Graduate Approach 2018-2019: Architecture, Landscape Architecture, and Urban Design at WashU

Approach

2018–2019 Graduate School of Architecture & Urban Design at Washington University in St. Louis

Approach 2018—2019

Editors Mónica Rivera, Heather Woofter Project Management Mónica Rivera Assistant Project Management Ellen Bailey, Audrey Treece Concept Desescribir, Mónica Rivera Copyediting and Proofreading Melissa Von Rohr, Katherine Welsch Texts Rod Barnett, John Hoal, Mónica Rivera, Heather Woofter, Sam Fox School Faculty and Students Book Design and Production Desescribir Printing Agencia Gráfica Binding Legatoria Typefaces FF Real Pro Papers Munken Print White 1.5 80 g Card Stock White 325 g

Publisher Washington University in St. Louis Sam Fox School of Design & Visual Arts Graduate School of Architecture & Urban Design © 2019 Washington University in St. Louis. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the permission of the publisher. © Texts: Author’s own, 2019 © Photographs: Author’s own except as noted below, 2019 Photo Credits Mónica Rivera p.10, 12, 14, 16-17, 23, 27, 37 (top); The One Tree Project p.31; Linda Samuels p.37 (bottom); Sid Hastings p.651 ISBN 978-0-9885244-6-0 Printed in Spain

Approach 2018—2019

Contents

8 Director’s Notes 14 New Spaces: Weil Hall and the Kemper Art Museum 20 28 34 40

Graduate School Programs Master of Architecture Master of Landscape Architecture Master of Urban Design Doctor of Sustainable Urbanism

44 64 84 136 362 448

Master of Architecture Student Work 317 Architectural Design I 318 Architectural Design II 419 International Housing Studio 500–600 Advanced Architectural Design 616 Degree Project Seminars

506 518 526 538 548 560

Master of Landscape Architecture Student Work 401 Landscape Architecture Design I 402 Landscape Architecture Design II 501 Landscape Architecture Design III 502 & 602 Landscape Architecture Design IV 601 Landscape Architecture Design V Seminars

594 610 624 634

Master of Urban Design Student Work 711 Elements of Urban Design 713 Lively Cities 714 Global Urbanism Studio Seminar

642 Faculty Publications 648 Lectures 652 Faculty

Director’s Notes Heather Woofter Sam and Marilyn Fox Professor Director, College of Architecture and Graduate School of Architecture & Urban Design

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This book is a selection of projects made by students in the Graduate School of Architecture & Urban Design at Washington University in St. Louis during the 2018–2019 academic year. The work reflects how, through critical thinking, research, and unique collaborative structures, the school gives students the means and motivation to improve our world.

We find ourselves in challenging times. Global health concerns, human rights, migration, political divisions, and increased exposure to natural disasters call for a blitz approach to solving certain intricate complexities.

Sometimes these overwhelming challenges overshadow core skills designers need to decipher problems outside their disciplines. Students need time, space, and a supportive environment for investigative thinking and learning their craft. At best, a school brings the two worlds into focus, a parallax view of education and the real world.

Washington University’s Graduate School of Architecture & Urban Design is such a place. It is part of the Sam Fox School of Design & Visual Arts, which also includes the College of Architecture, College of Art, Graduate School of Art, and Mildred Lane Kemper Art Museum. This unique educational framework maintains the historical depth of standalone art and architecture schools and colleges while also allowing for fluid exchange between disciplines. Both the school and the university prioritize interdisciplinary education, breaking down the barriers found at many research institutions. For students, this means access to shared resources and makes it easier to study across different fields of inquiry.

At the Graduate School of Architecture & Urban Design, we focus on the art of making buildings and places through our programs in architecture, landscape architecture, and urban design. Students are encouraged to invent through a process of creative discourse and reiterative study.

Practicing architects, landscape architects, and urban designers work on critical research topics to advance the design discourse. Faculty wholly participate in the life of the school, expanding their approach to the disciplines and forming relationships that promote fluidity of immersive learning and discovery. Students and faculty work together in research and teaching assistant positions offered throughout their time in the school.

Faculty expertise may originate in key research areas including: resilient cities, technology and the arts, social engagement, and discipline-based design practice.

Each degree program has its version of Design Thinking and a final Degree Project, where students create an investigation and proposal.

Specialists from around the world propel those designs to a comprehensive understanding, helping students bridge the worlds of academia and 2018—2019

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practice to nurture and reform their newly learned skills and long-held beliefs. In the Master of Architecture program, students experience this synthesis before their penultimate studio with an international housing studio taught by practitioners from around the world who examine their home city with students. The faculty collaborate in rotations that model a different form of working.

Our school is a place for experimentation, with a wide range of programs that collectively create open forums for new modes of thinking. Every day, students interact with architects, artists, designers, curators, and theorists.

These encounters, even if brief or informal, influence student thinking and working. They offer the opportunity to see the spaces we share in an everevolving light. Students can access unique making facilities across the Sam Fox School, and attend workshops and classes alongside artists and other kinds of makers.

Students challenge their thinking by engaging with one of the most impactful assets of the university—the St. Louis region. We are located at the epicenter of critical dialogues in social justice and ecology. St. Louis hails an inspiring architectural legacy, having been one of the most influential American cities at the turn of the century and home to a progressive midcentury modernist culture. Similar to many places, St. Louis experienced planning and zoning policies that worsened division and reduced open accessibility to municipal resources. This contemporary city is in a state of reconciliation and advancement. With many large-scale infrastructural projects underway, there is still much work to be done in the public realm.

The Sam Fox School established the Office for Socially Engaged Practice to connect us with campus partners, community advocates, and government programs to work on design initiatives.

By responding directly to our community partners’ needs, our students and faculty have made a positive impact in St. Louis, advancing social justice through design. An example of the school’s depth of resources in this area includes The Divided City initiative. This research consortium is funded by the Mellon Foundation, connecting humanities scholars with architects, urban designers, landscape architects, legal scholars, sociologists, geographers, GIS cartographers, and others. Students and faculty enact positive social change with spatial and theoretical frameworks.

St. Louis is also at the center of environmental issues. Two-thirds of the continent’s watershed passes by its doors. The most impactful ecological strategies start with an understanding of complex natural systems that transition and transform while marking the effects of global warming.

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Architecture students during a workshop in the Dubinsky Printmaking Studio, as part of their advanced architecture design studio.

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We partner with the Missouri Botanical Garden, the Danforth Plant Science Center, and others to examine and propose positive changes to our environment.

As the boundaries between nations dissolve and refortify, our cultures, economies, and ecosystems become more connected. We strive to create diversity in the college setting and to provide opportunities for our students to travel. By understanding global issues, we prepare students to adapt to and practice in varied environments. International studios and weeklong intensives are team-taught by regional experts and our faculty, creating an immersive experience aligned with the research practices at home.

More than ever, our students want to bring design education closer to the citizenry—to expand their sense of responsibility and be problem solvers working in real-world conditions. Through research groups in building technology, cultural arts, ecology, housing, history, and urban sustainability, students make connections with people intent on changing the world and how we live in it.

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New Spaces: Weil Hall and the Kemper Art Museum

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In fall 2019, the Sam Fox School unveiled two major projects—the newly constructed Anabeth and John Weil Hall and the expanded and renovated Mildred Lane Kemper Art Museum—designed by KieranTimberlake, as part of a larger $280 million transformation of the East End of Washington University’s Danforth Campus.

The sixth building in the Sam Fox School complex, Weil Hall exemplifies the important roles of architecture, design, and art within a research university. It has made it possible, for the first time in recent history, to unite all the Sam Fox School’s programs in architecture, design, and art, in a central location adjacent to the Kemper Art Museum.

With its abundant natural light and flexible, loft-style studios and workspaces, Weil Hall is a new locus for teaching, study, creation, and critique, featuring over 82,000 square feet for programs. The building houses studios—including the William A. Bernoudy Architecture Studio—for students across all the Sam Fox School’s graduate programs: architecture, landscape architecture, urban design, visual art, and illustration and visual culture. Weil Hall’s design facilitates visual connectivity between spaces, providing opportunities for cross-disciplinary exchange among students.

Studios feature L-shaped desks for each student, to support working simultaneously in digital and analog media. The building’s design facilitates visual connectivity between spaces, providing opportunities for crossdisciplinary exchange with students in art, illustration, and visual culture.

The building also includes the state-of-the-art Caleres Fabrication Studio, which is outfitted with digital tools and specialized equipment, including a CNC mill, 3D printers, and laser cutters used to create architectural models and innovative design projects, as well as to explore new sculptural forms of art. Weil Hall also features two social spaces: Kuehner Court, which includes an expansive indoor green wall, and Weil Hall Commons, which includes a mural wall of commissioned work by Sam Fox School alumni. Students have direct access to the tremendous facilities in Walker, Bixby, Steinberg, and Givens halls, plus the resources of the Kemper Art Museum and the Kenneth and Nancy Kranzberg Art & Architecture Library. With ample spaces for socializing and collaboration, Weil Hall is a destination for students across campus.

An integral part of the Sam Fox School, the Kemper Art Museum is a unique resource for students. The building houses a world-renowned permanent collection and features exhibitions of contemporary and historical art, architecture, and design each year. The newly expanded and renovated museum reopened in fall 2019 with a major exhibition of work by renowned Chinese dissident artist and activist Ai Weiwei.

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Weil Hall’s Kuehner Court is a two-story central place where students and faculty across disciplines gather and collaborate.

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Recent architecture-related exhibitions include To See Without Being Seen: Contemporary Art and Drone Warfare, Drawing Ambience: Alvin Boyarsky and the Architectural Association, Encountering the City: The Urban Experience in Contemporary Art, and On the Thresholds of Space-Making: Shinohara Kazuo and His Legacy.

The newly inaugurated James M. Kemper Gallery showcases postwar and contemporary art, while the reconfigured Gertrude Bernoudy Gallery features major 19th and early 20th-century European and American works. Other new galleries are dedicated to works on paper, video art, and seldom-seen objects from the collection. Outside, the reinstalled Florence Steinberg Weil Sculpture Garden features iconic sculptures by such artists as Auguste Rodin and Alexander Calder, as well as a new commission by contemporary artist Dan Graham.

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Graduate School Programs

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Master of Architecture Master of Landscape Architecture Master of Urban Design Doctor of Sustainable Urbanism 19

Master of Architecture

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Architecture is more than an addition to our built environment—it is a translation of aspirations into space. As part of a metabolic system, buildings are responsive to the environment surrounding them, and speak to the poetics of human endeavors, contributing to cultural and social enterprises.

Graduate students learn to create places that are beautiful to inhabit and poised to contribute to society’s higher ambitions by designing responsibly in consideration of the environment, technology, and people.

We draw from our long history to advance pioneering research in housing, fabrication, sustainability, and socially engaged practice. In our practiceoriented program, we believe in craft, in risk, and in delivering sophisticated strategies that push architectural ideas and abilities to the edge. Student projects reflect the complexity of contemporary concerns, working at the confluence of environmental and social issues.

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Mónica Rivera Professor of Practice Chair, Graduate Architecture

Professor of practice Mónica Rivera has served as chair of graduate architecture since fall 2018. She earned a Bachelor of Fine Arts and a Bachelor of Architecture from Rhode Island School of Design, and a Master of Architecture with distinction from Harvard University’s Graduate School of Design.

In 2001, Rivera co-founded Emiliano López Mónica Rivera Arquitectos together with her partner, Emiliano López, in Barcelona, Spain. Their practice is internationally known for carefully crafted works that understand architecture as a cultural endeavor that is deeply engaged with the environment. Their work researches innovative construction systems and explores their relationship with the experiential dimension of architecture. Working with circumstance and contingencies as positive values, their completed work ranges from public housing and schools to furniture, hotels, and strategic planning consultancies. Several recent projects, such as Two Cork Houses and a five-story assisted living residence, use mass timber construction and explore the potential of pre-industrialization in wood.

Rivera and Lopez’s work has received numerous awards, including two Spanish Biennial of Architecture and Urbanism first awards, an Iberian-American Biennial of Architecture and Urbanism first award, a FAD Architecture Award, and an AR WashU Approach

Emerging Architecture Award. Their work has been published in El Croquis, Detail, Casabella, A+U Japan, Domus, Quaderns, Arquitectura Viva, and Architectural Review, among many others. Their projects have been exhibited at the Cité de l’Architecture & du Patrimoine in Paris (2009), the Venice Architecture Biennale (2012), and the Spanish Architecture and Urbanism Biennial Awards traveling exhibition in Madrid, Paris, and New York (2018–19).

A book featuring their work, “Domestic Thresholds,” was published by Quart Verlag (2017, Switzerland) in Spanish, English, and German.

Rivera’s teaching and research focus on constructing thresholds and places that mediate situations, use, and climate.

Through collective housing studios, her students explore the environmental, tectonic, cultural, and social dimensions of architectural openings—and the sense of safety they afford. Other design studios investigate the speculative transformation of suburban modernist structures in Puerto Rico—where Rivera was born and raised— into environmentally and socially resilient neighborhoods by rethinking the role of their ubiquitous gates and by recovering elemental passive strategies such as orientation, shade, landscape, air shafts and chimneys, and water collection. Her students’ work experiments with drawing and printmaking as representation practices for conveying narratives of climate and use.

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First-Professional Degree Programs Our Master of Architecture programs offer an accredited first-professional degree to students with either an undergraduate degree in architectural studies or other disciplines. They are STEM-designated and may combine with study in other divisions of the university.

Core Studios The three semester-long core studios—317, 318, and 419—establish ways of questioning the world and begin the transformational process of becoming an architect. Core studios provide a space where students learn about themselves and discover new modes of problem solving and methods of inquiry; they begin to engage what we call design thinking. In core studios, students experience architecture as a critical discipline and learn that the discourse of architecture happens through a process of making.

MArch 3 105 Credits / Six Semesters* This curriculum is for students holding baccalaureate degrees with majors in architecture and majors other than architecture. The program begins with a series of core studios and courses before students progress into the options studio sequence, concluding with the Degree Project. * Degree requirements beginning in fall 2019 MArch 2 75 Credits / Four Semesters* Students are considered for this advanced placement curriculum based on design portfolio evaluation and the extent of their undergraduate architectural studies.

Placement is highly selective. The MArch 2 sequence begins with the comprehensive core studio in housing (419) before students progress into the options studio sequence, concluding with the Degree Project. * Degree requirements beginning in fall 2020

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317: Introduction to Making The first core studio of the MArch 3 program. Students explore spatial thinking and critical processes through iterative forms of making. They are encouraged to be imaginative, to work by hand, and to make translations between different modes of representation, materiality, and observations about the world around us.

318: Building & Environment The second core studio of the MArch 3 program. Students tackle the urban context with a cultural or civic program. The studio emphasizes nonlinear forms of the design process addressing multiple scales.

Students consider environmental strategies in relation to building form and project siting.

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419: International Housing Studio The third core studio of the MArch 3 program and the first studio of the MArch 2 program. Students deepen their understanding and responsiveness to cultural, climatic, and social conditions, and develop proposals for collective urban dwellings in a diverse array of international locations, working with faculty who are active practitioners.

Degree Project After working for a semester in a preparatory Design Thinking seminar, students author a Degree Project in their final semester. They are charged not simply to create an advanced, comprehensive work of architecture, but to establish the unique intellectual space in which to work as an architect. This semester serves as a simulacrum of design in the world of practice.

Options Studios A wide variety of studios are offered in the upper-level sequence, examining diverse conditions, sites, and technologies both globally and locally. Students are given a choice of options studios in order to advance their particular interests in architecture.

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Post-Professional Combined Degree Programs Degree Programs MSAAD Master of Science in Advanced Architectural Design 36 Credits / Three Semesters This program allows individuals already holding NAAB-accredited professional degrees in architecture to pursue advanced design studies, research, and teaching preparation. Schedules for students in this program are varied and highly individual, but include an advanced design studio in each semester.

MSAS Master of Science in Architectural Studies 30 Credits / Two Semesters Concentrations in Architectural Pedagogy or the History and Culture of Architecture.

MArch + MLA Architecture with Landscape Architecture MArch + MUD Architecture with Urban Design MArch + MBA Architecture with Business Administration MArch + MCM Architecture with Construction Management MArch + MEng Architecture with Computer Science & Engineering MArch + MSW Architecture with Social Work

This program is open to students who hold an undergraduate degree in architecture, as well as those who are already enrolled in another degree program in the Graduate School of Architecture & Urban Design.

It provides students the opportunity to engage in research specialization or focus beyond that possible within the professional degree programs. Academic advisors help each student craft a unique curriculum that builds toward individual research goals, ultimately culminating in a thesis project.

Students are able to take courses both within the Sam Fox School and in other departments across the university, enabling them to construct a broad foundation for their research. The thesis project allows students to conduct research on a wide variety of topics in architectural pedagogy, history, and theory and is the apex of the program.

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The Graduate Programs

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Master of Landscape Architecture

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The landscapes of our common world are a vast, entangled field of terrains.

Now more than ever, we must face the global challenges of our time with new modes of discovery and engagement. The Master of Landscape Architecture program is committed to this endeavor.

Students learn to create adaptive new tools to intervene, manage, and design the living conditions of the future. They are arts-driven, researchled, and interdisciplinary. From collaborative projects to research assistantships, the experiences in this program model emergent, real-world conditions. We believe in advancing social health, ecological urbanism, environmental justice, and rural recovery for all living systems, both human and nonhuman.

Students have access to the world-class Missouri Botanical Garden; the vast, urban Forest Park; the field station at Dunn Ranch Prairie; and more.

Through intensive engagement with place, students study issues not only related to land and water, but also those that power social and cultural networks. Design has always been a mode of human inquiry. Landscape architecture is an investigation through design of the relationships that allow humans to coexist with other species in a planetary network of beings.

Our program welcomes global citizens to join us in cultivating resilient cultural and social practices through responsive and responsible design.

The landscape architecture program is built around a combination of core studios and electives that address these primary concerns: environmental justice, urban ecology, community work, spatial organizations, and water access.

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Rod Barnett Professor Chair, Landscape Architecture

Rod Barnett, PhD, served as professor and chair of the landscape architecture program from 2014–2019. Though he has retired from the full-time faculty, he currently serves as a research fellow and teaches thesis studio and courses in theory, history, and drawing. Barnett earned his doctorate from the University of Auckland, New Zealand, where he researched the potential of nonlinear dynamical systems science to inform landscape architectural design and practice. Barnett developed a selforganizing approach to urban development called Artweb, a multidisciplinary design and planning strategy that focuses on marginalized and underutilized urban terrains. At the heart of his work is a commitment to linking ecological urbanism with environmental justice.

Barnett has studied landscape systems as emergent conditions in the coastlines of Fiji and Tonga, the Mississippi River Delta, the mountains of Puerto Rico, and the stone alignments of Carnac in Brittany, France. He recently designed a network of rural pathways that connect ecological gardens in the fertile croplands between the Missouri and Mississippi rivers, where the ground-dwelling Missouri skylark—whose population had declined dramatically—can forage and nest.

Barnett has written extensively on themes stemming from his work in nonlinear design, including re-examinations of human/nonhuman relationships; the WashU Approach

design of historical landscapes, such as the sacred groves of ancient Greece; and reinterpretations of art-historical tropes, such as the medieval garden of love and the baroque gardens of 16th-century France.

Barnett maintains his design practice, developing projects both large and small, public and private, with an experimental wing that culminates in competitions and exhibitions. Recent books include “Emergence in Landscape Architecture” (2013, Routledge); “Baden Community Open Space Plan,” a self-organizing design strategy for an ecological park in North St. Louis (2017, Washington University in St. Louis); and “The Modern Landscapes of Ted Smyth: Landscape Modernism in the AsiaPacific” (2017, Routledge).

Barnett’s studios have encouraged students to explore the fluid and interactive connections between humans and nonhumans in the ongoing construction of a shared world. In 2012, he was selected as one of the top twenty design educators in the United States by DesignIntelligence.

Beginning in fall 2019, associate professor Derek Hoeferlin will serve as chair of the landscape architecture and urban design programs.

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First-Professional Degree Programs All of our MLA programs are STEMdesignated. Graduates earn an accredited professional degree in landscape architecture, allowing them to become registered landscape architects.

MLA 3 90 Credits / Six Semesters This three-year program provides opportunities for study abroad and internships in the summer. It is a STEMdesignated, accredited first-professional graduate degree. Students with no prior experience in design are eligible to enroll in the program and graduate with a degree that enables them to enter the profession of landscape architecture and become registered professionals.

MLA 2 60 Credits / Four Semesters Students who have prior degrees in landscape architecture or architecture are eligible for this accelerated track. This is typically a two-year course of study that provides flexibility for students whose undergraduate studies have prepared them in different ways for graduate study in landscape architecture.

Core Studios 401: Studio I The first core studio of the MLA 3 program.

Students are introduced to landscape architectural design focusing on conceptual, theoretical, and tectonic operations.

402: Studio II The second core studio of the MLA 3 program. Areas of focus include spatial understanding, ground plane manipulation, and vegetation and material strategies.

501: Studio III The third core studio of the MLA 3 program and the first studio of the MLA 2 program.

The studio focuses on site reclamation strategies based on ecological, social, and cultural histories and the generation of site-specific design propositions at multiple scales.

502: Studio IV In this studio, students are involved in the re-engineering of large-scale site systems to balance inherent resources with development by means of innovative programming.

601: Studio V This is the first advanced landscape architecture studio.

602: Studio VI This is the second advanced landscape architecture studio.

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Combined Degree Programs MLA + MArch Program Landscape Architecture with Architecture MLA + MUD Program Landscape Architecture with Urban Design

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Master of Urban Design

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Urbanization is an increasing and constantly changing condition of contemporary society. This presents enormous opportunities for—and challenges to—the creation of resilient, livable, and healthy urban habitats.

Cities are the largest consumers and producers of global resources and our greatest agents of social change. Through the design of our cities, we address the potential of the urban world. At the Sam Fox School of Design & Visual Arts, students focus on how to transform cities for the 21st century as active and informed participants. Our innovative structure allows students to pursue advanced design and research while developing a rigorous theoretical and professional foundation. Studios integrate concepts of architecture, landscape architecture, and infrastructural and ecological urbanism. They are research-oriented, yet speculative and exploratory.

Founded by Fumihiko Maki and Roger Montgomery in 1961, our program is built for experiential immersion learning. Work is deeply engaged with place—in St. Louis, throughout the United States, and abroad. Locally, students collaborate with agencies and communities on real initiatives to create more equitable and environmentally conscientious strategies, systems, and cities. Internationally, they work with renowned practitioners in intense, mega-growth developments to address the evolving urbanization across the globe.

Urban design takes an expansive view of the built environment. It unifies the social, political, economic, and environmental forces in our cities.

Students who graduate our program are prepared for global leadership in the development of humane cities for a more sustainable world.

The MUD program is structured to provide students with opportunities for experiential immersion learning—the best form of education for an urban designer. As part of the curriculum, students travel to a select number of major metropolitan cities in North America, Europe, South America, Africa, and Asia under the guidance of Washington University faculty and associated local urban design professionals. Through this hands-on experience, students obtain a great appreciation for a range of cities and different approaches to the making of cities.

The Master of Urban Design degree can be combined with study in other divisions at Washington University, including architecture, landscape architecture, public health, social work, and the Doctor of Sustainable Urbanism.

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John Hoal Professor Chair, Urban Design

Professor John Trelawney Hoal, PhD, has returned to the full-time teaching faculty in architecture and urban design for the 2019–2020 academic year, after serving as the longtime chair of the urban design programs and the inaugural chair of the Doctor of Sustainable Urbanism degree program. He also continues to serve as a faculty fellow at Washington University’s Institute for Public Health. Hoal earned his PhD in Philosophy, his Master of Architecture, and his Master of Urban Design from Washington University.

In 2000, Hoal founded H3 Studio, Inc., a national and international planning, design, and research firm based in St. Louis, Missouri, with offices in Johannesburg. Hoal lectures nationally and internationally on the design and development of sustainable and livable cities. His projects for public space, arts and culture, urban design, and landscape master plans, as well as sustainability and climate adaption and resiliency plans for cities, have received over sixty national, regional, and local awards.

H3 Studio was one of five firms selected to complete the Unified New Orleans Plan, the only formally adopted post-Katrina recovery plan. Hoal led a winning team for the international Changing Course Design Competition (2012) to develop ideas for creating a sustainable, ecologically performative, and socially just lower Mississippi River Delta. International work includes projects in Riyadh, Saudi Arabia; WashU Approach

Brisbane, Australia; and Johannesburg and Durban, South Africa.

Hoal serves as an invited urban design member on the selection committee for the Northwest Arkansas Design Excellence Program, which encourages quality design of public spaces for livability and inclusion.

He has served on the international review team for the Development of the Hangzhou Central Business District, Hangzhou, China, and was an invited technical reviewer for the Land and Livability National Innovation Challenge by the Urban Redevelopment Authority of Singapore (URA).

Hoal’s teaching and research focus on urban design as activism; research-throughevidence-based practice for performative urbanism; urban morphology and metabolism of the contemporary city; the theory and practice of public space design, activation, and livability; and sustainable urbanism for the development of healthy, equitable, and ecological-based cities.

With colleagues, Hoal has conducted an interdisciplinary research program, “Living With the Great Rivers—Climate Adaptation Strategies in the Midwest River Basins.”

Associate professor Patty Heyda served as interim chair of urban design in fall 2018.

Beginning in fall 2019, associate professor Derek Hoeferlin will serve as chair of the landscape architecture and urban design programs, with Ian Trivers serving as coordinator of the Doctor of Sustainable Urbanism program.

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Post-Professional Degree Program MUD 42 Credits / Two Semesters + Summer The MUD program is centered on a core sequence of three studios and seminars through which students develop the skills to make design proposals for a diverse range of urban conditions within the contemporary metropolitan landscape.

Urban design is approached through a full range of scales: from the mega-region to the district, from the district to the street, and ultimately, to the design of the public realm as the place of lively and vibrant community life.

Studio Sequence 711: Elements of Urban Design Studio Fall This studio explores contemporary, postindustrial metropolitan conditions in and around the Midwest and St. Louis region. Students focus on infrastructural urbanism at the regional scale and the natural and built systems of the postindustrial urban landscape. Issues of equity and access are critical. Students travel to U.S. cities such as Detroit, Pittsburgh, Kansas City, New Orleans, and Baltimore.

713: Lively City Studio Spring This studio engages the scale of the district and the design of public space, more fully considering the public policy, cultural, economic, and real estate conditions of cities. The studio involves travel to large North American cities such as New York, Los Angeles, Seattle, Atlanta, Vancouver, and Toronto, plus a spring break public life workshop in a major European city.

714: Global Urbanism Studio Summer This is an immersive, 14-week experience in a fast-growing city in Asia, Africa, or South America. These cities are marked by an active cultural scene, but a complex, challenging urban fabric. Recent studio locations include Mexico City, Hong Kong, Shanghai, Singapore, Tokyo, Johannesburg, Dubai, Accra, and Cape Town.

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Combined Degree Programs Students have the opportunity to establish areas of concentration through three urban design electives in related areas within the Graduate School of Architecture & Urban Design, as well as through the schools of Law, Business, Engineering, and Social Work (which includes the Institute for Public Health). With faculty approval, students can craft an individualized experience according to their interests and needs through the combination of electives.

The Graduate Programs

MUD + MArch Urban Design with Architecture MUD + MLA Urban Design with Landscape Architecture

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Doctor of Sustainable Urbanism

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The Doctor of Sustainable Urbanism is the first degree of its kind in the United States. Launched in 2015, this applied research degree is designed for urbanists, planners, architects, and landscape architects. Our specialized program prepares students for leadership roles in sustainability at policy institutes, universities, design and research centers, nonprofits, and in the private sector.

