Issuu

Ball State University College of Architecture and Planning

Bachelors of Science degree in Architecture Anticipated Graduation in May 2013 Thoughtful, articulate designer with a desire to enter an appropriate architectural graduate program with a focus in building technology, critical writing and expanding her insight into professional practice.

MEGAN

BIO

The procurement and design of this portfolio is intended to exemplify the best of my work during my studies at Ball State University College of Architecture and Planning. As a publication, this collection represents a thorough reflection of my design philosophy and primary thinking. It is divided into five categories, each consisting of projects in reverse chronological order from fourth-year complexity and richness to first-year potential and promise. During the design of this portfolio, my reflection on these

Upon maturity, I became unsatisfied with a life of a submissive

projects has brought me a greater sense of preciseness as a

existence in dreary spaces decided for me. Now, I have an

designer. Originally, I was inclined to pursue my architectural

unquenchable desire to learn what sort of forces make up the most

studies as a compulsion to follow my adolescent outlook of a

successful structures we play, sleep, and work within. By pursuing

life viewed through an imaginative lens. Ever since childhood,

architecture, I am nourishing this awareness and looking at ways

I remember moving through spaces overlain with my own

to find patterns of successful spaces in order to greater serve the

fictitious ambitions of a whimsical world. A grove of trees

needs of the clients and, perhaps, inspire imaginative people who

became a fortified citadel and the border along a retaining

share my similar due to awareness. I am inspired greatly by the

wall sufficing as an acropolis.

timeless works of Louis Sullivan, the monumentality of Alvar Aalto,

CULP

the classic sense of Andrea Palladio, and the intensity of Moshe Safdie. I am a designer who invents by dreaming, communicates by diagramming, and lives by writing. Every design is a story with a plot, message, characters, interpretations, critics, metaphors, and a wholehearted author.

MARSHLAND

BROWN PELICANS

CLAMS/HARDSCAPE DENSE VEGETATION [HYDROSTATIC PRESSURE] FORT PINCKNEY

S I T E D I A G R A M S + P E R S P E C T I V E

SJanice hu t e ’s F o l l y P e r f o r m a n c e P a v i l i o n Shimizu-Coggeshall Charleston, North Carolina The Shute’s Folly Performance Pavilion will align visitors to the significance of the fort in the context of the goals of the Sons of the Confederate Veterans and also offer a sustainable reuse. The existing historical fort gives the island character and provides a destination for Charleston population whom are interested in the performing arts. The second floor of the open-air belvedere provides an outdoor stage for dancers, thespians, and musicians. By bringing purpose back to the existence of Shute’s Folly, the project will be sure to attract many of Charleston’s local patrons. The construction and form of the Pavilion is slender and translucent on some planes, but contrastingly opaque on other perimeters. The horizontal orientation of wood grain serves many purposes.

M O D E L D O C U M E N TAT I O N

The small-scale materiality and meticulousness of its installment creates a suitable rapport with the scale of Fort Pinckney. Here, the ecosystem and biology is delicate and impressionable. Such a light, floating pavilion ensures there is no disturbance. A centralized fireplace provides a low-maintenance heat source during cold seasons while symbolizing the conventional hearth of a home. This domestication of such a public space reminds visitors that this fort was once home to soldiers.

LIGHTHOUSE/STEEPLE

WAYFINDING

FACADE PERFORMANCE SCALE

THRESHOLD JOURNEY

PERFORMANCE SPACE

BELVEDERE

H E A R T H

SECOND FLOOR

DISSOLVE

1. EXHIBIT 2. DISPLAY

PRECEDENT DIAGRAMS

3. HEAT (HEARTH)

4. RELIEVE 5. STORAGE 6. OFFICE 7. ASCEND

8. DESCEND 9. EXPLORE

10. ENERGIZE

G R O U N D F L O O R

A. WOOD FRAME FACADE B. LIGHT GAUGE FRAMING C. SOIL SURVEY -SATURATED BOHICKET -BEDROCK D. STRUCTURAL STEEL H-PILE ENCASED IN 2’ DIAMETER CONCRETE W/ CORROSION INHIBITOR ADMIXTURES

A B

C SECTION PERSPECTIVE

FOOTPRINT

DESCEND

OBSERVE

APPROACH

PERFO ENTER

EX PL OR E

S h u t e ’s F o l l y P e r f o r m a n c e P a v i l i o n

SITE STUDIES

VENTILATION DIAGRAM

SOLAR HEAT GAIN DIAGRAM

MATERIAL PERSPECTIVES

P HYS I C A L M O D E L DOCUMENTATION

S h u t e ’s F o l l y P e r f o r m a n c e P a v i l i o n

PERSPECTIVE + SECTION LOOKING EAST PERFORMANCE PAVILION

A S T L E

1’-6”

BELVEDERE

REUSE OF CASTLE PINCKNEY REPLENISHABLE MATERIALS LIGHT FOOTPRINT PERFORMANCE VENUE NET-ZERO CONSIDERATION REUSE OF EXISTING DOCK The Shute’s Folly Performance Pavilion will align visitors to the significance of the fort in the context of the goals of the Sons of the Confederate Veterans and also offer a sustainable reuse. The existing historical fort gives the island character and provides a destination for Charleston population whom are interested in the performing arts. The second floor of the open-air belvedere provides an outdoor stage for dancers, thespians, and musicians. By bringing purpose back to the existence of Shute’s Folly, the project will be sure to attract many of Charleston’s local patrons.

