Portfolio 2018 + 2019

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Selected Work Architecture

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Jordan Laurila M.Arch Taubman College

Jordan Laurila

phone 678-357-3501 instagram @jojolaurila email jlaurila@umich.edu address 4631 Adams CT Lilburn, GA 30047

education University of Michigan | Ann Arbor, Michigan M.Arch, June 2019 - May 2019 Taubman College Scholarship Recipient University of Georgia | Athens, Georgia B.A. Arabic Language and Culture Magna Cum Laude Honors Student Aug 2013 - May 2016 Georgia State University | Atlanta, Georgia Excellence Scholarship Recipient Aug 2012 - May 2013

publications & exhibitions Dimenions 31 Student Publication Journal, Editor, 2017 - 2018 Dimenions 32 Student Publication Journal, Editor, 2018 - 2019

Persistent Pasts: The Bicentennial Campus as Archive Exhibition, led by Sarah Rovang, April - July 2017 Taubman College Gallery Student Showcase 2019 Annual Student Show, “Eastern Commons�

Taubman College Review Gallery

software & fabrication Rhino Illustrator CC Photoshop CC InDesign CC Premiere CC After Effects CC AutoCad Final Cut Pro Quickbooks Pro Processing

Laser Cutter Zund Knife Cutter CNC Router Plaster Casting Metal Casting 3D Printing

experience Irene Hwang, Assistant Architecture Chair Summer Intern May 2019 - Present Ann Arbor, MI Akoaki Summer Intern May 2018 - Jan 2019 Ann Arbor, MI Dean Jonathan Massey Research Assistant Aug 2018 - March 2019 Ann Arbor, MI Design Earth Research Assistant July 2018 - Feb 2019 Ann Arbor, MI Communications Office, Taubman College Editorial Assistant, Blog Writer Aug 2016 - May 2017 Ann Arbor, MI Business Office, Taubman College Work/Study Assistant Aug 2016 - May 2018 Ann Arbor, MI Nichols Office Architecture Summer Intern July 2017 - Aug 2017 Atlanta, GA Mack Scogin Merril Elam Architects Spring Break Externship March 2017 Atlanta, GA

languages Arabic | advanced AMIDEAST Study Abroad Aug - Dec 2014 Amman, Jordan Colors of Bahrain Marketing Internship June - July 2014 Manama, Bahrain German | intermediate

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Eastern Commons

Protocol Please

Fall 2018 Advisors: Kathy Velikov & Jon Rule

Spring 2019 Advisor: Ellie Abrons

pgs: 8-17

pgs: 18-29

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Utopia

Hotel

Winter 2018 Advisor: El Hadi Jazairy

Winter 2017 Advisor: Ana Morcillo Pallares

pgs: 30-37

pgs: 38-41

Systems Studio

with: Nour Majzoub & Hannah Cane

Thesis Studio

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Propositions Studio

Situations Studio

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Graphic Order

Gallery

Winter 2018 Advisors: Daniel Jacobs

Summer 2017 Advisor: Anya Sirota

pgs: 42-43

pgs: 44-45

Fabrication

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Architecture League Awards

Le Lieu Unique

AKOAKI Intern

Design Earth Intern

pgs: 46-47

pgs: 48-49

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In Johnson’s Closet

CMYK

Representation

Fall 2017 Advisor: Brittany Utting

2018/2019 Advisor: Christian Unverzagt

pgs: 50-51

pgs: 52-53

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Dimensions v.31

Dimensions v.32

2017 / 2018 Advisor: Christian Unverzagt

2018/2019 Advisor: Christian Unverzagt

pgs: 54-57

pgs: 58-61

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1 Eastern Commons Fall 2018 Advisors: Kathy Velikov & Jon Rule

with: Nour Majzoub & Hannah Cane 8

Domestic paradigms are shifting. As demographics become more transient, as they move more, as they settle down less, the notion of the single family unit cloistered by nuclear family dynamics is dissipating.

To reflect these changing notions of how we’re living today, this project investigates alternative modes of exchange through radical re-tooling of conventional proprietorship. We’re labelling this transition to communal living as our Post-Ownership City, a community based on the simple governing tenets of co-operative exchange. Ownership belongs in the hands of the community. We must accommodate changing demographics and the changing demands that we place upon our urban environments.

Eastern Commons, our project, is based on a northern site within the Eastern Market boundary.

It is one block west of the northern terminus point of the Dequindre Cut and approximately a ten minute walk from the core of the Eastern Market neighborhood. The current site conditions of the lot are empty, as the site has been fallow for a significant amount of time. It’s value today is contingent on a neighboring empty warehouse.

The conditions of the site led us to conceive of our project as a city within a city. Here we can define a city as a aggregation of differentiated parts to produce a varied whole, where the city is a place of congregation of people, program, and forms in an intensely relational network. The city within a city is rendered in a timber frame structure, a move that accommodates endless variation and modularity.

The building sits on a glass, dematerialized plinth, occupied by the Library. This library is not just a library of books, but of things and of services. It is a hub for Eastern Commons as well as residents of the greater Eastern Market neighborhood to come to check out items for their house. Rather than accumulate goods and objects, we need just rent our lamps and our rice cookers. When our armchair needs to be exchanged, we simply haul it back into the library.

Above the library sits a field condition of units dispersed across the site into unit aggregations.

The spaces, or streets, in between the unit clusters adopt the role of living room, office, and kitchen.

As unit sizes are kept small, communal functions spill out into the interstitial space between the units, a move we hope bestows the streets of Eastern Commons with an community energy, facilitated by the sharing economy of the library.

Entering Eastern Commons Rendering of entrance into Eastern Commons, from the street. Commercial space on the ground floor, topped with units. The relationship between units and the building are evident, where this unit is overlooking shared space under the skylights.

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Eastern Market, Detroit The site is at the northern edge of the Eastern Market neighborhood. The lot, throughout Detroit’s ebbs and flows, has never seen consistent occupation. This is changing as development is focusing on Eastern Market due to its proximity to downtown Detroit.

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A

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PLAN

First Floor Building Plan The residential units above the public library disolve into a field condition, where barriers between private and communal are blurred.

C

B

A A

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B

0

B

4

8

16

32

0

4

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Interior Unit The relationship between units and the building are evident, where this unit is overlooking shared space under the skylights.

Library Plant Shop One example of a ground floor shop, with views to one of the three lobbies in the background.

Shared Living Space: Study An example of one of the shared spaces surrounded predominately by students, resulting in a student oriented shared space.

