“JUST” SELECTED WORKS The Architectural League Prize for Young Architects + Designers Matt Hagen Evan Taylor iFprojects.ca 2019
JUST MATERIALS
JUST INTENTIONS
JUST FOR FUN
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WRITTEN STATEMENT When things don’t make sense right away, those interpreting the architectural object are provided with the playful and empowering opportunity to create their own meaning - in this moment, the users are given agency. As a form of archi-democracy, we believe that architecture is truly validated by the inhabitants. When those without an architectural background can perceive and understand the values and intentions of a design, space, object, etc., both the public and the profession can benefit. Architecture can become latently suggestive through design techniques such as: the unusual application of a “normal” material, references to popular culture and local icons, the use of everyday objects, and highlighting environmental processes. By reducing architecture’s exclusivity through humor, surprise, and elements that appear to be “just for fun”, we can capture the attention of those who may not normally be interested in a social or political issue or topic. In our projects, we involve the public (knowingly or unknowingly) in the process of design by imprinting their bodies in the space, or by appealing to basic desires of formal curiosity and physical interactions. Through a playful approach that is rooted in contextual research and peculiar references, we hope to allow the work to engage with broader audiences.
a shiny gold color to a squishy bench a pop star’s head as a bee house a cow’s spots as the heart of a humanitarian effort a slice of cheese as a urban greenhouse
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PROJECT INDEX
P_2018
P_2018UNDER THE RED
R/B_2018
MOIST CLUB
P_2018
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P/R/B_2015-17 P_2018
-ASST STUDIES
COOL DUNES
B_2016
14
P/R_2017
TOWARDS A NEW NORMAL
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P_2019
P_2017
LUMP TOWER
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SKY SHAFT
P_2017
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B_2016
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P_2017NOT THE BEES! 46
LEGEND year
P/R_2016
P_2017
SEA CAN’TS 54
B_2013/14 Built/Proposal/Research
project title
TITLE 21 page number
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UNDER THE RED type: competition client: On The Docks year: 2018 status: MAA Prize: People’s Choice budget: n/a location: Winnipeg, MB
info: Excerpt from design brief: The intent is to involve citizens in urban potentials of the underused and/or abandoned spaces of Winnipeg. Through a community based ideas competition, people are encouraged to come up with imaginative solutions for the site. There are no limitations to the ideas, and exploratory ideas are encouraged.
Under the Red brings Winnipeggers below the surface of the mysteriously murky waters that define our city. The sloping site is sliced in three directions, providing ramped access down to a large underwater window. This one-of-a-kind view is both educational and playful; it raises awareness about the river’s health, and offers a serene moment to observe the flowing waters... or take an underwater selfie!
A rigid retaining wall stabilizes the soil. An underwater window gives a provocative peek into the Red River. River-side ramps descend down; on the surface linking to public paths of play. In wintertime, ramps are revealed; they lead to the skating surface. Prairie plants and native trees are planted amongst the serene site. Guardrails emerge from the grassy ground, lining the three simple slices. Extraordinary engravings in the guardrails pay tribute to Tina Fontaine.
CAPTIONS Top: The activity at the Alexander Docks in 1923. Top Middle: The current condition of the Alexander Docks. Bottom Middle: A citizen pulls refuse from the murky and muddy waters of the Red River near the docks site. Bottom: Conceptual rendering of the underwater window.
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UNDER THE RED
CAPTIONS Sections through various portions of the sub-grade river viewing platform show proximal relationships to the landscape and the river. Top Images: East to west section drawings. Bottom Images: North to south section drawings.
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STABILIZE THE RIVERBANK + concrete retaining wall + preserves river’s edge for future generations + resistant to winter ice flows
UNDERWATER WINDOW + view the murky makeup of the Red River + raise awareness of river water qualities + unique winter views below the ice surface +underwater selfie bakdrop!
