Graduate Approach 2019-2020: Architecture, Landscape Architecture, and Urban Design at WashU

Approach

2019–2020 Graduate School of Architecture & Urban Design at Washington University in St. Louis

Approach 2019—2020

Editors Mónica Rivera, Heather Woofter Project Management Mónica Rivera Assistant Project Management Ellen Bailey, Dennis Dine, Audrey Treece Concept Desescribir, Mónica Rivera Copyediting and Proofreading Melissa Von Rohr, Katherine Welsch Texts Derek Hoeferlin, Mónica Rivera, Heather Woofter, Sam Fox School Faculty and Students Book Design and Production Desescribir Printing Agencia Gráfica Binding Legatoria Typefaces Real Pro Papers Munken Print White 1.5 80 g/m2 Constellation Snow Country 350 g/m2

Publisher Washington University in St. Louis Sam Fox School of Design & Visual Arts Graduate School of Architecture & Urban Design © 2020 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: Authors’ own, 2021 © Photographs: Authors’ own except as noted below, 2021 Photo Credits pp. 8, 55, 56–59 Gina Grafos pp. 10, 16, 17 James Ewing (JBSA) pp. 12–13, 14–15 Peter Aaron (OTTO) pp. 18–19, 29 Joshua White (JWPictures.com) p. 25 José Hevia p. 27 Mónica Rivera p. 30 Peter Aaron (OTTO) p. 31 Joe Angeles (WUSTL Photos) pp. 37–39, 528, 637, 640 Derek Hoeferlin pp. 43, 51 Whitney Curtis (WUSTL Photos) pp. 44–45 Tony Blackwolf pp. 55 Carol Green (WUSTL Photos) On-campus photography in this publication was taken before the onset of the COVID‑19 pandemic and does not represent the safety precautions since implemented on campus.

To learn more visit: covid19.wustl.edu.

ISBN 978-0-9885244-9-1 Printed in Spain

Approach 2019—2020

Contents

6 Director’s Notes 10 Our Home in Weil Hall 22 32 40 46 48

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

62 82 100 142 350 448

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 & Fellowships

492 502 514 526 538 554

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

588 604 622 634

Master of Urban Design Student Work 711 Elements of Urban Design 713 Metropolitan Design Elements 714 Global Urbanism Studio Seminars

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 year’s body of work marks an unprecedented collision of environmental and social concerns. As a community of designers, we are resilient because of the very nature of our work. We have a predilection for inventiveness with our ability to solve problems, attain flexibility with transformative scenarios, adapt our methods to the situation at hand, and imagine new realities under puzzling systemic conditions. We understand the world is interconnected and that our success relies on others’ wellbeing. Yvonne Farrell and Shelley McNamara issued these prophetic words to our students at graduation in 2020, “The future is challenging, but exciting because the world has to change. Values have to change if we are to survive.” When the design disciplines seem less relevant, they argue that we must double down with a renewed commitment to making cities differently, design with ecology at the forefront of our minds, and believe that architecture can respond to changing values and priorities.

Looking back on this year, a series of events influenced the work you see on exhibit in Approach. Our in-residence visiting faculty, Sara de Giles and José Morales of the Spanish practice MGM Arquitectos, curated the XIV Spanish Biennial of Architecture and Urbanism with the theme más habitar, más humanizar, meaning “more living, more human.” Patrick Gmür, partner architect of the architecture and city planning office Steib Gmür Geschwentner Kyburz and former director of urban planning for the City of Zurich, joined them as the Ruth and Norman Moore Visiting Professor of Architecture. Gmür taught an advanced options studio around housing in Zurich. Assistant professor Constance Vale’s symposium Decoys & Depictions: Images of the Digital examined digitally produced representations and the accumulations of data, politics, and spatial nuances that lie beneath the image. Her symposium built on previous work in the School, exploring digital media and connecting international visitors and faculty from across the colleges of art and architecture. Rather than viewing the digital image as a formal derivative, the conversations shifted to mediated realities and complex systems by processing modeled information. As Vale outlined in the overview description of the symposium, digital images are “vehicles for the production of form, physical components of buildings, and mechanisms through which architects and artists can form new audiences for our disciplines and contribute to social and political change.”1 The Sam Fox School of Design & Visual Arts launched Fox Fridays, a way for students to celebrate making in all forms by accessing the School’s many fabrication and discipline-specific shops. The intent of these workshops is to encourage experimentation with materials and create 2019—2020

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Exhibition at the Des Lee Gallery, part of the symposium Decoys & Depictions: Images of the Digital, directed and curated by assistant professor Constance Vale.

In the foreground, a model of Prism Tower, a project by the St. Louis-based practice Axi:Ome, led by professor Sung Ho Kim and director/professor Heather Woofter.

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dynamic, collaborative intensives across the art and architecture colleges, to encourage thoughtful interdisciplinary exchanges, stronger connections between making and theory, and freer student interactions that support our core missions and fulfill the promise of the Sam Fox School.

The DISCUSSIONS in Architectural History and Theory series celebrated its ninth year, elevating the school’s historical and theoretical discourse around architecture, urban design, and landscape architecture. This year’s guests included Maristella Casciato (senior curator and head of architecture special collections, Getty Research Institute), Zeynep Çelik Alexander (associate professor of architectural history, Columbia University), and Mabel O. Wilson (Nancy and George Rupp Professor and co-director, Global Africa Lab, Columbia University); due to the COVID‑19 pandemic, the fourth talk, by David Van Zanten (Mary Jane Crowe Professor Emeritus, Northwestern University), had to be postponed. Led by professors Eric Mumford and Igor Marjanović, the series’ diversity of speakers reflects this year’s emphasis on cross-cultural dialogs and the social production of space.

The word “approach” implies coming near someone or something. I imagine we will look back on this year as the calm before the storm, yet the ingredients of new beginnings were already present in the margins and pages. This book highlights selected projects and celebrates the discourse of teaching. The works herein were produced by students in the Graduate School of Architecture & Urban Design, part of the Sam Fox School at Washington University in St. Louis, to advance conversations made during the 2019–2020 academic year.

1. Constance Vale, “About,” Decoys & Depictions: Images of the Digital, accessed October 10, 2020, https:// decoysanddepictions.net/about.

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Our Home in Weil Hall

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Opened in fall 2019, Anabeth and John Weil Hall is a hub for our graduate programs in Architecture, Landscape Architecture, Urban Design, Illustration & Visual Culture, and Visual Art. Designed by the architecture firm KieranTimberlake, the 82,000-square-foot facility was awarded LEED Platinum certification in 2020. It features flexible spaces on the second and third floors for individual studio spaces across programs—including the William A. Bernoudy Architecture Studio—along with numerous pinup and critique areas. These studio spaces wrap around the two-story Kuehner Court, which features a living green wall and provides a communal space.

The building is designed with transparency and visibility in mind, promoting opportunities for meaningful, everyday exchange for students and faculty across disciplines.

The main floor of Weil Hall features the Caleres Fabrication Studio, which supports the execution of complex projects using industry-grade tools, including laser cutters, 3D printers, a large-format CNC milling machine, vacuum and thermoforming, and a knife plotter. Other areas of the building include exhibition and project spaces and an experimental studio for video, film, and time-based media.

Weil Hall offers ready connections to the rest of the School’s facilities and buildings. Among them are wood and metal shops staffed by expert teaching technicians; a new textile studio that enables exploration with traditional techniques like batik and screen-printing as well as 3D-printed fabrics and accessories, experimental and sustainable textile recycling, and architectural applications; plaster and mold-making, foundry, and ceramics facilities; and numerous exterior spaces that provide opportunities for large-scale investigations.

Directly across from Weil Hall, the Mildred Lane Kemper Art Museum is a significant resource for students and faculty. After a major expansion led by KieranTimberlake, the Museum reopened in fall 2019 with the exhibition Ai Weiwei: Bare Life and a Q&A with the renowned artist and activist. The Museum offers three floors of gallery space to showcase its world-class permanent collection and exhibitions of leading modern and contemporary art, architecture, and design.

Weil Hall and the Museum expansion were two key components of the East End Transformation project, the largest capital project in the University’s recent history. The project added five new buildings and relocated hundreds of surface parking spaces underground. It also included the creation of the expansive Ann and Andrew Tisch Park, a welcoming entrance to campus and gathering place that provides greater connectivity between the Sam Fox School and other portions of campus.

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With its abundant natural light and flexible, loft-style studios and workspaces, Weil Hall is a new locus for teaching, study, creation, and critique. Studios feature L-shaped desks for each student, to support working simultaneously in digital and analog media.

Weil Hall also features Kuehner Court, a social space that includes an expansive indoor green wall.

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Weil Hall’s flexible studio spaces provide students in architecture, landscape architecture, and urban design ample room to work, and to engage in pinups and critiques.

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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 2019—2020

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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 practice-oriented 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

Rivera is principal and co-founder of 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. Working with circumstance and contingencies as positive values, their completed work ranges from public housing and schools to hotels, furniture, and strategic planning consultancies.

Rivera and Lopez’s work has received numerous international awards. Two Cork Houses—using mass-timber structure and cork cladding—and Hotel Aire de Bardenas received first awards in the Spanish Biennial of Architecture and Urbanism (2018 and 2008 respectively). The latter also received an Ibero-American Biennial of Architecture & Urbanism first award and an AR Emerging Architecture Award, among many others.

The project Social Housing for Young People in Barcelona received the prestigious FAD Award, given annually to one building in Spain and Portugal, as well as a nomination for the EU Prize for Contemporary Architecture (also known as the Mies van der Rohe Award, given biennially).

Their work has appeared in El Croquis, Detail, Casabella, A+U Japan, Domus, Quaderns, Arquitectura Viva, Dwell, Monocle, and The Architectural Review, among others.

Their projects have been exhibited at the Cité de l’Architecture et du Patrimoine in Paris (2009), the Venice Architecture Biennale (2012), and the Spanish WashU Approach

Architecture and Urbanism Biennial Awards traveling exhibition in Madrid, Paris, and New York (2018–19). A book featuring their work and essays, Domestic Thresholds, was published by Quart Verlag (Switzerland, 2017) in Spanish, English, and German.

Rivera has combined teaching with practice since 2000. Recent research focuses on constructing places that mediate situations, latent uses, and climate. Through collective housing studios, her students explore the climatic, tectonic, cultural, and social dimensions of architectural openings—and the sense of safety they afford. Other design studios investigate the transformation of suburban modernist structures in Rivera’s native Puerto Rico into environmentally and socially resilient neighborhoods by rethinking the role of their ubiquitous gates and recovering elemental passive strategies such as shade, water collection, and air chimneys.

Rivera holds a Bachelor of Fine Arts and a Bachelor of Architecture from Rhode Island School of Design, and a postprofessional Master of Architecture degree with distinction from the Harvard University Graduate School of Design.

Images of projects by Emiliano López Mónica Rivera Arquitectos. Top left: Two Cork Houses, Top right: Lattice House, Bottom: Hotel Aire de Bardenas.

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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 be combined with study in other divisions of the University. Both programs begin with a three-credit, three-week workshop in summer before the first semester.

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.

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.

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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.

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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.

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.

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.

Fall 2019 International Housing Studio critiques.

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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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Our programs facilitate collaboration and dialogue, not only among peers in architecture, landscape architecture, and urban design, but across other disciplines within the School and University.

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.

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Master of Landscape Architecture

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The Master of Landscape Architecture program is built around a combination of core studios and seminars that address the following primary concerns: professional and disciplinary advancement, waterbased and riverine adaptations, urban and ecological networks, environmental and social justice, climate change and extreme weather, and community engagement.

Our program seizes on its location in St. Louis and the Midwest—the center of the fourth-largest watershed in the world. Working at the confluence of three great rivers—Mississippi, Missouri, and Ohio—we are poised to develop groundbreaking adaptive design strategies that transform contempory and complex regional, national, and international dilemmas into future resilient landscapes.

Our pedagogy and research efforts are pragmatic, with an experimental and interdisciplinary approach. Students are equipped with emerging methodologies to immediately engage 21st-century landscape architecture practices that resiliently adapt to rapidly changing ecological, technological, and social dynamics. Students can earn a Master of Landscape Architecture in combination with degrees in architecture or urban design, while collaborating with partners across the University in art and design, environmental studies, the humanities, public health, and engineering, among others. While deeply committed to working in the St. Louis region, our students also engage in national and international research and projects.

Students have access to other world-class resources, such as the Missouri Botanical Garden and Shaw Nature Reserve; St. Louis’ 108 city parks, including Forest Park, Fairground Park, and Tower Grove Park; the field stations at Dunn Ranch Prairie and the University’s Tyson Research Center; and numerous community organizations with whom we partner on projects and research initiatives. Through intensive engagement with place, students study issues not only related to land and water, but also those that power social and cultural networks.

Now more than ever, we must face the most complex challenges of our time with rigorous modes of discovery and engagement. Our program is committed to this endeavor. We welcome global citizens to join us in cultivating resilient cultural and social practices through responsive and responsible design.

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Derek Hoeferlin Associate Professor Chair, Landscape Architecture and Urban Design

Derek Hoeferlin, AIA, affiliate ASLA, is principal of [dhd] derek hoeferlin design, an award-winning architecture, landscape, and urban design practice based in St. Louis.

He teaches undergraduate- and graduatelevel multidisciplinary approaches to architecture, landscape, infrastructure, and urbanism, and for such was awarded a Sam Fox School Outstanding Teaching Award in 2010 along with teaching recognitions from the American Institute of Architects (AIA) and the Association of Collegiate Schools of Architecture (ACSA). He collaboratively researches integrated water-based design strategies across the Mississippi, Mekong, and Rhine river basins through his designresearch project Way Beyond Bigness: The Need for a Watershed Architecture, which is the focus of his forthcoming book (Applied Research + Design Publishers, 2021).

Deeply informing his current waterbased research, Hoeferlin was co-principal investigator on the collaborative design research projects MISI-ZIIBI: Living with the Great Rivers: Climate Adaptation Strategies in the Midwest River Basins (2013–2016, with John Hoal and Dale Morris) and Gutter to Gulf: Legible Water Infrastructure for New Orleans (2008–2012, with Jane Wolff and Elise Shelley). Hoeferlin lectures on his work internationally and his designs, photography, teachings, and writings have been published widely, including chapters in Chasing the City (2018, Routledge) and New Orleans Under Reconstruction (2014, VERSO); contributions in Designing Suburban Futures (2013, Island Press), Metropolis and ‘scape magazines, Journal of Architectural Education, WashU Approach

Scenario Journal, and Archinect; as well as multiple ACSA conference papers, among other peer-reviewed journals and venues.

Hoeferlin has led award-winning projects and jury-recognized competitions, including first prize in the Designing Resilience International Open Competition (2017), as well as multiple awards with TLS Landscape Architecture and OBJECT TERRITORIES for the Chouteau Greenway Competition in St. Louis (one of four finalists, 2018, images on the right), including an American Institute of Landscape Architects National Honor Award, multiple American Institute of Landscape Architects awards, an Architizer A+ jury award, and a Sustainable Cities and Human Settlements Award (2019). With colleague Ian Caine, he received the first prize for Rising Tides Competition (2009), honorable mention for the Dry Futures Competition (2016), and was a finalist for Build a Better Burb Competition (2010).

Additionally, Hoeferlin has contributed core design roles in complex multidisciplinary projects in south Louisiana, including Changing Course: Navigating the Future of the Lower Mississippi River Delta Competition with STUDIO MISI-ZIIBI (one of three winners, 2015), the Greater New Orleans Urban Water Plan with Waggonner & Ball (American Planning Association National Planning Excellence Award, 2012), and the Unified New Orleans Plan for post-Hurricane Katrina recovery and rebuilding with H3 Studio, Inc. (2007).

Hoeferlin holds BArch and MArch degrees from Tulane University and a post-professional MArch degree from Yale University, graduating both institutions with multiple honors.

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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.

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 along an urban streetscape and St. Louis neighborhood.

MLA 3 90 Credits / Six Semesters This three-year program provides opportunities for study abroad and internships in the summer. 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.

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

The studio introduces students to largerscale systems, focusing on site reclamation strategies rooted in ecological, social, infrastructural, and cultural histories, culminating in the generation of site-specific design propositions, either locally or globally.

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.

502: Studio IV The fourth core studio of the MLA 3 program and the second core studio of the MLA 2 program. Students are challenged to recalibrate large-scale site systems to balance inherent resources with development by means of innovative programming, with particular focus on watershed-based design strategies.

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 in St. Louis.

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601: Studio V This is the first semester of the landscape architecture thesis studio. Students work closely with their advisor to develop rigorous research and intial design strategies.

602: Studio VI In the second semester of the landscape architecture thesis studio, students continue to refine their research methodology, underpinned by robust final design solutions.

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

Paddling trips for Derek Hoeferlin’s fall 2019 seminar Territories—Watersheds— Infrastructures.

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Master of Urban Design Derek Hoeferlin Associate Professor Chair, Landscape Architecture and 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, 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 provides students with opportunities for experiential immersion learning— the best form of education for an urban designer. 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 travel to select major metropolitan cities in North America, Europe, South America, Africa, and Asia, working with Washington University faculty and renowned, local practitioners in intense, mega-growth developments to address evolving urbanization across the globe. Through this hands-on experience, students obtain a great appreciation for a range of cities and different approaches to the making of cities.