Doctoral students work closely with a faculty advisor to develop a detailed course of research that takes advantage of Washington University’s vast resources, including a broad range of interdisciplinary courses, research institutes, and faculty across engineering, public health, and the humanities and sciences. A worldwide network of collaborative partners establishes a resource base deep in expertise and global in scope.

Advanced candidates are also able to pursue teaching and research assistantships within our program in St. Louis and our international studios.

Students research new ways cities can be more economically productive and socially just. Utilizing evidence-based methods and applied knowledge, this research helps make urban centers healthier by finding ways to implement high-performing, natural systems that are less dependent on scarce, nonrenewable resources. Most importantly, graduate students learn ways to engage citizens in creative problem solving and cooperative actions to make a more adaptive and resilient society. Our graduates build the pathways to move us toward greater equity and stewardship of the urban environment.

The Doctor of Sustainable Urbanism program consists of two years of advanced coursework in history, theory, and research methods relevant to sustainable urbanism discourse and practice. Each semester, students select electives from advanced courses across the Sam Fox School and Washington University at large to expand their knowledge base in specific fields of study that complement their research. Field work and a dissertation are required for completion of the degree.

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Master of Architecture Student Work

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317 Architectural Design I: Core Studio Constance Vale Alex Waller 318 Architectural Design II: Core Studio Kelley Van Dyck Murphy Jonathan Stitelman 419 International Housing Studio: Core Studio Max Bemberg Sarah Cremin Don Koster Emiliano López Mónica Rivera

616 Degree Project Julie Bauer Eric R. Hoffman Philip Holden Adrian Luchini Seminars Chandler Ahrens Sarah Cremin Sung Ho Kim Don Koster Kelley Van Dyck Murphy Constance Vale Alex Waller

500–600 Advanced Architectural Design: Options Studios Chandler Ahrens Julie Bauer Mariona Benedito Lawrence Blough Gerardo Caballero Gustavo Cardón Gia Daskalakis Catalina Freixas Ginés Garrido Valerie Greer Sung Ho Kim Stephen Leet Adrian Luchini Robert McCarter Pablo Moyano Alfredo Payá Mónica Rivera Linda C. Samuels Nanako Umemoto Hongxi Yin

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317

Architectural Design I Core Studio

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Instructors Constance Vale (Coordinator) Alex Waller

Picture Houses: Accumulating Images [T]hings consort without discrimination, literally crawling over the picture frames and structural bays that might sort and segregate them. The sense of endless contents … is a resignation to the possibility that anything might be here. It is not the intellectual discovery of quantity, but the fact of it as an incipient coming-intoview or already-in-view … it is storage exactly coincident with the space of occupation.

—Andrew Holder, on the Basilica of Saint Margaret at Osterhofen from “Notes on More,” in Harvard Design Magazine: Shelf Life, No. 43 (2016), 101.

In this studio, students grappled with a disciplinary definition of “complexity” as it relates to depicting and making architecture. In contemporary discourse, terminology and formats are in flux; drawing is being supplanted by image and composition by accumulation. Looking at the conceptual underpinnings of these four terms allowed students to brush up against their productive limits through hybrid investigations.

Picture Boxes: Drawing vs. Image Drawing has already been pronounced dead; it has been declared in books, exhibitions, and symposia. But as with all inanimate deaths, there is no finality. Occasional zombies abound, but it turns out the flatline was misread. Robin Evans’ assertion that “architects don’t make buildings; they make drawings of buildings” still rings true; contemporary architects continue to invest in architectural drawing. However, drawing is no longer tethered to orthographic projection. The majority of drawings made today are the product of electronic imaging, generated from digital models that yield series upon series of animated images.

As a result, each actor in the studio acknowledges and challenges the default, orthogonal relationship between the “box” that constitutes Master of Architecture

45

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

FA18

46

Yi Wang

architecture and the “box of pictures” that constitutes the projection planes. Throughout the semester, students examined and integrated orthographic projection and electronic imaging to produce drawings wrapped in the guise of images.

Picture Frames: Composition vs. Accumulation Architecture is embracing “more”—a greater diversity and collection of disparate things—not only in visualization tactics, but also in form-making strategies. Robert Venturi’s “difficult unity of inclusion” addresses complex compositions and part-to-whole relationships. However today, according to Andrew Holder, “things” are finding new relationships as ordered, arrayed, and accumulated conglomerations. As these things “crawl out of the picture frames and structural bays,” they enjoy affinities with one another, pushing into and defining the interstitial space.

Students analyzed the composition of precedents and collected elements from them. Reassembling these amassed pieces, they attempted to establish new relationships between them, not as compositions, but as a recast set of interrelated architectural characters.

Picture Houses: A Cinema and a Photo Studio Students researched two projects: an outdoor cinema and a photography studio. Pictures—both moving and still—had to be incorporated into a direct relationship with projects confronting the nature of images in architecture. Both had to be sited near existing art institutions in St. Louis and metaphorically draw the museums’ contents into the public realm.

Models could be conceived as film sets or protophotographic dioramas.

Sets and dioramas both fall between categories as hybrids of pictures, built-ins, models, rooms, or buildings accumulating disparate things within their boundaries. Through layered production, students were challenged to negotiate the tensions present in a picture of architectural complexity.

Master of Architecture

47

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Constance Vale Assistant Professor

48

FA18

Gary Lee

Master of Architecture

49

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Constance Vale

50

FA18

Gary Lee

Master of Architecture

51

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Constance Vale

52

FA18

Zoe Mitrisin

Master of Architecture

53

317 Core Studio Picture Houses: Accumulating Images

FA18

Constance Vale

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9.

4.

3.

UP

Lucas Ave.

6.

1.

2.

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WashU Approach

54

Zoe Mitrisin

8.

10.

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2.

1.

L3

L2

L1

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nical and Electrical/ General Storage

= 1’-0”

Master of Architecture

55

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Alex Waller Lecturer

56

FA18

Xinfei Tao

Master of Architecture

57

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Alex Waller

58

FA18

Xinfei Tao

Master of Architecture

59

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Alex Waller

60

FA18

Yi Wang

Master of Architecture

61

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Alex Waller

62

FA18

Yi Wang

Master of Architecture

63

318

Architectural Design II Core Studio

WashU Approach

64

Instructors Kelley Van Dyck Murphy (Coordinator) Jonathan Stitelman

The Body Active: The Body Collective In 1844, 22-year-old George Williams, a young farmer turned department store clerk, organized the first Young Men’s Christian Association (YMCA) as a place of shelter and congregation for young men who had left their homes and migrated to London. Ideas of refuge and community were embedded in its foundation. Throughout its history, the YMCA has maintained an agenda of inclusivity, social responsibility, advocacy, and heathy living. However, while the institutional mission has remained intact, the specific program of the YMCA has evolved to accommodate cultural shifts.

The earliest YMCAs included programs aimed at creating a supportive community for the thousands of young, displaced men moving from their homes to urban areas. These included housing, recreation, and educational and surrogate cultural facilities. Progressive programs, such as the first English-as-a-second-language class in the United States, early vocational and liberal arts classes, and civil rights rallies, were all held at YMCAs. Through the years, the housing component of the YMCA became less relevant and programs increasingly focused on healthy living. The societal issues that prevent the development of healthy communities today are more varied and pervasive than in previous generations. Civic fragmentation, social disintegration, and the continued legacy of economic disparity all contribute to a new brand of community instability.

This studio investigated the potential of this cultural institution’s typology to address the evolving agendas of the YMCA. As the YMCA’s program has transformed into something more wellness focused, could architecture leverage this to address something deeper in the institutional mission? Could the architecture support the broader agenda of community building while still supporting a program that is very much body-focused?

As evident in the title, “The Body Active: The Body Collective,” the studio situated the agency of the designer as a choreographer, emphasizing issues of space and form tailored to both individual and collective movement.

Master of Architecture

65

318 Core Studio The Body Active: The Body Collective

WashU Approach

SP19

66

Yi Wang

The course was organized around the design of two projects, each comprising a series of introductory exercises that lead to a building proposal. The first project focused on the design of a public pool in a park site and served as an introduction to the issues presented in the second project, a new YMCA on an active urban site.

Master of Architecture

67

318 Core Studio The Body Active: The Body Collective

WashU Approach

Jonathan Stitelman Visiting Assistant Professor

68

SP19

Yuzhu Wang

Master of Architecture

69

318 Core Studio The Body Active: The Body Collective

SP19

Jonathan Stitelman

6

15

12

12

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WashU Approach

DOWN

70

Yuzhu Wang

RECEPTION

SWIMMING POOL ENTRANCE

RECEPTION BICYCLE PARKING

EXTERIOR PATH

SWIMMING POOL

INTERIOR PATH CAFE

COURTYARD

Master of Architecture

71

318 Core Studio The Body Active: The Body Collective

WashU Approach

Jonathan Stitelman

72

SP19

Qingshan Hu

Master of Architecture

73

318 Core Studio The Body Active: The Body Collective

WashU Approach

Jonathan Stitelman

74

SP19

Qingshan Hu

Master of Architecture

75

318 Core Studio The Body Active: The Body Collective

WashU Approach

Kelley Van Dyck Murphy Assistant Professor

76

SP19

Yi Wang

Master of Architecture

77

318 Core Studio The Body Active: The Body Collective

WashU Approach

Kelley Van Dyck Murphy

78

SP19

Yi Wang

Master of Architecture

79

318 Core Studio The Body Active: The Body Collective

WashU Approach

Kelley Van Dyck Murphy

80

SP19

Gary Lee

Master of Architecture

81

318 Core Studio The Body Active: The Body Collective

WashU Approach

Kelley Van Dyck Murphy

82

SP19

Gary Lee

Master of Architecture

83

419

International Housing Studio Core Studio

WashU Approach

84

Instructors Max Bemberg Sarah Cremin Don Koster Emiliano López (Coordinator) Mónica Rivera

The 419 International Housing Studio aims to deepen students’ understanding of the importance of the climatic, social, and cultural dimensions of a specific city in relation to forms of collective dwelling in an urban setting. Through research and critical analysis, students developed housing proposals that not only engaged with the particularities of each site, but also challenged traditional ways of living in response to evolving family structures and an increasing interest in and need for collaborative living.

Throughout the semester, students were exposed to various design approaches and methodologies by rotating through three different critics/ cities. The process of iterative design, along with consistent drawing, model making, photography, and collage-making exercises were intended to broaden each student’s capabilities as a designer and communicator of the concrete and the abstract, the diagrammatic and the experiential, the bold and the subtle.

Each studio critic constructed a unique project framework for their chosen site, large enough to accommodate six to 12 projects of approximately 25 housing units, allowing for the creation of a “neighborhood” from among students’ respective projects. Each project involved five design scales: the internal domestic space, the thresholds between the domestic realm and communal spaces, the aggregation of units, the neighborhood, and the city.

Master of Architecture

85

Max Bemberg Lecturer

419 Core Studio International Housing Studio

Seattle: Yesler Congregation This studio focused on growing cities sustainably. Students looked at the impacts of tech booms, the nature of community building and urban placemaking, and the types of housing that thrive in the current housing market. They tested their 21st-century proposals at the former site of Seattle’s first public housing development, Yesler Terrace.

Seattle is one of the fastest growing cities in America, with the population increasing by almost 19 percent since 2010.

To keep up with the demand, developers are battling for efficiency. This search has led to the renaissance of congregate housing where residents can affordably rent a sleeping room, but share most other basic housing amenities. Critics of congregate housing decry its lack of connection with the community. Furthermore, there are concerns over how these buildings will adapt with the ups and downs of the global economy.

Students considered how to re-envision a more socially, economically, and environmentally sustainable congregate community. How can communal housing foster a more robust sense of community both internally and within its greater urban context? And finally, how can these homes help foster the identity of the individual within a larger collective?

WashU Approach

86

FA18

Wenxi Du

Master of Architecture

87

419 Core Studio International Housing Studio: Seattle

WashU Approach

Max Bemberg

88

FA18

Wenxi Du

Master of Architecture

89

419 Core Studio International Housing Studio: Seattle

WashU Approach

Max Bemberg

90

FA18

Wenxi Du

Master of Architecture

91

419 Core Studio International Housing Studio: Seattle

WashU Approach

Max Bemberg

92

FA18

Muzi Dong

Master of Architecture

93

419 Core Studio International Housing Studio: Seattle

WashU Approach

Max Bemberg

94

FA18

Muzi Dong

Master of Architecture

95

419 Core Studio International Housing Studio

Sarah Cremin Visiting Professor

Dublin: A Door of One’s Own Eighteenth-century Dublin was the second city of the British Empire, known for the elegance of its architecture. In 1801, the Irish Parliament was dissolved and the ruling classes moved to London. The city declined until the 20th century when rural dwellers flocked to the city, which spread outward and neglected its center. In recent decades, the Irish government has relied on market forces to increase the housing stock, but there is now a severe housing shortage at a time of population growth.

The Irish are obsessed with owning their own home, a deep-rooted need explained in part by the famine of 1845–1849, when tenant farmers lost their holdings. There is likewise a deeply ingrained distinction between living in a house and apartment and resistance to apartment and high-rise living. Terraced housing has traditionally predominated. Ireland is graced with a temperate climate characterized by its changeability with prevailing winds, plentiful rainfall, and a lack of sunlight.

In this studio, students studied the provision of housing, which is neither apartment nor house, but rather a hybrid between the two. Students also considered how to create a sustainable community that contributes to city life while also providing privacy within the intimacy of the home.

WashU Approach

96

FA18

Anna Friedrich

Master of Architecture

97

419 Core Studio International Housing Studio: Dublin

WashU Approach

Sarah Cremin

98

FA18

Anna Friedrich

Master of Architecture

99

419 Core Studio International Housing Studio: Dublin

WashU Approach

Sarah Cremin

100

FA18

Anna Friedrich

Master of Architecture

101

419 Core Studio International Housing Studio: Dublin

WashU Approach

Sarah Cremin

102

FA18

Larissa Sattler

Master of Architecture

103

419 Core Studio International Housing Studio: Dublin

WashU Approach

Sarah Cremin

104

FA18

Larissa Sattler

Master of Architecture

105

419 Core Studio International Housing Studio

Don Koster Senior Lecturer

FA18

Halifax: E Mari Merces From the Sea, Wealth

Halifax, the largest city in Atlantic Canada, is a small but vibrant and progressive city where over 40 percent of the provincial population resides within the metropolitan area. Since its founding in 1749, Halifax Harbor has played a central role in the physical, cultural, and economic character of the city. Its bustling port is home to the Canadian Atlantic Navy and major container shipping operations and it is a frequent port of call for passenger vessels.

The Halifax Regional Municipality is an amalgamation of towns lining the harbor, with the urban core built on a peninsula anchored by the Citadel. In 1917, much of the City was leveled by an explosion caused by the collision of two vessels in the harbor—one laden with munitions—that killed thousands and required much of the city to be reconstructed.

While Halifax is the regional center of government, commerce, education, and culture, much of the city’s growth has been decidedly suburban in nature. A recent wave of development in the urban core is transforming and densifying this growing city. Capitalizing on this renaissance, students investigated the design of new residential developments that embrace the city’s coastal legacy, add to the vitality and density of the urban core, and enliven its public spaces.

WashU Approach

106

Yifan Sun

Master of Architecture

107

419 Core Studio International Housing Studio: Halifax

WashU Approach

Don Koster

108

FA18

Yifan Sun

Master of Architecture

109

419 Core Studio International Housing Studio: Halifax

WashU Approach

Don Koster

110

FA18

Yifan Sun

Master of Architecture

111

419 Core Studio International Housing Studio: Halifax

WashU Approach

Don Koster

112

FA18

Zhuoxian Deng

Master of Architecture

113

419 Core Studio International Housing Studio: Halifax

WashU Approach

Don Koster

114

FA18

Zhuoxian Deng

Master of Architecture

115

Emiliano López Senior Lecturer

419 Core Studio International Housing Studio

Barcelona: La Barceloneta Completed in 1779, La Barceloneta was the first neighborhood built outside the city walls of Barcelona and represents the first massive housing development in the history of Barcelona. The original military plan was based on two-story row houses forming a strict grid of linear blocks of ten houses. The house dimension was established as 10 by 10 varas. A “vara,” meaning rod or pole, is an old Spanish unit of length used until the end of 19th century. One vara equals 0.84 meters, almost 3 feet.

The neighborhood originally hosted families, commerce, industry, and leisure activities related to the port of Barcelona.

With relentless population growth and immigration, the 141.12 square meter (1.519 square feet), two-story single-family row houses were divided into what was known as “quarter houses” of 35.28 square meters (379 square feet). The original two-story houses were seven varas tall, but were built as high as six stories by the end of the 19th century. This rapid increase in height created high-density buildings with 340 dwellings per hectare that continue to house the famous “quarter houses” next to Barceloneta Beach, which was redeveloped in 1995. Today, the dwindling local population coexists with uncontrolled low-cost tourism.

WashU Approach

116

FA18

Yunxi Zhang

Master of Architecture

117

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano Lรณpez

118

FA18

Jing Chen

Master of Architecture

119

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano Lรณpez

120

FA18

Jing Chen

Master of Architecture

121

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano Lรณpez

122

FA18

Xiaoyu Yang

Master of Architecture

123

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano Lรณpez

124

FA18

Xiaoyu Yang

Master of Architecture

125

419 Core Studio International Housing Studio

MĂłnica Rivera Professor of Practice

San Juan: Tropical Thresholds

Puerto Rico’s housing stock is mostly composed of low-density developments of detached, single-family, modernist-style, concrete houses. These uninsulated, flatroofed, one-story dwellings are the most common form of housing for all income levels since this model was introduced in the late 1940s.

In San Juan, increasing concerns over security have dramatically transformed the urbanscape and social relationships between citizens who, seeking protection from intruders, install gates and grilles and cut down vegetation to improve surveillance to the detriment of shade, which is crucial in this climate. Noise also presents a challenge for guaranteeing privacy and conviviality, especially in this intensely social and musical culture. These physical and social conditions, combined with a year-round warm and humid climate, have led to a hostile built environment that expresses unsociability and fear.

This studio explored the safety, social, and climatic advantages of collective living, as well as the potential conflicts that arise from sharing space in a society accustomed to detached houses. Students engaged these conflicts and concerns as a fundamental way of questioning the cultural codes embedded in our living environments. A concept’s success hinged on developing an attractive living option with a passive and resilient construction that could contribute to a more sustainable model of a compact city.

WashU Approach

126

FA18

Xuan Li

Master of Architecture

127

419 Core Studio International Housing Studio: San Juan

WashU Approach

Mรณnica Rivera

128

FA18

Jiankun Chen

Master of Architecture

129

419 Core Studio International Housing Studio: San Juan

WashU Approach

Mรณnica Rivera

130

FA18

Jiankun Chen

Master of Architecture

131

419 Core Studio International Housing Studio: San Juan

WashU Approach

Mรณnica Rivera

132

FA18

Zhao Yang

Master of Architecture

133

419 Core Studio International Housing Studio: San Juan

WashU Approach

Mรณnica Rivera

134

FA18

Peiyao Li

Master of Architecture

135

500— 600 Advanced Architectural Design Options Studios WashU Approach

136

Instructors FA18 Chandler Ahrens Lawrence Blough Gerardo Caballero Gustavo Cardón Valerie Greer Sung Ho Kim Stephen Leet Robert McCarter Pablo Moyano Alfredo Payá Nanako Umemoto Hongxi Yin

Instructors SP19 Julie Bauer Gia Daskalakis Catalina Freixas Ginés Garrido Valerie Greer Sung Ho Kim Stephen Leet Robert McCarter Mónica Rivera Linda C. Samuels Hongxi Yin

Instructors SU18 Mariona Benedito Adrian Luchini

Fundamental to the graduate curriculum is the advanced architectural design studio sequence. Each semester, students select from a range of vertical studio options organized around projects and topics. These studios, which often include national and international field trips, emphasize the development of strong conceptual abilities, thoughtful integration of technical information, and convincing representations of architectural ideas in two- and three-dimensional form and through a variety of media. The goal is for each student to develop clear design principles, strong technical resources, and an independent, critical position on the making of architecture in the world. A variety of “comprehensive” design studios are offered each semester, which give students an opportunity to integrate structural and environmental concepts into their building design.

During the fall and spring semesters, internationally based architects and designers temporarily reside in St. Louis and teach design studios on campus. This unique arrangement allows our students to connect with visiting professors just as they do with local faculty. Their presence throughout the semester contributes to the international atmosphere and facilitates rich and diverse cultural exchanges for both students and faculty.

Master of Architecture

137

Chandler Ahrens Valerie Greer Pablo Moyano

500–600 Options Studio

FA18

Extreme Environments The temperature is rising, both in the atmosphere and the oceans. Human activity, including fossil-fuel burning and deforestation, is the major cause of air pollution and subsequent greenhouse effects. As a result of anthropogenic climate change, we are experiencing serious environmental fluctuations around the globe.

Some of the most evident consequences are warmer years on average, accelerated sea level rise, frequent and intense heat waves and droughts, stronger and longer wildfires, incremental precipitation and flooding events, as well as more extreme weather patterns such as hurricanes and tornadoes.

This poses an additional associated impact on the growing number of people and ecologies in the affected areas.

Buildings provoke massive environmental impacts, ranging from the materials and methods of construction to the operation and maintenance of structures. According to the U.S. Green Building Council (USGBC), buildings account for an average of 41 percent of the world’s energy use.

Consequently, architects and construction industry leaders are positioned to greatly influence how buildings and other structures affect the environment. A number of design decisions directly and indirectly impact the way buildings disturb their sites and the ecosystems around them. Architects and design professionals have a social and environmental responsibility to minimize such impacts.

The research in David Gissen’s book “Subnature: Architecture’s Other WashU Approach

Environments” offers an alternative view to the dynamics between the natural world and the built environment. Rather than regarding adverse environmental forces such as dankness, smoke, insects, and dust as detrimental to the enterprise of architecture, Gissen examines ways in which the relationship between adverse elements in the natural world and the construction of the built environment have been radically rethought to expand the possibilities of architecture, elements of the environment, and habitation.

This studio explored how architectural design can respond to extreme environmental conditions while helping to mitigate the impact of buildings on their habitats and ecosystems. Students were challenged to research, assess, and respond to the dynamics between natural and built environments through the realm of architecture. Emphasis was placed on tectonics, structure, materiality, and performance, as well as a sectional understanding of environmental conditions and a sectional response via architectural intervention.

Students identified and researched an extreme environmental condition and developed an architectural response that permits habitation in a specific adverse condition. Each student also identified a site within their extreme environment where a group of 20 researchers and/or artists could collectively live, work, collect, display, and interact—a “base camp” where scientists, writers, artists, and musicians may dwell

138

Ruizhu Han

to advance their work and research. The architectural interventions were also required to serve as a means of understanding, experiencing, and responding to a specific component of the natural environment.

Master of Architecture

139

500–600 Options Studio Extreme Environments

WashU Approach

Chandler Ahrens Associate Professor

140

FA18

Ruizhu Han

Master of Architecture

141

500–600 Options Studio Extreme Environments

WashU Approach

Chandler Ahrens

142

FA18

Ruizhu Han

Master of Architecture

143

500–600 Options Studio Extreme Environments

WashU Approach

Chandler Ahrens

144

FA18

Alexander Wickes

Master of Architecture

145

500–600 Options Studio Extreme Environments

WashU Approach

Chandler Ahrens

146

FA18

Alexander Wickes

Master of Architecture

147

500–600 Options Studio Extreme Environments

WashU Approach

Valerie Greer Professor of Practice

148

FA18

Alexis Raiford

Master of Architecture

149

500–600 Options Studio Extreme Environments

WashU Approach

Valerie Greer

150

FA18

Alexis Raiford

Master of Architecture

151

500–600 Options Studio Extreme Environments

WashU Approach

Valerie Greer

152

FA18

Derek Luth

Master of Architecture

153

500–600 Options Studio Extreme Environments

WashU Approach

Valerie Greer

154

FA18

Derek Luth

Master of Architecture

155

500–600 Options Studio Extreme Environments

WashU Approach

Pablo Moyano Assistant Professor

156

FA18

Amanda Louise

Master of Architecture

157

500–600 Options Studio Extreme Environments

WashU Approach

Pablo Moyano

158

FA18

Amanda Louise

Master of Architecture

159

500–600 Options Studio Extreme Environments

WashU Approach

Pablo Moyano

160

FA18

Christina Batroni

Master of Architecture

161

500–600 Options Studio Extreme Environments

WashU Approach

Pablo Moyano

162

FA18

Christina Batroni

Master of Architecture

163

Lawrence Blough Visiting Professor

500–600 Options Studio

FA18

Domestic Mutations in the Sharing Economy I am concerned with the changing continuous relationship between life style and life space. I am asking, with the communitarian theorist Murray Bookchin, “How does the liberated self emerge that is capable of turning time into life, space into community, and human relationships into the marvelous?”

—Dolores Hayden, “Seven American Utopias: The Architecture of Communitarian Socialism, 1790–1975” The “Un-Private House” show at MoMA in 1999 identified alternative models of the domestic brought on by the shifting boundaries between public and private life and the concomitant redefinitions of family, work, and leisure. Many of the changes were attributed to advances in communication and information technologies with the advent of the World Wide Web, marking a collapse between an exterior virtual world and the interior life of the home. In the past few years much has been written about how champions of the 21st-century sharing paradigm have taken this a step further, where the modern internet promises a new form of reengagement with the physical world between individuals and collectives. In The New York Times article “The Millennial Commune,” Ronda Kaysen contends that people have been “pooling resources and talents to create ad hoc communities for generations, and that’s not even taking into account boarding houses and residential hotels.”

WashU Approach

In the moment when entrepreneurs have created app-enabled opportunities—from renting a hot desk in common workspaces (The Wing), to dining in stranger’s houses (Feastly), to sharing live/work space for digital nomads (Roam)—collective dwelling and co-production programs are being reimagined to grow unique social and spatial scenarios. Following this line of thinking, the question of how architects envision novel conceptions of private property and communal space in the 21st century becomes the provocation for studio investigation. If the dwelling has always been a preoccupation for architecture’s disciplinary research, then current economic and social trends demand we interrogate the single-family house’s autonomy and contest the habits it has institutionalized in order to spur innovation.

This studio explored contemporary mutations of the house by investigating novel domestic assemblages targeted for the sharing economy—a communitarian organization designed to accommodate transient residents and their accompanying needs, desires, and mechanisms of support.

To create a context for their invention, students researched past and emerging co-living models as they relate to California’s alternative cultural scene with proposals ultimately sited in Venice Beach, Los Angeles.

Programs such as home sharing, co-living, multigenerational homes, food sharing, and co-working were all investigated as potential trajectories.

164

Samuel Bell-Hart

Master of Architecture

165

500–600 Options Studio Domestic Mutations

WashU Approach

Lawrence Blough

166

FA18

Samuel Bell-Hart

Master of Architecture

167

500–600 Options Studio Domestic Mutations

WashU Approach

Lawrence Blough

168

FA18

Mengru Wang

Master of Architecture

169

500–600 Options Studio Domestic Mutations

WashU Approach

Lawrence Blough

170

FA18

Mengru Wang

Master of Architecture

171

500–600 Options Studio Domestic Mutations

WashU Approach

Lawrence Blough

172

FA18

Shiyao Li

Master of Architecture

173

Gerardo Caballero / Gustavo Cardón FA18 Affiliate Associate Professors

500–600 Comprehensive Options Studio

Buenos Aires: Links International Semester Studio Projects are made through the interpretation of site and program. The process and the outcome depend on how that interpretative work is done. The program—the real one—is not a list of bureaucratic requirements and the site is not a portion of land with specific dimensions where the project must fit. Projects emerge from a process of understanding and evaluating both of these categories. Architects do not simply place a building that meets the program requirements onto a parcel of land. They read the existing conditions of the site and derive an atmosphere and spatial quality from the program brief. The project emerges from that interpretative work.

