Final Monograph

KieranTimberlake 2020

Contents Coupling

3

Filtering

11

Inserting

19

Outlining

27

Reflecting

35

Destiny Weal

Professor Jeremiah Woodring

Coupling Coupling is the difference that arises from dimension, materials, or direction.

Coupling is clear to the eye in design processes, theories, contracts, drawings, and construction techniques. The next few pages reflect projects that utilize this term. It adds dimensions in construction strategy and can also be decoupled when changes are needed. Coupling is different from joints because they wouldn’t need to be broken apart if change is needed.

Coupling is a concept of a way of viewing the world that is abstract and literal and reflects the idea of architecture. This section answers the question on how to recover the embodied energy in specific buildings.

3

SMARTWRAP LEVINE PIERSON

Timberlake, James, Stephen Kieran, Alex Cohn, and Karl Wallick. “Kieran Timberlake: Inquiry.� (New York, NY: Rizzoli International Publications, 2011), 39.

Figure 3: Scaffold Assembly Axonometric

This structure explored how to hold a 100ft long sheet of polyethylene terephthalate (PET), which is a lightweight plastic, in place using only two fasteners to reduce the amount of connections. This plastic can only be tensioned in one direction so therefore it resulted in the material being at an angle to spiral it back to the base.

Figure 2: Bosch Rexroth Tensioning Mechanism(Top) and Attachment Details(Bottoms)

Figure 1: Smartwrap Exterior

Smartwrap

Timberlake, Kieran, Cohn, Wallick, 39.

Timberlake, Kieran, Cohn, Wallick, 38.

Timberlake, Kieran, Cohn, Wallick, 42.

Timberlake, James, Stephen Kieran, Jennifer N. Thompson, and Karl Wallick.

“Manual: The Architecture of KieranTimberlake.” (New York, NY: Princeton Architectural Press, 2002), 212.

Figure 3: Site Plan

This building explored how to join two existing buildings with different completion dates of 60 years and having only a single floor height aligned with each other. The process started by moderating sectional differences. The solution was a programmed bridge. This coupling works within the building’s complex, which is jointed by the solid brick, and through it to courtyards, which frames the void of urban space.

Figure 2: First(Left) and Fourth(Right) Floor Plan

Figure 1: Levine Exterior

Levine

Timberlake, Kieran, Cohn, Wallick, 43.

Timberlake, Kieran, Cohn, Wallick, 48.

Figure 3: Module Joint Exterior Plan Detail

This building was fabricated entirely off-site under the pressure of space and time. The building needed to be installed during a spring break time of two weeks while workers also maneuvered around the fact that it existed within a compound of historic buildings. The challenge was designing a brick joint between the buildings which led to the upcoming of a toothed void. On the inside a cover plate expresses the joints and it masks any planar differences between the joints.

Figure 2: Elevation

Figure 1: Pierson Exterior

Pierson

Timberlake, Kieran, Cohn, Wallick, 49.

Timberlake, Kieran, Cohn, Wallick, 48.

Filtering Filtering is a way to define the process of sorting. In some instances we can being confronted with too much or too little.

By comparing and finding differences you are able to determine hierarchies of choice. Filtering can be used as a method of hybridization or invention, a reconstruction of resources in search of new compounds. It’s highly unlikely that a filter can work to adjust sunlight as equally as controlling ventilation, views, water, or circulation.

11

CELLOPHANE

SPECIAL NO. 9

LOBLOLLY

This structure is five years of collaboration of experimenting, testing, and research.

The structure features filters, facade captures, and redirects resources to the best zones. The energy that is captured can be anywhere between electrical, thermal, daylight, and ventilation. To retain heat the two layers of PET are used as a blanket of insulation that can be released at the top depending on the season. For wall ventilation there are also pop out panels.

Timberlake, Kieran, Cohn, Wallick, 58.

Figure 2: Seasonal Thermal Diagram

Figure 1: Vent Detail

Cellophane

Timberlake, James, Stephen Kieran, Alex Cohn, Daniel Cox, Carin Whitney. “Cellophane House.� (Philadelphia, PA: KieranTimberlake, 2011), 41.

