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for my father

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Gil Jang

PRACTICE CHRONICLE C arn e g i e M e llo n U n ive rs i ty SchoolofArchitecture ARC_48-381

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Scale: 1-0’ = 1/32”

Housing Unit Plan Abstraction

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WHAT AM I? MY

PROFESSIONAL

SELF 10 CHALLENGES 14 PERSONAL PROFESSIONAL EXISTING ORGANIZATIONAL MY MY

ASPIRATION 6 EVIDENCE 12 ANSWERS 18 SUCCESS 24 SUCCESS 26 PRACTICES 28 STRUCTURES 34 PATH 40 WORK 42

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What is your professional aspiration? I want to explore fabrication as an architect. I want to design, research, and eventually add to the theory, and raise the standards of fabrication in architecture. More specifically, I believe that there is a level of craftsmanship and artistry that can be lost in the process of realizing a built project. My hope is to blend digital fabrication techniques with the hand of an artist. To me there are four degrees of accomplishment within my projects I produce. First is to create shelter for another human being: to provide a basic service. Second is to create an experience within that shelter that could not have been achieved without my help: to create art. Third is to provide other architects new ways of improving others lives: to create tools. Fourth is to further develop the field of architecture and its capabilities as a profession: to incrementally raise the standards of the profession as a whole. I want to explore the capabilities of fabrication and their overlap with nature: to find an overlap between the natural and synthetic.

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My avocation is a selfish one. I love to collect and learn from moments of curiosities: to see where a designer has been defined by the tools at their disposal. A misprinted plot with banding, a 3D-print that only printed the structure, the remnants of a plywood sheet after cnc-ing, all reveal the limits of the designer to control their tools. To me it is much like stone carved from a stream, or a birds nest made from twigs and trash. All things are defined by something else. My passion is to see the thing that builds the thing.

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‘Do it for the piece of sky we are do it for the air that will be displa for the fucking concrete. Because

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stealing with our building. You aced, and most of all, you do it e it is delicate as blood.’

Ivan Locke

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A tree was cut down behind my friend’s house.


Why are you right for your Professional Aspiration? I deeply appreciate nature. I grew up in the mountains outside of Daejeon, South Korea. As an eight year old I would hike to nearby peaks with my brother. I would cut dead trees for firewood and fashion tools from the branches. We would play in the streams and feel the smoothed stones under our bare feet. I collected textures. The trees, the stones, the dirt, and the air was my home. That’s why I have the sensibilities to fabricate with materials in mind. My father collects paintings from countries he travels to (even if he can’t afford it). Every wall of the house has at least one art piece on it. My mother loves to build furniture. Her most prized possession is a table saw in the basement along with enough tools to make another house. I have been lucky enough to inherit both. My goal is to do my background justice. I have been given the opportunity to share with other people what impact nature has on a human life. I have been given the familiarity with tools at a young age. I create my own tools like I create my own art. I collect branches from fallen trees for projects later on. I believe at every moment there is an opportunity for design and architecture.

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Me (left) and my brother (right) 12


Why is your Professional Aspiration right for you? Architecture is a competitive practice in nature. I am competitive in nature. I grew up playing three sports and the people I compared myself to were always older than me. I find that I do the same with architecture. I look for the best examples of work that I can find and try to put myself into that category of quality. Sports and architecture are similar in that the success achieved is tangible. I find that producing work and creating milestones gives me satisfaction. Architecture suits me more than sports because the conception and creation of a project is a process I have enjoyed my whole life. Working with my hands to create something is as satisfying as winning a soccer game. Pictured to the left is me and my brother building and carrying a cross to a peak and planting it there for fun. Nothing truly satisfying is easy. Architecture theory is deconstructive in nature. Curiosity drives me. I search for things to discover, not for things that passively entertain me. I would follow a wild cat to find it’s home. I would hike a river to find its source. I’ve cut rotting trees to see what’s causing them to die. I deconstruct to find the roots of everything I study. I want to find the underpinnings of the universe. Then I want to create from those findings.

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The craftsman

+

14

The technician


What are the biggest challenges your Professional Aspiration faces in maximizing its potential? Making a difference in the world is hard. Inventing tools isn’t easy. Original ideas are rare. What can I do to set myself apart? Carnegie Mellon presents the unique opportunity to be heavily exposed to computer science and digital fabrication. There are people who devote their lives to coding, and there are people who have a deep connection to nature. I believe that I can find myself in a seam between the two.

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There will always be unknowns. We still have a lot to learn about how things can be made. The hope is to discover something worthwhile along the way. Architects can create a lot of inefficiencies. As we discover natural processes we also discover our own design processes. Architects lie. I know I have a habit of over-promising in order to please people. As I get older I am realising that this only misinforms and will hurt later on. Don’t lie. Have a strong back bone. Opportunity is earned. It should go without saying that no one is going to hand you creative opportunities on a silver platter. I am happy to accept that and work to win competitions in my own time.

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‘Voronoi Overdose’ (grasshopper). There is a lot of pseudo-science in architecture. It is my goal to get to the point where I can have the evidence in my work to present it with honesty and conviction.

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What are three ways you could better tell the story of your Professional Aspiration? A misconception of architecture and the motives behind what architects do often lies with the miscommunication of their intentions. We are not driven by economic incentives most of the time. We are driven by passion. We create to make something that lasts. Often our priorities aren’t aligned to the wants of the clients, which isn’t to say that our priorities are bad. Non-architects need to understand what is going on and begin to understand the world through our lens and why we want to do things certain ways. This is why communication is key. One. Drawings are a designer’s strongest tool to convince a client. I believe that an architect MUST be able to draw. I have put lots of time into learning how to draw what I see or what I envision. Strong understandings of light and space will further allow you to convey your message to a client. Drawing by hand is an invaluable tool that can more directly put your ideas on paper (without the hindrance of digital limitations). If you can sit down with others and show how you plan on doing your project then they can skip the possibility of misinterpretation.

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Graphite on paper

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Two. Show the tools and show the process. We like to hide how something is made. I love to see how it is made. I wish all joints were exposed. It kills me to see something beautifully fabricated get covered in paint. This also applies to our process. The process is fascinating yet non-architects will hardly ever get to see it. This isn’t to say that we need to show them our grasshopper script (although I would love to make that more accessible), but it does mean that they should see the tools at our disposal and how we are using them. For example, I had a class in architectural robotics where we were fabricating a concrete mold for a modular facade. We tried to use the robot for something that no other tool could do, having six degrees of motion and having repeatable high precision. To me it was beautiful that we made full use of the capability of the tool and we communicated how the tools defined the process.

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Foam Block Positioning

Robotically Fabricated Framework | Custom Modularity

48¡555 | Introduction to Architectural Robotics

Tool path

Robotically Fabricated Framework | Custom Modularity

Result

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Self designed and built installation piece


Three. Costs. While working at my fabrication shop, we met with a client who asked for a ‘tree’ installation. At the end of the discussion our client told us her budget was six thousand dollars. My boss said “we can do that” knowing full well that what she had asked for was going to take at least twenty thousand dollars. If my boss had been upfront about the costs of the project then we could have done exactly what was asked. However we needed the money so we decided to compromise for sixteen thousand dollars. Understanding costs is pivotal to a business’s success and ability to operate. If I can communicate costs, then I can create a better product.

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What does success look like for you? Success is two fold. Publicly I would like to be respected. Personally I seek satisfaction in having fun with my work. I hope to be recognized for things I have done. Awards are exciting and validating, but the thing that I really seek is that others look up to what I have done and begin to copy what I do. ‘Imitation is the highest form of flattery’ is something I believe in and it gives me a little smile on my face whenever I see people that I’ve influenced. Personally I hope that I make things that are interesting to me. I hope to travel to other countries and experience the different set world building that takes place. I hope to be able to give back to my family financially. Above all else I hope to find happiness from what I do. Happiness is hard to quantify. To me I will be happy if I have lived a full life: doing all that I can to left no stone unturned.

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Carved rocks outside buddhist temple

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What does success for your Professional Aspiration look like? What would move the profession forward? The field of fabrication is always progressing. It is no longer enough to just make something pretty. Parametric design is commonplace; mass customization is commonplace; pre-fabrication is becoming standard; there have to be new inventive strategies and I believe the best way to do that is to begin to develop my own tools and processes. I hope to make things from new materials that speak to the nature of structure. I hope to pull inspiration from nature itself. I hope to be making things like Neri Oxman and MIT’s programmable biocomposites (pictured right). Their work is “Derived from organic matter, printed by a robot, and shaped by water, this work points toward a future where the grown and the made unite.” Their work is irrefutably progressing the profession forward. What would the general public understand of this? The general public may not understand or use these materials until much later in their lives. Hopefully sustainable materials will become standard and we can begin a ‘return to nature’.