The site for this studio was placed in the southern hemisphere. Buenos Aires, sometimes known as the Paris of South America, is a city full of contradictions and contrasting conditions. The context is social, cultural, technological, and climatic.

The city is undergoing its own dynamic of transformation. At the edge of a well-known and studied shanty town—Villa 31 (future Barrio 31)—and in proximity to the business district of a large metropolis, the site could not better represent the conditions of a developing nation or a more intense urban experience.

For the program, students were tasked with proposing a gymnasium that acts as a community activity center and link between different the urban fabrics at the edge of an informal settlement. They had to consider the types of activities that might take place there to identify the project’s unique character.

WashU Approach

In addition, students were required to think about and present examples of the kind of places they first recalled when facing this studio statement and requirements: traditional or contemporary buildings and sites; different attitudes toward the existing, aggressive or more respectful of former precedents; invisible or outspoken; more radical (as in the result of a bold invention) or more conservative (as in derived from a long-standing tradition). They also analyzed projects from a variety of architects in order to discuss the intellectual context of the studio. The choice of a technical, constructive approach to building and material repertoire were also promoted as conscious design decisions and were emphasized early in the development of the project.

Established in 2001, the Buenos Aires studio engages with the city’s complexity and rich cultural, social, and artistic life. The studio focuses on projects about the city, with an emphasis on in-fill buildings. This is a comprehensive options studio that integrates the Building Systems course into its design. The curriculum is complemented by history courses focusing on Latin America and Argentina in particular. Field trips around Buenos Aires, as well as to Uruguay and Brazil, give students the opportunity to study firsthand some of the most important architectural works that have shaped the identity of architecture in Latin America.

174

Xun Wang

Master of Architecture

175

500–600 Comprehensive Options Studio Buenos Aires: Links

WashU Approach

Gerardo Caballero / Gustavo Cardón

176

FA18

Xun Wang

Master of Architecture

177

500–600 Comprehensive Options Studio Buenos Aires: Links

WashU Approach

Gerardo Caballero / Gustavo Cardón

178

FA18

Xun Wang

Master of Architecture

179

500–600 Comprehensive Options Studio Buenos Aires: Links

WashU Approach

Gerardo Caballero / Gustavo Cardón

180

FA18

Fan Yang

Master of Architecture

181

500–600 Comprehensive Options Studio Buenos Aires: Links

WashU Approach

Gerardo Caballero / Gustavo Cardón

182

FA18

Fan Yang

Master of Architecture

183

500–600 Options Studio

Sung Ho Kim Professor

FA18

Faux Terrain: The Art of War We may distinguish six kinds of terrain, to wit: (1) accessible ground; (2) entangling ground; (3) temporizing ground; (4) narrow passes; (5) precipitous heights; (6) positions at a great distance from the enemy.

—Sun Tzu’s “The Art of War,” Chapter 10: “Terrain” At the turn of the century, the urbanization of American cities created sophisticated multimodal systems of infrastructural terrains. Automotive and locomotive transportation caused a new form of urban situation where pedestrian ground was reshaped and three-dimensionalized by modern urban planning. Cities developed elevated grounds and new terrains through robust construction campaigns to expand and modernize.

The “faux terrain” is an artificial ground and territory that has been superimposed by layering technological histories. The ground demonstrates the complexity within the socio-spatial terrain of the city, developed from the interplay between many incongruous elements of the urban condition. This includes new forms of humanizing interactions that are activated by the terrain, allowing dynamic event space, access, scale, and materiality to transform the mechanical geography into a place of social gathering.

The “Art of War” is an exploration of design tactics that reconfigure existing problems into creative site gestures and

WashU Approach

phenomena. This process calls for a change of paradigm in architectural practice by intensifying the inquiry into formal site operations. Students researched and developed new prototypes of architectural interventions by designing research and development facilities for Autodesk’s Build Space site located at Route 90 and the Massachusetts Turnpike overpass between Massachusetts Avenue, Newbury Street, and Boylston Street in Boston.

184

Siyu Huang

P1 P2

“The Art of War� Model of movement on the site Reorganizing movement and generating form

Master of Architecture

185

500–600 Options Studio Faux Terrain

WashU Approach

FA18

Sung Ho Kim

01 01 Analyzing Analyzing

02 02 Articulating Articulating

Movement, Movement, arrival arrival pattern pattern and and dense dense regions regions

Directions Directions and and density density of of movement movement

01 01 Analyzing Analyzing

02 02 Articulating Articulating

Movement, Movement, arrival arrival pattern pattern and and dense dense regions regions

Directions Directions and and density density of of movement movement

03 03 Reorganizating Reorganizating

04 04 Generating Generating

Reorganized Reorganized movement movement and and bridge bridge floor floor

Floors Floors and and structure structure above above the the bridge bridge

03 03 Reorganizating Reorganizating

04 04 Generating Generating

Reorganized Reorganized movement movement and and bridge bridge floor floor

Floors Floors and and structure structure above above the the bridge bridge

186

Siyu Huang

Master of Architecture

187

500–600 Options Studio Faux Terrain

WashU Approach

Sung Ho Kim

188

FA18

Siyu Huang

Master of Architecture

189

500–600 Options Studio Faux Terrain

FA18

Sung Ho Kim

FORD HERE T STERE

ET

STRE

URE

HITECT

N ARC

BOSTO

BURY

NEW

COLLE GE

MASSA CHUS ETTESTUR NPIKE

CE

Y PLA COPLE

S N TO BOYL

UE

AVEN

R

ANCE

FORM E PER

CENTE

KLE

BER

ON DALT STET RE

ENUE

E AV USES TT SACH

MAS

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190

Christine Doherty

Master of Architecture

191

500–600 Options Studio Faux Terrain

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Sung Ho Kim

192

FA18

Christine Doherty

Master of Architecture

193

Stephen Leet Professor

500–600 Options Studio

FA18

Holocaust Memorial Florence, Italy: Remembrance, Indifference, Complicity In November of 1943, 284 Jewish refugees seeking sanctuary in Florence, Italy were arrested and deported to the Auschwitz extermination camp—only 15 survived.

In March of 1944, the Italian fascist authorities and occupying Nazis transformed the Scuole Leopoldine in Florence (now the Museo Novecento Firenze) into an interrogation and detention center for arrested anti-fascists. Hundreds of striking workers from Florence and Tuscany were detained by the Italian authorities in this building on Piazza Santa Maria Novella.

On March 8, 1944, 338 were deported to Mauthausen concentration camp in Austria.

Less than 20 percent survived.

Research in the studio arrived at three important conclusions: 1. State sponsored anti-Semitism in Italy began many years before the alliance with Nazi Germany in 1939.

2. While examples of heroic individual efforts to protect Jews in Italy from arrest and deportation were numerous, there was also indifference to the demonization of Jews and later WashU Approach

complicity in the repression, arrests, and ultimately genocide of Italian Jews—a genocidal policy undertaken and shared

by Italian authorities and the Nazis after September 1943.

3. The role of history and memory—and our responsibility today to be alert to racism and the manipulation of fear and facts—are connected. Specifically, indifference to racism and the persecution of fellow Italian citizens, in accordance with laws approved by the Italian government and signed by the king, sanctioned increasingly severe restrictions on Italian Jews and set the stage for the genocide that followed.

Each student determined the content of their memorial design: as a memorial dedicated to the specific circumstances of the March 1944 arrests, detentions, and deportations; as a memorial to Jewish victims of the Shoah in Italy; or as a memorial to all Holocaust victims. Each student also selected the site and settings of their projects: the appropriated site of interrogation and detention (Scuole

194

Liqiang Huang

Leopoldine), the public space of Piazza Santa Maria Novella, and/or the site of deportation by train to Nazi concentration camps (Stazione Santa Maria Novella).

All projects shared a common goal and intention: to remember the victims and to implicate those responsible for their victimization and suffering.

Master of Architecture

195

500–600 Options Studio Holocaust Memorial Florence

WashU Approach

Stephen Leet

196

FA18

Yanliang Li

Master of Architecture

197

500–600 Options Studio Holocaust Memorial Florence

WashU Approach

Stephen Leet

198

FA18

Yanliang Li

Master of Architecture

199

500–600 Options Studio Holocaust Memorial Florence

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Stephen Leet

200

FA18

Yuejia Ying

Master of Architecture

201

500–600 Options Studio Holocaust Memorial Florence

WashU Approach

Stephen Leet

202

FA18

Yuejia Ying

Master of Architecture

203

500–600 Options Studio

Robert McCarter Ruth and Norman Moore Professor

FA18

Inhabiting an Axis Mundi: A Vertical Monastery in Florence, Italy Architecture is a vase. My reward for eight years of labor [on La Tourette] is to have seen the highest things grow and develop within that vase. … [The monastery] does not speak of itself. It lives on its interior. It is in the interior that the essential occurs.

—Le Corbusier This studio program involved the design of a contemporary monastery in the heart of ancient Florence. Sited in the Piazza del Carmine on the south side of the River Arno, the monastery took the form of a thin, vertical tower, similar to the dozens of medieval towers that remain in Florence, embedded in buildings. Students were challenged to elevate the private monastic programs of monks’ cells, refectory, library, choir, chapel, chapter house, and colloquium off the public ground plane and into the sky, engaging the shifting horizon line of Paul Klee and transforming the traditionally horizontal monastery into a habitable axis mundus—the vertical axis connecting the earth to the heavens.

The project was designed in two phases.

“Project 1: Levitating Rooms: Cell/Cloister/ Choir/Chapel” explored the relationship in section between the individual monastic cell WashU Approach

(related to horizontal light) and the collective monastic chapel (related to zenithal, vertical, light). “Project 2: Vertical Datum: Monastery as Society of Spaces” developed the full monastic program for the vertical monastery in the Florence site, unfolded in section within a delimited volume—bounded physically but unbounded visually—and anchored to the ground and touching the sky.

204

Yuejia Ying

Master of Architecture

205

500–600 Options Studio Inhabiting an Axis Mundi

WashU Approach

Robert McCarter

206

FA18

Yuejia Ying

Master of Architecture

207

500–600 Options Studio Inhabiting an Axis Mundi

WashU Approach

Robert McCarter

208

FA18

Yanliang Li

Master of Architecture

209

500–600 Options Studio Inhabiting an Axis Mundi

WashU Approach

Robert McCarter

210

FA18

Yanliang Li

Master of Architecture

211

Alfredo Payá FA18 Ruth and Norman Moore Visiting Professor

500–600 Comprehensive Options Studio

Social Hybrids: The Construction of a Community Reflecting on the social function of the architect and his or her role as a social agent, the architect is a builder of civilities. The term “civilities” relates to the conventions that regulate community life: civic + facilities.

This studio presented a new focus on life in common—buildings that keep up society’s pulse. As a+t magazine says: “the term civilities relates to the conventions that regulate community life; it is as well the addition of civic + facilities. Civic facilities are more than just utilitarian areas, they behave as focal points for cultural life, gathering venues, and driving forces of activity, extending their influences far beyond the walls that host them. They are places where human encounters are produced and a flow of activity rises, regenerating the surrounding area” (Spring 2007, no. 29). Civic facilities stand out as beacons, as hallmarks of civilization.

Contemporary architects are faced with a rapidly changing world, often shifting before actions are realized. Ideas of re-engaging society with real experiences and direct relationships are very appropriate today for students, the entire community of architects, and—why not say it?—for the whole society.

Architecture is about human beings; the duty of an architect is to provide a shelter and to continuously improve living conditions. Counter to the concept of a stararchitecture system and the understanding WashU Approach

of architecture as an object, this studio explored architecture as a social action within communities. How do we make projects that meet society’s needs? The aim of the course was to generate a degree of interrelation among the students capable of producing an atmosphere of collective research that promotes student work, not by focusing on the things they already know, but on those they may still not know.

Students proposed the design of a mixuse building, a dormitory and center, for a community of people with Down syndrome.

The goal was to create an exemplary building where its inhabitants feel safe and useful to the community and society. Students were challenged to investigate the spatial qualities and characteristics of the interior space and propose ways of linking it with the building concept. A fusion of indoor and open-air activities working together— working or meeting spaces; places to stay, dance, draw, enjoy, or learn; spaces for events, exhibitions, or living; open-air spaces (orchards, playgrounds, sports).

Architecture is a discipline that requires a deep cultural, sociological, economic, political, and ethical understanding of the world. It is crucial to bring all the related disciplines together, setting it closer to the idea of a parliament than a temple. Projects were designed in a small scale to generate complete, developed concepts.

212

Ayman Rouhani

Master of Architecture

213

500–600 Comprehensive Options Studio Social Hybrids

WashU Approach

Alfredo Payá

214

FA18

Ayman Rouhani

Master of Architecture

215

500–600 Comprehensive Options Studio Social Hybrids

WashU Approach

Alfredo Payá

216

FA18

Ayman Rouhani

Master of Architecture

217

500–600 Comprehensive Options Studio Social Hybrids

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Alfredo Payá

218

FA18

Kevin Ulmer

Master of Architecture

219

500–600 Comprehensive Options Studio Social Hybrids

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Alfredo Payá

220

FA18

Kevin Ulmer

Master of Architecture

221

Nanako Umemoto Visiting Professor

500–600 Options Studio

FA18

Tokyo 2020 The Olympic hangover was a common fixture of 20th century urban history. It confronted new infrastructures, large-scale athletic venues, and public facilities suddenly drained of their economic and cultural value. With the development never going quite according to plan, it inevitably spawned periods of civic introspection and reevaluation. Reflecting on the Olympic Village as a new civic territory, future use of the Stadium, scaling down transportation systems, or kicking the tourism habit, these moments crystallized the cities’ urban futures. They paralleled existing patterns of growth and revealed infrastructural consequences. Sprawl in Mexico City, urban satellites in Atlanta, and internal development in Barcelona were accelerated and made apparent during the Olympics, only to be reconsidered and evaluated after the fact.

Over the last few Olympics, however, the question of the aftermath has assumed a central role in planning efforts. A notion of sustainable frameworks for urban regeneration has formed the basis of bids since Sydney’s, though the proposals have widely diverged in practice. Tokyo’s plan for the 2020 Olympics followed suit, calling to retrofit existing venues and integrate new construction with plans for the city at-large. The bid aimed to scale down the urban and economic footprint of the Games, describing strategies that suggest an overall compactness and adaptability.

Despite the initial civic-minded rhetoric, a ballooning budget and controversy over the construction of new venues, most notably the National Stadium, have diverted the discussion away from urban considerations.

As a result, the central organization of major WashU Approach

event venues has been diffused to the periphery. The budgetary issue even spilled over to the water sports venue located in Tokyo Bay, suggesting alternative sites outside of the prefecture. As such, the original notion of urban regeneration has been largely compromised, becoming a perfunctory agenda item that merely obscured the scope of post-Olympic planning.

This studio challenged students to situate an Olympics on the landfill in Tokyo Bay, as well as design a constellation of fields with respect to its post-Olympic inhabitation—the afterlife of a short-term event with far-reaching consequences for the city. Forming a compelling notion of what the future of the site could be, student projects investigated the potentials latent in adapting Olympic programming to the present landfill, confronting the challenge of facilitating a transition from present to future uses in strict architectural terms. This studio focused on diverse issues of formal legibility, fitness, accommodation, and affordance in conjunction with concerns of materiality, ecological change, and infrastructural systems. Seizing the historical capacity of Olympic planning to reveal preexisting tendencies as well as more recent bids’ efforts to enact deliberate urban agendas, student projects suggest that the built form of the Olympic park can prefigure future patterns of development. Successful projects remained invested in the initial Olympic role while also demonstrating what the new infrastructure could mean to the city, the local inhabitants, and for the site after its symbolic appeal wears off.

222

Dooho Won

Master of Architecture

223

500–600 Options Studio Tokyo 2020

WashU Approach

Nanako Umemoto

224

FA18

Dooho Won

Master of Architecture

225

500–600 Options Studio Tokyo 2020

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Nanako Umemoto

226

FA18

Dooho Won

Master of Architecture

227

500–600 Options Studio Tokyo 2020

WashU Approach

Nanako Umemoto

228

FA18

Xiangchuan Kong

Master of Architecture

229

500–600 Options Studio Tokyo 2020

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Nanako Umemoto

230

FA18

Xiangchuan Kong

Master of Architecture

231

Hongxi Yin InCEES Associate Professor

500–600 Options Studio

FA18

Rethinking Sustainability: Towers at Chicago’s Lakeshore East One of the newest developments in Chicago in recent years includes an approximately 163,000-square-foot site, Site I, J, K/L of East Lakeshore. It offers excellent views of Lake Michigan, the coast, and the city, which should influence design. The site served as the test bed for analysis, proof of concept, and experiments with design interests, motives, and techniques that challenge the traditional cultural and environmental methods of the supertall residential tower design.

The building is envisioned as an allresidential supertall tower with 1,000 rental apartments and 650 condominiums, residential amenities, and a ground floor with a flexible program. The brief called for an innovative ground floor that serves both the building’s residents and the community.

Students studied the unit mix, using efficiency targets from precedent cases and residential guidelines as specific program guidance to develop three complementary projects: a site-specific and innovative design program for Site I, J, K/L addressing its current and future needs from social, regional, and sustainable development perspectives; a schematic design of a supertall residential tower with an in-depth understanding of urban and community intervention for innovative urban living; and a WashU Approach

comprehensive illustration of environmental sustainability techniques, such as material, structure, and energy technology appropriate for the supertall design and the site. The three projects made a cohesive whole.

The studio included five trips to Chicago to visit SOM’s office, the site, and surrounding high-rise residential towers to help students fully understand the site and access SOM experts. SOM professionals in urban planning, architecture, and structural and mechanical engineering taught students the fundamentals of supertall tower design, assisted them in understanding the site and urban issues, simplified the design parameters by focusing on specific topics related to high-rise design, and oriented them to the goal of general design issues.

Several SOM individuals provided course lectures on issues related to high-rise design and participated in midterm and final reviews.

Many thanks to Scott Duncan, design partner; Jonathan Stein, managing partner; Yue Zhu, technical director; Luke Leung, director of sustainable engineering; Sean Kinzie, associate director; and Aaron Mazeika, associate director.

232

Fei Li

Master of Architecture

233

500–600 Options Studio Rethinking Sustainability

WashU Approach

Hongxi Yin

234

FA18

Fei Li

Master of Architecture

235

500–600 Options Studio Rethinking Sustainability

WashU Approach

Hongxi Yin

236

FA18

Fei Li

Master of Architecture

237

500–600 Options Studio Rethinking Sustainability

FA18

Hongxi Yin

SINGLE FAMILY HOUSE

RIGID FRAME TUBE

TOWNHOUSE

MIDTOWN

DOWNTOWN BELT TRUSS BRACED WITH CORE

ITY CONCEPT

WashU Approach

SHEARWALL SYSTEM

STRUCTURE SYSTEM

238

Lingyue Wang

COMMERICAL

CONDOS

APARTMENTS

PARKING

COMMERICAL

PROGRAM DIAGRAM

Master of Architecture

239

500–600 Options Studio Rethinking Sustainability

Hongxi Yin

2278.33

2128.33

SERVICE & MECHANICAL LUXURY RESTAURANT SKYDECK 1948.33

"SINGLE FAMILY HOUSE" CONDOS, PENTHOUSE 30 FLOORS 60 UNITS

1598.33

"TOWNHOUSE" CONDOS 50 FLOORS 200 UNITS

1015.00

"MIDTOWN" APARTMENTS/CONDOS 40 FLOORS 432 UNITS

588.33

"DOWNTOWN" APARTMENTS 50 FLOORS 840 UNITS

55.00

PARKING COMMERICAL

0.00

WashU Approach

240

FA18

Lingyue Wang

Master of Architecture

241

Julie Bauer Visiting Associate Professor

500–600 Comprehensive Options Studio

SP19

Structure, Light, Atmosphere– Spaces for Art In this comprehensive studio, students investigated how to create spaces for art that go beyond the generic “white cube,” and instead offer a relevant character and specific atmosphere that does not compete with the works of art within. Students reviewed the relationship between artwork, architectural setting, and experience while searching for contemporary solutions.

Atmosphere was considered in the context of installation and how viewers experience art. Basic issues relating to gallery design were studied: spatial composition, influenced by the desire of the visitor to explore, to make a tour; typologies of the galleries, from classic enfilade room-based galleries to open industriallike spaces; and the walls, which need to be arranged to create the best conditions for hanging paintings, as well as form the spatial framework within which the visitor navigates. Other elements considered include light (natural and artificial) and the horizontal surfaces of the floor and ceiling.

The principles of daylight design were also emphasized, especially the North American versus the Northern European approaches to daylight. The studio also addressed flexibility and room reconfigurations and the changing role of museums in the digital world.

Students analyzed these issues through fieldtrips to historic and contemporary key art institutions in St. Louis and New York City. They were then challenged to explore WashU Approach

them on the basis of a new design for the southwest wing of The Metropolitan Museum of Art. (The design task was a variation of the real brief of the project, which is currently on hold.)

Since its beginning in 1870, The Metropolitan Museum of Art grew through additions and modifications into what now includes 21 buildings in its current physical presence on Fifth Avenue. Its growth is both the story of the expanding collections and of its continuous architectural development.

While the collections—in particular the modern and contemporary works—continue to grow, park and city authorities do not permit further physical growth of the building.

The current southwest wing, which houses the modern and contemporary galleries, neither meets standards for international museums nor fulfills the spatial needs of the collection.

Students developed their own critical position informed by a response to the site, context, and program. How can a new wing provide more sufficient gallery space without changing the current footprint and envelope of the existing building? What kind of external form and character will balance developing a new identity while maintaining a relationship with the old? Students were asked to develop a coherent scheme, translating from an urban, spatial, and atmospheric vision into a technical, integrated project. Gallery specific building services, structure, lighting,

242

Yuejia Ying

and materiality were discussed early on and questioned until students developed solutions that supported their overall idea and intention, with the primary focus being a rigorous development from idea to a consistent proposal.

Master of Architecture

243

500–600 Comprehensive Options Studio Structure, Light, Atmosphere

WashU Approach

Julie Bauer

244

SP19

Yuejia Ying

Master of Architecture

245

500–600 Comprehensive Options Studio Structure, Light, Atmosphere

WashU Approach

Julie Bauer

246

SP19

Yuejia Ying

Master of Architecture

247

500–600 Comprehensive Options Studio Structure, Light, Atmosphere

0' 4' 12'

28'

Julie Bauer

60'

N

Sculpture Garden Plan

WashU Approach

SP19

248

Yazhe Wu

0' 1'

3'

7'

15'

Detail Section

Master of Architecture

249

500–600 Comprehensive Options Studio Structure, Light, Atmosphere

Julie Bauer

SP19

4" Precast Concrete Panel 0.5" Water Barrier 4" Fiber Glass Insulation 0.5" Air Barrier 4" Metal Studs 2" Dry Wall

Lighting rods hung from lighting tracks from the edge of translucent glass strip

Sprinkler hung from the ceiling metal structure at the center of translucent glass strip

100 %

17' 5' 0.5 %

14'

30°

30° 5'

4" Light Concrete Corrugated Metal Panel 1' I Steel Beam Ventilation Ducts 4" Dry Wall

Air returning through the 3 inches gap between the floor and wall

WashU Approach

250

Skylight system with double glazing Internal sunscreening Sprinkler head

Yazhe Wu

Master of Architecture

251

Gia Daskalakis Associate Professor

500–600 Options Studio

SP19

Eye Spy With My Machine Eye There are eyes everywhere. No blind spot left. What shall we dream of when everything becomes visible?

—Paul Virilio, “The Vision Machine” (1994) Among the high-rise council estate towers in London, a network of surveillance drones scans, surveils, monitors, and records the residents within. Two teenagers, each held within the confines of their respective towers by police order, communicate surreptitiously by co-opting the same technology that separates them. Jazz snatches one of the security drones from her balcony; she hacks and personalizes it to pass love notes across the estate skies to her boyfriend Tamir. The police drones intercept their communication and document the violations. Despite oppressive surveillance, the lovers find freedom in this brief moment of subversion. Young and Maughan’s drone-generated film, “In the Robot Skies” (2016), explores the social, cultural, global, and urban implications and complexities of drone technology as it enters civil space. Their films are extrapolations gleaned from our presentday world but seen anew—and through—the anonymous gaze of the machine eye.

An unmanned aerial vehicle (UAV) drops a smart bomb over an Afghan village: “point, click, kill, forget.” Hovering above an agricultural field, drones produce precise 3D maps for soil analysis and generate data for irrigation. An Amazon drone delivers flowers to the stoop of a New York brownstone while an Uber drone drops the owner at her WashU Approach

doorstep. Police drones surveil a riotous crowd in search of perpetrators. Drones navigate the site of an earthquake to aid rescuers on the ground. A drone peeks through a tenth-story window, watching and recording a private family moment.

This ubiquitous aerial eye can operate benignly with the tenderness and empathy of Wenders’ angels or voyeuristically like Hitchock’s protagonist in “Rear Window” (1954)—or with the maliciousness of the panopticon gaze found in Orwell’s dystopia, “1984” (1949). Drones can also offer a platform for new forms of agency and creativity.

As we [drones] become cheaper and more ubiquitous, my view is being democratized. Now, I am an infrastructure with a new type of agency. I am a new perspective on the world … I tell the stories of who you have become in a modern world.

—Liam Young, “I Spy with my Machine Eye” (n.d.)

In Superflux’s film, “Drone Aviary” (2015), “the drones become protagonists, revealing fleeting glimpses of the city from their perspective, as they continuously collect data and perform tasks. It hints at a world where the ‘network’ begins to gain physical autonomy, moving through and making decisions about the world … A speculative map highlights where physical and digital infrastructures merge as our cities become the natural habitat for ‘smart’ technologies.”

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Chong Zhang

Cities will be transformed by stratified aerial “infrastructure” relieving ground transports.

Architectural space will privilege a range of aerial points of view; rethink relationships between private, public and really public zones; and accommodate drone entry and housing.

Students in this studio experimented with new typologies, spatialities, and visualities through the design of an Urban Droneport and Cross-disciplinary Drone Research Lab to be located along the Mississippi River from the MacArthur Bridge at Chouteau’s landing to the near north riverfront.

Are you looking back at me? Can you see me watching you watching me, watching you?

—Liam Young, “I Spy with my Machine Eye” (n.d.)

Master of Architecture

253

500–600 Options Studio Eye Spy With My Machine Eye

WashU Approach

Gia Daskalakis

254

SP19

Chong Zhang

1st Floor Plan 1/1

Master of Architecture

255

500–600 Options Studio Eye Spy With My Machine Eye

WashU Approach

Gia Daskalakis

256

SP19

Chong Zhang

Master of Architecture

257

500–600 Options Studio Eye Spy With My Machine Eye

WashU Approach

Gia Daskalakis

258

SP19

Ying Bi

Master of Architecture

259

500–600 Options Studio Eye Spy With My Machine Eye

WashU Approach

Gia Daskalakis

260

SP19

Ying Bi

Master of Architecture

261

Catalina Freixas Assistant Professor

500–600 Options Studio

SP19

Inclusion and Neighborhood Resilience [v. 2.0]: Designing for Equity in Metamorphic Cities Postindustrial cities are characterized by population, economic, and infrastructure decline, yet some communities within them are resilient. Resilience is a measure of sustainability that represents a community’s ability to respond to, withstand, and recover from adversity. In St. Louis, Todd Swanstrom of Community Builder’s Network has identified a number of neighborhoods that are referred to as “rebound communities.”

Although these neighborhoods have generally lost population, witnessed abandonment, and undergone racial transition, they have also demonstrated elements of revitalization in recent years. Swanstrom notes that rebound communities exhibit common characteristics: an architecturally significant building stock, distinctive landmarks, and vital social networks.

