John Marusich Selected Works

John Marusich Selected works

Selected Works Learning by Practicing Eris Brewpub and Ciderhouse SOFA Chicago Revolution Brewing

2 6 10

Learning by Teaching Rural Studio Introduction

14

Rose Lee Courtyard House

16

Rural Studio Farm: Passive Solar Greenhouse

22

Rose Lee 20K’s

38

Learning by Doing Boys & Girls Club of Akron

46

Greensboro Farmers Market

64

Center for Sustainable Rural Living

72

Learning by Making Norbert Lechner Drawings

80

Wood Working

86

Learning by Practicing documenting, evaluating, designing, & coordinating

Fig 1.

2

Fig 2.

Eris Brewpub and Ciderhouse,

2014-

Design Team: Wrap Architecture

Client: Eris Brewpub and Ciderhouse

The Eris Brewpub and Ciderhouse is an adaptive reuse of an old Masonic Temple, located in the Irving Park neighborhood of Chicago, IL. Prior to the building’s purchase by the Eris Team, the building was in use as a Korean Church. The project has been developed in two phases. In Phase I, the basement will be converted into beer and cider production facilities and dining rooms will be created on the first floor and mezzanine levels. In Phase II, the second and third floors will become offices and event spaces, and a bar and rooftop deck will be added. Phase I of the project is currently in for permit.

Fig 3.

My Role: Design Development

Construction drawings

Existing building documentation

Mechanical coordination

3-D Modeling

Structural drawings & coordination with

Obtaining Bids

structural engineer

Captions: Fig 1. Exterior Perspective showing new entrance and patio.

Fig 2. Aerial perspective of new patio. (All renderings by Liezel Pimentel)

Fig 4.

Fig 3. Mezzanine Floorplan.

Fig 4. First Floorplan.

Fig 5. Basement Floorplan.

Fig 5.

3

    



    



  



 



 



  





  



 



 

   

 







 







  





 



  

  



Fig 1.







  

  



  

  



  

 



 



 







 



         





   

  





 





  



  

  







    





  

  

  







   

 





  

 



  



  



  

 







  

 





   



  









  



 

  



  









   



  





 

 

 

     

     





   

 







 





  







  

  

















  







Fig 2.









    



    



  



 



 

  







  



 



 

   

 







 



  

4

 





    

  



  

  

  



  



  

 

  







 

















Fig 3.

 

 







 

 

 

  

























 



 

 



 

  



  

 

 

    

 

  

     

 







 

 

 

    









   

   





   

 

 





  



   

 

 

   

 



 

 

  





 

 

 









   

 

 

















 

    



  

 



 

  

    





  



   

    

     



 

 

  





 



 

 

  

  

 





  



   

 

 

 







 





  



 

 







    

 





    

     

 









 

 



    



 

 

 

 

 



  





 

  



 







    

  

  

   





 



   



      

  

 

  

 

 





  

  

 

   



  





 

 

 

 

 

 

 

 



   



 





    



 

 

  





 





 

   

 

   

 



  







 

  

    

  

 



     











 

  

  



 

 

 

 

 

    

  

 

 

     





 



       

 

 

      



 

  

 





 

 



   



 

 







 

  



  

 

       

Captions:

 

 Fig 1. Building section through raised dining platform and brewing areas. 

   

 

 



  Fig 2. Building sections through dining space. 

           

 



 







     











 

 



 





Fig 5.



 







 

 



Fig 4 & 5. I completed and coordinated nearly all structural drawings for this project.







Fig 3. Interior perspective  views of dining space.

 





 

   





 









  









 

 

     





  





   





 



  



 





    





     











 









Fig 4.









 



 

  



 

 

 



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 



 

 

  





  

 

 



 

 





 

 

    

5

Fig 1.

Key Stair

Lower Level Access New SOFA Show Floorplan Multiple Points of Access up to Terrace Level

Key

Lower Level Access

Multiple Points of Access up to Terrace Level

VIP Lounge

C

C

C

C

C

Café & Bar

Elevator

Restroom Escalator & Stair Elevator

Restroom

Tickets

*Coat Check on Lower Level

Galleries

Demonstrations Exhibits

East Parking Garage

A

Partner Pavilion

Galleries

From Pier

Lecture Series B

Info VIP Concierge

Demonstrations

C

Entrance

Tickets

ENTRANCE

GALLERIES

VIP

SPONSORS

C

Stair

Elevator

East Parking Garage

Riva Table Service

6

C

Entrance 1 Drop Off

From Pier

Fig 2.

Sculpture Garden

Stair Escalator & Stair

Special

1 Drop Off

Special

Lounge & Bar Entrance

Exhibits

Café & Bar

Escalator & Stair Key

Private Reception

CONNECT

PARTNER PAVILION

GATHERING SPACES

LECTURE SERIES

SPECIAL EXHIBITS

DEMONSTRATIONS

Entrance 2 Drop off

SOFA Chicago Sculpture Objects Functional Art & Design, ng Elements

UnInTEnDED OUTCOmES

2015

Design Team: Wrap Architecture

C

Client:

C

SOFA Chicago

PARTNER PAVILION

In late 2014, Wrap Architecture entered a competition to re-design the show floor of SOFA Chicago for the 2015 show. We were asked to look at the existing show layout and create a proposal utilizing the successful elements of previous year’s shows while also coming up with new BAR INFO solutions to enhance the experience of the visitors and exhibitors. Our VIP C C strategy was to relocate the entrance to the center of the show to create CAFÉ more equitable floor space for galleries and use color as a place making and way-finding devices. We also re-organized the gallery layouts to maximize floor space and minimize dead-end views.

