laura gabel [academic portfolio]

follyand architecture that itect within the nonm calls home, while whi

tdbthkiti

This project is an exercise in tackling the fine line between sculpture and architecture that is the folly, by designing one for the personal use of a successful architect within the nontraditional landscape of the rooftop of the Chicago high-rise his firm calls home, while focusing on the concept of the beautiful as well as the opportunities presented by the kinetic. A careful analysis of subject and program led to the beautiful manifesting itself in the idea of escape and the whimsy of folly approach, and the kinetic manifesting itself in the mission to provide endless combinations of the conditions required by the variety in activities that liquid programming presents.

It was determined that what the subject required was an escape from buildings. The folly required an unassuming spherical form for multiple reasons: no single part of the sky offers a consistently more desirable view than the others, and no single lighting or ventilation orientation offers a consistently more desirable environment than the others.

To provide unlimited combinations of light, ventilation, and temperature levels while controlling views, the envelope of the folly would have to be composed of three distinct layers that each control one of these aspects (lighting, thermal, and views layers). By the design of the views layer, buildings are edited out and a frame is formed around the composition of sky that is the view. The thermal and lighting layers operate as a series of panels attached at a pivot point (on the end of a rotating arm) such that they can collapse into one another or spread out to form many different arrangements, and thus endless variety in environment. Further adaptability through kinetics is offered inside the folly in the mechanical ventilation system, electrical lighting system, and surface condition system.

True to the tradition of the folly, the experience of approaching this folly generates the same sense of whimsy and wonder that one might encounter during a walk through the woods. Where once there was a solid wall, the Adrian Smith passes through the sliding door near his office and into the northern courtyard of the Harris Bank Building. Streamers fall down to hug a winding set of steps traveling over the existing pool of water that lure him to the rooftop. After meandering through the streamer landscape, he catches his first uninterrupted glimpse of the folly and wanders closer. As he is lifted into the folly, he looks up to see the buildingless composition that the folly has framed for him. he has reached his escape.

For the man who is

For the man who is always thinking about buildings . . .

in an environment of abundant buildings

an escape.

One of the few places within the city satisfying all of the following conditions:

no views of buildings

abundant natural light

direct natural ventilation

While providing endless variety in the following aspects of environmental comfort to accommodate a range of activities:

light levels

work surface heights

ventilation levels

temperature levels

positions of the body

orientation of the body

POSSIBLE

circulate consume eat drink rest relax sleep communicate talk to those present (meeting, gathering, visit, etc.) to those not present (talk on phone, pray, worship, etc.) listen to others

those present (meeting, gathering, etc.)

those not present (talk on phone, video, music, etc.) to nature think ponder meditate brainstorm study absorb observe read capture thoughts (write, type, etc.)

music (transcribe) scenes (photograph) designs (draw, paint, etc.) produce food (cook) images (draw, paint, etc.)

music (improvise) objects (construct) ideas (design) perform speech

craft music exercise (mental, physical, etc.)

ACTUAL

circulate consume eat drink rest relax sleep communicate talk to those present to those not present listen to others those present those not present to nature think ponder meditate brainstorm study absorb observe read capture thoughts music scenes designs produce food images

music objects ideas perform speech craft music exercise

25%

30% 20%

15% 10%

the universality of method

the part of the person

the direction of the product

the

the predictability of occurrence

the regularity of occurrence

the frequency of occurrence

CHANGING SOLAR POSITION & CLOUD ARRANGEMENTS

ONLY DESIRED VIEWS FROM FOLLY ARE THOSE OF THE SKY (NOT BUILDINGS)

DIFFERENT ACTIVITIES TAKING PLACE WITHIN FOLLY AS REQUIRING DIFFERENT LIGHTING & VENTILATION CONDITIONS (LIQUID PROGRAMMING)