WATERFRONT RIVER TRAIL ACCESS + accessible from existing waterfront pedestrial trails + river-side ramps provide winter access points +landmark on the frozen river skating trail
CONNECTIONS WITH RIVER + provide public access to waterfront + informal park engages and embraces the changing seasonal qualities of the riverbank +retaining wall as a visual register of changing water levels
SITE AS MEMORIAL + concrete guardrails etched in memorial to Tina Fontaine + linear shape & river access reference original docks + native trees and grasses planted amongst the site to preserve wild prairie & riverfront landscape
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MOIST CLUB
HOW DO I JOIN THIS CLUB LOOKS LIKE CHEESE
WHY IS IT MOIST
type: competition client: Gardens Manitoba year: 2018
WHAT ARE THESE PLANTS
status: awarded, built, vandalized budget: $1,000 location: Winnipeg, MB
info: Excerpt from design brief: To increase public awareness of
Rebond foam is a recycled foam product typically used as carpet underlayment. This material is usually hidden in plain sight, despite its beautiful mottled color.
gardening spaces and design in those spaces. To allow for gardening in small spaces with greater yields and provide food security. To challenge yard design away from beds, gazebos and decks. To use materials and design so that people can adapt and use structure as their own.
A recycled foam mass provides a light and malleable infrastructure for plant growth. The mass captures rainfall and absorbs the warmth of sunlight - an ideal environment for plants to grow within and upon. The saturated room is punctuated by swisscarved openings, operating as windows, doors, and moist pots. Here form does not follow function, form follows photosynthetic growth. We aim to encourage a slow culture; slow food. A slow message:
medium as message. message as slow. cheese as slow. slow as icon? icon as sponge. sponge as moisture.
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moisture as nutrition. nutrition as process. process as growth.
CAPTIONS
growth as room. sponge as room.
Opposite: Drawings indicating materials and future plant growth.
Top: Axonometric drawing showing cheese-block inspired form. Above: Competition rendering of foamy exterior of Moist Club.
MOIST CLUB
PLAN
ELEVATION
SECTION
ELEVATION 11
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INSPIRATION: Moist Club’s triangular holey form was conceived as a tribute and referential gesture to the slow process of cheese making, much like slow plant growth.
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MOIST CLUB
CAPTIONS Top: Long elevation of Moist Club, before planting. Bottom Left: Interior view showing exposed wood blocking for the mounting of planter boxes and potted plants. Bottom Right: Exterior view of the triangular form’s apex.
NOTE: Moist Club was vandalized in mere days after its construction, before planting and seeding could be undertaken.
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-ASST STUDIES type: competitions clients: various year: 2015, 2016, 2017 status: 2 x hon. mention, 1 x built budget: $500 - $5,000 location: Winnipeg, MB
info: Over the span of three years there were a series of similar calls for public bench designs in various locations throughout the City of Winnipeg. For each competition, we proposed a design which emphasized the project’s own process of making as a catalyst for the resulting creation. We became interested in encouraging a form for a bench which result isn’t fully realized until the construction process is underway. By establishing a process of making we aimed to produce a surface which can be shaped by the public during construction.
Ass-prints are a clear sign of human agency. A chair in a cafe, a curb on the street, an indent in the sand - all of these unique traces reveal the moment that the built environment is activated by the user.
We cannot predict how a bench will be used. There are unlimited sizes, shapes, and preferences of the street, the trail, and the city at large. Each subsequent proposal explored variants of this theme; making objects through materials and processes that might not initially be utilized for a bench, but of those which we felt align with the site context and the competition bodies for who the installation was intended for.
concrete and recycled pallets for the street.
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grass and soil for the farmers’ market trail.
CAPTIONS
shiny golden foam for the city center.
Opposite: A series of studies into human-activated benches, spanning from 2015-2017. The concepts shared a conceptual thread while materially evolving, culminating in a winning entry to an international design competition in 2017.
-ASST STUDIES
CASST info:
2015
Three layers of stacked reclaimed pallets create a raised structural base to construct upon. A blanket of flexible plastic becomes a surface for pouring small aggregate concrete onto. The plastic is then sealed shut, encompassing the curing concrete, creating a burritolike form to mould and shape the surfaces of the bench. While the concrete cures, the public will be encouraged to take part in shaping the malleable surface as the bench.