ENTRANCE et Booth, Press Booth, & Coat Check at Lower Level

Entrance lacks presence

Dead end spaces

SOFA LECTURES ABOVE

Visual dead ends

My Role: Competition Proposal

Design Development

Schematic Design

Construction of Entrance installation

C COnnECT Analysis SPACES Captions:

LECTUrEElements SErIES of Existing

Fig 1. Aerial view of 2015 show floor.

GAThErInG SPACES

SPECIAL ExhIbITS / DEmOnSTrATIOnS

Fig 2. New Cafeshow floor layout.

Fig 3.

Bar Analysis Loungeof

existing conditions.

Undefined gathering spaces

Special installations and demonstrations by leading museums and arts organizations in the fields of craft C and design.

Analysis of Existing Elements

Fig 4. Original show floor layout.

VIP

UnInTEnDED OUTCOmES

C

Concierge Lounge Conversation Space

CAFÉ

UnInTEnDED UnInTEnDED OUTCOmES OUTCOmES

Fig 3.

C

SPOnSOrS

PARTNER PAVILION

Entrance lacks presence

CONVERSATION SPACE

C C

C C

CAFÉ CAFÉ C

CAFÉ

C C

BAR

C

Entrance Entrance lacks lacks presence presence

Undefined seating areas ENTRANCE

*Ticket Booth, Press Booth, & Coat Check at Lower Level

CHUBB VIP LOUNGE

BAR BAR

EnTrAnCE

Ticket Booth/Will Call Press Booth *Ticket *Ticket Information Booth Coat Check

Ticket Ticket Booth/Will Booth/Will Call Call Press Press Booth Booth Information Information Booth Booth Coat Coat Check Check

GALLErIES GALLErIES CIrCULATIOn CIrCULATIOn

Vis

SOFA SOFA LECTURES LECTURES ABOVE ABOVE

Dead Dead end end spaces spaces

Vis Vis

CAFÉ CAFÉ

C

COnnECT SPACES

Booth, Booth, Press Press Booth, Booth, & & Coat Coat Check Check at at Lower Lower Level Level GAThErInG SPACES Cafe Bar Lounge

GALLErIES CIrCULATIOn EnTrAnCE EnTrAnCE

Dead end spaces

VIP VIP

C C

C C

SOFA LECTURES ABOVE

INFO INFO

C C CAFÉ CAFÉ

Fig 4.

VIP PARTNER PARTNER PAVILION PAVILION

CAFÉ

CONVERSATION CONVERSATION SPACE SPACE

CHUBB CHUBB VIP VIP LOUNGE LOUNGE

INFO

C

C C

LECTUrE SErIES ENTRANCE ENTRANCE SPECIAL ExhIbITS / DEmOnSTrATIOnS

VIP

Special installations and demonstrations by leading museums and arts organizations in the fields of craft and design.

COnnECT Lounge COnnECT SPACES SPACES

LECTUrE SErIES LECTUrE SErIES SPOnSOrS

GAThErInG GAThErInG SPACES SPACES

SPECIAL SPECIAL ExhIbITS ExhIbITS // DEmOnSTrATIOnS DEmOnSTrATIOnS

Concierge

Conversation Space

Cafe Cafe Bar Bar Lounge Lounge

VIP VIP

Concierge Concierge Lounge Lounge Conversation Conversation Space Space

Special Special installations installations and and demonstrations demonstrations by by leading leading museums museums and and arts arts organizations organizations in in the the fields fields of of craft craft and and design. design.

SPOnSOrS SPOnSOrS

Undefined gathering spaces

Undefined Undefined gathering gathering spaces spaces

Undefined seating areas

7 Undefined Undefined seating seating areas areas



Fig 1.





d becomes the first

ality, using common Although temporary deal opportunity As topart of our competition proposal, we decided to take on the design and construction of a new entrance for the exposition. The idea was to create an entry threshold that not only becomes the first experience of the show but also embodies our interpretation of what the show is about the exploration of form and materiality, by using common materials in unexpected ways that transcend expectations.

To accomplish this, our team collected recycled cardboard tubes from print shops in the Chicagoland area for nearly 5 months before we were able to obtain enough tubes to complete the installation. The walls of the installation were designed to taper in thickness from thick to thin, creating a heavy, massive structure that gradually becomes more transparent as one moves in to the show floor.

Fig 2.

8

Fig 3.

Captions: Fig 1. Floorplan of main entrance into SOFA show floor.

Fig 2. Initial concept sketch.

Fig 3. Image from Navy Pier terrace into the show floor. Image by Brad Pogatetz.

Fig 4. Image from show floor looking out to Navy Pier terrace.

Fig 5. Image depicting the gradient of transparancy created by incrementally reducing the length of the cardboard tubes.

Fun facts about the installation: 2950 Linear feet of cardboard tubes 4104 Saw cuts 6144 Sanded edges 3072 Finished pieces 1014 Pounds total weight

Fig 4.

Fig 5.

9

Fig 1.

Fig 2.

10

Revolution Brewing Production Facility Expansion,

2014-2015

Design Team: Wrap Architecture

Client: Revolution Brewing Revolution Brewing is one of the fastest growing brewing companies in the state of Illinois. To keep up with increasing demand, they needed to expand their existing production facility. The expansion of the facility included the addition of a fermentation cellar designed both to meet the current production needs, but also allow for future growth. The new fermentation cellar currently houses (4) new 800 BBL fermentation tanks, but is capable of housing up to (8) tanks. The project also included the addtion of a larger brewhouse and several new pieces of equipment that all help increase production. To give a sense of the scale of the new fermentation tanks, it would take a single person drinking a six-pack everyday for 130 years to completely empty one of the tanks.

My Role: Construction drawings

Submittal Processing

Structural construction drawings

Site Visits

Captions: Fig 1. New concrete platform with fermentation tanks installed.