CHANGING SOLAR POSITION & WIND DIRECTION

NO SINGLE PART OF SKY OFFERS CONSISTENTLY MORE DESIRABLE VIEW THAN THE OTHERS

NO SINGLE LIGHTING OR VENTILATION ORIENTATION OFFERS CONSISTENTLY MORE DESIRABLE ENVIRONMENT THAN THE OTHERS

FOLLY REQUIRES UNASSUMING FORM (ONE THAT LACKS PREFERENCE TOWARD ANY SPECIFIC ORIENTATION)

NATURAL LIGHTING

NATURAL VENTILATION + THERMAL CONDITIONING

VIEWS

surface conditions

void

solid: transparent

surface conditions

solid: opaque

solid: translucent + breathable

void

solid: transparent

solid: opaque

solid: translucent + breathable

PROJECTION OF SURROUNDINGS ONTO SPHERE

360° OF SURROUNDINGS

FROM BELOW

DERIVATION OF FORM THAT MASKS UNDESIRED VIEWS OF SURROUNDINGS & DISGUISES PROFILE ELOW

DER UNDES

FROM BELOW

FROMFROMBELOW

“views” layer

building height (stories) 00

view until interrupted by building taller than Harris Bank Building

view until interrupted by building taller than original interrupting building

view until interrupted by yet another building taller than the previous

folly olly

EFFECT: COMFORT MATERIAL

staggered slots allow for air flow through layers but not views through layers

EFFECT: VISUAL

COMPOSITION

to accommodate activities & conditions, which are inherently dynamic

to minimize the impact on earth in a world of growing population & mechanicization to utilize space efficiency in order to accommodate a world of growing population

movement / motion

adaptation

to enhance aesthetic qualities

to perform functions impossible of the static to mimic the awe of nature’s variation & constant change

all

one some

number of parts of the building

control mechanism

roles of parts of building

stable mechanism dynamic mechanism

what where

interaction reaction

skin

part of the building

components structureopenings

interior surfaces

why how

by person by sensor

the KINETIC

by automation

means initiation result

rotate slide lift lower

people

reaction

environment

events (something deliberate, proactive) constants (temperament, etc.) constants (light, humidity, wind, temperature, etc.)

(physiological, safety, social, esteem, self-actualizing)

actions events (precipitation, storms, natural disasters, etc.)

behaviors needs

solutions to human-caused issues

converge

revolve diverge

re-orient void

transformation

solid change function change condition change position

8+ PANELS

SOME POSSIBLE ARRANGEMENTS OF PANELS WITHIN POSITIONS

14+ PANELS

SOME POSSIBLE ARRANGEMENTS OF PANELS WITHIN POSITIONS

SAMPLE COMBINATIONSAMPLE COMBINATIONSAMPLE COMBINATION

SAMPLE COMBINATION

SAMPLE COMBINATIONSAMPLE COMBINATION

MECHANICAL EQUIPMENT ROTATES ABOUT FOLLY CENTER TO SATISFY THERMAL COMFORT NEEDS IN SPECIFIC LOCATIONS

precedent: fortuny lamp

LAMPS IN FLOOR PLATFORM POINT LIGHT TOWARD

REFLECTIVE PIECE LOCATED ON ROUNDED PIVOT ARM TO BE DISTRIBUTED STRATEGICALLY THROUGHOUT FOLLY

[SECTION]

rotating

surface plane

rotating WORK surface plane

folly y

ROOFTOP ACCESS VIA STAIRCASE OVER WATER WITH SLIDING DOOR INTO OFFICE

IRIDESCENT STREAMER WALL LANDSCAPE

GRIDDED GREEN ROOF TERRAIN

FOLLY

OTHER POSSIBLE FOLLY LOCATIONS

SOUTH

SOUTH

[result] elevation

frames

This project is an exercise in addressing the challenge of building a complementary structure to a great architectural work in the form of a new visitor center for Mies van der Rohe’s Farnsworth House. It includes a careful analysis of the existing icon, followed by an educated selection of building placement across the vast site.