GRASST info:
2016
A thin steel frame provides a structural framework. A sheet of metal mesh and a biodegradable fabric sac are laid within the open frame. Mixtures of black soil, fertilizers, and grass seed are poured into the sac. The layers of fabric and soil are then sealed, and allowed to slump within the rigid framework. With time, watering, and a little love, grass will begin to peek through the skin, offering a soft bench surface to engage with.
BLASST info:
2017
A lumber base is placed within an open sac of fine permeable cloth. Layers of closed-cell expanding spray foam are applied one-by-one and left to partially cure. Once the mass of expanding foam reaches a seating height, the sac is sealed. The on-site builders, donned in disposable coveralls, then are encouraged to use the forms of their bodies to imprint the foamy container, forming spaces for seating and relaxation upon the flexible surface. Finally, a coating of glossy gold paint is applied as a proximal boyish gesture, and a simple visual delicacy.
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CASST
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-ASST STUDIES
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GRASST
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-ASST STUDIES
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BLASST
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-ASST STUDIES
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URBAN BEAN-ING
CAPTIONS Above: The seductive and playful nature of the bench became an urban phenomenon, referred to by Winnipeggers as “Bean’ing”. Opposite Top: A night-reader activates the bench under streetlight. Opposite Bottom: The blobby form hangs over the curb, blurring the boundaries between public/private, and formal/informal.
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FOAM IN THE STREETS
-ASST STUDIES
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COOL DUNES type: competition clients: Cool Gardens year: 2016 status: built budget: $10,000 location: Winnipeg, MB
CAPTIONS Above: Competition rendering showing users frolicking within the hills. Opposite: Images of the installation in relation to the Pumphouse. The space was activated by various visitors such as urban cyclists and local community groups.
info:
SITE PLAN
Excerpt from design brief: Cool Gardens is a public exhibition
+/- 2m high hills
of contemporary garden and art installations that offer a shift of sensation for the summer—cooling—as a general theme for public projects in the downtown. The presentation of the cutting-edge garden designs places design culture at the centre
3/4” diam. recycled concrete pebbles, typ.
of summer activities in Winnipeg, while offering a pleasant relief
32m
from the summer exasperations.
A hidden retreat, a play-scape for passersby, simple yet intriguing... the Cool Dunes are a heat absorbing topography of varying heights, composed of crushed concrete pebbles. The Cool Dunes take inspiration from the site’s existing gravel base and limited shade in the summer months. The Dunes’ undulating topography creates pockets of cool shade. The outer surface of the hills absorb the heat from the sun - but once disturbed, cool stone from below the surface will be exposed.
recycled concrete curbs and rebar as benches 2x12 lumber edging around perimeter
15m
The Dunes provoke exploration by contrasting the typical: resembling a gravel pit but within a city environment. Throughout the summer as visitors climb, play, and experience the Cool Dunes, the topography will change - eventually returning to a level plane before its removal.
STREET ELEVATION
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COOL DUNES
The James Avenue pumping station is one of many remnants of Winnipeg’s industrial age. It is located in the emerging community of Waterfront Drive that holds many examples of contemporary design and development. This design responds to the changing community by mimicking it with a temporal and changing design made with simple materials.
3/4” diameter pebbles of tumbled recycled concrete compose the hills; this material can be returned or used for future construction after its decommissioning. Concrete benches provide places to relax within the cool pockets of the dunes. 2”x12” lumber edging attached to posts keeps the pebbles within the site to reduce spillover.