Fox Park in south central St. Louis shows many of the attributes of an ideal neighborhood: historic architecture, a 2.69-acre park, and strong neighborhood institutions and organizations. Built in the early 1880s, this once German community gained historic district designation in 1985 thanks to over 350 fine examples of diverse WashU Approach

styles and types of structures, including St. Francis de Sales Oratory, the only German Gothic church in St. Louis. However, the central landmark in the neighborhood is Fox Park itself. Formerly a lumberyard, the original 1917 park grew over time, extending the original parcel over two adjacent ones. Spearheaded by a revitalized neighborhood association, the park has undergone substantial renovation following the H3 2014 masterplan. Emblematic of the neighborhood’s resurgence, Redfin named Fox Park the hottest neighborhood in the St. Louis metropolitan area in 2017.

Despite significant population loss over the last thirty years, high crime rates, and other social ills, Fox Park has shown significant signs of resiliency. Due to its proximity to downtown and other entertainment districts, as well as a magnificent building stock not yet affected by escalating real estate prices, Fox Park has become a favorite among millennials who are rehabbing an ever-increasing number of houses and spurring neighborhood rebirth. However, one of the challenges for rebound communities if revitalization is too

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Larissa Sattler

rapid is that it can lead to gentrification and displacement.

This studio built upon Fox Park’s momentum while being sensitive to the neighborhood’s desire to remain inclusive.

The studio called students to re-imagine the vacant lot across from Fox Park at the corner of Victor and Ohio streets, which is bounded on the south by Rung for Women. In collaboration with DeSales Community Development Corporation and capitalizing on the park’s proximity to Brick City Makes, students were challenged to consider ways to revitalize the lot as well as rethink the existing park infrastructure.

Proposals entailed providing mixed-income housing and space for social services while strengthening an under-addressed border of the community. Designers had to think creatively and propose innovative ways in which the new building and existing infrastructure could both mediate and incorporate the needs of the evolving community.

Master of Architecture

263

500–600 Options Studio Inclusion and Neighborhood Resilience

WashU Approach

Catalina Freixas

264

SP19

Larissa Sattler

Master of Architecture

265

500–600 Options Studio Inclusion and Neighborhood Resilience

WashU Approach

Catalina Freixas

266

SP19

Larissa Sattler

Master of Architecture

267

500–600 Options Studio Inclusion and Neighborhood Resilience

WashU Approach

Catalina Freixas

268

SP19

Sof ía Aguirre

Master of Architecture

269

500–600 Options Studio Inclusion and Neighborhood Resilience

WashU Approach

Catalina Freixas

270

SP19

Sof ía Aguirre

Master of Architecture

271

Ginés Garrido SP19 Ruth and Norman Moore Visiting Professor

500–600 Options Studio

Living Together: Housing as a Social Condenser Almost half of the occupied houses in Nordic countries are single-person households and recent studies reveal that one out of every four elderly people dies alone. Since the publication of The Family of the Future: A Socialist Family Policy, edited in 1972 by Olof Palme, Swedish citizens have become completely independent from each other.

Moreover, they are losing their social skills.

As Polish-born sociologist Zygmunt Bauman comments in the documentary, “The Swedish Theory of Love,” “Independence brings life emptiness, insignificance, and an unimaginable boredom, rather than happiness.” This circumstance is rapidly spreading in western countries including the United States, which already has 35.25 million single-person households—28 percent of the homes. This is probably an inevitable consequence of the “liquid modernity” way of life toward which we slide. This will increasingly worsen due to increased life expectancy (projected to rise to 100 years in the near future), as well as new concepts of family and collective sharing, precarious jobs, widespread geography, economic instability, and the rise of migration flows.

In this studio, students were challenged to address the particular conditions of inhabiting that question established social archetypes. This required an in-depth investigation of building types that enable new social relations, knowing these new parameters will alter peoples’ ways of living, WashU Approach

their homes, and even urban morphology.

These issues were considered in the context of the city of Stockholm, Sweden. More specifically, on the neo-Gothic industrial building of Mariahissen, located in the center of the city on the island of Södermalm on the south bank of Riddarfjärden Bay. Students proposed a renovation and extension of the existing building, including the creation of a “commune” for 100 people. Program requirements included communal spaces as well as a design for Mariahissen’s surroundings, integrating the project into its urban context.

Students analyzed case studies, obliging them to face the scale and dimensions of the new and communal domestic condition, while establishing links with a set of topics from a special workshop. On one hand, the main goal of the workshop was to stimulate deep intellectual speculation on the suggested topics and their concrete application to the project, while also requiring a detailed and totally coherent project that solved the geometric, formal, and structural issues of the building. On the other hand, project proposals had to be accurately and precisely expressed in an increasing succession of scales, both in the drawn documents and in the models.

272

Lingyue Wang

Master of Architecture

273

500–600 Options Studio Living Together

WashU Approach

Ginés Garrido

274

SP19

Lingyue Wang

Master of Architecture

275

500–600 Options Studio Living Together

WashU Approach

Ginés Garrido

276

SP19

Lingyue Wang

Pre-fabricated Timber Furniture as Dwelling Units

Master of Architecture

277

500–600 Options Studio Living Together

Ginés Garrido

SP19

N

SECTION 5 JUNE 8pm 1:200

WashU Approach

278

Juan Gonzรกlez

Master of Architecture

279

500–600 Options Studio Living Together

WashU Approach

Ginés Garrido

280

SP19

Qihan Lei

Master of Architecture

281

Valerie Greer Professor of Practice

500–600 Comprehensive Options Studio

SP19

Shared Sites: Design for Intergenerational Aging As the global population of people aged 65 or older grows at an historically unprecedented rate, the demographic “age pyramid” will complete its metamorphosis into an “age pagoda” in the next 10 years.

By 2030, one in five U.S. residents will be 65 or older. By 2050, the National Institutes of Health estimates that nearly one in five of the world’s population—or approximately 1.6 billion people—will be 65 or older.

Ageism persists as the most normalized type of prejudice in society today, often leading to social marginalization of older adults and younger people. A 2018 Cigna and Ipsos poll shows that the two loneliest age groups are younger and older people, and a growing body of research shows how damaging age-related isolation is to mental and physical health.

This comprehensive studio explored the urgent need to radically rethink the role of design in response to the globally aging population and age segmentation. Students examined distinct spatial, social, and sensory needs of both older and younger adults, speculating on ways that design can promote a framework for active aging and making intergenerational connections.

Students worked in close partnership with the Harvey A. Friedman Center for Aging at Washington University in St. Louis and the Sau Po Centre for Aging at The University of Hong Kong. These partnerships provided a WashU Approach

cross-cultural opportunity to help students understand issues related to aging and connected the discourse of the studio with interdisciplinary research and scholarship around aging.

Students investigated the concept of shared sites as a way of serving older adults and younger children in the same location. To explore how cultural norms and social dynamics impact the landscape of aging, students examined two locations to speculate on programs and possibilities for intergenerational exchange: St. Louis and Hong Kong. Three distinct exercises provided the framework for the studio: 1. A design vignette at the beginning of the semester focused on intergenerational interaction and sensory experiences in an intimate physical environment. Students identified one person they know over the age of 65 and one under the age of 18 and designed a space for the two people to share.

2. Following a review of the initial design exercise, students spent an intensive 10 days on direct readings, journal entries, experiential learning exercises, discussions, and lectures that focused on engaging students with scholars on aging from Washington University and The Hong Kong University. This provided the groundwork for research posters that students produced to identify conceptual

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Howie Chen

themes and programmatic interests for an intergenerational learning center.

3. Building upon their initial design exercise and research, students developed a proposal for an intergenerational learning center that brings older adults and youth together around social and educational activities.

Students were challenged to think radically and unconventionally about ways to promote lifelong learning and intergenerational interactions through the avenue of intergenerational design.

Master of Architecture

283

500–600 Comprehensive Options Studio Shared Sites

WashU Approach

Valerie Greer

284

SP19

Howie Chen

4

3

2

1

89’ 10 1/2”

82’ 6”

70‘ 6”

60’ 6”

50’ 6”

41’ 6”

31’ 6”

21’ 6”

12’

0’

Master of Architecture

285

500–600 Comprehensive Options Studio Shared Sites

WashU Approach

Valerie Greer

286

SP19

Samuel Bell-Hart

Master of Architecture

287

500–600 Comprehensive Options Studio Shared Sites

WashU Approach

Valerie Greer

288

SP19

Shiyao Li

Master of Architecture

289

500–600 Comprehensive Options Studio Shared Sites

WashU Approach

Valerie Greer

290

SP19

Shiyao Li

Master of Architecture

291

Sung Ho Kim Professor

500–600 Options Studio

SP19

Levitation: Gravity Falls But when the disciples saw him walking on the sea, they were terrified, and said, “It is a ghost!” and they cried out in fear.

But immediately Jesus spoke to them, saying, “Take heart; it is I. Do not be afraid.” And Peter answered him, “Lord, if it is you, command me to come to you on the water.” He said, “Come.” So Peter got out of the boat and walked on the water and came to Jesus. But when he saw the wind, he was afraid, and beginning to sink he cried out, “Lord, save me.” Jesus immediately reached out his hand and took hold of him, saying to him, “O you of little faith, why did you doubt?” And when they got into the boat, the wind ceased.

And those in the boat worshiped him, saying, “Truly you are the Son of God.” —Matthew 14:22–33 Throughout history, humans have been obsessed with the notion of levitation in cultural mythologies, religions, and science fiction. Defying gravity has also been a fascination for optical and perceptual manipulation. Levitation is Latin for levitas, meaning lightness, the process by which an object is held in a floating position without mechanical and physical support. Achieved by an upward force that impedes the pull of gravity, it can be created by magnetic and electrostatic energies or reactionary forces such as buoyancies, aerodynamics, and hydrodynamics.

This studio asked, What would the built environment look like if we could harness the power to resist gravity? Would it be WashU Approach

able to respond to the larger issues of global warming and flooding cities? What if buildings could counteract the vast destruction of earthquakes and unstable seismic wave movements? These challenges demand creative solutions for new forms of architecture. Architecture, landscape architecture, and urban design have always relied upon building from the ground up, but we will need to build from the top down to survive on the surface of the earth for the next thousand years.

In 2015, inventor Greg Henderson and his Silicon Valley technology company Arx Pax were awarded Patent No: US 9, 126,487 B2 for magnetic field architecture (MFA). With it, Arx Pax produced the first commercial hoverboard that floats on air. However, the potential for MFA technology goes far beyond levitating skateboards, with applications for structural isolation, recreation and entertainment, industrial automation, and transportation. This four-year-old company has expanded the technology market over the last two years with endless possibilities for innovation.

The program for this studio is a fullscale research laboratory and regional headquarters for Arx Pax’s 50 employees at 401 North Michigan Avenue, Pioneer Court in Chicago, Illinois. A monumental civic plaza, Pioneer Court has hosted numerous art installations, performances, civic events, and festivals since its development in 1965.

It has also been featured in several films and television advertisements. In 2003, NBC Chicago opened a street-level studio

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Chang Jiang

in the Equitable Building (designed by Bruce Graham of SOM) next to Pioneer Court, becoming the first local television station to open such a studio. In 2017, a new flagship store for Apple (designed by Foster + Partners) opened, creating a contemporary urban plaza surrounded by historical and modern buildings.

Master of Architecture

293

500–600 Options Studio Levitation: Gravity Falls

Sung Ho Kim

SP19

2

2

2

4 1

1

3

WashU Approach

294

Chang Jiang

Master of Architecture

295

500–600 Options Studio Levitation: Gravity Falls

WashU Approach

Sung Ho Kim

296

SP19

Peiyao Li

Master of Architecture

297

500–600 Options Studio Levitation: Gravity Falls

WashU Approach

Sung Ho Kim

298

SP19

Xun Wang

Master of Architecture

299

500–600 Options Studio Levitation: Gravity Falls

WashU Approach

Sung Ho Kim

300

SP19

Xun Wang

Master of Architecture

301

500–600 Options Studio

The Border

Stephen Leet Professor

“I am watching the Democrat Party led (because they want Open Borders and existing weak laws) assault on our country by Guatemala, Honduras and El Salvador, whose leaders are doing little to stop this large flow of people, INCLUDING MANY CRIMINALS, from entering Mexico to U.S…” —Donald J. Trump @realDonaldTrump, Oct. 18, 2018 “….The assault on our country at our Southern Border, including the Criminal elements and DRUGS pouring in, is far more important to me, as President, than Trade or the USMCA. Hopefully Mexico will stop this onslaught at their Northern Border. All Democrats fault for weak laws!”

—Donald J. Trump @realDonaldTrump, Oct. 18, 2018 “We are a great Sovereign Nation. We have Strong Borders and will never accept people coming into our Country illegally!”

—Donald J. Trump @realDonaldTrump, Oct. 24, 2018 “For those who want and advocate for illegal immigration, just take a good look at what has happened to Europe over the last 5 years. A total mess! They only wish they had that decision to make over again.”

—Donald J. Trump @realDonaldTrump, Oct. 24, 2018 “Many Gang Members and some very bad people are mixed into the Caravan WashU Approach

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heading to our Southern Border. Please go back, you will not be admitted into the United States unless you go through the legal process. This is an invasion of our Country and our Military is waiting for you!”

—Donald J. Trump @realDonaldTrump, Oct. 29, 2018 “Our military is being mobilized at the Southern Border. Many more troops coming. We will NOT let these Caravans, which are also made up of some very bad thugs and gang members, into the U.S. Our Border is sacred, must come in legally. TURN AROUND!” —Donald J. Trump @realDonaldTrump, Oct. 31, 2018 “The Caravans are made up of some very tough fighters and people. Fought back hard and viciously against Mexico at Northern Border before breaking through. Mexican soldiers hurt, were unable, or unwilling to stop Caravan.

Should stop them before they reach our Border, but won’t!”

—Donald J. Trump @realDonaldTrump, Oct. 31, 2018 “Mexico should move the flag waving Migrants, many of whom are stone cold criminals, back to their countries. Do it by plane, do it by bus, do it anyway you want, but they are NOT coming into the U.S.A. We will close the Border permanently if need be. Congress, fund the WALL!” —Donald J. Trump @realDonaldTrump, Nov. 26, 2018

Chi Zhang

While rejecting the current administration’s xenophobia, demonization of refugees fleeing violence, and preoccupation with militarized fortified borders, this studio examined questions of border security. Is it possible to design a border architecture that incorporates necessary security and processing protocols at international border crossings, that is, at the same time, also welcoming rather than foreboding? Not a wall, not an environment of incarceration and interrogation, but instead spaces and landscapes that are secure and humane?

To aid in their research, students took a field trip to Marfa, Texas, site of the U.S. Border Patrol Marfa Station. Students crossed the border at the Presidio, Texas crossing into Ojinaga, Mexico, 55 miles south of Marfa.

Master of Architecture

303

500–600 Options Studio The Border

WashU Approach

Stephen Leet

304

SP19

Chi Zhang

Master of Architecture

305

500–600 Options Studio The Border

WashU Approach

Stephen Leet

306

SP19

Chi Zhang

Master of Architecture

307

500–600 Options Studio The Border

WashU Approach

Stephen Leet

308

SP19

Yihang Guan

Master of Architecture

309

500–600 Options Studio The Border

Stephen Leet

SP19

A

E

E

2

6

7 5

F

10 9

13

4 13

3

10

1

F

13

11

B

B

12

8

8

8 1 2 3 4 5 6 7 8 9 10 11 12 13

A

Intake Kitchen Visitation Medical Legal Counsel Dinning Hall Facility Management Entertainment Play ground Locker Room Housing Contemplate Space Class Room Ground Floor Plan 1/16’’=1’-0’’

WashU Approach

310

Muzi Dong

Master of Architecture

311

Robert McCarter Ruth and Norman Moore Professor

500–600 Comprehensive Options Studio

SP19

Sun Without and Shadows Within: An Archive of Ancient Religions An Addition to Louis I. Kahn’s (Unbuilt) Hurva Synagogue in Jerusalem, Israel That which is not built is not really lost.

Once its value is established, its demand for presence is undeniable. It is merely waiting for the right circumstances.

—Louis I. Kahn (Louis I. Kahn, Robert McCarter, p. 391) In this studio, students were asked to design an “Archive of Ancient Religions,” sited as an “addition” to Louis Kahn’s Hurva Synagogue in Jerusalem. For the purposes of this project, it was assumed that Kahn’s design, on which he worked from 1967 until his death in 1974, was built in 1976. The Synagogue, called Hurva (“ruin” in Hebrew), occupies a prominent hilltop site to the west of the Temple Mount and its Jewish holy site of the Western Wall. On the Temple Mount is the Islamic Dome of the Rock mosque. To the north of the project site is the Christian Church of the Holy Sepulcher. Construction of Kahn’s design for the Hurva Synagogue would have afforded Jerusalem a major Jewish sanctuary, joining the existing Islamic and Christian sanctuaries.

Students engaged five fundamental pedagogical conceptions in this studio: WashU Approach

1) The unbuilt works of the best architects and landscape architects should be studied by students and architects along with the built works; 2) Architecture, landscape architecture, and interior design are aspects of a single integrated discipline, and their legal definition as separate sub-disciplines is not sustainable; 3) What matters in architecture is not what a building looks like, but what a building is like to be in, to live in; 4) As we begin the 21st century, every architectural project should be understood as an addition to a pre-existing inhabited context; and 5) A graduate studio project should offer individual students an opportunity to begin again. As a comprehensive options studio, particular emphasis was placed on design process, degree of development of interior space, and exploration of experiential qualities.

Three sketch projects were employed.

CUBE: Room(s)—Chapel / Threshold / Meeting Room, wherein students proposed intimate sacred and secular spaces within strictly defined volumetric limits: a chapel for one person to meditate and contemplate, a meeting room for two people to meet and gather, and the threshold or transition space between the two rooms. DATUM: Plan(e)s—Embossings of the Sky / Etchings

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Ethan Chiang

in the Earth, wherein students proposed an integrated building-landscape roomgarden to house the program of spaces for the “Archives of Ancient World Religions.”

At the end of the semester, SECTION: Tectonic—Making Place Between Earth and Sky, wherein a section of each student’s individual designs connecting earth (foundation) to sky (roof) was explored at large scale. In addition, students undertook disciplinary research by reconstructing Kahn’s Hurva Synagogue design, building a site model, and making drawings.

As an integral part of this studio, McCarter led a field trip to Philadelphia, New York, and New Haven during which students studied Kahn’s original drawings and models for the Hurva Synagogue at the Louis Kahn Archives at the University of Pennsylvania.

Other sites visited include Kahn’s University of Pennsylvania medical laboratories, Bryn Mawr dormitory, Esherick House, Franklin D. Roosevelt Memorial (Four Freedoms Park), Yale Art Museum, and Yale Museum of British Art.

Master of Architecture

313

500–600 Comprehensive Options Studio Sun Without and Shadows Within

WashU Approach

Robert McCarter

314

SP19

Ethan Chiang

Master of Architecture

315

500–600 Comprehensive Options Studio Sun Without and Shadows Within

WashU Approach

Robert McCarter

316

SP19

Ethan Chiang

Master of Architecture

317

500–600 Comprehensive Options Studio Sun Without and Shadows Within

WashU Approach

Robert McCarter

318

SP19

Siyu Huang

Master of Architecture

319

500–600 Comprehensive Options Studio Sun Without and Shadows Within

WashU Approach

Robert McCarter

320

SP19

Siyu Huang

Master of Architecture

321

Mónica Rivera Professor of Practice

500–600 Options Studio

SP19

Dwelling On Climate and Use In architecture, objects and beings pass through openings, but so do other phenomena such as light (therefore vision), cold and heat (therefore energy), air, rain, smells, and sounds.

When designing openings, architects must establish priorities for what they will allow to pass through and with what degree of intensity it may pass. This set of priorities may be informed by, among many other things, the envisioned uses of the spaces to be connected, the level of involvement the users may have in the manipulation of such openings and the devices within them, and the climate and sociocultural context they are connecting to or shielding users from. The choice of priorities ultimately affects occupants’ thermal comfort and sense of shelter, as well as how the space on either side might be used and appropriated.

Establishing priority filters is not always a clear and straightforward task because multiple contradictions arise, for instance, favoring ventilation but desiring acoustic privacy. This is when architectural features such as doors, walls, heights, gaps, and distance—and the endless combinations for manipulating them—comes into play. Layers of openings, space, and devices may be expanded and multiplied to form ambiguous territories and thresholds that negotiate how things are filtered from one side to another.

This studio investigated the careful calibration of layered space, climate, and use. Through the design of a grouping of two or three dwellings, students discussed how spatial scenarios can accommodate changing family compositions and new opportunities for WashU Approach

shared living and working. Open to students interested in construction and art, this studio aimed to contribute to the ongoing discussion and vision of Puerto Rico’s built future in light of recent catastrophes.

The site was a typical residential street somewhere in Puerto Rico. The first two weeks were devoted to research about the city and strategies for energy and water autonomy. Students worked in small groups to conduct research on sectionally rich precedents in a similar climate. During the third week, students visited Puerto Rico to experience firsthand its climate, culture, and urban forms, from the colonial city and sugar company towns to mid-century modernism.

As a process for understanding and critiquing the current construction system and its impact on domestic life, students took a subdivision house and stripped it of its walls, its windows, its gates, and its systems. The bare concrete structure was then reused as a base for a new lightweight construction with increased density. The new freed ground served as social space, gardens, and for water management. New roofs afforded opportunities for solar energy and increased natural ventilation.

The studio was developed mainly through large models investigating sectional space. Students were also encouraged to represent their projects’ aspirations through photography, animation, and printmaking, resonating with Puerto Rico’s print poster tradition from the 50s and 60s, as well as with two exhibitions at the St. Louis Art Museum.

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Ruizhu Han

Master of Architecture

323

500–600 Options Studio Dwelling On Climate and Use

WashU Approach

Mónica Rivera

324

SP19

Ruizhu Han

Master of Architecture

325

500–600 Options Studio Dwelling On Climate and Use

WashU Approach

Mónica Rivera

326

SP19

Yifan Sun

Master of Architecture

327

500–600 Options Studio Dwelling On Climate and Use

WashU Approach

Mónica Rivera

328

SP19

Yifan Sun

Master of Architecture

329

500–600 Options Studio Dwelling On Climate and Use

WashU Approach

Mónica Rivera

330

SP19

Andrea Trinkle

Master of Architecture

331

Linda C. Samuels Associate Professor

500–600 Options Studio

SP19

Infrastructural Opportunism / Hyperloop One Be anywhere, move everything, connect everyone.

—Hyperloop One Planning for a 600-mph future.

Hyperloop is an über high-speed, magnetic levitation transportation system intended to move people and freight at nearly 700 miles per hour. If it works as planned, it will be the fastest, most energy efficient landbased transportation yet invented. From 2,600 registered teams representing more than 100 countries, only 35 semi-finalist segments were chosen in the Hyperloop One Global Challenge. The United States Kansas City to St. Louis route was one of them. This 240-mile trip currently takes four hours by bus or car, five hours and forty minutes by train, or an hour by plane.

On hyperloop, it would take less than 25 minutes. Hyperloop Missouri has fought hard to stay on the list of finalists. It has risen to the top by building a strong coalition and securing an engineering firm that provided one of the first feasibility studies in the country. While the study is complete, the real design work has yet to begin.

Working directly with representatives from Virgin Hyperloop One and the Hyperloop Missouri Coalition, students studied the past and analyzed the present to project the future. They were inspired to look more broadly at the numerous WashU Approach

spatial, philosophical, environmental, and social questions raised by the rapidly changing state of our cities and systems today. They worked from the macroscale of mega-regional, national, and international interconnectivity to the microscale of the portal (station) and pod. The semester began by looking at globally changing transportation patterns and technology (as recently as five years ago, autonomous vehicles were futuristic) and studying the existing climatic, demographic, and economic conditions. Attention then shifted to the mega-region scale for understanding state- and inter-state level resources, resistance, and opportunities. Collapsing space and time from hours to minutes introduces new relationships that emerge via interdependencies with the potential to eradicate shortages and competition while doubling or tripling amenities and creating symbiotic benefits. Lastly, students considered the transition from very fast to very slow and the kinds of interfaces— technological, spatial, environmental— needed to prepare the 21st-century city for high-speed entry.

Students traveled to Las Vegas to see the 500-meter, full-scale test track and Los Angeles to visit the home office of Virgin Hyperloop One where VHO engineers, architects, and business analysts shared their expertise. Teams of students designed proposals during two charrettes: the first

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Christina Batroni

for the Las Vegas to Los Angeles route and a second focusing on the St. Louis to Kansas City route. Proposals in charette two spanned a range of symbiotic solutions including utilizing hyperloop to bridge urban/ rural divides, leveling out cost of living and quality of life by networking shared resources, and designing rapid response pods and portals to create resilience in the face of natural disasters and climate change. Lastly, each student identified a pressing question posed by these proposals and designed architectural and urbanistic solutions utilizing next-generation infrastructure criteria to create a more sustainable high-speed future.

Project partners included Caroline Walters, Sarah Lawson, Ming-Tak Cheung, and Ismaeel Babur from Virgin Hyperloop One; Andrew Smith, co-chairman of Missouri Hyperloop Coalition and project liaison for Missouri Hyperloop at First Rule; and Drew S. Thompson, director of data centers & mission critical facilities, Black & Veatch.

Master of Architecture

333

500–600 Options Studio Infrastructural Opportunism

WashU Approach

Linda C. Samuels

334

SP19

Christina Batroni

Master of Architecture

335

500–600 Options Studio Infrastructural Opportunism

WashU Approach

Linda C. Samuels

336

SP19

Christina Batroni

Master of Architecture

337

500–600 Options Studio Infrastructural Opportunism

Linda C. Samuels

SP19

COMMUNITY CENTER SILO grain storage wind energy drone racing

SOY BEANS

CORN

COMMUNITY CENTER SILO soybeans biomass production biofuels community center

WATER FILTRATION SILO filtered + collected water drone irrigation boat rental

PORTAL SILO water climate data drone center portal stop farmer’s market

FARMER’S MARKET

PORTAL GREENHOUSE

PARK SILO bird feed endangered species rock climbing

POTATO

CARROT ORCHARD

APPLE

HOGS SPINACH

VINEYARD CATTLE

WINERY BBQ

METHANE SILO

CHICKEN

feed methane energy observatory

CAMPUS SILO irrigation cistern drone maintenence crop analysis agricultural education

DATA CAMPUS

BREWERY

BARLEY

HOPS ONION APARTMENT COMPLEX

COMMUNITY GARDEN

GRASSES + FLOWERS

PEANUTS

PHARMACEUTICAL MANUFACTURING

EGGPLANT

HOSPITAL

MUSHROOM

PEPPERS BEANS WATERMELON

CORN

FARMS STRAWBERRY

FARMS

TO ST LOUIS fresh produce in 20 minutes

PEACH TOMATO

TO KANSAS CITY fresh produce in 11 minutes

FAST-FRESH

WEATHER SILO corn + beans weather analysis weather display

SOY BEANS

CORN

WashU Approach

338

Taylor Clune

Master of Architecture

339

500–600 Options Studio Infrastructural Opportunism

WashU Approach

Linda C. Samuels

340

SP19

Christina Batroni Taylor Clune Haley Evans Joseph Mueller Elise Skulte Sam Watts

Master of Architecture

341

Hongxi Yin InCEES Associate Professor

500–600 Options Studio

SP19

Advanced Material and Process: An Entirely 3D-Printed Multifamily Building Digital Materiality—as data, material, programming, and construction were interwoven so that the algorithmic logic of the computer could directly connect with the reality of built architecture.