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MIT Media Lab _ Neri Oxman

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Existing Practice Typologies/Professional Outlet Typologies that represent my aspirations Type one: Research Based Groups are a category that don't necessarily try to get their ideas built. People might call them ‘paper architects’ because a lot of their ideas can be drawn but not necessarily become physically manifested. Research groups can be attached to institutions or companies interested in their work. Practices like these advance the profession forward most rapidly as they explore the boundaries of architecture. Dana Cupkova’s studio and research group, Epiphyte Lab, works in ‘speculative designresearch projects’. The work is based on exploring ecology, computational design, and aestheticism. Their research pushes to explore the boundaries and intersections of architecture with nature. This type of practice gains its merit through its discoveries that ripple across the realm of knowledge in the world of cutting edge practice. I am working this spring and summer with Dana Cupkova to create a living concrete project. Refik Anadol’s studio creates experiential data paintings and sculptures. He experiments with immersive installation work. While his work is more art than architecture, it is formed from naturally arising patterns in data. He is now working on artificially intelligent architectural photographic memories, using algorithms to process pictures and create ‘hallucinations’. I find that his work is important to me because of the tools that he is developing, beginning to bring parametricism into a visual realm. Andrew Heumann is a human who does research at the intersection between algorithmic pattern visualization and physical drawing systems. He searches to introduce looseness and randomness to line drawings by using a robot arm to hold a pen, thus creating an intriguing overlap of perfectness and error. His research has to do with directly exploring the tools at his disposal. ROB|ARCH is an association that holds conventions and hopes to push robotics and architecture. Every other year schools from all around the world come together to share their research. To work at a place like this means to curate their work. To curate their work would mean to begin to have a much greater understanding of what the capabilities of robots are in the overall field. Research in robotics means a greater understanding of how to optimize our tools. 28


A drawing from my project in Dana Cupkova’s Studio

Refik Anadol’s data sculpture: Melting Memories

Andrew Heumann: ‘a doodle’

Architectural Robotics class at cmu

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Oyler’s ‘Screenplay’

Ensamble’s tippet rise erection

Kengo Kuma Museum of Dentistry

Shop Dog Studios NYC self work

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Type two: Fabrication based firms will create projects with small teams using highly specialized workers either part of their group (or very close). The people who design also build and vice versa. These depend on small teams highly devoted to creating something worthwhile. Oyler-Wu Collaborative. Dwayne Oyler runs a small firm that fabricates across all scales: from a ring to a sculpture to a pavilion to a high-rise. His team of five are accompanied by interns and students that put in a lot of labor to realize the projects. He forces his agenda of challenging the built environment, hoping to create a more detailed and nuanced architecture. Their work is fascinating to me because it is not necessarily efficient but is purely about the grain of detail that they wish to explore in object making. Ensamble studio. While a slightly larger studio, with two heads Anton GarciaAbril and Debora Mesa, their work is personal and intimate in nature. They focus on using raw materials in hopes to get to the core of the processes that could be the dictator of form. Their work is truly inspiring and original and preserves the rawness of the earth that it touches. They attempt to design the process and not the product. Kengo Kuma creates work that is always working with the specifics of detailing joinery in such a way that enables the craftsman to shine. This work allows KK to think in tectonics. His buildings always play with a material's ability to repeat and connect to itself, and to teach people about the abilities of the wood. On the opposite end of the spectrum is the custom fabrication firm that I worked at 2018 summer. There the company holds on by creating things as efficiently as possible, sacrificing design along the way. Communication to every person in play is critical because everyone is full hands on deck on each project. While roles are assigned, everyone has input to the creation of the project. I was allowed to design, draft, build, install, and take down during my time there.

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Type three: Architectural firms with a focus on material palette and the details of construction. These more traditionally structured firms have been selected for their approach towards questioning each detail. These firms vary in size and geographic location but each of them aim to push conventions and address regional sensibilities. I seek not to necessarily work at these firms but to create with the same intensity of care as they do. Renzo Piano. I choose first to show renzo piano because his firm is a great inspiration to me in the quality of the architectural details engrained into his work. He works with 9 other partners, 5 fellows, 29 associates, and 84 architects and more support beyond that. Essentially his firm is large and therefore has the capability to create moments of fine detail with great efficiency. The benefits of a large firm are that they have begun to create strong ties with not only clients but their construction groups, allowing them to examine what is and isn’t possible. RCR Arquitectes, while not as large, are a firm that create with attention to material detail. They work on medium sized projects, from homes to libraries. They aim to create a new regional architecture within north eastern Spain. They are known for the Cor-ten steel that rusts in a very specific way. Patina is extremely important in understanding building material and that is something they exemplify. Weng Shu is an architect who operates in china. His firm is very particular about the materials used for the walls, he will let the workers decide how they want to make it. Whether it be bamboo or tiles or ‘Wa Pan’, the details are always location specific. Not only does this make a highly textured wall, it also responds to the larger problem of senseless corporate development all over china. Frei Otto is someone who originally inspired me to do architecture. His architecture used nature to inspire form. He created stadiums based on the structural qualities of tension. He used bubbles to understand mathematically the optimal surface area to volume. He was a leader of natural computation. He was the first architect that really peaked my interest into what was possible at the edges of architecture.

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Renzo Piano Menil Collection

RCR’s Les Cols Restaurant

Weng Shu Detail at Ningbo History Museum

Frei Otto Model

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Organizational Structure of Practices/Professional Outlets that will enable/ facilitate your Professional Aspiration Typology 1: Large architecture firm with a centralized structure. This is a diagram of a single branch of the larger structure of a firm such as (enter large firm here). This represents architecture firms that aim to operate effeciently, internationally, and at a large scale. This structure allows me to learn from those above me, set clear objectives about what job I want in the future, and begin to understand the process of creating a full building in detail. mid career early career Now

Pro Ma Senior Designer

Designer

Student Intern

Senior Architec Designer

Intern

Architect

Intern 34


Who knows how far I will go in the first firm I join. I see myself as endlessly curious so I believe that I can learn from each person’s position in the company. Once I understand the complexity and scope of the decisions made by the partners then I would like to begin to make my own group. I want the group I create to be dexterous, free thinking, and inquisitive. Perhaps a structured hierarchy affords the security for each individual know their place and express their thoughts appropriately and in the end lead to the best result. start my own firm decision to stay or start own firm

Senior Principal Partner Junior Principal

Department Head Senior Manager

oject anager Department Head Senior Manager

Junior Principal

Consultants

...

ct

...

Engineers /Analysts

...

...

... ...

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Typology 2: Perhaps the best way to establish a creative environment is to encourage equality. With an organizational structure that is flat I can say that everyone has a stake in the project and therefore will put more personal effort and conviction into their work. Shown below is a group that might take a project from beginning to end all together. Each person involved with each other’s parts means that there are always multiple views of the same problem. Each person is fluid in the network and can shift in terms of their title based on how much they want to be taking on.

Editor

Architect

Publishing Architect

Manager Architect

Illustrator Architect

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Some might say this is a recipe for chaos (although chaos has create some beautiful things). I understand that there will always be hierarchy in order for decisions to be made effeciently. Too many architects can dissolve an idea instead of add to it. If not everyone is informed about what the direction of the group is then the network falls apart. Therefore in small groups, this structure is most powerful and effective.

Client Rep

Architect

Designer Head

Architect

Architect

Technician Architect

Fabrication Architect

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Typology 3: A decentralized network of teams. A custom fabrication shop is a good example of a group that needs to execute tasks effeciently while maintaining creativity. I believe that some people are natural leaders and some are natural followers. Some people thrive when putting their head down and doing one thing extremely well, while others like to take control of a situation. It is really important that each person finds a role that they are most suited for. The company will shine as a result.

Accounting Head Facilities Management

Head of Installation

Head o Fabrica Managing Director

Technical Designer

Lead Draftsman

Technical Director

Senior Project Manager

In-House Designer

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I am a natural follower. I like being given a prompt and dissecting everything about the question at hand. I prefer to put all of my attention into the quality of the work. As I grow into the company I want my unique qualities shine and I want to be respected for my work.

