Kevin Saslawsky Portfolio

PORTFOLIO KEVIN SASLAWSKY

KEVIN SASLAWSKY UNIVERSITY OF TENNESSEE COLLEGE OF ARCHITECTURE + DESIGN

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THE KNOX GRAND SYMPHONY Novel Effects and Extraordinary methods within the context of Downtown Knoxville

ROPONGI DIGITAL ART CENTRE Capturing Circulation with computational design techniques within Japan’s new art district

BRANCHING INVENTORY

Levering technology with invasive species in order to create a new construction methods

MODEL EARTH

Proposal for a new Tesla dealership and service centre with values based in sustainability

INDUSTRIAL DESIGN Salt container, pepper grinder, and olive oil dispenser Chorded drill for women

VARIOUS WORKS Filament Tower Furniture

Figure 01_Digital Boolean Fruit Casting

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_01 THE KNOX GRAND SYMPHONY Novel Effects and Extraordinary methods within the context of Downtown Knoxville

Spring 2018 Professor: Maged Guegruis Partner: Edward Revere

Through this semester, we have explored as a studio how to represent complex, doubly curved surfaces that were derived via Boolean Logic. Think of this as a three dimensional ven diagram. A overlaps with B creating an interstitial resultant C. The representation of these complex surfaces were explored through various “Extraordinary methods�. These included contouring, intersecting, projecting, and rigorous line weight control in order to show the complexities of a doubly curved surface with out rendering it with shade and shadow.

Other resultant artefacts were achieved through intersection commands that represent the overlap of two surfaces with a closed curve. These extraordinary methods were further explored in a more relevant and architectural sense, whether it be through materials, structures, or lighting techniques in order to create a novel effect on the city of Knoxville.

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KNOXVILLE TENNESSEE

35°57’46.6”N 83°55’02.5”W

Existing Context The existing context and architectural discourse of downtown Knoxville has been stagnated with neoclassic filigree, brick façades, and glass towers. In order to transform Knoxville as focal point of Tennessee and to draw the flaneur to our city, we have proposed a controversial design that creates a striking juxtaposition within the context of Downtown Knoxville.

This was achieved via the Boolean process that has shaped a magnificent artefact, an alien space craft crash landed in order to push the architectural discourse, cause city reform, and draw architectural buffs to visit our city.

Figure 03_Boolean Process A.1

A.5

A.2

A.6

A.3

A.7

A.4

A.8

Figure 02_Urban Context 8

ARCH 372 SPRING 2018

SITE PLAN

Market Street

D.4 C.3 D.2 B.1 B.4

D.3 D.1

C.4 C.2

C.5

C.5

C.1 D.1

D.1

W Church Ave

Cumberland Ave

C.4

D.1

A.2

A.5

A.6

A.3

A.4 A.1

S Gay Street

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SUPER BOOLEANS STUDIO

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32

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Figure 04_Second Floor Plan

B.1

B.5

A.7 B.8

D.1

C.4

C.4

C.5

C.5

D.1 D.1

D.1

B.3

B.2

A. Entrance

01. Outdoor Plaza 02. Lobby 03. Ticketing Desk 04. Coat Check 10

B. Concert Hall

05. Gift Shop 06. Cafeteria 07. Media Library.

01. Great Hall 02. Recital Hall 1 03. Recital Hall 2 04. Pre-concert

05. Projection Room 06. Equipment Storage 07. Bar ARCH 372 SPRING 2018

Figure 05_Third Floor Plan

B.6 B.7 D.1 C.4

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C. Administration

01. Offices 02. Conference Room 03. Founders Room 04. Male Rest-room SUPER BOOLEANS STUDIO

D. Back of House

05. Women Rest-room

01. General Circulation 02. MEP 03. Non-Secure Storage 04. Loading/Trash 11

URBAN CONTEXT ELEVATION

CUMBERLAND AVE

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Figure 07_Circulation Diagram

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Figure 06_Chandelier Process

ARCH 372 SPRING 2018

W Church St

“Most Interesting” Chandelier

Figure 08_Program Parti

The Chandelier process shown to the left shows the implementation of the boolean process and the extraordinary methods explored earlier in the studio.

Its creation stems from a similar process as the fruit casting. All of the ellipsoids used to create the form of the building were intersected and the resultant curves were analysed based on a fitness criteria of “most interesting”. This means the intersecting curves chosen had the most control points. Those curves were divided in length where at each point, their torsion is expressed with a spherical light placed at the end.

A. Entrance

SUPER BOOLEANS STUDIO

B. Concert Hall

C. Administration

D. Back of House

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ARCH 372 SPRING 2018

FRONT EXTERIOR RENDER

SUPER BOOLEANS STUDIO

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THE GREAT HALL

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ARCH 372 SPRING 2018

Figure 09_Acoustic Analysis

SUPER BOOLEANS STUDIO

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LONGITUDINAL SECTION In order to push this project to be more than just concept, every surface had to have some level of development. Everything from the space frame on top, to the glass mullions on the front facade were developed to render the drawing techniques into a more realistic architectural substance.