The resulting visitor center design is a layering of two ideas: (1) that the experience of the Farnsworth House from the exterior is one of evolving framed views, and (2) that the Farnsworth House, a structure arranged methodically on an orthogonal grid, can have a presence in the Visitor Center if there is a memory of a grid.

deas: experience gframedviewsand(2)thatthe framedviewsand(2)thatthe

To elaborate on the first idea, the original direction of entrance onto the site relative to the only direction from which one can enter the house (due to its elevation above ground and single stair), creates a circular movement about the Farnsworth House upon travelling across the exterior to make it to the interior. The solid ceiling plane and floor plane stay relatively in one place, while the many columns and vertical mullions change position in relation to one another, altering the frame that focuses the view through the house. A simple, rigid, orthogonal structure thus achieves a certain sophistication with simplicity, by allowing single views—framed at multiple distances by components of different planes—to evolve as one moves about the structure.

Reacting to the second idea, it was decided to start with a grid and deviate from the grid as the conditions demanded. To give the grid more adaptability—to the different conditions of reach, private v. public, views to the exterior, daylighting needs, and visual connections for operations—it was decided to treat each level as three pieces stacked on top of each other. Why three? It relates back to the human scale. Based on these different aspects the grid can react to, the appropriate vertical surface conditions were identified for each piece of program. The actual vertical surface condition applied at each section of the grid was then further dictated by: (1) its necessary relation to neighboring programs (small-scale), (2) constructability, and (3) the experience created by the diagram (large-scale).

frames es mes m me

ORIGINAL DIRECTION OF ENTRANCE ONTO THE SITE RELATIVE TO ONLY DIRECTION OF ENTRANCE INTO THE FARNSWORTH HOUSE

EVOLVING FRAMED VIEWS

EXPERIENCED UPON CIRCLING EXTERIOR OF FARNSWORTH HOUSE frames frR O

column in foreground

column in background

ceiling plane

floor plane

evolving frame with turn about structure fl

analysis] conceptual model of evolving frames

minimal contact with earth no visible structural connection

illusion of floating components =

non-flush components

FRAMING COMPONENTS APPEARING AS DYNAMIC IN ARRANGEMENT

ANALYSIS OF PLANAR COMPONENTS OF A OCCUPIABLE CONSTRUCTIONS (IN THEIR MOST RAW, RECTILINEAR FORM AS INDEPENDENT ENTITIES)

ORIENTATION TO EARTH DIMENSION

CONTACT WITH OCCUPANT MOVEMENT RELATIVE TO EARTH IT RESISTS

FRAMED VIEW IT ALLOWS

EXTENT OFNATURE OF WALLvertical

(divinity) perpendicularhorizontal (otherwise limitless in direction & distance for man without machine)

CEILINGhorizontal

(man) parallel vertical (otherwise limited for man withoutmachineanyway)

FLOORhorizontal

some, optionalin between (eventually limited past horizon)

perspective (reference lines, horizon)

TREATMENT BY MIES IN FARNSWORTH HOUSE

transparent

without machine anyway) no horizon)

nonevery far (endless, limitless) abyss (no reference lines, nohorizon)

X

(man) parallel vertical (otherwise very limited for man without machine anyway)

opaque

constantvery close (very limited) flat opaque

SEPARATION OF THE VERTICAL AND THE HORIZONTAL

W WI

BEGIN WITH A GRID

GIVING THE FARNSWORTH HOUSE A PRESENCE IN THE VISITOR CENTER BY INSTILLING THE MEMORY OF A GRID

LOWER LEVELS UPPER LEVELS

[intent] instill the memory of a grid

INTRODUCE ADAPTABILITY TO THE GRID BY TREATING EACH LEVEL AS THREE

10'-6"

10'-6" 10'-6"

reach bending over lower body + laying down ground from below

standing extending

upper body + sitting no view

horizon sky + canopy

from above

10 -6 10 -6 3 -6"