Craftsmen

Head of Finishing

of ation

r

Interns

Budget Rep

Communications

Client Rep

Design Rep Client

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How will I get there? I can see my professional path going a few different ways, all fluid, intersecting and overlapping. As mentioned before, part of me wants to explore professional practice as an architect and part of me wants to focus on research. I want to be observing the overlap between nature and computation, but I also want to be engaging the built environment. That means I need to be seeking research through fabrication. I will take FICCA’s and BARD’s ASOS studios based on timber and concrete, then pursuing a thesis to further expand my knowledge. All the while I will be seeking internships from groups that are inquisitive as I am. Daniel Cardoso Josh Bard Dana Cupkova Dan Cascaval

Shop Dog Studio Dana Cupkova/G

Night Classes in Korea Parametricism & Computation

Fabrication Learning to Draw

Love for Nature

Internships

HS: Design Technology

B.ARCH

Res Gra 1 Research 1 Large Practice 1 Fabrication

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Growing up in the right place at the right time sets the tone for my curiosities

Early introduction to 3D printing, fabrication and Rhino 3D

Joinery Shop Class Arch-Robotics ASOS F19: FICCA_TIMBER ASOS S20: BARD_CONCRETE ACANTHUS to ANTHROPOSCENE


After graduation I can see my life going multiple ways. I could expand on my thesis and specialize further by going to graduate school. I could continue in the path I have set up with my internships by going to a professional practice and seeking licensure. This will allow me to start my own practice if I see that as necessary to create original work. I hope to contribute to theory in a setting that will allow me reach the next generation of students and designers, whether that is as a professor or as a writer, I am not yet sure. At the end of my life I want to return to nature. I prefer a cabin near a lake or a hut in the mountains rather than a penthouse in the city. Revisit my passion for Nature

Renzo Piano Dwayne Oyler Refik Anadol As a Project Designer

os GGN

Research/Design Fabrication Group formed from collegues

Return to Nature

Professional Practice

Robotics

Influence

Start my own firm

search at aduate

Theory Pre or Post Death ROB_ARCH conference Working with research groups

CMU_MSCD MIT_Media Lab GSAPP UCL_Bartlett SCI_ARC

Professorship Publishing Lecturing

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What is the evidence of your convictions in the aspirations identified? I plan to combine the synthetic and the natural using patterns from the environment using fabrication as my medium. While in the core classes of carnegie mellon I have engaged in extra classes that begin to speak to this goal: I am taking Matt Huber’s class ‘from acanthus to the anthroposcene’ and began to take Scott Smith’s advanced joinery class. I have taken introduction to architectural robotics. In contrast I took black and white photography which sparked my interest in the process of developing film and how exposure works just as much as the pictures themselves. Finally I have displayed a great interest in parametricism and pattern based thinking in all classes since the beginning of my time here. The next few pages will display my studio work starting from the most recent semester working backwards to the first to show how I truly see the world in terms of their processes, components, and tools, and also in terms of nature, detail, and artistry.

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Scale: 1-0’ = 1/32”

Housing Unit Plan Abstraction

Environment, Form, and Feedback

48·555 | Introduction to Architectural Robotics

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Bath House


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Hoop House


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Urban Grow Collective


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Hunt Library Parasite


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Abstracting Movement


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Exploring Proportion


Hopefully through all of these you can begin to understand how, without prompt, I will always see things through natural patterns and detail. I only hope to expand upon my knowledge and improve my toolkit for understanding myself.

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EXAMPLE PROJECT: Environmental Charter School The next part of this chronicle illustrates the process in which a current project is approached.

PROJECT 52 PROJECT 56 CONCEPT 60 PROJECT 66 DESIGN 68 DESIGN 76 ETHICAL 78 IMPLEMENTATION 92 BUILD 96 CREDITS

PROGRAM . ASPIRATIONS . APPROACH . PLAYERS . WORKFLOW . RESULT . POSITION . PATH . TEAM . .

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Project : Site The current project is an environmental charter school (ECS) for the city of Pittsburgh. The school is for grades 6-8 and brings in students from anywhere in the city. It is located in South Side Flats along the riverfront and heritage trails edge. The site visually relates to the rest of Pittsburgh. It sits like a beacon that has views to the cathedral of learning, to the UPMC tower and the highway across the river. It also physically relates to South Side Works, a commercial development that brings in people from all around the city. Therefore this site is about the whole city. A visit to the Upper Environmental School revealed that students would get one home room in which they would keep for all three years they attend there. At the same time, the shared spaces were always multiple use: the cafeteria, the auditorium, and the main gathering space were heavily cross pollinated with different programs. Therefore this school is in a state of tension between permanance and adaptation. The students favorite classroom was the think lab. It gave them the adjency to learn through creating. The school aims to ‘grow engaged citizens’ as they get students to understand their impact on the environment around them. How can we give students the ability to change their environment?

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South Side is located along the southern river edge of the Monongahela river. South Side Works is a recently re-invented commercial hotspot built to revatalize the previously industrial zone.

[South Side Works]


Project : Aspiration The program is now interpreted into a new system. The concept is based off of the natural self organization of foam: a maximization of central space, with smaller and smaller group spaces and then individual classrooms from the core spaces. The bubbles in the foam overlap and intersect: The central space involves itself in all other spaces, it becomes the gym, the cafeteria, the atrium, the auditorium, and even the green house. All classrooms and group spaces relate to this central space in some way. All program goes within the sphere of the envelope. The classrooms float within the envelope and the surrounding/intermediary spaces become an unbroken atrium. This begins to make the spaces read as buildings within a building, making the school read as a microcosm of the city.

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Peter Sloterdijk’s Foam: A 3D cellular agglomeration

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Project : Program Net Building Area: 30,000 sf +/-, Minimum FAR: 2.0 Building Occupancy: 320 (288 students and 32 staff) Gym/Assembly/Cafeteria: For all-school events including a daily lunch, fitness classes, assemblies, performances, exhibits, and non-school related community events. Think Lab: It provides multi-media information resources for students’ projects and classes and study space for individuals and groups. Supports specialized science, math, art, design, and making activities. Studio Classrooms: They must support multiple configurations to accommodate learning: individually, small groups, and large group. The building is to be a community resource, available for community use in evenings and on weekends. Resource conservation is a high priority for the project. The building should take full advantage of daylight to reduce lighting cost and related heat load. No area of the property, no matter how small, may be left without serving a purpose.

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Group 300sf Principals 900 sf Lobby 500sf

Teachers 1000 sf

Kitchen 1000 sf

Group 400sf Nurse 500 sf Assembly 4000 sf

Think Lab 3000 sf

Classroom 1200 sf x12 Outdoor 3500 sf

Greenhouse 1000+ sf

A simple adjacency

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Program: Aspirations The building aims to create a central bubble for all of the gathering to occur, every space relates to the central core as to create an inner city or interior realm in which the students can become citizens to themselves. The Foam resolves itself as a logical plan, with primary, secondary and tertiary spaces, all relating back towards the center.

Gathering

Learning

Gathering

Learning

Core Gathering

Gathering

Learning Learning

Learning

An Aspiration

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Gathering


A

B

C

D

E

F

1

2

3

4

5

Breakout Space

6

Green Roof

Elevation +30’0”

7

Classroom

Breakout Space

8

A Third Floor Plan. A

B

C

D

E

F

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Project : Intent The core of this project, the core of ECS, and the core goals of American education overall is to grow citizens that will take adjency and realize their ability to control the environment around them. Freedom is powerful. Students and Teachers should dictate the quality of their own spaces. The school is their second home. They should have a special spot in school that they can call their homeroom. That room should be unique in location but equivalent in quality to the other 'homes'. The neighborhood of homes within the building is centered around the unifying space. A space that will always be full of life whether it is the student's lunch time, the morning rush, or events on the weekend.

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The school should be built and perform with the environment in mind. The building will use the following strategies: Passive solar design, active solar design, photovoltaic panels, passive ventilation, isolated climates, capturing heat from activity, capturing heat from greenery, and natural daylighting. Architecturally I search for a transferable concept. I wish to set up a system for optimization. At the same time I wish to take advantage of local craftsmen to make certain facade details.

An Interior Panorama 61


Concept : Approach The concept started as a field condition. The manipulation of the field and a rationalization created a form that hid the true nature of it's playfulness. The building viewed from within acts totally differently from the building viewed from outside. The individual classroom defines the enclosure of the central space, and the use of the central space can define the classroom experience. The objects' interplay creates emergent realities that shift everyday, while the homeroom keeps a point of permanance. The structure and joinery is put on display as a learning point. The grid allows sunlight to flow in and around all spaces of the building. A play of light will occur unique to every day. The skin of the building wraps the skeleton. Encapsulating the whole steel/concrete structure with local wood.

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Stan Allen _ 'Field Conditions' 63


Concept: Approach

A maximization, an overlap, an aggregate

A decomposition, a tessellation, a pattern, a field...

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Becomes a specified response to environment

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Concept : Direction The grain of detail matters. The school is essentially a light box that allows light to filter in from every surface. That light is controlled by the students. The wooden skin on the outside of the building is manipulated by the students to get the desired amount of sunlight. Lifetimes can be spent on studying light.