SECOND FLOOR

H E A R T H

Such a light, floating pavilion ensures there is no disturbance. A centralized fireplace provides a low-maintenance heat source during cold seasons while symbolizing the conventional hearth of a home. This domestication of such a public space reminds visitors that this fort was once home to soldiers.

1’-6”

1. EXHIBIT

3 4

LIGHTHOUSE/STEEPLE

0’-11”

1’ = 1/64” 0

The construction and form of the Pavilion is slender and translucent on some planes, but contrastingly opaque on other perimeters. The horizontal orientation of wood grain serves many purposes. The small-scale materiality and meticulousness of its installment creates a suitable rapport with the scale of Fort Pinckney. Here, the ecosystem and biology is delicate and impressionable.

2. DISPLAY

9. EXPLORE 10. ENERGISE

A. WOOD FRAME FACADE B.

SUPPLIED TO

OFF-SITE EXPLODED AXON SOLAR HEAT GAIN DIAGRAM

2’ DIAMETER CONCRETE W/ CORROSION INHIBITOR ADMIXTURES

STAINLESS STEEL -LIGHT GAUGE FRAMING

C. SOIL SURVEY -SATURATED BOHICKET -BEDROCK D. STRUCTURAL STEEL H-PILE ENCASED IN

GROUND FLOOR 1’ = 1/32”

EX PLO DESCEND

OBSERVE

APPROACH

P E R F O R M A N C E

8 RENEWABLE

INVERTER

PERFORM ENTER

[TOP TO BOTTOM-SOUTHWEST TO NORTH EAST]

8. DESCEND

THRESHOLD JOURNEY

CLAMS/HARDSCAPE

E X P L O R E

PROFILE SECTIONS

7. ASCEND

ENERGY

DENSE VEGETATION [HYDROSTATIC PRESSURE]

SECTION PERSPECTIVE

6. OFFICE

BROWN PELICANS

77’-8”

3. HEAT (HEARTH) 4. RELIEVE 5. STORAGE

WAYFINDING

FACADE PERFORMANCE SCALE

MARSHLAND

HYDROSTATIC PRESSURE IS ENDANGERING THE STRUCTURAL INTEGRITY OF FORT PINCKNEY. CALCULATED WEEP HOLE RELIEF POINTS WILL REALIGN THE PERIMETER WALLS.

SECTION PERSPECTIVE

PV PANELS

1’=1/4”

VENTILATION DIAGRAM 4’-8”

FORT PINCKNEY

5’-0”

C H E A R T H

DISSOLVE

FOOTPRINT

APPROACH

GAP BETWEEN BOTTOM OF BELVEDERE TO TOP OF FORT

1 1 ’ - 6 ”FORT ELEVATION

1’-6”

F O L L Y

22’-4”

8’-6”

PERFORMANCE SPACE

48’-6”

11’-0”

S H U T E’ S

6’-10”

GAP BETWEEN TOP OF HIGH TIDE TO BOTTOM OF WALKING SURFACE

COARSE PERIMETER AGGREGATE

CRIPE COMPETITION BOARD LAYOUT + SOUTH ELEVATION VIEW

P I N C K N E Y

E X I S T I N G , D E S I G N , + CO N S T U C T I O N P H A S E

eJonathan c o RSpodek EHAB Design-Build Group Project 511 W Main Street

Muncie, IN

Participation in this semester’s ecoREHAB design-build studio pertains to rehabilitating a moderately sized residential property located in Muncie’s Old West End neighborhood. The structure was acquired by the program after being placed on the city’s demolition list. The three bedroom and two bath house is part of larger block corridor involved with development by HUD; the U.S. Department of Housing and Urban Development. This course not only offers students the opportunity to attain construction experience, but a chance at designing a suitable back porch, visual vertical garden buffers, and sustainably responsible rain barrels. The most intriguing part of this project

D E S I G N + CO N S T R U C T I O N

was being enlightened about the construction process and witnessing unforeseen complications that create instant opportunities for adaptable design strategies. The procurement of construction materials came from local institutions. Attention to craftsmanship added greatly to the monetary value of the house while keeping the overall cost low for marketability. Group members: Megan Culp, Chloe Tyner and Kyle Schwind End Cost: $1075 Four month project with intermittent construction days

V I E W LO O K I N G W E S T

EAndrea sto pinal Competition 2012 Swartz Downtown Indianapolis PanAm Plaza To depict the state capitol’s uniqueness as the [Crossroads of America], exterior circulation will simulate that of a highway’s graceful civil engineering by vertically transporting people directly from Georgia Street. Enticed pedestrians ascend a ramp upon by which they reach a community plaza providing 24/7 access to the hotel lobby and classrooms. The south facing façade will

express balconies protruding from the private boutique rooms to create the urban situation of people-watchingpeople for entertainment and improved safety of PanAm plaza. The materiality of repurposed rebar from interstate highway demolition reminds visitors of the transportation narrative.

