibit. For example, if the building is a museum we can go inside; there are great spaces; we admire the detailing; we admire the great show of art. Then if you stand back and actually look at the constructed artefact it is an exhibit in itself; some architects realize that.

Forget what goes in the container! I think Liebeskind’s Jewish Museum in Berlin is a good example: shortly after its opening it sat empty for a year and people just wandered through it as an artefact and exhibit in itself. I think it probably had the power to convey the museum’s agenda without any actual exhibits. I think it also had the power to convey notions of architectural meaning.

I consider exhibition design as a sort of subset, in a sense, of what architecture is. I tend to see the world as a series of exhibits.

Regarding your impending graduation, it’s one thing to have a final design project but I think the publication will make your time here much more memorable. Let the momentum of this take you someplace. And by the way, why did you guys want to start a publication?

Austin: I see the tables have turned; now we are the interviewed. I don’t think we have actually shown you but we made a zine last semester. It was just an 8.5x11 folded in half and stapled in the middle and somehow we convinced eight or nine students to contribute articles and outside work. It was just a super-neat experience. Getting people to share their opinions was what we wanted; providing a platform to talk about architecture or

SPACEWORK 102

anything interesting really.

Eike: We passed them around and wrote notes all over them so we could see other people’s ideas about the work.

Austin: Yeah I think that was actually critical. It was strictly unedited and whatever anyone wanted to put in there ended up in there so we would write comments and critiques on top of their stuff. Each person reading it would scribble on it and then we would photocopy those pages with notes back in and that’s the final publication. I really liked that idea actually.

Dunham: Do you still have those? Are you going to reference that somehow?

Austin: Potentially, yeah.

patrick writes a p o e m !

Erik gets paranoid about big brother! austin studies studying abroad!

Eike Reexamines his formative years!

Dan cooks up some substance!

Julie puts a new building under the microscope!

LINE OF FLIGHT ISSUE 00

Dunham: I think for this issue you should include it because it’s part of the history and making of the publication.

Austin: I think you’re right about that.

Maybe there will be a preview of sorts.

Dunham: What’s interesting about that example is that sometimes things lose something when they’re formalized.

Perhaps this isn’t what you thought it would be but I think SPACEWORK is going to be pretty interesting. Truthfully I was wary about the interdisciplinary approach when the idea was first presented, but I think that’s what makes it better. Interdisciplinary work is harder; it’s why I never liked team

projects when I was a student but the world doesn’t work like that.

Of course, we have to decide how to select, disseminate and frame the content. The great thing about the information age is that anything you can think of is out there. But it’s often too much information; there is almost too much architecture to look at, let alone understand, and I don’t usually know where to start. So I actually look everywhere online including looking at journals in the library—the curating in books is often better, however, it is often less inclusive. The benefit of a printed publication is that they usually have greater depth. I think SPACEWORK will be a great resource for students at any stage in CABE and other University design programs.

On a different note, I think the publication may be the single most important student initiative at the moment. Not to diminish other student efforts like AIAS, NOMAS, FBD, or the Global Architecture Brigades; those are different. What I mean is that they’ll never be able to accommodate the entire college. You can’t get all six or seven hundred students in CABE to fly to Costa Rica or Malawi to work on a project but the publication brings all of those efforts together in the one place that can include the entire population of the college. I think that’s amazing because there is no other voice like that: how do we bring all the students together at one place and time? But I think this is the closest we’re going to get right now. Maybe when digital technology is embedded into the publication there will be a way for everyone to respond.

Austin: That’s interesting because when we first proposed this to Barbara she asked ‘why not a blog?’ Why not something digital? I think it’s still interesting to have a printed object.

Dunham: Why is that?

Erik: I think we were really inspired two summers ago when we went to the Archizines show that was visiting at the Storefront in New York. It was nice to see the physical, printed matter which has a certain lifespan but I think more generally our generation has been raised by Archdaily. So the fact that the information is worthy enough to make it onto the physical page gives you a moving target that at least people can aim for and talk about.

Eike: It’s like a souvenir. It has this experience of making the thing. You get something to take away, like photographs that you actually print out and carry around. We’re also interested in how the object itself could be made. Whether it’s on a big newspaper folded into quarters or it was on heavy cardstock with a coated cover, it was just one more thing we could design.

Austin: I’m really hoping that kids scribble in it, take notes like we’ve been saying so it becomes an additive process instead of a presented conversation.

Dunham: I think rarity is a critical part of the discussion too. You know it’s expensive to travel, however, there’s nothing like seeing the real thing.