Fig 2. Interior of fermentation cellar.

Fig 3. 12 ft. diameter fermentation tank.

Fig 3.

Fig 4. Exterior of new fermentation cellar.

Fig 5. Fermentation tanks being installed.

Fig 4.

Fig 5.

11

Learning by Teaching instructing, critiquing, & building

Auburn University Rural Studio Rural Studio is a design-build program in West Alabama and is part of Auburn Universities School of Architecture. The program was founded in 1993 by late Sambo Mockbee and D.K. Ruth. Since Mockbee’s passing in 2001, Andrew Freear has taken over the reigns and has grown the program into what it has become today. The program has received numerous awards, nationally and internationally, and was recently invited to participate in the Venice Biennale.

Rural Studio is a complex combination of architectural, social and environmental responsibilities involving: designing & building, place & community, creativity & experimentation, culture & education, service and citizenship. Students are given the opportunity to immerse themselves into the place, often times a different culture to that of their own, and begin to learn what it means to become a citizen architect.

The program consists of 12 fifth year architecture students, 12 third year architecture students and 4 Outreach students. While at Rural Studio, students have the to opportunity to take a project from the early programming phase all the way through handing the keys to the client. Students get the opportunity to develop a program from the building, cultivate relationships with and present to clients, generate schematic designs and develop and refine them until they eventually become construction drawings, and finally construct the building.

14

Teaching Staff

Student Groups

Project Types

5th Year Students

Director / 5th Year Studio Professor

Community Projects Client Houses 20k Houses

Outreach Instructor / Directors Assistant

Outreach Instructor / Directors Assistant

Outreach Students

20k Houses

Woodshop Instructor

3rd Year Students

3rd Year Studio Professor

Fall Semester

3rd Year Studio Instructor

History Instructor

Client Houses Rural Studio Farm Spring Semester

= Me

15

Rose Lee Courtyard House,

2008

Teaching Team: Professor Elena Barthel Instructor John Marusich

Students: Fall Semester: Tyler Allgood, Kendra Ayers, Tanner Backman, Doug Bacon, Bob Benner, Brandon Block, Stephanie Brown, David Charney, Jordan Cox, Michael De St. Aubin, Rebecca Hayes, Clay Jackson, Kenneth Lao, Tina Maceri, Alexandra Peeples, Autumn Sikorowski Spring Semester: Sarah Al-Rukhayyes, Andrew Dolder, Christine Furey, Alex Henderson, Randall Holmes, Stephen Kesel, Allyson Klinner, Corey Lee, Lauren Oliver, Benjamin Pendergraft, Andrew Taylor, Daniel Toner, Christina Walton, Elizabeth Whitlock, Joseph Wojciechowski, Katie Woods, Mary Melissa Yohn

The Second year studio typically experiments with Contemporary forms of rural housing. In 2008-2009, the second year studio focused on experimenting with the idea of an expandable house for Rose Lee. The expandable house is one that grows over time as the needs of the client grow and is based on the tradition of local farmhouses. Traditionally, much of the housing in the area has been added onto in an ad-hoc manner without much thought or intention about future expansion. The expandable house also responds to the transient nature of the contemporary family. Our goal was to come up with a design that was appropriate for the client’s current needs, yet flexible enough to allow for future expansion.

We chose to use the courtyard typology to help guide the future expansion of the house. The courtyard brings in natural light, vegetation and weather into the home further connecting it to the surrounding landscape. This allows it to become an outdoor living room throughout most of the year.

17

2ND semester

phase 1: machine

phase 2: courtyard + bedrooms

+ + bedroom

+

bathroom

+ living

+ dining

+ kitchen

+

The house has been designed with a core volume called the “Machine” which has a perpendicular expansion on the east side of the site. The machine houses the master bedroom, the living room, kitchen, and bathroom. The expansion provides two more bedrooms for Rose’s tow sons. In the future the house could accommodate a young couple to take care of rose in here golden years. Taking into consideration the family’s lack of financial resources, the façade was designed with many windows for natural light and cross-ventilation. The clerestory window provides a tremendous amount of light into the main living space and also helps to heat the house in the winter months.

To supplement the heat from the sun, a salvaged wood-burning stove was provided to heat the house.

2ND DESIGN DECISION: EXPANDABILITY PROCESS

1ST semester

Rose Lee’s house is an “L” shaped courtyard house, with a long horizontal front porch facing the street and has a square patio that faces the backyard.

In the spirit of the traditional southern front porch, Rose’s porch stretches the length of the hose and is dedicated to her social life. The porch provides and uninterrupted 180-degree view towards Footwash’s “Main Street,” which is created by a bold cantilevered roof that is delicately held up with thin metal supports. The courtyard is enclosed with a semitransparent cedar wall and provides the family with a

My Role: Studio Instructor Construction Construction management Materials ordering

18

19

private outdoor space to inhabit throughout the year.

Rose’s house is a typical platform framed building with the “pop up” clerestory roof held up by 4 trusses designed and built by the students using reclaimed heart pine salvaged from and old local barn. More recycled wood from the barn was used to wrap the walls of the living room and the expansion hallway, giving hierarchy and a warmer texture to the communal spaces of the house.

Rose’s house is also known as the cedar house, which highlights the effort of creating a house made from local materials. Cedar is an abundant, indigenous material that has long-served as a building material in the south because of it resistance to decay from water.

The freestanding courtyard wall (held up by steel supports) and the rain screen wrap the entire building with cedar as well as part of the courtyard floor.