geo

n ce

treet rgia s

spring 2012

indianapolis, in

center

FORT WAYNE

CHICAGO

CENTRAL ILLINOIS

DAYTON

ST. LOUIS

CINCINNATI LOUISVILLE

the estopinal group competition

rail + road + river

GEORGIA

c r o s s r oa d s o f a m e r i c a , south pla

To depict Indianapolis' uniqueness as the exterior circulation will simulate that of a highway's graceful civil engineering to vertically transport people directly from Georgia Street. First, a person would become enticed by the exclusivity of socialization on the second floor public space and vertical festivities perched on balconies. To reach this suspended destination, patrons would ascend a ramp that runs across the north façade parallel to Georgia Street while being aware that they are making a transition southwards while not feeling isolated

because they are, all the while, still engaged with Georgia Street. Upon reaching the first landing, they reach an open air plaza providing access to the facades of the hotel lobby and classrooms. This open space has two floors of overhead clearance up to an overhead sky bridge which houses private boutique rooms. The connection of the second floor plaza and Illinois roof garden will be linked by an equally extensive ramp system as seen on the north

façade of Georgia Street. However, the facing façade will express balconies protr from the private boutique rooms to c the urban situation of people-watc people for entertainment and safety as of PanAm plaza. Reuse of collected rebar from inte highway demolition reminds visitors o transportation narrative through mater

STREET

ramp accessibility getty museum, Los angeles,ca

GEORGIA

the highline, new york

ford calumet environmental center,chicago, il

STREET

threshold exercise room

spa

outdoor pool area

guest rooms

PRIVATE VIEWS

sunbathing

admin.

guest rooms

GEORGIA

vertical community

PUBLIC accessibility

lecture

boutique lobby tapas

parking

GEORGIA

ramp accessibility

delivery access

mechanical

restaurants

access to parking

storage

section looking nort

40 20

Culinary Institute with public access

reused rebar extracted from highway demolition. attatched to light gauge steel frame envelope and subsequent steel columns

STREET

classrooms

teaching pastry kitchens

boutique hotel with private access

ACCESSIBILITY

mechanical

STREET

structure

RAMP

study space roof garden

bake shop

wine tasting

career services

libraryw/view to garden

guest rooms

STREET

snack bar

guest rooms

3 4 5

seasonal vegetation provides direct light diffusion and aestetic shade underground parking clearance [existing]

15' span open web steel joist

second and third floor perspecti Rain water control via habitable roof with sedum trays

THRESHOLD

transportation theme- boutique room

Georgia street ramp ascen

wall axon

GEORGIA

STREET

threshold

g e o r g i a

Capitol St.

s t r e e t

Section of Ice Rink

Illinois St.

Omni S

reuse rebar vegetation overhang

VERTICAL COMMUNITY

Apartment and Office

Apartments

Meridian St.

Mixed Use

building b

transportation theme- boutique room

GEORGIA

STREET

vertical community roof garden w/ supply of ingredients

10 0

STRUCTURE

CO N C E P T UA Lstructure D I AG R A M S

culinary school kitchen on georgia st

GEORGIA

STREET

ground floor pla

40 20

Union Station

PamAm Plaza

Georgia St.

25 0

enticed by the exclusivity

Parking

ELEVATION LOOKINg we

“a person becomes

100 50

of socialization on the second floor” Capitol St.

Section of Ice Rink

Illinois St.

Omni Severlin Hotel

Parking Lot

Meridia

ELEVATION LOOKING NOR 25 0

100 50

1 5

3 4 5

reused rebar extracted from highway demolition. attatched to light gauge steel frame envelope and subsequent steel columns

seasonal vegetation provides direct light diffusion and aestetic shade

underground parking clearance [existing]

15' span open web steel joist

Rain water control via habitable roof with sedum trays

AXO N O ME TRIC DIAGR AM

Estopinal Competition

Capitol St.

Section of Ice Rink

Illinois St.

Omni Severlin Hotel

Parking Lot

ELEVATION LOOKING NORTH 0

exercise room

PRIVATE VIEWS

spa

guest rooms

outdoor pool area

sunbathing

accessibility

admin.

guest rooms

libraryw/view to garden

Apartments

boutique lobby

parking

Meridian St. tapas

lecture

study space roof garden

bake shop

classrooms

Mixed Use

teaching pastry kitchens

mechanical

career services

delivery access

mechanical

Omni Hotel restaurant

storage

SECTION LOOKING NORTH

BOUTIQUE HOTEL WITH PRIVATE ACCESS

Illinois St

access to parking

200

snack bar

guest rooms

wine tasting

100

guest rooms

Apartment and Office PUBLIC

Meridian St.

40 20

CULINARY INSTITUTE WITH PUBLIC ACCESS

M O D E L D O C U M E N TAT I O N

MAndrea u nSwartz ci e M u n i c i pal Center- â€œ living machineâ€? Walnut Street Downtown Muncie, IN The Muncie Municipal Center provides a transparent, educational destination to explore [horizontal and vertical circulation], thrive [exercise and purchase], and own [seating for venue to south] as an entirely unique experience. Its design intent was to allow light, people, and water to percolate through the water treatment process. This created a space that hummed to life with the filtration process. Exploration was provided by the extensive balcony system which moved

Supply

Black water requires electricity

Lagoon (2)

visitors above, below, and around the water treatment process. Citizens are meant to thrive by the use of an exercise facility that simultaneously powers the treatment process turning mechanical energy into electrical energy. Additionally, a healthy lifestyle is encouraged by the placement of a bike shelter on the eastern side.