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TOWARDS A NEW NORMAL
assessment questions: what is the current situation? what happened in the past? what could happen in future?
p
type: indigenous housing ideas competition
previous post-occupancy reports and assessments
client: Architects Without Borders year: 2017 - 2018 status: winner budget: n/a location: Canada (throughout)
info: Re-approaching Indigenous Housing in Canada This proposal aims to make visible the vast and complex web of realities that encompass remote indigenous housing. Here, a series of looped, themed graphical connections set a stage for unpacking and unraveling potential directions towards future buildings in these communities. This is an inventory of ideas, mapping and unraveling larger processes that are implicated in all facets of a complex humanitarian issue. Themes, labeled here as ‘portals’ are overlapped and flow through of other themes. Can we overlap the objective technical realities of building in remote communities with the generations of stories, knowledge and cultural lifestyles in the landscape that many of these communities were founded on? Can we set up a project framework that encompasses all of those who are directly and indirectly involved in the process of construction in remote and off-grid locations to work towards a mutually constructive and positive future? This project cannot be illustrated without acknowledging the inherent biases that might be held by someone outside of a remote community. Positions of bias establish perceptions that may not directly align with the values and realities of the communities involved and eventually effected. A single ideas proposal cannot satiate all of the issues related to living in remote areas, but we can move forward towards a beneficial future through successive iterations and considerations. 32
stories, myths, interviews, cultural exercises, demonstrations discussion mediators: architects designers engineers
collective listening and working
funding and feasibility as parameters, not limits
community m seasonal inha community l chiefs
inventory as tools for methodology establishment
materials funding skills imagination
pre-consultation phases as process for ongoing inventory
establish building possibilities
desire for bui
INVENTORY OF POSSIBILITIES inventory of: needs desires skills knowledge culture stories materials seasonal experiences experiments visions
provincial / federal political involvement and lobbying
alternative
distance as separator, and connec
TOWARDS A NEW NORMAL
what is here, now? what is around?
climatic histories & projections
people: groups, community, experts, insiders, outsiders what is at stake?
internal and external studies
experts: researchers geologist environmentalists technicians
climate ecosystem seasonal changes
sustainability measures ENVIRONMENT land remediation tree planting systems
members abitants leaders s PRE-CONSULTATIONS
spirit animal land earth
discussions as tools making as expressive action studios community workshops
ilt ‘aesthetics’
vegetation tree species soil conditions
what can be learned? what can be taught?
collaboration
local aesthetic from regional opportunities
material and process sourcing
experts: HISTORY AND CULTURE medical doctors provision of historical/traditional tools philosophers mental health specialists integration with contemporary tools potentials to conventional ideas nutritionists sociologists cultural events: artists teaching historians living off of the land ctor cultural anthropologists hunting security animal carcass preparations fishing workshopping activities: horticulturalists dancing idea making singing community studies religious/spiritual gatherings material tests inhabitants visions long-term imaginations PROJECT ASSESSMENTS
“truths are stranger than fictions”
establish thinking, discussing, making and building as a collaborative, reflective process of people and context 33
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It is clear that to make aware the necessity of collaboration within a specific remote community that work toward critical and robust explorations of design and building practices. Ideas that pose a blanket solutions for building practices over all remote communities will eventually fail just as the institutional “solutions” that preceded them. These ideas should be specifically curated within the individual remote community and its specific place in their respective cultures, embedded knowledge, spirituality, histories, landscapes, environments and climatic scenarios. The land which has sustained the community for millennia should continue to reflect a sense of “home”, through material resources, and ongoing cultural histories. For First Nations, place and culture are inextricable, so appropriate building designs will emerge organically within their own regional and communal specificities. Concepts of sustainability take on new meanings beyond economics, energy consumption and material efficiency and longevity. Remote architecture should nurture and sustain traditional activities, cultural practices in the passing on of knowledge, stories, and evolving histories. Collectively engaging activities and educational sessions (ie. workshops, out-of-community education, presentations, discussions, studies, reports) become shared experiences of understanding between all who are involved. Value is gained through a wisdom of many voices. Remote communities tend to have a strong relationship with the environments around them. Deep understandings of local ecologies link specific uses and traditions to the materials. Climate equally forms negotiations between the community and the landscape and how structures are built and maintained. These relationships could be further explored to maximize new potentials of these local materials forming new building assemblies, construction practices, and subsequent maintenance application as opposed to relying on standard and typical construction methods. Establishing regional material sourcing and processing, localized design importances, and long term construction and maintenance practices will allow the community to adapt, maintain, and instill growth as it sees fit. Opportunities for increased autonomy can augment resources and time needed for government funding to initiate and justify projects. Subversion of the standard client-consultant relationships, protocols of project development and funding through INAC, CMHC, and the levels of government put more onus on the community to decide what is necessary and appropriate for them. Expertise and involvement of professional architects, engineers, contractors, social and health scientists, etc. become avenues of mediation. 34
transportation opportunities: airplane winter road semi trailer boat snowmobile dog sled shipping container people pickup truck
material selections: local wood local soil local animal products imported products snow/ice water found materials cross-cultural exchanges
‘crazy’ vs. feasible
PROJECT CONSULTA
infrastructure communications energy internet industrial
d
building material recycling and upcycling
workshoping for lon
r
possible non-built outcomes: education programs cross-cultural exchanges new building techniques understandings on living strategies
unknown building assemblies: [TBD..]