20

Rural Studio Farm: Passive Solar Greenhouse

24

Rural Studio Farm: Passive Solar Greenhouse Teaching Team: Professor Elena Barthel Instructor John Marusich

Students: Fall Semester: 2010 (Design) Morgan Achino, Christine Bagdigian, Damian Bolden, Ashley Clark, Drew Craven, Kurt Funderburg, Brad Greene, Will Gregory, Kyle Johnson, Peter McInish, Michael Stricklin, Ashley Williams Spring Semester: 2011 (Design) Davis Campbell, Mike Jones, Mary Win McCarthy, John McDaniel, Turner McLemore, James Miller, Anna Powers, Cameron Weldy, Alex Wilson, Sarah Wright Fall Semester: 2011 (Construction) Tanner Avery, Jeff Bak, Kaitlyn Callis, Caleb Gardener, Lucas McCarrell, Dylan Moore, Brooke Riesburg, Taiwei Wang, Thomas Whales, Ellen Wirry Spring Semester: 2012 (Construction) Cody Bryant, Candace Duffelle, Cierra Heard, Whitney Johnson, Skylar Keele, Rachel Latham, Sam O’Leary,, Helen Schlesinger, Iain Shriver, Sebasitan Toro, Emily Walker Fall Semester: 2011 (Design & Construction) Stephen Bianchi, Dawson Bowers, Richard Bryant, Bruce Buescher, Taylor Christiansen, Callie Eitzen, Carlos Hernandez, Taylor Horton, Anne Johnstone, Kevin Laferriere, Michael Lewandowski, Quinn Mackenzie, Margaret Scott, Mary Elsa Tomlin, Torrence Wong Spring Semester: 2012 (Design & Construction) Cindy Baker, Laura Bathke, Alexandra Buehning, Alan Darpini, Kristen Gruhn, Aleksander Hays, Adam Levet, Julia Long, Ian Maples, Allison Martin, Cecilia Plascencia, Gabrielle Rush, Trenton Tepool, Kevin Thompson, Kyle Wherry, Megan Wood

The research from the strategic masterplan and the kitchen taught us that most of the produce we could easily preserve was grown during the summer months when most of the students are not in Newbern. This research led us to the next phase of the Rural Studio Farm, which is the construction of a Passive Solar Greenhouse. The greenhouse will not only produce food for the students and staff but will also produce heat and rainwater helping to extend the summer growing season well into the winter months.

The greenhouse is a lesson in passive design for the students building it as well as future students who will reap the benefits of seeing the machine in action. Members of the Auburn University Extension system will also be able to use the greenhouse for teaching demonstrations for the community and other agriculture related experiments.

25

10’

10’

10’

10’

26

Fall 2010

Spring 2011

Summer 2011

Fall 2011

Spring 2012

Summer 2012

Fall 2012

Spring 2013

Summer 2013

Fall 2013

Spring 2014

Summer 2014

Schematic Design Design Development Construction Students Staff

5’

The building consists of (3) 25by-25 ft. bays plus one extra bay for the seedhouse. The bays are separated by a dogtrot that allows access for the tractor. The structure is made up of a steel frame that serves as an armature for the glass envelope and a thermal mass wall that serves as the heater for the building. An operable fabric cloth helps regulate the inside temperature throughout the year.

In summer, the ribbon of operable windows and large double doors can open up, effectively transforming the building into a hoop house so the structure can be used year-round.

5’

27

28

Components COLUMN OF WATER - Holds enough water above 23 feet (10 PSI) for two days of drip irrigation - “Conceptual Battery” - stores potential energy and uses gravity to create pressure - Vertical element that relates to greenhouse GUTTER - Collects rainwater from greenhouse roof - Potential for evaporative cooling - Channels water to below ground cistern

PV PANEL+ PUMP - Solar slow pump

CANOPY

- Direct Current (DC) - Pumps water to top of water column

WATER TANK - Stores rainwater that overflows from trough

RAISED BEDS - Modularity

- Provides long-term redundancy

- Constructability

- “Recharger” supplies water to “Battery”

- Fuctionality

- Maintain consistent internal temperature year round - Accentuate greenhouse aesthetic - Ease of maintenance and operation - Student buildability

- Aesthetic Relationship to surroundings.

- Indoor Sq. Footage: 663

1T

5T

The thermal mass wall, which consists of four rows of stacked 55-gallon drums filled with water, is positioned to receive maximum sun exposure.

During the winter months, the drums collect the sun’s heat during the day and radiate the heat back into the structure at night. The two rows of blue-painted barrels help to raise the temperature of the water and reflect a blue light, which aids in the plants germination process. Inside the cavity of the thermal mass wall is a layer of insulation that helps direct the heat back to the inside the greenhouse while a berm on the north side of the building provides another layer of insulation and deflects the northerly winds.

The greenhouse is also marked by several key components that make up the systems of the greenhouse. The water system collects rainwater and reuses it for irrigation, a canopy system helps regulate the internal temperature of the greenhouse, and the raised beds provide fertile, welldrained soil promoting healthy productive plants.

29

Greenhouse Components: Water System The water system is designed to further aid in the educational aspects of the greenhouse while helping to make the building more self-sufficient.

Canopy System The canopy is designed to help prevent the greenhouse from overheating during the hot summers while giving a layer of insulation in the winter.

Raised Beds The raised beds will aid in vegetable production and serve as a model to implement in the rest of the garden.

They are made of recycled Alpolic from the Mitsubishi Company.

30

31

H WINDOW SECTION SCALE: 6" = 1'-0" 32

Auburn U

RuralStu P.O. Box 278 Newbern, AL 36765 USA

tel. + fax + freeA www.