On the other hand you have digital representation which is going to get better and better until it’s at the point where you don’t need to get up and go anywhere. Do we even need to at that point? Can we still have the same discussion without having to get up out of the chair?

I’m sure librarians everywhere would love to hear architects talking about books. Though, we’ve got great online resources and books are expensive. They weight a lot; they’re hard to move; they damage easily.

103

Austin: Like architecture!

Dunham: Yeah and good books have a long shelf life right? So I think it’s interesting that you guys thought it was important to make a book because you started out with something that is pretty humble and you could have easily just said ‘let’s just go online.’

Austin: Yeah and I think the expendability of the proto-zine speaks to how long we felt people should pay attention to it. It wasn’t supposed to be something you reread year after year or treasured. It was just a medium for conversation and it will probably fall apart before the ideas get boring.

Eike: Yea it wasn’t something that you quoted or people referenced. It just became what you were doing at that time; you changed whatever tactic you were using at that moment and then you forgot about it.

Austin: It’s interesting because that was just for us. This time around we’ve seen how interested in this publication people are and a lot of them are sort of counting on us to come through with something pretty cool.

Dunham: Nobody’s counting on you.

You are coming through. [laughs] The show’s gotta go on! You may not be ready but so what? I don’t think Johnny Rotten or Sid Vicious ever worried whether they were ready to go on stage or not.

Going back a few minutes, I was saying this was probably the most pivotal moment since I’ve been at the university.

I thought the gallery was important as support for the College because it’s seen on a daily basis. Prospective students come in and look at students’ work.

However, the discourse is ultimately disseminated through the publication; what you’re saying; what you’re

thinking; what you’re doing. That’s what makes it interesting; the work on the gallery walls is so heavily curated, however, in SPACEWORK I think there is a broader and yet more nuanced voice to be heard. Maybe that’s why I feel so strongly about representing more work—first through fifth years in the publication—rather than taking a narrower slice.

Dunham: I think it will be important to stay in touch with all of you; to bring your voice back into SPACEWORK in some form. I don’t know exactly what that would entail other than you coming back at some point next year, maybe on day one, to have that discussion about the publication. What is it? What’s in its future? What form should it take?

Should it even be a three dimensional artefact? Does it change on a daily basis?

Does it change hourly? Can people just dump anything in it? I think it was great that the first few weeks really prompted you to think about what it was and how we wanted to do it in addition to what your expectations and aspirations were.

Erik: Did you volunteer for this position or were you conscripted?

Dunham: I could have said no but I didn’t want to! I thought ‘what a great opportunity.’ Even if I just sat in the background and didn’t do anything.

But I’m interested in how we convey information and I think clarity is important. You could have the same content but if it’s packaged or framed poorly no one will pick it up. You know, I want to look at something that’s interesting because there is only so much time.

Architecture: I’ve been thinking about this for a long time and I’m sure you have too. If you don’t think about it what’s the point? To just go blindly through life not knowing or thinking about what you do? You are architects.

But what does that actually mean?

You’re entering this profession. You’re going to get IDP hours and finish your ARE’s. You’re going to get your license and you’re going to practice but what are you even doing? My definition of an architect is a provocateur of the built environment. That’s our job. Health, safety, and welfare are part of what we do, sure, but that’s really building science. I think our mission is just a little bit different. Architecture: make it interesting.