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ARCH 372 SPRING 2018

SUPER BOOLEANS STUDIO

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INTERIOR LOBBY RENDER

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ARCH 372 SPRING 2018

SUPER BOOLEANS STUDIO

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Figure 010_Adv. Photography: Souls of Saturation

_02 ROPONGI DIGITAL ART CENTRE Capturing Circulation with computational design within Japan’s new art district

Spring 2019 Professor: Jim Lambiasi Study Abroad: Tokyo, Japan One of Tokyo’s largest sub cities, Ropongi is one of the best places in Japan to view and experience art culture. It is home to three of the biggest modern and contemporary art galleries in the city; the Mori Art Museum, 21_21 Design Site, and the Tokyo National Art Centre. These art culture giants are complimented by the hundreds of smaller art galleries popping up every day. The studio prompt was three fold.

The first part of the studio was spent learning the area and immersing our senses within Ropongi. The greatest impact on me about this area, and all of Tokyo was the constant flux of people, always moving from one place to the next. The second part was identifying the art-form that we wanted to exhibit. I chose computational design digital fabrication artefacts. This would make for an atypical exhibit because rarely are these artefacts seen outside the realm of architecture or in one place. Our final task was to find the link between these two initial steps and propose a design that exemplifies the qualities of our site and chosen art form. The design proposed for this site uses its art form in order to capture this flux of circulation around the site into the building in order to publicize itself and the artists within. The structured surface that covers the ground floor and hosts the studio and digital fabrication space is based on a simulated vector active surface that represents the outward pressure from the circulation that the building captures.

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ROPONGI 7-CHOME_TOKYO, JAPAN

35°39’52.3�N 139°43’46.3�E

Feeling the Site Ropongi is a mishmash of the highest end shopping, grungy night clubs, and mega contemporary art museums. What is most inspiring is the movement of people within and around this city block or

“chome�. Walking from any one of these museums to the other only requires 15 minutes and our site is in the middle of the cross-hairs that connect these three buildings.

Figure 011_Site Context

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ARCH 472 SPRING 2019

URBAN ANALYSIS

STUDY ABROAD: TOKYO, JAPAN

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FRONT CORNER PERSPECTIVE

CAPTURED CIRCULATION

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ARCH 472 SPRING 2019

Figure 012_Ground

FLOOR PLANS A. 1st Floor

B. 2nd Floor

01. Studio 02. FAB LAB 03. Women’s BR 04. Men’s BR 05. Service Elevator 06. Elevator Room 07. Loading Doc 08. Storage

09. Public Entrance 10. Main Gallery 11. Large Installation

A.4

A.3

A.1

C. 3rd Floor 12. Cafe/Gift Shop 13. Outdoor Terrace

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A.2

A.8 Figure 013_Second Floor Plan

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Figure 014_Third Floor Plan

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C.13 B.11

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STUDY ABROAD: TOKYO, JAPAN

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NS SECTION PERSPECTIVE

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EW SECTION PERSPECTIVE

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ARCH 472 SPRING 2019

Captured Circulation Implementation

Computational Structure

The proposed design reveals movement and circulation in three major ways. The first is with the “special moment” where a physics-based surface reflects the circulation that is capture from the outside. Second is the floor play that reflects a push and pull between interstitial spaces used for exhibiting art. The third is seen in the fluid like façade system which create openings for light and walls for exhibition.

The ‘special moment’ of the proposed design uses its ‘art’ to pull circulation into building. Designed to reflect the pressure of circulation, it serves to engage the public while also existing as inspiration for the rotating designers and fabricators that inhabit studio and FABLAB space.

A.1_ Potential Circulation Walker Analysis

A.2_ Floor Play 1

A.3_ Surface Simulation_Physics Based

A.4_ Floor Play 2

A.5_ Floor Play 3

A.6_ Fluid Movement Facade

STUDY ABROAD: TOKYO, JAPAN

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デジタルファブリケーションアートギャラリー BIRD’S EYE VIEW AXON

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ARCH 472 SPRING 2019

Figure 015_Exploded Axon

STUDY ABROAD: TOKYO, JAPAN

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Figure 016_FABLAB/Studio Space Render

Figure 017_Third Floor Cafe/Gift Shop Render

ARCH 472 SPRING 2019

Figure 018_Second Floor Large Installation Space Render

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ARCH 571 FALL 2019

_03 BRANCHING INVENTORY

Leveraging technology with invasive species in order to create a new construction method

Fall 2019 Professor: Kyle Schumann and Katie MacDonald Partner: Tyler Sanford THESIS: How can the eccentricities of a tree’s branches, specifically the Bradford pear, assume authorship over a curved or doubly curved mesh?