1/4" TEMPERED ROOF GLASS 1/4"X1" DOUBLE SIDED TAPE

Rural Studio farm

13 16"

Solar Greenho

(MATCH DIMENSION WITH REDLINE BELOW)

2 - 12

1

TYPICAL

4"

UPPER REDLINE (3/8"x2" FLATBAR)

WINDOW TRIM

∠1x1x1/4" (TO BE INSTALLED

DURING WINDOW FRAME INSTALLATION)

NOTES: All Drawings and Written Material are th property of Rural Studio and may not be published, disclosed, or used without e written consent.

1/2"

(DIMENSION MAY VARY PER SITE CONDITIONS)

WINDOW FRAME (W2,W5,W6) WINDOW HANDLE

WINDOW HINGE

1/4" TEMPERED GLASS GLASS SETTING BLOCK GLASS SETTING FRAME

OPERABLE WINDOW FRAME

WINDOW FRAME (W2,W5,W6)

1/4" TEMPERED GLASS

Key Plan

GLASS SETTING BLOCK GLASS SETTING FRAME

B A rev

WINDOW FRAME (W2,W5,W6) 2 - 12 FILL HOLE WITH WELD DURING WINDOW FRAME INSTALLATION 1

4"

1

4"

drawing title

1/2"

Windows Section

(DIMENSION MAY VARY PER SITE CONDITIONS)

issue

∠1x1x1/4"

2 - 12

04.02.13 11.14.11 date

REDLINE

for construction

13 16"

client

Auburn University Rural S

date

07.30.2014

drawn by

jtm

drawing name

drawingname.dwg

scale

As Noted

sheet no.

01

NORTH WINDOW SECTION SCALE: 6" = 1'-0"

W102

Soon after the students finished up schematic design and the semester concluded, we realized the difficulties of coordinating fabrication drawings amongst a new group of students, so we decided it was best for them to be done by the staff (meaning me). Over the course of the next few months, I completed a 65 pg. set of construction drawings to be submitted to a donor for fabrication.

Fig 1. “Portal� Diagram

My role: Studio Instructor Construction & Steel Fabrication Construction management Steel drawings Windows design Scheduling Construction drawings Detail drawings Design development Coordinating contractors & fabrication Materials scheduling & ordering Worked with engineers / consultants

Fig 2. Diagrams illustrating how to build the cantilever corners of the greenhouse.

Fig 4. Shop drawing redlines

Fig 3. Perspective section sketch of window details

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As the building progressed, and the economy declined, our steel fabrication halted. I continued to produce fabrication drawings, only this time I was able to fabricate most of the pieces that make up what we call the end walls of the building.

Throughout this process, I also worked with local contractors who aided in the fabrication and installation of a few key pieces of the steel frame.

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35

36

The construction of the greenhouse has been a long and grueling process. During this time I was responsible for organizing and coordinating construction across each semester of students. This involved the day-to-day scheduling of students & tasks, solving problems that arose during construction, maintaining quality control, scheduling & ordering materials, and participating in construction when time permitted.

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Rose Lee 20k Courtyard House Teaching Team: Professor Xavier Vendrell Instructor John Marusich Instructor Alex Henderson

Students: Fall Semester: Michael Callaway, Felipe Vaz, Josh Banks, Rubi Carrero, Abby Katsoulis, Kyle Keirsey, Sarah Wahlgren, Saxon Gibbs, Ellise Gallagher, Valyn Daconto, Krystal Duchene, Will Ready, Henry Boyle, Robert Gray Spring Semester: Caitlyn Salters, Forrest Burleson, Jack Bigbie, J.P. Alexander, Jonathan Neely, Lauren Barker, Lauren Lloyd, Libby So, Nathaniel Bartlett, Quinton Jones, Samantha Speed, Timothy Wang, Will Gaskill

Rose Lee is the only client the Rural Studio has ever built two houses for. Unfortunately in January 2011, the Courtyard house burned down. Thankfully, no one was hurt and we were able to provide her with a trailer until a new house could be built. A couple of years later the studio was in a position to build Rose Lee and her son Jason a new house using two of the existing 20K House models. The two 20K models are situated around the remnants of the previous courtyard slab, using landscape elements to define the limits of the courtyard and otherwise enhance the existing site.

The challenge was to push the limits of the 20K House detailing and add to the library of research across Rural Studio as a whole.

39

Topography: The topography team designed a fire pit using the footing from the previous house to serve as a social gathering place for Jason and his friends.

Groundcover: The groundcover team used materiality to link the two houses together by building a deck that hugs the existing courtyard slab.

Architectonic: The architectonic team designed seating in the courtyard using recycled footing from the previous house as well as a concrete table for the courtyard.

Trees & Shrubs: The trees & shrubs team carefully selected specific vegetation to define the limits of the courtyard. Trees were strategically placed in the front yard and the courtyard to shade the outdoor living spaces.

My Role:

Detailing:

Instructor

While the students were busy designing

Construction

the landscape & the location of the

Construction management

houses, the staff was busy pushing the

Scheduling

detailing of the 20K Houses.

Budget Materials selection / ordering Construction drawings Detailing development Design development Client contact

Fig. Mac’s House Courtyard elevation.

Fig. Eddie’s house street elevation.

Learning by Doing designing, deliberating, iterating, & building

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Teaching Staff

Student Groups

Project Types

5th Year Students

Director / 5th Year Studio Professor

Community Projects Client Houses 20k Houses

Outreach Instructor / Directors Assistant

Outreach Instructor / Directors Assistant

Outreach Students

20k Houses

Woodshop Instructor

3rd Year Students

3rd Year Studio Professor

Fall Semester

3rd Year Studio Instructor

History Instructor

Client Houses Rural Studio Farm Spring Semester

= Me

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Boys & Girls Club of Akron,

2007

Design Team: Whitney Hall, John Marusich, Adam Pearce, Danny Wicke The Boys & Girls Club of Akron was designed and built by myself and 3 other thesis students at Auburn University’s Rural Studio. The Boys & Girls Club of Akron is the second attempt by Rural Studio and the city council of Akron to provide a positive place for children to go after school. The first Boys and girls club lacked the organizational structure needed for the club to survive once the students had turned the building over to the city.