A

B

B

A

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Understanding Layers


Solar Panel

Precast Pre-tension Concrete

Roof Membrane

Parapit Sill

Extra Support for Shading fin

SHUCO Adjustment Arm

noitategeV dna enarbmeM htworG

SHUCO Active Linear Shading Fin

reyaL eganiarD dna cirbaF retliF

R-13 Double glazed window

reyaL noitcetorP

bruC munimulA

Operable Window llis llaW teparaP lortnoC noisorE dna cirbaF retliF dna reirraB tooR enarbmeM foorpretaW

Barjoist bar

dna revaP htiw levarG llew eganiarD

Veggies

Exterior Planter box

SCHUCO Support system

Welded Steel Tab

TAKTL concrete Panel

Air Barrier and Flashing

Interior Seat and Cubby

Treated Wood Sill

R-20 Rock Wool Insulation

noitalusnI htiw ezalG elgniS bals revo

C Channel and Cascadia clips

Air Gap

Air barrier and Sill

Garage door system

Vertically oriented Bar Joist

llaW wodniW dezalG elbuoD REENWAK

Concrete Slab on Grade

draoB eganiarD niarD dna enarbmeM suoroP

revaP kcirB

High Density Rigid Insulation

Gravel Infill

Brick Paver

Drainage Board

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Detailing Layers


Project : Players ECS Board Faculty Admin

ECS Parents ECS Students

PA State Commisionary Board

City of Pittsburgh Public School Board

Architect Management Team

Contractor

Project Design Team

Project Architect Team Subcontractors Consultants Experts/Specialists

*Betsy Devos is the Head of the Department of Education. *Terry Kennedy is the District 5 Board of Education Director. The owner will be paying us to build our team and handle all the contractual agreements. Since this is a school, there are a lot more players involved. This requires careful consideration of all the stakeholders. This diagram is a simplification of the true scope of the project. Each bubble is composed of many interior players and roles within the organization. 68


Project : Team

Client City P

ECS School Board CEO: Jon McCann

Mandy Cribbs

Katie Lockley

COO: Kate Dattilo

Dwight Laufman

Michelle Resnick

OO: Nikole Sheaffer

Todd Hoffman

Surveyor

Ge en

Financial consultants

Mar ana

Development Management

Inv ban

Ashley Bergman TrafďŹ c analysts Jalech Robinson

The ECS School Board is made up of teachers and staff that truly care about the future of the school. They aim to create a unique academic environment that poses 'real world problems' to students and prepares them to be citizens of their community. They aim to be inclusive, to support and enrich the lives of everyone. "ECS serves the whole child - keeping them healthy, safe, engaged, supported, and challenged." - ecspgh.org/about 69

Envir impa cons


Archi Principals

Associate Principals

Senior Associates Associates

Contractor’s Team Executive Chairman

Co-Chief Executive Officer

Chief Marketing

Presidents

Vice Presidents

Safety Officers

Financial Officers

Human Resources

Technicians Quality Engineers Control

70

Plant Manager

Laborers

Pro Des

Consu Interior designers

S e

Mechanical engineers

Landscape Architects

Plumbing & Fire Cons

E S

Co co


itect’s Team

oject signers

Project Managers

Project Architects

LEED AP

ultant Team

Structural engineers

Tech Consultants

Equipment Specialists

ost onsultants

Civil engineers

Lighting Designers

Food service Consultant

Acoustic consultants

Support Staff

Client’s Team

Surveyor

Geotech engineers

Financial consultants

Market analysts

Development Management

Investment bankers

Traffic analysts

Accountants

Public approval specialist

Real estate attorneys

Environmental Zoning impact consultant consultant

71


12 mont

4 mont

2 week

Architect’s Involvemen Feasability Analysis

Programming Predesign

Client/Public Approvals

Construction Do

The Idea Schematic Design Strategic Planning

Design Development

Selection of Project Team

Workshop

Design Workflow

Reaching out Reviews Group Discussion Program Costs Analysis

Sketch

Priority Concept

Geology Adjacency

Ecology Site

Geometry

History Demography

72

Aesthetics

Research Precedent

Diagram

Approach

Material


?? mon

30 mon

Select Construction

ocuments Construction and FFE

Occupation

Illustrations Stylization CAD Drawings

Modeling

Review 3D Printing

hing

Diagraming

Screenshots Rendering

Evaluation

Trace Rhino

Production

Experimentation

73 Prototype


Design Workflow

January

The process starts at talking to the clients.

Environmental Charter School students seemed particularly interested in combining spaces to make sure they get double or even triple the use out of the rooms that they have. Students, the teachers, the administrators all had some input into the design process.

74


We analyze the site. The site of South side works proposes problems of iconography, socioeconomics, history, and pollution. We look at the challenges as unique opportunities for design.

[Public Services]

Public and Private Transit

[Transit]

January

Public Park Bus Stop Bus Route Train Bike Trail On Street Biking Route Public Boat Ramp

[Bathymetry]

Depth of River Sanitary Sewer Other Sewer Pipe Topo Line Site

Air Pollution

[Air Pollution]

High: 5.63 Low:0.52 >9.0 7.5-9.0 6.0-7.5 4.5-6.0

Black Carbon (Âľg/m3)

Nitrogen Dioxide (ppb)

Black carbon is a component of PM 2.5. Allegheny County does not meet the federal standards for PM 2.5 concentrations. Elevated BC concentrations are found in the river valleys. NO2 is emitted by vehicles, industrial facilities, and outdoor power equipment. The highest NO2 concentrations are found downtown, along major roadways, and near industrial areas. Our site is located in one of the most polluted area. However, it is outside the area with the highest concentration of BC and NO2.

75


February

We design the program.

We test ideas.

76


We work together

77

February

Gaining the viewpoints of others is key to any architectural endevor. This studio we tried our best to bring in as many outside architects, city planners, and ECS administrators, and experts as possible. This included trips to construction sites and Integrative design workshops.


March

We play with possibilities by protoyping our ideas.

We always aim to learn from the greats. Research from Renzo Piano, Mies, Boullee, Beux-arts, Kahn, Local history, and uncountable others will inevitably find their way into my work. 78


I am particularly interested in material systems and construction details. Therefore we ordered material samples in order to fully grasp the potential of our facades.

March 79


80

April


Not only do we iterate upon the design but in the final stages we iterate on the styles of interpretation and presentation. April

For example, I will always do multiple passes of drawings that are important to me, not just to try and get it right, but to explore the tools at my disposal, and discover new things through them.

81


Design Result 1

2

3

4

5

6

B1

7

8

FIN BLOCKING LIGHT

FIN ALLOWING LIGHT

ATRIUM WINTER SUN ROOF

F

E

D

C

A1

B

A

ROOF

UNSHADED GLASS TO NORTH

+ 44’ 0”

GLASS DOORS TO ATRIUM

3RD FLOOR + 30’ 0”

TAKTL HIGH PERFORMANCE CONCRETE PANEL 2ND FLOOR + 16’ 0”

PLANTER BOX

GRADE / 1ST FLOOR + 0’ 0”

SUN ROOF KAWNEER FIRE RATED CURTAIN WALL TRANSLUCENT WINDOWS 8

7

B1

6

5

4

3

2

1

A PHOTOVOLTAIC PANEL

PHOTOVOLTAIC PANEL

OVERHANGING STEEL FIN

WATER TROUGH GLASS TO ATRIUM

B

A1

C

D

E

F PHOTOVOLTAIC PANELS

RAIN WATER COLLECTION TO GREEN ROOF GREEN VEGETATION RAILING WALL FOR GREEN ROOF

VEGETATION PARAPET WALL

GLASS DOOR ENTRANCE

VERTICAL BAR JOIST

LOUVRE ADDITIONAL SUPPORT LOUVRE SUPPORT SYSTEM KAWNEER DOUBLE GLAZED SCHUCO HOLLOW BLADE

EAST FACE PLANTER BOX

TAKTL CONCRETE PANEL

VERTICAL BAR JOIST AS LOUVRE SUPPORT SYSTEM THERMAL BREAK FROM JOIST CONCRETE AT BASE

VERTICAL BAR JOIST GROUND LEVEL PLANTERS

EASEMENT LINE

82

SCHUCO ACTIVE SHADING SYSTEM

NORTH PLANTER BOX

GROUND PLANTER BOX


1

2

3

4

5

6

B1

7

8

FIN BLOCKING LIGHT

FIN ALLOWING LIGHT

ATRIUM WINTER SUN ROOF

F

E

D

C

A1

B

A

ROOF

UNSHADED GLASS TO NORTH

+ 44’ 0”

GLASS DOORS TO ATRIUM

3RD FLOOR + 30’ 0”

TAKTL HIGH PERFORMANCE CONCRETE PANEL 2ND FLOOR + 16’ 0”