ABSTRACT: The branches gathered from the Bradford Pear tree all have their own eccentricities. This tree is interesting in the realm of new fabrication techniques because they are ample in terms of material, however they go unused due to their complexity with processing for standardized materials. This research is interested in leveraging new technological processes that make the branches’ eccentricities usable in a new construction process. Three-dimensional scanning, computational analysis, evolutionary solving, and digital fabrication techniques make it possible to harness these eccentricities of an otherwise wasted building material in order to make them viable in new construction methods.

MATERIAL MISBEHAVIOR STUDIO

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The Bradford Pear Tree The Bradford pear was originally brought over from Asia and was classified as an ornamental tree. Although this tree has beautiful blooming flowers, it also has many negatives such as its nodes between the branches that are weak and break in mild storms. This tree has gone from an ornmental classfication to an invasive species in the past two decades.

It spreads through its fruit which are eaten by birds and other small mammals. The more this tree evolves, the more defects it developes. The branches become weaker and wreck havoc on anything below them.

FRUIT. The fruit is not edible. When it becomes ripe it falls, splatters, and stains the ground it lands on.

FLOWER. The flower is very beautiful.

This is what helped classify the species as an ornamental tree in the 60’s . The flower exudes a strong scent that is unpleasant.

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CROSS SECTION. The cross section shows a rich wood that is sometimes used by woodworkers. Thicker trunks are well suited for lathe work.

LEAF. The leaves are an olive green and have a waxy finish. They die very quickly after falling from the tree.

TRANSVERSE SECTION. In the transverse section shows that the wood grain is tightly compact and which makes it a very strong hard wood that could be useful in construction scenarios.

ARCH 571 FALL 2019

Figure 020_Bradford Invasion

Figure 022_Storm Aftermath MATERIAL MISBEHAVIOR STUDIO

Figure 021_Fallen Branches

Figure 023_Diseased Trunk 37

Systems Diagram

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Branch Processing

Curvature Radius Deviation

Surface UV Parameters

Catalogue

Scanning Base Parameters

Designer

Designer

Computation

Branches

Bradford Pear

Computation

Material

Material

Fabrication

Existing as the blueprints of the operation, the system diagram lays out every step of the process that is taken to reach a final output. Circles represent inputs into the system and squares as actions that influence information or transform raw material. There are four parts that make up the system: Fabrication which includes digital and analogue techniques, Material which comes from the Bradford Pear tree, Computation techniques that include all analyses and sorting parameters, and the Designer allowing for influence and authorship.

ARCH 571 FALL 2019

Cut Slots

Welding Joints

ABJ Water Jet

A s s e m b l e

23 (Cross Joint)

8 (Elbow Joint)

4 (Wing Foot)

2 (End Foot)

Prototypical Joint Design

Surface Curvature

4’x9’ 16G Steel Sheet

Surface Height

Joint Generation

Cut To Length

Fabrication

Figure 024_Systems Diagram MATERIAL MISBEHAVIOR STUDIO

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3D Scanning The scanning process of 60 branches was done using an app that can be downloaded on most smartphones. The application (Qlone) uses photogrammetry as a means of scanning the object. It requires a printable base which can be scaled to any size necessary for the subject of the scan. The application places an augmented dome around the subject and requires the user to photograph the subject from many different angles until all concentric ringsof the dome are filled.

SCAN PATH

Figure 025_3d Scanning Process 40

ARCH 571 FALL 2019

:12.47,C:3.14"}

33{R:17.28,C:2.79"}

Computation Analysis

34{R:12.03,C:2.61"}

The diagram below reveals in depth the analysis process. First the mesh from the 3d scan is contoured in the long direction.

These contours are used twice. First the centroids are found along the stick which are then interpolated to generate a central curve. Second is for circumference values which are averaged for each stick. This new interpolated curve is then analyzed for it deviation and curvature values. This analysis :53.72,C:2.89"} 43{R:16.64,C:2.76"} 44{R:13.99,C:2.76"} provide values to compare and sort against the designers input.

35{R:15.77,C:2.91"}

36{R:30.2

45{R:2.55,C:2.65"}

46{R:3.61

Figure 030_Example of Branch Values from Catalogue

Figure 029_Curvature Radius

:12.43,C:3.47"}

53{R:28.08,C:2.84"}

54{R:6.79,C:3.28"}

55{R:5.29,C:2.76"}

56{R:20.3

Figure 028_Deviation Analysis

Figure 027_Centroid Interpolation

Figure 026_Mesh Contoured MATERIAL MISBEHAVIOR STUDIO

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{R:5.6,Z:1.22}

{R:10.8,Z:4.09} {R:11.87,Z:4.08}

Surface Generation

{R:14.32,Z:2.65} {R:9.44,Z:1.22} {R:20.14,Z:-0.25} {R:25.34,Z:2.65}

{R:20.12,Z:2.64}

{R:12.21,Z:1.22} {R:62.01,Z:-0.23} {R:8.96,Z:1.21}

{R:23.12,Z:1.2} {R:50.51,Z:-0.23}

The designed surface is put through a similar analysis that uses a diagrid based on UV parameters in which new curves can be generated to represent the intended design. These curves are analyzed by the previous analysis as well as a height analysis that are stored in a separate catalogue. The two catalogs are then compared to one another. A best fit system sorts the branches based on circumference so that branches are prioritized from top to bottom. It then matches a branch to its new position on the surface with similar curvature quality. {R:23.16,Z:-0.24}

