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Ash leM arie Fau vre

P O RT F OL IO o f AR C H IT EC T UR A L P R OD U C T ION 2 0 0 7 -2 0 11

Table of Contents 1

3 5 7 9 11

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While products result from process, at times processes ask open questions. Weaving examples of both illustrates an approach.

product: process: product: process: product:

process: product:


L a u nd r y of M er i d a i n t er n a t i o n a l st u d i o a p r o d u ctive g r eywa ter l a n d s ca p e

Ru r a l a nd U r ba n Gr eywater i n t er d i sc i p l i n a r y st u d i o / i n d e p en d en t p r o j ec t p r o p o s i n g g r e ywa ter i n f r a s tr u ctu r e

Ni kkei Center of S ea ttl e i n t er n a t i o n a l st u d i o awn i n g s a n d en g awa : b etween i n a n d o u t

Del a mi na ti on a s conce pt c o r e st u d i o / f u r n i t u r e st u d i o d evel o p i n g a n i d ea i n to i ts a p p r o p r i a te f o r m

S ch o o l o f S u s t a i n a b l e Tr a ns por ta ti on c o r e st u d i o g l a ci a l er o s i o n i n u r b a n co r e

ma p, memor y, a nd d i a g r a m i n d e p en d en t p r o j ec t / t hesi s r esea r c h s i te a n a l ys i s th r o u g h ex ten d ed p r o ces s o f i l l u s tr ation

D i s cover y Pa r k Na ta tor i u m

c o r e st u d i o a s wi m m i n g h o l e a n d a ca b i n i n th e wo o d s






Ph ilos o phy


Environmental design gives stability and hierarchy to sets of invisible relationships at many scales. The role of design is to add rhythm, texture, light, and sense to everyday life. A good building, like a good leader, should cohabitat congenially with its neighbors, adding elegance and ethics to its context. Architecture should help individuals connect to fundamental truths, helping us understand our place in the world. While this portfolio does not suggest a singular focus, it has been organized to demonstrate a series of overlapping interests, and their yields.


en students traveled from University of Washington to Merida, Mexico. After presentations by the city’s development organization, students scouted their own sites in the downtown core. This project sits inside the walls of an abandoned colonial apartment. The new steel framed intervention introduces a closed loop laundry, car wash, and tidal wetland to the auto repair oriented block. The practical offerings are juxtaposed by the absurd and excessive cap. Baffles of lasercut hotel sheets respond to fluctuations in humidity, wind and light; blurring the line between environments of labor and leisure.


A Interior perspective B three short sections and one long

C photomontage of neighborhood D greywater purification system in axonometric

L A UN D RY of MĂŠrida 5 6 3

add pressure soften water


coarse filter holding and 7 settling add pressure chamber

9 holding and settling chamber

wash 1



tidal wetland

holding tank



city main




wash 2







ioremediation, water purification, and public space. A study to graphically represent processes of greywater purification parallels a studio project to adapt traditional strategies of water infrastructure for the bioremediation of a culturally rich hamlet in rural China.

A Water from the shower is led to an open sand filter. B The sand filter functions as a vertically stacked bed of aggregates. The water moves downward from fine to coarse. C The surface of the water supports biological activity, involving a bacteria-removing process. D Finally, the water is fed by gravity to the garden, where it infiltrates back into the water table



Detail for one urban greywater system

U rb a n G re y wa t e r S y s t e ms

Rur a l G r eywater Sys tems

A living canal system greywater processing for old town B canal width calculation: The old town can house 500 people. The living canal can support 1 person/128 sq. m. C wetland system greywater processing for new town D wetland area calculation: The new town can house 500 people. The wetland can support 1 person/3.8 sq m Details for Sizing Water Systems


Urban water cycle, Seattle





In May 2005, the Wen Shuan earthquake destruction included the recently constructed buildings in the hamlet of Taoping. This studio project proposes a living canal and wetland to process wastewaters as part of a plan for reconstruction.

new town

The wetland needs 1900 sq m of processing surface area, plus access.