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Interior Unit Another example of an interior unit’s relation to the the larger building.

Shared Living Space: Dine An example of the shared living space where communal cooking and eating are prioritized.

Building Sections: One Longitudinal, Two Transverse

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Building Model: Showing the structural articulation of the ground floor with the residential floors above.

Wall Section Illustrating various construction conditions found within the building.

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Protocol lays bare the power of rule-based coding as a means of production. It offers architecture an authorial model that cleaves agency away from the architect and onto the process and executor of the idea. This thesis projects casts protocol into the realm of performativity to indulge the techno-possible impulses embedded within the promises of ubiquitous digitality.

2 Thesis

The project takes up New Urbanism as a case study. To mine the embedded utopian tropes in New Urbanism is to indulge the extents of what New Urbanism promises—or could promise— through the capabilities of rule based design.

How might the interaction of New Urbanism and an algorithmically structured protocol remake the world in its vision? How easily might it leer towards an absurdist computational agenda?

New Urbanism conjures images of pristine communities, its foundation underpinned by form-based code (developmentary regulations fostering predictable built results.)

An algorithmic structure provides a framework to update how architecture might leverage protocol, to open agency to the executor of the idea, to open notions of authorial control in an analog manner that straddles the prealgorithmic and post-algorithmic.

Protocol catalyzes the architect into adopting the role of manager, where the designer establishes rules and procedures.

If architecture is to play into the claims of the postdigital, then it might be productive to indulge digital thinking to deploy protocol as a formal device. By rendering protocol and process as visible and aesthetic, architecture has the ability to transform architecture work into a work of architecture.

HR223 Hello World© Individual Home Form Hello World© | serenbe | LaLiLo Land Trust

Form

Part I House Design Filing Status:

Alone

Not alone, filing jointly

Your first name and Middle Initial

Page

H-WOMB No.02304-679J

1

Time started:

Last name

Zoning Residential

Occupation Number of Occupants39 to be expected in residence:

Sign Here

Residential / Commercial

Live / Work4

Will you be hosting often?40

Co-Working

Co-Living

Under penalties or perjury, I hereby declare that I am filling out this form with every intention to love the end result. Should I have any questions or concerns, I will address them through the proper channels and with proper documentation and with every intention to move into this house should it actually get built because I make commitments and follow through with them.2

Keep a copy Your signature1 for your records.3 Form HR223 (2019) Specify numbers for the given questions.

Date You will refer to Page 2 for making specific choices regarding style and shape of elements.

1. Number of floors5,6

1A. Split Levels7: 1B. Minimum Floor to Ceiling Height8 1C. Maximum Floor to Ceiling Height9 The acceptable 2. Number of Staircases10,11,12 range is 2A. Number of Elevators13 between 0-10.32 3. Number of Bedrooms14,15,16 4. Number of Bathrooms17,18 5. Number of Dormers19,20 6. Number of Additional Rooms21 22 List of desired additional rooms

1A. 1B. 1C.

Allowable23

List percentage 7. Window-To-Wall33 amount.

8. Interior Partitions34 (0-100%)38 9. Trim35-To-Wall 10. Corner Detailing36 (Refer to Question 26) Check Ornament Style Package37 (Choose one. You may refer to Appendix NC.) NeoPaleo

Confetti Necklace

H-WOMB No.02304-679J

NeoPomo

7.

8.

9.

10.

Check Shape of Bathroom (Select all that may apply) Square

Circle

Triangle

Answer following questions with (Y/N).

Please note that each options comes with requirements and stipulations. You may not be eligible for each option.

Refer to endnotes for more information.

Cross

Use this space below for any additional notes you might wish to provide:

NeoMo

Available partis30:

Noodle

This section determines the spatial arrangement to be deployed in your home.

NeoVictorian Select one.

Bar

NeoColonial

Plan Partis31

1.

Non-allowable24

2.

2A. 3.

4.

5.

6.

Refer to endnotes.

Form HR223 The primary work product is a form, made to resemble tax forms. It is a design process rendered in numbers 1-10 and checkboxes.

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Not alone, but it’s complicated

Email Address:

Square

18

Spring 2019 Advisor: Ellie Abrons

11.

11. Wood Frame Construction 12.

12. Roof Overhang25 13.

13. Flex Space26 14. Hallways27 14.

15. Enfilade28 15.

16. Fireplaces 16.

29 17. Sauna 17.

18. Garden 18.

19. Greenhouse 19.

20. Balcony 20.

21. Porch 21.

22. Covered Porch 22.

23. Foyer 23.

24. Swimming Pool 24.

Check one box for the following questions.

Inset 24. Windows Inset 25. Doors 26. Corner Detailing

Fillet

Offset Offset Chamfer 2019

Form

C-390

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Hello World©1 | serenbe2 | LaLiLo Land Trust

Hello World© Commercial Form

Part I Commercial Entity Design Your first name and Middle Initial

Page

H-WOMB No.02304-679J

Last name

1

Time started:

Occupation

Sign Here

Under penalties or perjury, I hereby declare that I am filling out this form with every intention to love the end result. Should I have any questions or concerns, I will address them through the proper channels and with proper documentation and with every intention to move into this house should it actually get built because I make commitments and follow through with them.

Keep a copy for your records.4

Date

Your signature3

Desired Program

You may blend 2 programs together.33 If you choose other, you get 1.

Bakery

Food Market

General Store

Juice Bar36

Shoeshine

Restaurant

Gym35

Pharmacy

Bar

Bookstore

Cafe34

Yoga Studio

Clinic

Nightclub37

Meadery38

Butcher

Art Studio

Salon

Speakeasy

Brewery

Boutique39

Seamstress40

Ice Cream Parlor

Wine Shop

Office

Other program, if not listed above16: Square18

Check Shape of Bathroom17 (Select all that may apply)

One Story

Two Stories

Circle19

Triangle20

Answer following questions with (Y/N).

Please note that each options comes with requirements and stipulations. You may not be eligible for each option. Refer to endnotes for more information21.

1. Is your roof space occupiable?7 2. Do you want skylights?8 3. Is there an awning9 on your facade?

1.

4. Do you want an atrium?10 5. Is your store11 set back from property line?12

4.

6. Do you want a drop ceiling?13 7. Is your structure column bearing14?

6.

7.

2.

3.

5.

8. Do you want interiors to be gridded15?

Facade5 Options6 Window Options

Part II Material Specifications32

This section is to choose the facade44 shape of your commercial entity. You may select as many as you wish45.