—F. Gramazio, M. Kohler, & J. Willmann, “The Robotic Touch: How Robots Change Architecture,” 2014 For the past few decades, the building industry has undergone accelerated evolution, transforming new technologies, cutting-edge materials, and innovative processes including big data, synthetic polymers, and digital fabrication. 3D-printing technologies have paved new avenues for design diversity and the possibilities of building construction. It is one of the new technologies aimed at digital materiality. The use of 3D printing in the area of architecture is highly dependent on the accuracy of the printer, the printing materials, and the cost. It is the primary vehicle toward a new paradigm for the building industry because it fundamentally changes the way we produce, deliver, and build for the future.

Working with industrial partners and entrepreneurs such as Apis Cor, this studio explored the frontier of 3D printing in areas of multistory building design WashU Approach

and construction. Students developed a prototype for a multifamily, multistory building with organic-form enclosure using cement-based materials and processes and highly customized furniture using bamboo/ wood fiber-reinforced composite materials.

Students learned to use Grasshopper for Rhino or Dynamo for REVIT to drive an Apis Cor 3D-printing robot or Big Area Additive Manufacturing (BAAM) machine.

Students gained a comprehensive understanding of state-of-the-art 3D printing as it applies to the building industry in the field of free-form architecture. They researched 3D-printing processes and discussed existing 3D-printed buildings and furniture. Proposals addressed the strengths and weaknesses of 3D printing buildings and its application, along with present challenges and future outlook, in architecture. This work was supplemented by a field trip to the Apis Cor laboratory in Boston as well as with lectures, consultations, and reviews by industry leaders from SOM and notable professionals. At the end of the semester, students printed full-scale prototype samples for proof of concept.

As Team WashU, the studio participated in the conceptual design competition for the 2019 U.S. Solar Decathlon Design

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Co–instructors Nikita Chen-iun-tai CEO of Apis Cor Aaron Mazeika Associate Director at Skidmore, Owings & Merrill (SOM)

Challenge and four students were selected to present their works in April at the National Renewable Energy Laboratory in Denver, Colorado. Similar to Team WashU Lotus House that entered the 2018 Solar Decathlon China competition, students may be selected to further develop solid conceptual plans from this studio and build a portion of the building on a 20-meter by 20-meter site in the 2020 Solar Decathlon China competition with industry sponsors.

Master of Architecture

343

500–600 Options Studio Advanced Material and Process

WashU Approach

Hongxi Yin

344

SP19

Alexander Wickes

Master of Architecture

345

500–600 Options Studio Advanced Material and Process

Hongxi Yin

SP19

1B 720 sqft

WashU Approach

1B 580 sqft

3B

2B

1600 sqft

930 sqft

346

Alexander Wickes

Master of Architecture

347

500–600 Options Studio Advanced Material and Process

WashU Approach

Hongxi Yin

348

SP19

Wenzhao Zhang

Master of Architecture

349

500–600 Options Studio Advanced Material and Process

WashU Approach

Hongxi Yin

350

SP19

Wenzhao Zhang

Master of Architecture

351

Adrian Luchini SU18 Raymond E. Maritz Professor of Architecture Mariona Benedito Lecturer Abroad

500–600 Options Studio

Barcelona: Intersections

International Summer Studio It has been said that Barcelona is a city of lyrical profiles rather than epic movements.

Year after year, this complex cacophony of light, architecture, and spectacle inspires students in the summer seminar and studio.

Over eight intense weeks, meetings take place every day with studio activities, field trips, and presentations by local architects.

Projects and papers aim to engage the specific milieu of a paradigmatic European city through students’ eyes and experiences.

Distances collapse, impressions abound, and conversations appear fluid and constant, in a rhythm that doesn’t slow down during the summer months. The affirmation of personal identities grows and expands in this unique city where deep traces of history and the pulsation of dynamic life collides with unusual force.

Students in this studio engaged the architecture of the project with the architecture of the city: a dense urban fabric with narrow streets and unpredictable perspectives where everything is forced to coexist.

Rather than placing a building on the site, students instead worked with, from, through, and across it. In this sense, the studio focused on establishing different relationships between architecture and the city, always from the assumption that the project is more than an isolated freestanding object, but part of a complex condition. In Barcelona, the observer must WashU Approach

be simultaneously aware of the natural, fluid transition from public to private domains, while staging the transition through a series of calibrated operations that architecturally define each episode.

Students’ active experience of the site, both what their senses registered as well as the factual data of its dimensions and setting, became the palimpsest with which a collage was created. Using the collage as a conceptual–compositional device, students engaged with the city through a subjective yet “visual/formal/fragmented/ re-arranged” perception of it, where cacophonies abound. Like many European cities, downtown Barcelona exposes its layers: they are precisely what shows the full force of its character.

Students were encouraged to inhabit the place of intervention: to sketch it, photograph it, memorize it, register what caught their attention, rearrange what became important to them, and use this to guide and structure their initial ideas. Above all, students let their perceptions wander in the phenomena of this special place, and trusted their instincts to “jump” from an abstract intention to a formal response.

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Fei Li

The Barcelona program, established in 1986 and traditionally offered in the summer, will become a semester-long offering beginning in 2021. Students in this program learn from a city whose impressive architecture and urban history makes it one of the most attractive cities in the world. The design studio focuses on projects in the city, with an emphasis on issues related to its dense urban fabric, history, and constant, successful efforts to remain sensitive to the past while adapting to the demands of contemporary life.

Master of Architecture

353

500–600 Options Studio Barcelona: Intersections

WashU Approach

Adrian Luchini Mariona Benedito

354

SU18

Fei Li

Master of Architecture

355

500–600 Options Studio Barcelona: Intersections

WashU Approach

Adrian Luchini Mariona Benedito

356

SU18

Fei Li

Master of Architecture

357

500–600 Options Studio Barcelona: Intersections

WashU Approach

Adrian Luchini Mariona Benedito

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SU18

Shuyan Wang

Master of Architecture

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500–600 Options Studio Barcelona: Intersections

WashU Approach

Adrian Luchini Mariona Benedito

360

SU18

Shuyan Wang

Master of Architecture

361

616

Degree Project Comprehensive Studio And so each venture Is a new beginning, a raid on the inarticulate, With shabby equipment always deteriorating In the general mess of imprecision of feeling, Undisciplined squads of emotion.

—T. S. Eliot, “East Coker,” Four Quartets

WashU Approach

362

Instructors Julie Bauer Eric R. Hoffman Philip Holden (Coordinator) Adrian Luchini

In the last semester of their academic education, students have the opportunity to express their own ambitions, frame their own methods of design exploration, and develop an experiential and tectonic basis for manifesting their intentions—to create not only an advanced work of architecture, but also the emotional and intellectual space in which to work as an architect.

Students’ work in this studio is based on the product of their preceding Design Thinking degree project preparation course—an individually initiated programmatic, intentional, and situational project outline. Students develop a position on the making of architecture in the world, advance an aspiring conceptual design, and elaborate and synthesize all aspects of the project—formal, spatial, experiential, organizational, structural, environmental, and technical—and then create a clear, full, and persuasive presentation focused on telling a critical project story.

Projects include the resolution of program spaces and relationships, the development and integration of structural systems, environmental systems and sustainability strategies, building envelope systems, technical construction sections and assemblies, and life-safety systems.

A student’s ability to work independently is encouraged and tested.

However, they were able to work with professional structural and environmental consultants on the technical development of their projects.

Each student was expected to aspire to a high level of critical thinking, developing a project that is exploratory, projective, or unexpected in some important way in the realm of architecture beyond the exigencies of the project outline.

Master of Architecture

363

Julie Bauer Visiting Associate Professor

616 Degree Project

A Vertical Solution for Diversity in Community Spaces Boen Yin Vertical living is an obvious solution to the challenge of housing in growing urban populations, but one that lacks effective community spaces like front and back yards that foster relationships among neighbors and opportunities for people to connect with nature.

This vertical housing project aims to bring both community and garden space back to people living in an urban context. The site is located in downtown St. Louis, Missouri, an area that has experienced some come back as a place to live (primarily due to newly renovated loft apartments) after decades of losing population to the suburbs.

The 18-story building provides a series of differently programmed exterior spaces: private spaces, spaces for neighbors within the building, and spaces to be shared with the wider community. The circulation leads through and along these spaces to encourage people to make full use of the shared space. Each unit is two stories high, so the horizontal circulation happens every second floor, effectively protecting the private space. With up to 50 percent open space within the building, residents can enjoy vertical living in an urban context while having the opportunity to connect with neighbors.

WashU Approach

364

FA18

Master of Architecture

365

616 Degree Project A Vertical Solution

WashU Approach

Julie Bauer

366

FA18

Boen Yin

Master of Architecture

367

616 Degree Project A Vertical Solution

WashU Approach

Julie Bauer

368

FA18

Boen Yin

Master of Architecture

369

8

Imam Husain Foundation Multicultural

Julie Bauer Visiting Associate Professor

FA18

10 Masjid Hazrat Abu Bakr Siddiq

Resalat Community Center Afghan

Afghan

Reconnection: Mosque and Hammam Zepeng Zhou 11 Turkish American Society of

12 Bosnian Islamic Center of St Louis

13 Islamic Center of South

14 St Louis Islamic Center

15 Al Manara Masjid

16 Dar-ul-Islam Masjid

Bosnian

Missouri Turkish

Bosnian

Multicultural

Country

17 Dar al-Zahra Mosque

34%

Oth er

Multicultural

18 Northwest Islamic Center

Multicultural

801 9

County Bosnian

19 Zainabiya Imambargah

4%

Multicultural

1 96

20 Dar Aljalal Mosque

India Pakistani

Multicultural

q Ira

tan Afg an

21 West Florissant Masjid Nigerian Senegalese

th er

96 2

Pro tes tan tO

518 02

9% 4 %

12076

% 11

Christanity Orthodox

1

4 39 15

lic tho Ca

Many Syrian refugees have relocated to the Reconnection northern part of St. Louis, Missouri in recent years. This project suggests a program to help integrate the refugees and their culture. It provides spaces for traditional and religious rituals, as well as ways for introducing and sharing them with the rest of the local population.

Although there are a few mosques in the St. Louis area, it lacks a grand mosque where Muslims can practice their religion.

Another critical part of Syrian culture is the hammam. A hammam traditionally functions as a place for ablutions but, more than a bathing place, it also serves as a recreational and social hub. The mosque and hammam often show similarities in structure and lighting conditions.

This project proposes a combined mosque, hammam, and public space, each with its own entrance and boundary.

Intended to appear like one building, each part can “feel” the other without disturbing it. The scheme’s form and programmatic arrangement mediates between the North American street grid and the direction of Mecca. A large, publicly accessible roof leads to the dome of the mosque, allowing visitors to experience the atmosphere of the religion while also providing a pedestrian connection to the neighboring block.

m his dd Bu 826 12 2%

9

South City

96 4

616 Degree Project

Islamic Community Center Bosnian

%

7

801 9

34%

4% 1 96

q Ira th er Pro tes tan tO

96 2

2%

518 02

9% 4 %

12076

Christanity Orthodox

% 11

4 39 15

lic tho Ca

1

3

4

6

17

Bosnian

5

16 7

9

8 10

15

Bosnian

11 14 12

Country

Vie t

34%

4%

%

1 96

93

m na

%4 %

Somalia Bhut an Afg an 1688 107 1 9 64 7% 5

q Ira

Ave

40

Multicultural

Nigerian Senegalese

ry

17

20 Dar Aljalal Mosque

21 West Florissant Masjid

Ter

% 29

801 9

12 67

18 Northwest Islamic Center

ia sn Bo

Oth er

13

Multicultural

1.Sahn (Courtyard)

2.

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9% 4 %

2%

518 02

6.

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4 39 15

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3960

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61%

Christanity Orthodox

Pro tes tan tO

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ffitt

Hindu

% 11

India Pakistani

%4 %

18

2

Multicultural

19 Zainabiya Imambargah

20

South City

12 Bosnian Islamic Center of St Louis

16 Dar-ul-Islam Masjid

Multicultural

19

Afghan

15 Al Manara Masjid

17 Dar al-Zahra Mosque

3960

10 Masjid Hazrat Abu Bakr Siddiq

14 St Louis Islamic Center

Multicultural

Hindu

% % 3 10

21

13 Islamic Center of South County Bosnian

Somalia Bhut an Afg an 1688 107 1 9 64 7% 5

Missouri Turkish

%

11 Turkish American Society of

Islamic Community Center Bosnian

93

Resalat Community Center Afghan

8

m na

9

Al Qooba Masjid Multicultural Refugee Welfare

m his dd Bu 826 12

Musl im

Imam Husain Foundation Multicultural

6

North City

8182 5

7

West Pine Masjid Multicultural University

61%

Grand Masjid Multicultural African American

Hodiamont Musallah African American

4

Vie t

5

2

40

Al-Mumihood Masjid African American

17

Islamic Institute of Learning African American

3

% 29

Designer: Zepeng Zhou (Zippo) Professor: Julie Bauer

1

12 67

Mosque & Hammam Program

ia sn Bo

Oth er

Degree Project 2018 Fall

Greater Bread Life Mssnry Baptist

The bus passing by on St Louis Ave

The Building has collapsed already. It seems like it has been abandoned for a long time.

Even though the area is empty, the St Louis Ave on the Northeast of site is a main public transportation line in the neignborhood.

nner ly

Ave

XXX Church

4

The Building is solid and well constructed, however it is not occupied .

Bus stop 1

5 5 St Edward Church It is the biggest church in this area. It is big and well designed, however the building right next to the church is dilapidated. Thus it is hard to predict if the church is still in use or not.

Bus stop 2

2

3

7

Keeping Away

Transportation Line

Avoid Conflict

Easy to Available

1

6 5

1.Sahn (Courtyard)

2.Mihrab (Niche)

3.Minaret (Tower)

4.Qubba (dome)

5.Mosque patronage

Clara Ave

WashU Approach

Greater Bread Life Mssnry Baptist The Building has collapsed already. It seems like it has been abandoned for a long time.

370

6.Sebil (Fountain)

7.Hanging Lamp

Water

Light

The bus passing by on St Louis Ave

Even though the area is empty, the St Louis Ave on the Northeast of site is a main public transportation line in the neignborhood.

Abandon house on St Louis Ave

Information boards on Edward St.

Even though the site is surrounded by residential space, most houses in the area are abandoned.

Edward St. is located right in the center of the site, however the street is not in use.

Perspective of an abandoned house through empty space

XXX Church The Building is solid and well constructed, however it is not occupied .

Bus stop 1

It is easy to recognize an abandoned house by the blocked windows by panels. And there are many houses with this feature standing around, which means there is an opportunity to reactiviate this area by building an attraction landmark.

Perspective on Edward St. There is only one well-functioned house at the end of the street. Thus, basically the street can be blocked as a part on the site.

die

Av e

Cla ra

Av e

Laba

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osev elt

St PI

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Maf fitt

Maf fitt

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Master of Architecture

371

616 Degree Project Reconnection: Mosque and Hammam

Mec

tion irec ca D

nU ca eri Am

FA18

rid nG rba

Mec

tion irec ca D

Mec

ti irec ca D

on

nU ca eri Am

WashU Approach

Julie Bauer

rid nG rba

Control Lines

Sunken Part

Deduction & Addition

Public Accessible

372

Zepeng Zhou

Mosque Floor Plan 1/16’’=1’-0’’

Dry Warm Room

Dry Warm Room Dry Warm Room

Sunken Courtyard

Indoor Pool

Indoor Pool

Guided Cycle

Dry Warm Room

Sunken Courtyard

Scented Smoke Room Moisture Chamber Nap Room

Scented Smoke Room Guided Cycle

Steam Room Steam Room

Moisture Chamber

Guided Cycle

Nap Room Guided Cycle Guided Cycle

Cooling Chamber

Guided Cycle

Cooling Chamber Sauna

Sauna

Cooling Chamber

Cooling Chamber

Hammam Floor Plan 1/16’’=1’-0’’

Ground Floor Plan 1/16’’=1’-0’’

Second Floor Plan 1/16’’=1’-0’’

Master of Architecture

373

616 Degree Project Reconnection: Mosque and Hammam

WashU Approach

Julie Bauer

374

FA18

Zepeng Zhou

Master of Architecture

375

Eric R. Hoffman Professor of Practice

616 Degree Project

Here to Hear Danielle Bagwin “Here to Hear” is a space for advocacy, a forum for fusing everyday truths and defining a voice without amplification.

In a constantly changing political climate, protest has intensified. The variety and consistency of these protests has temporarily reconfigured how we interact with the public realm. Importantly, the media interprets and restructures how these events are perceived. Although information is not accessible to all and is not being distributed equally or portrayed fairly, the demonstration culture coupled with the influence of social media has created a network that goes beyond protest and the occupation of space. A new platform is created that brings people together to collectively address issues and share the stories that are not being told.

To subvert current media outlets, a third generation was designed and integrated not only to be HERE but to be HEARD. To be “here” is a form of visibility, while to be “heard” is to still have a voice even if not seen. A pure and simplistic design was integral in allowing people to become the central feature of the space and the ways it was inhabited, whether individually or as a collective.

WashU Approach

376

FA18

Master of Architecture

377

616 Degree Project Here to Hear

WashU Approach

Eric R. Hoffman

378

FA18

Danielle Bagwin

Master of Architecture

379

616 Degree Project Here to Hear

WashU Approach

Eric R. Hoffman

380

FA18

Danielle Bagwin

Master of Architecture

381

oft

Eric R. Hoffman Professor of Practice

616 Degree Project

FA18

Adaptive Workspace Tian Lan Located in the Cortex community, a vibrant technology corridor in St. Louis, Missouri, this project proposes an incubator for high-tech startup companies. The main program includes domestic workspace and temporary housing, which allows workers to live and work together, aspiring to achieve engagement and develop as a community.

Grain Bin

Microsoft

MetroLink Station

Grain Bin

Microsoft

MetroLink Station

Site Section_North-South

MetroLink Station

Site Section_North-South

Site Section_East-West

Site Section_East-West

WashU Approach

382

Ground Floor Plan 3/32”=1’-0”

Master of Architecture

383

616 Degree Project Adaptive Workspace

Eric R. Hoffman

Heat Recovery System

ETFE Membrane

Rain Water Colletction

Water Tank

Longitudinal Section 1/4”=1’-0”

WashU Approach

384

Tian Lan

ETFE Membrane

Master of Architecture

385

616 Degree Project Adaptive Workspace

WashU Approach

Eric R. Hoffman

386

Tian Lan

Master of Architecture

387

616 Degree Project

Philip Holden Professor of Practice

Think “A LOT” Liqi Yang Void is a common urban notion in many big cities, including St. louis, Missouri. Based on the leaning of the city, some of the voids are meaningless vacancies, while some are meaningful public spaces. However, there exists one kind of void that can intermittently change its meaning based on people’s needs, which is a parking lot.

When a parking lot is in huge demand, it is useful and meaningful to both the city and its citizens. But when it is not fully utilized or is empty like an abandoned plot, the parking lot is a meaningless void. It seems hard for us to deny or accept such ambiguous voids in the city. This project seeks a way of addressing the meaningless periods when a parking lot is not fully utilized.

WashU Approach

388

FA18

ROOF

2F

Filigree Slab

Structure

Truss

1F

B1

B2

Master of Architecture

389

616 Degree Project Think “A LOT”

FA18

Philip Holden

2

3

4

6

5

7

8

J

J

J

1

cal m

Plaza

4.00

±0.00

I H

I

I H

Lobby

H

Cafe

8.00

E

E

F

F

G

G

4.00

G

m

D

D

1’0”

C

C

8.00

B

B

12.00

8.00

A

A

4.00

1

2

3

4

6

5

7

8

FIRST FLOOR 3/64”=1’0” PARKING SPACE 192

2

3

4

6

5

7

8

I

I

J

J

1

00:0

00:0

20.00

00:0

H

Indoor Multi-function Court

00:0

H

Gym

00:0

36.00 G F

F

G

20.00

THIRD FLOOR 3/64”=1’0”

A

A

B

B

C

C

D

D

E

E

20.00

1

2

3

4

5

6

7

8

SECOND FLOOR 3/64”=1’0” PARKING SPACE 129

WashU Approach

390

Liqi Yang

51.00

20.00

8.00

4.00

4.00

4.00

±0.00

J

A

A

A

Master of Architecture

391

SECTION A-A 1/4”=1’0”

616 Degree Project Think “A LOT”

WashU Approach

Philip Holden

392

FA18

Liqi Yang

Master of Architecture

393

616 Degree Project

Philip Holden Professor of Practice

Tinge Rui Guo Weather is one of the closest interactions people have with nature in an intensely developed urban context. To jump out of the anthropocentrism of architecture, this project uses meteorology as the main driving force behind the architecture. The project functions as a certain picturesque device, which motivates new interactions and encounters between the sky, the people, and the ground. Through the process, the project aims to reshape, manipulate, and present a unique perspective on the ordinary but dynamic activities and events occurring within and without the architecture.

The design focuses on the three major interactive components of weather: light, water, and wind. The geometry of the ground weaves the area with the flora, fauna, and human public activities in a field. The flatness hints at the blurry boundaries between interior and exterior. The walls function as wind distributors, with some moveable parts helping manipulate the wind. The three elements of light, water, and wind collectively contribute to the thermal comfort of the habitats. The structure blends the identity of the architecture and landscape, interior and exterior, anthropocentrism and ecocentrism.

The resulting project is a boutique hotel inhabiting a living experiment that prototypes a dynamic and robust connection between culture and nature.

The program includes hotel rooms, a kitchen, a bar, a restaurant, and meeting rooms, which fulfill all the needs of the occupants.

WashU Approach

394

FA18

Master of Architecture

395

616 Degree Project Tinge

WashU Approach

Philip Holden

396

FA18

Rui Guo

Master of Architecture

397

616 Degree Project Tinge

WashU Approach

Philip Holden

398

FA18

Rui Guo

Master of Architecture

399

Adrian Luchini FA18 Raymond E. Maritz Professor of Architecture

616 Degree Project

Shifting Fringe Bryan Arias Evaluating St. Louis’ impact on the regional landscape and its people uncovers expansive degradation, which has subsequently led to a significant erasure of ecology, culture, and community. This degradation is found almost exclusively at the fringes of the region, contributing to a lack of awareness with regard to the actions imposed on some of St. Louis’ most vulnerable populations. A multitude of sites have connections to conscious decisions made to facilitate involvement in the Manhattan Project. Mallinckrodt Chemical Works processed uranium ore used in World War II and then blindly disposed it around the region. Other entities, such as Monsanto, disposed of their chemicals on communities such as Times Beach, Missouri.

This proposal seeks to deposit the lost memories of these sites onto the Gateway Mall at its currently indeterminate terminus and within the context of the city’s downtown, where resources are present to assist in raising awareness.

The proposal seeks to make a statement to the region and its partners who have perpetuated the ecological, cultural, and community degradation and erasure, while preserving the lost memories of those sites. The program for the intervention is a simultaneous experiential archive and a social and environmental justice center, empowering those impacted by the degradation imposed on them and their communities.

WashU Approach

400

Master of Architecture

401

616 Degree Project Shifting Fringe

WashU Approach

Adrian Luchini

402

Bryan Arias

LEGEND A B C D E F G H I J K L M N O P Q R S

PUBLIC ENTRY LOBBY GROUP WORK ROOM-CONFERENCE ROOM FLEXIBLE GATHERING SPACE-ARCHIVE LIBRARY OPEN OFFICE ARCHIVE EXHIBITION PAIR OFFICE SEMINAR ROOM COURTYARD GALLEY SEATING AREA ARCHIVE STORAGE HOUSE INDIVIDUAL OFFICE AUDITORIUM RESTROOM STORAGE LOADING MECHANICAL ROOM MECHANICAL CHASE

THIRD LEVEL RCP

3/64” = 1’-0”

B

F

F

O

O

D

A

A

DN

A

B

E

+488’-0”

C

THIRD LEVEL

1/16” = 1’-0”

N

0’

B

Master of Architecture

403

16’

32’

64’

616 Degree Project Shifting Fringe

WashU Approach

Adrian Luchini

404

Bryan Arias

Master of Architecture

405

Adrian Luchini FA18 Raymond E. Maritz Professor of Architecture

616 Degree Project

Observatory for Land Disfigurement Sheng Yan Located near the confluence of the Mississippi and Missouri rivers sits a piece of land laden with conflicts and grievances, where forced treaties were signed to expel its original inhabitants. Today, ironically, it is a place where coal extracted from faraway Native American Reserves turns into piles of poisonous ash for St. Louis’s electric supply.

The “Observatory for Land Disfigurement” is an act of quiet defiance that fully acknowledges the violent past and continuously violent present of this site. By literally containing a segment of this land, users participate actively, by upcycling coal ash into precast concrete production, and passively, by experiencing an imprisoned “nature” with its uncanny tranquility.

A specimen of the present tense, the Observatory refuses to whitewash history by providing one or another particular representation of the site’s past. Its brutal display of the as-is testifies to the absurdity of our relationships with our environment and our history.

WashU Approach

406

Master of Architecture

407

616 Degree Project Observatory for Land Disfigurement

WashU Approach

Adrian Luchini

408

FA18

Sheng Yan

Master of Architecture

409

616 Degree Project Observatory for Land Disfigurement

WashU Approach

Adrian Luchini

410

FA18

Sheng Yan

Master of Architecture

411

Antonio Sanmartín Visiting Professor

616 Degree Project

Rural Community Condenser Gregory Smolkovich This project will provide a sense of community for small-acreage farmers living in West Alton, Missouri, while also offering flood contingency to surrounding farmers and community members in need of resources. The influence for the design proposal stems from research and observations made while exploring various river townships and levee districts along the Upper Mississippi River Watershed. Rural towns show evidence of physical and social disparities resulting from industry farming and compensation of individual values of farming families.

The site for the project is located at the Phillips 66 gas station along Route 67 between West Alton and the Riverlands Migratory Bird Sanctuary. The site presents a central location for observing “big agriculture’s” influence on farmers and families, extreme flood mitigation issues within the Mississippi River Watershed region, and the physical separation of neighbors. Contextual research and speculation onto this site will be used to propose a new intervention for a familiar typology. The program serves as an adaptation to the existing gas station, which can be further interpreted as a community symbol.