{R:33.53,Z:-0.24}

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{R:8.9,Z:6.96}

{R:14.11,Z:6.96}

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{R:14.13,Z:5.52}

{R:36.72,Z:6.96}

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{R:48.95,Z:5.52}

{R:11.02,Z:4.08}

{R:29.28,Z:6.96}{R:17.97,Z:5.52}

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{R:20.47,Z:2.64}

{R:6.93,Z:6.97} {R:10.33,Z:5.53} {R:20.1,Z:4.09}

{R:17.52,Z:2.65}

{R:7.05,Z:6.98} {R:26.56,Z:5.52} {R:34.25,Z:4.08} {R:13.06,Z:2.65}

{R:8.14,Z:2.65} {R:37.2,Z:5.52} {R:5.08,Z:4.09}

{R:10.89,Z:5.53}

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{R:36.03,Z:-0.24}

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{R:16.81,Z:5.52}

{R:9.29,Z:6.96}

{R:20.71,Z:4.08}

{R:44.67,Z:5.52} {R:14.29,Z:5.52}

{R:30.46,Z:4.08}

{R:11.87,Z:4.08}

{R:73.79,Z:-0.23} {R:5.99,Z:1.21} {R:17.18,Z:2.64}

{R:18.69,Z:-0.25} {R:7.92,Z:2.66} {R:5.6,Z:1.22}

{R:10.8,Z:4.09}

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{R:9.44,Z:1.22} {R:20.14,Z:-0.25}

{R:62.01,Z:-0.23}

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{R:23.12,Z:1.2} {R:50.51,Z:-0.23}

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{R:22.8,Z:-0.24}

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{R:11.87,Z:1.21} {R:23.76,Z:2.64} {R:5.02,Z:4.09}

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{R:22.76,Z:1.2}

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{R:35.08,Z:6.95}

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{R:9.96,Z:4.09}

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{R:14.11,Z:6.96} {R:14.13,Z:5.52} {R:36.72,Z:6.96}

{R:48.95,Z:5.52} {R:11.02,Z:4.08}

{R:29.28,Z:6.96}{R:17.97,Z:5.52}

{R:9.96,Z:4.09} {R:20.47,Z:2.64}

{R:6.93,Z:6.97} {R:10.33,Z:5.53} {R:20.1,Z:4.09}

{R:17.52,Z:2.65}

{R:7.05,Z:6.98} {R:26.56,Z:5.52} {R:34.25,Z:4.08} {R:13.06,Z:2.65}

{R:22.76,Z:1.2} {R:8.09,Z:1.21}

{R:45.13,Z:6.96} {R:8.9,Z:6.96}

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{R:14.11,Z:6.96} {R:14.13,Z:5.52} {R:36.72,Z:6.96}

{R:48.95,Z:5.52}

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{R:11.02,Z:4.08} {R:29.28,Z:6.96}{R:17.97,Z:5.52}

{R:20.47,Z:2.64}

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{R:17.52,Z:2.65}

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{R:36.03,Z:-0.24}

{R:9.12,Z:1.22}

{R:8.14,Z:2.65} {R:37.2,Z:5.52} {R:5.08,Z:4.09}

{R:22.8,Z:-0.24}

{R:35.08,Z:6.95} {R:10.89,Z:5.53}

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{R:16.81,Z:5.52}

{R:9.29,Z:6.96}

{R:20.71,Z:4.08}

{R:44.67,Z:5.52} {R:14.29,Z:5.52}

{R:30.46,Z:4.08}

{R:73.79,Z:-0.23} {R:5.99,Z:1.21} {R:17.18,Z:2.64}

{R:18.69,Z:-0.25} {R:7.92,Z:2.66} {R:5.6,Z:1.22}

{R:10.8,Z:4.09} {R:11.87,Z:4.08}

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{R:9.44,Z:1.22} {R:20.14,Z:-0.25}

Figure 031_Lofted Surface

{R:14.29,Z:5.52}

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Figure 034_Node Sorting

{R:7.05,Z:6.98} {R:26.56,Z:5.52} {R:34.25,Z:4.08} {R:13.06,Z:2.65}

{R:22.76,Z:1.2}

{R:45.13,Z:6.96}

{R:9.12,Z:1.22}

{R:8.14,Z:2.65} {R:37.2,Z:5.52} {R:5.08,Z:4.09}

{R:22.8,Z:-0.24}

{R:35.08,Z:6.95} {R:10.89,Z:5.53}

{R:14.26,Z:6.96}

{R:11.87,Z:1.21} {R:23.76,Z:2.64} {R:5.02,Z:4.09}

{R:36.27,Z:-0.23}

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{R:44.67,Z:5.52} {R:14.29,Z:5.52}