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

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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.

workshop in a major European city (past destinations include Copenhagen, London, and Rotterdam).

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 Baltimore, Detroit, Kansas City, New Orleans, and Pittsburgh.

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.

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 Accra, Cape Town, Dubai, Hong Kong, Johannesburg, Kampala, Mexico City, Shanghai, Singapore, and Tokyo.

713: Metropolitan Design Elements 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. It involves travel to large North American cities such as Chicago, Dallas, Los Angeles, Toronto, and Washington D.C., plus a spring break Lively Cities public life WashU Approach

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Combined Degree Programs MUD + MArch Urban Design with Architecture MUD + MLA Urban Design with Landscape Architecture MUD + MSW Urban Design with Social Work

Fall 2019 Informal Cities workshop, titled Collective Design, led by Geeta Mehta, co-founder of urbz: User Generated Cities, and lecturer Matthew Bernstine.

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Students in the Global Urbanism Studio collaborated with architecture students from Uganda Martyrs University to study informal markets.

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Doctor of Sustainable Urbanism Ian Trivers Visiting Assistant Professor Program Coordinator

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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 action to achieve 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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Events FA19—SP20

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September 19 Patrick Gmür Founding partner, Gmür & Geschwentner Architekten, Zurich Ruth & Norman Moore Visiting Professor Lecture

October 26 Brett Steele Dean, UCLA School of the Arts and Architecture Keynote lecture for Decoys & Depictions: Images of the Digital Abend Family Visiting Critic Endowed Lecture

September 28 –January 5 Ai Weiwei: Bare Life Exhibition at the Mildred Lane Kemper Art Museum, Washington University in St. Louis October 7 Sara de Giles & José Morales Partners, MGM Morales de Giles Arquitectos, Seville, Spain Visiting Faculty Lecture October 23 Maristella Casciato Senior curator & head of architecture special collections, Getty Research Institute, Los Angeles Discussions in Architectural History and Theory Lecture October 24 Yvonne Farrell Co-founder, Grafton Architects, Dublin Ruth Kahn Lynford Lecture October 24–26 Decoys & Depictions: Images of the Digital Symposium and corresponding exhibitions organized, curated, and designed by Constance Vale, assistant professor of architecture in the Sam Fox School October 25 Nader Tehrani Principal, NADAAA, Boston; dean, Irwin S. Chanin School of Architecture, The Cooper Union Keynote lecture for Decoys & Depictions: Images of the Digital AIA St. Louis Scholarship Fund Lecture

October 31 On Ai Weiwei and Architectural Design Gallery conversation featuring Igor Marjanović, JoAnne Stolaroff Cotsen Professor and chair of undergraduate architecture in the Sam Fox School; Sabine Eckmann, William T. Kemper Director and Chief Curator of the Mildred Lane Kemper Art Museum; and students in the course Introduction to Design Processes I In conjunction with the Kemper Art Museum Exhibition Ai Weiwei: Bare Life November 1 Geeta Mehta Co-founder, urbz: User Generated Cities, Mumbai; adjunct professor of architecture and design, Columbia University GSAPP Informal Cities Workshop Kickoff Lecture November 1–3 Informal Cities Workshop Sponsored and supported by the Sam Fox School, the Center for the Humanities in Arts & Sciences, The Divided City: An Urban Humanities Initiative, and Washington University in St. Louis November 12 Zeynep Çelik Alexander Associate professor of architectural history, Columbia University Discussions in Architectural History and Theory Lecture November 20 Bryan Lee Jr. Design director, Colloqate, New Orleans

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December 12 Ghost Sanctuary Panel discussion featuring Jonathan Stitelman, visiting assistant professor of architecture and urban design in the Sam Fox School, and graduate architecture students in the studio course Ghost Sanctuary In conjunction with the Kemper Art Museum Exhibition Ai Weiwei: Bare Life February 6 Mabel O. Wilson Nancy and George Rupp Professor and co-director, Global Africa Lab, Columbia University GSAPP Discussions in Architectural History and Theory Lecture February 27 Lola Sheppard Founding partner, Lateral Office, Toronto; professor, University of Waterloo School of Architecture Fumihiko Maki Lecture

April 2 Fuensanta Nieto* Co-founder, Nieto Sobejano Arquitectos, Madrid; professor, Universidad Europea de Madrid Coral Courts Lecture April 13 Charles A. Birnbaum* President and CEO, The Cultural Landscape Foundation, Washington D.C. Esley Hamilton Lecture

March 5 Tom Leader Founder and principal, TLS Landscape Architecture, Berkeley Anova Lecture for Landscape Architecture

April 16 Thomas Phifer* Founder, Thomas Phifer and Partners, New York CannonDesign Lecture for Excellence in Architecture and Engineering

March 19 Kenneth Frampton* Ware Professor of Architecture, Columbia University GSAPP Eugene J. Mackey Jr. Lecture March 20 Designing the Modern City: Urbanism Since 1850* Panel discussion featuring Eric P. Mumford, Rebecca and John Voyles Professor of Architecture in the Sam Fox School, and panelists Verena Andreatta, architect and urban planner and former director, Municipal Secretariat of Urban Planning and WashU Approach

Mobility of Niterói, Rio de Janeiro; Shantel Blakely, assistant professor of architecture in the Sam Fox School; Kenneth Frampton, Ware Professor of Architecture, Columbia University GSAPP; and Jennifer Yoos, principal and CEO, VJAA

April 1 David Van Zanten* Mary Jane Crowe Professor Emeritus, Northwestern University Discussions in Architectural History and Theory Lecture

April 20 Wiel Arets* Founder, Wiel Arets Architects, Amsterdam; professor of architecture, Illinois Institute of Technology Harris Armstrong Fund Lecture April 22 José Zabala Founding partner, Addenda Architects, Barcelona Ruth & Norman Moore Visiting Professor Lecture

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* Postponed due to the COVID-19 pandemic.

Yvonne Farrell, principal and co-founder of Grafton Architects in Dublin, the 2020 Pritzker Prize recipient, discusses the work of Ruth and Norman Moore Professor of Architecture Robert McCarter’s students from his Fall studio “A Montessori School: Space and Learning in Contemporary Elementary Education.” Farrell was on campus on October 24 to deliver the Ruth Kahn Lynford Lecture for the Sam Fox School’s Public Lecture Series.

Farrell and Grafton Architects’ Shelley McNamara also delivered the keynote address for the 2020 Sam Fox School Recognition Ceremony, which was held online.

Events FA19—SP20

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Decoys & Depictions: Images of the Digital Symposium Decoys & Depictions: Images of the Digital took the form of a symposium and set of three exhibitions organized and curated by assistant professor of architecture Constance Vale. Vale suggests that the artifacts of digital production have expanded the theoretical discourse concerning images and that their outcomes are better framed as decoys and depictions. “Decoys” are defined as objects that share characteristics with images, and “depictions” as images that have the qualities of objects. These are not oppositions, but bookend the working space in which architects and artists who are invested in images operate. Decoys and depictions cannot be easily categorized given their complex nature—they are not exclusively picture or data, flat or thick, phenomenal or analytical.

The exhibition and panel discussions explored the complex material status of the products of digital imaging, raised questions about how digital media is changing building and practice, and examined the sociopolitical potential of digital modes of display and distribution. The project also represents a significant effort to create a taxonomy of contemporary architects and artists who are working through digital images.

The three concurrent exhibitions included projects by symposium participants exhibited at the School’s Des Lee Gallery, artworks from the Mildred Lane Kemper Art Museum’s permanent collection show at the Museum, and work by students at Washington WashU Approach

University, which was displayed throughout the Sam Fox School, concentrated in Steinberg Hall Gallery. The latter of those exhibits, entitled Performing Pedagogy, encompassed selected work from graduate and undergraduate architecture, landscape architecture, and urban design students from fall 2018 and spring 2019. The show displayed a panoramic picture of the School’s pedagogy, especially as it relates to discourse surrounding digital images. Exhibition furniture was designed for compact storage so it could be saved for future exhibitions.

Seeing the work of Sam Fox School students allowed for a greater understanding of the collective voice of the School to advance our curriculum collaboratively and share our embodied knowledge with external audiences.

About Constance Vale Constance Vale is a licensed architect and director of the Factory of Smoke & Mirrors, an experimental research practice that undertakes aesthetic and conceptual investigations in the territory between architecture, art, theatre, and digital media.

She is an assistant professor of architecture in the Sam Fox School and has previously taught at SCI-Arc and the University of California, Los Angeles. Vale’s work has been exhibited at the A+D Museum and published in the Journal of the American Institute of Architects, the Los Angeles Times, Archinect, and CLOG. In 2015, Vale collaborated with

52

Constance Vale Assistant Professor Symposium Curator and Coordinator

Emmett Zeifman to complete a temporary pavilion in downtown Los Angeles for the experimental opera Hopscotch. She co-authored the forthcoming Graham Foundation-supported book, Mute Icons—and Other Dichotomies of the Real in Architecture, with Marcelo Spina and Georgina Huljich.

Vale earned a Master of Architecture from Yale School of Architecture, where she received the Moulton Andrus Award for Excellence in Art and Architecture and was honored with two Feldman Nominations, and earned a Bachelor of Fine Arts from Parsons School of Design. She has practiced at internationally recognized offices in Los Angeles, New York City, and her hometown of Pittsburgh.

The symposium was held October 24-26, 2019 in Weil Hall’s Kuehner Court. In addition to attendees on campus, the symposium livestream had an audience of over 2,000 national and over 200 international guests.

Funding for the symposium was provided by the Ralph J. Nagel Dean’s Endowment, the Graduate School of Architecture & Urban Design, the College of Architecture, and the Sam Fox School of Design & Visual Arts at Washington University in St. Louis. Additional support for keynote lectures was provided by the AIA St. Louis Scholarship Fund and the Abend Family Visiting Critic endowment.

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Keynote Speakers Select remarks Brett Steele Dean, UCLA School of the Arts and Architecture

Nader Tehrani Principal, NADAAA; dean, Irwin S. Chanin School of Architecture, The Cooper Union Tehrani founded NADAAA, a practice dedicated to the advancement of design innovation, interdisciplinary collaboration, and an intensive dialogue with the construction industry.

The tectonic image deals with that space of mediation between the act of building and the moment of inception—the generative or representational moment.…

Contrary to the morality we’ve been burdened with concerning truth to materials … structure may be in service of the ornamentation. There’s an inversion of the logic that we’ve been taught classically in school … the most truthful of buildings and the most fictitious are in this soup of representational mediation, and there’s no escaping that.…

Almost everything that we do (as architects) is about artifice.… And so we should be reminded that—in the way that Kahn would remind us about what a brick wants to be—the brick never wanted to be anything; we wanted it to do this and that. And so, the responsibilities of representation are paramount to that thing that we do in culture.

WashU Approach

Steele is the first architect appointed dean of the UCLA School of the Arts and Architecture.

He is a frequent lecturer, presenter, and critic at universities, cultural centers, and offices worldwide.

Architecture today—in the most unimaginable period possible—returns to what I take to be its core disciplinary project.… What we do as a discipline, as a form of human knowledge, is construct worlds that—until we do that work—are unimaginable, let alone unseeable.…

The movement of images is the gravity of our time. And our ability to understand and control those forces—to shape them, to engineer within them, to protect ourselves from them—is one of the defining features for a generation of architects today. And schools like this will have to take command of that over the next eight decades as you build the 21st century.…

So, the three key observations are: 1. Modern architecture … is built upon decoys.

2. Decoys are increasingly comprising worlds [and those] images become worlds in and of themselves.

3. The acceleration of resolution in those images starts to return architecture to this core disciplinary definition of itself: the making of unimagined worlds.…

Storytelling is the dominant technology of our time. We tend to talk about the technologies that help tell stories.

Storytelling itself is this human technology that’s endured as long as we’ve been around as a species.

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Events FA19—SP20

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Symposium Exhibition Decoys & Depictions: Images of the Digital

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Des Lee Gallery, St. Louis October 4–November 16, 2019

Events FA19—SP20

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Symposium Exhibition Performing Pedagogy: WashU Student Work

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Steinberg Hall Gallery, Washington University in St. Louis October 18–November 1, 2019

Events FA19—SP20

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Master of Architecture Student Work

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317 Architectural Design I: Core Studio Wyly Brown Constance Vale (Coordinator) 318 Architectural Design II: Core Studio Kelley Van Dyck Murphy (Coordinator) Aaron Schump 419 International Housing Studio: Core Studio Don Koster Emiliano López (Coordinator) José Morales Mónica Rivera 500–600 Advanced Architectural Design: Options Studios Mariona Benedito Gerardo Caballero Gustavo Cardón Robert Cole Gia Daskalakis Sara de Giles Bob Ducker Patrick Gmür Valerie Greer Patty Heyda Philip Holden Petra Kempf Sung Ho Kim Stephen Leet Adrian Luchini Robert McCarter Pablo Moyano Mónica Rivera Jonathan Stitleman Michael Willis Hongxi Yin José Zabala

2019—2020

616 Degree Project Chandler Ahrens Julie Bauer Valerie Greer (Coordinator, Spring 2020) Sung Ho Kim Adrian Luchini (Coordinator, Fall 2019) Allison Mendez Seminars Ryan Abendroth Chandler Ahrens Edward Ford Richard Janis Petra Kempf Sung Ho Kim Stephen Leet Pablo Moyano Kelley Van Dyck Murphy Constance Vale

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317

Architectural Design I Core Studio

WashU Approach

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Instructors Wyly Brown Constance Vale (Coordinator)

Picture Houses: Accumulating Images In contemporary architectural discourse, forms and formats are in flux.

Drawing as a hand-mechanical system is being supplanted by electronic imaging. At the same time, composed part-to-whole relationships are giving way to the accumulation of vast sets of things and information. In this studio, students examined the conceptual underpinnings of drawing, imaging, composition, and accumulation to brush up against their productive limits.

Picture Boxes: Drawing vs. Image The death of drawing has already been pronounced: it has been declared in books, exhibitions, and symposia. As with all inanimate deaths, there is no finality. Occasional zombies abound, but it turns out that the flatline was misread. Contemporary architects continue to invest in architectural drawing; however, today’s drawings are a product of electronic imaging generated in digital interfaces that map image and model onto one another and rely on a series of animated frames.

Each actor in the studio had to acknowledge and challenge the default orthogonal relationship between the “box” that constitutes architecture and the “box of pictures” that constitutes projection planes. The studio was structured to introduce the productive potential of iterative translation though multiple formats, and aimed to produce architecture wrapped in the guise of images.

Picture Frames: Composition vs. Accumulation Architecture is embracing “more”—wider collections of a greater diversity of 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. Today, according to Andrew Holder, “things” are finding new relationships as ordered, arrayed, and accumulated conglomerations. As these things “crawl out of the picture Master of Architecture

63

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

FA19

64

Casey Niblett

frames and structural bays,”1 they enjoy affinities with one another, pushing into and defining the interstitial space.

Students analyzed precedent images and collected artifacts and atmospheres from those precedents. Reassembling the amassed pieces, each project attempted to establish new relationships between them as a recast set of interrelated architectural characters, props, and scenes.

Picture House and Image Construction: Gallery/Museum and Studio Students conducted design research for two projects: a film viewing pavilion on Art Hill and a cinema and film studio in downtown St. Louis.

Models were conceived along the lines of film sets or dioramas to be hybrids of pictures, built-ins, models, and accumulations of disparate things. The word “picture” is tied to the history of perspective painting, coming from the picture plane: the confluence of the parallel material screen and illusory frame. Rather than seeing pictures as illusions, students examined how they negotiate coextensive material data and optical logic by looking to the material construction of contemporary images. Their investigations considered the relationship of screen to frame across architectural representation, tectonic systems, and programmatic requirements.

Architecture will take on the qualities of a set of characters across multiple scales, producing interactions between the things gathered within its bounds, as well as with external actors in the urban site.

1. Andrew Holder, “Notes on More,” Shelf Life: Harvard Design Magazine 43 (Fall/Winter 2016), 101.

Master of Architecture

65

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Constance Vale Assistant Professor

66

FA19

Emily Haller

Master of Architecture

67

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Constance Vale

68

FA19

Emily Haller

Master of Architecture

69

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Constance Vale

70

FA19

Jingpan Zhang

Master of Architecture

71

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Constance Vale

72

FA19

Jingpan Zhang

Master of Architecture

73

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Wyly Brown Assistant Professor

74

FA19

Patrick Hatheway

Master of Architecture

75

317 Core Studio Picture Houses: Accumulating Images

WashU Approach

Wyly Brown

76

FA19

Patrick Hatheway

Master of Architecture

77

317 Core Studio Picture Houses: Accumulating Images

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Wyly Brown

78

FA19

Min Lin

Master of Architecture

79

317 Core Studio Picture Houses: Accumulating Images

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Wyly Brown

80

FA19

Min Lin

Master of Architecture

81

318

Architectural Design II Core Studio

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82

Instructors Kelley Van Dyck Murphy (Coordinator) Aaron Schump

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 focused on healthy living have increased. 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 one that is 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,” this 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

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318 Core Studio The Body Active: The Body Collective

WashU Approach

Kelley Van Dyck Murphy Assistant Professor

84

SP20

Patrick Hatheway

Master of Architecture

85

318 Core Studio The Body Active: The Body Collective

WashU Approach

Kelley Van Dyck Murphy

86

SP20

Patrick Hatheway

Master of Architecture

87

318 Core Studio The Body Active: The Body Collective

WashU Approach

Kelley Van Dyck Murphy

88

SP20

Kristine Ornstein

Master of Architecture

89

318 Core Studio The Body Active: The Body Collective

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Kelley Van Dyck Murphy

90

SP20

Kristine Ornstein

Master of Architecture

91

Aaron Schump Lecturer

318 Core Studio The Body Active: The Body Collective

SP20

A

18.