“Deeds are not accomplished in a few days or in a few hours. A century is only a spoke in the wheel of everlasting time.” - Louis Riel
TOWARDS A NEW NORMAL
possible built outcomes: housing community teaching/learning in-community off-community landscape infrastructure pavillion nothing?
known building assemblies: wood stick frame steel fibre and foam insulation cordwood rammed earth concrete historic/traditional hybrid (new and found materials/techniques)
TATIONS
function - aesthetic
discussion mediators: architects designers engineers
education through trade, construction and design experts
post-occupancy reports and assessments
propagation of regional skills and material possibilities community empowerment
regional specificity
TIME AND GROWTH
continual government financial support
ngevity, weathering, and maintenance techniques
skilled and unskilled labour and techniques
record and compile iteration information MAINTENANCE AND GROWTH
building additions
building renovations
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LUMP TOWER type: competition client: ALNY x Socrates Sculpture Park year: 2019 status: pending budget: $12,000 location: Queens, NYC Steel scaffolding is a common sight amongst the New York City streetscape. This robust, and adaptable skel framework allows for flexibility and quick assembly.
info: Excerpt from design brief: Socrates Sculpture Park seeks an innovative solution for a kiosk to mark the entry to the park. Staffed with two volunteers during events, the kiosk will serve as an information and visitor hub and merchandise sales point. The kiosk should be functional and durable, with integral storage and signage, and movable on a seasonal basis. The structure should be stable enough to resist adverse weather conditions.
chromey. foamy. scaffoldy. The kiosk is a strange absurdity; it contrasts the rigid pragmatic forms of the Big Apple’s Metropolis. It is assembled using construction materials typically hidden from public view. It is coated with an egregious glaze, creating an antithesis to the across-the pond towering edifices.
Unexpected materials make unexpected forms.
Expansion foam is typically used in wall cavities and window jambs. This familiar material is used in an unfamiliar way, sparking curiosity of visitors.
This proposed entry kiosk aims to engage the curiosity of Sculpture Park go’ers by providing a contrasting oddity, enticing them to further explore the dynamic park environment.
You see a strange LUMP-y object from afar. Light reflects off of its shiny surface, you cannot resist reaching to touch it. As if it was dipped into the supple froth of an alternate universe, a suspicious structure looms over the park. 36
CAPTIONS Opposite: New York City contextual studies revealed various metallic materials as both seductive and class-referential. Current socio-pop-cultural references were intertwined in both the naming of the proposal “LUMP” Tower and its antithetical chrome coating.
EXCLUSIVITY BOURGEOIS GOLD AE$THETIC TOWER
LUMP TOWER AS EFFIGY TO SHARED EXPERIENCES AT SOCRATES SCULPTURE PARK. MAGIC IN THE MOMENT, PUBLIC AS ONE.