This also led to the discovery that the land the building was constructed on was not able to be deeded over to the city as was agreed upon during the early planning phases of the project and therefore was not able to be supported by the National Boys & Girls Club.

Programming & Organization:

Our Team:

Our team analyzed a series of case studies to better understand the programmatic and monetary requirements of youth centers and Boys & Girls clubs. Upon completion of this analysis we gave a presentation to the community to help them understand the differences between the two entities, and layout a framework for moving forward with the start up of the new organization.

John Marusich Whitney Hall Adam Pearce Danny Wicke

My Role: Design Drawings coordination Construction Drawings Organization of construction Budget 3-d Modeling Construction

While simultaneously designing and constructing the building, our team continued to help guide the town through the process of becoming affiliated with the National Boys & Girls Club of America. Upon completion of the building, my colleague and I continued to help guide the unit board through the process until it became nationally affiliated. The club has now been running for the past several years.

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Material ordering / selection

49

The city center has become an under developed area surrounded by housing, leaving many sites open for the development of the new Boys & Girls Club of Akron. The most obvious location for the new building was on a piece of property within the city center, and was not owned by the city. Fortunately, the mayor and city council decided it was in the best interest of the town to buy the property for future town development.

The location of the new BGCA was thought of as a catalyst for what the future of the city center of Akron could become.

After analyzing the town’s hub of activity, we designed the placement of the building to help define the town’s hub of activity and re-instate the rhythm of what the urban fabric once was. Our goal was to help inspire and create a renewed sense of civic pride within the community.

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NOTES

All Drawi sole prop be duplic used with

Desig

Mast

drawing fil

N/A

Master Plan

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SUN ANGLE DIAGRAMS

4.

2.

5.

1. Recreation Room 2. Classroom

1.

3. Snack area 4. Kitchen 5. Basketball Court

3.

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The indoor facility was designed with several key strategies in mind to help the city minimize future operating costs. The facility was designed so a minimal number of workers were needed to oversee and operate the building in the early stages of the programs development, allowing the organization to naturally grown and expand as the club gained popularity.

In addition to the minimalist approach to the daily operation of the building, the building itself was designed to help keep the operating costs down.

The building is oriented slightly off the north-south axis giving us the opportunity to harness the sun and the prevailing winds into the design of the building.

Throughout the majority of the year the prevailing winds are brought into the building providing some relief to the regions brutally hot and humid climate.

The lamella roof structure acts like a large sail for the building catching more of the prevailing winds creating a wind tunnel effect, thus supplementing the cross ventilation methods used to cool the building.

Fig. 1

Captions:

MATERIAL ISOMETRIC DIAGRAM

Fig 1. The BGCA was designed to have the indoor facility present itself to the main thoroughfare through the city center and an outdoor play area covered by a lamella roof that swoops down and defines the “downtown plaza.”

Fig 2. The exterior cladding needed to withstand the destruction of children. The locally sourced cedar rainscreen provides a tough material that can withstand the environment while adding a touch of delicacy to a seemingly monolithic building façade.

Fig. 2

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Captions: Fig 1. A clerestory window running the entire length of the recreation room provides plenty of daylight for the children to play without needing to turn on the lights while the club is open.

Fig 2. As the only conditioned space in the building, the classroom provides a comfortable and quite environment for children to ISOMETRIC do their homework as MATERIAL DIAGRAM well as participate in arts and crafts activities that are no longer provided by the school system.

NOTES:

All Drawings and Written Material are the sole property of Rural Studio and may not be duplicated, published, disclosed, or used without expressed written consent.

Radiant Barrier 1x4 Batton

Galvalume Roof Metal 1” Homasote Roof Sheathing

Tamarack Exhaust Fan

16” TGI Joist

Soffit Vent 2 Layers of 10mm Polygal 3/4” Birch Plywood 2x4 Wood Construction R-30 Batt Insulation T-5 Flourescent Light

1x4 Cedar (3) 16” LVLs

Double Glazed Operable Window

Finish Material 1/2” Homasote

6” Concrete Slab Radiant Floor Heating

R-19 Batt Insulation

1” Foam Insulation

2x6 Wood Construction

Design Development

Wall Section drawing file name

N/A Boys & Girls Club of Akron Akron BGC

Wall Section

City of Akron, AL N/A Scale to Fit (See Dwg For Scale) Akron BGC Team

The BGCA is built using typical wood frame construction while using a structural gutter to connect it with the barrel-vaulted lamella roof. At the onset of our project, we were given the lamella roof system to test the capabilities of the structure. The lamella system is capable of spanning up to 60 feet using materials found at a local hardware store. Our lamella systems spans just over 30 ft and its shape is derived from a simplification of the construction method. By creating a semi circular form, each member can be cut exactly the same, giving it the opportunity to become an alternative long span framing system to the steel framed buildings found across our state.

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Fig 1.

Our lamella system was built in a series of bays allowing the structure to extend/ expand as long as the building required.

The semi-circular form obtains its structural stability by using the indoor facility as a buttress. This is accomplished through the use of a structural gutter that connects the two structures together.

Captions: Fig 1. As a team we were responsible for managing our budget for the project. In order to build such an ambitious project we relied heavily on soliciting for material donations. We were able to match our budget in material donations such as the wood for the lamella.

Fig 2. The lamella members terminate into steel shapes we called “Receivers.�

The receivers are also where the steel cables running through the corkscrew of the lamella pattern is tied down to prevent structure from become a big sail in a wind storm.