This section is to choose type of windows. Select as many as you wish.

Window-to-Wall Percentage42:

Check desired facade material.

This section also includes your choice for roof silhouette.

Rotation Factor43:

Specify dominant color for facade materials

Arch Windows

Brick

Wood siding27

Concrete28

Stucco

Marble41

Metal siding29

8.

Living coral22

Ultraviolet

Greenery23

Serenity24

Rose Quartz25

Marsala26

Emerald

Radiant Orchid

Rect. Windows

Curtain

Strip

Check desired roof material option.

Tile

Aluminum

Shingles

Green Roof30

Same as facade

Specify dominant color for roof materials. If you would like a complementary color to your facade, please leave this blank.

Living coral

Grid

Ultraviolet

Greenery

Serenity

Marsala Rose Quartz Radiant Orchid Emerald Scale factor of materials Where x < 1 Material scales downward Scale factor31: Where x > 1 Material scales upward Rotation factor of materials Where x = 0-360 degrees

Rotation factor:

H-WOMB No.02304-679J

2019

19 Page

Form HR22343 (2019) Select all that apply to you. If you choose more than one, please rank.42

2

Butterfly

Bonnett

Saltbox

A-Frame

Living coral60

Ultraviolet

Metal siding

3

Stucco

55

Greenery

Serenity61

Rose Quartz62

If desire is for multiple, you may Check desired roof material option. rank top 3 options.56 Tile Aluminum Shingles

Marsala

Green Roof

Radiant Orchid

Emerald

Same as facade

Specify dominant color for roof materials. If you would like a complementary color to your facade, please leave this blank.57 Living coral

Select all that apply to you. You may skip this section if you specified no dormers previously.

Dormer Options

Part II Material Specifications Specify dominant color for facade materials54

Barrel

There are more in Appendix R.

Page

Form HR223 (2019)

If desire is for multiple, you may Check desired facade material option. rank top 3 options.

Brick Wood siding Concrete

Flat

Mansard flare Clearstory

The roof is integral to the expression of a home. What does your roof say about you?

Gable & Valley

Type of Popular Roof Shapes41

Gable

Roof Options

For this section, please choose all of the dormers that you would like to see attached onto the roof of your house.

Hello World must stipulate that dormers are sensitive aesthetic devices and you might risk violating the standards and conditions clause of Hello World. Dormers should be used sparingly and with severe restraint.

Type of Popular Dormers

Ultraviolet

Greenery

Serenity

Rose Quartz

Marsala

Radiant Orchid

Emerald

Scale factor of materials Where x < 1 Material scales downward Scale factor58: Where x > 1 Material scales upward Rotation factor of materials Where x = 0-360 degrees59

Rotation factor:

Part III Lot Design49 Check desired level of density around your house.50 Low density

Medium density

High density

Check proximity to commercial properties Next door

Bicycle distance

Within walking distance

Check desired site conditions53 this section, please choose the windows that you wish to see on your structure. Available to you is the choice of Window For however many options, but Hello World will caution the user that selecting too many window types may yield a design that to the gauche or gaudy. Presented here are the six most popular options of windows in our roster, options which Options hearkens account for a range of sustainable or aesthetic interests. Specific window change is contingent on ornament package.

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Select all that apply to you.

Flat

Within eyesight51

Check to allow some windows to be turned into skylights at technician’s discretion.

Curtain Wall

French Door

Bay

Strip

Factory

Louver

No

Site Conditions Adjacent to water

Staircase Options

Steep Slope

For Low and Medium Density only: How much do you like your neighbors?

Next door

Type of Popular Windows

Gentle Slope

Number of trees52 Forested

Low-lying vegetation

Time Ended:

Check to entrust placement of windows to Hello Word technician.46

For this section, please choose the type of staircase that you would like. Presented here are six options. There are more in Appendix S. The scale of the staircase is dependent on the scale of the house as a whole. It has minimum dimensions so as to meet fire code and general livability. As the size of your house increases, so too will the dimensions of the staircase.

Select all that apply to you.45 Type of Popular Staircases. There are more options in Appendix S.

Sign Here48

With each house built on with Hello World protocol and on Hello World property, we will also install weather vanes and blueberry bushes on the lot. Hello World is committed to maintaining a sense of old world quaintness that American domesticity fostered so well. We pair the weather vanes with blueberry bushes, which is the glue that binds the community together.

Your signature47 Date

Keep a copy for your records.

H-WOMB No.02304-679J

2019

H-WOMB No.02304-679J

2019

Commercial Option #1 c/o Nour Majzoub

Residential Option #2 c/o Stephanie Parris

Commercial Option #3 c/o Lindsay Jodoin

Residential Option #1 c/o Joshika Money

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Residential Option #12 c/o Ibiayi Briggs

Residential Option #8 c/o Jad Ismail

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Residential Option #7 c/o Moira Armstrong

Residential Option #10 c/o Hannah Cane

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Site Plan Each completed home is placed onto a grid according to specifications culled from the form, such as adjacency to neighbors and proximity to commercial properties.

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Site Plan The result is a bottom-up master plan for the new Serenbe community development. Once the homes and businesses are sited, roads are carved through the interstitial spaces.

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Model Home Elevation Residential Option #2 explored at a larger scale. Each piece of representation is framed as a convention showroom floor object in an effort to situate immediately the consumptive role of architectureâ&#x20AC;&#x2122;s work.

Model Home Plan The formal logics come the aggregation of predetermined room sizes.

29 Model Home Section The placement of rooms follow a protocol of assembly. Master Bedroom is on the top floor. The dining room should be adjacent to the kitchen.

The narrative of the project begins with Alexander von Humboldt: the last great polymath of Western society.

His greatest contribution amounted to the conceptualization of the cosmos: a framework to combine nature and humanity into a singular conceptual idea.

No longer, Humboldt said, could the idea of nature and society be distinct from each other, and what resulted from his research was a macrocosm on a sheet of paper, a revolutionary moment for the capacity of image-making.

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3 Utopia

Propositions Studio Winter 2018 Advisor: El Hadi Jazairy

In the contemporary moment, Humboldtâ&#x20AC;&#x2122;s actual idea of the cosmos echoes with the romantic, idealistic, and naive. However, the contemporary moment also has updated the utopian impulse of Humboldt through Bruno Latour and James Lovelock. We must reject modernist notions embedded in recent utopian tropes. We, a society, will not find a new world. We will not be able to accommodate complete ecological recuperation. And so, we must accept that we are hurtling towards a future that no one really wants, though gratefully, in recognition that nature and society are one.