{R:30.46,Z:4.08}

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{R:73.79,Z:-0.23} {R:5.99,Z:1.21} {R:17.18,Z:2.64}

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{R:9.44,Z:1.22} {R:20.14,Z:-0.25}

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{R:22.76,Z:1.2} {R:8.09,Z:1.21}

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{R:8.14,Z:2.65} {R:37.2,Z:5.52} {R:5.08,Z:4.09}

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{R:20.47,Z:2.64}

{R:7.05,Z:6.98} {R:26.56,Z:5.52} {R:34.25,Z:4.08} {R:13.06,Z:2.65}

57

10

1

{R:11.02,Z:4.08}

{R:6.93,Z:6.97} {R:10.33,Z:5.53} {R:20.1,Z:4.09}

34

29 4

56

39

Figure Structure Analysis 31 033_Surface 21

{R:14.13,Z:5.52}

{R:29.28,Z:6.96}{R:17.97,Z:5.52}

35

16 3011

9

20

{R:14.11,Z:6.96}

{R:36.72,Z:6.96}

19 58

41

36

48

50

37 54 2

32

13 52

49

38

{R:62.01,Z:-0.23}

{R:50.51,Z:-0.23}

{R:23.16,Z:-0.24}

51

5

6

53

{R:33.53,Z:-0.24}

{R:8.9,Z:6.96}

{R:33.53,Z:-0.24}

5

{R:8.96,Z:1.21}

33

{R:36.03,Z:-0.24}

59

42

35 60

{R:9.44,Z:1.22} {R:20.14,Z:-0.25}

{R:12.21,Z:1.22}

43

3 159

21

27

{R:25.34,Z:2.65} {R:20.12,Z:2.64}

34

11

{R:50.51,Z:-0.23}

{R:14.32,Z:2.65}

{R:23.12,Z:1.2}

Figure 032_UV Diagrid Parameterization 10 4 17

{R:12.21,Z:1.22}

{R:8.96,Z:1.21} {R:23.12,Z:1.2}

45

{R:11.87,Z:4.08}

40

17

{R:18.69,Z:-0.25} {R:7.92,Z:2.66} {R:5.6,Z:1.22}

44

14

{R:73.79,Z:-0.23} {R:5.99,Z:1.21} {R:17.18,Z:2.64}

23

{R:30.46,Z:4.08}

{R:10.8,Z:4.09}

16

{R:25.34,Z:2.65}

{R:20.71,Z:4.08}

{R:44.67,Z:5.52}

12

2

8

14 26 20

18

13

{R:22.8,Z:-0.24}

{R:36.27,Z:-0.23}

{R:11.87,Z:1.21} {R:23.76,Z:2.64} {R:5.02,Z:4.09}

{R:16.81,Z:5.52}

{R:9.29,Z:6.96}

24

19

23

{R:10.89,Z:5.53}

{R:14.26,Z:6.96}

22

{R:14.32,Z:2.65}

{R:20.12,Z:2.64}

32

{R:36.27,Z:-0.23}

{R:11.87,Z:1.21} {R:23.76,Z:2.64} {R:5.02,Z:4.09}

31 25

{R:22.76,Z:1.2} {R:8.09,Z:1.21}

{R:45.13,Z:6.96}

{R:14.26,Z:6.96}

30

{R:9.96,Z:4.09}

{R:6.93,Z:6.97} {R:10.33,Z:5.53} {R:20.1,Z:4.09} {R:7.05,Z:6.98} {R:26.56,Z:5.52} {R:34.25,Z:4.08} {R:13.06,Z:2.65}

{R:8.14,Z:2.65} {R:37.2,Z:5.52} {R:5.08,Z:4.09} {R:35.08,Z:6.95}

29

55

{R:9.12,Z:1.22}

51

53 48

36

5 41 9

33

35 60 49

37 54 2

19

16 3011

58

29 4 46 8

1

42 13 52 39 10

59 32 56 57 6

ARCH 571 FALL 2019

9’

25’

5’

Figure 037_Final Axon MATERIAL MISBEHAVIOR STUDIO

43

Joint Iteration Multiple joint iterations were made for this system as it was developed over the semester and reflect our thought process of construction at the time. Most of these joints were made with the idea that each branch in the system would rotate in order to overlap much like the initial joint in Figure 038. The final iteration removed this step in favor of a more simple, thin metal joint that does not distract from the over all best fit system.