Bacteria Barrel (6) Sludge Filter (2)

gravity-fed gravity-fed requires bacteria captures solid particles -light -vegetation for home

gravity-fed bacteria + fish -vegetation for home

Dry Bed (1)

Storage (1)

requires electricity requires electricity intended to kill bacteria Either stores or dark and dry celebrates processed fine and course rock grey water

PRELIMINARY DIAGRAMS + EXPERIENTIALS

Circulation Overhead

S YS T E M DIAGR AMS

Water Treatment Envelope/Massing

M u n c i e M u n i c i pal Center- “ living machine”

Stre e t

Wa l nu t

Mulberry

Stre e t

15.00

GROUND FLOOR

SECTION LOOKING WEST

ate Priv vate i-Pri m e S blic i-Pu m e S lic Pub

E L E VAT I O N LO OKING NOR TH

CO N C E P T S K E TC H E S

M O D E L D O C U M E N TAT I O N

GRobert re eKoester n Wo rk fo rce Training Center North of Indianapolis Children’s Museum, Indianapolis, IN The intention of this structure is to provide helpful guidance for an unemployeed workforce population scattered through Indianapolis. The metaphor of two tetonics plates coming together and creating friction is a symbol for the provided educational opportunities and the workforce colliding

together and creating progressive momentum in the community for the progression forward of these individuals as responsible contributors to society. This point of climax is marked by a dynamic atrium space that is filled with activity and learning. The program required a total of 31,000 square feet.

Design Intent Consciusness- A well-ar ticulated skin that captures direct and diffuse sunlight;reinforcess awareness of exterior l i g h t v a l u e s / t i m e o f t h e d a y. Education- A vegetative roof will be a learning tool using sedum trays; “low maintenence, low traffic” and a habitable roof garden. S y s t e m s - N o r t h / S o u t h e x t e r i o r, microclimates,and Drop ceiling/ access f l o o r s ; p ro d u c e g o o d i n d o o r a i r q u a l i t y.

P R E L I M I N A RY D I AG R A M S

Advantages - The public atrium space will be open during non-business hours to p ro v i d e h o s p i t a l i t y.

A W 32nd Street

N Illinois Street

Meridian Street

GROUND FLOOR PLAN + SECTION LOOKING EAST

G re e n Wo rk fo rce Training Center

The Indianapolis Childrenâ€™s Museum

E X P E R I E N T I A L I M A G E S

CO N T E X T S K E TC H E S

Green roof Grid sedum trays

Drop ceiling- 2’ gap for return air

Steel structure

20’ incremental columns

Integrated partitioning Responds directly to lightshelves

Access floor structure.Stringers spaced 4’ grid

T E C TO N I C AXO N O M E T R I C V I E W

G re e n Wo rk fo rce Training Center December Solstice- Noon 9 a.m. /3 p.m. 15 / 28

Raised floor supplies coolth to space. Return air circulated by drop ceiling

June Solstice - Noon 9 a.m. /3 p.m. 48 / 75

Mar/Sept Equinox - Noon 9 a.m. /3 p.m. 33 / 52

The average of these direct sunpaths throughout the year create common intersections. The average distance between intersections expresses where a lightshelf should be placed. AV distance or proportion = 1.92 ft.

S U N L I G H T A N G L E D I AG R A M S

AC T I V E S YS T E M D I AG R A M

SOUTH CORRIDOR PERSPECTIVE

I ndi a n a Co n c re te M asonr y Asso ciation Comp etition Rod Underwood + Jeff Culp

South of Indianapolis IUPUI Campus along White River Canal

I N D I A N A C U LT U R E C E N T E R

Tribute to Hometown Hoosier Heroes

This museum will be dedicated to the individual faces of Indiana and what they claim from this vast farmland of the Midwest. Sure, everyone is familiar with the network of highways across Indiana, but only Hoosiers are familiar with the country roads and small towns that these bustling Interstates eventually empty into.

Everyone is familiar with the network of highways across Indiana, but only Hoosiers are familiar with the country roads and small towns that these bustling Interstates eventually empty into. Every country road will surely turn into a Main Street with rustic store fronts from generations past. This is the true journey home for Hoosiers and the heart of Indiana culture. The corrugation of exterior walls is a logical application of concrete masonry at its best while allowing pedestrians to engage store front windows that will depict museum exhibitions of cultural icons of the past, present and future.

Every country road will surely turn into a

Main Street with rustic store fronts from

generations past. This is the true journey home for Hoosiers and the heart of Indiana culture.

The design engages the canal walk to conjure up the experience of walking down Main Street. The

corrugation of exterior walls is a logical application of concrete masonry at its best while allowing pedestrians to engage the “Main Street store front” windows that will depict museum exhibitions of cultural icons of the past, present and future. Visitors will have the opportunity to engage in memorabilia left by familiar

Hometown Heroes.