This is a project that demonstrates that sustainable design can be suited with market rate housing. Through using better efficient systems, insulation, and non toxic materials this project exceeds the cliche ‘American house’, in terms of energy and health. The most important filter is the porch filter which changes the raised first floor to street level. The owner stated that she feels more connected to the environment which is important for people’s health.

Timberlake, Kieran, Cohn, Wallick, 73.

Figure 2: Transverse Section

Figure 1: Wall Section

Special NO. 9

Timberlake, Kieran, Cohn, Wallick, 72.

This home represents how architects perceive envelopes. There has been a likelihood to limit the change between exterior of a building and its interior to achieve consumptive heating and air conditioning systems. The building envelope is more shaded as ventilation, solar, and thermal conditions that are filtered are more changeable. The rainscreen is used to camouflage itself within the forest and to serve as a place for birds is to use. Since the house is raised on piles it lets the water to land breeze flow through the house.

Timberlake, Kieran, Cohn, and Wallick, 65.

Figure 2+3: Heating Diagram and Exterior

Figure 1: Wall Section Detail

Loblolly

Timberlake, Kieran, Cohn, and Wallick, 130, 64.

Inserting Inserting is the act of working within existing boundaries and constraints.

It is piecing together elements of a building or the building itself.

Central to architectural production, identifying bottlenecks of bracketing and technical complexity are conditions for concentrated study. Inserting requires awareness of numerous design considerations at various scales.

19

SCULPTURE WELLESLY LOBLOLLY

This building is located in the middle of a block, that was later enhanced with daylight. To keep the inside from overheating, they developed solar filter functions for absorbance and emittance. The goal was to create a light beacon to attract people to the building. This building retains heat, filters daylight, and is insulated with translucent aerogel.

Timberlake, Kieran, Cohn, and Wallick, 95.

Figure 2+3: Site Plan and Exterior

Figure 1: Wall Section

Sculpture

Timberlake, Kieran, Cohn, and Wallick, 82.

The main goal for this project was universal access. The decision to create a more synthetic approach was more ideal than downgrading the elevator to the back of the building.

There was a commitment to make sure the architectural qualities of the building were respected and the code was met. The elevator was turned into an object and inserted with the new stairway instead of hiding it.

Multiple additions such as a classroom space, music salon, and rehearsal hall expanded the college’s art facilities.

Timberlake, Kieran, Cohn, and Wallick, 96.

Figure 2: Wall Section Deatails and Interior

Figure 1: Stair Sections

Wellesley

Timberlake, Kieran, Cohn, and Wallick, 97.

This house was fabricated off-site with architectural components such as bathroom vanities and integrated mechanical walls. Entire rooms, called blocks, that were integrated with bathroom fixtures were assembled off-site. The aluminum scaffold became a structural device that holds all the components in place.

Timberlake, James, Stephen Kieran, Jan Haux, and Laurie Manfra. “Loblolly House: Elements of a New Architecture.� (New York, NY: Princeton Architectural Press, 2008), 30.

Figure 2+3: Folding Wall Section and Construction Site

Figure 1: Loblolly Trees on Site

Loblolly

Timberlake, Kieran, Cohn, and Wallick, 93.

Outlining Outlining is synthetic thinking that depends on the quick construction and analysis of an outline. This could manifest itself more literaly by occuring in the scaffold of lines that forsee the integration of aesthetic, constructive, and inhabitation forces in an architects’ sketch. To add to the percise ordering of buildings, outlining is presented at KieranTimberlak’s entensive use of matrix as a tool to organize the not so straight forward conversation that occurs during the design process.

27

SCULPTURE LOBLOLLY 1315 HILL

In this building, the gallery is being detached from the studios to communicate the intended role for each institution in terms of public access. The building is outlined and connected to the rest of campus by a flying beam and terrace. Present throughout the campus the gallery view is framed which joins a typology of passages and towers. The design of the sculpture studio laid the beginning for this spatial development in the modest building.

Timberlake, Kieran, Cohn, and Wallick, 129.

Figure 2: Lobby Section and Exterior

Figure 1: Balcony Plan and Stair Section

Sculpture

Timberlake, Kieran, Cohn, and Wallick, 128.