Figure 038_Four node lap joint with Kudzu lashing

Figure 039_3d printed, two node, overlapping connection Figure 040_The “Bear Trap�creates a cylinder around overlapping four node

44

Figure 041_Final iteration uses two overlapping planar surface connecting branch ends

ARCH 571 FALL 2019

Protypical Joint Design The final joint closely follows the workflow of the final iteration shown in Figure 041. It is created through a process of intersecting two planar surfaces that connect the ends of four branches. Using the points of intersections between the two branch, and one planar surface a polyline is drawn to make the resulting connection. Two triangle (Fig 43) are created to hold the surfaces together for welding angles and to reinforce the joint. Kerf cuts (Fig 42) are made in the ends of each branch to accept the joint. Slots in the metal (Fig 44) connect the two sides of the joint. The foot joint (Fig 46) is made in a similar process however they are welded together side by side. Elbow joints (Fig 45) are simply bent to the correct angles which hold all of the edge pieces.

Figure 042_ Figure 043_

Figure 045_

Figure 044_

Figure 046_

MATERIAL MISBEHAVIOR STUDIO

45

KNOXVILLE, TENNESSEE

35°57’10.9”N 83°55’45.0”W

46

ARCH 571 FALL 2019

MATERIAL MISBEHAVIOR STUDIO

47

Figure 048_Green Space and

Figure 049_Rain Water Harvesting

N

S Figure 047_Natural Cycles

_04 MODEL EARTH

Proposal for a new Tesla dealership and service centre with values based in sustainability

Fall 2018 Professor: Mark Dekay Partner: Edward Revere & Jessica Howard

Design for Integration PROMPT: The motive of the studio was to propose a new model for Tesla; a service centre for their electric vehicles combined with a showroom for potential clients. This is something unprecedented in current Tesla properties.

RESPONSE: The Tesla dealership offers a design that enacts the oneness of sustainability and beauty. The central idea of the design is to react to all patterns of the site situated at the end of the “Avenue of the Architects” in Columbus IN. Passive and active design techniques are implemented to create not just a self-sufficient building, but also a sustainability driven experience of biophilia and delight. These strategies are heavily linked with Tesla’s morals and ideals; wanting to create a sustainable and utilitarian future. All aspects of the design offer a clean, beautiful, and resilient building that the whole community appreciates.

COLUMBUS, INDIANA

39°12’13.7”N 85°55’27.7”W

A.1_ Basic Massing

A.2_Parti

A.3_Separation

Figure 050_Building Parti_ Contextual Response Figure 051_5th Street Corner Perspective

Design for Ecology The city of Columbus maintains a strong connection with nature through its expansive network of green spaces, parks, and landscape architecture. The biophilic design of the Tesla Dealership re-ensures this connection by allotting 53% of the site to planted space with species native to state of Indiana including trumpet creeper vine and slender deutzia.

Flowering plants are pollinators which attract birds, insects, and bees to the site. All façades of the building use low reflective glass mitigating bird strike and then layered with dense green walls to provide shade on the building.

50

ARCH 471 FALL 2018

A.4_Mezzanine

A.5_Roof

A.6_Covered Space

EUI

-14

Comfortable Integration

Green Space

54%

Energy Collection

5/12 Months

8,530 SQ. FT 13.7% of Site

Outdoor Views

Water Collection

Water Need/Harvest

Daylit Area

90% 52%

*Average Per Month

5,220/5,227 gal

27,272 SQ. FT 43.8% of Site

72%

Figure 052_Building Performance INTEGRATIONS STUDIO

51

Design for Wellness to the native plants and green wall systems that surround the building.

The health of the occupants extends to the material and product choices made throughout the building. The Living Building Challenge Red list was implemented in the decision making for all products chosen.

B

A

Lindse

Brown Street

y Stree t

A

B

In such a large open space, the main design parameters that benefit the wellness of each occupant is through carefully placed and sized apertures. 90% of the main occupied space has a view to the outside with over 70% of the floor plate being well lit. This also gives great connection

5th Street

GROUND PLAN 52

0 5 10 20

40

80

ARCH 471 FALL 2018

Design for Community Located within the building are two specifically targeted features that seek to aid the surrounding context. Accessible bathrooms are open for the farmers’ market 7 days of the week and an incubator space for new tech companies who focus on electric personal transportation. Tesla is known for revolutionizing the automobile industries, striving to bring the electric car to the masses. The community welcomes Tesla to their downtown, making the streets and air cleaner, but also givng back space to the community to improve daily life.

URBAN CONTEXT ANALYSIS

Main Roads

Rail Roads

Pedestrian Landmarks

Residential Site 53

Design for Change A sustainable building is one that is resilient over time which is what the design aims to accomplish. Its passive and active architectural elements allow it to function completely off the grid; photovoltaics, window orientation, and natural ventilation are just a few examples of how it does so. The structure was designed for reuse and adaptability. This is done with an open

floor plan design where all interior walls are non-load bearing and the shell and enclosure are completely independent with a highly efficient trussing systems. These larger, open spaces will allow for reuse for practically any program, all that is required is redevelopment of interior finishes.