Diagrams

Vicinity Map West of downtown Indianapolis, IN

IUPUI CAMPUS. PRIDE. ACCESSIBILITY

Form as

Entrance INE

INDY SKYL RIVE

R TR

The 2011 Indiana Concrete Masonry Association Competition was a simultaneous lesson in the practical application of masonry while also a discovery in a way to celebrate the best qualities of Indiana’s landscape most familiar to myself as a Hoosier. The jury selected my project as a finalist on grounds of exceptional board layout design and narrative. The program called for roughly 25,000

square feet of public space for the observance of interactive Indiana culture. Eight galleries would feature distinct aspects such as sports memorabilia from the Indianapolis 500, artwork and writings of famous Hoosiers, and performance space for guest visits. The key to the design’s success was bequeathing individuality to each gallery while maintaining an importance to the pedestrian canal walk.

CIRCLE CENTER AI

MARRI

OT HO TEL

Indianapolis Canal Walk Pedestrian Bridge

Topographic Hierarchy

Site Plan

Rounding a Corner Strong Canal Bend

for people on foot venturing into Circle Center from IUPUI by means of the Canal Walk

Corrugation

of CMU walls to implement masonry in its strongest form

Storefront facade created by the extraction of

rectangular forms. The void left over separates individual galleries while providing convenient storage and space for coordinating additional exhibits

Site Section

2 0

1” = 60’

8 4

Floor Plan

10 0 20

Axon Wall Section

1 1/2” = 1’

0 2

1/16” = 1’

2 0

8 4

Section A Looking North

Section B Looking East

1/16” = 1’ 0

8 4

South Elevation

West Elevation

All materials in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to

Light -Louis Kahn

Daylighting

Structural Diagram

N and W section diagrams

CMU

DEC 21

Pro b l e m at i c D i re c t S u n seating (glare?)

MAR 20

light sensitive artifacts

exterior vegetation and light shelf diffuses light

ffu

double wythe walls with pilasters every 18’

Sunlight Deficiency passive corridor

courtyard

sloped skylight distributes diffuse light

I N D I A N A CO N C R E T E MA S O N RY A S S O C I AT I O N CO M P E T I T I O N F I N A L I S T- E XC E P T I O N A L B OA R D L AYO U T

7 13/16” SPLIT BLOCK HOLLOW VENEER 3” AIR AND DRAINAGE CAVITY 2” EXTRUDED POLYSTYRENE INSULATION LIQUID APPLIED MEMBRANE HOLLOW CONCRETE MASONRY BLOCK

AXON WALL SECTION

Indiana Concrete Masonr y Association Competition

IUPUI Campus

Whit

e Riv er Ca nal W alk

MASTER PLAN + SECTION LOOKING NORTH

MODEL DOCUMENTATION

D I R E C T S U N L I G H T S T R I K I N G W E S T C H A L K B OA R D I N S I D E P R E L I M I N A RY H E L I O D O N M O D E L

Cl a s s ro o m D aylighting Design Glenn Sweitzer This lab project intended to teach how to properly theFactor task planes in a K-12 Adj.light Daylight classroom. The first step was zoning adequate light values based on programmatic needs according to the depth of the room from the exterior wall and corresponding apertures. The design solution included clearstory 12.00 openings accented with curvilinear forms that 10.00 cup and redirect soft light into the interior. 8.00 6.00

6 - North 5

Specific attention was required to the4.00 projectâ€™s latitude at fifty degrees north 2.00 of the equator where direct horizontal lightE0.00 must be dissipated by the southern facade. The D soft curves are intended toC dissipate the light 4 to a specific path of surfaces; ceiling, back 3 B walls, and finally to the side walls. Absorbing 2 - South A the southern wallâ€™s direct light asked for a far more opaque aperture with rectilinear openings. When arranged at a proper angle, direct light was only allowed at the most

extreme dawn and dusk moments of the day. View was maintained by altering this angle to be pivoted greater as the aperture fins move inward from the structural walls. Here, direct light is less intrusive at noon and thus views can take pertinence. Adj. Daylight Factor

10.00-12.00

Overcast light is cupped and spills into interior, first coming into contact with curvilinear extrusions facing south

8.00-10.00 6.00-8.00 4.00-6.00 2.00-4.00 0.00-2.00

12.00 10.00 8.00 6.00 4.00 2.00 6 - North

E0.00 5

10.00-12.00 8.00-10.00 6.00-8.00 4.00-6.00 2.00-4.00 0.00-2.00

Curvilinear forms dissipates diffuse light further using the backside of each parallel form

D 4

C 3

B 2 - South

Design must assist HVAC system dissipation

NORTHWEST VIEW OF OVERCAST SKY

DIFFUSE DIRECT LIGHT

Surface reflectance is noted with research showing a clear order of importance; ceiling, back wall, and finally sidewalls.

egi We t z set r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o n M . CS u t osnt e cltp i o nM Lo. oP k ie n gy We

Inlet Area 8 sq ft.