No, the closest the new world will come is through the self-imposed exiling of humanity from Gaia, from the mechanism of the Earth to self-regulate itself.

Challenging paradigms in the network fever requires radical re-orientation.

We separate ourselves from the Earth.

We hover over our previous lives in Russian suprematist architectons to enforce a structural change in how we view and relate to the Earth. While we hover, the underground is recast as a monument to our collective past. It is the nocturne, it is the temporary pit stop for the architectons to dock and enjoy the nighttime life. The nocturne is holy.

It is illicit. It is temporary. We live above.

We visit below. We let the middle tend to itself.

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Architecton Coming to Dock While cities float, they come to dock at night at Nocturnes scattered throughout Earth. The staid day will always be constrasted by the active night.

Modernism, Slumped We leave our cities to crumble under the pressure of nature reclamation.

Whatever Brings You to Your Knees In the underground, spaces of worship are mix and match. Tack on whatever feels right.

Rise of the Moo-Clear Family Nature, animals reclaim what they will in our absence. The world can repair itself with us gone.

Fight Club Not Pictured In the underground, spaces of bureaucracy have no origin, have no end. Space is no longer constrained by city blocks. The scale of the Earthâ&#x20AC;&#x2122;s surface surpasses the scale of the human imagination.

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Enter the Boudoir In the underground, spaces of pleasure become infinite. Where the floating cities are our homes, our nourishment, the underground is the site of pleasure and the limits of our hedonism. The eternal night of the underground is a place of refuge, until we return to the cities above.

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Architecton Coming to Dock Version from opening spread rendered in pure linework.

Floating Architecton Floating cities are the amalgam of living systems, where towers of agriculture mirror towers of living units, oriented above viewing platforms to witness the movements of the Earth.

Nocturne Entry Points Entrances into the underground rise from massive holes, stems sprouting from a seeming abyss.

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Organization of Program Program is organized as discrete parts to borrow the system of districts endemic to cities today.

Artifice of Experience Program is sheltered in shapes and voids, where structure is relegated to external articulation.

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Model Photohraph of Nocturne Underground, 3D Printed.

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Model Photohraph of Architecton, Earth, and Nocturne to illustrate relations between the three, bound by frames into one being.

Plaster case base and Architecton. 3D Printed Frames.

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The brief provided the challenge of a boutique hotel in the Strip District of Pittsburgh. This district of the city hosts the bulk of food warehouses and processing centers, while also supporting a vibrant local restaurant and market scene. Its vibrancy is most felt during the weekends, but experiences a steady flow of visitors due to the weekday businesses operating in the district.

The project sources parking deck post and slab systems of construction, which defines the form through columns and planes and compositional logics operate through incisisions and outgrowths of the floor plate, to be supported or not through the monumentally scaled concrete columns. Food trucks have the ability to park on the second ground, allowing for transient use of the space. Hotel rooms begin on the third floor around atrium spaces that hearken to Portmanâ&#x20AC;&#x2122;s influence on our conceptions of the hotel.

4 Hotel Winter 2017 Advisor: Ana Morcillo Pallares

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Overall Axon depicting street life of the building and its bearing to the invited program: food truck pods.

Plan of 3rd Floor Hotel rooms around the perimeter with open air atriums punctuating the circulation space.

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Plan of 2rd Floor The elevated ground where food trucks transform usage throughout the day.

Plan of 5th Floor Two penthouse hotel rooms with rooftop amenties.

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COLUMN

42 “[Low-resolution] offers a way to discuss the work that can begin to categorize, understand, and create dialog...rather than simply let the designers off the hook, or veer into nihilistic multivalence like indifference.”

Matt Shaw, “What is Low-resolution architecture?”

5 Graphic Order Fabrication

Winter 2018 Advisors: Daniel Jacobs

The parameters of this Fabrication class assignment were two-fold: use the CNC Router and make a Miesian cruciform column in plywood. Maximum dimensions were provided.

Grafted onto the surface of the plywood is a series of graphic manuevers, united in their utilization of accident, incomplete, loose to take cues from current aesthetic sensibilities of low-resolution and the unexpected.

For each individual tactic, the shape, the black stripes, the colored stripes: care was taken in their specific placement, so that the looseness emerges from the aggregation of each tactic. The column goes great lengths in obscuring or erasing the underpinning order of thought.

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6 Gallery Summer 2017 Advisor: Anya Sirota

WEE Gallery Event The structure came to host local community art events, as a rotating list of artists came to take over the space.

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It is a pavillion. It is a pop-up office. It is a gazebo. It is an object. It could be all or none. The Oakland Avenue Urban Farm in the North End of Detroit requested a structure to be open for use, to provide a place to sit along the long stretch that the urban farm occupies, but more importantly, a structure to serve as an image. Digital and real. The image supersedes questions of permanence or even of utility, because it is in service of the capacity of what architecture and design can do for social activism.

It is a project that outright capitalizes on Instagram and the pop art aesthetic as a tool for leveraging financial investment in a city dominated by grant foundation funding.

The office had a timeline of two weeks, from design to being done and relied on the coordination of a large student team.

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Model Photograph of â&#x20AC;&#x153;Pop It Up,â&#x20AC;? a temporary installation exhibited in an abandoned factory in France.

Overall exhibition view, showcasing five projects completed by Akoaki.

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7 Architecture League Awards AKOAKI Intern

This project represents work completed while working as an intern for the design practice, Akoaki.. The exhibition is for the reception of the Young Architects Award, given to Anya Sirota, a principal and professor at Taubman.The contribution to the exhibition are five maquettes, each character representing a representative project from Akoakiâ&#x20AC;&#x2122;s oeuvre.

And my contribution amounts to fabrication. For example, the model on the opposite page needed 3d file preparation and printing, applying the pink ornament by hand, and the assembly of the maquette as one model. Further, I assisted in the exhibition set-up and takedown.

Styled after Muybridge photographs, the entire drawing depicts the rising of Mount Julia volcano in the Mediterranean, and the ensuing geopolitical fights around the new strategic land mass before sinking back into the ocean from erosion a few months after eruption.