GOLD AS HIGH BROW
COPPER AS LOW BROW
SILVER/CHROME AS PEOPLE’S MATERIAL
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METROPOLIS CALCULATED NORMALITY
TOWER AS PERFECT FORM, TOWER AS METROPOLIS. PARK AS OPPOSITE. BLOB AS PERFECT KIOSK, AMORPHOUS IS LIMITLESS
CAPTIONS Above + Below: A series of precedent studies into the surrounding context of the site and using the kiosk as an antithetical object. Opposite Top: Front elevation of kiosk showing open condition. When closed down, the awning is flush with its surrounding blobby exterior, forming a seemingly-solid bulbous mass. Opposite Bottom: Site axonometric. The chromey and foamy exterior works as a beacon and landmark within the larger sculpture park.
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LUMP TOWER UNPREDICTABLE LEISURE
LUMP TOWER
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PLAN
ODDITY DRIPPING FRAME 8’-0” CORRUGATED PLASTIC DOOR W/LOCK
STEEL SCAFFOLDING FRAME BLOBBY SPRAY FOAM EXTERIOR W/CHROME PAINT FINISH STEEL SCAFFOLDING FRAME
26”
38”
CORRUGATED PLASTIC “GLAZING”
PAINTED PLYWOOD FLOOR
18”
FRONT ELEV. FULL WIDTH OPENINGS W/OPERABLE AWNING
20”
40
8’-0”
LUMP TOWER
SIDE ELEVATION
TEMPTING ATTRACTING LOOKOUT PERCH VIEWING
PREFAB STEEL SCAFFOLD LADDER FOR ROOF ACCESS, PAINTED
OPERABLE AWNING WITH FOAMY CLADDING
12’-0”
CORRUGATED PLASTIC “GLAZING” FOAMY BRACING BEYOND
(ILLUMINATED FROM WITHIN)
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SECTION (EXPOSED FRAMING)
WELCOME RELAX SQUEEZE FORM BEACON
LOOKOUT/DISPLAY AREA FOR SCULPTURES OR SIGNAGE
(PTD. PLYWOOD OVER 2X6 FLOOR)
STEEL POST FRAMEWORK CAN BE FASTENED TO
(DISPLAYS + LIGHTING)
STEEL RODS USED FOR MERCH DISPLAY, ATTACH TO INTERIOR FRAME 12’-0”
PLYWOOD COUNTER SURFACE
LINES OF LOCKABLE PLYWOOD SHELVING UNIT BEYOND
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LUMP TOWER
SIDE SECTION
SIMPLE SCAFFOLD FOAM PAINT
EVENT LIGHTING ATTACHES TO STEEL FRAME FOR CHROMEY REFLECTIONS
STRANGE KIOSK 2X6 DECK
W/ PLYWOOD FLOOR
MERCH DISPLAY
PLYWOOD LOCKABLE STORAGE CABINET 2X8 BASEPLATES FOR LEVELLING, W/ PAINTED PLYWOOD FLOORING
CUSTOM WOODEN BENCH
CHROME PAINT
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SKY SHAFT type: preservation & re-use study client: Winnipeg Art Gallery year: 2018 status: proposal budget: n/a location: Winnipeg, MB
info: First announced in 2010, the Inuit Art Centre (IAC) is slated to be constructed linking into the southern portion of the triangular-shaped Winnipeg Art Gallery (WAG). This new addition and renovation will soon put the largest collection of Inuit Art on public display for the first time in history. The IAC, a California-designed white brick clad iceberg, will soon rise up behind the Tyndall stoneclad Canadian-designed mid-century modern gem. Situated between these two buildings exists a standalone triangular chimney stack, rising up beyond the WAG’s signature roof-line. With the IAC design completed and construction underway, the chimney stack is up for demolition as the sub-grade mechanical rooms are to be rebuilt and consolidated to accommodate the new building and evolving mechanical air-handling unit technologies. We believe this chimney, a piece of art in its own right, is integral to continuing the relational connections between buildings old and new and should be retained and integrated into the new Inuit Art Centre’s design.
CAPTIONS Top: The stern side of the WAG, showing the now demolished studio building and chimney located near the loading bays.