WashU Approach

412

FA18

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townships s, Rural Farm stry ndu

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Levee Systems, Rural t owns hips ,

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m 1.2

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2.70m

i

2.05m

Saltwater steam pump

i

2.67mi

Farmer bathhouse

Shooting range

Dry 2.65mi

2.10mi

2.00mi

2.90mi

Grain elevator pump 2.64mi

1.86mi 1.85mi 1.87mi

Seed of the month 1.52mi

1.45mi 1.47mi

Empty silo as program space for community center

i 1.83m

mi

mi

413

i 1.50m

1.65m i

1.94

mi

1.71

Master of Architecture

i

Emergency grain storage silo

1.58m

Empty silo as program space for community center

Water boot for flood scenario

Gas pumps Saltwater grab pump (underwater)

i

Kayak - inter-modal type 2

1.56m

Seed off-put (water)

1.29mi

Coastal carrier - inter-modal type 1 22’-6�

Outcome

1.43mi

Community seed swap silo

i 1.54m

1.96

Community seed swap silo

Water level

616 Degree Project Rural Community Condenser

Antonio SanmartĂ­n

Hybrid Seed Pickup

Gas Station

Hybrid Seed Pickup

Ground Level: Gas Station

Hybrid and contingent seed off-put

Hybrid and contingent seed storage

Ability to process and produce organic products

Farm to table restaurant. Produce from surrounding farms

Hybrid and contingent seed off-put (daily use)

Farm to Table Restaurant: 2nd Level

WashU Approach

414

FA18

Gregory Smolkovich

Exchange of local products amongst farmers

Hybrid and contingent seed off-put

Hybrid and contingent seed storage

Ability to process and produce organic products

Local farmer work agro-collectivley to enhance and share their products amongst West Alton farmers

Hybrid and contingent seed off-put (daily use)

Seed Production and Exchange: 3rd Level

Hybrid and contingent seed off-put

Farmer therapy

Silo capacity - 12,956 ft^3, approximately 3-4 supply depending on crop data

Farmer Therapy: 4th Level

Master of Architecture

415

616 Degree Project Rural Community Condenser

Antonio Sanmartín

6

A

19’-0”

4

I

19’-0”

2

1.2

Sandbag Depository

22’-0”

19’-0”

3

6.2

19’-0”

1

1.1

A

6.1

5

B

FA18

19’-0”

Storage Gas Station

19’-0” 19’-0”

Convenience Store

6

A

19’-0”

4

I

19’-0”

2 1

1.1

Sandbag Depository

19’-0”

3 B

A

6.1

5

1.2

B

Service

A

6.2

Exchange Rooms

19’-0” 19’-0”

19’-0” 19’-0” Hybrid Seed Storage

Exchange Rooms

2.5’ 15’ - 0” 18’ - 0”

B

18’ - 0”

C

B

18’ - 0”

D E

A

18’ - 0” 18’ - 0”

F

4’ - 0”

G H

3rd Level Plan, Seed Exchange Club: 1/16” = 1’

WashU Approach

N

416

Gregory Smolkovich

1.2

1.1

19’ -0”

1

19’ -0”

2

19’ -0”

4

3

19’ -0”

19’ -0”

5

19’ -0”

6

19’ -0”

6.1

19’ -0”

Sliding form-work

15’ - 6”

Shooting range

15’ - 6”

Farmer therapy spaces

15’ - 6”

Seed exchange club Hybrid and contingent seed production

15’ - 6”

Farm to table restaurant Hybrid seed storage

Gas station Convenience store Sandbag pickup Hybrid and & contingent seed pickup

17’ - 0”

Gas tanks underneath gas station

18’ - 0”

SECTION A: TECHNICAL: 1/4” = 1’

Master of Architecture

417

Context: The site located at North St.Louis is facing the issue of population loss and abondend houses which produced amount of “void space”. Meanwhile. this kind of physical dispersion and isolation resulted in a break of social communication such as art and public school culture as local icon. The planning project is to design a learning center for rebuilding that communication ecology happened before by rethinking the relationship between existing void space and urban context.

Antonio Sanmartín Visiting Professor

616 Degree Project

Art and Community Center Ning Yi

Children’s activities in public school from Civic league of St. Louis

Located in the Old North neighborhood of St. Louis, Missouri, this project addresses issues of population loss and abandoned houses, which have produced large amounts of vacant space. Physical dispersion and isolation disrupted the vibrant culture and social interaction of this historic neighborhood. This proposal for a community center hopes to rebuild the community ecology that formerly existed by rethinking the relationship between vacant houses and their urban context.

Local property owners are eager to have a suitable public entertainment space for gatherings and events. The neighborhood also lacks a market, which would drive the vitality of surrounding streets. In addition, local young artists urgently need affordable, open, and creative studio spaces where they can live, work, and have exhibitions.

One goal of this project is to preserve the vacant houses around the site and draw from their historical reference, using them as “beacons” in the new building, where they play a role in the structure, vertical circulation, and transition to the interior space.

WashU Approach

418

FA18

Running track Extend the scope of the city's activities and connect the top outlets

Roof isomatric view The turn of the edge forms different area and space is more flexible and changeable

Cross bracing System Provides possibility for the underlying cantilever space, and the connection to the core tube

Curtain wall Transparency allows one layer to interact with the underlying activities, expanding the space

I Beam The spacing is 20 ft and is consistent with the grid of the column

First floor isomatric view The varying spatial diameter accommodates the possibility of multiple activities

I Beam Artificial light source installed on the bottom ceiling, and is consistent with the grid of the beam

Canopy Frame Each canopy support is attached to the beam and the axis is also consistent

Building Isometric View Affected by the location of the old house and related to the city street

Circulation core Ground floor Isometric View

Structure Element Horizontal circulation Vertical circulation Piping system

Master of Architecture

419

616 Degree Project Art and Community Center

Antonio Sanmartín

ARTIST’S APARTMENT PARKING LOT

WashU Approach

420

BICYCLE STALLS

FA18

THEATER PERFORMANCE STAGE

Ning Yi

MARKET

RESTAURANT

TEMPORARY ART WORKSHOP

Section A - A

Master of Architecture

421

ARTIST STUDIO

616 Degree Project Art and Community Center

WashU Approach

Antonio SanmartĂ­n

422

FA18

Ning Yi

Master of Architecture

423

Philip Holden Professor of Practice

616 Degree Project

SP19

[un]Martyr a Territory: Embedding Public Welfare Within a Corporate Headquarters Christine Doherty To un-martyr a territory means to construct an architecture that responds to its context and embodies its unseen consequences. Far too often architecture is objectified for its manifestation of form and material, while the territory it rests upon is forgotten. St. Louis has sacrificed countless territories and entire neighborhoods for the sake of development and renewal, yet the architecture that follows suit hardly addresses a site’s history. This project intended to find an architecture to respond to its consequences while providing desperately needed development for the city.

In St. Louis, architectural symbols of power come in the form of development via tax abatement. “Corporate welfare” has become the common term for identifying alleged tax increment financing (TIF) abuse in the process of development, for which St. Louis has been under scrutiny on several occasions. Yet the city needs jobs and selfsustaining people to fill them. If St. Louis could respond to those it needs as well as WashU Approach

those who are in need, it could progress much quicker and with much greater spatial equity.

To test this combination, St. Louis’ very epitome of corporate welfare, Centene—a Fortune 100 health insurance company— was paired with its ethical mirror, St. Louis Social Services.

424

Master of Architecture

425

616 Degree Project [un]Martyr a Territory

WashU Approach

Philip Holden

426

SP19

Christine Doherty

Master of Architecture

427

616 Degree Project [un]Martyr a Territory

WashU Approach

Philip Holden

428

SP19

Christine Doherty

Roof 212’-0” Centene Office

Centene Meeting

Centene Shared Space

11th Floor 164’-0” Centene Office Shared Flex Space

Centene Office

Shared Flex Space

8th Floor 116’-0”

Shared Flex Space

5th Floor 68’-0”

Centene Lounge Centene Office

Child Care Center Centene Meeting

Child Care Center Centene Office

Child Care Center

Centene Lobby

B Building Wall Section Scale: 1/4” = 1’-0”

Master of Architecture

0’

1’

2’

4‘

8’

429

Philip Holden Professor of Practice

616 Degree Project

SP19

Architecture of Screen Jian Zhu A screen is a surface that displays and delivers information.

Suffering with a segregation problem, people in St. Louis, Missouri, live on both sides of downtown across a connection known as the Delmar Divide. However, the people who live in this area still seek to communicate and connect with people different from themselves. Protests on the street, education programs in the public spaces, and graffiti art on abandoned walls are all activities that transform the space into screens which convey evidence of individuals’ feelings and spread the idea of equal rights. Architecture on this edge can be a space for holding these activities and can act as a screen for connecting individuals and reinforcing the connection between different groups.

The screen consists of pixels, small squares of the same size on a grid.

Each pixel is an independent part that carries unique information. Through the expressions, thoughts, and repetition of faces, the space would be turned inside out by exposing—instead of concealing— the power of different groups of people.

A graffiti gallery, media literacy center, and “Bouleuterion,” make the people the central focus, allowing the space to be open for all to gather and express themselves, to communicate their thoughts, and to develop relationships among different groups.

WashU Approach

430

B

A

A

B

Master of Architecture

431

616 Degree Project Architecture of Screen

WashU Approach

Philip Holden

432

SP19

Jian Zhu

Master of Architecture

433

616 Degree Project Architecture of Screen

WashU Approach

Philip Holden

434

SP19

Jian Zhu

B-B SECTION 1/4”=1’

Master of Architecture

435

Adrian Luchini SP19 Raymond E. Maritz Professor of Architecture

616 Degree Project

building : Body / negotiating dis/embodied space Rachel Burch This project activates an existing distribution warehouse space through corporeal and body-focused programs.

Located in the Kinloch neighborhood near St. Louis Lambert International Airport, the warehouse sits on a historical residential community that was cleared and demolished within the last 30 years. The project seeks to embody this large-scale warehouse typology as a representation of disembodied space for the scale of the human body and the Kinloch community.

The 500,000-square-foot warehouse is a horizontal field of columns and structure.

The project utilizes this seemingly endless field to host a physical rehabilitation clinic, prosthetics lab, and dance theater that are grouped within circular and curved enclosures. Removing the existing exterior walls further emphasizes the horizontal connection to the remaining context.

Openings are cut through the roof to provide more natural light under the large structure. Programs are grouped and distributed across the field of the warehouse, within individual interior polycarbonate enclosures. Each enclosure occupies only half the height of the existing structure and utilizes another smaller substructure to support its enclosure.

WashU Approach

Walls and openings operate kinetically to flex and adapt to the use or occupation of the space. Public programs like walking and bike paths, basketball courts, and swimming pools occupy the exterior space between enclosures. Defined walking paths ramp from the ground floor to the halfheight elevation of the warehouse, providing a distinct experience from the ground level.

The ground plan allows people to wander freely within and around the defined space of the enclosures. An unobstructed view of the entire warehouse and the endless field of its structure is available from the upperlevel paths.

436

Master of Architecture

437

616 Degree Project building : Body

WashU Approach

Adrian Luchini

438

SP19

Rachel Burch

25’

Master of Architecture

439

50’

scale: 1’-0” = 1/16”

616 Degree Project building : Body

Adrian Luchini

SP19

roof

surfa

ce

cu

t in

to

roof

tra

nspa

rent

de

ckin

g

gird

ers

roof

/ jo

ist

surfa

s/

ce

ne

w

skat

sub-

s/

roof

stru

ctur e

elev

ated

pa

ths

stru

ctur e

ep

ark

ba

sket

ba

ll co

urts gree

nspa

ce

flo

or

tra

nspa

rent

lap

+ le

isu

re

po

ols op

aq

WashU Approach

440

ue

en

clos

ure

en

clos

ure

sla

b/

co

lum

ns

/ la

tera

l br

ac

ing

Rachel Burch

Master of Architecture

441

Adrian Luchini SP19 Raymond E. Maritz Professor of Architecture

616 Degree Project

Architecture of Umwelt Hui Yang Architecture and landscape are interwoven in this project around the theory of “umwelt,” the environment as it is experienced by a particular organism.

Although all species live in the same physical world, each has very different experiences due to their unique sensory apparatus, interests, education, and circumstances. This project proposes a hybrid program based on understanding the umwelt (pattern) of children undergoing treatment in a cancer rehabilitation center and nesting birds in an urban habitat.

Hudlin park, on the east side of Forest Park in St. Louis, Missouri, used to be an essential habitat for migratory birds. Rapid growth in the 1950s isolated it from the rest of the park, transforming it from a natural site into a highly developed area, which is now located beside Barnes Jewish Hospital.

The first goal for this project is to recreate a bird-friendly environment based on their preferred umwelt. Layering mature trees with small trees, shrubs, and ground cover creates a buffer against urban interruptions.

Layers of structural diversity and a small lake are designed to provide food.

The rehabilitation center is treated as part of the topography and follows the edge of the forest. A large portion of the first floor is an open canopy, allowing birds to fly across it. To help child cancer patients maintain as much of a regular routine WashU Approach

as possible, classrooms, playgrounds, workshops, training rooms, a cafeteria, and bird observation rooms are included on the first floor and provide opportunities for studying and peer interaction. The building’s elongated shape allows daylight to permeate and exposes views so children can observe nature and birds in their habitat, offering a source of mindful distraction and helping children maintain hope.

442

Master of Architecture

443

616 Degree Project Architecture of Umwelt

WashU Approach

Adrian Luchini

444

SP19

Hui Yang

Master of Architecture

445

616 Degree Project Architecture of Umwelt

WashU Approach

Adrian Luchini

446

SP19

Hui Yang

Master of Architecture

447

Seminars Selection

WashU Approach

448

Zachary Hantak

Architectural Representation I Architectural Representation II Fabricated Drawings Expanding Skin Building Systems Into Detail: Architectural Detail, Up Close and In Context The Thin Side of Concrete Documenting Le Corbusier

Informing and enriching the studio experience for students in the Master of Architecture program are courses in architectural history and theory, building technology and structural principles, urban design, professional practice, and representational and digital media studies. Great emphasis is placed on a student’s ability to integrate and synthesize the information in these courses into appropriate architectural form in the design studio.

Master of Architecture

449

Seminar

Don Koster Alex Waller (Coordinator)

Architectural Representation I This course examined the history, theory, and practice of representation, specifically the systems of drawing used in architecture.

The objective was to develop the requisite discipline, accuracy, and visual intelligence necessary for conceptualizing and generating a relationship between space and form. Rather than a translation of reality, representation operates between perception and cognition as a transcription of reality and is thus a powerful instrument in the design and making of architecture. The relationship between the drawing forms and the tools used to produce them are brought into focus as manual, digital, photographic, and physical applications driven by drawing intentions.

Students in this course focused on two concurrent tasks: first to outline and analyze the historical development of representational logics and their effect on architectural ideation, and second to explain the codification and usage of specific geometries, including orthographic and isometric projection, central and parallel perspective, and architectural axonometric.

The course was organized as a lecture/lab with emphasis on practice of manual and photographic applications.

WashU Approach

450

FA18

Yi Wang

Master of Architecture

451

Seminar Architectural Representation I

WashU Approach

Don Koster Senior Lecturer

452

FA18

Yi Wang

Master of Architecture

453

Seminar Architectural Representation I

WashU Approach

Don Koster

454

FA18

Xinfei Tao

Master of Architecture

455

Seminar Architectural Representation I

WashU Approach

Alex Waller Lecturer

456

FA18

Gary Lee

Master of Architecture

457

Seminar Architectural Representation I

WashU Approach

Alex Waller

458

FA18

Kelly Gill

Master of Architecture

459

Seminar

Kelley Van Dyck Murphy Constance Vale (Coordinator)

SP19

Architectural Representation II Image Fictions: Realism and the Aesthetics of Doubt Architects too often “equate realism with reality,” rather than recognizing realism’s capacity to conflict with and throw reality into question (Michael Young, “The Estranged Object,” 2015, p. 26). Instead of aspiring to photorealistic techniques in an attempt to represent reality as such, this course examined the political potential of realism’s aesthetic realm.

Each project is an image-based narrative that confronts the political, technological, or environmental issues of a contested territory. Students researched and documented an existing architectural infrastructure that intersects with a complex set of contemporary issues. These included: the U.S.–Mexico border crossing, Kaesong Checkpoint between North and South Korea, Charles de Gaulle Airport, Terminal 5 of John F. Kennedy International Airport, INMOS microprocessor factory, the U.S. military’s Stanley R. Mickelsen Safeguard Complex, the CargoLifter Airship Hangar, the Holland Tunnel, Grande Dixence Dam, Hoover Dam, Viamala-Brücke, and the Aquapolis.

Undertaking a fictional archaeology of possible histories and futures, students produced hyper-articulated totems that retain a majority of the DNA needed to build the original architectural infrastructure.

Operating within the visual vocabulary and WashU Approach

material constraints of one electronic image type and one image type tied to mechanical reproduction, students rendered and transformed their selected territory. As such, qualities crossed from the material realm of the image to that of the implied picture.

460

Gary Lee

Master of Architecture

461

Seminar Architectural Representation II

WashU Approach

Constance Vale Assistant Professor

462

SP19

Gary Lee

Master of Architecture

463

Seminar Architectural Representation II

WashU Approach

Constance Vale

464

SP19

Yi Wang

Master of Architecture

465

Seminar Architectural Representation II

WashU Approach

Kelley Van Dyck Murphy Assistant Professor

466

SP19

Claude Luo

Master of Architecture

467

Seminar Architectural Representation II

WashU Approach

Kelley Van Dyck Murphy

468

SP19

Yuzhu Wang

Master of Architecture

469

Seminar

Fabricated Drawings This seminar focused on digital fabrication tools, techniques, and image theory to uncover new methods for producing physical drawings. Today, images are built using a myriad of methods from physical media or data. As defined in the context of this seminar, physical drawings were meant to transcend a 2D limitation to develop thickness: increasing to 2.5D or 3D opens opportunities to investigate the use of digital fabrication tools for constructing drawings.

In particular, students focused on the way information technology continues to have a profound effect on how the built environment is perceived and represented.

The images that surround us are becoming increasingly easy to generate through information technology. Access to technology, both in terms of digital design and output, affords the opportunity to reconceive the nature of images. Images are developed through analog, digital, or hybrid processes. Their generation is a collaborative interaction between intuition and information processes using clearly defined rules.

The scientific theoretician, Peter Galison, discusses the tension between intuition and information on the nature of images in the arts and sciences. Images reveal the intricacy of relations and knowledge, but are simultaneously deceptive because they bypass the mathematics of pure science. In the arts, this tension tends to exist between the intuitive, interpretive ability of the image WashU Approach

Chandler Ahrens Associate Professor

FA18

as representation versus the image as evidence of a computation-based process.

Architectural theoretician Mark Linder talks about how images in architecture are moving away from representations of something else toward the more literal and non-idealized result of a procedure. The image is literally the process of making visible the end result of an operation; therefore, images are the evidence of the process by which they were generated.

470

Yijing Ling Andrea Trinkle

Master of Architecture

471

Seminar Fabricated Drawings

WashU Approach

Chandler Ahrens

472

FA18

Yijing Ling Andrea Trinkle

Master of Architecture

473

Seminar Fabricated Drawings

WashU Approach

Chandler Ahrens

474

FA18

Chang Jiang Derek Luth

Master of Architecture

475

Seminar

Expanding Skin In the 1957 text, “The Pliable Plane: Textiles in Architecture” (1957), Anni Albers wrote, “If we think of clothing as a secondary skin we might enlarge on this thought and realize that the enclosure of walls in a way is a third covering, that our habitation is another ‘habit.’” Here Albers proposed the concept of skin as an inhabitable layer, first as a covering for the body and then as an expanded layer of enclosure.

This seminar explored Albers’ concept of a second skin by developing new strategies for constructing complex surfaces at the scale of the human body, particularly in the context of digital fabrication and computational design. Emphasis was placed on assemblies that yielded innovative visual or tactile effects while also engaging specific material performance. How can we design with a focus on performative pattern that can enclose the body and its structural and geometric complexities? How can we conceive of patterns that are not disrupted by these complexities, but rather enhanced by them?

The course included lectures, readings, and seminar discussions, as well as tutorials, iterative material investigations, 3D digital modeling, and digital fabrication.

Student projects focused on the design of inhabitable, layered constructions while engaging constructive techniques from both the fashion and architectural disciplines.

Students experimented with materials and developed innovative construction methods WashU Approach

Kelley Van Dyck Murphy Assistant Professor

FA18

that engaged digital fabrication tools such as the 3D printer, laser cutter, and CNC mill for producing a second skin in the form of a textile for the human body.

476

Haey Ma

Master of Architecture

477

Seminar Expanding Skin

WashU Approach

Kelley Van Dyck Murphy

478

FA18

Haey Ma

Master of Architecture

479

Seminar Expanding Skin

WashU Approach

Kelley Van Dyck Murphy

480

FA18

Rachel Reinhard

Master of Architecture

481

Pablo Moyano Assistant Professor

Seminar

Building Systems Understanding common and new materials, assemblies, and methods applied to the realization of actual buildings constituted the fundamentals of this course on contemporary building practices. Students integrated building processes by examining a building’s structural, enclosure, and finish components. Students researched and learned about building methodologies including theories and concepts, realworld applications, material and physical properties, common dimensions, manufacturing processes, assembly, environmental performance, and general design issues.

Using a specific building precedent, students initiated a process of inquiry around the conceptual architectural ideas behind the building configuration. This was followed by an analysis of the building and its cultural, geographic, and climatic context. Students also investigated structural, enclosure, glazing, roofing, and finish systems. A strong focus was put on studying the building enclosure through making wall sections and details. Additionally, students explored how contemporary technologies and new materials contribute to the development and performance of innovative building enclosures. A series of lectures, assignments, and in-class discussions around other important topics related to building design and materialization were explored. These included building codes, life safety, universal design, industry standards, and sustainability.

WashU Approach

FA18

Faculty Assistants: Mike Benz, Vessel Architecture; Ian Cook, Hellmuth + Bicknese Architects; Shaun Dodson, Trivers Associates; Pavel Ivanchuk, Osnova Architecture; Elise Novak, CannonDesign; Jason Dale Pierce, Jacobs; Frederick Stivers, artist; Ross Welch, Trivers Associates.

482

John Dan Adrian Anak Christopher Taili Zhuang

Master of Architecture

483

Seminar Building Systems

WashU Approach

Pablo Moyano

484

FA18

Taylor Clune Derek Luth Joseph Mueller

#1 12 7 OSB SPLINE WITH FASTENERS PANEL SCREWS 24” O.C. SELF-ADHERED ROOF UNDERLAYMENT HURRICANE TIES DOUBLE TOP PLATE 2X10 WHITE OAK ROOF TRUSS

T.O. EAVE 21' - 4 7/8" ROOF BEARING 21' - 4 7/8"

#2 #3

#4

TONGUE AND GROOVE RECLAIMED WOOD FLOORING

T.O.W. FDN 11' - 8"

SHEATHING UNDERLAYMENT 11 87 ” NORDIC FLOOR JOIST 24” O.C.

T.O. WALL 10' - 8"

JOIST BEARING 9' - 5 1/2"

#5 ACOUSTIC SUSPENDED CEILING RIM JOIST

BASEMENT WINDOW HEAD 8' - 2 1/4"

BENTONITE WATERPROOFING 6”CONCRETE PAD 4” GRAVEL BED GRAVEL INFILL DRAIN PIPE

#6 BASEMENT WINDOW SILL 3' - 6"

36” X 12” CONCRETE FOOTING #4 REBAR EXPANSION JOINT

1 1/2” RIGID INSULATION

6” RETAINING WALL & FOOTER 6” CONCRETE SLAB

BASEMENT 0' - 0"

WALL SECTION

SOUTH ELEVATION SCALE | 1 21 ” = 1’ - 0”

SCALE | 1 21 ” = 1’ - 0” 0'

#1 SKYLIGHT

1'

2'

4'

#3 WINDOW HEAD

#5 WINDOW HEAD ACOUSTIC GYPSUM BOARD VAPOR BARRIER HEADER - (3) 2X12 & 1/2” SHEATHING 3/4” SHEATHING 1 1/2” ROCKSOL MINERAL WOOL ROLLED ON MOISTURE BARRIER 2X6 STUD WALL W/ SPRAY IN CELLULOSE SOLE PLATE ANCHOR BOLT 8” CAST-IN-PLACE CONCRETE

WOOD TRIM

2” RIGID INSULATION

1/2” VERTICAL FURRING STRIPS OPERABLE SKYLIGHT

4” CAST-IN-PLACE CONCRETE

SHIP-LAP WOOD SIDING

FLASHING

AWNING WINDOW

WOOD BLOCKING

(2) 2X6

TRIPLE PANE GLAZING

AWNING WINDOW

STANDING SEAM METAL ROOFING SIPS PANEL YELLOW PINE PANELING

#2 GUTTER Master of Architecture

485

#4 WINDOW SILL

#6 WINDOW SILL

Seminar Building Systems

WashU Approach

Pablo Moyano

486

FA18

Muzi Dong Yihang Guan Dayong Hu A

1/4" / 1'-0"

SHEETING WEATHTER BARRIER 1'' RIGID INSULATION 2'' METAL PANEL RAIN CHAIN

ROOF MEMBRANE PROTECTION BOARD CORRUGATED STEEL DECK HSS 12 BEAM HSS 6x6 BEAM 2*6'' STEEL COLUMN

10'-4"

CONCRETE PAVER

TAPERED RIGID INSULATION PEDESTAL SYSTEM 1 1/2'' SST TOP RAIL 3/4'' SST ROD MECH GRILLE SST MESH INFILL PANEL 2 1/2'' CONCRETE TOPPING ROOF VEGETATION TRAYS

RIGID INSULATION

3/4'' SST ROD TERM BAR (TPO) ROOF MEMBRANE (TPO) 1/2'' PROTECTION BOARD RIGID INSULATION CONCRETE POST-TENSION SLAB RUBBED FINSH 2 STACKED MULLIONS

1/2 '' GYPSUM BOARD

12'-4"

3 5/8'' METAL STUD

1 1/2'' SST TOP RAIL 3/4'' SST ROD

SST MESH INFILL PANEL

FLUID APPLIED INSULATIVE COATING

1 8"/1'-0"

3/4'' SST ROD

HEADWALL

KAWNEER 601T G'' STOREFORNT

59'-8"

10'-2"

RIGID INSULATION

2 1/2'' CONCRETE TOPPING

JOINT FILLER

RIGID INSULATION CONCRETE POST-TENSION SLAB

11'-7"

CONCRETE POST-TENSION SLAB RUBBED FINSH

HYBRID ALUMN/WPC SCREEN

TRAFFIC BARRIER CABLE RAILING

WHEEL STOP

1 8"/1'-0"

GALVANIZED STEEL SUPPORT

HEADWALL FOIL FACED RIGID INSULATION

KAWNEER 601T G'' STOREFORNT

15'-3"

COORD. CHANNEL

WATER PROOFING

RECESSED ENRTY MAT CONCRETE SLAB 2'' RIGID INSULATION

PROTECTION BOARD DRAINAGE MAT DRAIN TILE

VAPOR BARRIER GRAVEL EARTH

1 8"/1'-0"

ELEVATION SCALE:1’’ = 1’-0’’

A

A-A SECTION SCALE:1’’ = 1’-0’’

Master of Architecture

487

Sarah Cremin Visiting Professor

Seminar

Into Detail: Architectural Detail, Up Close and In Context This seminar considered the detail in architecture in a theoretical as well as a technical way, exploring its place in architectural discourse. Using a number of 20th and 21st-century houses as a vehicle of exploration, students were introduced to a variety of ways of reading, interpreting, and representing the detail.

With the goal of understanding the house in its broadest context—considering location, climate, culture, and client—students researched a selected house, questioning the selection of materials, the design, the construction, the scale and dimensions, and if and how the detail relates to the overall concept. A selected detail was then represented to convey their understanding and interpretation of that house according to a prescribed layout. Finally, students independently researched a house of their choosing, selecting an element to represent with a large-scale detail model.

WashU Approach

488

FA18

Samuel Bell-Hart

Master of Architecture

489

Seminar Into Detail

Sarah Cremin

FA18

Windows at Main Bedroom 1”=1’

Windows at Main Bedroom 1”=1’

WashU Approach

490

Samuel Bell-Hart

Bathub and Daybed .125”=8”

Bathub and Daybed .125”=8”

Master of Architecture

491

Pablo Moyano Assistant Professor

Seminar

SP19

The Thin Side of Concrete Today, building enclosures are sophisticated assemblies conceived through complex processes that merge design, science, and craft. The outermost layer of the exterior wall is the most exposed to natural forces and therefore needs careful attention. Its performative aspects must work effectively over the lifetime of the building, and the design must also be evaluated in terms of function, aesthetics, feasibility, maintenance, and cost.

Concrete has a long history as a building material, dating back to the Romans. It has also provided modern architecture with a versatile material for exploring new kinds of structures and assemblies. In the last few decades, the use of precast concrete has grown due to its strength, durability, resiliency, and cost. As new technologies have emerged, concrete has experienced several improvements, among which the reduction in thickness is perhaps the most remarkable. Emerging technologies have stretched concrete to unprecedented thinness, diminishing its weight while maintaining its strength and integrity.