01.

07.

05.

04.

15.

B

03.

DW

10.

UP

02.

06.

DW

17.

UP

04.

B

17.

01.

08.

17.

12.

20.

01.

02.

03.

04.

05.

Lobby Public Restroom Lounge Membership Desk Juicebar

08. Meeting room 09. Building Storage 10. Locker room 11. Multicourt 12. Lap pool 13. Running Track 14. Exercise Equipment Area 15. Training room 16. Equipment Storage 17. Exercise Room 18. Rock Climbing Area 19. First Aid Room 20. Ticket Booth

PLAN 1

A

Scale: 1/8” = 1’-0”

WashU Approach

92

Min Lin

Master of Architecture

93

318 Core Studio The Body Active: The Body Collective

WashU Approach

Aaron Schump

94

SP20

Min Lin

Master of Architecture

95

318 Core Studio The Body Active: The Body Collective

Aaron Schump

SP20

LEVEL 1

WashU Approach

96

Emily Haller

Master of Architecture

97

318 Core Studio The Body Active: The Body Collective

WashU Approach

Aaron Schump

98

SP20

Emily Haller

Master of Architecture

99

419

International Housing Studio Core Studio

WashU Approach

100

Instructors Don Koster Emiliano López (Coordinator) José Morales 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

101

419 Core Studio International Housing Studio

Don Koster Senior Lecturer

FA19

Halifax, the largest city in Atlantic Canada, is a vibrant and progressive city housing over 40 percent of Nova Scotia’s population.

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, hosts major container shipping operations, and 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. A recent wave of development is transforming this regional center of government, commerce, education, and culture. Capitalizing on this renaissance, students investigated the design of new residential developments that embrace the city’s coastal legacy while adding to the vitality and density of the urban core.

Students were introduced to Halifax’s maritime culture through readings, lectures, and virtual visits to the city and province through internet-mapping programs.

They used this information to extract the character of the place by identifying dwelling typologies, settlement patterns, and the history and culture of material use.

This information was synthesized into a collage that fused drawings, photographs, and mapping. Informed by their virtual visits and research, students developed an experiential perspective drawing focusing on a threshold condition, either expressing the relationship between the interior

dwelling space and the city or the collective space of the building and the unit entry.

Architectural responses considered the city’s changing seasonal climatic conditions and the often harsh, wet, and cool coastal environment.

Following these introductory exercises, students designed a unit cluster prioritizing the spatial quality of the interior, natural light, and views. Emphasis was placed on designing through physical models to test the careful calibration of room size, organization, and proportion. After establishing the guiding dwelling principles, students were assigned to one of three waterfront sites in central Halifax and asked to design a minimum of 25–30 units of multifamily housing. The three sites—all occupied by municipal surface parking lots—were subdivided equally and shared by three or four students.

Over the remainder of the semester, students balanced the guiding priorities for the dwelling spaces—harnessing southern light and sea views—with the challenges of each site’s orientation. Students were responsible for designing collectively at the urban scale and encouraged to manipulate sites to enhance public interaction while ensuring solar and physical access to neighboring parcels. These complex interactions required collaboration among the designers and a focus, not only on the issues of each individual project, but on the sum of the collective.

Halifax: E Mari Merces From the Sea, Wealth

WashU Approach

102

Huzefa Jawadwala

Master of Architecture

103

419 Core Studio International Housing Studio: Halifax

FA19

Don Koster

BOARDWALK

HARBOUR -1.5 M Lvl BOARDWALK

FOYER +1.2 M Lvl

HARBOUR -1.5 M Lvl

COURT +1.2 M Lvl

CAFE +1.2 M Lvl

BOARDWALK PLAZA +0.0 M Lvl

KITHCEN / BACK OF HOUSE

FOYER +1.2 M Lvl

SALTER STREET +0.0 M Lvl

BOARDWALK PLAZA +0.0 M Lvl

FIRST FLOOR PLAN 1/8" = 1'

WashU Approach

104

BOARDWALK

Huzefa Jawadwala

SPATIAL RELATIONS SKETCH

BACK DOOR 1.1

EATE

SS

BACK DOOR SECLUDED ACTIVE

FRONT DOOR

MINGLE

1.2 PRIVATE

NORTH ELEVATION 1/8" = 1'

SEMI PRIVATE

SEMI PRIVATE

SHARED / COMMON

UNIT SPATIAL RELATIONS SKETCH

1.3

PHYSICAL MODEL 1.4

UNIT A

PHYSICAL MODEL UNIT B

REATE AND

Master of Architecture

105

PRIVATE

419 Core Studio International Housing Studio: Halifax

Don Koster

10.65 LEVEL 4

7.50

LEVEL 3

4.35

LEVEL 2

1.2

LEVEL 1

0.0

BOARD WALK

-1.5

WATER LVL

FACADE DETAIL 1/2" = 1'

WashU Approach

106

FA19

Huzefa Jawadwala

Master of Architecture

107

419 Core Studio International Housing Studio: Halifax

WashU Approach

Don Koster

108

FA19

Bing Zhao

Master of Architecture

109

419 Core Studio International Housing Studio: Halifax

WashU Approach

Don Koster

110

FA19

Bing Zhao

Master of Architecture

111

419 Core Studio International Housing Studio

Emiliano López Senior Lecturer

Working again within the framework of La Barceloneta explored in 2018, the 2019 studio proposed creating a new neighborhood between the consolidated urban grid and the port’s disconnected infrastructure. The goal was to engage the port’s everyday vitality with the pleasure of living in an urban, seaside context.

Each student’s proposal mediated the existing homes, fish market, and city infrastructure in dialogue with other students’ proposals. The space between the proposed buildings was crucial in framing the new community. Keeping in mind that the dimension and proportion of the remaining public open space defines the urban character of the new neighborhood, students proposed a sequence of public spaces linking transit from the city to the pier, a pedestrian-only area configured by public squares instead of streets.

This urban design methodology also served as a theoretical framework for developing the domestic interior spaces, understood as a sequence of rooms of varying sizes. Students avoided using passageways to link the rooms together, because “these thoroughfares were able to draw distant rooms closer, but only by disengaging those near at hand.”1 Where passageways were de rigueur, they were planned “as much like rooms as possible, with carpets or wood on the floor, furniture, bookshelves, beautiful windows. [They were] generous in shape, and always [had] plenty of light.”2

Units were developed as a matrix of different rooms, in which movement was produced by filtration, not canalization: occupants move through the domestic space by passing from one room to another. Each room had a series of latent uses derived from its size, intensity of light, quality of air, and above all the rooms adjacent to it. Starting with the notion that these rooms do not have predefined uses and may be freely interpreted by the users, the sequence of rooms becomes an extremely flexible matrix. “Almost every room, like a philosophical system, was in itself an entry, or passageway to other rooms, and systems of rooms—a whole suite of entries, in fact. Going through the house, you seem to be forever going somewhere, and getting nowhere. It is like losing one’s self in the woods.”3

FA19

Barcelona: La Barceloneta Port

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1. Robin Evans, “Figures, Doors and Passages,” Architectural Design 48, no. 4 (April 1978): 267–278.

2. Christopher Alexander, Sara Ishikawa, and Murray Silverstein, A Pattern Language: Towns, Building, Construction (New York: Oxford University Press, 1977), 632-636.

3. Herman Melville, I and My Chimney & Bartleby, the Scrivener a Story of Wall-Street (1856; reprint, Somerville, TN: Bottom of the Hill Publishing, 2014), 28.

Nick McIntosh

Master of Architecture

113

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano López

114

FA19

Nick McIntosh

Master of Architecture

115

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano López

116

FA19

Nick McIntosh

Master of Architecture

117

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano López

118

FA19

Ke Chen

Facade Model

Master of Architecture

119

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano López

120

FA19

Ke Chen

Master of Architecture

121

419 Core Studio International Housing Studio

José Morales Visiting Professor

Climate, materiality, space, and ways of inhabiting architecture and the city are intrinsically related. The city of Cagliari, capital of the island of Sardinia in Italy, is strategically located in the heart of the Mediterranean between Italy, France, and Spain. Historically, it has been a place of transit for civilizations, cultures, and economies; therefore, this island has been a tactical place from which to control the “Mare Nostrum,” our sea.

These very characteristics have triggered important urban transformations and housing alterations due to the mass tourism that has emerged over time. The domestic architecture, both existing and new construction, does not meet the requirements of current residents. At the same time, real estate speculation is forcing many to move outside the city center.

The site for this studio was an area located between the ancient walled city and the urban environment that evolved over the 19th and 20th centuries The extraordinary material and wealth of this place reinforces the value and environmental quality of the chosen site.

The house—the domestic space and interior distribution—was scrutinized to adapt a design for emerging economies related to tourism and living, such as room rentals or mixed commercial and domestic use, that affect private and public spaces. This involved reflecting on the relationship and limits between public and domestic spaces.

Students’ exploration of the domestic space allowed for relocating functions in

the home to the extent that space, culture, climate, and private economies could be balanced. The objective of the course was to interrelate all these conditions by projecting the organization of domestic spaces, calibrating the relationship between residents’ collective spaces and the city’s places of transit, on the border between the urban space and the private space of the collective dwelling.

FA19

Cagliari: Spaces of Relation and Privacy

WashU Approach

122

Qiyu Zhang

Master of Architecture

123

419 Core Studio International Housing Studio: Cagliari

WashU Approach

José Morales

124

FA19

Qiyu Zhang

Master of Architecture

125

419 Core Studio International Housing Studio: Cagliari

WashU Approach

José Morales

126

FA19

Qiyu Zhang

Master of Architecture

127

419 Core Studio International Housing Studio: Cagliari

WashU Approach

José Morales

128

FA19

Zachary Hantak

Master of Architecture

129

419 Core Studio International Housing Studio: Cagliari

José Morales

FA19

5

5

WashU Approach

130

Zachary Hantak

Master of Architecture

131

419 Core Studio International Housing Studio

Mónica Rivera Professor of Practice

San Juan, Puerto Rico’s capital and the second oldest European settlement in the Americas, was founded by the Spanish in 1521 as a military outpost. Situated in the trade winds connecting it to Seville, Spain, the historic district of Old San Juan occupies the tip of a rocky islet at the entrance to the Bay of San Juan. This neighborhood, which is still surrounded by parts of the original defensive walls, is comprised of 16th to 18th century mostly one- and two-story buildings that form a grid of compact city blocks perforated by patios with underlying water cisterns. The site of this studio was in La Puntilla, a tip of low-lying land located outside and south of the city’s defensive walls. Once the site of the Spanish fleet and arsenal, it is now occupied by the U.S. Custom House, the Institute of Puerto Rican Culture, the National Guard, housing, and a large parking lot.

Now a UNESCO World Heritage Site and one of the island’s main tourist attractions, Old San Juan embodies an urban model of living that is diametrically opposed to the predominant suburban housing model introduced in the late 1940s, when the island experienced great economic and social reform launched by New Deal agencies. The sprawl of singlefamily, modernist concrete houses covers most of the island’s built territory and has slowly degraded its historic town centers.

Mostly residential and infrastructural, the sprawl has created areas of social and use segregation, as well as car dependence.

This studio considered the design of collective housing, acknowledging the city’s rich historic heritage and incorporating passive design strategies—shading, cross ventilation, and orientation—to address the island’s tropical coastal climate.

FA19

San Juan: Tropical Thresholds, La Puntilla

WashU Approach

132

Yixuan Wang

Master of Architecture

133

419 Core Studio International Housing Studio: San Juan

Mónica Rivera

20 ft

WashU Approach

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FA19

Gary Lee

20 ft

Master of Architecture

135

419 Core Studio International Housing Studio: San Juan

WashU Approach

Mónica Rivera

136

FA19

Gary Lee

Master of Architecture

137

419 Core Studio International Housing Studio: San Juan

WashU Approach

Mónica Rivera

138

FA19

Naitian Tian

Master of Architecture

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419 Core Studio International Housing Studio: San Juan

WashU Approach

Mónica Rivera

140

FA19

Naitian Tian

Master of Architecture

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500— 600 Advanced Architectural Design Options Studios WashU Approach

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Instructors FA19 Gerardo Caballero Gustavo Cardón Sara de Giles Valerie Greer Patrick Gmür Patty Heyda Philip Holden Stephen Leet Robert McCarter Jonathan Stitelman Hongxi Yin

Instructors SP20 Robert Cole Gia Daskalakis Bob Ducker Philip Holden Petra Kempf Sung Ho Kim Pablo Moyano Mónica Rivera Michael Willis Hongxi Yin José Zabala

Instructors SU19 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

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Valerie Greer / Philip Holden Professors of Practice

Comprehensive Options Studio 500–600

FA18

Extreme Environments Radical Architecture: 4 Sites × 4 Extremes × 4 Beginnings Rising temperatures in the atmosphere and oceans increasingly precipitate destructive weather events such as heat waves, droughts, wildfires, flooding, hurricanes, and tornadoes, leaving a fast-growing population of people struggling to maintain basic health, safety, and livelihood.

A 2018 report by The Intergovernmental Panel on Climate Change (IPCC)1 estimates that human activity has been responsible for approximately 1.0 degree Celsius of global warming from pre-industrial levels.

At the current rate, global warming is predicted to hit an increase of 1.5 degrees Celsius between 2030–2055. Activities such as deforestation, overfishing, waste mismanagement, and water and soil contamination further jeopardize the future of humans and the world’s other 8.5 million species.

The IPCC estimates that nearly 40 percent of global energy related carbon dioxide is produced by buildings, which generate massive environmental impacts, ranging from the materials and methods of construction to operations and maintenance of structures. This positions architects and designers to work with social and environmental responsibility, not to simply minimize the effect of buildings, but also WashU Approach

to reimagine how interventions in the environment might positively contribute to ecosystems, ecologies, and the human condition.

Students in this studio explored how climatic disruptions require a more environmentally integrative approach to architecture, and how specific extreme environmental conditions provide an opportunity to rethink the process of architectural design. Working with four different sites and four extreme conditions— air quality, invasive species, unsettled ground, and water—students were challenged to think successively and radically about four different aspects of architecture—light, gravity, thermodynamics, and site. After proposing successive, focused, radical design propositions, students integrated their thinking and design proposals across a wide range of architectural considerations.

Within those parameters, students were tasked to design a research facility where 20 researchers or artists could live, work, collect, and display. The architectural and landscape interventions had to offer a means for understanding, experiencing, and responding to a specific extreme condition in the environment. Students speculated on how interventions might mitigate the

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impact of buildings, while also intensifying distinct relationships between people and environments.

As a comprehensive studio, emphasis was also placed on tectonics, structure, materiality, and performance, as well as on a sectional understanding of environmental conditions and site and architectural interventions.

1. IPCC, “Summary for Policymakers,” in Global Warming of 1.5°C: An IPCC Special Report on the Impacts of Global Warming of 1.5°C Above Pre-Industrial Levels and Related Global Greenhouse Gas Emission Pathways, edited by V. Masson-Delmotte, P. Zhai, H.-O. Pörtner, D. Roberts, J. Skea, P. R. Shukla, A. Pirani, W. MoufoumaOkia, C. Péan, R. Pidcock, S. Connors, J. B. R. Matthews, Y. Chen, X. Zhou, M. I. Gomis, E. Lonnoy, T. Maycock, M. Tignor, and T. Waterfield (Geneva: World Meteorological Organization, 2018), 32.