Elevations

PLANTER BOX

GRADE / 1ST FLOOR + 0’ 0”

SUN ROOF KAWNEER FIRE RATED CURTAIN WALL TRANSLUCENT WINDOWS 8

7

B1

6

5

4

3

2

1

A

B

A1

C

D

E

F PHOTOVOLTAIC PANELS

PHOTOVOLTAIC PANEL

PHOTOVOLTAIC PANEL

OVERHANGING STEEL FIN

WATER TROUGH

RAIN WATER COLLECTION TO GREEN ROOF

GLASS TO ATRIUM

GREEN VEGETATION RAILING WALL FOR GREEN ROOF

VEGETATION PARAPET WALL

GLASS DOOR ENTRANCE

VERTICAL BAR JOIST

LOUVRE ADDITIONAL SUPPORT LOUVRE SUPPORT SYSTEM SCHUCO ACTIVE SHADING SYSTEM

KAWNEER DOUBLE GLAZED SCHUCO HOLLOW BLADE NORTH PLANTER BOX

EAST FACE PLANTER BOX

TAKTL CONCRETE PANEL

VERTICAL BAR JOIST AS LOUVRE SUPPORT SYSTEM THERMAL BREAK FROM JOIST CONCRETE AT BASE

VERTICAL BAR JOIST GROUND LEVEL PLANTERS

GROUND PLANTER BOX

EASEMENT LINE

May

G O!

ECS !

Section Perspective

83


A

B

C

D

Basswood Model

Breakout Space

Elevation +30’0”

Classroom

Breakout Space

Plans A

B

C

D

E

F

A

B

C

D

1

2

3

4

5

Breakout Space

Breakout Space

6

Green Roof

Elevation

Elevation

+30’0”

+16’0”

7

Classroom

Breakout Space

Classroom

Breakout Space

8

84 A

B

C

D

E

F

A 1

B

C

D


A

E

B

C

D

E

F

F

1

1

2

Street Render 2

3

3

4

5

4

Breakout Space

5

6

6

Think Lab

Elevation +16’0”

Green Roof

7

Classroom

7

Breakout Space

8

8

E

F

B

A

C

D

E

F

1

1

Teacher’s Suite

Nurses Suite

2

2

3

3

Workroom

4

4 Gymacafetorium

5

5

Conference Room

6

6

Think Lab Kitchen Elevation +0’0”

7

7 Principal’s Suite

Loading Bay

8

8

85

E

F


Ethical Position As a designer and a builder I will always keep in mind that the spaces I create, the processes I choose to make things, and the ideas I choose to represent will impact hundreds of people across all different ages and across time.

Obligations to Public

Obligations to Collegues Obligations to the Profession

Obligations to the Environment

Obligations to Client

Obligations to Youth

86


I expect the youth to shape my own future. Obligations to the Project

I appreciate the community.

Obligations to the Public

I make the client my priority.

Obligations to the Client

I care for the environment.

Obligations to the Environment

I exercise with dignity.

Obligations to Colleagues

I respect the past.

Obligations to the Profession

87


Obligations to Youth

I expect the youth to shape my own future. I aim to create a space for all aspects of creative thought to be explored by the kids and adults. I take inspiration from my own youth and how I wish to express myself creatively. I see the school as an opportunity to create a safe and healthy environment for exploration. I understand that I can not completely control the social environment of the school, but architecture impacts the way you see the built environment. As a kid I felt that my school didn't help me explore nature. I grew up in a middle school that didn't have enough money. The soccer field was dirt, our classrooms were container boxes that got renovated, and our campus was fenced in. Since we were kids we still found ways to have fun outside, but in this case I want to make sure that the kids in my school are encouraged play even inside. Access to nature can really make a difference, sunlight can make a difference, every detail can make a difference in the kids lives. The building will provide students with the access to exterior environment and interior experimental spaces.

88


Me 89


Obligations to the Public

I appreciate the community. The Environmental Charter School is purely for the public. The school will become a beacon for hope in the neighborhood, as it represents youth, the future, and safety. The project must be honest to its surroundings instead of ignore them, the project will be transparent to the public and keep them informed and give them a voice. This public project is ultimately payed for by the public and built for the public of not only South Side but for all of Pittsburgh. This project is taking place in South Side Works, which currently (2019 spring) is a failing commercial area. The retail stores around that area get an irregular flux of customers and therefore unsustainable. A public school will bring in a regulated and consistent group of people to the site's surrounding area. The building will accompany weekend public events in order to enable the citizens who dont have children at the school. The building will do everything it can to create an environment in which it will be loved by the public. It will provide and interior plaza for performances, gatherings, sporting events, and community gatherings.

90


A sunken boat reflecting the sinking surroundings.

91


Obligations to the Client

I make the client my priority. I will work with my clients professionally. The clients are an extension/ representation of the public in this case. I will take feedback seriously and always design in their favor. I will handle their requests in ways that I know I can perform well. I will not take advantage of the money provided by the educational board, for it is my money too. The process will be highly give and take. I will ensure that they understand the direction I intend to go as I ensure that I understand their wants and needs. It is mutually beneficial that the client and the public understand the intent of the project. Improving public image and appreciation can begin to create a connection with the city of Pittsburgh allowing me to continue to work here. I expect a push and pull from my clients as I aim to push to make the best building that I can. While I am new to the profession I hope to learn as much as possible while working with colleagues. When things dont work, they will be worked through with honesty and integrity.

92


93


Obligations to Environment

I care for the environment. The school will aim above and beyond the guidelines for sustainable design and development principles. The ECS will be sustainable in design. It will advocate for environmentally friendly buildings. The ECS will be sustainable in development. It will be built using local materials and cut material waste with prefabrication. The ECS will be sustainable in practice. The process in which the ECS is made will be sustainable, and will encourage others to do so as well. The building will gain points towards LEED, aiming for LEED platinum. It will avoid materials from the Living building challenge red list, as well as take in account petals of place, water, energy, health, materials, equity, and beauty. The building will also aim to reach aspects of the living building challenge: using none of the materials from the LBC material red list, restoring a healthy relationship to nature, creating an appreciation for water, relying on photovoltaic energy for 50% of energy, making environments for good physical and psychological health, and supporting an uplifting sun drenched world. I care for this because of my background. I grew up in the backyard of a national park, so I owe a lot of my childhood to the people who protect nature.

94


95


Obligations to Colleagues

I exercise with dignity. The profession is a collaborative art. I will respect the people I work with. We will enable each other to work better rather than take advantage of each other. The people I hire will be included in decisions for their own education. I will hire based on merit and recognition. I will allow others to make suggestions and have their voice be heard. As a follower I will act professionally and take deadlines and needs of others seriously so that I can make others look good. As a leader I will nuture and respect the people who will eventually lead the company. I will be fair and just in giving work to those who deserve it.

96


Me and my colleagues working on a journal

97


Obligations to the Profession

I respect the past. I learn everything from the professional practices of others, therefore I intend to uphold the practices to a high standard. I intend to pursue this project in honesty and fairness. I will take matters into my own hands as I hold responsibility for the process and the outcome. I will not play victim in front of my client or to the community, I will be respectable, honest, and transparent in my practice. In the end I hope to add to the field of spatial knowledge and the toolkit for architects with this project. I strive to add to the past, not take advantage of it. Moving forward I hope to continue to learn more about the profession as a business and not just as an art.

'Architecture should speak of its time and place, but yearn for timelessness.' - Frank Gehry

98


A corner detail updated

99


12 months

4 months

2 weeks

Architect’s Involvement Feasability Analysis

Programming Predesign

Client/Public Approvals

Con

The Idea Schematic Design Strategic Planning

Design Development

Selection of Project Team

5% Fee

30% Fee

60% Fee

Implementation Path_Design-Bid 100


?? months

30 months

Select Construction

nstruction Documents Construction and FFE

Occupation

100% of Fee Used

d-Build 101


Sabina Deitrick

Jean Holland Dick

Rachel O’Neill

Public Revie

Jennifer Askey Fred Brown Becky Ming Secretary

Dina Blackwell

Lashawn Burton-Faulk Christine Mondor Vice Chairwoman Chairwoman Ray Gastil, Director of City Planning

Players involved in jurisdictional review. Planning and Commision Roles and Motivation

Zoning Board of Adjustment Roles and Motivations The maximum FAR must be raised from 0.6 to 2.0. The site view lines must retain 30% of the river.

The planning board will aim to keep the URA happy, the public happy and will always make sure that the city isnt disturbed by construction.