This seminar focused on the use of thin-shell concrete assemblies as a performative part of building envelopes.

Students conducted research and analyzed historic and contemporary uses of concrete in building precedents. They then identified a specific environmental condition for their enclosure to respond to, and advanced their design through detail drawings and study WashU Approach

models. In the final phase of the course, students made molds for and casted fullscale concrete mockup assemblies.

492

Tyler Bassett Paul Clark Liqiang Huang

Master of Architecture

493

Seminar The Thin Side of Concrete

WashU Approach

Pablo Moyano

494

SP19

Samuel Bell-Hart Nicholas Gori Alexis Raiford

Master of Architecture

495

Seminar The Thin Side of Concrete

WashU Approach

Pablo Moyano

496

SP19

Jack Freedman Jairo Laverde Marco Pinheiro

Master of Architecture

497

Sung Ho Kim Professor

Seminar

Documenting Le Corbusier In this design research seminar, students made digital and physical models of some of the architectural design projects of the renowned French-Swiss architect Le Corbusier (1887–1965). Students worked individually and in teams to produce drawings and physical models of built projects such as the Sainte Marie de La Tourette monastery (1953), as well as unbuilt designs such as the League of Nations headquarters (1926).

WashU Approach

498

SP19

Muzi Dong

Master of Architecture

499

Seminar Documenting Le Corbusier

WashU Approach

Sung Ho Kim

500

SP19

Muzi Dong

Master of Architecture

501

Seminar Documenting Le Corbusier

WashU Approach

Sung Ho Kim

502

SP19

Yu Chen

Master of Architecture

503

Master of Landscape Architecture Student Work

504

401 Landscape Architecture Design I Jacqueline Margetts 402 Landscape Architecture Design II Eric Ellingsen 501 Landscape Architecture Design III Micah Stanek 502 & 602 Landscape Architecture Design IV Rod Barnett 601 Landscape Architecture Design V Eric Ellingsen Seminars Rod Barnett L. Irene Compadre Eric Ellingsen Eric Kobal Micah Stanek

505

401

Landscape Architecture Design I Core Studio

WashU Approach

506

Instructor Jacqueline Margetts

Speciesism Humans live in an invertebrate world: more than 97 percent of all known animal species have no backbone and, of these, the vast majority are insects. On the whole, landscape architecture has ignored insects in favor of mammalian and avian fauna, yet insects have the largest biomass of all terrestrial animals. While some insects, such as the monarch butterfly and the honey bee, are singled out for special attention, humans are generally oblivious to the bulk of the Arthropoda. This studio addressed the charge of myopic speciesism by sidestepping charismatic species and emphasizing the role that more obscure or less “agreeable� species play in the complex ecologies essential to healthy ecosystems.

In this, the first studio of the master of landscape architecture program’s sequence, students had the opportunity to incorporate complex, insectbased ecosystems into the design of green infrastructure. Just to the south of the Gateway Arch grounds in St. Louis is a crumbling, long-neglected, historic industrial district that is physically isolated from the greater urban context by elevated interstates, rail lines, and the bulky Mississippi floodcontrol wall. Students speculated on the reformation of this terrain as a performative mixed business and residential center. They explored how the site could function in a completely new way, supporting the city by providing a complementary arthropodal infrastructure based on living systems that avoid myopic reliance on a few privileged species.

Master of Landscape Architecture

507

401 Core Studio Landscape Architecture Design I

WashU Approach

Jacqueline Margetts Senior Lecturer

508

FA18

John Whitaker

Master of Landscape Architecture

509

401 Core Studio Landscape Architecture Design I

WashU Approach

Jacqueline Margetts

510

FA18

John Whitaker

Master of Landscape Architecture

511

401 Core Studio Landscape Architecture Design I

WashU Approach

Jacqueline Margetts

512

FA18

John Whitaker

Master of Landscape Architecture

513

401 Core Studio Landscape Architecture Design I

Jacqueline Margetts

Precedent study: Syrup Maker

Detail Drawings

Steps with platform 1/2 inch 3 inches

WashU Approach

514

FA18

Yiru Wang

Autumn

Spring

Master of Landscape Architecture

515

401 Core Studio Landscape Architecture Design I

WashU Approach

Jacqueline Margetts

516

FA18

Yiru Wang

Master of Landscape Architecture

517

402

Landscape Architecture Design II Core Studio

WashU Approach

518

Instructor Eric Ellingsen

Play Again: Landmarks “Play Again” is a trifold approach to learning involving: a) play and games as social engagement tools for cultivating participant trust or “buy-in”; b) performance and experience of a central idea, a core concept for building a common language and communication tool across design disciplines, both public and counter-public; and c) graphic translations of core concepts across disciplinary languages into a common, socially-centered, equitable approach to design in public space. This pedagogic approach is summarized as doggie-paddle design 101: Throw students into a contentious public design question currently affecting the world and where they live, take them into that space, and have them learn how to stay afloat as they go.

Research lattices twist real lives with beguiling legacies and atrocious memories—recognized and unrecognized—that converge and materialize in the American landscape today. In “Play Again”, ars memorea is at stake, the art of (public) memory. Blind trainers and teachers at the Missouri School for the Blind, a community partner, trained students in the art of not seeing while still understanding; finding their way when they cannot see a way forward and backward. Sociologist David Cunningham joined the play for an intensive three-day research excursion to Stone Mountain, Georgia, which boasts the largest confederate memorial in the United States (and largest bas-relief carving in the world). “Americans,” as James Baldwin writes, still “suffer from an ignorance which is not only colossal, but sacred.”

Students also enacted, and literally acted, readings of Lorraine Hansberry’s play “A Raisin in the Sun” at various locations throughout St. Louis, such as in the traffic medium on Grand Avenue. Eating raisins, sharing tea, and reading aloud together gave the class a way to re-approach non-hierarchical, lateral teaching models that engage current and historic conversations around race and gender as they intersect with American urban landscapes. (Thank you to Adrienne Brown, Vice-Chancellor of Washington University and Ambassador of the Why, who recommended this play.) As play cultivates new instruments for design as a civic muscle, innovative design Master of Landscape Architecture

519

402 Core Studio Landscape Architecture Design II

WashU Approach

SP19

520

Yuhao Ji

organons spark. The design objective was to render the world more real, rather than to merely make renderings of it.

These terms converged as design ideas experienced in an embodied, apperceptive way. Research was enacted across three scales: a) The Historic Body—public memory, culture, research specifics of site, and communities. b) The Park Body—mapping eyes/seeing, ears/hearing, mechanical and self-locomotion, urban infrastructure, the far-out. c) The Garden Body—the nearby mappings engaging taste, smell, touch; the contract of foot-steps to grade.

With climate change upon us, vast alters of oikos are at stake. Homeanomalies and other inevitable ecologies and economies, defining and undefining us, are reapproached through new optics and tools of landscape architecture. Unlike the way a person should approach a large cat, landscape architecture pedagogy looks life in the eye. It is a living bridge between different disciplinary languages, techniques, and the world. “Play Again” studio sharpened these world-touching tools.

Ambassadors of the Why: David Cunningham, Carlie Lee, & Timothy Cobb (Missouri School for the Blind); Richard Rose (NAACP Atlanta); J. W. Joseph, Mary Beth Reed, Pam Enlow DeVore, & Diana Valk (New South Associates); Martin Felsen, Adrienne Davis, Geoff Ward, Liz Kramer, Kristin Fleischmann Brewer, Rod Barnett, Micah Stanek, Amela Parcic, Lynn Peemoeller, Gavin Kroeber, Gia Daskalakis, Brea McAnally, Tim Portlock, Petra Kempf, Laura Ginn, Linda C. Samuels, Constance Vale, and Lauren McDaniel.

Master of Landscape Architecture

521

402 Core Studio Landscape Architecture Design II

WashU Approach

Eric Ellingsen Assistant Professor

522

SP19

Jinhui Lyu

Master of Landscape Architecture

523

402 Core Studio Landscape Architecture Design II

Eric Ellingsen

SP19

Se io

ct n A io

ct

Se n B

WashU Approach

524

Yiru Wang

Section C

Master of Landscape Architecture

525

501

Landscape Architecture Design III Core Studio

WashU Approach

526

Instructor Micah Stanek

Confluences: Fort Defiance and Its Hinterlands [T]he grandeur of the place fell short of what one would suppose or expect from the conjunction of two such mighty rivers, draining so much of the world’s surface; but while, as they said, there was no high elevation from which one could view the approaching and uniting rivers, there was yet that strange but well-known feeling arising at the sight of the giant-like streams coming together and uniting their forces to march onward to the sea.

—John M. Lansden paraphrasing Major Long’s 1819 description of the Mississippi and Ohio Rivers Confluence in “A History of the City of Cairo Illinois” (2009, p. 40).

Fort Defiance—once a Union military camp, now an afterthought of a state park—defies nothing. The landscape is passive, rigid, and unremarkable. The green rectangle does not reveal or engage its significance as the confluence of two of North America’s most “mighty rivers.” This makes Fort Defiance State Park an ideal site for challenging landscape ideas such as the park, the memorial, the river economy, the political boundary, and the site itself.

The studio situated this regional landscape in a global context to understand “site” as a confluence of global flows.

The Mississippi River is a system of confluences. From the headwaters in Minnesota, the river encounters and combines its 167-odd tributaries as it meanders 2,320 miles to the Gulf of Mexico. The watershed spans from the Rockies to the Appalachian Mountains, connecting Three Forks, Montana to Pittsburgh, Pennsylvania. Through portages and canals, humans have further connected the Mississippi River to the Great Lakes and the Atlantic Ocean. The river system supported thousands of years of human settlement before it became strategic in the colonization of North America and essential in the establishment of early American settlements and trade patterns.

Though railroads and highways superseded river trade in the 19th and 20th centuries, the river system still sees more than 500 million tons of shipped goods per year, connecting the Mississippi to the rest of the world.

Master of Landscape Architecture

527

501 Core Studio Landscape Architecture Design III

WashU Approach

FA18

528

Virginia Eckinger

[C]ontexts imply other contexts, so that each context implies a global network of contexts. —Arjun Appadurai, “Modernity at Large: Cultural Dimensions of Globalization� (2011, p. 187).

The mingling of the Mississippi and Ohio rivers at this site implies other confluences. Students were challenged to understand the site in terms of its nested hinterlands, studying ecological, cultural, and economic flows throughout the river system and over time. They also investigated the site in terms of global trends.

Traveling down river roads from Grafton, Illinois to New Orleans, students contemplated shifting patterns of migration, production, trade, and ideology along the river. Drift materials served as evidence of the hinterland, and found materials were used to study the production of space in an implicated landscape. Challenging the static, pastoral landscape, students projected futures for the state park that were productive, contingent, and perhaps even defiant.

Master of Landscape Architecture

529

501 Core Studio Landscape Architecture Design III

WashU Approach

Micah Stanek Lecturer

530

FA18

Virginia Eckinger

Master of Landscape Architecture

531

501 Core Studio Landscape Architecture Design III

WashU Approach

Micah Stanek

532

FA18

Virginia Eckinger

Master of Landscape Architecture

533

501 Core Studio Landscape Architecture Design III

WashU Approach

Micah Stanek

534

FA18

Dongzhe Tao

Master of Landscape Architecture

535

501 Core Studio Landscape Architecture Design III

WashU Approach

Micah Stanek

536

FA18

Dongzhe Tao

Master of Landscape Architecture

537

502& 602 Landscape Architecture Design IV Core Studios WashU Approach

538

Instructor Rod Barnett

Landscapes of Science: Designing the Missouri River Valley Scientific endeavor has a long history of entanglement with landscape making. Botanical gardens, sheep farms, battlefields, coal mines, hydrolakes, orchards, conservation estates, zoos, railroad corridors, and many other technological landscapes attest to the contested relations between technical practices and environmental change. Of special interest is the convergence of knowledge production and aesthetic categories.

This studio, which combined second and third year landscape architecture students, investigated the relationship between scientific practices and the construction of local knowledge through the study of the lower Missouri River Valley. This fertile, shifting terrain has been the site of encounter between humans and nonhumans for millennia. But what is the future of the valley? Small farming and wine making are still at the heart of economic production, but this is not enough. Towns along the river are turning to tourism to bring in much-needed revenue, and farms are struggling to survive. The economic recovery that tourism portends is starting to change the face of the valley.

This studio sought alternative land-use practices to both develop destinations and reimagine the valley system as a network of productive opportunities, projects, and ventures that could reformulate the way its people work the land. Students investigated new farming practices, ecological restoration, scientific gardens, and afforestation projects as catalysts for sustainable development, linking local initiatives to nonprofit organizations and research institutions, among many other possibilities. The Missouri River Valley is well known for its beautiful landscapes. Its scenic values are a product of land-use practices.

Students in this studio affirmed the ongoing production of local knowledge through environmental practices by staging a new kind of encounter between science and aesthetics based on the braided heritage of technical landscape formation, tested through recent innovations in landscape design.

Master of Landscape Architecture

539

502 & 602 Core Studios Landscape Architecture Design IV

WashU Approach

Rod Barnett Professor

540

SP19

John Whitaker

Master of Landscape Architecture

541

502 & 602 Core Studios Landscape Architecture Design IV

WashU Approach

Rod Barnett

542

SP19

John Whitaker

Master of Landscape Architecture

543

502 & 602 Core Studios Landscape Architecture Design IV

WashU Approach

Rod Barnett

544

SP19

Yinghua Hua

Master of Landscape Architecture

545

502 & 602 Core Studios Landscape Architecture Design IV

WashU Approach

Rod Barnett

546

SP19

Yinghua Hua

Master of Landscape Architecture

547

601

Landscape Architecture Design V Core Studio

WashU Approach

548

Instructor Eric Ellingsen

Freaked Landscapes “How can we contain some of the deadliest, most long-lasting substances ever produced? Toxic remnants from the Cold War remain in millions of gallons of highly radioactive sludge, thousands of acres of radioactive land, tens of thousands of unused hot buildings, and some slowly spreading deltas of contaminated groundwater. Governments around the world, desperate to protect future generations, have begun imagining society 10,000 years from now in order to create warning monuments that will speak across time to mark waste repositories.” Thus opens the award-winning documentary, “Containment,” (2017) directed by Peter Galison and Robb Moss.

Yet as early as 1992, the United States started collecting interdisciplinary teams (well before “interdisciplinary” became a key word), to visualize and design material communication scenarios for a deep nuclear waste repository in New Mexico known as the Waste Isolation Pilot Plant (WIPP).

“The Sandia National Laboratories charged a panel of outside experts with the task to design a 10,000-year marking system …” The message: IF YOU STAY HERE YOU WILL DIE. To date, there are no viable material solutions anywhere in the world.

It is estimated that languages deteriorate at the rate of 95 percent over the course of 10,000 years. Explicit to the terms of the nuclear marker communication system is that the message must not rely on words. Instead, a continuous durational material system must be designed. It is thought that this material system must include an immersive environment, a social ritual, and a way of evolving a linguistic message that the body can understand through experience. In other words, design, science, art, language, and technology must converge into a mesh of interwoven materiality to articulate an intractable ecological, human condition that will exist with certainty in all possible uncertain global futures.

During the semester, the studio partnered with Just Moms STL, a nonprofit group uniting against a radioactive waste site in their community of West Lake in Bridgeton, Missouri. Students were paired with members Master of Landscape Architecture

549

601 Core Studio Landscape Architecture Design V

WashU Approach

FA18

550

Rory Thibault

of the community, people whose lives are immediately affected by the burial of nuclear waste. These ethnographic encounters formed the spine along which research and design for each material narrative emerged. Final projects took the form of immersive installations and video trailers.

This studio was supported in part by a 2018–2019 St. Louis Project Grant from the Gephardt Institute for Civic and Community Engagement, Washington University in St. Louis.

Master of Landscape Architecture

551

601 Core Studio Landscape Architecture Design V

WashU Approach

Eric Ellingsen Assistant Professor

552

FA18

Zhuoying Chen

Master of Landscape Architecture

553

601 Core Studio Landscape Architecture Design V

WashU Approach

Eric Ellingsen

554

FA18

Zhuoying Chen

Master of Landscape Architecture

555

601 Core Studio Landscape Architecture Design V

WashU Approach

Eric Ellingsen

556

FA18

Rory Thibault

Master of Landscape Architecture

557

601 Core Studio Landscape Architecture Design V

WashU Approach

Eric Ellingsen

558

FA18

Rory Thibault

Master of Landscape Architecture

559

Seminars Selection

WashU Approach

560

John Whitaker

Landscape Architectural Representation I Modern and Contemporary Landscape Architecture Integrated Planting Design Representation II: Digital Tools Introduction to Planting Design: Designed Plant Communities

While the core courses establish the critical and creative frameworks of landscape architectural practice, the elective sequence explores evolving issues in emerging zones of landscape architectural knowledge and endeavor. This sequence is designed to extend investigations initiated in the core courses into alternative models of researching and producing landscapes.

Master of Landscape Architecture

561

Seminar

L. Irene Compadre Lecturer

Landscape Architectural Representation I The beginning course in the master of landscape architecture representation sequence, this course explores how analogue, digital, and hybrid media can be used to study and communicate design concepts. Through a series of iterative projects, students work to develop proficiency in a variety of representational methods and materials, orthographic drawing conventions, methods for hybridizing media, styles of graphic expression, and composition strategies.

This course emphasizes each student’s critical exploration of representation as design thinking, composition as a narrative device, and the development of a specific representational agenda.

WashU Approach

562

FA18

Jinhui Lyu

Master of Landscape Architecture

563

421 Seminar Landscape Architectural Representation I

WashU Approach

L. Irene Compadre

564

FA18

Jinhui Lyu

Master of Landscape Architecture

565

Seminar Landscape Architectural Representation I

WashU Approach

L. Irene Compadre

566

FA18

Mengying Li

Master of Landscape Architecture

567

Micah Stanek Lecturer

Seminar

Modern and Contemporary Landscape Architecture This course surveyed landscape architecture practice, including built projects and theoretical currents, from the large park movement of the late 19th to early 21st-century practices. Weekly topics, related to landscape discourse through time, structured the course. In one sense, the topics formed a linear history of landscape architecture; at the same time, the course drew connections and criticisms among texts, projects, and contemporary frameworks. Each week, the course provided a number of critical perspectives on landscape architecture.

Together, instructor and student analyzed a predominantly Western history of landscape architecture, questioning what has been included and what has been excluded in dominant narratives. The course surveyed primary and secondary sources with an interest in their scholarly lineages, while also interrogating the notion of lineage in the production of landscapes. Students looked at how global transformations in social, environmental, economic, and technological realms have affected landscape discourse and practice.

WashU Approach

568

FA18

Jinhui Lyu

Master of Landscape Architecture

569

Seminar Modern and Contemporary Landscape Architecture

WashU Approach

Micah Stanek

570

FA18

John Whitaker

Master of Landscape Architecture

571

Seminar Modern and Contemporary Landscape Architecture

WashU Approach

Micah Stanek

572

FA18

John Whitaker

Master of Landscape Architecture

573

Rod Barnett Professor

Seminar

SP19

Integrated Planting Design Beautifully planted landscapes can transform the way we experience the world in which we live. From glowing, groundpiercing lilies to broad-crowned trees, the material and structural properties of plants can be combined in an infinite variety of ways to develop tonal, atmospheric, tactile, spatial, and chromatic environments that entrance and empower.

This course explored how the material qualities of plants can enter into affective associations with humans. Specific plant properties were used to generate designed landscapes rather than simply decorate them. How many types of shade are there, and how can the height and breadth of a tree, the size and thickness of its leaves, and their spatial arrangements be gathered into living architecture?

Students investigated the aesthetic agency of plants by studying them as individual specimens as well as within their natural communities. Particular attention was paid to the special continuum of growth and change the plant world offers human consciousness through the design of plant– human assemblages that emphasize spatial, textural, and chromatic plant attributes.

“A Garden in the Park” was designed for individual sites within Forest Park.

“Suburbia Transformed” involved a garden design for a public/private location near each student’s home. Three-dimensional drawings—developed from plant materials gathered from the sites—became the basis WashU Approach

of students’ first designs, while the second designs were generated from a mood board created using views of the suburban context in which students live.

574

Elizabeth Hambor

Master of Landscape Architecture

575

Seminar Integrated Planting Design

WashU Approach

Rod Barnett

576

SP19

Elizabeth Hambor

Master of Landscape Architecture

577

Seminar Integrated Planting Design

WashU Approach

Rod Barnett

578

SP19

Zhuoying Chen

Master of Landscape Architecture

579

Seminar

Eric Ellingsen Assistant Professor

SP19

Representation II: Digital Tools Outrageously magical things happen when you mess around with a symbol.

—David Hammons, artist Poems act as intensely crafted and curated conduits of culture and history. These conduits are person-, place-, memory-, and time-specific. However, poetry, and the humanities at large, are rarely approached as research tools for design topics. The pedagogic approach in this course was to engage meticulous graphic, structural analysis of poems to find the poetics that hold them together. This allowed a new approach to recognizing and reconnoitering the structural, material relationships that exist and emerge between measure, detail, accent, rhythm, repetition, breath, symbol, sign, cultural meme, and meaning.

Landscape topographies and surfaces emerged in the iteratively constructed, lofted linear analysis of a poem.

Through methodical analysis and graphic translation of contemporary Chinese and English poetry, students sought the structural, systematic, and quantifiable correspondences that could be visually articulated between the thing measured and the measuring system at hand. These studies then translated into selective and student-significant correspondences later performed in Tower Grove Park, where subjective emotional registers emerged from encountering site-specific history and culture through a poem.

WashU Approach

Committing the poems to heart and memory, students performed recitations, graphically notated features, and found the re-lines that run throughout. After thoroughly analyzing the rhythms and measures, students descended into Tower Grove Park at night wearing reflective tape along the flanks of their arms, legs, torsos, and feet. There, they repetitively performed one “dance move” that emerged from their analysis. Each student’s movement became a divining rod, a scientific instrument engaged in the generation of mapping that corresponds to the relational contract of body, place, ground, and gravity.

With Chang Jiang, graduate assistant, and Ambassadors of the Why, Tim Portlock, associate professor, and Petra Kempf, assistant professor.

580

Mengying Li

Master of Landscape Architecture

581

Seminar Representation II: Digital Tools

WashU Approach

Eric Ellingsen

582

SP19

Mengying Li

POEM IMAGINATION Macro Rendering

Master of Landscape Architecture

583

Seminar Representation II: Digital Tools

Eric Ellingsen

ORIGINAL POEM

SP19

NOTATIONAL DRAWING

9/11 psychological Report First second: open-mouthed in shock Second second: dump as a wooden chicken Third second: half-disbelieving Fourth second: convinced and undoubting Fifth second: passively watching from afar Six second: takig joy in others’ misfortune Seven second: taling of revenge Eighth second: worshiping outlaws Ninth second: astounded by faith Tenth second: suddenly remembered my younger sister lives in New York I hurry to make A long-distance phone call it doesn’t connect I rush to the computer go online and send an email same pronouncing pattern

as I type

break

“ Sister, sister

adverb show emotion verb produced by “it”

Are you still alive?

verb produced by author

Your older brother is woorried to death!”

NOTATIONAL SYMBOLS

INDIVIDUAL LINES

SURFACE

DRAWING MADE FROM SURFACE

WashU Approach

584

Jinhui Lyu

Master of Landscape Architecture

585

Eric Kobal Lecturer

Seminar

Introduction to Planting Design: Designed Plant Communities This course introduced students to the contemporary planting concept known as a “designed plant community.” Central to this concept is the strategy of layering plant species according to their evolved survival strategies. Landscape architect Thomas Rainer and landscape designer Claudia West are at the forefront of this topic. Their book, “Planting in a Post-Wild World: Designing Plant Communities for Resilient Landscapes” (2015, Timber Press), describes a designed plant community as “a translation of a wild plant community into a cultural language.”

Over the semester, students studied the primary layers of three widespread plant communities: grassland, shrubland, and forest. Following their studies, students reinterpreted these key layers for plant communities of their own design for various urban sites around Washington University’s campus.

WashU Approach

586

SP19

John Whitaker

Master of Landscape Architecture

587

Seminar Introduction to Planting Design

WashU Approach

Eric Kobal

588

SP19

John Whitaker

Master of Landscape Architecture

589

Seminar Introduction to Planting Design

WashU Approach

Eric Kobal

590

SP19

Xue Ying

Master of Landscape Architecture

591

Master of Urban Design Student Work

WashU Approach

592

711 Elements of Urban Design Patty Heyda Linda C. Samuels 713 Metropolitan Design Elements Viren Brahmbhatt Petra Kempf 714 Rand to Reef Rhizome John Hoal Jonathan Stitelman Andrea Godshalk Ferdi le Grange Seminar Petra Kempf

2018—2019

593

711

Elements of Urban Design Core Studio

WashU Approach

594

Instructors Patty Heyda Linda C. Samuels

The Future Great City of the World St. Louis alone would be an all-sufficient theme; for who can doubt that this prosperous metropolis is destined to be one of the mighty centers of our mighty Republic?”

—Charles Sumner from L. U. Reavis, “St. Louis: The Future Great City of the World” (1871) Detroit is closer to its future than we imagine.

—Detroit Future City, 2012 This interdisciplinary, systems-based urban design studio emphasizes the interconnectivity of macro to micro level systems—megaregion, city, district, neighborhood, block, and lot—and their spatial, social, and environmental design opportunities. Hybridizing strategies from landscape architecture, architecture, and urban design, students utilize the tenets of infrastructural urbanism to develop next generation, integrated design solutions that explore sustainable, innovative, and creative proposals for revitalizing cities of the former rust belt.

Unlike trendy coastal cities with skyrocketing property costs, peak traffic, and fierce competition for space, renegade cities with a DIY culture and adventurous leadership are experimenting with new forms of planning, design, and infrastructure. These cities are petri dishes for demonstration projects that can be tested, iterated, and exported to other contexts. Detroit is our petri dish; St. Louis is our target context; design proposals for catalytic new infrastructural moments of intensity are our opportunities to project the city’s next future.

Mapping comparative aspects of St. Louis and Detroit, students focused on the interrelationships between urban systems (water, waste, energy, food, mobility, information, power, ecology) and the characteristics that connect and contrast the two cities. By charting the infrastructural milestones that define these places, physically and otherwise, students sought projective Master of Urban Design

595

711 Core Studio Elements of Urban Design

WashU Approach

FA18

596

Jennifer Hohol / Rachel Madryga

opportunities for transformation or creation. What are these cities getting right and why? Where are the biggest needs and opportunities? Empirical observations from site visits supplemented electronic, quantitative research.

In addition, students analyzed case studies as models of infrastructural intervention.

Students then applied lessons learned from their initial analysis, assessment of cases, and city tours to sites of intervention in St. Louis. Final projects incorporated a micro/macro intervention instigated from points of intensity where multiple infrastructural systems intersect, demonstrating relevance to both the broad network and the local node and supporting the exploration of contrasting or comparative conditions between Detroit and St. Louis.

Considerations included imaging the infrastructural optimism of these two cities and their prospective conditions: What future city can we create that sets a framework for the most positive environmental, social, and economic results for all inhabitants? The ability to operationalize the city, to leverage large-scale infrastructural investment for greater social and environmental gain, is what categorizes a design strategy as infrastructural urbanism; its ability to project a better future is its infrastructural opportunism.

Ian Dickenson, director at Lorcan O’Herlihy Architects, led the Detroit field visit and served as a valued practitioner-consultant to the studio throughout the semester.