Window Type Hopper

A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l

Dimensions Orientation Outlet Area Dimensions Orientation SECTION LOOKING WEST v asqi l ft ing wind) 4 x 4 S e c t i o n Lo o k i n g We s t 2 x 4 P l a n (SS o u t h p re16 N Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions Orientation Hopper 8 sq ft. 2x4 S 16 sq ft 4x4 N on Outlet FlArea u i dDimensions M a p Orientation intent for the Farnsworth house was to provide cross ventila16 sq ft 4Intent: x 4 The design N

tion in two areas. These two ares include of intent the bedforinthe theFarnsworth bedroom and Intent: the Thehead design house was to provide cross ventilathe surface of the dining room table. tion in two areas. These two ares include the head of the bed in the bedroom and arnsworth house was to provide cross ventila-

- -

the surface of the dining room table. nclude the head of the bed in the bedroom and Criteria: The area of the exiting window has to be twice the size of the entering le. window in order to achieve adequate crossThe ventilation. Criteria: area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation. ndow has to be twice the size of the entering Method: In the bedroom we used low to low opening to keep the wind down. In ate cross ventilation. the dining room, we used high to high to being air up towe theused tablelow and Method: In thethebedroom to movlow opening to keep the wind Window down. Type In Hopper ing the hot air away from the people. In the living room there was a low to high Fl uair i d up Mto a pthe table and movthe dining room, we used high to high to being the low to low opening to keep the wind down. In system that brought the harm air out of the room and using the vent to displace ing the hot air away from the people. In the living room there was a low to high high to being the air up to the table and movN the hot air in the atmosphere. system that brought the harm air out of the room and using the vent to displace ple. In the living room there was a low to high the hot air in the atmosphere. out of the room and using the vent to displace Results: All air circulated and flowed through well

ed through well

ved.

Results: All airwind circulated and flowed through well from South Conclusion: All objects were achieved. Conclusion: All objects were achieved.

Inlet Area 8 sq ft.

Dim 2x

Intent: The desi tion in two area the surface of t

Criteria: The are window in orde

Method: In the PLAN VIEW- SOUTH PREVAILING WINDS the dining room

Ve nt i l at i o n - Water Table Study

Glenn Sweitzer

Mies van der Roheâ€™s Farnsworth house The design intent of this research was to provide cross-ventilation in two specific spaces; the head of the bed to be occupied by persons who wish to be cooled during sleep and the surface of the dining room tables. During initial design, a strong goal was to maintain that the area of the exiting window had to be twice the size of the entrance window in order to achieve adequate cross ventilation. In the bedroom, it was appropriate to use low openings as to keep the wind from being over intrusive. In the dining room, it

was inversely appropriate to use high apertures parallel across from high apertures in order to move the air upward and away from the table surface. In the living room, there was a low to high system that brought the coolth into the room and dispelled hot air upwards and outwards. Results were depicted in a water table model to depict air flow. All air was circulated as planned. The experiment was useful in learning how to calculate window area, placement, and subsequent air flow intrusion.

HIGH IN HIGH OUT LOW IN HIGH OUT LOW IN LOW OUT

ISO VIEW LOOKING NORTHWEST

WATER TABLE USED TO REPRESENT AIR FLOW

Nova S co t i a S i te Plan Vera Adams Nova Scotia, Rose Bay Detailed master plans are one of the most clear ways to show a site, especially in the framework of landscape elements. For the fictional development of Rose Bay, Nova Scotia, space and landscape architecture was best defined by detailed plan views. A series of streets, boulevards, pedestrian trails and housing along the coast came together in a composition.

This community was conveyed as suburban if not somewhat rural, in relation to typical housing communities. Satisfactory line weight was crucial to show depth from a rather high plan view. Roof lines and mature trees were shown in thicker line weight than ground cover, such as sidewalks and scale figures.

EXERCISE ON SITE DEVELOPMENT + GRAPHICS

An a l y t i c a l Co mp osite D rawing

Jason DeBoer

Drawing technique is crucial to the successful communication of design. This project encouraged myself to improve my drawing techniques for the application of orthogonal projections and spatial volumes. Transformer figurines prove useful in gaining experience with this technique since they are composed of many unfolding crevices and voids. These lines are similar to what would be required

when drawing a complex axonometric view of a structure. As I progressed with these sketches I began to understand new ways of depicting internal space, which is identified here using cut planes. Shading provided a sense of materiality and depth to a perceived directional view. Ability to identify a clearer understanding of perspective, axonometric, elevation, plan and section was strengthened.