Figure 062_West Facing Elevation

Figure 059_North Facing Elevation

Figure 053_Second Floor Plan

Figure 056_East Facing Elevation

Figure 065_South Elevation

54

ARCH 471 FALL 2018

EXPLODED AXON SYSTEMS DIAGRAM

Design for Economy Designed in a brutalist sense, the materials and construction express the aesthetic of the building reducing the need for interior finishes. Low maintenance of the exterior facade is made possible by Rockpanel with easily changeable panels. Low operational requirements due to passive and active strategies reduced the cost to run the building down to $117/y. With out PVs it would cost over $7,000 a year to heat and cool the building. The 8,530sft of PVs arrayed on the roof and facade drive the costs of operation down . These PVs also produce enough electricity to charge the electric vehicles that the building houses as well as other personal electric vehilcles, generating another source of revenue. The construction will be sourced from local companies and resources, giving back to the surrounding communities.

INTEGRATIONS STUDIO

55

SHOW ROOM DETAIL WALL SECTION 1

A1

.5

0

4’

8’

16’

32’

Roof Detail Metal Flashing

Roofing Membrane

1/2” OSB Sheathing

A3

2 Layers of 3” Thick Rigid XPS Insulation 2’ x 2’ Wooden Planter w/ Trumpet Vines Planted 1/8” Weep Hole 1/8” Steel Channel

A2

Top of Window 6” CLT

Weather Resistant Barrier

Design for Resources

2 Layers of 3” Thick Rockwool Insulation w/ Horizontal & Vertical Wood Furring 30” O.C. 2.5’ x 5’ Insulated Metal Panels

Aluminum Clad Storefront Window Frame

Global warming potential played a huge role in the conceptual stages of the design. By running several Life Cycle Assessments, the design team analysed a current building in downtown Columbus constructed with a steel frame, metal studs, XPS insulation, and brick veneer in order to reduce the Global Warming Potential of those resources. Starting with the structure, the greatest impact came from changing to glue laminated timber. The wall structure was switched to a layer of CLT with mineral wool insulation and a RockPanel clipping system veneer. Over all, GWP was reduced by 55%.

1” Insulated Glazing Tesla Solar Panel

Footer Connection 4” Gravel Layer

Reinforced Concrete Slab w/ Welded Wire Mesh 1/2” Expansion Joint 2” Window Sill

Protection Board Metal Flashing

Indiana Limestone Paver 4” Sand Bedding

Footer Detail

Concrete Foundation Wall Concrete Footer

Rebar Reinforcement 1/2” Dia. Rebar w/ 8” O.C. Spacing 1/2” Dia. Vertical Rebar Ties

A5

Dampproofing Membrane

2 Layers of 3” Rigid XPS Insulation 4” Dia. Drainage Pipe

56

A6

ARCH 471 FALL 2018

SHOW ROOM SECTION PERSPECTIVE

64’

Figure 068_Figure. 01 Showroom Perspective

Wall Section 3/4”=1’

Design for Discovery Revisitng the BIG IDEA, the building seeks to enact the oneness between sustainability and beauty; layered green wall and solar panelled facades invite the flaneur to explore its sustainable features and open green space. The Tesla Showroom and Service Centre is not simply a sustainable model for the future of the company, but also serves as a tool to educate the citizens of Columbus. True change toward a more sustainable future can only come from within.

INTEGRATIONS STUDIO

57

Figure 069_Figure. 01 Service Bay Perspective

Design for Water Water plays a huge role in the design of the building at multiple levels. At its largest scale, the site is in a flood zone,. To combat this, all walkable surfaces on the exterior of the building have been populated with a porous paving system that allows excess rainwater to soak into the earth beneath. The roof captures rain and

58

collects it into a 5,227 gallon cistern located in the courtyard Any excess water is held in reflective pools on the site until released in the storm water management system after the surge. Calculations of predicted water use, of 63,600 gallons/y was measured and econimized by using low flow fixtures and grey water systems.

ARCH 471 FALL 2018

Figure 070_Structural Model 1/16” = 1’

Design for Energy Passive strategies were implemented to reduce the dependancy on active systems. These include cross and stack ventilation for natural cooling, daylight and solar apertures sized for ample daylight and solar heating. To reduce solar heating in the summer, a green wall system creates layers of shade on the South facade while allowing light and radiation in the winter. These strategies alone brought down the EUI of the building to 12. Highly efficient heating and cooling systems are used for when passive strategies are not enough. A geothermal system provides heat exchange for 18 tons. LED lighting is used in zones where daylight does not penetrate. On-site renewables, primarily Photovoltaics, sponsored by the Tesla company, are used to produce more than 78,532 kWh/y that is required to run the building.

8,530 sft of solar panels brings the EUI down to -14.