1 Players involved in ďŹ nancing Roles and motivations City Planning Director: Raymond W Gastil ECS CEO: Jon McCann Pittsburgh mayor: Bill Peduto Zoning administrator: Corey Layman, AICP Strategic Planning Director: Andrew Dash, AICP

ADA Taskforce Roles and Motivations Andrew Dash is the head of advising developers on the needs of immobile and handicapped users.

(as of March 2019)

Andrew Dash

102


Vivien Li Jen Gallagher Kate Tunney, AICP, LEED AP

ew Process

Page Thomas Karen Loysen, AIA Eric Booth, AIA Anne Chen, Greg LaForest, AIA, LEED AP AIA, LEED AP

Lucia M. Aguirre, Chairperson

Historic Review Commission Roles and Motivations Site sits on the site of a historic glass factory. Therfore the building must in someway respect or reference the historic site.

ECS School Board Roles and Motivations The staff, teachers, and students should be prioritized in getting the spaces they need over the agenda of the architect.

3 Jillian Wein Riley

2

Contextual Design Advisory Panel Roles and Motivations South Side Works contextual problems/opportunities. URA and South Side works requires lots of attention and control

Players in procurement and implementation Roles and motivations Construction Company Contractor and subcontractors City planning and trafďŹ c specialists

4 PJ Dick

103


1 Pittsburgh Planning Boards The Department of City Planning aims to create an environment of orderly conduct in which the land use of Pittsburgh can be properly allocated towards 'sustainability, resilience, equity, design, and opportunity into long-range planning'. The planning boards work with 'communities, civic organizations, and public entities' at all scales. They aim to invigorate the city with more life and allow it to continue to thrive without the effects of gentrification but instead the continuous development of the people who live and work in those places. They try to integrate 'ONE PGH resilience strategy, Climate Action Plan, and People, Planet, Place, and Performance (P4)' into policies as they influence developers of Pittsburgh.

Our Site

104


2 Public Design Reviews As a precedent for a public review, I attended a meeting between the baum centre initiative and ZGF architects in their creation of the new ITTC going on centre and morewood. This was the third meeting between the two parties as they developed the building.

Jed Edler

Joe Reagan

Craig Dunham

Will Masters

Cindy Jampole

Jamie Ducar

Owen Cooks

Present were representatives from ZGF architects, Wexford, University of Pittsburgh, Transportation Specialists, Turner Construction, and BCI. They were currently in design development phase, reviewing things such as traffic control during construction, parking allowances, facade appearances, and making sure that their design was well recieved by the public review boards.

105


3 Client Relationships The Environmental Charter School grows citizens out of it's students. While this may seem like a small project of a middle school group, it will have ripples across student's lives and continue to impact the legacy of the environmental charter school. It is not often that a new school will be introduced into the field of existing schools in a city with such an established focus on education. Pittsburgh has remained relevant in the greater sphere of American cities by transitioning from steel into education and healthcare, therefore the new schools built in Pittsburgh must be examples of the potential of the city to continue to grow in that direction. The environmental charter school, while being a public school, represents the class of parents and students that truly care about the upbringing of citizens. ECS students in small re-purposed gym

106


4 Construction Relationships PJ Dick has been the general contractor for many buildings affiliated with education. They have done sustainable and LEED certified buildings and have the capability to organize medium to large construction projects. They often work with Bohlin Cywinski Jackson and create some of the highest quality buildings in Pittburgh. Currently they have just finished the Tepper Quad on Carnegie Mellon Campus and they are working two others. PJ Dick is to be respected as an entity and they are extremely qualified and competent, therefore they should be commended for what they do and what they can achieve. The company will not tolerate inept architects and I intend to make them look good as they will make me look good too.

PJ Dick construction on campus

107


Building the Team to Build

PC Boar Representativ Curtain wall Manufacturer

Concrete Manufacturer + Sub-contractor

A401

A401

01

ho

A401

A4

Lighting Sub contractor

1

Sc

Senior Manager

A40

Technical Specialist Lighting Manufacturer

Mandy Cribbs

K

Dwight Laufman

Jeffery D. Turconi President

A4

01

Senior Engineer

A401

Corey Deible CFO

Executive Chairman

Safety + Accounting

A101

General Contractor PJ Dick

Joseph J. Franceshcini Safety

A201

Clifford R. Rowe

A401

A4

Construction Management Consultant

ty ul

Senior Engineer 01

CEO Todd Hoffman

Katie Lockley

Ashl

Spire Consulting Group

01

A4

Systems Specialist

Foundation Sub-contractor

Steel Manufacturer

01

A4

A401

Elevator Subcontractor 01 A4 Otis Elevator Company

TrafďŹ c Consultant

1

Elevator MFR

A40

Edgett Williams Consulting Group

A4

ECS Bo Jillian Wein Riley Kate B Scott Roller Michael A Rebecca King M Bernadine Diaz Ben Witsberger

01 IT Sub-contractor

A4

01 Plumbing Sub-contractor

Sabre Steel National School Boards Association

Transportation Consultant

PA State Commisionary Board

Thomas Gentzel, Executive Director Heather Dean, Deputy Executive Director Kimberly Muse, Executive Assistant

108

Jon McC

c Fa

Curtain Wall Sub-contractor

Parent

Pittsburgh Public School Board

MEP Manufacturer

ol

A4 01

HEIDELBERG CEMENT ALLENTOWN, PA

EC S

Mechanical System Sub contractor

Concrete Manufacturer


CO rd ve

Parent Council Org

PCO President

ts

Sustainability Consultant

Branding Consultant

Master Planning Consultant

C401

C401

C40

1

MEP Engineer

District 9 Representative Bruce Kraus

Mckamish Fabricators or Buro Happold

Photographer

Architect

Peter Aaron, ESTO

Project Manager

C4

Architect

01

C195 Lighting Designer

Katie Dattilo

B101

Principal and Project Head

A201

Architect

Civil Engineer

oard: Brennan Karen Howard Aronson Lisa Elliott Molly Bennett z Dan Kiefer Robert Jones

C4

Project Architect

Civil Engineer: H.F. Lenz Co.

C195 City of Pittsburgh

Sabre Steel

Structural Engineer

Barber & Hoffman

Architect

Tech Consultant Lutron Electronics, Inc.

Acoustical ceilings: BASWAphon by BASWA

01

C4

01

C401

Mistral Architectural Metal + Glass Inc.

Bill Peduto

Acoustical: ARUP

01

C195

South Side Works Urban Redevelopment Authority

Personal Shopping Room Cassina Met

Specialist

ley Bergman

Sam Williamson Chair

Project Designer

Gil Jang

1

Staf f

Jalech Robinson

Support

C401

Cann

01

OO

Nicole Sheaffer

ISP Design

C4

Architect

C40

Students and Student Organizations

COO

O

Living Building Challenge Expert

Food Service Provider Food Consultant

Interior Framing: Larson Engineering

Fire Protection Consultant

Code Consultant

1

C40

C4

Joinery

Consultant Enclosure Consultant Evergreene Architectural Arts Conservator: Jablonski Building Conservation, Inc.

The Honorable Ed Gainey Vice Chair

109


Curtain wall Manufacturer

Concrete Manufacturer + Sub-contractor

A401

Mechanical System Sub contractor

Concrete Manufacturer

A4

01

HEIDELBERG CEMENT ALLENTOWN, PA A401

A401

A4 01

Lighting Sub contractor

MEP Manufacturer

Senior Manager

A40

1

Technical Specialist Lighting Manufacturer

01

Curtain Wall Sub-contractor

Corey Deible CFO

Jeffery D. Turconi President

A4

Executive Chairman

Senior Engineer

A401

Safety + Accounting

Joseph J. Franceshcini Safety

A20

Clifford R. Rowe

Senior Engineer

A401

01

A4

Construction Management Consultant Spire Consulting Group

1 40

Systems Specialist

Foundation Sub-contractor

A

Steel Manufacturer

1

0 A4

A4 01

Otis Elevator Company

TrafďŹ c Consultant

1

Elevator MFR

A40

Edgett Williams Consulting Group

A401

Elevator Subcontractor

Transportation Consultant

Contractor 110

A10

General Contractor PJ Dick

Sabre Steel

A4

01 IT Sub-contractor

A4

01 Plumbing Sub-contractor


The Construction Team The Contractor PJ Dick is a construction group that I know for being very prominent in Pittsburgh. They have constructed schools such as Falk laboratory school, Tepper Quadragle, Frick Environmental Center, and two new buildings on CMU campus.

Construction management Consultant Spire Consulting Group's mission is to create trust in every detail of the project. They rely on experience to create the best outcome.

Concrete Manufacturer and Contractor Heildelberg Cement in Allentown PA is the closest high quality Cement production group. While it is an international German Group, it is locally based which allows for shorter transition times.