Fig 2.

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The structural gutter is the thread that ties the two structures together. It proved to be one of the most difficult design challenges we faced during the project. The gutter consists of bent steel plate and obtains its slope by using a series of steel gusset plates that incrementally decrease in size over the length of the gutter.

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Recognition: The Boys & Girls Club of Akron has received a fair amount of publicity both nationally and internationally.

It has been published in several periodicals and journals worldwide. It is now being use in Alabama Power advertisements and was voted one of the Worlds most beautiful buildings by Travel + Leisure.

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Teaching Staff

Student Groups

Project Types

5th Year Students

Director / 5th Year Studio Professor

Community Projects Client Houses 20k Houses

Outreach Instructor / Directors Assistant

Outreach Instructor / Directors Assistant

Outreach Students

20k Houses

Woodshop Instructor

3rd Year Students

3rd Year Studio Professor

Fall Semester

3rd Year Studio Instructor

History Instructor

= Me

Client Houses Rural Studio Farm Spring Semester

Greensboro Farmers Market, Marketing Team: Elena Barthel John Marusich Cameron Acheson Julie Rosche

Design Team: Andrew Freear John Marusich Mackenzie Stagg

Client: Greensboro Farmers Market committee Alabama Department of Public Health

2011

The Greensboro Farmers Market is a project that encompassed everything from marketing to the design and construction of the markets infrastructure. The marketing committee of the farmers market was formed at an early stage to develop the identity of the market and figure out how best to “spread the voice� and develop ways to fundraise and ensure the sustainability of the market.

a am Al

Ala

ab

bam

Ala

a

bam

a

One of the main objectives of the farmers market committee was to create an identity/ image of the market that would appear to multiple generations. The goal was to develop imagery that was sophisticated yet slightly unrefined. This gives the appearance the farmers market is a professional organization that is here to stay, while keeping the informality of the farmers market.

a

m

ba

.

Co e Ha l

.

Co Ha le

Ha le

Co

.

Ala

.

le Ha

Co

Fig. 1

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My Role: Marketing Construction Construction management Budget Materials ordering Construction drawings Presentation drawings Presentations to client Model making

Captions: Fig1. The marketing committee developed several materials to announce the new marked to the public and create overall excitement within the community.

Fig 2. The committee also worked with elementary students to help reach a more diverse crowd.

Fig 3. A mural announcing the new market was painted at the busiest intersection in town.

Fig. 2

Fig. 3

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ST. MAIN

COLLEGE ST.

PIGGLY WIGGLY

HWY. 14

CITY FURNITURE

HWY. 61

. 14 HWY

Hale Co.

Alabama

Grow your business in 2012 at The Greensboro Farmers Market!!!

The Greensboro Farmers Market was developed as a mobile farmers market. Like many other towns across the country many farmers markets do not own the land they operate on and often times shut down because they do not have a permanent home. Our goal was to acknowledge the transient nature of many farmers market and design the infrastructure for the Greensboro Farmers Market in such a way that the market was not bound to one specific location.

Soft Opening May 18 Grand Opening June 1 Market Location: Corner of Hwy 14 & Hwy 61 Market Hours: Fridays 8am - 1pm

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The Greensboro Farmers Market is located in Greensboro, Alabama and is the only functioning farmers market within 50 miles. Greensboro, a city whose economy is mainly based around agriculture, is surrounded by catfish ponds and cattle farms with a few vegetable farms scattered in between, has very little access to locally grown fresh meat and produce.

Fig. 1

Captions: Fig 1. Opening day at the Farmer’s Market!

Fig 2. The advertising benches are one of the most important components of the markets infrastructure. The primary role of the benches is to make operational money for the market but also gives the market the opportunity to become a social meeting place as well as a place to buy local fresh produce.

The market’s first home was located just off of one of the busiest intersections in town. In the summer of 2011 the newly opened market gained permission from a local business owner to make its home just off of Main St. The market struggled a bit form its lack of visibility and eventually was asked to find a new home.

In spring of 2012, the market found a new

ADVERTISE YOUR BUSINESS HERE

home at the intersection of 2 main highways leading into Greensboro. Since its move to the new location, the market has gained a tremendous amount of momentum and has allowed the market to continue to grow.

ADVERTISE YOUR BUSINESS HERE

Fig. 2

FARMERS MARKET BENCH SCALE: 3/8" = 1'-0"

PROPOSAL WITH 2 SQUARE SIGNS

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SIGN COST:

Fig. 1

Fig. 4

Captions: Fig1. Farmers market stands being delivered to the new site.

Fig 2. The new farmers market site.

Fig 3. The market manager stand!

Fig. 2

Fig. 3

Fig 4. Operation of the vendor stands.

Fig 5. Presentation model of vendor stand made for client presentation.

All of the pieces of the mobile farmers market were designed around the idea of mobility. The size of the market stands are based on the maximum dimensions allowable on the road without the need for and oversized cargo permit. The chassis of each stand were built with a pair of skids allowing it to be easily winched onto the back of a flatbed tow truck.

Fig 6. Exploded axon of Mobile market stand components. All surfaces that food & humans come in contact with are clad in a local cedar while the structure is made of treated yellow pine.

Fig 7. The vendor stand has been designed so farmers

The infrastructure for the farmers market initially started with the vendor stands and as the market grew, expanded to the development of a market manager stand and advertising benches. The vendor stand has been designed to accommodate 2 farmers and can be arranged in a number of ways to accommodate virtually any site condition. At the beginning of each market season, the cedar clad awnings open up, signifying to the community the market is open.

The market manager stand was designed to give an authoritative presence to the market and further legitimize the operation of the market in the eyes of the public. The manager stand consists of a small storage room and a large counter running the length of the stand, giving the market a central location to run fundraisers and others events out of.