3'-6"

views to exterior daylighting 3'-6" 3'-6"

037

from across

TRI-ZONAL SYSTEM FOR ACCOMODATING DIFFERENT ASPECTS OF PROGRAMMATIC DEMANDS

theatre

exhibit space

gift shop

frames ammes es

office storage

ffic

rest rooms

vestibule

office

reception

coat room

CONSIDERATION OF SURFACE CONDITIONS DEMANDED BY PROGRAM

shelves

office storage

flat files place of cleansing

place of repose place to prepare food place to eat

storage

CONSIDERATION OF STRUCTURAL DEMANDS & CONSTRUCTABILITY

methodically deviate from grid

of form]

frames a es

level 1 [0’-0” to 3’-6”]

level 4 [10’-6” to 14’-0”]

level 2 [3’-6” to 7’-0”]

level 5 [14’-0” to 17’-6”]

level 3 [7’-0” to 10’-6”]

level 6 [17’-6” to 21’0”]

fra frra es e me m mes

ground floor plan

frames m fram fra

frames

ammesame

FACING EAST FACING NORTH

frames s

[result] looking toward exhibition space + gift shop from theatre

redirection

This project is an exercise in analyzing site context through a process of finding the synecdoche and asyndeton of a given environment and abstracting the qualities of the environment at three scales, interpreting and transforming the qualities into a translatory tile, and ultimately applying the forms of the translatory tile to a specific architectural program. A mixed-use, low-rise urban infill project within the downtown area of Champaign, Illinois is the product of this exercise.

redirection

When a person travels through a city, only one of two possible agendas drives the travel. The travel might be very deliberate—driven by the agenda of reaching a particular, predetermined destination—or the travel might be very aimless –driven by the agenda of arriving at no particular destination and possibly even with the agenda of getting lost. My urban infill design explores the second possible agenda, marked by the person who takes his first step in the city—a small city, in this case—with the intention of traveling but having no idea where he might end up and being comfortable with that. The factors that influence the route of the wanderer of a small city have provided the basis of my design.

Characteristic of the route of a wanderer of a small city, the concept of redirection became prevalent in the original analysis of context, and was thus carried through to the translatory tile. The result of the tile study was a form consisting of various horizontal strips stacked vertically, each “moving” a different direction from the ones directly above and below. The movement of each strip can be described as forward-backward, or in-out. This form holds purpose at several different scales.

At its smallest scale, with strips measuring about three inches tall, the surfaces of the strips provide privacy, while the gaps formed between the strips allow for light to still travel through. At its middle scale, with the strips measuring about three feet tall, the surfaces of the strips act as walls or guardrails, while the gaps between the strips allow for exterior living space. At its largest scale, with the strips measuring about three feet tall and the whole form actually being flipped onto its side and stacked, the surfaces of the strips act as floors, ceilings, and level changes, while the gaps between the strips act as space capable of being occupied. The strips also introduce a bi-level arrangement for the division of rental units as is the case in the urban infill project. Thus, the form encompassing the idea of “redirection” has potential across scales to apply program to a structure.

[site analysis] “redirection” as abstracted quality of the city

redirection

vs.

[derivation of form] tile as tool for privacy

PRIVATE

curtain wall with aggregated tile covering

POTENTIAL SUN ANGLES THAT ARE BLOCKED BY FACADE

POTENTIAL SUN ANGLES THAT PENETRATE FACADE

redirection d ed e cti tion ir o

VARIABLE DIMENSION

VARIABLE DIMENSION

VARIABLE DIMENSION

VARIABLE DIMENSION

TILED FACADE COVERING TO CURTAIN WALL CONNECTION

ELEVATION SECTION

[derivation of form] variety in redirection at smallest scale

redirection

[result] elevation

redirection d eddir e i direction ction

BELOW GRADESTREET LEVELLEVEL 2

LEVEL 3LEVEL 4LEVEL 5

redirection on n

This capstone project is an exercise in comprehensive building design in the form of an airframe and power plant instructional facility at Parkland Community College at Willard Airport of Champaign, Illinois. The proposed design represents an exploration of the tapered form: the tapered form as a strategy for spatial arrangement, natural ventilation, daylighting, and storm-water management, when incorporated differently in plan and in section.