SPACEWORK 104

Index

FERAS ALSAGGAF Architecture 16

MATTHEW ANDERSON

52

90, 92

Architecture 14

LAUREN ARRINGTON

92 24, 96

LEA DISANTIS RYAN DOLL

56

LOGAN DRY

58, 80

KRISTA DUGUAY Interior Design 14

AMANDA BLECHER

32 NATHAN ELLENBERGER

Interior Design 14

Architecture 14

32, 94

Interior Design 14

AMANDA BONELLI

18, 88, 98

Architecture 15

NICOLE BORIS

14

Architecture 14

JASON BRADSHAW

72 74

THOMAS J. BURGHART

58, 80, 88 22, 76, 88, 90, 96

ANDREW CALDERONE

58, 80, 96 94

DYLAN CATINO

74 78

Architecture 15

OLIVIA CERVASIO

38

Architecture 15

KALLA CHOI

56

LAURA COLGAN Interior Design 14

58

76, 96

RYAN KANE

18 FATEMA KANJI Architecture 14

94, 96

AMBER FREEDMAN ROBERT GARCIA ZACHARY GARMAN KATHLEEN GARNER MUZALIER GAUSSAINT STEPHANIE GERAGHTY BRITTANY GREENE

96

FRANCIS HANSSENS RYAN HARMS AMANDA HAUG Architecture 16

14, 58 34

CHRISTIAN KAULIUS

66, 92 14 98

AARON KIM

18, 88, 98

Architecture 15

14, 22, 96

TAYLOR KLEMM

46, 92, 98

Architecture 14

66, 72

ALEXANDER KLOHR

56, 60

Architecture 16

92, 98, 104

MEGAN KREIG

76

Landscape Architecture 14

98

ANDREW LACKMAN

78, 96

Interior Design 14

18, 36

BRANDON LANSING

58

Architecture 14

12

JULIA LARSON

16

Interior Design 14

22, 94, 96

LAUREN LEES

72

Architecture 15

32

Interior Design 14

LILLIAN HALE

40

Architecture 15

MICHELLE LEFF

48, 74

Interior Design 14

56

JUSTIN LENTZ

94

Landscape Architecture 14

88, 98, 104

STEFAN LESIUK

78

Architecture 15

102

Landscape Architecture 14

50, 74

DANIELLE KANAK

Architecture 15

Architecture 15

Landscape Architecture 14

MARIAN JONY

KYLE FERRIER

THOMAS FRANK

56

Interior Design 14

Architecture 16

Architecture 16

RICHARD CIANFRINI

22, 92

Architecture 14

18

LAUREN JESTER

Architecture 14

MEGHAN FORD

98

Architecture 14

Architecture 14

Architecture 17

IULIA CAZAN

32, 50

Architecture 15

Interior Design 14

LOUIS IANNONE

Architecture 14

JORDAN FORCE

18, 88, 98

Architecture 18

Architecture 15

Landscape Architecture 14

LAURA CARONE

94

Architecture 14

Architecture 14

MICHAEL HOLLAND

Interior Design 15

Architecture 14

Architecture 14

KYLE BURKE

22, 58, 98

Architecture 14

Architecture 14

DYLAN HERMAN

Architecture 15

Architecture 16

Interior Design 14

WILLIAM BROSTOWICZ

48, 96

Landscape Architecture 14

Architecture 15

RANDYLL BROOKS

TRISTAN EMIG

54, 60

Architecture 15

Architecture 14

Architecture 14

KATHERINE BLUMBERH

48

Architecture 14

Architecture 16

JARED BILSAK

MAURA DINARDO

THADDEUS HEINZ Architecture 16

Interior Design 14

Interior Design 14

SYLVIA BERGER

22, 66, 90

Architecture 14

Interior Design 14

Architecture 14

COLLEEN BARRY

SARA DEMUTH

NAHN LIEU

14, 58

Architecture 14

54, 60

TIMOTHY LINEHAN Landscape Architecture 14

46, 96

105

CHRISTOPHER LOUSOS

94

Landscape Architecture 14

STEFANIE LOVALLO

18, 38 88 94 14, 70 56 56 98 18 12, 76, 88, 96 18, 94, 98 22, 58, 72 56 32 98 72 46 46 56 40 60

Architecture 14

40,

DANIEL RICH PHILIP RIVERA HEATHER ROBINSON KENNETH ROPOSH EMMA ROSENWINKEL MICHAEL ROTHMAN BRANDON RUNNELS KEVIN RYAN BRANDON SAIZ HALEY SAUL