TAKTL High Performance Concrete Locally based CMU graduate group makes rainscreen panels using additive formation methods. Eliminating waste and creating quality textures is the name of their game.

Steel Manufacturer Sabre Steel is a Michigan based steel company that can produce

beams the size needed for this project. While one might assume the best place for steel is pittsburgh, I would prefer to avoid moving our local industry backwards.

Steel Erection Sub-contractor Steel Smith is a locally based engineering focused steel construction service. They will handle the erection of all structure and decking.

Mechanical Systems Sub-contractor Buro Happold acts as both a MEP consultant and MEP builder.

They will be creating and installing and working with architects to install the systems correctly. 111


PCO Board Representative

Parent Council Org

Parents COO

Katie Dattilo

Dwight Laufman

A101

CEO Todd Hoffman

OO

Nicole Sheaffer

Jon McCann

c Fa

A201

District 9 Representative Bruce Kraus

Staf f

Mandy Cribbs

Students and Student Organizations

EC S

Sc

ho ol

Pittsburgh Public School Board

PCO President

Jalech Robinson

ty ul

Katie Lockley Ashley Bergman

ECS Board: Jillian Wein Riley Kate Brennan Karen Howard Scott Roller Michael Aronson Lisa Elliott Rebecca King Molly Bennett Bernadine Diaz Dan Kiefer Ben Witsberger Robert Jones

City of Pittsburgh

Bill Peduto

National School Boards Association

PA State Commisionary Board

Thomas Gentzel, Executive Director Heather Dean, Deputy Executive Director Kimberly Muse, Executive Assistant

Sam Williamson Chair

Client 112

South Side Works Urban Redevelopment Authority

The Honorable Ed Gainey Vice Chair

B10

A20


The Client Team The Environmental Charter School The School aims to create an environment for the students to

become good citizens. Their goals will be congruent with the design teams goals. Sustainability Consultant

Branding

Living Building Challenge Expert

Consultant Master Planning Food Service ECS School Board Consultant Provider The school board will be the interfaceFood between the clients and Consultant C401

the design group. The willC401 protect the rights of C40 the students and control 1 the design team's abitions. Photographer

MEP Engineer Project Parent Council Organization Architect

Manager

Mckamish

Peter Aaron, ESTO

C4

Architect

01

Fabricators The parents of the students will be interested in creating the C195 or Buro Happold

01

C4

Designer best environment for the students. Their kid's lives will be theirLighting number ISP Design Architect one priority and therefore will attend many public meetings.

Support

01

C401

The StudentsPrincipal and Project Personal Shopping Room The students willHead be represented by the ECS school board, Designer Project Cassina Met mostly the student alumni will be speaking to the greater good because Gil Jang the current or upcoming students will be too young to have a meaningful Specialist say in the outcome of the project.

01

C40

01

Acoustical: ARUP

C4

C195 Civil Pittsburgh Public School Board Project Engineer The public school board will be

1

Architect

Acoustical ceilings:

Architect

BASWAphon by BASWA interested in completing Tech Consultant the Lutron network of schools in Pittsburgh. They will want the new school Electronics,to Inc. take on as many students as possible to avoid exclusiveness in the school.

Architect

Civil Engineer: H.F. Lenz Co.

C195

01

C4

01

C401

401

C4

Joinery Urban Redevelopment Authority C: Pittsburgh Mistral Architectural Metal + Glass Inc. Consultant Enclosure The URO Interior will Framing: maintain the aesthetic Consultant and planning of the Larson Engineering Fire Protection

Sabre Steel

Evergreene Structural area of South Side Consultant surrounding works. They will Arts make sure that the Architectural Engineerfits in to the current network of commercial, residential and building Code Consultant Barber & Hoffman Conservator: Jablonski Building Conservation, Inc. industrial planning.

PA State Commissionary Board Thomas Gentzel and team will ensure that the school design is feasible and will have the final say in whether or not the school should be constructed.

113


Sustainability Consultant

Branding Consultant

Master Planning Consultant

C401

C401

Living Building Challenge Expert

Food Service Provider Food Consultant

C40

1

MEP Engineer Mckamish Fabricators or Buro Happold

Photographer

Architect

Peter Aaron, ESTO

Project Manager

C4

Architect

01

C195 Lighting Designer

01

Support

01

ISP Design

C4

Architect

Principal and Project Head

C401

Project Designer

Personal Shopping Room Cassina Met

Gil Jang

01

Specialist

Project Architect

Civil Engineer: H.F. Lenz Co.

C195

Sabre Steel

Barber & Hoffman

01

C401

Interior Framing: Larson Engineering

Fire Protection Consultant

Code Consultant

Architect 114

C40

Architect

Tech Consultant Lutron Electronics, Inc.

Acoustical ceilings: BASWAphon by BASWA

01

C4

Mistral Architectural Metal + Glass Inc.

Structural Engineer

Acoustical: ARUP

C4

01

C195 Civil Engineer

1

Architect

1

C40

C4

Joinery

Consultant Enclosure Consultant Evergreene Architectural Arts Conservator: Jablonski Building Conservation, Inc.


The Design Team Structural Engineer Barber and Hoffman will be in consulted for all structural needs. They have an extensive portfolio of educational and residential buildings across the PA and neighboring states. Regardless of scope, they address each project individually.

Civil Engineer H.F. Lenz Co. is currently in their 73rd year of operation and

has a breadth of knowledge to address any issue. They could also be structural engineers as fall back. They are a client focused group who has created a legacy across all fifty states.

MEP Engineer Mckamish Fabricators are a metal working fabrication group

who we have gotten in touch with personally to understand the inner workings of their company. They are a reliable source for the requirements of Mechanical and custom steel fabrication.

Sustainability Consultant LEED APs and Living Building Challenge consultants will be reached to make sure that the building is meeting requirements of the challenge as it aims to hit necessary goals of LEED Gold and LBC 80%.

Acoustic Consultant ARUP is an internationally acclaimed firm known for taking on

skyscrapers and difficult project. We will only be in contact with them briefly to establish proper acoustic environments in our noisy school.

Tech Consultant Lutron Electronics INC is a specialty firm in dimmers and high effeciency lights. Their products have been used in Apple stores and offices accross the states.

Enclosure Consultant Evergreene Architectural arts is a group focused on restoration

and fabrication of historical artefacts. This group will help address the history of the JL glass site. 115


Furniture Consultant Cassina Met and IKEA will be employed to provide furniture options to the school. These two, while wildy different, provide a range of furniture that can create environments of their own.

Fire Protection Consultant Code Consultants INC is a group known for their unbudging accuracy and thourough rigor in making sure the building is compliant.

Interior Framing Consultant Larson Engineering gladly welcomes challenging projects. The

school hopes to create a delicate balance between good light and too much light, and therefore will be needed in the design phase of the project.

Photographer Peter Aaron ESTO will be employed for his knowledge and

dramaticism to raise awareness of the school and all of its effects on light, sun, and fluidity.

Lighting Designer ISP Design is dedicated to the art and science of lighting design.

There is no place more important for proper lighting than a school environment. With all the layers at play, an experienced engineer will be crucial.

Branding Consultant TidBit Creative is a small company with a big punch. They will be chosen because of their low fees and their locality in Pittsburgh.

Food Service Consultant We will be working through the FSCI (foodservice consulting

society international) to find the best fit for our students and staff. Food plays a huge role in the health of a good school.

116


Works Cited https://www.rcrarquitectes.es/ https://www.ensamble.info/about https://www.oylerwu.com/ http://andrewheumann.com/ http://refikanadol.com/about http://www.epiphyte-lab.com/ https://snohetta.com/project/2-tverrfjellhytta-norwegian-wild-reindeer-pavilion https://www.shopdognyc.com/ https://www.robotsinarchitecture.org/about-robarch http://www.rpbw.com/ http://www.rpbw.com/people https://www.pritzkerprize.com/laureates/frei-otto https://www.pritzkerprize.com/biography-wang-shu https://www.archdaily.com/894979/neri-oxman-and-mit-develop-programmable-biocomposites-for-digitalfabrication http://www.mikenesbit.com/ https://medium.com/archaesthetics/where-are-we-when-we-read-sloterdijk-6aeb7b2143ae https://www.cmu.edu/cdfd/tepper-quad/index.html https://bcj.com/projects/frick-environmental-center https://www.pjdick.com/ https://www.taktl-llc.com/ https://www.pghschools.org/board https://living-future.org/lbc/ https://www.fcsi.org/about-fcsi/fcsi-worldwide/what-is-a-consultant/ https://clutch.co/profile/tidbit-creative http://ispdesign.com/ https://www.peteraaron.net/ https://www.larsonengr.com/ https://www.codeconsultants.com/about.html https://evergreene.com/ http://www.lutron.com/en-US/Pages/default.aspx https://hflenz.com/ http://www.barberhoffman.com/ https://www.steelsmithinc.com/ http://www.sabresteel.com/ https://www.heidelbergcement.com/en https://bcj.com/ https://www.ura.org/pages/strategic-plans https://ecspgh.org/about https://www.spireconsultinggroup.com/en/professional-services/construction-management/ https://www.concreteconstruction.net/producers/north-americas-largest-concrete-producers_o https://www.nsba.org/about-us/nsba-staff-contact-information http://www.sustainabilityconsulting.com/ https://www.architecturalrecord.com/articles/11488-apple-store-by-bohlin-cywinski-jackson?v=preview https://www.cmu.edu/news/stories/archives/2019/february/tepper-leed-award.html http://pittsburghpa.gov/dcp/about http://pittsburghpa.gov/dcp/key-contacts

How these diagrams were made:

117

All diagrams were made with grasshopper scripts.