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This is a 10x1â&#x20AC;&#x2122; drawing exhibited by Design Earth at the Le Lieu Unique exhibit, Tomorrows. Le Lieu Unique is in Nantes, France and the exhibition circles around themes of changes facing the Mediterranean region. Working for Design Earth with Liam Li, we created a Muybridge style drawing around the volcano that sinks and rises off the coast of Sicily. This volcano has many names: Julia, Ferdinandea, and Graham Island as multiple countries sought to colonize the island that appeared from the sea, only to witness it crumble back into the ocean. Julia will rise again as the volcano prepares for eruption again, and might it become the site of geopolitical tension once again?

While El Hadi Jaziary of Design Earth set the structure of the image, I handled the draw of the background: the sky, the moon, the sea, the assembled ships, and the life of the drawing.

8 Le Lieu Unique Design Earth Intern

Plan of Johnson’s Bathroom The interior hides it all, but sometimes things are left out. Clues for the visitor.

9 In Johnson’s Closet Representation

Fall 2017 Advisor: Brittany Utting

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The objects that fill our spaces, beyond a thing that fills our space, actively constructs our domestic identity.

The scene is Philip Johnson’s Glass House, and the resulting space emerges from queer predilections, from the efforts we go to mask our desires from the voyeur’s lenses set up by us. The bathroom, the lone figure in Johnson’s box, hides the world of Johnson’s kink. The interior deformation is caused through the subtraction and addition of lube bottles, and the floors are strewn in the queer community’s most subversive symbol: the jockstrap.

The final exercise in a semester-long examination of the domestic interior and our cultural obsession of objects, knick-knacks and tchotkes, the assignment asks how might our domestic sensibilities disrut familiarity? Throught the use of two-dimensional wallpapers, how might we unsettle and how might we create formal ambiguity? The domestic interior enacts a potentially destructive relationship between figuration and space.

Section of Johnson’s Bathroom The figural identity challenged through bottles of lube.

Axon of Johnson’s Bathroom The box is safe, and the underground is free.

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Model of Johnson’s Bathroom The bathroom’s interior as sexual abyss.

CM! YK

#1 02 / 26

Edited by: Rinika Prince Karun Chughasrani Grace Hsu Hannah Cane Austin Kronig Jenny Scarborough Nour Majzoub Arvinder Singh Jordan Laurila

We joke as architects that the only thing we know how to talk about is architecture.

We casually critique cafés we are having coffee in, walk with our heads towards the sky as we wander through cities, and ogle over graphically beautiful work, while our friends say, “isn’t that just a square?”

We understand architecture as a beautiful connector between humanity, art, politics, sociology, psychology, environment, and history. It isn’t surprising that we can sneak architecture into any conversation. However, sharing these conversations becomes difficult without a platform for them to be shared. Maybe we understand architecture as a visual profession, rather than a written one, so ideas and conversations are lost in thin air or scribbled in an old sketchbook, and forgotten. Those lost conversations and ideas are what CMYK seeks to nurture by giving the students of Taubman a platform to make statements, ask questions, openly critique, wonder, and find or provide inspiration, and offer advice. We can begin to explore the importance of writing in architecture and the impact it can have on our peers, professors, guests, professionals, and other unforeseen audiences. CMYK is giving Taubman a metaphorical open mic on karaoke night. It might succeed, or it might get booed off the stage, but Taubman has a new voice.

Jenny Scarborough

CMYK isa posteranddigital zinedesigned bythestaff of Dimensions, the architectural journal produced annually at Taubman College. CMYK is a platform for students, faculty, and staff to write about, read about, and discuss topics relevant to the fields of architecture and urban design. We hope to post a new issue every two weeks. Our ability to publish is contingent on submissions we receive from you!

To contribute, please see the prompt for CMYK: C is for Critique, at the bottom of this poster/zine.

Our first issue is written by members of the Dimensions 32 staff, and captures some of the thoughts that inspired us to create CMYK. The challenge of information overload...the blank page...the privilege to share ideas...an open mic...

A Dimensions 32 Supplement @dimensionsjournal

We are all facing a challenge that is quite recent in human history: the challenge of wrapping our head around too much information—”information overload.” There are additional layers and layers of data piling up, making it more difficult to get to the crux of what we’re after. The extra time consumption is really best avoided when studio deadlines are looming over our heads every week. But is inevitably present. The burnout is hard. Understanding this, we at Dimensions bring your very own, and long overdue, CMYK. Curated by submissions from current students, and pertaining to topical issues, this pamphlet aims to serve as a fast, cheap, open, and tangible medium within our college. So, take a little break from Rhino, or use the time you get during long reviews to reflect on happenings at Taubman—or the world of architecture at large.

Arvinder Singh

In terms of natural circumstances, the university is an anomaly—an exception to the social conditions of the “real world.” For a few years, we are surrounded by, quite literally, hundreds of like-minded people who are interested in the same things, learning the same material, reading the same books or journals or websites. The things we learn, read, and hear permeate conversation both on campus and off, and yet we lack a formal medium to share these ideas, thoughts, and criticisms outside classes or friend groups.

Dimensions wants to tap into that potential through CMYK. It wants to give you a platform to make your voice heard and a platform to listen to what others have to say. It wants to bridge the gap between current events in the discipline and student voices within the school, so that we are critically engaged in matters that concern and affect us. We won’t permanently have access to a platform of this kind and we have an obligation to use it and to take advantage of the privileged position we are in.

Nour Majzoub

10 CMYK

“Full of the densest emptiness, yet equally full of the memory of all things made in the past, the conceptual void embodied by this piece of paper is every maker’s greatest challenge.”

— Sylvia Lavin, Kissing Architecture The “blank page” described by Sylvia Lavin points to the absence that compels a designer to create, despite its emptiness and endless possibilities. Staring at a screen or a sketchbook for hours, we all (by degrees) know that emptiness. Frankly, writing this paragraph involved quite a lot of staring into the black hole of an empty Google doc. CMYK was created because of a steady emptiness in the school that has been challenged by students, past and present, to fill blank pages with their thoughts and opinions. In a school where so many conversations are possible, there are few opportunities to exchange knowledge outside of specific workshops and conferences. CMYK is an opportunity — don’t leave the page blank.

2018/2019 Advisor: Christian Unverzagt

Hannah Cane

#2 Ct is for Critique Join us in culture be handful of last, also

thanking the Beaux Arts for a moment. That may give you pause in 2019, but where would our review without the tradition of critique pioneered by those 19th century Parisians? “Critique” goes by a names: a presentation, review, crit, etc. The first is always memorable (for better or worse). The memorable (for better or worse).

It is our goal for the next issue of within and outside this school. Does from critics? What are your thoughts There’s a lot of talk about changing of CMYK?