Master of Architecture

145

Comprehensive Options Studio 500–600 Extreme Environments Radical Architecture

WashU Approach

Philip Holden

146

FA19

Anthony Iovino

Master of Architecture

147

Comprehensive Options Studio 500–600 Extreme Environments Radical Architecture

WashU Approach

Philip Holden

148

FA19

Anthony Iovino

Master of Architecture

149

Comprehensive Options Studio 500–600 Extreme Environments Radical Architecture

WashU Approach

Philip Holden

150

FA19

Jacob Sanders

Master of Architecture

151

Comprehensive Options Studio 500–600 Extreme Environments Radical Architecture

WashU Approach

Philip Holden

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FA19

Jacob Sanders

Master of Architecture

153

Comprehensive Options Studio 500–600 Extreme Environments Radical Architecture

WashU Approach

Valerie Greer

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FA19

Dennis Dine

Master of Architecture

155

Comprehensive Options Studio 500–600 Extreme Environments Radical Architecture

WashU Approach

Valerie Greer

156

FA19

Dennis Dine

Master of Architecture

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Comprehensive Options Studio 500–600 Extreme Environments Radical Architecture

WashU Approach

Valerie Greer

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FA19

Donielle Whitecotton

Master of Architecture

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Comprehensive Options Studio 500–600 Extreme Environments Radical Architecture

WashU Approach

Valerie Greer

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FA19

Donielle Whitecotton

Master of Architecture

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500–600 Options Studio

Patrick Gmür Ruth and Norman Moore Visiting Professor

FA19

High Rise, High Density in Zürich Our lives increasingly take place in cities where two-thirds of the world’s population currently live. Our cities are growing, creating big challenges but also many possibilities. In the best-case scenario, cities are engines of growth and cultural incubators. Crossing points for ideas, they are innovative places that inspire their inhabitants to be mentally alert. They can be models for democracy and for a multicultural coexistence.

The future of humanity lies in cities.

The city of the future will offer housing at affordable prices and city-compatible traffic and transport, despite the increasing shortage of land. It will be sustainable, offering appropriate infrastructure (schools, hospitals) along with urban open spaces and green areas.

Even the population of Zürich—the largest city in Switzerland—has been steadily increasing over the last 20 years despite the lack of available building plots. As cities cannot create new areas suitable for construction, there is only one way to create supplementary housing space: increase the density of the existing city fabric. This raises the question of how and where high-rise construction is possible.

The general principles for (spatial) planning of high-rise buildings in the city of Zürich define where and—above all to what height—construction is permitted. These general principles are currently under revision as Zürich faces the challenge of planning and building compact and affordable apartments.

Students in Studio Gmür faced all of these questions. The exercise for this studio was WashU Approach

to design compact high-rise housing in six different urban locations, along a spatially interesting street, answering to the need for densification, but also to architectural questions concerning the address, access(ibility), structure, ground-floor plans for different needs, facades/elevations, private and public outdoor spaces, and materials. Attention was also paid to the increasingly important “common social spaces,” such as laundries, winter gardens, gathering places, and roof terraces.

The design of apartments is and remains the most important task for architects.

People live in the apartments architects plan and build. People do not have to visit a poorly designed museum, but they do have to live in terribly designed apartments.

Housing design forces designers to confront the everyday questions of life. How does one enter their apartment? How does one cook?

Where should the table be placed? How do occupants move around the rooms? Which dimensions allow the utmost flexibility?

These are just a few of the questions that concern every architect.

We have a great responsibility toward the future residents of the buildings we design.

At the same time, designing apartments always reflects our own life experience.

Everyone grows up in an apartment or a house. The parental home shapes us. We are part of a centuries-old history of housing, which in turn is part of our housing culture.

Therefore, the design of the apartment itself was another key aspect of the task explored by students.

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Paul Clark

Southern Elevation 1:200

Master of Architecture

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500–600 Options Studio High Rise, High Density in Zürich

WashU Approach

Patrick Gmür

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FA19

Paul Clark

Master of Architecture

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500–600 Options Studio High Rise, High Density in Zürich

WashU Approach

Patrick Gmür

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FA19

Alexander Wickes

Master of Architecture

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500–600 Options Studio High Rise, High Density in Zürich

WashU Approach

Patrick Gmür

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FA19

Alexander Wickes

Master of Architecture

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500–600 Options Studio High Rise, High Density in Zürich

WashU Approach

Patrick Gmür

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FA19

Dooho Won

Master of Architecture

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Patty Heyda Associate Professor

500–600 Options Studio

FA19

PRIVATIZED! Reasserting Architecture for the People Whereas the public sector in U.S. cities has been under attack since the 1970s neoliberal shift to a privatized political economy, compromising access to democratic design processes and spaces.

Public Architecture has been impacted, among other things, and when architecture is impacted, so is access to the quality of the city. There are of course, exceptions, but three key features of this situation include: 1. Lower standards of service delivery and aesthetics. Governments generally have little funding to support basic institutional provisions like schools, police, water, post offices, libraries, airports, or regulatory agencies (unless they are participants in the “real estate state,” recruiting capital at all costs to keep property taxes up). Cost cuts and competition result in building closures or cheaply constructed systems with low ceilings, durable but mundane fixtures, and purely functional layouts and material details. Most prevent spontaneous gathering.

2. The grand post offices, libraries, and government office buildings of the last century—that celebrated public life and equal access to quality—are largely a thing of the past. Fully public investment WashU Approach

in institutional space is compromised today. Decisions are not really made publicly, nor are designs assertive enough to overcome or subvert these constraints.

3. Many public institutions and provisions, along with their once welldesigned, well-located buildings, are closed—then sold to private developers— or are at risk of being privatized or sub-contracted. Note how many old public-school buildings have become profitable redevelopments in St. Louis, Missouri. Or how the General Post Office in Washington, D.C. is now a Trump hotel. Other competitive “nonprofit” or corporate alternatives like charter schools, private security, private utilities, and alternate delivery services like UPS threaten to siphon public funds or business. And, unless they inhabit the original buildings, these alternatives are usually built as cost-efficiently mundane as they are out of reach of fair labor practices, voter accountability, and access.

Considering these challenges, students explored new forms of design confidence for public empowerment in a diminished public sector environment, while also

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imagining buildings for a robust public future.

They started by unpacking several questions. First, what is meant by public?

Beyond quality and aesthetics, how should public forms anticipate and enable certain interactions, and what are the necessary design approaches for reaching this goal?

The architecture of a sampling of public institutions that have been privatized or are at risk of privatization were studied, encouraging students to consider which are the most open or the most compromised and closed—both physically and politically?

Based on this, students designed new models for public institutions that assert the democratic rights of access to the city.

They also imagined new models that do not yet exist but could. What is the architecture of a gun control/registry authority? What about a social security office/health clinic?

A police station/park? A decentralized, publicly owned utility station?

What are—or could be—new forms of urban public institutional life “of the people, by the people, for the people?”

Master of Architecture

173

500–600 Options Studio PRIVATIZED!

WashU Approach

Patty Heyda

174

FA19

Katy Karl

Master of Architecture

175

500–600 Options Studio PRIVATIZED!

WashU Approach

Patty Heyda

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FA19

Katy Karl

Master of Architecture

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500–600 Options Studio PRIVATIZED!

WashU Approach

Patty Heyda

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FA19

Tian Li

Master of Architecture

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Sara de Giles Visiting Professor

500–600 Comprehensive Options Studio

FA19

Coworking and Living in the City: Seville’s Historic Center in the 21st Century Throughout modern and contemporary history, the evolution of society, culture, and economy has had a tremendous impact on the quality of workspaces. Important changes have taken place in the physical workplace, from the Fordian tradition (human assembly line in Ford factories) and Taylorist processes (division of tasks according to their different functions) of the past to the collaborative and multidisciplinary modes of production and workstyles seen nowadays. At the same time, the close relationship between an architectural space and the workplace it is capable of generating must be highlighted, because it strongly contributes to the humanization of these spaces.

In European cities, the phenomenon of gentrification is causing an exodus of the local population from historic centers to the outskirts and suburbs. As a result, historical centers are becoming more and more like museums. But spaces are still available in these dense urban areas, providing an opportunity for tertiary sector use that can respond to the needs of contemporary society, allowing a new focus of economic activation and production to be established in the heart of these historical centers, creating spaces for citizens to live their daily lives, thus contributing to the humanization of the city.

WashU Approach

In this studio, students reflected on the relationship between architectural space and collective workplaces, as well as that between society and urban space.

Architectural projects were developed to integrate a hybrid program consisting of multiple coworking spaces (rental spaces for companies and other emerging projects), spaces for individual initiatives geared toward public use (exhibition areas and restaurants), and dwellings for short- and long-term workers. The final objective was to enhance the humanization of the city via the space created for relationship in workplaces and living spaces.

The site was an empty interior area in the historic center of Seville, Spain, consisting of two city blocks with only two openings onto the street. Students were challenged to create an interior street traversing the project, facilitating the integration of and interaction between coworking spaces and living spaces within the urban environment.

The first weeks of the semester focused on addressing various thematic lines related to the project, such as places of relationship and their interaction with the urban space itself. These included influences between workspaces and new technologies; compatibility and negotiation strategies

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between hybrid programs; materiality and construction of the architectural space; support, flexibility, and tectonics; and representation, interpretation, and the communicative intention of the architectural project. For background, important precedents of modern and contemporary architecture were revisited and analyzed.

For the remainder of the semester, each student developed an architectural project in one of the two proposed sites based on their analysis and understanding of the context. A collective model of the sites and their immediate surroundings was made, in which models of the different proposals were inserted. A trip to the south of Spain (Seville, Cordoba, and Granada) offered students an opportunity to experience Spain’s culture, context, urban forms, and historical and contemporary architecture, where they were able to verify their proposed project on site.

Master of Architecture

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Site 1 / Site 2

500–600 Comprehensive Options Studio Coworking and Living in the City

WashU Approach

Sara de Giles

182

FA19

Jing Chen

Master of Architecture

183

500–600 Comprehensive Options Studio Coworking and Living in the City

WashU Approach

Sara de Giles

184

FA19

Jing Chen

Master of Architecture

185

500–600 Comprehensive Options Studio Coworking and Living in the City

WashU Approach

Sara de Giles

186

FA19

Shangfeng Rao

Master of Architecture

187

500–600 Comprehensive Options Studio Coworking and Living in the City

WashU Approach

Sara de Giles

188

FA19

Shangfeng Rao

Master of Architecture

189

500–600 Options Studio

Stephen Leet Professor

FA19

Eads Bridge Tower There’s a lady who’s sure All that glitters is gold And she’s buying a stairway to heaven.

Stairway to Heaven Led Zeppelin IV, 1971

WashU Approach

The themes of this studio were the stair, vertical space, and movement. Initial projects and research included precedent studies and a series of hypothetical stair volume models to examine the qualities of light and shadow. For research, students took a field trip to Milan, Italy to visit a variety of buildings and sites designed by OMA, David Chipperfield, Franco Albini, Tadao Ando, Grafton Architects, Giovanni Muzio, Piero Portaluppi, and others.

Calling on their observations and research studies for their final project, students designed an observatory tower with exhibition spaces sited north of the Eads Bridge in an area of St. Louis known as Chouteau’s Landing. Chouteau’s Landing is the only enduring example of 19th-century riverfront buildings that remained after the demolition of most of the city’s riverfront in the 1930s.

Each project prioritized multiple ways of viewing the Eads Bridge, the Arch grounds to the south with Eero Saarinen’s Arch, the Mississippi riverfront, and what remains of Choteau’s Landing.

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Master of Architecture

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Engraving of Eads Bridge

500–600 Options Studio Eads Bridge Tower

WashU Approach

Stephen Leet

192

FA19

Yu Chen

Master of Architecture

193

500–600 Options Studio Eads Bridge Tower

WashU Approach

Stephen Leet

194

FA19

Yu Chen

Master of Architecture

195

500–600 Options Studio Eads Bridge Tower

WashU Approach

Stephen Leet

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FA19

Yifan Sun

Master of Architecture

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500–600 Options Studio Eads Bridge Tower

WashU Approach

Stephen Leet

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FA19

Yifan Sun

Master of Architecture

199

Comprehensive Options Studio 500–600

Robert McCarter Ruth and Norman Moore Professor

FA19

A Montessori School: Space and Learning in Contemporary Elementary Education This studio program engaged the comprehensive design of a small Montessori school. The pedagogical intentions were: 1) In designing elementary schools, architects exercise a critically important influence on children—the opportunity to change society for the better; 2) Self-determined, “learning by making” educational practices, such as Montessori, are today being increasingly recognized as the most effective way to educate young children and to integrate them into their environment and their culture; 3) What matters in architecture is not what a building looks like, but what a building is like to be in, to live in—how it is experienced in inhabitation by many people over many years; 4) As we begin the 21st century, every architectural project should be understood as an addition to a pre-existing inhabited context, whether urban, suburban, or rural, and new projects are often called upon to remedy past environmental mistakes.

Rather than beginning with a written program and designated site, the studio began with two projects, each approximately two-and-a-half weeks in length, both of which were to some degree inspired by Louis Kahn’s thoughts on WashU Approach

beginning design with an inhabited space rather than a pre-determined program.

The first project, entitled “Carving the Classroom: Abstract CUBE,” is intentionally abstract (meaning “to draw from”), and involved constructing a highly resolved proposal for a single Montessori classroom, engaging the Froebel gifts and their underlying geometries as ordering concepts, as well as engaging the fundamentally spatial and experiential definition of the Montessori education of “learning though making.”

The second project, entitled “Etching the Earth: Concrete DATUM,” was intentionally concrete (meaning “to grow together”), and involved each student evolving a highly resolved spatial proposal, deploying the programmatic elements of the Montessori school to construct a “society of spaces” as an inhabited surface, allowing a re-conceptualization of the ground plane.

These exercises introduced students to, and engaged the program of use for, the Montessori school and allowed them to develop and construct an idealized Montessori classroom and school (the “poetics of human action”). Students were then given the site for the school, which they developed over the remaining ten weeks of the semester.

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Juan Gonzalez

As part of the final development of their designs, students undertook a third project, entitled “Making Place Between Earth and Sky: Tectonic SECTION,” wherein a section of each student’s designs, connecting earth (foundation) to sky (roof), was explored at large scale. This was the first component of the final jury presentation requirements.

The final project in this comprehensive studio involved bringing the building design to a high level of resolution, and, as is appropriate to the “tectonic culture” of Modern architecture, students were asked to resolve “the poetics of construction” of their design, developing the materials, construction, and details that shape the interior experience of their school’s inhabitants—the ultimate measure of the quality of any work of architecture.

Master of Architecture

201

Comprehensive Options Studio 500–600 A Montessori School

FA19

Robert McCarter

N

WashU Approach

202

Site Plan 1/16” = 1’0”

Juan Gonzalez

Master of Architecture

203

Comprehensive Options Studio 500–600 A Montessori School

WashU Approach

Robert McCarter

204

FA19

Rachel Reinhard

Master of Architecture

205

Comprehensive Options Studio 500–600 A Montessori School

WashU Approach

Robert McCarter

206

FA19

Rachel Reinhard

Master of Architecture

207

Comprehensive Options Studio 500–600 A Montessori School

WashU Approach

Robert McCarter

208

FA19

Zhiqian Xu

Master of Architecture

209

Jonathan Stitelman Visiting Assistant Professor

500–600 Options Studio

FA19

Ghost Sanctuary This studio was positioned between Giorgio Agamben’s Homo Sacer and the exhibition Ai Weiwei: Bare Life, on view from September 28, 2019 through January 5, 2020 at the Mildred Lane Kemper Art Museum. Students explored the notion of sanctuary—both abstractly and from a personal position—culminating in the design of a sanctuary building. The design process originated in representational experiments seeking to capture traces of the places of comfort to which we can no longer return.

This exercise was generative of form and effect in the final design.

In his seminal text, Homo Sacer: Sovereign Power and Bare Life (Stanford University Press, 1995), Italian political philosopher Giorgio Agamben frames two poles: sovereignty and bare life. He posits that sovereignty presupposes itself as a state of nature and constitutes power through a blurred matrix of violence and justice, asserting rules that ultimately affect inclusion and membership of citizens. Bare life, on the other hand, is an individual’s existence outside the protection of sovereign power. From a spatial perspective, one may be included in a sovereign domain without being a member, a position Agamben describes as “excrescent,” to be present without representation. This status, shared by individuals seeking sanctuary in unwelcoming nations around the world, unifies people who have been forced from home out of fear of bodily harm or persecution. Excrescence and the pursuit of sanctuary are timeless issues central to contemporary discourses around identity, protection, and social justice. While WashU Approach

architects have been historically interested in engaging questions of belonging through their work, one persistent challenge has been identifying meaningful sites for design.

Agamben posits that the extreme condition within the duality is the concentration camp, where sovereign violence and justice exist in a state of indistinction, meted out upon a dis-included population betrayed by their own “biopolitical” identity.

In this studio, students considered the notion of sanctuary as counterpoint to the camp. The concept of sanctuary guided students’ formal and graphic exploration, represented through a suite of analog and digital artifacts that blurred the formal and non-formal elements of imagery. Through these artifacts, the threshold between memory and representation were probed.

This entailed defining personal places of respite and acknowledging the underlying bitter truth that one can never go back. The final project, the design of a sanctuary, drew from the geometric, atmospheric, formal, and graphic elements of students’ own lost respites.

This work was also situated relative to the exhibition Ai Weiwei: Bare Life at the Mildred Lane Kemper Art Museum. Ai’s work—part found object, part political commentary— probes at the precariousness of cultural artifacts and authority through the creation of enigmas, which express two incompatible wholes. To enhance their research, students were invited to take part in public discussions related to the exhibition.

The Ghost Sanctuary is a place for retaining lost memories of comfort, intrepidly interlaced in an unwelcoming territory.