The chimney stack is re-imagined as an immersive, multi-level experience between gallery spaces that draws in and reflects the prairie skies above. 44
Top Middle: Conceptual positioning of the chimney within gallery spaces. Bottom Middle: Looking up within the reflective and clear topped Sky Shaft. Bottom: Composite drawing of the WAG, IAC plan sketch, and chimney position.
SKY SHAFT
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NOT THE BEES! type: competitions clients: STUFF Group year: 2016 status: awarded, built, vandalized budget: n/a location: Winnipeg, MB
info: Excerpt from brief: The competition calls for a BEE HOUSE PROTOTYPE that explores the space-form-habitat relationship of an urban bee habitat. The challenge of the competition is 1) to explore space-form-habitat relationship based on the design parameters for common native bee species, 2) to design a BEE HOUSE PROTOTYPE, and 3) to design its fabrication (digital fabrication) methods and deployment scenario(s).
A narrative exploration of the socio-cultural relationship between Nicolas Kim Coppola and contemporary bee degradation. We propose a design for a contemporary bee inhabitation that reflects the socio-cultural references and implications of the time. Drawing on historical and current events in the pop-culture realm, we can extrapolate a unique dichotomy between several seemingly unconnected positions. By understanding the fragile and intricate natures of the honey-producing bee, along with sociohistorical overlaps, new considerations for controlled inhabitation can be explored. Overlaying an ongoing pop-cultural narrative with the time line of the past century’s bee extinction scare reveals a new and formally appropriate manifestation of our culture’s influence on Anthophilia. Our design rejects the notion that form may follow function; instead form will follow pophistorical flux. 46
NOT THE BEES!
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LIMINA
Bee habita lowering c
BROW BELVEDERE
AUDIBLE APEX 2
OBSERVATION HIVES
OBSERVATION HIVES
VERBAL VISTA
MEDIAL MEADOW
AUDIBLE APEX 1
MEDIAL MEADOW
AUDIBLE APEX 1
BROW BELVEDERE
AUDIBLE APEX 2
MAXIM PASTORAL APIARY ZONE
Close-prox bee develo
PASTORAL APIARY ZONE
VERBAL VISTA
MEDIA
Operation for a wide
SITE PLAN
SITE PLAN
University of Manitoba University Pointlands, of Manitoba Bee Utopia Pointlands, Bee Utopia
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0ft.
15
30 0ft.
15
30
AL DENSITIES LIMINAL DENSITIES
NOT THE BEES!
Telescopic vertical member allows for member allows for Telescopic vertical outer cage removal and maintainance outer cage removal and maintainance access onto the surface of the beethe house access onto surface of the bee house
Adjustable base plateAdjustable fitting for base complete plate fitting for complete bee house removal bee house removal
tations are spread Bee habitations at wider proximities are spread at wider proximities competitionlowering betweencompetition houses between houses
NORTH ELEVATION NORTH ELEVAT Ergonomical cage handle for easycage handle for easy Ergonomical vertical cage movements andcage extractions vertical movements and extractions
Varying scales of surface penetrations Varying scales of surface penetrations give maximum habitat opportunities give maximum habitat opportunities
EAST ELEVATION EAST ELEVATIO
MAL DENSITIES MAXIMAL DENSITIES
oximity houses Close-proximity create abilities houses for large create scale abilities for large scale bee development in cooperative communities lopment in cooperative communities
External cage of varying printed External cagematerial of varying printed material thicknesses for shading opportunities thicknesses for shading opportunities
Simple flat 3D printed base plates Simple flat 3Dfor printed base plates for excess material collection extraction excessand material collection and extraction
WEST ELEVATIONWEST ELEVATI
AL DENSITIES MEDIAL DENSITIES
ns occur within Operations proximal occur ideologies within proximal ideologies e range of species for a wide observations range of species observations Undulating surfaces Undulating on house surface surfaces on house surface offer ample opportunites beesopportunites to offerfor ample for bees to congregate and inhabit at their desire congregate and inhabit at their desire
Single 2”x2” wood post received Single 2”x2” into wood post received into form under the 3D printed baseplate form under the 3D printed baseplate
SOUTH ELEVATION SOUTH ELEVAT
TI0RLLNI1
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NOT THE BEES!