In plan, the tapered form acts as a strategy for natural ventilation in that it allows the predominant southern and western winds to enter the building and accelerate through the tapered east-west corridors. Additionally, the tapered outline of the classrooms, offices, support rooms, and shops in plan give each interior space southern and western surfaces from which to collect these predominant winds as a strategy of natural ventilation. In plan, the tapered form also is utilized as a strategy for spatial arrangement through the method of arranging rooms of varying sizes from small to large.

In section, the tapered form acts as a strategy for natural ventilation as well, and also for daylighting and storm-water management. The stack effect created using openings at the top east of each interior space allow the exit of air. The tapered roof lines make this east-most point the highest point in the room, thus air must circulate through the entire room—from southwest to northeast—to exit. The tapered clearstory allows clearstory height—thus, amount of emitted daylight—vary in direct proportion to variations in room depth—thus, variations in daylight needs. The tapered roof line also allows for storm water movement along sloped roof planes to be strategically directed to and collected at specific points where it is then managed away from the building foundation.

The levels at which the passive aspects of the design operate at any given time are communicated to the building occupants through exterior site features. The tall grasses that move with the wind give a visual presence to the breezes that, when juxtaposed with the vertical lines of the siding, serve as a tool for measuring the level of natural ventilation at a specific point in time. The linear retention ponds act with the vertical sculpture of the landscape as the spokes of a horizontal sundial, serving as a tool for measuring the location of the sun—thus, its role in daylighting—at a specific point in time. All of this helps the building occupants to understand the passive features such that they accept them and utilize them effectively rather than fight them.

louvered surface accelerated air

PREDOMINANTWINDS

(#1) sustainability: natural ventilation [derivation of form]

WEST-EAST TAPERED CORRDIOR

STACK EFFECT AS TOOL FOR NATURAL VENTILATION

air enters south and moves north to exit

air enters west and moves east to exit

WEST SECTION

SOUTH SECTION

(#1) sustainability: natural ventilation [derivation of form]

tapered aper d ed e ere

inlet louvered surface

outlet louvered surface

solid surface

CONDITION

CONDITION

CONDITION

CONDITION B

e pe d r a apered peere peed ed

native vegetation

porous surfaces

retention pools

storm water path

drainage point of sloped roof

(pipe from roof to pool)

BUILDING OCCUPANT

JUXTAPOSITION OF VERTICAL BOARDS AND BLOWING GRASSES AS METHOD FOR MEASUREMENT OF WIND INTENSITY & DIRECTION

SUNDIAL AS METHOD FOR MEASUREMENT OF SUN INTENSITY & ANGLES

[derivation of form] (#4) sustainability: education

PURITY OF VIEW FROM APPROACH

[derivation of form] sustainability: green space

FORMS OF SHOPS AS RELATING ORIENTATION OF EAST WING TO ORIENTATION OF HANGAR

tapered d ered edapere

tapered ed apeereed

transparent surface

opaque surface

partially vented closed

tapered

fully vented

open

[result] elevation + section

lecture space corridor as sunspace

assimilation

This project is an exercise in creating a flexible, component-based architecture that responds to and manipulates the existing site context, both physically and metaphorically. The Inland Sea of Kickapoo State Park in Vermilion County, Illinois and the topography that immediately surrounds it together compose the site which I was assigned to manipulate.