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Larissa Sattler

Master of Architecture

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500–600 Options Studio Ghost Sanctuary

WashU Approach

Jonathan Stitelman

212

FA19

Larissa Sattler

Master of Architecture

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500–600 Options Studio Ghost Sanctuary

WashU Approach

Jonathan Stitelman

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FA19

Larissa Sattler

Master of Architecture

215

500–600 Options Studio Ghost Sanctuary

WashU Approach

Jonathan Stitelman

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FA19

Siyu Bai

Master of Architecture

217

500–600 Options Studio Ghost Sanctuary

WashU Approach

Jonathan Stitelman

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FA19

Siyu Bai

Master of Architecture

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Hongxi Yin InCEES Associate Professor

500–600 Comprehensive Options Studio

FA19

Habilitation for Xi’an Every person—in every country in the world—should have the opportunity to live a long and healthy life. The environments in which we live can favor health or be harmful to it. Healthy Ageing is about creating built environments and opportunities that enable people to be and do what they value throughout their lives.

—“What is healthy aging?”

World Health Organization Architects and designers increasingly view the design of long-term care, assisted living, and healthy aging communities as “habilitation,” a therapeutic approach to caring for older people with various chronic diseases. Through its multiple and interconnected disciplines, habilitation promotes well-being and healthy functioning among older people in daily living.

Habilitation differs from rehabilitation, which seeks to restore external function, by its emphasis on the internal: emotion.

Students were challenged to design a healthy aging community that attains habilitation by addressing the following four areas of concern: 1) design of community planning, including context, function, flow, connection, location, special-care units, and community services; 2) design of building configuration, including orientation, form, indoor/outdoor spaces, landscape, and spaces for community engagement; 3) research on environmental attributes, including non-institutional/home-style character, privacy, sensory stimulation, lighting, and safety; 4) and the study of specific rooms and active spaces, including living, bath, dining, kitchen, and bedrooms.

WashU Approach

The project site was located in Xi’an, one of the oldest cities in China. The city was the capital of several important dynasties throughout Chinese history. In the first six weeks, students examined precedents related to habilitation and analyzed the problems and potential of the given site, developing a program proposal and conceptual designs. This was followed by a field trip to Xi’an. During their travels, students investigated the site, toured the city, and delivered a midterm pin-up presentation to the developer, local architects, and therapists. They also organized a half-day seminar on the topic of habilitation at Xi’an University of Architecture and Technology. Following the studio trip, students further developed their concepts and designs into small-scale conceptual models and large-scale material studies or detailed mockups.

This was a highly collaborative studio, relying on the expertise of several professionals, including Xiabo Quan, PhD (collaborator); Carolyn Baum, PhD, Lisa Connor, PhD, Jessica Dashner, OTD, and Alex Wong, PhD (Program in Occupational Therapy at Washington University), and Donna Ware (Barnes-Jewish Hospital), who delivered lectures on different topics related to OT fundamentals and modern practices; and Paul Whitson (HOK), David Polzin (CannonDesign), Dan Hellmuth (Hellmuth + Bicknese), Yueyan Li, and Qian Zhang (Xi’an University of Architecture and Technology), who reviewed student projects.

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Yihang Guan

Master of Architecture

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500–600 Comprehensive Options Studio Habilitation for Xi’an

WashU Approach

Hongxi Yin

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FA19

Yihang Guan

Master of Architecture

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500–600 Comprehensive Options Studio Habilitation for Xi’an

WashU Approach

Hongxi Yin

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FA19

Yihang Guan

Master of Architecture

225

500–600 Comprehensive Options Studio Habilitation for Xi’an

WashU Approach

Hongxi Yin

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FA19

Hanui Yu

Master of Architecture

227

500–600 Comprehensive Options Studio Habilitation for Xi’an

WashU Approach

Hongxi Yin

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FA19

Hanui Yu

Master of Architecture

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Gerardo Caballero / Gustavo Cardón FA19 Affiliate Associate Professors

500–600 Comprehensive Options Studio

Buenos Aires: Links International Semester Studio Architectural 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 merely a portion of land with specific dimensions. Architects do not simply place a building that meets the criteria of a specific program onto a piece 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 their interpretative work.

The site for this studio is located in Buenos Aires. Sometimes called the Paris of South America, it is a city full of contradictions and contrasting conditions undergoing its own dynamic of transformation. The context is social, cultural, technological, and climatic. At the edge of a well-known and studied shantytown known as Barrio 31, and in proximity to the business district of a large metropolis, the site could not more explicitly comprise the conditions of a developing nation or a more intense urban experience.

This area is in constant flux. Recent architectural developments have reconfigured the area without regard to the unique dynamics of this urban space, and continued construction is expected.

Student projects aimed to address both the programmatic requirements of a building while being respectful of development in this urban context.

Students were charged with designing a complex of pools to, in addition to WashU Approach

their specific use, serve as a community center and link the different urban fabrics at the edge of an informal settlement.

In preparation, students considered and presented examples of the kinds of places that first came to their minds when they received the studio statement and requirements: Were they traditional or contemporary buildings and sites? Were their immediate reactions toward the existing architecture and sites aggressive or more respectful of former precedents?

Did they perceive them as invisible or outspoken, or more radical (as in the result of a bold invention) or more conservative (as derived from a long-standing tradition)?

The choice of technical, constructive approaches to building and material repertoire were promoted as conscious design decisions emphasized in the early stages.

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.

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Zhuoxian Deng

Master of Architecture

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500–600 Comprehensive Options Studio Buenos Aires: Links

WashU Approach

Gerardo Caballero / Gustavo Cardón

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FA19

Zhuoxian Deng

Master of Architecture

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500–600 Comprehensive Options Studio Buenos Aires: Links

WashU Approach

Gerardo Caballero / Gustavo Cardón

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FA19

Wenxi Du

Master of Architecture

235

500–600 Comprehensive Options Studio Buenos Aires: Links

WashU Approach

Gerardo Caballero / Gustavo Cardón

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FA19

Anna Friedrich

Master of Architecture

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500–600 Comprehensive Options Studio Buenos Aires: Links

WashU Approach

Gerardo Caballero / Gustavo Cardón

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FA19

Anna Friedrich

Master of Architecture

239

Adrian Luchini SU19 Raymond E. Maritz Professor of Architecture Mariona Benedito Lecturer Abroad

500–600 Comprehensive Options Studio

Barcelona: Intersections

International Summer Studio It has been said, wisely, that Barcelona is a city of lyrical profiles rather than epic movements. It is this complex cacophony of light, architecture, and spectacle that inspires students, year after year, in summer exercises in Barcelona. Distances collapse, impressions abound, and conversations appear fluid and constant, in a rhythm that does not slow down during the summer months.

This intense 8-week course is divided into a seminar and a studio. Meetings take place every day with studio activities, field trips, and presentations by local architects.

Student projects and papers aimed to engage the specific milieu of a paradigmatic European city through their own eyes and day-to-day experiences. The affirmation of personal identities grows and expands in this unique city where the deep traces of history and the pulsation of a dynamic culture collide with unusual force.

WashU Approach

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.

240

Tianfang Fang

Master of Architecture

241

500–600 Comprehensive Options Studio Barcelona: Intersections

WashU Approach

Adrian Luchini Mariona Benedito

242

SU19

Tianfang Fang

Master of Architecture

243

500–600 Comprehensive Options Studio Barcelona: Intersections

WashU Approach

Adrian Luchini Mariona Benedito

244

SU19

Tianfang Fang

Master of Architecture

245

500–600 Comprehensive Options Studio Barcelona: Intersections

WashU Approach

Adrian Luchini Mariona Benedito

246

SU19

Jing Chen

Master of Architecture

247

500–600 Comprehensive Options Studio Barcelona: Intersections

WashU Approach

Adrian Luchini Mariona Benedito

248

SU19

Jing Chen

Master of Architecture

249

Robert Cole Visiting Professor

500–600 Options Studio

CIAdc In theory, there is no difference between theory and practice, while in practice there is.

—Benjamin Brewster (often attributed to St. Louis-born Yogi Berra) What The CIAdc was a speculative studio that sought to define and design a Culinary Institute of America in Washington, D.C. Culinary students there work side by side with teacher/chefs preparing, cooking, and serving meals in the campus restaurant.

One learns by doing: the process is the learning and the cooking is the product.

The CIA is an urban live-work space. The work element consists of a teaching kitchen and restaurants, while the live component involves housing those who study and work there: the director/chef, six to eight student interns, and visiting fellows.

goal was to define the brief. Conjectures were tested experientially, in section and perspective. Students considered how key primary spaces should look and feel.

Toggling between the conceptual and experiential, they navigated the massing process and concluded with designing the facades, exploring the potential of the skin to mediate between conditions.

Product The goal of the studio was to learn how to design and to develop confidence while doing it.

Where The site was in Blagden Alley, a historic 19th-century city block comprising a collection of narrow streets and a few spectacular, urban “rooms.”

How The studio was structured as a series of additive parts that informed the design of a whole. Learning by doing emphasizes taking the risk to learn what one does not know.

The tool is questions and determining which questions to ask. What is right? What is good? And why?

Students started by thinking conceptually about the design, the logic (plan) of how kitchens work. Should, could, might, and or were self-determined: the WashU Approach

SP20

250

Zhengwei He

Master of Architecture

251

500–600 Options Studio CIAdc

WashU Approach

Robert Cole

252

SP20

Zhengwei He

GROUND LEVEL PLAN 1"=8'

2ND LEVEL PLAN 1"=8'

3RD LEVEL PLAN 1"=8'

Master of Architecture

253

500–600 Options Studio CIAdc

WashU Approach

Robert Cole

SP20

SHORT SECTION A

0'

5'

15'

30'

SHORT SECTION A

0'

5'

15'

30'

254

Zhengwei He

Master of Architecture

255

500–600 Options Studio CIAdc

WashU Approach

Robert Cole

256

SP20

Mingyang He

Master of Architecture

257

500–600 Options Studio CIAdc

WashU Approach

Robert Cole

258

SP20

Mingyang He

Master of Architecture

259

Gia Daskalakis Associate Professor

500–600 Options Studio

SP20

A Flirtation with Castlewood In the mid-1970s, Castlewood State Park (Ballwin, Missouri) was created within an existing landscape, but also from the remains of a once thriving resort community along the Meramec River. On summer weekends in the early 1900s, thousands of St. Louisans traveled by train to the resort as a respite from the heat, pollution, and congestion of the city.

Excited visitors arrived at the Castlewood Train Depot, climbed the grand concrete stairway, and scattered to hotels, clubhouses, cabins, shops, dancehalls, and speakeasies. From atop the majestic 250-foot limestone bluffs, breathtaking views spread out over the freeflowing Meramec River below. At the bottom of the bluffs, visitors ferried across the river to a large man-made sandbar known as Lincoln Beach while others arrived from east and west in small boats and canoes.

To uncover the (his)story of Castlewood Camp in its active phase, between World War I and World War II and over the following 30 years of its decline, is a frustrating effort for the curious. A wade through unfiltered internet information offers a story with missing passages, dangling threads, and weak signals from a past already muffled by time.

An “architect sleuth” is needed to search for clues; piece together dates, places, and events; construct maps; organize photographs; and document physical traces. Several blogs dedicated to recounting experiences of Castlewood have been generated over the years; however, these blogs are like the whisper game in which messages are blurred and distorted but still retain grains of truth.

The most concrete evidence for WashU Approach

Castlewood’s story is formed from rather banal vestiges in the landscape: the ruin of the once grand staircase now mostly hidden by deep foliage, remnants of the reservoir that stored water for the resort, an abandoned castle-like building, and the partial concrete structure of a former bridge. Today’s park offers public leisure space with activities that support the current values of health, well-being, and relaxation in nature. Many park programs share those of the former Castlewood Camp—hiking, horseback riding, canoeing, bicycling, and fishing. The unpredictable Meramec River no longer permits swimming, and the camp swimming pool, originally fed by an artesian spring that flowed through a mineral deposit of salt, has been filled. Lodging and partying venues have disappeared.

Students in this studio imagined a third iteration for Castlewood. The multiple layers and simultaneous, overlapped realities of this place sparked imaginations to render possible futures. The studio began in a liminal space, in the moment between the park and its blurry past—and what it might become. Current park programs and spaces could remain, but be altered, while past activities could be reconsidered and given new vitalities, and future programs could be proposed. Transformation could be created through erasures, reclamations, or additions.

Students engaged multiple scales of the environment from the territory of park, town, river, and landscape to the more intimate scale of architecture. An alternative gaze and a triple vision were needed to maintain a fluid palimpsest.

260

Wenxi Du

Master of Architecture

261

500–600 Options Studio A Flirtation with Castlewood

WashU Approach

Gia Daskalakis

262

SP20

Wenxi Du

Master of Architecture

263

500–600 Options Studio A Flirtation with Castlewood

WashU Approach

Gia Daskalakis

264

SP20

Zhao Yang

Master of Architecture

265

500–600 Options Studio A Flirtation with Castlewood

WashU Approach

Gia Daskalakis

266

SP20

Yixuan Wang

Master of Architecture

267

500–600 Options Studio A Flirtation with Castlewood

WashU Approach

Gia Daskalakis

268

SP20

Yixuan Wang

Master of Architecture

269

Philip Holden Professor of Practice

500–600 Options Studio

SP20

Narratives Come and Narratives Go Architectural narratives can be understood in two ways. First, the proposition that a narrative can validate architecture is both unstable and suspect. This narrative may be architectural story, a programmatic basis, a critical claim, an intentional construct, a metaphorical interpretation, or any other expression related to an architectural discourse. Second, once constructed as part of a place, an architecture can have qualities that remain valid and valuable irrespective of its program or the discourse that prompted its making. Narratives of intention and program can change over time and are not wholly bound to the value of the architecture.

This is not unlike the narrative of a stage set for a play that runs for a few weeks or months being replaced by another story and then another. A larger construct—the theater—remains, prompting relationships and emotions that exist in a longer time frame and in a particular place. It was hoped that the focus on site and “construction forward” design thinking in this studio would help students identify these values.

Unstable Narratives Students were offered a choice from three different programs: 1) a place to exchange views between science and society, 2) a special needs adults art and music studio, and/or 3) a Native American archeological museum. They could be thought of one at a time, separately, or as a full range of possibilities. Each program had the same basic spatial requirements, but the spaces could be used in radically different WashU Approach

ways—meeting and activity spaces, prefunction/informal space, a theater, an exhibit system, kitchens, or rest rooms. The theater includes various pre-function and production spaces, a 250-seat studio theater, a construction workshop, and other support spaces.

Projects were located in Chicago on sites chosen by each student.

Construction Forward “Construction forward” designs involved inventing and deploying complex wall systems with the expectation they could help create variegated spaces, develop social boundaries, and engage the site in a particular way—all while being responsive to our contemporary environmental crises.

Design began with walls, or hybrid boundaries. Students invented hybrid wall systems using different beginnings: light phenomena with regard to site and geometry/color, gravity with regard to social/ site/cultural conditions, and thermodynamics with regard to art. These inventions served as architectural prompts, with the expectation that each might have the capability to extend into a full project. This allowed students to focus more directly on the enduring presence of the architecture in the city, with the possibility of ever-changing programmatic and cultural narratives.

270

Xiaoyu Yang

Master of Architecture

271

500–600 Options Studio Narratives Come and Narratives Go

WashU Approach

Philip Holden

272

SP20

Zhuoxian Deng

Master of Architecture

273

500–600 Options Studio Narratives Come and Narratives Go

WashU Approach

Philip Holden

274

SP20

Zhuoxian Deng

Master of Architecture

275

500–600 Options Studio Narratives Come and Narratives Go

WashU Approach

Philip Holden

276

SP20

Shangfeng Rao

Master of Architecture

277

500–600 Options Studio Narratives Come and Narratives Go

WashU Approach

Philip Holden

278

SP20

Shangfeng Rao

Master of Architecture

279

Petra Kempf Assistant Professor

500–600 Options Studio

SP20

Flex(Ing)>Place >Compact< Can architecture and the stories of its inhabitants trigger a change in current modes of urbanization—one in which the relevance of place has become subsidiary to economic and political considerations? In answer, students tested emergent possibilities of living within a typical urban block in New York City. They investigated whether this planning unit (the apartment, the building, the urban block, and the street) and its programmatic content can adapt to life unfolding onsite. By directly binding the agency of architecture to the story of its inhabitants, students were invited to construct a locally emergent and robust environment that accommodates technological innovation to connect the informed and globally participating society living in urbanization.

To begin, students took a closer look at the configuration of the urban grid, which— one could argue—is perhaps the most resilient, functional figure-forming ground that has enabled humans to define and abstract their relationship to one another, as well as distinguish themselves (through architecture) from the ground that surrounds them. Within the realm of design, the grid played an ambivalent role, as its geometry relates not just to form, but also reveals the presence of a spatial configuration closely tied to ecological and sociopolitical relationships, forming an association toward a certain mode of life. As a result, this interplay has led to a distinct configuration of the relationships of inhabitants toward the ground they stand on, the building unit, the urban block, and entire neighborhoods.

WashU Approach

Considering that urbanization divides, expands, and accommodates shortcuts of various ecological, sociopolitical, and scalar implications toward the built and un-built environment, students generated concrete ideas to construct a locally driven urban unit within this vast field of urbanization.