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NOT THE BEES!
CAPTIONS Opposite: Nicolas Kim Coppola as an urban bee house in situ. Left: Section and elevation detail images reveal the contours and cavities of the habitations for the pollinating bees. Right: Urban bee habitation placement and construction details.
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SEA CANT’S type: arctic halfway housing charrette
STAGE 1
Cower Plant erected on site.
client: Enactus year: 2016 status: competition budget: n/a location: Iqaluit, Nunavut STAGE 2
First units adapted and attached to grid.
info: A vibrant village; an active assembly, a collaborative community... Are shipping containers really an appropriate answer for an indigenous society? The “Sea Cans” competition called for a modular, expandable, and re-configurable arctic housing system made from recycled shipping containers where each unit requires its own HVAC, plumbing, and electrical connectivity. With the competition’s culturally questionable programming, an uncertainty in the real intention of an arctic halfway house was apparent. Internet searches yield endless interior layouts and other projects using shipping containers; we questioned “how can we move beyond the typical and explore a culturally and situationally sensitive proposal?” Instead of imposing ‘southern’ ideas of a transitioning lifestyle - this project aims to promote a sense of personal ownership and rehabilitation through the creation of living spaces.
STAGE 3
Community grows, facilities are added.
STAGE 4+
Communal space + canopy activated by urban arrangement.
Through the proposition of a system of production that implicates the inhabitants, the community can be built in its desired ways. Inhabitants have a role in the planning, preparation, manufacturing, and connection of the greater community as it grows. A coloured framework outlines ways in which containers might be outfitted for various programs, be situated relatively to one another, and gather in communal living situations. For cultures that are historically rooted in family, communal work and play, the tools for living must be made relevant to their lifestyles. 54
SEA CAN’TS
The proposed adaptable system allows inhabitants to learn transferable skills, social empowerment, and democratic community building through the participatory construction of individual and communal units. This community
construction could initially be funded through governmental support and brought off the ground through citizen’s commitments, investments and active participation into seeing through the evolution of the community. 55
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water in
water storage 8’ x 8’ sea can
20’ x 8’ sea can electricity hook-ups
cold water hook-ups
hot water hook-ups
pump mezzanine boiler
hot water tank pump elec. supply entry ramp
screw piles
Illustrated through the motif of a universally known lifegiver, the “Cower Plant” is first erected on-site, housing the sources of heating/cooling, water, and electricity for the new development. The central Cower Plant is equipped with a four-sided grid of utility ports which allow for a network of incoming potential program (see section above). Various degrees of insulated and uninsulated shipping containers are arranged around by the community around the Cower Plant, latching on to its ports to receive their required utility demands. As the containers feed from the central core, their insulated piping systems create a colourful web overhead, eventually becoming the scaffolding for a canopy over the central shared space. 56
wall/ceiling assembly corrugated steel, paint. floor assembly
type yellow stock floor surface uninsulated, no utility hook-ups corrugated steel, paint.
Cower Plant utility hook-ups.
central canopy stretched over insulated pipe framework.
perimeter container stacks as storage + wind screen.
access road for community and water delivery.
0 ft.
10
20
40
80
COMMUNITY PLAN wall/ceiling assembly corrugated steel, paint. epoxy bead 1x3” strapping batt insulation, steel stud. 1/2” finished plywood
wall/ceiling assembly corrugated steel, paint. epoxy bead 1x3” strapping steel stud 1/2” finished plywood
type blue uninsulated w/utility hook-ups
floor assembly 3/4” finished plywood t&g subfloor panel container joists
type red insulated w/utility hook-ups
floor assembly 3/4” finished plywood t&g subfloor panel vapor barrier container joists batt insulation 1/2“ osb air barrier 6” rigid insulation osb cladding
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