C A B if

canal begins upstream at Zentou Creek

Overview of Reconstruction Plan

river edge living canals planted and purify grey- softened water from Old Town

purified water slowly streams away into Zagunao River constructed wetland purfies greywater from New Town

155 m long each canal can independently process greywater for entire old town, we need 64 sq m of canal surface area, making the canal .5 m wide

3380 sq m

6 sq



To resolve the change in slope in the north to south direction, a wide buffer zone is included. In this An alternative way, primary processing scenario softens can be organized in tiers, and then cleaner water the river edge in a can go through a final similarly tiered system, only reaching the river near the stage and the river can wash it away. living canal outfall. 998






ea ar

Open Sand Filter

qu re

n y n er io it tio at ce ct un ec l w an ne m nnloca en con com t o e n c to cl st ai to m cy co

d ire

10sresidence of people; a residence block 10s of people; a andand a ablock

Greenhouse Ecosystem

10s-100s ofa people; a neighborhood 10s-100s of people; neighborhood

Constructed Wetland

of people; a city 100s-1000s100s-10000s of people; a city

Membrane Bioreactor

10s-1000s of people; a town 10s-1000s of people; a town

Centralized Treatment

Greywater Systems, matrix

1.3 m rubble wall of recovered concrete or traditional stone

reeds gravel


.6 m

porous pavers CMU blocks set in sand compacted sand compacted gravel perforated PVC pipe drains excess stormwater to canal


A Section cut following greywater canal B Section showing road and canal C wetlands sizing diagram D Seattle water system overview E single family home adopting a sand filtration greywater system F Matrix comparing various greywater purification systems




fter a ten day study tour to Japan, the studio was charged with the design of a culturally sensitive yet contemporary cultural center in the U.S. This project maximizes the transitional space between inside and outside provided by the awning, or the engawa of the Japanese house. Depending on the program they condition, the awnings vary in their durability and permeability. The composition of independent structures related by awnings captures the flow of the paths and patterns of the surrounding neighborhood.

NI K KEI C ENTER O f Seattle E F


A Bird’s eye view B Outside classrooms, festival day C Leaving a festival, with combinations of awnings overhead with collapsible awnings used in Japanese market streets D Detail, northwest corner of Hall E View of Center from northwest corner F Plan G Section e-w looking north


9 E









TECTONIC DRAWING northeast wall of Great Hall A metal roof B rigid insulation C steel sheet diaphragm housing raised steel frame triangular clerestory sealed with silicone D steel frame spaced 6’ o.c. E concrete ring beam and sill F welded steel sleave G lateral steel rod tying frames to CMU wall H slate grey 6”x6”x12” CMU interior and exterior curtain wall I wood floor radiant heating concrete scrim



A Baths below library, Institute for the Blind B Experiments with “delamination” and woodwork C Detail, kerfing, cherry veneer plywood D Detail, relieved table top, reclaimed walnut E Preliminary kerfed child’s seat F Final secretary’s desk






d e lamin a t io n a s c o n c e p t Spa f or the B lin d


iresias, a blind seer from Greek mythology, was chosen as a potent totem for this Institute for the Blind and Visually Impaired. The studio investigated poetic notions of strong and weak in architecture. The project explores the material qualities and spatial implications of delaminated wood (a composite material made multiple; a rigid material made pliant) through program (baths and a library) and tectonic language (board form concrete). Later, in a longer exploration in a furniture studio, abstracting the process of delamination according to the qualities noted above yielded a series of tables. G

metal roof rigid insulation vapor barrier concrete slab parapet flashing


his structure holds a corner opposite a large park as a solid block. Upon further investigation, the solid is hollowed out as if ice had receded from the interiors. Using imagery produced during a prior workshop (see caption), the caverns house civic spaces and support digital communication hardware while reflecting on the promises of speed offered by conventional transportation marketing.

window system I box window facade

interior glass exterior glass wall faced in 1/4” aluminum cladding batt insulation ventilation flaps fascia bent steel plate (bolted) steel structure

for window system

screed rigid insulation concrete slab


framed partitions 6x6 “ steel columns 16’ x 20’ grid

tessellated tube steel supporting aviary mesh and theatre scrim fabric

window system II post and beam facade

double pane glass

tessellated tube steel supporting aviary mesh steel casing, sealant

two way concrete slab

A concrete slab

steel plate, rubber gasket rigid insulation concrete retaining wall

1” metal grate (bolted) steel flange 48” x 48” glass panel

vapor barrier french drain in gravel


NIST: School of Transporta Tectonic Drawing:


Wall Section northeast


Park g Cal Anderson Pine at 10th, facin Fall, 2008 -- Jim Nichols --

-- Seattle, WA

Arch 432 Ashle Fauvre --





S CHO OL of Su s tain ab le Tran s po r tation A Model, Juhani Pallasma workshop, used as conceptual idea for project B Trasitional Conceptual Model C Axonometric tectonic drawing D Arcade in school E Section through auditorium F Floor plans from Ground floor to Third floor moving right