280

Anthony Iovino

Master of Architecture

281

500–600 Options Studio Flex(Ing)>Place>Compact<

WashU Approach

Petra Kempf

282

SP20

Anthony Iovino

Master of Architecture

283

500–600 Options Studio Flex(Ing)>Place>Compact<

WashU Approach

Petra Kempf

284

SP20

Anthony Iovino

Master of Architecture

285

500–600 Options Studio Flex(Ing)>Place>Compact<

WashU Approach

Petra Kempf

286

SP20

Donielle Whitecotton

Master of Architecture

287

500–600 Options Studio Flex(Ing)>Place>Compact<

WashU Approach

Petra Kempf

288

SP20

Donielle Whitecotton

Master of Architecture

289

Sung Ho Kim Professor

500–600 Options Studio

SP20

Horizontal Skyscraper Steel Cloud In 1923, El Lissitzky’s visionary design of the horizontal skyscrapers known as Steel Cloud marked the beginning of a major rethinking of urban design and a new understanding of the high-rise as a building typology. Lissitzky’s design inspired future generations of architects—Constant Nieuwenhuys, Le Corbusier, Archigram, Metabolist, Steven Holl, Rem Koolhaas, Herzog & de Meuron, and Zaha Hadid— to reinvent skyscrapers within the third dimension.

Lissitzky’s Moscow design was the historical precedent and case study for investigating a new form of vertical building design that expands the notion of horizontal layered grounds. St. Louis’ collage of urban strategies with modern infrastructure allows for a more perceptual reading of dynamic speed, rendering the flows and vectors of the city. These movement mappings reveal the foundational network that generates the form of horizonal tectonics that emerge from the site for this studio.

Zero Degree Following the Revolution, Russian Suprematists searched for notions of Zero Degree—the point to which classical art could go before ceasing to be art, where it expands the viewer’s perception through new experiences. The Zero Degree advances the ultimate apex of the visual pyramid of perspective into infinity, a concept that moves away from formal art that engages the planar illusions of 2D and planimetric space. An illusion of 3D perspective space, the Zero Degree creates the ultimate illusion of irrational WashU Approach

space with its infinite extensibility into the background and foreground. Within this unexpected experience, the phenomena of spatial coordinates dissolves into dynamic movements that challenge scalar perceptions.

Zero Degree architecture emerges as a polemic counterpart to the corporate and developer building typology that is financially interwoven into current economic and capitalistic conditions. This architecture investigates the notion that buildings can become an authoritative force in built environments that embrace cultural, phenomenal, social, and ecological agendas. These design explorations are the vehicle for inventing a new building typology that experiments with both horizontal and vertical designs and transforms the structural understanding of “the wall” and “the floor.”

Site and Program The site for this studio, 3700 Forest Park Avenue, was located in the newly developed City Foundry STL. This urban marker is a threshold to the heart of Midtown St. Louis, between the Central West End and Grand Center. Among its existing local food halls, commercial and event spaces, and entertainment facilities, the Horizontal Skyscraper program called for a supermarket, commercial retail spaces, condominiums, and apartments. Students were challenged to design a destination space that offers a fresh cultural and social scene; an urban regenerator that attracts the fragmented city into its dynamic center.

290

Ryan Do

Master of Architecture

291

500–600 Options Studio Horizontal Skyscraper

WashU Approach

Sung Ho Kim

292

SP20

Ryan Do

Master of Architecture

293

500–600 Options Studio Horizontal Skyscraper

WashU Approach

Sung Ho Kim

294

SP20

Ryan Do

Master of Architecture

295

500–600 Options Studio Horizontal Skyscraper

Sung Ho Kim

N

1. Original box massing volume

WashU Approach

2. Adjust the longitudinal orientation of the massing volume to match the highway’s orientation

296

3. Lift up the building volume to create horizontality, and introduce the cross wind into the site

SP20

Junhao Li

5. Adjust columns’ locations to ensure available structure

4. Branch out to make conversation with the existing building, taking advantage of the horizontality to capsture more views of the city

Master of Architecture

297

6. Merge and interlock each part of the building to increase the variety of interior space and to allow sunlight to reach the north side of the building

500–600 Options Studio Horizontal Skyscraper

Sung Ho Kim

SP20

1/16“=1‘

0

WashU Approach

298

20

40

80

Junhao Li

1/16“=1‘

0

Master of Architecture

299

20

40

80

Pablo Moyano Assistant Professor

500–600 Options Studio

SP20

Concrete Skins Concrete has a telluric backwardness, and its story is in part a playing out of the tension between its progressiveness and its residual primitivism.

—Adrian Forty, Concrete and Culture: A Material History (London: Reaktion Books, 2012), p. 15.

Concrete is a remarkably versatile material that allows endless morphological configurations while offering a wide range of technical and design possibilities. It is plastic and malleable when mixed; hard, strong, and durable when cured.

Concrete is by far the single most common construction material worldwide; yet, in the United States, it is usually either associated with high-end modern architecture or considered a utilitarian material.

In the last few decades, alterations in its material properties have opened up a large number of innovative utilizations.

Today, chemical enhancements and advanced admixtures have resulted in the proliferation of different types, including 3D printing concrete, self-healing concrete, photocatalytic concrete, biological concrete, and smart concrete, among many others. Progressiveness in the material composition poses an opportunity for changing the perception of a rather primitive material and finding new applications, while making it more accessible, tangible, and familiar to everyday users.

Funded by a Teaching Development Grant from the Sam Fox School, this course aimed to explore concrete through speculative testing, innovative formwork techniques, and large-scale mockups. Students investigated, sought to WashU Approach

understand, and challenged the possibilities and limitations of concrete as a building material. In the first phase, students worked to decode concrete’s essence and properties through intuitive experimentation with concrete mixes and a variety of formwork techniques.

Using concrete as the primary constituent material, the second phase of the studio focused on its architectural applications through the design of a 250,000-square-foot building. Attention was placed on the development of a concrete enclosure system informed by strict envelope-related performance criteria, tested as both generic prototypes and project-specific design. Design work addressed prefabrication and masscustomization features while incorporating highly creative and digitally fabricated geometries and assembly systems.

In the final phase, as part of the design process and final deliverables, students materialized concrete mock-ups of their building enclosure systems at a 4-inch=1foot scale. These large-scale models served as proof-of-concept prototypes. Hence, this studio simultaneously offered researchbased and hands-on exploration of this universal material.

The proposed mixed methodology built upon in-depth research through direct experimentation, challenging students to rethink the materialization of traditional enclosure solutions and allowing them to test ideas through an iterative process. The ultimate goal being to acquaint students with concrete in particular, and how materiality intrinsically determines the way buildings are made and how they perform.

300

Courtney Prentiss

Master of Architecture

301

500–600 Options Studio Concrete Skins

WashU Approach

Pablo Moyano

302

SP20

Anna Friedrich

Master of Architecture

303

500–600 Options Studio Concrete Skins

WashU Approach

Pablo Moyano

304

SP20

Anna Friedrich

Master of Architecture

305

500–600 Options Studio Concrete Skins

Pablo Moyano

SP20

Transitions from Site Analysis to Massing Model

High Point

Commercial Building School Bank

Restaurant

Hotel Restaurant Restaurant

View of the park in the west building.

Model 1 has gaps without blocking the connection between west building and park.

The connection with surrounding buildings.

Model 2 has corridors that connect two buildings.

The courtyard surrounded by building

WashU Approach

The gap & Transition area

306

The skyline is lower and

Model 3 has terraces to make west to east. And forming a tr building and park.

The corridor betw

Yuanwan Huang

Parking Lot

Low Point

d lower from west to east.

e it lower and lower from ransition area between

Parking Lot

Traffic in four directions, the site is surrounded in center.

Model 4 has a courtyard in center.

ween two buildings

Master of Architecture

Parking Lot

Park

Green park and parking lot surround the site.

Model 5 use the roof for outdoor activities.

The terrace

The use of roof

307

500–600 Options Studio Concrete Skins

WashU Approach

Pablo Moyano

308

SP20

Yuanwan Huang

Skin Distribution

Disperse Curve

Disperse

Dense

Dense

Surface

Disperse

Disperse

Surface change

Disperse Disperse Dense

Dense Density change

Sparse

Disperse

Dense

Master of Architecture

Dense

Sparse Disperse

Disperse

309

Sparse Disperse

Mónica Rivera Professor of Practice

500–600 Comprehensive Options Studio

SP20

Reusing Suburbia Strategies for Subdivisions in Puerto Rico In Puerto Rico, suburban residential subdivisions and the insecurity derived from crime have crystallized in a peculiar and perverse form of living within gates.

Detached, modernist-style, single-family houses—mostly one-story with open carports—are the most extensive housing type. These houses are also the least environmentally appropriate for the tropics, having uninsulated flat roofs, low ceilings, limited cross ventilation, and especially high thermal mass that turns them into nocturnal heat radiators.

The island’s struggle with insecurity has transformed its built environment, as well as the social relationships among its citizens. Seeking protection from intruders, residents have installed grilles and gates in openings, including carports. Sociability and communication are challenged by these barriers, with neighbors chatting through them and children playing within them as urban inmates. Along with vegetation that is increasingly cut back by residents to improve surveillance, the resulting suburbanscapes express fear.

Students confronted this ignored suburban panorama with proposals for reusing and transforming these isolated, climatically inadequate structures into socially and environmentally meaningful places. Each student was assigned a Levittown Puerto Rico house plan in an imaginary plot. Goals for the projects were to: 1) Improve the spatial and thermal conditions of the existing houses; 2) Increase density by expanding the houses with lightweight materials; 3) Create WashU Approach

open-ended spatial configurations to accommodate changing lifestyles and needs, as well as non-family households; and 4) Design replicable strategies to speculate on a new block type and neighborhood for diverse uses and users.

The studio focused on contingency and constraint as positive values, and projects aimed to reframe quotidian issues embodied in architecture and dwelling that were specific to the place, such as sociability, anonymity, privacy, conflict, community, ventilation, insects, heat, and noise.

The comprehensive aspect of the studio was understood as a holistic approach, and early strategic thinking around energy, structure, resources, materials, and program was adopted for creating environmentally informed architecture.

Students investigated spatial sections to support solar energy and rainwater collection and to increase natural ventilation through air shafts, solar chimneys, and layered shading.

A visit to Puerto Rico provided experiences about culture, climate, vernacular architecture, and the evolution of urban forms, from the Spanish colonial city to contemporary suburban sprawl.

By embracing design challenges and the opportunities afforded by extreme climate, students contributed to ongoing research, informing a vision for the island’s ecological future in light of recent economic and natural catastrophes.

310

Ke Chen

Master of Architecture

311

500–600 Comprehensive Options Studio Reusing Suburbia

WashU Approach

Mónica Rivera

312

SP20

Ke Chen

Master of Architecture

313

500–600 Comprehensive Options Studio Reusing Suburbia

WashU Approach

Mónica Rivera

314

SP20

Ke Chen

Master of Architecture

315

500–600 Comprehensive Options Studio Reusing Suburbia

WashU Approach

Mónica Rivera

316

SP20

Yizhen Wang

Master of Architecture

317

500–600 Comprehensive Options Studio Reusing Suburbia

WashU Approach

Mónica Rivera

318

SP20

Yizhen Wang

Master of Architecture

319

Bob Ducker Lecturer Michael Willis Visiting Professor

500–600 Comprehensive Options Studio

SP20

Making Water Present Imagine being called to design a project that is vital to the life of any city—a facility for clean water, or wastewater. Though most people do not think about it, this is a real and present issue in much of the world. This subject could be called “The Treatment Plant in the Neighborhood” or, as I like to think of it, “Making Water Present.”

As it happens, designing for drinking water or wastewater, also known as a water treatment project (WTP), has myriad engineering and architectural opportunities.

At one point, infrastructure projects in the U.S. were graced with art, whether dams, water treatment facilities, or post offices. Though rarer now, this concept should be reintroduced to contemporary times. The aim is to involve citizens in this most vital of resources—water—and to see infrastructure not as something that should be hidden, but promoted and embraced in plain sight of the whole community.

Students explored the development opportunities present in designing necessary and vital water projects within the context of existing neighborhoods, looking at examples in Berlin, Singapore, Los Angeles, and California. They then focused on two sites in St. Louis: one in an existing neighborhood and the other in a comprehensive plan for a new district.

Students were challenged to design an urban environment in which a WTP is integrated; develop both new and adaptive reuse ideas for buildings around the WTP station; and create a context for it as part of a vibrant, connected neighborhood WashU Approach

using a list of community benefits and enhancements for the WTP. As if they were working for a design practice, student projects entailed a combination of lab and studio, and field and office work. This involved consulting local community groups, planning and building officials, water infrastructure officials, social workers, and environmental engineers.

Students also developed construction cost opinions, taking into account the design of the facilities and their impact on adjacent neighborhoods. As a comprehensive options studio, students were expected to develop final project drawings, plans, and sections at ¼-inch scale and other appropriate scales to detail the designs.

320

Ying Bi

Master of Architecture

321

500–600 Comprehensive Options Studio Making Water Present

WashU Approach

Bob Ducker Michael Willis

322

SP20

Ying Bi

Master of Architecture

323

500–600 Comprehensive Options Studio Making Water Present

WashU Approach

Bob Ducker Michael Willis

324

SP20

Ying Bi

Master of Architecture

325

500–600 Comprehensive Options Studio Making Water Present

WashU Approach

Bob Ducker Michael Willis

326

SP20

Tiffany Dockins

Master of Architecture

327

500–600 Comprehensive Options Studio Making Water Present

WashU Approach

Bob Ducker Michael Willis

328

SP20

Tiffany Dockins

Master of Architecture

329

Hongxi Yin InCEES Associate Professor

500–600 Comprehensive Options Studio

SP20

Habilitation Learning Center Since Carolyn Baum, PhD, and Charles Christiansen, EdD, developed the PersonEnvironment-Occupation-Performance (PEOP) model in 1985, it has become key to understanding occupational performance, the role of cognition in everyday life, and enabled daily activity in people with chronic health conditions and disability.

“Habilitation” is a therapeutic approach that promotes healthy functioning in older people using the PEOP model, with an emphasis on emotional well-being. In this studio, students designed a Habilitation Learning Center, a 10,000-square-foot extension to the north wing of the Program in Occupational Therapy at Washington University in St. Louis. The project had to include state-of-the-art clinic spaces, classrooms, research labs, simulation rooms, and indoor and outdoor collaborative spaces to promote interactions between faculty and students, therapists and patients, and, more importantly, occupational therapy clinic and research groups.

Students collaborated closely with leaders, faculty from the program, and facility management to address the following four areas of design and research concerns: 1) design of the location, context, function, flow, connection, and community engagement; 2) design of the space program and building configuration, including orientation, structure, material, form, indoor/outdoor spaces, landscape, and spaces for social interaction; 3) research on environmental attributes, including interior styles, sensory/color stimulation, lighting, privacy, and safety; and 4) design of sustainable passive and building systems.

WashU Approach

Professors and medical practitioners from the Program in Occupational Therapy delivered lectures and reviews, including: Carolyn Baum, PhD, Lisa Connor, PhD, Jessica Dashner, Xiaobo Quan, PhD, and Donna Ware (BJC HealthCare).

Several local architects and designers also provided lectures and expert reviews, including: David Polzin and Ruofei Sun, PhD, (Cannon Design), Dan Hellmuth (Hellmuth + Bicknese), David Kromm (KRJ Planning and Research), and Luke Leung and Yue Zhu (SOM).

330

Yifan Sun

Master of Architecture

331

500–600 Comprehensive Options Studio Habilitation Learning Center

WashU Approach

Hongxi Yin

332

SP20

Yifan Sun

Master of Architecture

333

500–600 Comprehensive Options Studio Habilitation Learning Center

WashU Approach

Hongxi Yin

334

SP20

Yifan Sun

Master of Architecture

335

500–600 Comprehensive Options Studio Habilitation Learning Center

WashU Approach

Hongxi Yin

336

SP20

Dennis Dine

CONCRETE STRUCTURE

HEAT RECOVERY DUCT

DROPPED CEILING

INNER LAYER

OUTER LAYER

RAISED FLOOR RIGID INSULATION GFRC CLADDING

SHADING FIN

Master of Architecture

337

500–600 Comprehensive Options Studio Habilitation Learning Center

WashU Approach

Hongxi Yin

338

SP20

Dennis Dine

Master of Architecture

339

José Zabala SP20 Ruth & Norman Moore Visiting Professor

500–600 Options Studio

Ultimate Openness Openness is the critical spatial feature of contemporary cultural facilities.

This invoked, all-inclusive, open public space devoted to the community is the contemporary stage for social gathering, a platform for experimentation, and ultimately, the ideal environment for creative performance and social progress.

The notion of “openness” in architecture was examined as an essential condition for cultural development. The site was located in Berlin, a city with a rich sociopolitical setting in recent history and a place of high social diversity that offers a significant selection of architecture. The subject of the studio was a recently protected building, the Oberstufen-Schulzentrum Berlin-Wedding (Pysall-Jensen-Stahrenberg, 1977), located within the former West Berlin neighborhood of Brunnenviertel (formerly isolated by infrastructures and the Berlin Wall), which is currently undergoing an intense social debate about its potential community use.