50

TIMOTHY SCHAEFER

80

IAN SCHIEVE Landscape Architecture 14

20, 90, 96

ERIK SMITH

56, 68

JESSE SMITH

92

STEPHANIE SMITH

92, 94

THERESA STARRS

56

RYAN THOMPSON

56

SEAN TICHY

96

Architecture 14

40, 58, 72, 96

DAVID TRAPP

14, 70, 88, 90, 96

Architecture 14

24

NATASHA A. TRICE

10, 14, 22, 90, 96

Architecture 14

58, 90

ERIK TSURUMAKI

10, 22, 72

Architecture 14

32

MATTHEW ULASSIN

38

Architecture 15

14, 58

JOSHUA VOSHELL

92

Architecture 14

80, 92

VICTORIA WETZELBERGER

56

Architecture 16

18

MELANIE WHEDON

12, 20, 96

Architecture 14

14, 96

DYLAN WILSON

90, 80, 92

Architecture 14

78

ELLEN WRIGHT

90, 94

Architecture 14

70, 90

Architecture 14

92

DANIEL SILBERMAN

Architecture 16

Interior Design 14

Interior Design 14

MICHAEL OPDAHL

LAUREN RANSOM

56

Architecture 16

Architecture 14

Architecture 16

CHRISTINE OBERMEYER

16

Architecture 15

Interior Design 17

JESSICA NONNENMAN

SHANNON RAFFERTY

SAMUEL SIEGEL

Architecture 14

Architecture 14

Architecture 16

ABIGAIL MUNNS

56

Architecture 14

Landscape Architecture 14

TREVOR MITCHELL

HA PHAM

74

Architecture 15

Interior Design 14

Landscape Architecture 14

VANESSA MILLER

94

Architecture 14

Architecture 15

STEPHANIE MILLER

KEVIN PETERS

KAITLIN SHENK

Interior Design 15

Interior Design 14

Architecture 15

RACHEL MIGLIACCI

18, 88, 98

Architecture 14

Interior Design 14

KELLIE MEYERS

COREY PEDERSEN

38

Architecture 14

Architecture 14

Architecture 16

BRIANNE MCQUAIDE

32

Architecture 18

Architecture 14

MATTHEW MCMAHON

JANAY PEARSON

JUSTIN SHAFFER

Architecture 16

Interior Design 14

Architecture 15

AUSTIN MCINNIS

46

Architecture 16

Architecture 14

CALLEIGH MCDONALD

DARPAN PATEL

54

Interior Design 14

Architecture 14

Architecture 15

MARIKA MAVROLEON

18

Architecture 15

Architecture 15

HEATHER MARTIN

AKSHAR PATEL

ALEXANDRA SEBASTIAN

Architecture 15

Interior Design 14

Architecture 16

MIGUEL MANTILLA

56, 60

Architecture 14

Architecture 16

MELISSA MANCHA

JAKOB PASSERNING

54

Architecture 16

Architecture 15

Architecture 14

VERONICA MAGNER

32

Architecture 16

Architecture 14

EIKE MAAS

COADY PARKS

TYLER SCIRE Architecture 16

Interior Design 14

Architecture 15

PHILIP LUU

98

Architecture 15

Architecture 15

CHELSEY LOVE

MATTHEW OTRICELLI

JOSEPH YOUNG Landscape Architecture 14

92, 96,102

94

SPACEWORK 106

CREDITS SPACEWORK is a publication produced by the College of Architecture and the Built Environment, Philadelphia University. www.Philau.edu/architectureandthebuiltenvironment ISBN-978-0-9903292-0-6 ©2014 by CABE PRESS College of Architecture and the Built Environment, Philadelphia University, 4201 Henry Avenue, Philadelphia University, PA, 19144. All rights reserved. No part of this publication may be reproduced in any form without prior permission of CABE PRESS. All images of student projects appear courtesy of students enrolled in the College of Architecture and the Built Environment, Philadelphia University, copyright, CABE PRESS, Philadelphia University, unless otherwise noted.

Every effort has been made to trace copyright holders where applicable, but if any have been inadvertently overlooked, the necessary arrangements will be made at the first opportunity.

PRINTING Printed by Paradigm Printing, Southampton, Pennsylvania, United States of America.

ACKNOWLEDGEMENTS The editorial staff would like to thank Executive Dean Barbara Klinkhammer and Architecture Director James Doerfler for their enthusiastic support for a student initiated and produced annual College of Architecture and the Built Environment publication. The publication would not have been possible without the additional support of the CABE Advancement Council, in particular, Advancement Council member Amanda Gibney Weko who provided critical guidance in addition to editing the entire publication text. Lastly, we would like to specially thank Professors Donald Dunham and Orly Zeewy for their fearless guidance.

CABE PRESS Barbara Klinkhammer, Dipl.-Ing. Executive Dean and Professor James Doerfler, AIA, Professor of Architecture Director of Architecture Programs Ground Control Donald Dunham, RA, Assistant Professor, Architecture Major Tom

SPACE WORK PUBLICATION EDITORS Austin McInnis Erik Tsurumaki DESIGNERS Muzalier Gaussaint Dan Silberman

SECTION EDITORS Jason Bradshaw TJ Burghart Andrew Calderone Eike Maas Jessica Nonnenman Kaitlin Shenk Melanie Whedon

FACULTY EDITORS Donald Dunham, Publication Faculty Editor Orly Zeewy, Assistant Faculty Editor

EXECUTIVE DEAN’S OFFICE Terry Ryan Lynda Irwin Sarah Miller