Despite the availability of trail markers and park maps, there is a certain stretch of the Riverview Trail that can become disorienting to its travelers for several definable reasons. The proposed design intends to allow park visitors to better orient themselves within the park as they travel an otherwise disorienting stretch of this trail. The architecture accomplishes this by establishing a system of focal points and framed views of these focal points in the form of four separate structural components and a land form alteration.

The first component, the anchor component, is located at the delineated “point of human congregation.” The nature of the anchor component calls for it to be familiar to park visitors in order for it to benefit them. It was thus placed at a node of human activity so as to alert as many park visitors as possible of its existence. The anchor component also happens to be partially made up of a multi-gender restroom, which allows it to further alert park visitors of its existence since the one activity of that most every park visitor will most likely eventually do is use a restroom.

assimilation

The second, third, and fourth components (referred to from now on as the “axial components”) are located across the Inland Sea from the anchor component, along the disorienting stretch of the Riverview Trail. They are spaced equally apart from one another so as to maximize their orienting benefits. Each of these components’ function is to frame a view of the anchor component for any travelers of the trail, so that throughout the path of the trail, travelers can periodically orient themselves relative to a single, familiar object.

In order to provide an unobstructed line of sight between the anchor component and each axial component, the hindrance of the peninsula had to be addressed. Where each line of sight intersects the peninsula, the peninsula will be in-effect “carved away.” Retaining walls added to the peninsula will hold back any land or vegetation from interfering with the visual path between the anchor component and each axial component.

SEA LEVEL

assim

peninsula

node of human congregation

heavy vegetation

lines of sight

points along riverview trail

[site analysis] low elevation + visual obstruction

tightly enclosed dark colorful

PLAN

open light colorless corner separates areas of contrast & heightens effect

white wall provides blank canvas for view

extended planes narrow and direct view

AXIAL COMPONENT #1

ANCHOR COMPONENT

AXIAL COMPONENT #3

AXIAL COMPONENT #2

ilat t s m sim at a i

PENINSULA ALTERATION BEFORE AFTER

[result] elevation + section

view from anchor component toward axial components [result]

[result] site model

infobox

This project is an exercise in designing a simple, temporary pavilion to function as a small exhibition space to disseminate information about innovative wood technologies and their architectural applications. It is sited in close proximity to a construction site to additionally serve as a sheltered viewing platform for the public to observe the construction process. The construct is given a predefined post-and beam structure (19 twelve-foot-wide frames, aligned in a row, spaced four feet apart ) as a design parameter.

The nature of the MKEWOOD Infobox—that it is to be: (1) a temporary pavilion, (2) ultimately dismantled, and (3) recycled—calls for certain aspects of its design, respectively: (1) simplicity in pieces and components, (2) impermanent connections between components, and (3) adaptability. These characteristics can be realized in the use of, respectively: (1) a repeated, modular component, (2) using gravity and a loose connector piece to connect these components, and (2) introducing a kinetic aspect that allows the shaping of surface and space to optimize functionality and experience in current application or future applications. On top of this, the previously explored idea of convergence is layered into the design to: (1) add direction and give movement to the space via the gradient, (2) give order to the arrangement of the modular component, and (3) introduce openings to allow for daylight to penetrate the space and frame views. Due to the ideal component dimensions identified, this system uses a lot of material. However, this is justified by its complete reusability— the Infobox being (1) easily dismantled, (2) easily relocated, and (3) easily adaptable to a different exhibition or a different program altogether—and its opportunity for starting with a recycled material. The kinetic system is appropriate for the MKEWOOD Infobox program of an exhibition space (for display or information or artifacts) in section—due to the pushing and pulling of components to create shelves and alcoves—and in plan—due to the sliding of seating and room dividing components to manipulate movement throughout the space.

ted, and (3) easily adaptable to a ted, a d opportunity d Infobox s)