Wa l k i ng by Wa ter : u n ders tan ding Seattle’s pl ace between m ap and m em or y B



hen we design, we imagine the E le p h a n t Ca r Wa s h , S e a t t le Ce n t e r: t h e s i s d a t a context and its conditions. On the 15 ground, the site is a melange of competing sites and sounds. On the map, the site is a graphic abstraction. Unmediated experience adds taste and texture to the context we imagine when we design. Highly mediated representation orders and rationalizes this context. On the left, two process oriented series, experiments in printmaking, play in the territory between the map and the ground to create a meditation on the relationship between nature and structure on the edges of Seattle, WA. Photographs taken on a walk (the upper half between sound and lake, the lower half at the junction of canal and lake) were digitally processed and then re-created using paint and laser cutter silouhettes (above) and traditional copper plate etching (below). The results obliterate both extremes in order to create something new and very contingent. On the right, a diagram playfully illustrates the process organized and directed by the architecture and programming of a famous family owned local business, the Elephant Car Wash. Pulling away layers of hard and soft infrastructure show the simple pavilion and tunnel as an organism vivified by use. A One of four maps annotated during a walk between bodies of water in Seattle; digital and lasercutter process experiments; one of four final drawings combining map and site traces B One of four photo collages from walk C Series of abstractions from photos of Montlake Cut. Photos are combined, gridded, copied onto aquatinted copper plate, then slowly scraped and burnished away until the photo is obliterated and the memory of water remains D Diagram comparing a simple architecture with a complex and layered system of use at a car wash.


A Plan B Entry C W-E Section looking north D View from upper deck to pool E N-S Section looking west




ike our favorite childhood swimming hole, this Natatorium can be found deep in a wooded park. The primary glu-lam frame houses the pool and connects to the surrounding forest with half-walls of windows. When entering the relatively massive structure on the second level, it relates in scale to other cabins at the same elevation scattered along the main path. In preparation for the swim, one sinks down a staircase to a subterranean changing room before emerging into the mellow light of the pool house.



D iscover y Park NATATORIUM E

East-West Section looking South 1/8”=1’0”

Pu b l i ca ti o ns P re s s R elease

Yakama Des i g n - B u i l d S tu d io

Au g u st , 2 0 0 8

Ho m e E c onom ics


M a n a g i n g ed i t o r, i ssu e 2 3 , 2 0 0 9

Le tt e r f ro m the Edito rs


Edi t o r, i ssu e 6 , 2 0 1 0

Th e M u seum Expl ode d


A u t ho r, i ssu e 2 5 , 2 0 1 1 ( i n pr o c ess)

S e n t o a nd Social Network

Spaces and F l o w s Confe rence

P r esen t er / A u t ho r, 1 7 -1 8 No v em ber 2 0 1 1 ( i n pr o c ess)


“This community center is a place that addresses the needs of the local community: to have the comfort of knowing their children are safe and cared for in their own neighborhood,” said CAUP instructor Dana Walker, who taught the summer architecture program. “These multiple views of home kindle a feeling for the West: shifting between settling down and moving out; between extinguishing the campfire and igniting the hearth fire; portraits on the move.The boom-bust story of the West plays out across the globe in the theatre of the American Dream.”

“In our inquiring hands, a broken inner tube becomes a planter, a picket fence is a formal device, and a bit of wire is also a door handle.”

“Over the course of ten years, an art museum embedded in a cliff began to slowly explode, like a flock of birds; like a bomb; from a small beach to an entire archipelago; from land to sea, into a multi-sited festival.” “By relating cyclical rituals of purification to a the sharing of resources, a fundament of the urban experience, the sento or Japanese public bath secures a subtle and integrated presence in the memory and imagined community of the bather.”

Pr o f i l e

a sh le marie f a u vr e

Researcher, designer, teacher, investigating the rhetoric of water infrastructure in real and imaginary civic space via architectural design, mapping, storytelling, analytical drawing, and other methods of recording and representation. The trope of water simultaneously addresses fundamental physical and psychological human needs, potentially creating a casual democratic forum. As a native of southern California raised during the 10-year drought of the 1980s,

I am told that my first experience of rain was in the Disney cartoon, Bambi. An avid sailor and swimmer, I am afraid of snow, preferring water in its liquid state. 2010-2012 MEXT Japanese Government Fellow at Kobe University, conducting research to support a Master’s Thesis on water infrastructure and civic architecture, to be presented at the University of Washington in 2012. I hope someday to describe my professional work as loyal and resilient.


A View from upper deck to pool B Detail, exterior wall of pool volume C W-E Section looking

“A g ro u p g ets to g eth e r, m a kes a pond, or digs a wel l . T h er e i s n o m a k i n g o f h o u ses o r ra i s i n g o f wa l l s. T h ey s i m p l y m a ke h u ts fro m th e p l en ti f u l s tr aw a n d i n nu m er a b l e tr ees, a n d i n s ta n tl y a v i l l a g e o r ci ty i s b o r n .� B a b u r

Architecture Portfolio of Ashle Fauvre