Master of Urban Design

597

711 Core Studio Elements of Urban Design

WashU Approach

Patty Heyda Associate Professor Linda C. Samuels Associate Professor

598

FA18

Jennifer Hohol Rachel Madryga

Master of Urban Design

599

711 Core Studio Elements of Urban Design

WashU Approach

Patty Heyda Linda C. Samuels

600

FA18

Jennifer Hohol

Master of Urban Design

601

711 Core Studio Elements of Urban Design

WashU Approach

Patty Heyda Linda C. Samuels

602

FA18

Jennifer Hohol

Master of Urban Design

603

711 Core Studio Elements of Urban Design

WashU Approach

Patty Heyda Linda C. Samuels

604

FA18

Ke She

Master of Urban Design

605

711 Core Studio Elements of Urban Design

WashU Approach

Patty Heyda Linda C. Samuels

606

FA18

Ke She

Master of Urban Design

607

711 Core Studio Elements of Urban Design

Patty Heyda Linda C. Samuels

ansit System:

posal projects a major change to the use ghway in the distant future. There is alxcess capacity on highway i-64 in 2018. r ownership dropping and other types of ch transit systems taking over, i-64 hwy ntually be unoccupied. Thus, the design e to reuse the highway right-of-way for posed hyperloop between St. Louis and City. Because there is projected new wn to be developed around Cortex, havperloop station in the area will serve the orhood and the city well.

chnology and Education System:

building in the Cortex area is chosen catalyst because it already contains the educational and technological resourche proposal. On the other side of the k is the institutional band of development nnects and share resources with WashUniversity in St. Louis on the west and St. niversity on the east. Another proposed school that servces the neighborhood is the Sustainaiblity Magnet school. With ected resources in the area and the denorth-south fibre line, there is a zone of accessible internet between the catalyst, tutional band, and the magnet school for eople in the area.

nergy System:

e Catalyst and the magnet school are ion centers for generated and collected In the near future, solar panels and can easily be installed on the highway zoelectric crystals can be painted to mechanical energy produced by car ctric energy. The collected energy is then ed on a grid in the area, serving the orhood and downtown. The design also ed a biogas forest and plant (together the conversion park) on the currently polluted al land, this size of biogas plant can serve ousehold.

WashU Approach

608

FA18

Ke She

Master of Urban Design

609

713

Lively Cities Core Studio

WashU Approach

610

Instructors Viren Brahmbhatt Petra Kempf (Coordinator)

Life Along the (e)L Students in this studio investigated a site located in New York City along the L Train corridor that connects Manhattan with Williamsburg—a thriving neighborhood in the borough of Brooklyn. In 2012, the Canarsie Tunnel, through which the L Train runs, was completely flooded due to Hurricane Sandy, causing major damages to the tunnel. In order to repair this piece of infrastructure, the Metropolitan Transit Authority announced in 2016 that it would shut down the tunnel for more than a year starting in April 2019. This tunnel carries approximately 250,000 commuters back and forth between Brooklyn and Manhattan each day.

However, this is more than just a service interruption for the large number of commuters who depend on the L Train to get from their homes in Brooklyn to their workplaces in Manhattan. Looking at the bigger picture, Manhattan is considered the economic, cultural, and educational epicenter among the five boroughs. In light of the needed repairs, such monocentric focus is a drawback. Brooklyn is currently experiencing a renaissance and transforming into a buzzing epicenter of its own.

The objective of this studio was to explore this developing dynamic: students were asked to consider design scenarios without Manhattan as the most dominant center. How could this shift make the city more robust, particularly in terms of its shared infrastructure? As the studio unfolded, each group of students took a different position toward the L Train interruption, developing a variety of different scenarios, ranging from a complete shutdown to bypassing the tunnel altogether.

Finding alternative models of centrality in light of a scheduled infrastructure makeover enabled students to consider a unique opportunity for discovery. The tunnel closure provided a platform for speculation on future models of urban life, a possible departure from conventional urban expansion models. Students speculated on themes of centrality versus de-centrality, expansion and reduction, and anomaly and routine, among others.

Master of Urban Design

611

713 Core Studio Lively Cities

WashU Approach

Viren Brahmbhatt Visiting Professor Petra Kempf Assistant Professor

612

SP19

Paul Clark Anna Friedrich Amanda Louise Rachel Madryga

Master of Urban Design

613

713 Core Studio Lively Cities

WashU Approach

Viren Brahmbhatt Petra Kempf

614

SP19

Paul Clark Anna Friedrich Amanda Louise Rachel Madryga

Master of Urban Design

615

713 Core Studio Lively Cities

WashU Approach

Viren Brahmbhatt Petra Kempf

616

SP19

Paul Clark Anna Friedrich Amanda Louise Rachel Madryga

Master of Urban Design

617

713 Core Studio Lively Cities

WashU Approach

Viren Brahmbhatt Petra Kempf

618

SP19

Zhaokai Chen Qiuchen Gao Danni Hu Rachel Reinhard

Master of Urban Design

619

713 Core Studio Lively Cities

WashU Approach

Viren Brahmbhatt Petra Kempf

620

SP19

Zhaokai Chen Qiuchen Gao Danni Hu Rachel Reinhard

Master of Urban Design

621

713 Core Studio Lively Cities

WashU Approach

Viren Brahmbhatt Petra Kempf

622

SP19

Zhaokai Chen Qiuchen Gao Danni Hu Rachel Reinhard

Master of Urban Design

623

714

Global Urbanism Studio Core Studio

WashU Approach

624

Instructors John Hoal Jonathan Stitelman Andrea Godshalk Ferdi le Grange

Rand to Reef Rhizome The goal of the summer urban design studio is to afford students an opportunity to engage as designers in an array of urban conditions archetypical of 21st-century urbanization to which the urban design profession will be required to respond.

Johannesburg is one of the most divided cities in the world today, with the imprint of formal segregation policies, city planning and architecture, and the impact of globalization in the post-apartheid era. Its urban condition consists of a fluid and dynamic tension between the durability of the apartheid landscape and its buildings and an emerging subaltern anarchy with its urban architecture of resistance. Typical architectural, landscape, and urban projects provide spaces of exclusion or interface with the possibility of inclusion, not in the sense of integration but as a coexistence of shared and unequal—all in a city of fear. The challenge for a radical architecture is to provide a space in which a spontaneously new order—an urbanism of openness—can emerge.

Students investigated the complex urban forms, social juxtapositions, and spatial apartheid that exists within Johannesburg through the examination of the M1 Rand to Reef corridor, which encompasses the Fordsburg, Ferreirasdorp, and Newtown neighborhoods. The program was supported by guest academics and practicing professional lecturers. Students visited the offices of renowned architectural and urban design firms and took field trips to contemporary and relevant cities, architectural features, and landscapes within South Africa.

Master of Urban Design

625

714 Core Studio Global Urbanism Studio

WashU Approach

John Hoal Professor Jonathan Stitelman Visiting Assistant Professor Andrea Godshalk Teaching Fellow Ferdi le Grange Lecturer Abroad

626

SU18

Weitu Zeng

Master of Urban Design

627

714 Core Studio Global Urbanism Studio

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John Hoal Jonathan Stitelman Andrea Godshalk Ferdi le Grange

628

SU18

Weitu Zeng

Master of Urban Design

629

714 Core Studio Global Urbanism Studio

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John Hoal Jonathan Stitelman Andrea Godshalk Ferdi le Grange

630

SU18

Danielle Bagwin

Master of Urban Design

631

714 Core Studio Global Urbanism Studio

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John Hoal Jonathan Stitelman Andrea Godshalk Ferdi le Grange

632

SU18

Danielle Bagwin

Master of Urban Design

633

Seminar Selection

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Xiaotong Shan

Confronting Urbanization

In their studies, students develop the necessary analytical, research, and representational techniques to support their ability to interpret, represent, and design the contemporary urban landscape. In addition to the required studio sequence, master classes, and elective seminars, students are introduced to urban design history, theory, concepts, and principles through required seminars: Metro Development, Metro Sustainability, and Metro Urbanism. These courses explore basic concepts in the history and theory of urbanism, environmental and infrastructure systems, landscape ecology, urban development and public policy, economic and real estate development, and sustainable urban design.

Master of Urban Design

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Petra Kempf Assistant Professor

Seminar

Confronting Urbanization Research on the (Inter)-Active Tissue of Urban Life This course investigated the urban condition through the lens of its interactive tissue—a tissue that ranges from smart phones, the world wide web, credit cards, highway systems, airports, and sidewalks to indoor plumbing. This tissue is the multi-scalar and operative framework that mediates various flows or stoppages, adapts to changing conditions over time, crosses over, divides, accommodates shortcuts, and is able to redistribute as well as swell and deflate. It resides as a naturalized background that is as ordinary and unremarkable to us as air.

Within this frame of reference, students investigated and documented emergent interrelationships between various actors and the agencies through which they engage with the interactive tissue, as well as how they shape and influence one another.

The central questions at stake in this debate included: How does daily life and communication unfold in this limitlessness and complete integration of movement where the collective dimension of life seems to have been relinquished? Who are the game changers in this process of urbanization and who is left out? Knowing that things and events have a limit, a form, and an existence, is there a limit to this infinity?

WashU Approach

636

SP19

Christine Doherty

Master of Urban Design

637

Seminar Confronting Urbanization

WashU Approach

Petra Kempf

638

SP19

Christine Doherty

Master of Urban Design

639

Seminar Confronting Urbanization

WashU Approach

Petra Kempf

640

SP19

Xiaotong Shan

Master of Urban Design

641

Faculty Publications FA18—SP19

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642

Instabilities and Potentialities: Notes on the Nature of Knowledge in Digital Architecture Chandler Ahrens Aaron Sprecher (Eds.) 2019 New York: Routledge ISBN 978-1138583986 274 pages

Now that information technologies are fully embedded into the design studio, Instabilities and Potentialities: Notes on the Nature of Knowledge in Digital Architecture explores our post-digital culture to better understand its impact on theoretical discourse and design processes in architecture. The role of digital technologies and its ever-increasing infusion of information into the design process entails three main shifts in the way we approach architecture: images, objects, and discipline.

The first section of the book, “Images: Effect and Affect in the Digital Representation of Architecture,” examines how the nature of images has evolved from a representation of something to the evidence of the process by which they were generated.

The second section, “Objects: Topological Evolution of the Architectural Entity,” explores how the impact of intensive computational capacity of today’s information technologies is propelling a pivot away from the ideal, fixed architectural object toward an unstable and variable condition that promotes potentiality. The third section, “Discipline: Transdisciplinarity and Potentialities,” reveals the increasing porosity of the architectural discipline to other fields of knowledge —architects transgressing traditional boundaries into other professions and nonarchitects entering the field of architecture.

Instabilities and Potentialities aims to bridge theoretical and practical approaches in digital 2018—2019

architecture by bringing together original texts from some of the most important historians, theoreticians, and experimental practitioners today, including contributions by: Georges Teyssot, Antoine Picon, Mark Linder, David Freeland, Brennan Buck, Dana Cupkova, Viola Ago, John Carpenter, Nicholas de Monchaux, Martin Bressani, Volkan Alkanoglu, Thom Mayne, Alvin Huang, Pablo Lorenzo-Eiroa, Alessandra Ponte, Laurent Stalder, Satoru Sugihara, Greg Lynn, Tom Shaked, Uri Dubin, Jose Sanchez, and Theodora Vardouli.

Edited by Chandler Ahrens, associate professor at Washington University in St. Louis, and Aaron Sprecher, Associate Professor at the Technion Israel Institute of Technology. Ahrens and Sprecher are co-founders and directors of Open Source Architecture (OSA), a research and design architectural practice focusing on the design of commercial and residential projects in addition to designing, fabricating, and mounting complex installations. Ahrens, who holds an MArch from UCLA and a BArch from Savannah College of Art and Design with a minor in digital design technologies, has extensive practical experience integrating building systems, material logic, and digital design processes that range from smallscale installations to large-scale skyscrapers.

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Segregation by Design: Conversations and Calls for Action in St. Louis Catalina Freixas Mark Abbott (Eds.) 2019 Cham, Switzerland: Springer ISBN 978-3-319-72955-8 621 pages

Segregation by Design uses St. Louis as a point of departure for examining the causes and consequences of residential and urban racial segregation and proposes potential tactics for mitigation that can shape an equitable future for the American metropolis. Segregation can be deconstructed into a timeline of causal relationships illustrating how past actions and policies constructed the divided cities of today. Over time, the constant reinvention of mechanisms for maintaining residential segregation institutionalized inequality through its ramifications in determining access to education, employment, healthcare, transportation, and the distribution of political power. Policy produced segregation, and it is only through policy that it can be undone. A historical analysis of housing and urban policies that affected our built environment and shaped the divided American city is the foundation for this body of research.

The book consists of nine topicspecific chapters, each of which includes an overview with suggested readings, a focus-specific conversation, and a reflective essay. The conversations and essays are paired to respond to the discussion agenda in two very different manners. The conversation fosters a dynamic exchange of insights from different perspectives informed by the participants’ professional WashU Approach

and academic backgrounds. A scholar or a professional expert then contributed an essay response to each conversation.

Because segregation is a multifaceted issue that requires a multidisciplinary approach, participants and essayists were selected to represent diverse racial identities, professional backgrounds, and academic disciplines. As a result, the audience is introduced to an open dialogue between black and white America that can act as a catalyst to effect meaningful change and promote social justice through policy.

Catalina Freixas is engaged in urban humanities research and practice with a focus on resiliency. She has developed a series of research questions and metrics for analysis that connect the natural, economic, and social facets of the urban environment, and a quantitative model to evaluate eco-urbanism strategies. Her work has also focused on the broad range of consequences and mitigation strategies of urban segregation that inspired this book.

Mark Abbott, PhD., is the former director of the Harris-Stowe State University Center for Neighborhood Affairs, an institute that provides technical and planning assistance to underserved communities in St. Louis.

He has written extensively about urban planning and the history of St. Louis.

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Designing the Modern City: Urbanism Since 1850 Eric Mumford 2018 New Haven, CT: Yale University Press ISBN 978-0-300-20772-9 360 pages

This textbook is a comprehensive survey of urbanism and urban design since the industrial revolution, and a detailed history of designers’ efforts to shape modern cities.

Beginning with an overview of technical and social changes in mid-nineteenth century London and Paris, the book also examines varied efforts to shape urban extensions and central new interventions elsewhere.

Topics include tenement reform efforts for the working class in 19th century London and New York, Städtebau in Germany, the Garden City Movement, the American City Beautiful movement, “Town Planning” in Britain, and “urbanisme” in France. It further explores less well-known topics such as urban modernization in East Asia before 1930 and suburban planning in the United States from the 1910s and 1930s. Mumford also addresses social change and modern urbanism in Europe in the 1920s, including the emergence of CIAM (International Congresses for Modern Architecture), 1928–1956; the political, technological, and urban transformations of World War II; the expansion of racially segregated decentralization in the United States; global urbanism and modernism after 1945; and European and Latin American postwar urbanism. It then takes up urbanistic aspects of postwar architectural culture, including critiques of modernist planning and responses to the ongoing challenges 2018—2019

posed by efforts to create organized self-build settlements and to make more ecologically sustainable cities.

Eric Paul Mumford, M.Arch., PhD., is the Rebecca and John Voyles Professor of Architecture at Washington University in St. Louis, where he teaches courses in the history of modern architecture and urbanism. He has published numerous books and articles on related topics, including The CIAM Discourse on Urbanism, 1928–1960 (2000) and Modern Architecture in St. Louis (2004). Mumford also co-curated the exhibition, Ando and Le Corbusier, at the new Tadao Ando designed Wrightwood 659 Gallery in Chicago and is editing the forthcoming catalogue for the Alphawood Foundation.

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Grafton Architects Robert McCarter 2018 New York: Phaidon Press ISBN 978-0714875941 256 pages

Grafton Architects, founded in Dublin 40 years ago by Yvonne Farrell and Shelley McNamara, has emerged as one of the most important, influential, and celebrated architectural practices of the early 21st century—as well as one of the very few such firms led by female partners. This first comprehensive monograph on the firm reveals the constructive relationship Grafton Architects have forged between their contemporary practice and disciplinary history, as well as the way their practice has emphasized the enrichment of experience and the engendering of spatial generosity that goes far beyond the brief given the architect. Their practice is “committed to the cultural ethics of building,” and this principled approach allows their work to serve as an important example of transforming modern architecture by grounding it in the specifics of its particular place, while simultaneously improving and enriching the larger lifeworld.

In writing on architects, McCarter begins and ends with the interior space of experience and inhabitation; a space that is, paradoxically, rarely talked about in most writings on architecture, but which remains the primary purpose of architecture’s construction. His approach is founded in McCarter’s own architectural practice, teaching in schools of architecture, analysis of the design processes of architects as WashU Approach

they are recorded in both drawings and built works, as well as his own experiences of “being there” in architectural spaces.

McCarter’s writings present a criticism that is both constructive and clarifying, and which acts to bind together the perspectives of scholars, critics, practitioners, and most importantly, the public who are the inhabitants of architecture—precisely because these are almost always considered to be mutually exclusive discourses. It is this truly comprehensive analysis of the experience of inhabitation and of the design process that leads to its realization in architecture—the beginning and the end of architectural design—that is the focus of McCarter’s teaching, practice, research, and publications.

Robert McCarter is the author of 22 books, a practicing architect, and the Ruth and Norman Moore Professor of Architecture at Washington University in St. Louis since 2007.

He previously taught at the University of Florida (1991–2007) and Columbia University (1986–1991), among others. In 2018, McCarter was an International Exhibitor in the 16th Venice Biennale of Architecture, and in 2009 he was recognized in Architect as one of the “Ten Best Architecture Teachers in the U.S.” McCarter is also the author of Place Matters: The Architecture of WG Clark (ORO Editions, summer 2019).

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Lina Bo Bardi, Drawings Zeuler R. Lima 2018 Princeton, NJ: Princeton University Press in association with the Fundació Joan Miró ISBN 978-0691191195 140 pages

Between February 14 and May 26, 2019 the Fundació Joan Miró in Barcelona featured a curatorial and editorial project by Zeuler R. Lima presenting a selection of 100 drawings by architect Lina Bo Bardi. The exhibition will also be hosted by the Carnegie Museum of Art in Pittsburgh winter 2019–2020. Lima produced an accompanying catalogue in Catalan and Spanish, Lina Bo Bardi (2019, Yale University Press), and published the peer reviewed book Lina Bo Bardi, Drawings.

Over the span of her life, Bo Bardi collected more than 6,000 drawings and sketches in her personal archives in São Paulo, Brazil. More than a designer’s tool, to her, drawing was a primary expressive means driven by a strong sense of curiosity and doubt. Bo Bardi never claimed drawing to be an independent artistic language, though she embraced it with artistic purpose. She approached drawing both as a noun and a verb, outcome and process, object and relationship.

Lima designed the exhibition as a tribute to Bo Bardi’s curatorial works. Both the exhibition and the book offer a constellation of images and a genealogy of multiple creative procedures, inviting the visitor and the reader alike to be in close contact with the wide variety of the architect’s drawings and to form free associations among the many facets of her work, her thinking, and her personal experiences.

2018—2019

While proficiency in freehand drawing has lost prominence in the arts in general and in architectural practice in particular, Bo Bardi’s drawings remain an always fresh reminder of the continued importance and value of free, authentic thinking and of skillful, educated hands.

Zeuler R. Lima is a designer with a PhD. in urbanism and postdoc in comparative literature. He initially practiced and taught in Brazil where he earned several national design awards, and continued his career as an educator, scholar, artist, and curator in the United States, Europe, and Japan. He has published extensively about modern design and art, and is Bo Bardi’s biographer.

Lima practices drawing in various media and his work is featured internationally.

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Lectures FA18—SP19

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Fall 2018 Selected Lectures

Spring 2019 Selected Lectures

September 20 Vladimir Kulić Associate professor, Florida Atlantic University DISCUSSIONS in Architectural History and Theory Lecture

January 30 Sandra Barclay & Jean Pierre Crousse Founding partners, Barclay & Crousse Architecture, Lima, Peru Ruth Kahn Lynford Lecture January 30 Mario Gooden Professor of practice & co-director of the Global Africa Lab, Columbia University; principal, Huff + Gooden Architects DISCUSSIONS in Architectural History and Theory Lecture

October 24 Tod Williams & Billie Tsien Founding partners, Tod Williams Billie Tsien Architects, New York CannonDesign Lecture for Excellence in Architecture and Engineering October 31 Winka Dubbeldam Founder, Archi-Tectonics, New York Harris Armstrong Fund Lecture November 1 Richard Sennett Professor emeritus of sociology, London School of Economics; university professor, New York University Eugene J. Mackey Jr. Lecture November 2 Jorge Mario Jáuregui Project director and founder, Atelier Metropolitano, Rio de Janeiro Informal Cities Workshop Kickoff Lecture November 26 Alfredo Payá Founder, noname29, Alicante, Spain Ruth and Norman Moore Visiting Professor Lecture

2018—2019

February 6 Georgina Huljich Principal and managing director, P-A-T-T-E-R-N-S, Los Angeles Coral Courts Lecture February 11 V. Mitch McEwen Principal, McEwen Studio, and co-founder, A(n) Office, Detroit & New York Cosponsored by The Divided City: An Urban Humanities Initiative at Washington University, funded by The Andrew W. Mellon Foundation February 20 Barry Bergdoll Meyer Schapiro Professor of Art History & Archaeology, Columbia University; curator, Department of Architecture & Design, Museum of Modern Art DISCUSSIONS in Architectural History and Theory Lecture February 22 Douglas Farr President and founding principal, Farr Associates, Chicago Sustainable Urbanism Masterclass Kickoff Lecture

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March 4 David Leven & Stella Betts Founding partners, LEVENBETTS, New York AIA St. Louis Scholarship Trust Lecture March 18 Richard Murphy Director, Richard Murphy Architects, Edinburgh Eugene J. Mackey Jr. Lecture March 25 GĂźnther Vogt Founder and principal, Vogt Landscape Architects, Zurich Anova Lecture for Landscape Architecture March 27 Patricia A. Morton Second vice president, Society of Architectural Historians; associate professor, University of California, Riverside DISCUSSIONS in Architectural History and Theory Lecture April 1 Pedro Pitarch Architect, Madrid; 2016 recipient, James Harrison Steedman Fellowship in Architecture Steedman Fellowship Lecture April 10 GinĂŠs Garrido Founding partner, Burgos & Garrido Arquitectos, Madrid Ruth and Norman Moore Visiting Professor Lecture

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Graduate student Gregory Smolkovich (left) discusses his work with visiting architects Billie Tsien and Tod Williams. The pair were on campus to deliver the CannonDesign Lecture for Excellence in Architecture and Engineering for the Sam Fox School’s Public Lecture Series.

2018—2019

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Faculty SU18–SP19

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PROFESSOR Heather Woofter Sam and Marilyn Fox Professor; Director, College of Architecture and Graduate School of Architecture & Urban Design Rod Barnett Chair, Landscape Architecture Kathryn Dean John Hoal Chair, Urban Design Sung Ho Kim Stephen Leet Bruce Lindsey E. Desmond Lee Professor for Community Collaboration Adrian Luchini Raymond E. Maritz Professor of Architecture Igor Marjanović JoAnne Stolaroff Cotsen Professor; Chair, Undergraduate Architecture Robert McCarter Ruth and Norman Moore Professor of Architecture Eric Mumford Rebecca and John Voyles Professor of Architecture Peter Raven George Engelmann Professor Emeritus of Botany, Landscape Architecture (courtesy appointment) Rodrigo Reis Chair, Urban Design and Public Health Specialization in the Brown School (courtesy joint appointment) PROFESSOR OF PRACTICE Valerie Greer Coordinator, Graduate Architecture Eric R. Hoffman Philip Holden Xiaobo Quan Director, Center for Health Research & Design Mónica Rivera Chair, Graduate Architecture Henry Webber 2018—2019

ASSOCIATE PROFESSOR Chandler Ahrens Gia Daskalakis Bob Hansman Patty Heyda Interim Chair Urban Design (Fall 2018) Derek Hoeferlin Incoming Chair Urban Design & Landscape Architecture (Fall 2019) Zeuler R. Lima Linda C. Samuels Hongxi Yin InCEES ASSISTANT PROFESSOR Eric Ellingsen Catalina Freixas Petra Kempf Pablo Moyano Kelley Van Dyck Murphy Constance Vale Jesse Vogler SENIOR LECTURER Ryan Abendroth Michael Allen Jim Fetterman Richard Janis George Johannes Rick Kacenski Don Koster Doug Ladd Emiliano López Gay Lorberbaum Jacqueline Margetts Dennis McGrath Bob Moore Jim Scott Phillip Shinn Lindsey Stouffer Ian Trivers LECTURER Gwen Arenberg Douglis Beck Max Bemberg Matthew Bernstine

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L. Irene Compadre Bob Duffy Carolyn Gaidis Amy Gilbertson Laura Ginn Frank Hu Dennis Hyland Anna Ives Carl Karlen Eric Kobal Bill Kuehling Kevin Le Bob Lewis Allison Mendez Amela Parcic Lynn Peemoeller Andrew Petty Hannah Roth Anu Samarajiva Assistant Director, Alberti Program Aaron Schump Micah Stanek Andy VanMater Alex Waller Andrew Weil Tomislav Zigo RESEARCH FELLOW Jenny Price Davis van Bakergem Center for Health Research & Design Eric Zencey TEACHING FELLOW Andrea Godshalk VISITING PROFESSOR Viren Brahmbhatt Ginés Garrido Ruth & Norman Moore Visiting Professor (Spring 2019) Alfredo Payá Ruth & Norman Moore Visiting Professor (Fall 2018) Antonio Sanmartín Oliver Schulze WashU Approach

Saundra Weddle Jennifer Yoos VISITING ASSOCIATE PROFESSOR Julie Bauer VISITING ASSISTANT PROFESSOR Jonathan Stitelman LECTURER ABROAD, BARCELONA Mariona Benedito LECTURER ABROAD, JOHANNESBURG Ferdi LeGrange AFFILIATE ASSOCIATE PROFESSOR, BUENOS AIRES Jeffrey Berk Gerardo Caballero Gustavo Cardón Daniel Kozak Fernando Williams FACULTY EMERITUS Paul J. Donnelly Iain Fraser Gerald Gutenschwager James Harris Sheldon D. Helfman Leslie J. Laskey Donald Royse Carl Safe Thomas Thomson DEAN EMERITUS Constantine E. Michaelides FAIA Cynthia Weese FAIA RALPH J. NAGEL DEAN, SAM FOX SCHOOL OF DESIGN & VISUAL ARTS Carmon Colangelo E. Desmond Lee Professor for Collaboration in the Arts

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About the Sam Fox School The Sam Fox School of Design & Visual Arts at Washington University in St. Louis is a leader in architecture, art, and design education. We are advancing our fields through innovative research and creative practice, excellence in teaching, a worldclass university art museum, and a deep commitment to addressing the social and environmental challenges of our time. The school is composed of the following units, each with a rich history: The College of Architecture and Graduate School of Architecture & Urban Design was established in 1910 and has the distinction of being one of the ten founding members of the Association of Collegiate Schools of Architecture.

The College and Graduate School of Art was founded in 1879 as the first professional, university-affiliated art school in the United States and is the only art school to have fathered a major metropolitan art museum.

The Mildred Lane Kemper Art Museum was founded in 1881 as the first art museum west of the Mississippi River.

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We find ourselves in challenging times. Global health concerns, human rights, migration, political divisions, and increased exposure to natural disasters call for a blitz approach to solving certain intricate complexities.

Students need time, space, and a supportive environment for investigative thinking and learning their craft. At best, a school brings the two worlds into focus, a parallax view of education and the real world.

This book is a selection of projects made by students in the Graduate School of Architecture & Urban Design at Washington University in St. Louis during the 2018–2019 academic year. The work reflects how, through critical thinking, research, and unique collaborative structures, the school gives students the means and motivation to improve our world.

Heather Woofter

Sam and Marilyn Fox Professor Director, College of Architecture and Graduate School of Architecture & Urban Design