RESIDENTIAL SECTION

Ca b i n D e s i g n Work ing D rawings Tim Gray Assembling appropriate working drawings for a project is essential to the success of the communication between designer and contractor. However simple, this cabin requires a hefty set of working drawings in order to communicate itsâ€™ assembly, materiality and structure. Working in groups of four, this project was a great lesson in communicating with teammates to create, edit, and organize many drawings into one set for review and further editing as if in a formal architecture firm. This first pass at AutoCAD taught me many aspects of the program, especially the importance of line weights,

hatches, and appropriate measurements. Having a comprehensive background in AutoCAD is standard for all undergraduate students, however, having an early comprehension of how this information can influence contractor bids, client feedback, and timely on-site construction improves an architectâ€™s ability to make a profit and contribute to the progress of the firm. Group members: Megan Culp, Kourtney Timmons and Emily Yu

SITE PLAN

EX TERIOR DE TAIL

M O D E L D O C U M E N TAT I O N

Ca b i n D e s i g n Work ing D rawings

D E TA I L S + D I G I TA L M O D E L

ROBIE HOUSE CHICAGO, IL

Trave l Ske tc h e s

TRAVEL SKETCHES 2011

MUNCIE WHITE RIVER RESTAURANT + KAYAK LAUNCH SITE -2010

Ske tc h e s

Top: SOLID/VOID

Bottom: “FARMER’S MARKET” SKETCH-2010

“AUGUSTUS” STIMPLE INKWORK- 2010

HILIP JOHNSON hilip Johnson was born in 1906

of renowned architects Mies van der Rohe and John Burgee, he was among the

in Cleveland, Ohio at first with

greatest designers of his time, all in collection to solve the execution of the newly

no specific inclination to become

minted International Style in America.

professional

architect,

1906 -2005

but

instead, aspiring to dawn the hats of many

His first project ,as being both the client and the designer, would be commissioning

similar architectural trades including client, critic, author,

his home in New Canaan, Connecticut. The Glass House would become one of

historian, and museum director.

his most familiar works and was the start of his execution using the rationalist

At the age of 36, Philip Johnson would partake in his first

style. However, mid-career Johnson would bookend this period with the Seagram

pass at designing the built environment, and in doing

Building in collaboration with Mies van der Rohe. The next chasm of his design

so, become one of the most influential architects of the

technique started in the 1950’s, and would define his acceptance of historic

modern movement. As clear from his regular crowd

architectural principles.

best known for

G l a s s

H o u s e

S e a g r a m A T

1949

1958

The Glass House

New Canaan, Connecticut

New York, New York

B u i l d i n g

L i p s t i c k

International

Sony Building (AT &T)

B u i l d i n g

Post-modern 1983

1984

1986

1996

Seagram Building New York, New York

Bank of America Center Houston, Texas

PPG Place

Pittsburg, Pennsylvania

Lipstick Building New York, New York

Gate of Europe Madrid, Spain

Design Approach Starting with his early career during the 1930’s, one would describe “I wasn’t a form Johnson’s process being highly involved with the International Style. As Mie’s peer, his intent was to push the modern style to giver like Mies. I a point where it was the solvent to the production of cheaper suspect that it’s structures, not cheaper in quality, but cheaper in the assembly of appendages. Eventually, Johnson became restless and was “getting due to a lack of bored of the box.” His answer to this stagnant period of his creativity originality on my was self-remedied by a rekindling of historical elements. This was a bold move on his part and was not so widely accepted by the post- part.” modernists in the 1950’s who criticized his AT & T Building as a step backwards in the name of an architecture culture. The success in Johnson’s approach peered from the fact he never denied his designs the familiarity of simple nostalgic forms such as the immortal arch. Author John O’ Conner quoted Johnson during an interview near the end of his career saying, “Mies came in only by thumbing his nose at history. But I came in through history, and that’s exactly opposite to the way most modern architects came in. I wasn’t a form giver like Mies. I suspect that it’s due to a lack of originality on my part. I wasn’t making new shapes. I was looking for a haven, a way to use my knowledge of history” (O’ Conner 159).

...I was looking for a haven, a way to use my knowledge of history.” - Philip Johnson

The problem on the table for architects of his time was how to celebrate the dull glassbox office building that was quickly becoming the customary real estate answer to the business-hungry capitalistic market. In Johnson’s mind, what better way to reinvent the tall office building than to return it to the intentions of the creator, Louis Sullivan. His design for the American Telephone and Telegraph building in New York during 1979 would be his

contributive solution. Returning to the basics of the tall office building included the integration of the “tripartite division” of vertical space; first two floors being street-permeable, the middle floors being extruded commercial real-estate, and then a meaningful form to close off the verticality and connect the structure to the sky. It was ridiculed as a redundant return to post-modernism proven by the adornment’s seemingly removed qualities. Attachments such as the broken pediment on the roof scape, a cookie-cutter archway “reminiscent of Brunelleschi’s Pazzi Chapel” defining the threshold, and columns peppering the lobby could not be rectified from serving any other purpose than as “cosmetic features” (Curtis 597).

Key Insights Say what you will about Philip Johnson’s trials and tribulations with the International style. Johnson was smart in now allowing himself to become hypnotized by the glare of the transparent curtain wall and uncommitted free floor plan. Instead, Johnson took an amiable gamble halfway through his career and opted to play on tried and true architectural forms that reminded people of their humanistic origins accustomed to stone and mortar rather than cold steel and glass. Perhaps America was too young compared to the rest of the stylish world and did not share in Europe’s jaded opinion of historical technologies. Critics were wrong in condemning Johnson as a threat to the progression of the modern movement. What he did was ingenious at offering the urban landscape a taste of what could be created from the combination of Palladio’s graceful, proportional archways with Louis Sullivan’s impeccable formula for the city skyscraper.