CMYK to collect your thoughts, opinions, and memories of critiques, both the Beaux Arts model need improvement? How do you think about feedback on presenting first? How does critique contribute to “review culture”? architectural education, should we be feeling those changes in the heart

We encourage the tangential. We love the earnest. We like the short to the long. We appreciate stories along with impassioned manifestos.

Please submit your response to dimensions32@umich.edu. Deadline: February 19, 2019.

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CMYK is a bi-weekly publication established by the staff of Dimensions 32. Named after the central review space within Taubman College, this publication manifests a 48x36” cheap plot print hung throughout the third floor studio space. It seeks the leverage Dimensions’s longstanding presence in the school to create a soapbox for students and faculty. Each issue contains a theme and a call for the next issue.

Dimensions appears in the school once a year. It’s a pretty book that makes its debut and then lives on a shelf. CMYK is always there. Each new issue is hung on the previous. Town hall is in session when more than one body is gathered around it.

I’ve taken lead on this project, handling the design of each issue and the coordinating student responses.

The ‘C’ is for Critique.

“The first is always memorable (for better or for worse).” Rewind to three years ago (minus a few months). It wasn’t my first review, but it was the first one at Taubman. Two weeks into the summer session. A blistering hot (old) CMYK in early July because the air conditioners needed to be turned off for construction work on the infamous addition.

I was going first. I stood there in front of my admittedly sad model that I had put together the night before. After I’d given my presentation, one of the external critics asked me the question I can

None of my reviews have ever started a fight. I’ve never even witnessed one as someone in the audience. Any tension remains pleasantly passive. I’m counting my blessings—even if all those blessings are pretty vanilla. Review horror stories come to me second hand, overheard and passed along. There aren’t so many at Taubman, but they happen enough to make me wonder at the start of any review, “Will this be it?” Whenever external critics are on the jury, I wonder to myself if these newcomers might not be familiar with the culture here. “Will this be it?” It hasn’t yet. You may not know me, but know that I enjoy theatrics. (I was a drama kid in high school with a known vengeful track record. (I enjoy drama. I like to have fun)) There are tables at my thesis reviews now. It’s amazing how that changes the dynamic. You can’t notice how entrenched power dynamics may be until they change.

A Dimensions 32 Supplement @dimensionsjournal Dimensions 32: Rinika Prince, 2G2 Austin Kronig, 3G5 Arvinder Singh, UG4 Grace Hsu, UG4 Karun Chughasrani, 2G2 Hannah Cane, 3G7 Jenny Scarborough, 2G2 Nour Majzoub, 3G7 Jordan Laurila, 3G7

still hear reverberating in my head: But why?

I thought nothing of it in the moment and I answered the question. Then it came again: But why?

Answered again.

But why?

After about the fourth or fifth time, I was oscillating between exasperation and amusement at his absolute relentlessness to let this one issue go.

But why?

Finally I had to answer: Because I just did it that way. We looked at each other in silence for a few seconds, having clearly reached an impasse. Okay we need to move on to the next project now. And that was it. That was the story of my first ever review at Taubman. I could literally only upwards to go from there. _Nour Majzoub

So now we all sit around a table. I can’t start a review, one where everyone is gathered around a table together, thinking some shit is about to go down. It all feels so pleasant. The theatric in me might be dismayed, but the anxious and self-conscious designer in me is quite calmed.

Thanks for the tables, Ellie. _Jordan Laurila

Unlike most majors, as architecture students we put our time and effort into a singular project over a significant period of time, and in the biggest show of masochism at the end of the semester, put it on display in front of others to see and judge, either silently or vocally. The typical digital work now becomes physical, manifested in the real world for others to absorb. By proxy, you are putting yourself on that wall, your character, ideology, personality, thoughts, feelings, opinions, qualities that reflect and are ultimately an intimate and sacred version of who you are. As a result, critiques on the project can often and easily feel like critiques and attacks on you as a person. Fair and well thought out comments from a critic can all of a sudden turn into an argument, transforming the review space into a court room

Critique in architecture is the double edge sword of our profession. Its both a luxury and a curse due in part because there is no right answer like there is in a math question. Every piece of architectural design has a unique style, program, approach, materiality, scale... (the list can go on a on). With this, there exists the inevitability that some will applaud, and others will shake their heads. Still, each share the commonality of being nothing more than an opinion. That’s the most important aspect of our profession that I remind myself of each time a professor conducts desk-crits, or present in a formal review, or banter with studio mates over portfolio designs. It is difficult to digest the commentary our work solicits, especially when it comes off as criticism rather than critique.

We are each invested deeply in our designs, blinded by our own process while critics are seeing with fresh eyes. Difficult but rewarding, and the only way we can endure critiques is to remove yourself from your work. Then, each comment about your choice of line weight, section cut, rendered sunlight angle, or entire concept becomes easier to assimilate as you remember: it is just an opinion. The opinion is the most powerful and provoking aspect of architectural critique. The best advice I can give has been said a million times; take it with a grain of salt. _Jenny Scarborough

where now you stand as the defendant and you plead innocence in front of the jury. However, in that process of annihilation lies the possibility of rebirth, a unique opportunity of catharsis that opens doors and lessons that you may not have imagined before.

Welcoming that opportunity with open arms will lead to a healthier lifestyle, for both you and your work. _Marco Nieto

This is CMYK. It has two lives: as an email newsletter and town-square poster. Here is the second issue and will appear every two weeks hereafter, hopefully. Each issue presents a theme, where this issue mounts a defense for writing as an architectural format. CMYK depends on student input. We call (see section just to the right) and we hope that there’s an answer.

CMYK reserves the right to change its look each issue as we embrace an experiment in progress.

Contributions should be emailed to dimensionsumich32@gmail.edu.

The ‘M’ is for Medium.

Medium is big and broad. Or its position so vast it might actually mean very little. Marshall McLuhan said whenever a new medium comes along, we become so ensconced in the content it carries that we ignore the specificity of the actual medium.

McLuhan knew what he was talking about in 1950s. Seven decades later, the message is the medium—or as Mimi Zeiger said, “The message is the medium is the medium.” According to her, even this poster and accompanying email newsletter valorize the medium over its content. It cares more for what it represents than for what it says...

Send us your considerations, your short and pithy observations. Send stories of how you’ve changed as a designer thanks to ZBrush. Send a manifesto on Revit as the underutilized tool for design. Send a response to Mimi Zeiger’s quote. M is for Medium, so send us something on your take on medium in architecture.