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can back up their vehicle up to the stand, giving them access to both their produce and the generous display running the length of each stall.

Fig. 5

Fig. 6

Fig. 7

Center for Sustainable Rural Living, 2006 Design: John Marusich

The Center for Sustainable Rural Living (CSRL) was a project our faculty had students help generate ideas to help the E.V. Smith research center move forward with the expansion of their agricultural research center at Auburn University. The CSRL will help expand the facilities of the existing research center by adding a new learning center that will help engage the people in the area by demonstrating ways to live sustainability and reconnect with the earth in a positive way. It will foster the development of research for safer, healthier foods, support research on alternative bio-fuels and energy systems, and will aid in connecting the universities research with the local community and farmers. The new facility will also create a place for local farmers to come and sell their produce. As part of the CSRL’s commitment to the environment the goal for the design of the building was to achieve a L.E.E.D. silver rating.

The concept for the CSRL was instigated by the notion that agricultural buildings have evolved and adapted over time into very efficient buildings. With this in mind, the design focused on creating a building form that is very familiar to farmers and the surrounding communities, while introducing new concepts or changes in life-style through the systems and materiality of the building.

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Targeted Categories for L.E.E.D. Silver rating (Version 2.1): Sustainable Sites Water Efficiency Energy and Atmosphere Materials and Resources Indoor Environmental Quality Innovation & Design Process

Design strategies 1. Proper building orientation Create a shared pavilion-like space that harnesses the winter sun while blocking out the summer sun. Stack program elements to minimize the footprint and use them to reduce conditioned space and block northerly winds.

2. Daylighting Create a facade that changes with the Fig. Aerial view of project site

lighting requirements of the buildings program.

3. Local Materials Use the building as a museum to celebrate a collection of local sustainable materials.

Fig. Natural ventilation and daylighting strategies

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1. Gallery 2. Restaurant

5.

6.

3. Gift Shop

7.

4. Auditorium 5. Labs

8.

6. Offices 7. Classroom 8. Lounge

2nd Floor plan

2.

1.

7.

3.

4.

1st Floor plan

Longitudinal Section

Front Elevation

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Captions: Above. Materials concept diagram.

This was an investigation of how spaces could be defined through the use of materials rather than full enclosure. This idea was used to define the galleries located along the corridor of the building.

Top Left. View of Main Gallery.

Bottom Left. View of the Gift Shop.

Opposite. View of Corridor Gallery

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Learning by Making exploring, experimenting, & creating

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Norbert Lechner Drawings Environmental Diagrams: In 2008, I started producing Environmental diagrams for Professor Emeritus and Architect Norbert Lechner.

While working with him I have completed construction drawings for a Heliodon in Macedonia and completed, managed, and organized drawings for 3 textbooks. The drawings have ranged from simple charts and diagrams to details to more complex illustrations.

To space

ARCTIC CIRCLE 66.5 N LAT.

S

S

D

D

TROPIC OF CANCER 23.5 N LAT.

W W D

S

S W

EQUATOR

D

W

W

S

D

S

W W

W D

TROPIC OF CAPRICORN 23.5 S LAT.

S

W

D

D

W

W D

D

Light shelf

W

W

S W

To space

W

W

S

S S

S

S

ANTARCTIC CIRCLE 66.5 S LAT.

DESERT

S

SEMI ARID

HIGHLANDS

D

TROPICAL DRY

W

TROPICAL WET

4ED-15

North

South

SECTION

Shutter

4ED-38

Windows with light obscuring glazing

Captions: This page: Diagrams and illustrations from the most recent edition of Heating, Cooling, Lighting 4th Edition.

4ED-46

Opposite Page: Cover from the newest edition of Heating, Cooling, Lighting 4th Edition.

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AUDITORY NERVE

SEMI CIRCULAR CANALS

EAR BONES OUTER EAR EAR CANAL COCHLEA EAR DRUM EUSTATIAN TUBE THROAT

A-1

FIG. 5.4a

INTERNAL CIRCUIT BREAKER

INTERNAL FAULT H

HOT GROUND

GROUND

NEUTRAL

SWITCH

M

N T

LOGIC CIRCUIT

GROUND FAULT INTERUPTER IN RECEPTACLE

PLUG

APPLIANCE

DISINFECTANT SYSTEM

PUMP

PUMP

EFFLUENT FROM BUILDING

FIG. 2.11e FILTER

PRIMARY

STORAGE TANK

RETURN

SEPTIC TANK

SECONDARY

WETLANDS

ED-31

DISINFECTANT TERTIARY

TREATMENT STAGES

82

FOR IRRIGATION OR W.C. USE

Captions: Both pages: Images from Plumbing, Electricity, Acoustics. Diagrams and Illustrations in this book focused on water efficiency, storm water management, fire safety, electrical efficiency, and basic acoustical properties.

83

84

Captions: This page: Images from Heating, Cooling, Lighting 3rd Edition.

Opposite page: Images from the set of Heliodon construction drawings recently built in Macedonia.

SECTION

ELEVATION

SECTION

4ED-33

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End Tables (Set of 2)

Wood Working Furniture Making & Wood Crafting: I started making furniture while at Haystack Mountain School of crafts. In 2009, I took an introductory steambending wood course in which I learned how to take a rough sawn piece of timber and turn it into a finely crafted piece of furniture. While working at Rural Studio, I continued my joy of making finely crafted wood pieces and began experimenting with a variety of wood species.

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Cherry & White Oak, 2012

Cutting Board Cherry, 2013

Cutting Board

Cutting Board

End Grain Rock Maple, 2014

Walnut & Rock Maple, 2012

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John Marusich jmarusich@gmail.com 850.582.6816