118


COMMISION: CONFLUENCE The next part of this chronicle details the process of a group project with Mckamish Fabricators.

DEFINITION TIMELINE GROUP DESIGN MANUFACTURE CHECK INSTALL RESULT

120 122 124 126 128 130 132 134

119


con·flu·ence /-kän-flooens/ noun noun: confluence; plural noun: confluences the junction of two rivers, especially rivers of approximately equal width. synonyms: convergence, meeting, joining, conflux, watersmeet an act or process of merging.

120

junction,


121


Commission Timeline

Teaching Team (Project Managers)

Mckamish Fabricators

Conception of project Introduction of project and ďŹ rst drawings

Production of Drawing V01

Students

April 1

122

Review of Drawin

April 10

April 16

April 17


Preparing cut ďŹ les

Fabrication of Hangers Post processing

Finalization of Drawings

ngs

Post processing

Documentation of Project

Production of Drawing V02

April 18

Installation in SOA OfďŹ ces

April 19

April 24

May 6

May 8

123


124


Group Introduction The assignment was introduced to us in class. All 90 of us were to work together to create a cohesive hard hat hanger for the SOA offices. Each of us had our own ideas of what the metal plates should look like. Overall we had the choice to either do curvy or rigid cuts. Me and my partners decided that we wanted to make it look like lungs. Upon review our teacher, Jon Folan, decided that we should all do curved lines that run tangential to each other in order to achieve a larger effect. After review we redrew our piece in conjunction with our neighbors in order to make it flow. We were part 32 of 45.

125


1'-0" 2'-0"

90째 BRAKE UP FIXED CUT

1'-0"

BRAKE

1

BRAKE

90째 BRAKE: DOWN FOR COMPONENT TYPE A UP FOR COMPONENT TYPE B

FIXED CUT

2'-

9"

BOUNDARY REGION FOR CUSTOM PROFILE 12'-0"

HYPOTHETICAL CUSTOM CURVE 1 8'-0"

OFFSET DIE

MIN. CUSTOM PROFILE BOUNDARY, TYP. FIXED CUT, TYP. 6"

0'6"

0'-

MIN. CUSTOM CURVE BOUNDARY, TYP.

T

O

SL

0'-6"

5'-6"

13'-0"

45.0

0째

0째

45.0

32 PLATE PART LAYOUT SCALE: 6" = 1'-0"

126


Drawing Creation Drawing the specific curves was trickier than one might imagine. The curves had to be aligned with the groups on either side of my piece. Using Auto Cad we sent files back and forth making sure to format the documents correctly. The drawings would pass through the hands of teaching assistants, Jon Folan (PM), and finally the fabricators of Mckamish. In the end, the final output was actually quite different from what we had initially drawn on the first day.

127


Preparation for Fabrication Lots of work was done by the management team in conjuction with the Mckamish Fabricators in order to prepare the plasma cutting files. All of the pieces were to fit on a single sheet of 12 gauge steel. Time and money will be saved from all the documents having all of their line work on the correct layers and having no incorrect curves. Hiring outside detailers costs about 500 dollars per drawing, but having one in house means that the 20 drawings can be done with only hourly wage covered. The plasma CNC uses a program called PRONEST which requires DWG or DXF files.

128


129

10'-0"

0

1/2

1

FX100

COMMISSION

CMU SCH. OF ARCHITECTURE

22 APRIL 2019 DRAWN BY: GTR

SCALE: 1 1/2" = 1-0"

CNC PLASMA CUTTER P A R T L A Y O U T

5'-0"


Mckamish Fabricators

Remnant steel plate

130

Acurpress


Fabrication We went to the site to observe the cutting and bending of the pieces. Mckamish specializes in metal fabrication and creates HVAC and MEP systems for architects and construction groups. The plasma cutter they use can cut steel up to 2" but today we will be cutting 1/8" steel sheets: torch offsets 0.04" from the line and a wider cut means a bigger curve which means a bigger flame. The plasma cutter has 30, 45, 50, 80, 130, 200, and 260 amp options. If the steel is stainless it cant cut with flame. Plasma holes are conical so the small the piece the harder it is for the cnc. The plasma can be a combination of hydrogen and oxygen, the more oxygen there is the sharper the cut will be, but in our case the plasma was nitrogen. They change the cutting bed every few months (or they should). It can run all day and everyday because it is one of the most important tools in their shop. The pressbrake used to bend the metal is an acurpress. It has tolerances of forces up to 200 tons of pressure while the current steel plate only requires 11 tons of pressure or 22,000 pounds of pressure. The metal plates would need to be bended 90 degrees twice per piece, resulting in a hanger. The offset die machine was similar to the pressbrake but did not have to be as accurate, as long as each piece was bent on the correct side, the whole set will work cohesively.

131


Nick Clemente

132

Ian Young

Terry Tumulty Sr.

Jamie Clemente


Labor Costs Task:

Rate:

Time:

Cost:

Editing Drawings

$50/hr

4hrs

$200

Plasma Cutter Set Up

$90/hr

2hrs

$180

Sheet Metal

c55/lb

180lbs

~$100

CNC Plasma Cutting

$50/hr

3hrs

$150

Acurpress Operation

$90/hr

1hr

$90

Grinding Slag (Fixing Error)

$50/hr

11hrs

$550

Total Cost

$1,270

The original cost of this project is $900 dollars. They lost 370 dollars to their company becuase of this project. The problem was that the plasma was too hot and required too much post processing. In all honesty this was a favor from Mckamish even if they hadn't made all of the errors. There are thousands of dollars of overhead costs to run this sort of operation. 133


134


Post Processing and Evaluation of Piece The piece was heavily effected by the settings of the plasma cnc. The piece not only had sharp edges but it also had slag (metal residue) on all edges. Therefore the workers at mckamish (Nick Clemente) had to not only grid the sharp edges but also the slag attached to it. In the end, the piece had burn marks on all edges, especially where the parts get skinny. Many of the pieces of metal were deformed and slightly bent because of the warping from over heating on the cnc. After recieving pieces from fabricators, we cleaned the steel with denatured alcohol and then polished it with polyurethane. In the end our piece remained looking sticky because we didnt clean it properly before we polished it. Things that they did do well on my part were that they managed to get the 90 degree bends correctly and none of the cuts were misplaced. Below is an example of a plate that had no burn marks and was polished properly.

135


136

COMP. TYPE B

COMP. TYPE A

2

6" 6" TYP TYP

4

6

8

10

12

14

16

18

20

22

22'-0"

24

2

26

28

30

32

34

36

38

40

42

44

3 TYP.

45

1

KEYNOTES: 1. 1/8" THICK STEEL PLATE

EL. = + 3'-2" T.O. COUNTER

EL. = + 5'-3" B.O. HARD HARTS

EL. = + 6'-6" C.L. FASTENERS

EL. = + 7'-5" T.O. HOMASOTE


Installation

137


138


1. Align piece and drill into wall using hammer drill to get through structure of wall if necessary. 2. Use longer drill bit to reach necessary depth for screw and anchor. 3. Insert Twist resistant block anchor. and 1/2" plastic spacer. 4. Screw in Black Oxide Phillips rounded head 2 1/2" long with 3/4" diameter fender washer. 5. Align and repeat for next piece.

139


140


Post Occupancy Evaluation Overall, the burnmarks and the distortion have no degredation to the effect of the confluence. However the thing is meant to hang hard hats. If hard hats are hung from it, it completely blocks the design. Therefore it could have been much more simple, or we should agree that hard hats are only hung on the bottom row while other things can be attached above. This commission can also work as a coat rack, a bag rack, or any kind of hanging device due to its sturdy material and installation.

141


fin

142

Profile for Gil Jang

Ethics and Practice Book  

My life story and my life goals.

Ethics and Practice Book  

My life story and my life goals.

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