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11 Dimensions v.31 2017 / 2018 Advisor: Christian Unverzagt

Dimensions is the yearly journal produced by architecture students. The 31st edition marks a time in the school’s history with the appointment of Dean Jonathan Massey, as the journal catalogs the attitude of the college during a given year through student Thesis, Wallenberg, and Research Grant projects.

Dimensions 31 seeks to foster linkages, it seeks to create conversations through the relationships of featured projects with each other. One project’s end shares the same spread as the next project’s beginning.

Rather than introduce a section with a spread, a hard separation to delineate Thesis from the work of the Fellows, for example, we incorporated inserts to mark the transition from one section to the next without creating a hard barrier. Through nuanced editorial strategies, Dimensions 31 aims to acknowledge that it has a role to stir discussion instead of the straightforward presentation of past student work.

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Fellows

Fellows

Herrmann

Another Digital

Project by Erik Herrmann, Architecture Fellow.

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Project by Anthony Gonzalez, Thesis.

Gonzalez

Plan Drawing (01)

First BüRolandschaft

Plan Drawing (02)

Second BüRolandschaft

Plan Drawing (03)

Third BüRolandschaft

Thesis

Thesis

Anxious Horizon

After the digital turn (as theorized by Mario Carpo), the relationship between the architect, the designed object, and its representations has evolved beyond the paradigm described by Evans.

Architectural representation has been completely subsumed by the digital.

As it operates, the digital flattens out categorical differences between separate types of representations and the objects and phenomena they describe by converting them into infinitely mutable digital files. In theorizing the digital, David Berry offers the “Digital Iceberg” moving from the most accessible at the top to the least accessible at the bottom. The screenic interface of the digital, in this way, is supported by an ocean of computational processes. I want to argue that these processes do for the discipline of architecture now what flatness did for the discipline before the digital turn. In this way, this thesis posits the fundamental shift in a architecture as the horizon of an emerging post-digital paradigm.

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Project by Masataka Yoshikawa, Thesis.

Situational Assembly Early Studies: The early study of reconstruction of the deconstructed system is to investigate the intensity of â&#x20AC;&#x153;systemnessâ&#x20AC;? in system elements. The investigation is also extended to their material properties, the way they are assembled, colors, and their reaction to various surroundings.

The discussion then moved to a debate of colors and its possibility for giving stronger new identities to the reconstructed system. This study also led to discussions of moving through different medium to work on.

to allow further development in a 3D modeling program. Later on, the 3D model was translated into a 2D drawing to be able to weave different information as a part of the model and to be worked on in a form of drawing.

This drawing resulted as an archetype of Mischievous Gizmo at the later stage, which then enabled the digital fabrication of the Gizmo for 1:1 scale construction for one to experience the relationally designed device.

The experiment started with physical object, and moved on to digitizing them

Physical Model Assembly

Situational Assembly Early Studies Model Photographs

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Thesis

Thesis

Yoshikawa

Mischievous Gizmo

While they were reconstructed from pieces, new attributes and alternate functions were assigned. The assignment of new attributes is essential to create a

system from an existing system, although it was observed that there are limits to how far the reconstructed system can go apart from its original state without changing its appearance.

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Following this, smaller elements are procedurally introduced to aid and inspire the occupation of the space.

Project by Onur Kamburoglu, Ssu-wing Wu, and Jonathan Yates, Thesis.

Elemental Procedures

Categories, dichotomies and taxonomies are prevalent throughout our culture, dividing spaces into public or private, interior or exterior, and various typologies. Elemental Procedures proposes a new form of architectural digitization, where architecture is conceptualized as a digital configuration and relationships between individually significant aggregated objects compose larger constructs of space and form. In this way, space is not the indexed quantity, rather the resultant created between elements, each with their own significance and affordances to human occupation.

Advisors: Ellie Abrons + Adam Fure

Thesis

The project is both a tool used to create space, as well as an individual digital artifact. Working through a developed series of staged manipulations, rules and options are prescribed, but the distinct

selection from these options is made by the digital tool. Beginning with an architectural mass, the form is divided into a series of grids to be aggregated.

Moving vertically, the process catalogs the procedure of manipulations on the elements. Beginning with the placement of the largest scale elements, the process iteratively introduces another manipulation with each stage, proceeding through rotating, scaling, shearing, stretching, twisting, tapering, and bending.

The term digital, rather than relating to computation or technology, is truly defined as a method of indexing using a series of digits.

In essence, anything sorted, quantified, and indexed is digital. Elemental Procedures argues

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Elemental Procedures proposes that the curation of architectural elements both acknowledges and subverts their significance, offering new potentials for function and occupation. The project combines the cultural coding of architectural elements related to typical use and expectation with digital coding that manipulates geometry unrestricted by gravity, physical materiality, solidity, rigidity, or orientation.

Elemental Procedures proposes a new form of architectural digitization, where architecture is conceptualized as a digital configuration and the relationships between individually significant aggregated objects create a larger construction of space and form. The curation of architectural elements both acknowledges and subverts their significance, offering new potentials for function and occupation. The project combines the cultural coding of architectural elements related to typical use and expectation with digital coding that manipulates the geometries. Elemental Procedures creates a symbiotic relationship between the digital tools and the analog impulses of the designer. It creates an architecture that is both physically and conceptually between physical and digital, analog and indexical, familiar and foreign.

Thesis

Elemental Procedures

Isometric View (North East)

that architecture has always been digital. It quantifies and indexes the way we relate to space and program. Spaces are typically considered discrete and individual, containing a predefined program and contents.

Onur Kamburoglu Ssu-ing Wu Jonathan Yates

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Dimensions 32 is the second year that I have been apart of the staff. If I had a curiosity in print media during my first year on Dimensions, then the second year marks a vested interest in the necessity of books in constructing a legible architectural discourse. As a retrospective journal, publishing past projects, the resulting product is never semantically sterile or ideologically inert, but an active agent.

For D32, we chose a theme of work. The theme manifests in statistics. With each project, contributors provided information pertaining to the time and effort that went into their work. How many all-nighters? How much did the final project cost? Was more money spent on final model or printing?

Being my second time around, my responsibilities pivoted to the logistics and budgeting of bookmaking: communicating with the printers, during specs, bids, and production. Design wise, I handled the material specifications and design of the cover.

12 Dimensions v.32 2018/2019 Advisor: Christian Unverzagt

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(Opposite) The vellum jacket encases the book it attemtps to materialize the notion of uncovering information, of uncovering the all-nighters that we pour into our projects as an overlay of the book.