The result is: (1) an envelope of stacked modular components, able to be sculpted for functionality and spatial experience, (2) an orthogonal structure isolated as a dataum to juxtapose the morphed section of the envelope it contains, (3) a ribbon that follow and emphasizes the movement of the gradient, then falls to the ground while being slit to allow for entry through the opaque southern façade with visibility to the road of approach, and (4) culmination of the divergence at the north façade to capture diffuse light and provide a viewing platform to the construction.

infobox obboox x n nfob fo o

stacked in repetition

+

2 3

ONE RECYCLED WOOD PALLET

CUT INTO FOUR SEPARATE CONSTRUCTS

infobox

REWORK RESIDUAL PIECES TO REINSTALL STRUCTURE TO FOUR CONSTRUCTS

[materiality] transformation of wood pallet into module

4

5

USE ROUTER ON CONSTRUCTS TO FORM TRACK FOR CONNECTOR PIECE

TRACK FOR CONNECTOR PIECE

1’-8”

PLACE CONNECTOR PIECE LOOSELY IN GROOVE WHERE ANOTHER COMPONENT WILL BE STACKED ABOVE

GROOVE WHERE ANOTHER WILL BE STACKED ABOVE

STACK NEXT COMPONENT ABOVE

PLAN / HORIZONTAL SURFACE / SCULPTED CONDITION

PLAN / HORIZONTAL SURFACE / SCULPTED CONDITION

infobox

infobo ifb i infnffoob

PLAN / HORIZONTAL SURFACE / SCULPTED CONDITION

PLAN/ HORIZONTALSURFACE/ SCULPT

PLAN / HORIZONTAL SURFACE / SCULPTED CONDITION

SECTION / VERTICAL SURFACE / DEFAULT CONDITION

SECTION / VERTICAL SURFACE / SCULPTED CONDITION

SECTION / VERTICAL SURFACE / SCULPTED CONDITION

information display

small artifact display

SECTION / VERTICAL SURFACE / SCULPTED CONDITION

large artifact display

ox info o ob obo b bo y

infobox x

ELEVATION

plan + elevation

infobox n

o in bo b

infobox b f nfo nfob foob

infobox o inffo nf

This project is an exercise in exploring the relationships of part to whole (a whole/whole relationship) and module to frame (a matter-field) as a foundation for strategy in structural approach, spatial arrangements at different scales, and incorporation of the city experience. A mixed-use, mid-rise building in downtown Chicago is the product of this exercise.

A basic, cubic, repeating element rotated within the spaces of a grid gives birth to a captivating retail façade condition and a practical use of interstitial space. The module, repeated inside and out, serves to give the exterior observer an understanding of the interior arrangement of space. The module is designed to a universal size such that it can play certain roles—vertical circulation core, residential lobby space, retail space, a kitchen/dining space, a living space, a single bedroom, a bathroom/office/laundry combination, a single parking space—but not necessarily others—structure, storage, balconies. The module is arranged at a rectilinear grid with spacing slightly larger than the module such that upon module rotation, interstitial spaces emerge. These interstitial spaces play the roles of precisely those absent from the program of the module itself; structure (on intersections of the grid) and storage inhabit the interior interstitial spaces, while balconies inhabit exterior interstitial spaces.

This form has a unique, advantageous effect on the façade. Retail spaces experience greater window display area as compared to conventional rectilinear city facades, varied orientation of views to capture people from different parts of the street, less deviation required from the pedestrian’s forward path to enter retail, and less deviation required from a pedestrian’s forward view to window shop. Residential spaces benefit from greater surface area to let in daylight, and varied orientation of views. The rotated cubic module system offers many possibilities with regards to unit layout. Strategic application of materiality offers privacy control as demanded by specific conditions between units and between spaces within units.