The studio addressed two main themes: first, how to manage the preservation of an extremely recent example of architecture, and second, how to expand the building toward the neighborhood so it can succeed as a public facility. Students confronted a recurring topic about the history and preservation of neglected and politically incorrect buildings that is connected to, for example, controversial local episodes like the demolition of the Palast der Republik and the subsequent reconstruction of the Berliner Schloss (today Humboldt Forum). They also considered inspirational examples of architectural preservation from the same decade (1970s), such as the technologically built utopias of Ludwig WashU Approach

Leo (the DLRG building, the Umlauftank 2). Attention was not only focused on the physical adaptation of an existing building for present-day purposes, but also on how to update the architectural symbolic level in order to properly represent an organization, institution, or community—an architectural design topic that is commonly avoided and ignored.

The compendium of student work developed during the course represents an interesting constellation of possible interventions and opportunities for how an existing architectural infrastructure can become a place for the community.

340

Gary Lee

Master of Architecture

341

500–600 Options Studio Ultimate Openness

WashU Approach

José Zabala

342

SP20

Gary Lee

Master of Architecture

343

500–600 Options Studio Ultimate Openness

WashU Approach

José Zabala

344

SP20

Gary Lee

Master of Architecture

345

500–600 Options Studio Ultimate Openness

WashU Approach

José Zabala

346

SP20

Jian Liang

Master of Architecture

347

500–600 Options Studio Ultimate Openness

WashU Approach

José Zabala

348

SP20

Jian Liang

Master of Architecture

349

616

Degree Project Comprehensive Studio

WashU Approach

350

Instructors FA19 Julie Bauer Sung Ho Kim Adrian Luchini (Coordinator) Allison Mendez

Instructors SP20 Chandler Ahrens Julie Bauer Valerie Greer (Coordinator) Adrian Luchini

As the differences between architectural practice and architectural education diminish, it is important to recognize this situation as not just a challenge but an opportunity. The discipline of architecture must be understood as an arena where speculation and compromise with the real world are compatible, necessary parameters, rather than antagonistic forces prohibiting interaction.

For the Degree Project, each student spends one semester conceiving of a design proposal and their final semester implementing it. They work closely with select faculty experts to enhance their knowledge and embolden their future practices. First and foremost, the faculty want the students to be licensed to dare, to test, to inquire, and to propose.

Though these are individual initiatives, a common thread unites their intellectual efforts. Collectively, they represent a persistent operation to scrutinize, evaluate, and tackle pressing issues of the contemporary city. Our own location in St. Louis has proved an exciting territory for this compendium of projects, fostering exploration at various scales and with multiple programs and users. It offers a clear opportunity for thoughtful analysis of place and condition.

As the culminating architectural studio, the Degree Project is a vivid, powerful statement of our deepest belief that architecture can, optimistically, make important contributions for a better world.

Master of Architecture

351

Julie Bauer Visiting Associate Professor

616 Degree Project

FA19

Activate the Block: A Biosensor Development Center Zhuoqun Cai A 2002 master plan sparked a renewal project for the central corridor in St. Louis, leading to the Cortex Innovation Community, a hub for biomedical research, health care, and more recently, information technology. The resulting project increased vacancy, especially along the MetroLink.

Ground parking dominates most of the void, along with green space and construction sites.

What could happen inside this void?

In 2018, the Cortex MetroLink station opened, tying the area closer to the city.

The Chouteau Greenway aims to turn some of the space into a green pedestrian street.

However, none of these strategies really break through the invisible barrier between Cortex and the surrounding community.

A Biosensor Development Center is proposed to both link the industries within Cortex and connect it to the local neighborhood. Programmatically this proposal would build upon the biomedical initiatives in the Cortex hub and link them with the budding IT industry, creating a new economy in the 5G age.

Located southeast of the Metrolink station, smaller-scale building units make up the formal block structure, allowing permeability and public access through the WashU Approach

site to the station. Toward the inner block, units are arranged more loosely, engaging differently with the public space and allowing for an array of shared activities.

352

Master of Architecture

353

616 Degree Project Activate the Block

WashU Approach

Julie Bauer

354

FA19

Zhuoqun Cai

Master of Architecture

355

616 Degree Project Activate the Block

WashU Approach

Julie Bauer

356

FA19

Zhuoqun Cai

Master of Architecture

357

Julie Bauer Visiting Associate Professor

616 Degree Project

A Stop, A Stay Chong Zhang What if there was a truck stop in downtown St. Louis, just like a trucker’s urban campsite? The premise of this project is to create a center for truckers who live on the road—a chance for them to engage in city life and interact with locals.

This building encompasses five lower volumes shaped by the turning radius of a truck on the ground level. Each has a different function designed to serve specific drivers’ needs and enrich their lives with amenities such as a sports center, commercial street, and common housing. It also provides a program for the broader “society on wheels,” benefitting from adjacency to public green spaces, entertainment, and the nearby Cardinal’s baseball stadium.

This proposal preserves the existing parking function of the site by including a vertical parking structure in the middle, with indoor programs that are open to everyone.

WashU Approach

358

FA19

Master of Architecture

359

616 Degree Project A Stop, A Stay

WashU Approach

Julie Bauer

360

FA19

Chong Zhang

Master of Architecture

361

616 Degree Project A Stop, A Stay

WashU Approach

Julie Bauer

362

FA19

Chong Zhang

Master of Architecture

363

Sung Ho Kim Professor

616 Degree Project

FA19

Landform Urbanism Lingyue Wang The 1947 Comprehensive Plan defined the city of St. Louis as a metropolitan area structured around mass transportation.

While the highway system was designed for vast vehicle connections, it is a boundary splitting the city on a neighborhood scale without interacting with the urban context.

Forest Park Southeast is a community in midtown St. Louis adjacent to urban amenities and facilities such as Forest Park and the medical campus at Washington University in St. Louis. However, it is also completely isolated from these community resources because of Interstate-64, which runs between them.

In this project, a landform bridge is designed over the highway, connecting pedestrian and bicycle traffic from the neighborhood to the university and the park.

The project explores a new understanding of infrastructure, one that is not a division or boundary, but serves as an extension of the landscape—a new form of urbanism.

ORIGINAL

WashU Approach GRAFT

ORIGINAL

FL

ORIGINAL

FL

FLOW

364

GRAFT

IN

GRAFT

IN

INTERSECT

Roof Garden Concrete Panel Steel Deck

Steel Tri Truss

Metal Mesh Hanging Ceiling

Steel Column

Tree Pit with Metal Mesh

Enclosed Pavilion with Program

Master of Architecture

365

616 Degree Project Landform Urbanism

WashU Approach

Sung Ho Kim

366

FA19

Lingyue Wang

Master of Architecture

367

616 Degree Project Landform Urbanism

WashU Approach

Sung Ho Kim

368

FA19

Lingyue Wang

Master of Architecture

369

Sung Ho Kim Professor

616 Degree Project

Church on Wheels: A Drive-Through Facility for Central Presbyterian Church Xun Wang Cars are so popular in the United States, especially in St. Louis where people cannot easily live without them. Hanley Road, which was designed to accommodate cars rather than humans, is merely a product of the driving culture. This project proposes an addition to the existing Central Presbyterian Church that fronts Hanley Road.

Capitalizing on the car-centric culture, the proposal not only includes space for parking, but also offers several drivethrough and drive-in services for running the church’s everyday activities: drivethrough donations, a drive-through bakery, a drive-through car-wash, and drive-in Baptism and Sunday school. Beyond these programs, this project also creates an urban space where people can exercise, walk, bike, and gather with friends and family, transforming the Church into a new form of urban infrastructure that is a beacon and threshold to the surrounding neighborhood.

WashU Approach

370

FA19

Master of Architecture

371

616 Degree Project Church on Wheels

WashU Approach

Sung Ho Kim

372

FA19

Xun Wang

Master of Architecture

373

616 Degree Project Church on Wheels

WashU Approach

Sung Ho Kim

374

FA19

Xun Wang

Master of Architecture

375

Adrian Luchini FA19 Raymond E. Maritz Professor of Architecture

616 Degree Project

Anchors in the Water and Trees Man Gao At the Chesterfield riverfront near the Missouri River, the theme of permanent architecture is activated by the running water, which will wash over the site with unpredictable frequency and scale. And the trees, the trees, there are nothing but trees and water above ground—like a humid version of a desert.

A site formed by unshakable urban scale with pure, natural features is a blank piece of paper for architects to write anything on.

What will be here? What should be here?

How will it be constructed? What does it mean? Why is it here? Questions like these torture the fisherman-like architect who hesitates to throw out the fishing net.

Eventually a few spatial forms unfold that are “allowed” to be here, piercing and being immersed by the trees, like giant, fragile anchors that exist among them.

WashU Approach

376

Master of Architecture

377

616 Degree Project Anchors in the Water and Trees

WashU Approach

Adrian Luchini

378

FA19

Man Gao

Master of Architecture

379

616 Degree Project Anchors in the Water and Trees

WashU Approach

Adrian Luchini

380

FA19

Man Gao

Master of Architecture

381

Adrian Luchini FA19 Raymond E. Maritz Professor of Architecture

616 Degree Project

Threshold as a Process for Healing Andrea Trinkle After someone experiences trauma, their spatial perception is altered: the mind and body perceive their surroundings independently. This disconnect ultimately leaves survivors disengaged from the spaces they occupy. Veterans represent a large group who experience trauma and benefit from equine therapy, because the horse’s sensitive perception restores the connection of their mind and body.

Multiple thresholds occur as a process for healing from trauma, relating the human body to its surroundings and heightening perception of the body in relation to the scale of the individual, groups, animals, and nature. This project transformed a big box store into a space for equine therapy, creating a threshold between the isolation of the suburban realm toward a connection with nature and place.

Portions of the roof were kept to create a covered outdoor space and threshold between residential units and communal areas. The communal space and the units are lifted off the ground, separating open air and covered exterior spaces. Breezeways serve as small living spaces between private areas, creating private-to-public and outdoor-to-interior threshold scenarios.

The units are arranged informally around communal pavilions. Therapy offices are interspersed among the housing units, with a gym and court located further down the site. A stable is located near the bottom WashU Approach

of the site, where horses freely roam and interact with veterans. The buildings have pitched roofs for ventilation, which restores identity to the place, just as the identity of survivors is restored through their interactions with the horses and nature.

382

Master of Architecture

383

616 Degree Project Threshold as a Process for Healing

WashU Approach

Adrian Luchini

384

FA19

Andrea Trinkle

Master of Architecture

385

616 Degree Project Threshold as a Process for Healing

WashU Approach

Adrian Luchini

386

FA19

Andrea Trinkle

Anger Relaxed/At ease

Alert

Angle of Vision Large eye size equates to a wide angle of vision

Curious

Listening RRelaxed

Blind Spot Out of the cone of vision

Master of Architecture

387

Monocular Vision Scope of what each eye can see

Cone of Vision Almost 350 degree perception of surroundings

Binocular Vision Scope of what each eye can see

Allison Mendez Lecturer

616 Degree Project

FA19

Re-Grounding Industry Samuel Bell-Hart This project is located in Creve Coeur, Missouri, on the corporate campus of Bayer (formerly Monsanto). The aim of the project is to explore ways in which standardized typologies already existing in the area (the laboratory and the greenhouse) can be made site-specific and able to operate in an interdependent manner. As a crop seed bank, the project has three essential components: two greenhouse volumes housing two laboratory wings linked together by an underground section housing cold storage for the seeds.

WashU Approach

388

Master of Architecture

389

616 Degree Project Re-Grounding Industry

WashU Approach

Allison Mendez

390

FA19

Samuel Bell-Hart

B

C

17

A

16

2

15

3 5

14

4

13

6

12

7

10

9

11

8 F

E

D

0

10 5

Master of Architecture

391

20

40

1/16”=1’

LEVEL 3

616 Degree Project Re-Grounding Industry

A

WashU Approach

Allison Mendez

B

C

392

FA19

Samuel Bell-Hart

D

E

F

5

0

Master of Architecture

393

20

10

Allison Mendez Lecturer

616 Degree Project

Constructing a New Architecture of ‘Non-Place Place’ Dylan Draves The experience of driving along Manchester Avenue in St. Louis is one of alternating between areas with a sense of place and areas lacking an identity, or “non-places.”

This project transforms a traditional non-place big-box store in the St. Louis Marketplace strip mall into a “non-place place,” allowing it to maintain the flexibility and access associated with non-place, while adding a sense of identity.

A construction training center is proposed that builds on the construction industry’s presence in the area by gathering many of the construction apprentice programs dispersed throughout the region.

Large courtyards are carved into the existing big-box store, while a mezzanine level consisting of short-stay housing pods is suspended above the workshops.

WashU Approach

394

FA19

Master of Architecture

395

616 Degree Project Constructing a New Architecture

WashU Approach

Allison Mendez

396

FA19

Dylan Draves

Master of Architecture

397

616 Degree Project Constructing a New Architecture

Allison Mendez

FA19

UP

UP

UP

UP

N

Floor Plan Level 1 1/16” = 1’

WashU Approach

398

Dylan Draves

N

Floor Plan Mezzanine Level 1/16” = 1’

Master of Architecture

399

Chandler Ahrens Associate Professor

616 Degree Project

Waste[d] Potential Carmen Chee This project examines the typology of industrial architecture and existing systems of waste management and energy generation to foster a consciousness of unsustainable consumption habits. St. Louis possesses a heritage of environmental neglect and pollution due to its past as a manufacturing giant. Despite greener aspirations from the city and increasing protest from the public, environmentally unsound practices continue today. Only seven percent of the city’s energy comes from renewable resources; Missouri is the second highest consumer of coal in the U.S. This proposal for a waste-to-energy electricity generation facility would offset the city’s dependence on coal, reduce municipal solid waste volume, and provide a more sustainable and conscious energy source for the city. In conjunction with the plant, an upcycling center works as the public arm, creating opportunities for recycling and reusing goods in a creative manner. This project reassesses the typology of the industrial big box store, transforming it into a facility that weaves together public and industrial processes to combat the negative perception around the waste-to-energy generation process.

WashU Approach

400

SP20

Master of Architecture

401

616 Degree Project Waste[d] Potential

WashU Approach

Chandler Ahrens

402

SP20

Carmen Chee

Master of Architecture

403

616 Degree Project Waste[d] Potential

WashU Approach

Chandler Ahrens

404

SP20

Carmen Chee

Master of Architecture

405

Chandler Ahrens Associate Professor

616 Degree Project

Local Agri-Tech Research Facility Taylor Clune Agricultural technology, or “agri-tech,” is one of the biggest and newest industries emerging in the St. Louis region. Advances in plant biology, pesticides, and datadriven equipment are allowing for increased production in food, energy, and pharmaceuticals. However, these advancements are controlled by large agri-tech corporations like Monsanto (headquartered in St. Louis), which is one of four corporations that control 60 percent of seed sales worldwide. Large, corporate farms are able to keep up with this monopolized system, but it is driving small farmers out of business.

Contrasting the current top-down agri-tech business structure, this project proposes an integrated system where all parties collaborate on one campus. Not just for small farmers, the facility can be utilized by researchers, students, and members of the surrounding community for socializing and learning about the latest industry trends. By integrating the architecture with the natural world, resources can be better utilized and a sense of identity can be restored, resulting in a contemporary type of genius loci. Considering the climatic properties of the activities done in these spaces in addition to their users enables the architecture to integrate its users in a field of nature/technology, permanent/ temporary, and old/new vernaculars.

WashU Approach

406

SP20

Master of Architecture

407

616 Degree Project Local Agri-Tech Research Facility

WashU Approach

Chandler Ahrens

408

SP20

Taylor Clune

PRIVATE GREENHOUSE

PRIVATE GREENHOUSE

DEVELOPMENT FACTORY

GROWTH LAB GROWTH LAB

GRAIN STORAGE

GROWTH LAB

PRIVATE GREENHOUSE

STORAGE

DATA CENTER [BELOW]

GROWTH LAB

RESEARCH GREENHOUSE

GROWTH LAB

MECHANICAL

PRIVATE OFFICE TECH CENTER [BELOW]

SEED STORAGE SEED ROOM SEED ROOM SEED ROOM

COMMUNITY GREENHOUSE

SEED STORAGE

CLASSROOM LEARNING LAB

LEARNING LAB

CAFE

CONF.