Megan Culp

Fall 2011

Middleton ARCH 329

P h o to g ra p hy + B oard G raphics

The Gordon Strong Automobile Objective- excerpt

Frank Lloyd Wright Frederick, Maryland- Sugarloaf Mountain Designed 1924-1925

Planetarium Scheme

program of a mega-roadside attraction. The spirit of this place was meant to attract the American family on their Sunday drive and draw them to the summit through the procession up the ramp. Client Gordon Strong also called for designated parking, a dining venue, and flexible spaces for exterior and interior galleries with weather permitting.

Birth of the Roadside Attraction

First Decisions –Ziggurat Scheme

During the 1920’s the American dream that “anyone could achieve

Massaging the exterior relief was the first stage of three installments

anything” was well under way thanks to a time of economic prosperity. The

during the design process. Wright made the toughest decisions first by

addition of Henry Ford’s mass assembly line made the Ford automobile

becoming devoted to a rational, organizing form. As a Harvard University

an inexpensive two hundred and ninety dollars (Whitley, 1999). As rolling

architectural historian Neil Levine suggested in the 2010 documentary

asphalt flowed in front of these eager motorists, it set the stage for a new

venerating the Guggenheim museum, this project reflects a religious

responsive architecture. According to Richard Cleary author of the 2009

reference back to the ziggurats historically built to gain access to heaven

book, Frank Lloyd Wright: From Within Outward, Chicago businessman

(Levine, 2010). We know now that Wright thought highly of the car, even

Gordon Strong presented Frank Lloyd Wright his first opportunity to

perhaps glorifying it as a portal of freedom and thus, a self-gifted divine

invent the American roadside tourist attraction.

state of being. His later work of Broad Acre City in 1932 goes so far as to wipe out all traces of pre-automobile behaviors and replace them with an

Solving a Problem

entirely automobile-oriented landscape in hope of achieving a utopian

From the beginning, Wright’s intentions were clear: people needed

society.

meaningful journeys in their cars that terminate at a destination. This

Second Decision – Theatre Scheme

journey and destination should glorify the automobile as a welcomed

Whatever Wright’s intentions were with the ziggurat form, it flourished

entity of human life and a portal to a higher mental sense of escape

when combined with additional programmatic necessities. In 2009, Phil

or freedom. Additionally, if the idea of a road trip could be routine in

Patton of The New York Times wrote an article titled “An Auto Destination,

American lives, it would encourage families to bond and make memories.

Almost,” which quoted Wright as saying the summit was to provide the car “the very quality of its movement, rising and adapting itself to the

Progression to the summit

uninterrupted movement of people sitting comfortably in their own

The uniqueness of the Gordon Strong Automobile Objective lies in its

cars in a novel circumstance with the whole landscape revolving about

conceptual form that allows a series of cars to physically enter the facility

them” (Patton, 2009). Once a family thoroughly embraced the situation,

and progress upward by a spiral ramp. The big idea -- only simulated in

they were encouraged to park and exit their cars at a summit point and

today’s world by dismal, unattractive and unoccupied parking garages

descend into the structure to enjoy interior delights such as a dining hall

-- was to combine the logical spiral path of a ziggurat with the habitable

and dancing.

Creative Writing- Character Development Poem Third Decision- Planetarium Scheme Wright felt compelled to keep pushing his design and thus began neglecting his client’s primary goal of constructing a commercial

I stretch out my fingers after the m e t i c u l o u s scribbling of my hand

I see spaces yet defined and enclosed

destination. Wright then situated a planetarium at the structure’s center and suggested the dome itself would become the “support for all the design elements surrounding it” (Cleary, 2009, p 174). This move drastically changed the spaces in section while simultaneously replacing the column structure with that of a new “superstructure carried by a thin-shelled

And the intent slowly stretches and

the tower was in its purist form and responsive to its initial purpose. As

MOLDS

Reinberger wrote, “all these changes made the Planetarium Scheme more

I am a

streamlined, more responsive to the moving automobiles that were its

designer and

dome” (Reinberger, 1984, p 44). Finally, Wright had achieved the celestial perception of ascending through space while driving upwards. Now,

original inspiration” (Reinberger, 1984, p 44). His first pass at introducing curvilinear forms into his typically orthogonal forte later reappeared in the

into understanding

a dreamer

Guggenheim Museum in 1959.

I feel the ideas slip down my fingers

Points and analysis

The lead coming to rest at the corners

The first two phases of the design --the ziggurat and theatre scheme

Then disappearing into the depth

-- seemed sound enough, but once Wright changed the structural organization from concentrated columns to becoming entirely dependent on the observatory’s internal shell, construction became unrealistic. He

I touch the pencil to the vast white unknown

It enters a new dimension of the paper Puncturing a hole into a set of ideas yet unraveled

surrendered emphasis and square footage to the central observatory to the

The design starts out vague, then takes on a personality

point where Strong’s dining hall, theatre, and private rooms were pushed

It will take patience to discover what it wants to be

out of the picture. Wright was in a vulnerable part of his career. Flirting

I will design my hearth and home someday

with this curvilinear form was a delight to his normal routine of residential rectilinear forms, but it blurred his vision to the task at hand.

My mind leaves my body as I float through these drawings and folds I want the design to be as free as it desires Only pulling on the reigns to navigate through proportions