interstitiality

te s y nte inte it nt lity

RESIDENTIAL RETAIL

role

structure/storage

occupiable space

balcony space

STORAGE FLEXIBILITY

walk-in closet

built-in shelving

built-in cabinetry

closet

CONVENTIONAL STOREFRONT 205 feet, 1845 square feet

PROPOSED STOREFRONT 271 feet, 2439 square feet

PROPOSED STRUCTURE variation of angle at which storefront captures pedestrian

viewing range structure

interstitiaality a

CONVENTIONAL STRUCTURES limited angle at which storefront captures pedestrian

t nterstitiality ttint l i

PROPOSED STRUCTURE smaller deviation from path direction to enter, smaller deviation from forward-facing view

interstitiality st i tit t ii s

CONVENTIONAL STRUCTURES greater deviation from path direction, greater deviation from forward-facing view

ACCOMODATION OF VARYING

FACADE CONDITIONS

interstitiality

interstitiality stitiality lit titialit a tia ti t inntersst n ti lity ality s

interstitiality terstitiality y ialittyerssttitialteererrs s ti tia a tit stit t t lit l

[result] plan of levels 2-3 (parking)

interstitiality interstiti n e

1390

1390

1740 square feet

in y tiitia t nterstitiality a t nte t l i rs al te sti ial ty ili

residential/parking as facade covering

inte s t stittitiialialit i y ty ers r alit ality rsti

retail as customizable window display backdrops

material installation [result]

[result] walking along storefront

faceted

This project is an exercise in designing with wood as a primary construction material and working through all stages of the architectural process, from conceptual design to construction documents. Also an exercise in designing as a team, this project represents the design and production work of a three-member collaboration consisting of myself, Jon Schedler and Frank Zimmerman. The design problem involves the program of a permanent Boat Storage Facility, the clients of UWM School of Freshwater Sciences, the Milwaukee Police Department, and the Wisconsin Department of Natural Resources , and the site of Milwaukee’s Inner Harbor.

Through site analysis, the land to water relationship was studied—the boundary between the two over time, the longevity of the two, and the surface area of the two. The site, as a former marshland, was deemed to benefit from maximum green space to help recover a lost natural environment. Through program analysis, the requirement of a public observation tower led to the redefinition of a traditionally private program into an exposed one via a glorified public landscape. It was discovered through site and program analysis that the site (located at the unique point at which the waterway streaming from Lake Michigan is shaped to slide into the street grid on the Milwaukee land) is closely related to the program of the boat storage facility (the transition of boats between water and land). An allusion to each direction of approach (that by water and that by land) was identified as an appropriate design solution.

The resulting design begins with the concept of lifting the current landscape such that it maintains its function as publicly occupiable space while at the same time adding the function of shelter to the boat house. This plane is then manipulating with faceting, pushing, and carving by a foreign object. The luminous and pristene shard that is the observation tower has the effect of dividing the program and creating an entry node—(1) smaller, private pieces of program inhabit the more intimate office setting and are given a relationship with the green space at the west of site, while (2) the larger, open pieces of program inhabit the grander setting and are given a relationship with the Greenfield slip.

A wooden deck wraps the ceiling and part of the rooftop landscape to act as a rainscreen on the exterior, provide openings for lighting and other substructure on the interior, and to highlight the movement of the facets. A wood-based fibrous cord makes up the innovative facade that tackles the varying floor to ceiling heights in a graceful manner, maintains the vertical aesthetic created by the lifting of the landscape, adapts to different levels of privacy and daylighting by offering variety in density, and creates compelling light play.

p landscape to act as a rainscreen substructure on the interior, and to brous rous

faceted d

[site analysis] land to water transition

FROM LAND FROM WATER

faceted eacet facete ce

[1] LAND [2] LIFT

[3] DIVIDE

faceted eted e

[5] CARVE [4] PUSH

[derivation of form] display of building function

boat hall interior + office space interior [result]

[result] approach from land @ night

approach from land @ night [result]

[result] plan + section faceted

ceted ed

[result]

sectional model

sectional model [result]

faceted d et ete

[result] wall section @ typical facade condition

faceted fac fa d

[result] detail @ typical facade condition