The unknown rainscreen is fixated on the building silhouette in the middle of its site. The rainscreen creates an irregular passage of light and shadow through the loblolly pine forest. The design exercise was used with the creation of the random pattern of cladding as much as perfecting an ordered system.

After many repetitions for the framing of darks and lights the facade still didn’t seem dense enough on the back elevation. For a more stratified presence that makes more sense as the wood weathers over time, there are layers of the windows, walls, screens, and shadows.

Timberlake, Kieran, Cohn, and Wallick, 130.

Figure 2+3: Parapet Details and Exterior

Figure 1: Cladding Diagram

Loblolly

Timberlake, Kieran, Cohn, and Wallick, 131.

Timberlake, Kieran, Cohn, and Wallick, 132.

Timberlake, Kieran, Cohn, and Wallick, 133.

Figure 4: Exterior

Figure 3: Wall Sections

To merge the apartment block with the smaller scale of nearby homes a grid of frames slide vertically as part of a sitescale strategy. There are multiple building sky profiles eroding the buildings mass.

Fifteen years prior at the Shipley School contained shingling walls with slates as a rainscreen wall, were also used in this building. To manage the visual variability of the rusticated stone it is protected by a thin edge frames.

Figure 2: Wall Sections

Figure 1: 1315 Hill Exterior

1315 Hill

Timberlake, Kieran, Cohn, and Wallick, 132.

Timberlake, Kieran, Cohn, and Wallick, 133.

Reflecting Reflection is an aspect of color that relies on physical properties of the environment and the different realizations of the viewer.

KieranTimberlake’s work method with materials are likewise reliant on physical properties and their perceptions of material characteristics. Reflecting is apparent in other KieranTimberlake’s design works such as Smartwrap and the Loblolly house, are literal and exceptional aspects of reflection.

35

SMARTWRAP

CELLOPHANE

LOBLOLLY

To reinforce scalable potential and mass-customizable patterns there is a choice of two patterns. The spectrum of spatial depth was not expected when creating this facade. Provoking material associations and perceptions of layers, this project suggests the modification of conventional windows. This structure is approximately 60 square feet of the stimulated wrap to provoke consideration of the spatial insinuation of Smartwrap.

Timberlake, Kieran, Cohn, and Wallick, 196.

Figure 2+3: Elevation Details and Exterior

Figure 1: Elevations

Smartwrap

Timberlake, Kieran, Cohn, and Wallick, 197.

The stairs in this structure are made out of plastic and are luminous. The contradiction between the two supplies the blurred passage of people with an additive element of sensuality. The stair is a sheer piece of light, it’s a capacity that feels light and airy. Its glassy feel makes the stair one of the few semiprivate spaces to achieve a completely transparent structure.

Timberlake, Kieran, Cohn, and Wallick, 198.

Figure 2: Interior Stairs

Figure 1: Serial Sections

Cellophane

Timberlake, Kieran, Cohn, and Wallick, 199.

A good amount of time is spent sitting and observing the scenery at this site during the projects development. The quiet subtle changes the wispy thinness of the cord grass, the way the new horizons sweep in, the quality of light across the water, the sunrise, and the dominant and vertical randomness of pines.

Timberlake, Kieran, Cohn, and Wallick, 201.

Figure 2: 3D View of Bridge

Figure 1: View of Chesapeake Bay Exteror

Loblolly

Timberlake, Kieran, Cohn, and Wallick, 200.

Bibliography Timberlake, James, Stephen Kieran, Alex Cohn, and Karl Wallick. “Kieran Timberlake: Inquiry.”

New York, NY: Rizzoli International Publications, 2011.

Timberlake, James, Stephen Kieran, Jan Haux, and Laurie Manfra. “Loblolly House: Elements of a

New Architecture.” New York, NY: Princeton Architectural Press, 2008.

Timberlake, James, Stephen Kieran, Jennifer N. Thompson, and Karl Wallick. “Manual: The

Architecture of KieranTimberlake.” New York, NY: Princeton Architectural Press, 2002.

Timberlake, James, Stephen Kieran, Alex Cohn, Daniel Cox, Carin Whitney. “Cellophane House.”

Philadelphia, PA: KieranTimberlake, 2011.

Timberlake, James, and Stephen Kieran. “KieranTimberlake.” Philadelphia, PA: KieranTimberlake.