SERVICE SECTION PERSPECTIVE

INTEGRATIONS STUDIO

0

4’

8’

16’

32’

64’

59

Figure 071_Chorded Drill

60

IND171 SUMMER 2019

_05 INDUSTRIAL DESIGN

Bang & Olufson Inspired Salt Container, Pepper Grinder, and Olive Oil Dispenser CWorded drill for women

Summer 2019 Professor: Ryann Aoukar The two studios of the Industrial Design Minor began with hand drawing and then moved into 3d modelling respectively. The first studio focused on designing a set of promotional material for a chosen brand. I chose to use Bang & Olufson for this project due to their craft, materials, and simplicity of form. The second studio’s prompt was to redesign a drill for women. This began by deconstructing an existing drill, physically and analytically. Then improvements were made where we saw fit.

The proposed design takes comfort and safety into account and is inspired by the feminine shape of sports cars.

61

PEPPER

OIL

BEOLAB 18

BEOLAB 50

BEOLIT 17

SALT

62

IND171 SUMMER 2019

PEPPER OIL SALT IDEATION GRAPHICS STUDIO

63

Chuck : BIG_GRIP

DRILL There is a lack of design with industry products that reach the market targeted ‘specifically for women’. This typically means that an existing product is scaled in size and decorated with girl colors; the shrink it and pink it method. In order to improve upon the tried and true reliability of the chorded drill, the female aspects of this design come from comments made by women which could be improvements made to the existing sample drill and formally by common domestic tools combined with the elegance of organic form of performance sports cars.

Existing Problems And Solutions: 1. Outdated style 2. Levels - Make easier to see.

3. Comfort - add soft rubber or plastic to where hand grips the body of the drill.

3. Drill lock - weird button in awkward position. Change to a slide.

Is a lock necessary 4. Unwieldy chord - gets in the way and pulls on the drill, also needs ability to wrap neatly around grip.

5. No light - add a light that does not cast a shadow.

6. Lack of texturing 7. Trigger - hard to pull, space wanted for extra fingers - use of multiple fingers in order to not fatigue the hand.

8. No torque settings - make graphic and easy to understand.

9. Chuck is too small - needs more space to grip.

10. Body sits on its side - design to stand up to easily grab the drill.

Cord : PIVOT_BALL

Torque Settings : MIX_SCREW_DRILL

Trigger : FOUR_FINGER

Light : GOES_UP

64

Integrated : BIT_STORAGE

TOP

3.25”

11”

FRONT

ELEVATION_LEFT

BACK 15°

8”

Color : PREMIUM_COLORS

65

Figure 072_Filament Tower at night

_06 VARIOUS WORKS Filament Tower During the Summer of 2019, I jumped onto the Filament Tower team in the basement of the FABLAB to partake in the refinement, construction, and assembly of the Filament Tower research. My participation included assisting in the winding process, construction of the components, fabricating parts with digital tools, and figuring out the assembly.

Furniture Since a young age, I have always been my father’s assistant in the wood shop. We would build furniture, install decking, and general repairs to an older house. Now being away from home, I have had the chance to produce my wood working ideas with more complex tools than the old shop at home. I believe that becoming familiar with the tools used in order to create designs makes for a better designer. Using your hands and intuition to make something tangible with a discernible craft gives a better perspective on scale and the human body within space.

COLUMBUS, INDIANA

39°12’13.7”N 85°55’27.7”W 2

0

1

Figure 073_Physics simulated mesh

Figure 076_Curve for relaxing

Figure 079_Curve relaxed onto mesh

Figure 082_Safe travel space for Robot

Figure 085_Robot path

Figure 088_Combination of systems

Daily Involvement

Team:

I got involved in this project after the design phase. My main task was assembling the component to be wound and running the robotic winding process. After this was completed, I would disassemble the component that was made the day before. I was also responsible for getting the node geometry files ready for CNC fabrication that went into the component building process. The last part of the puzzle was to figure how we were going to put the components together.

Marshall Prado_Shane Principe_ Sarah Wheeler_ Courtney St. John_ Alex Stiles_ Nadin Jabri_ Geng Liu_ Pete Paueksakon_ Tyler Sanford_ Michaela Stanfill_ Michael Mckever_ Michael Swartz_ Hollywood Conrad_ Teig Dryden_ Howard Fugitt_ Kristia Bravo_ Bridget Ash_ Kevin Saslawsky_ Michael Vineyard_ Zane Smith_ Josh Mangers_ Patrick Dobronski_ Joe Gauspohl_

68

FILAMENT TOWER

VARIOUS WORKS

69

Figure 091_Exploded Axon

70

FURNITURE

Design Inspiration

Parameters

The inspiration from this project came from Chris Salomone and his Youtube channel “foureyes�.

He had made a project with template routing and plywood laminations. I wanted to use and better acquaint myself with the CNC so I found this to be a good place to test out my digital fabrication and wood working skills. The shape is a simple trapezoid with filleted edges.

In order to give reverence to its material, every surface in the XY direction must show the stacking of layers of the plywood. Even the shelf is made from an aggregation of plywood layers. All of these layers loop continuously around giving it the appearance of being cut from one piece. The back panel seeks to mimic the material end grain of the plywood with horizontal slats.

VARIOUS WORKS

71

END