(Above) Project by Kimball Kaiser, Thesis.

Project by Eileen Arcos and Kevin Sani. Thesis.

THESIS_ARCOS+SANI _PROJECT INFORMATION:

_TITLE: _Everything Must Go _TEAM MEMBERS: =2 _TOTAL COST: =$2,300

_MATERIALS: _aluminum dibond, 3d printing, photo paper, museum board, metal shelves and tables

Everything Must Go _Eileen Arcos and Kevin Sani _Advisor: Cyrus PeĂąarroyo

_TIME: _MODELS AND DRAWINGS: =14 days rendering =7 days final model _ALL NIGHTERS: =3

PROGRAM, TOOLS:

_rhinoceros, blender, photoshop, zund

PRODUCTION LOCATION: _DRAWINGS: = studio _MODELS: = studio

ACKNOWLEDGMENTS:

_Lorraine Gemino

Consider the stuff of everyday lives.

Architecture typically performs as a repository for our stuff, but stuff has untapped spatial and material potential. These collections of things, individual and identifiable, need to gain more cultural autonomy and social valuation. One way of reconstructing the image of an object today, then, is to acknowledge its role within an architectural situation by considering its uncanny and unstatic properties. By flattening the landscape of stuff and its display, material and spatial hierarchies become slippery, and the definitions of foreground, background, support, surface, and ground articulation become malleable. Consequently, the display will not only showcase the items for sale but also collapse the surrounding buildings, as a miniaturized landscape offered for visual consumption.

This thesis invests equally in revealing how the objects gain or lose different meanings, but at the same time are undeniable concrete entities that continue to gather physical momentum as they take on new forms and functions over time. The enlivening operations deployed in the project are curation, decoration, and shuffling of display as well as aggregations and subtractions that alter the building, which is a department store. In doing this, the contained will reverse roles with its container and reimagine its cultural value through compositional means.

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_Combinatoric Grid for a Suburb

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Project by Brittany Utting, Architecture Fellow.

FELLOWS_UTTING

_Planometric Proposal for a New Suburb

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THESIS_MCDONOUGH

THESIS_MCDONOUGH

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61 We see things in a strange and slightly differently way. In a car you need to react quickly, but with God, you react slowly. We have replaced God with the car. I think we have not found a way to moderate our lives. As long as we allow technology to overcome our sense of humanity, we have lost. We need to be able to manage our technology and allow our humanity to guide our presence and not the other way round, where the things we make support our sense of humanity.

D32: You mentioned previously that architecture is considered a luxury profession.

Architects used to be recognized by society and held in high regard. However, today it seems that architects have kind of moved down this list, being replaced with engineers, doctors, and technology developers. How can architects regain their relevance and be recognized for the work they do to shape society?

CD: Well, that’s a very loaded question because first of all I am not necessarily sure that architects were always held in a high regard. We have gone through a number of phases in which we have fallen in and out of favor. Furthermore, during the period in history you’re referring to where it seemed like architects were held in high regard, the profession of architecture was not really a profession. You just became a builder or a creator of buildings. You weren’t going to school to learn to be an architect and then create a cathedral. It was always a kind of master-apprentice ideology, which was very similar to sculptors and that’s why many sculptors at that time were also architects: Michelangelo, Bernini. They were working in that same identity. Michelangelo would not have called himself an architect.

_Craig Dykers leading a workshop at Taubman College.

D32:

Do you think the Europeans understand that better than Americans?

CD: Oh, yes, of course. There are major differences between the U.S. and Europe, but it’s not that people in the U.S. and Europe are wildly isolated or different. It’s just that we have very different ways of thinking.

In Europe, most towns would likely have a core to the town that has a four, five, or six hundred year old cathedral—one that was magnificently created and that was awe-inspiring, whether you were Catholic, or Lutheran, or even Muslim, now as an immigrant into Europe. You’d be inspired by that architecture and that would tell you and the population at large that architecture has value in our world. In the United States, we don’t have those things. They’re not as old. They’re relatively new. The population generally sees things like Walmarts or strip malls. So actually the truth is in America, we have replaced the cathedral with something else because we all need something that we dedicate our lives to. In the U.S. particularly, we have transferred that feeling to the automobile because we spend almost all of our time in a car. Almost all of our association with the world is by seeing it through a windshield or stopping at a stoplight. Even our interaction with others is primarily guided by how we move in traffic. So acoustically we can see huge differences in that world. In a cathedral, which is generally a tall, very open, very empty space, the acoustics come from above and they trickle down over your head, and it’s very heavenly. In a car, everything is side to side; it’s all horizontal.

Your whole state of being is moving from side to side in a car, whereas in a cathedral it’s about moving up and down, praying and looking up to heaven.

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Interview with Craig Dykers, Snohetta.

So the profession of architecture is a relatively new phenomenon. There are various reasons why it was developed. I have my own theories, one of them being that it was a patriarchal move to gain control of the profession, leading it to very quickly become dominated by men. I think there were gender politics related to the birth of the profession certainly in this country and in other countries. So this is a challenge. Furthermore, we have created other barriers that have only recently been broken in terms of racial and ethnic make-up of architecture schools. The huge disparity in the number of women in architecture school compared to professional workspaces is also another thing that has weakened our profession.

Another thing that weakened our profession is that we took away our access to building and construction, but captured our ability to control it. As architects, we set up a system where we manage—it’s called construction administration because everyone’s afraid to say it’s actually construction manipulation—and we are seen as one of the overseers of the construction process, yet our educational system and our professional system disconnects us from direct knowledge of that. So we seem like we’re very important and smart, but we have very little intellectual capacity to manage what we say we’re going to manage. We don’t actually have the professional skills to acquire the dominance that those early professional builder artist/sculptor/architects had. There are some schools that try to teach that, but then the problem there is once you start teaching construction directly, all that everybody wants to talk about is how a nail goes into a piece of wood or what type of new technology you can use to manipulate some kind of thing. They don’t teach design anymore. We haven’t found the right balance yet, but I think we will. We have a long way to go before we get into a place where we really are dominating, in a professional way, the things that we say we would like to create for people.

-------------------------------“As architects, we set up a system where we manage— it’s called construction administration because everyone’s afraid to say it’s actually construction manipulation—and we are seen as one of the overseers of the construction process, yet our educational system and our professional system disconnects us from direct knowledge of that.”

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Selected Work Architecture

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Jordan Laurila M.Arch Taubman College