CONF. CONF. KITCHEN

RESTROOM

RESTROOM

LOBBY MECHANICAL CROP FIELD

PARKING

PRODUCTION

TEMPORARY

EQUIPMENT STORAGE

SEED STORAGE

COLLABORATION SPACE

EQUIPMENT [STORAGE] PRIVATE LAB GREENHOUSE

PRIVATE LAB GREENHOUSE

INDEPENDENT WORKSTATIONS

TECHNOLOGY CENTER RESEARCH GREENHOUSE

OPEN OFFICE PLANT LAB

RESTROOM GROWTH ROOM PRIVATE LAB GREENHOUSE

SILO [STORAGE]

DATA CENTER EDUCATIONAL GREENHOUSE

RD NEW POAG PRIVATE

Master of Architecture

409

COMMUNITY GREENHOUSE

CAFE COLLAB SPACE

CONFERENCE CLASSROOM LOBBY

PUBLIC

PERMANENT

GROUND FLOOR PLAN SCALE | 1/16” = 1’-0”

616 Degree Project Local Agri-Tech Research Facility

WashU Approach

Chandler Ahrens

410

SP20

Taylor Clune

Master of Architecture

411

Julie Bauer Visiting Associate Professor

616 Degree Project

Intersected Binary: Grand Center Hub for Art and Life Sai Hu The Grand Center Arts District, while bestowing the role of “the intersection of art and life” upon itself, does not successfully overlap the activities of art and artists with the daily lives of its own residents. Without adding or modifying the programs that already exist in the district, Grand Center Hub for Art and Life simply proposes to align the two seemingly disjointed duality—art and life. Only when artists and the neighborhood are given a platform to merge in the same space around the same time, can Grand Center truly become an arts district.

As a common housing and industrial typology, the gable roof effectively marries the social binary of art and life. Adjacent to a residential complex on one side and warehouse-converted-art spaces on the other, the project quite fittingly unifies art and living spaces by a continuous gable roof canopy.

WashU Approach

412

SP20

Master of Architecture

413

616 Degree Project Intersected Binary

WashU Approach

Julie Bauer

414

SP20

Sai Hu

Master of Architecture

415

616 Degree Project Intersected Binary

WashU Approach

Julie Bauer

416

SP20

Sai Hu

Master of Architecture

417

Julie Bauer Visiting Associate Professor

616 Degree Project

Reconsidering Recidivism Paul Clark When over 50 percent of people who are released from prison in the United States return within three years, it is most important to look at why. Can a community be set up to help reduce these numbers?

This project proposes a way to help integrate former inmates back into society.

It provides a place to live and work, as well as a support center. Spreading throughout the community encourages people to become active participants in the community. Using a local material— like typical St. Louis brick—in a variety of different ways, helps the buildings integrate into the fabric of the community.

WashU Approach

418

SP20

Master of Architecture

419

616 Degree Project Reconsidering Recidivism

Julie Bauer

SP20

PRODUCED BY AN AUTODESK STUDENT VERSION

APET

R

G

17'-0"

24'-0"

A

14'-0"

B

21'-0"

D

C

10'-0"

14'-0"

F

E

PRODUCED BY AN AUTODESK STUDENT VERSION

0'

2'

4'

8' 1/4"=1'-0"

SECTION B

A

B

F

E

21'-0"

14'-0"

14'-0"

5'-0"

20'-0"

5'-0"

9'-7"

21'-0"

7'-5"

24'-0"

2 8'-7"

1

13'-6"

12'-02"

24'-0"

1 6'-6"

1'-5"

SECOND FLOOR EL: + 12'-0"

D

C

17'-0"

TOP OF PARAPET EL: + 13'-6"

STORAGE 13'-0"

GROUND FLOOR EL: + 0'-0"

ENTERANCE 3'-0"

1

4'-52"

19'-6"

STAFF ROOF PATIENT ROOM

3'-0"

4'-6"

3

OFFICE 1 12'-6"

13'-0"

COURTYARD

4

PATIENT ROOM

3

2

3'-0"

OFFICE 1

5'-0"

4

3'-0"

4'-6"

MEETING ROOM

3'-0"

5'-0"

9'-0"

3'-0"

15'-6"

3'-0"

MEETING ROOM

6'-8"

5

6

SECTION B

N

0'

2'

4'

8' 1/4"=1'-0"

PRODUCED BY AN AUTODESK STUDENT VERSION

WashU Approach

420

SECTION A

5

PATIENT ROOM

4'-6"

SECTION A

1 4'-68"

12'-6"

15'-6"

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PATIENT ROOM TOP OF FOOTING EL: + -4'-5"

Paul Clark

APET

ER PARAPET

R

SECTION A

SECTION B

PRODUCED BY AN AUTODESK STUDENT VERSION

1

2

3

4

5

A

SECTION A

B

Master of Architecture

C

D

E

421

SECTION B

F

G

H

J

616 Degree Project Reconsidering Recidivism

WashU Approach

Julie Bauer

422

SP20

Paul Clark

PRODUCED BY AN AUTODESK STUDENT VERSION

1

5'-32"

8'-6"

BOTTOM OF VAULT EL: + 20'-6"

12'-0"

SECOND FLOOR EL: + 12'-0"

9'-4"

GROUND FLOOR EL: + 0'-0"

BASEMENT EL: + -9'-4"

19'-6"

A

19'-6"

B

19'-6"

C

19'-6"

D

19'-6"

E

F

0'

2'

4'

8' 1/4"=1'-0"

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

TOP OF VAULT EL: + X'-x"

Master of Architecture

423

Valerie Greer Professor of Practice

616 Degree Project

101 E. Main Street Connection Elise Skulte The 101 E. Main Street Connection tackles the idealization of the American Dream and the challenges it has faced over the years.

Today, suburban space is marketed as a spatial product of sameness. This project questions sprawl and the traditional idea of the American Dream, instead proposing how to rebuild the dream to fit today’s society and addressing challenges to it, such as education, employment, access to opportunities, health care, home ownership, and ecology.

The program is a complex typology of workforce housing, combining workspaces and supporting community spaces. Located in Wentzville, Missouri, on the edge of St. Charles County, the project is about 45 minutes outside St. Louis, the current edge of St. Louis sprawl.

Today suburban space is marketed as a product of spatial sameness, much as it was after World War II. Suburban space is no different from processed foods: it satiates hunger but may not be the best choice.

Unfortunately, there are not many options for workforce-class housing, which is a primary reason for redesigning the typical American workforce housing typology.

Exterior materials are inspired by the suburban environment, and interior spaces challenge typical suburban design and construction methods.

WashU Approach

424

SP20

Master of Architecture

425

616 Degree Project 101 E. Main Street Connection

WashU Approach

Valerie Greer

426

SP20

Elise Skulte

Master of Architecture

427

616 Degree Project 101 E. Main Street Connection

WashU Approach

Valerie Greer

428

SP20

Elise Skulte

Master of Architecture

429

Valerie Greer Professor of Practice

616 Degree Project

Fair Food Amanda Louise Much of St. Louis has limited access to food.

The neighborhood around Fairground Park in North St. Louis is no exception. The 140-acre park has a long and significant history and is still a largely positive amenity. However, what was once a dense and thriving area, now has high vacancy and only one grocery store for a square mile.

Striving to strengthen the park’s connection with the neighborhood, a culinary institute with a market, restaurant, and urban farm is proposed. The architecture aims to encourage all people to enjoy good food in many ways, whether in the act of eating, learning about food preparation or agriculture, or as a place for community gathering. This building intends to foster food as sustenance, medicine, and connection with others.

The program spreads along the edge of Grand Avenue, a major road running alongside the park. Weaving in and out of the existing trees, the floor plan makes a minimal impact and creates a series of exterior courtyards.

The main structure is made of rammed earth, reinforcing the idea that health and life come from the very soil we stand on. The roof and shading devices are made of timber, acting as a secondary plane that blurs the line between interior and exterior. Exterior spaces are treated the same as the interior, focusing on intensity of light with existing or added shade and defining spaces with the same materials.

WashU Approach

430

SP20

Master of Architecture

431

616 Degree Project Fair Food

WashU Approach

Valerie Greer

432

SP20

Amanda Louise

Master of Architecture

433

616 Degree Project Fair Food

WashU Approach

Valerie Greer

434

SP20

Amanda Louise

Master of Architecture

435

Adrian Luchini SP20 Raymond E. Maritz Professor of Architecture

616 Degree Project

Sports Center Dayong Hu This project is located north of Olive and east of Lindbergh boulevards on an existing parking lot situated between two ponds.

The site is replete with barriers that create both physical and emotional isolation. This proposal seeks to create a community that transcends the existing boundaries, where people with disabilities can live, work, and play alongside all members of society. It introduces an athletic facility that complements existing institutions and eliminates elements of isolation, making life for people with disabilities more feasible and meaningful.

The project is comprised of three parts: the foundation is merged in the land, the grounds offer space for public assembly and outdoor activities, and the building floats toward to the sky. The architecture complements the nature that surrounds it, creating a landscape that functions as an integral part of the experience. Two trail systems are connected through sloped paths at different elevations. Circulation throughout the building takes into account the individual’s experience moving within the space and merges sensory encounters with the physical sports activities being performed. A combination of several materials creates an atmosphere that allows for a soft, poetic experience.

WashU Approach

436

Master of Architecture

437

616 Degree Project Sports Center

WashU Approach

Adrian Luchini

438

SP20

Dayong Hu

Master of Architecture

439

616 Degree Project Sports Center

WashU Approach

Adrian Luchini

440

SP20

Dayong Hu

Master of Architecture

441

Adrian Luchini SP20 Raymond E. Maritz Professor of Architecture

616 Degree Project

Program Without a Script Yigang Li With its reputation as a modern-day concentration camp, a call center is a highly scripted programmatic institution. This design used nature as the medium for facilitating unscripted professional routines by offering the option of leaving and passing by.

A Story Seeking the seduction of escape is part of human nature. The voluntary enslavement of institutional efficiency offers people the privilege of being seduced by thoughts of escaping. It becomes a paradox: voluntarily being a slave and the irresistible seduction of escaping. The decision oscillates between these choices. Projecting these fluctuations into 3D spatial form, they are called the “three minutes’ architecture.”

A Paradox Imprisonment is an escape in itself—escape without leaving. The desire for seduction is part of human beings’ nature. Voluntary enslavement offers people the privilege to free themselves from seduction by satisfying the desire to escape. Rejecting seduction and remaining a slave becomes an escape in itself. This is the paradox between voluntarily being a slave but having the option to escape.

It turns out three minutes’ anti-programmatic architecture is a necessary, self-constructed prison. A prison that is locked from the inside.

A prison that only accepts volunteers.

WashU Approach

442

Master of Architecture

443

616 Degree Project Program Without a Script

WashU Approach

Adrian Luchini

444

SP20

Yigang Li

Master of Architecture

445

616 Degree Project Program Without a Script

WashU Approach

Adrian Luchini

446

SP20

Yigang Li

Master of Architecture

447

Seminars & Fellowships Selection

WashU Approach

448

Kelly Gill

Architectural Representation I Architectural Representation II Fabricated Drawings Dynamic Materialism and Urbanism Advanced Building Systems Precast Concrete Enclosures The Divided City Summer Fellowship

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

Petra Kempf Assistant Professor

Stephen Leet Professor

Architectural Representation I Drawing Mind/Drawing World This seminar focused on the development of observational skills and drawing techniques, providing both technical tools and creative responses to material and subject matter. Students were introduced to various techniques from direct observations of an object to experimentations of viewing space from different vantage points.

Within this framework students worked predominately—but not exclusively—in the analogue realm, as the means of thinking via hand in the design process was considered as a relevant and therefore cogent agent of creativity and thought.

WashU Approach

450

FA19

Casey Niblett

Master of Architecture

451

Seminar Architectural Representation I

WashU Approach

Petra Kempf Stephen Leet

452

FA19

Emily Haller

Master of Architecture

453

Seminar Architectural Representation I

WashU Approach

Petra Kempf Stephen Leet

454

FA19

Casey Niblett

Master of Architecture

455

Seminar Architectural Representation I

WashU Approach

Petra Kempf Stephen Leet

456

FA19

Emily Haller

Master of Architecture

457

Seminar

Ryan Abendroth Senior Lecturer

Constance Vale (Coordinator) Assistant Professor

SP20

Architectural Representation II Image Fictions: Realism and the Aesthetics of Doubt1 Architects too often “equate realism with reality,” rather than recognizing realism’s capacity to throw reality into question and conflict with it.2 Instead of deploying photorealistic techniques in an attempt to represent reality as such, students in this course examined the political potential of realism’s aesthetic realm.

Projects were image-based narratives that confronted a social, political, economic, or ecological issue of a contested urban territory. Students researched and documented an existing city that has already engaged with fiction as an architectural focal point.3 Additional research addressed how that city might interface with already occurring technological developments, such as systems of artificial intelligence, autonomous vehicles, drones, and augmented reality, among others.

Undertaking a fictional archaeology of possible histories and futures, students produced hyper-articulated totems that recomposed the DNA of the original and deployed it in a new narrative. Operating within their researched technology’s image type, visual vocabulary, and material constraints, students transformed and rendered their selected territory. As such, qualities crossed from the material realm of the image to the implied picture.

WashU Approach

458

1. Michael Young, The Estranged Object (Chicago: Graham Foundation, 2015), 26.

2. Young, The Estranged Object, 26.

3. For example, London has already been featured in the “fiction” Exodus, or the Voluntary Prisoners of Architecture, the 1972 Architectural Association School of Architecture thesis by Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp, and Zoe Zenghelis. The Tate Modern (2000)

by Herzog & de Meuron and Lloyds of London (1986) by Richard Rogers served as London’s focal point in the course.

Min Li

Master of Architecture

459

Seminar Architectural Representation II

WashU Approach

Constance Vale

460

SP20

Sheng Li

Master of Architecture

461

Seminar Architectural Representation II

WashU Approach

Constance Vale

462

SP20

Madeline Peters

Master of Architecture

463

Seminar Architectural Representation II

WashU Approach

Ryan Abendroth

464

SP20

Casey Niblett

Master of Architecture

465

Seminar

Fabricated Drawings This seminar focused on using digital fabrication tools, techniques, and image theory to uncover new methods for producing physical drawings. Today, images are built in a myriad of ways including from physical media or data.

Physical drawings, defined in the context of this seminar, transcend 2D limitation to develop thickness. The increase to 2.5D or 3D opens opportunities for investigating digital fabrication tools as a means 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 WashU Approach

Chandler Ahrens Associate Professor

SP20

the intuitive, interpretive ability of the image 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 a more literal, nonidealized result of a procedure. The image is literally the process of making visible the end result of an operation; therefore, images are evidence of the process by which they were generated.

466

Ruizhu Han Sai Hu

Master of Architecture

467

Seminar Fabricated Drawings

WashU Approach

Chandler Ahrens

468

SP20

Ruizhu Han

Master of Architecture

469

Seminar Fabricated Drawings

WashU Approach

Chandler Ahrens

470

SP20

Katherine Nemetz

Master of Architecture

471

Sung Ho Kim Professor

Seminar

Dynamic Materialism and Urbanism This seminar was created for students interested in emerging technologies and digital production. In it, students developed and tested experimental design processes in architecture and digital media by enhancing 3D technologies, which allowed them to adopt abstract thinking and making processes.

Current developments in digital technology enable designers to use mathematical expressions to transform complex generative systems, shifting the formal discourse of architecture. These new, digitally based techniques are being invented to inform creative processes in architecture through the manipulation of complex geometric and topological forms. Students focused on inventing new methods for translating these mathematical developments into diagrammatic design strategies. For this investigation, students deployed the generative processes of design techniques.

Complex sets of massing strategies were developed with a conceptual model for defining and inventing dynamic architectural proposals within an urban context. Through digital modeling and the mutation of architectural strategies, each student generated a transformational condition of a new emerging design. These new architectural forms were modeled through CAD/CAM (laser cutting) and rapid prototyping (3D printing) for physical outputs.

WashU Approach

472

FA19

Joel León

Master of Architecture

473

Seminar Dynamic Materialism and Urbanism

WashU Approach

Sung Ho Kim

474

FA19

Junhao Li

Master of Architecture

475

Edward Ford Visiting Professor Richard Janis Senior Lecturer

Seminar

FA19

Advanced Building Systems This required course, the last in the technology sequence, brings previous content to bear on the design of a simple building. Lectures focused on a large number of precedents, examining in detail the role construction and technology play in building morphology. However, the focus was on construction-based design exploration—the design and details of the frame and envelope of a building in all its aspects, including the structure, its enclosure, active and passive climate control, natural and artificial lighting, and mechanical and electrical services.

Rather than follow the conventional methodology of a design development exercise in which a completed schematic design is “developed,” this course required a complete design from inception to realization, from concept to window detail.

Working in teams of eight or nine, students developed a design for a medium-sized building with a fixed plan and site. Each group was offered a choice of programs and sites, but each building type had a pre-determined internal order.

Choices included a community basketball court or swimming pool, a chamber music hall, or a robotics lab. The plan of each building was fixed, except for minor variations. The sites, all located in St. Louis, were small with tight boundaries, allowing for relatively few massing options. Thus, emphasis was given to the design of the envelope, the skin, the shelter, the frame WashU Approach

that supports it, and the systems that sustain it.

Detailed investigations were made and options were explored pertaining to the building envelope, structural configuration, structural joinery, fenestration, passive and active mechanical systems, glazing, and connection details. The process mandated that key constructional design decisions be made simultaneously and integrally with the other design decisions, rather than after the fact. The form of the building and the way it was built and environmentally supported evolved simultaneously.

476

Mingyang He Sai Hu Yiwen Jiang Yongdi Li Jiayi Wu Yazhe Wu Zhiqian Xu Wenjie Yan

Master of Architecture

477

Seminar Advanced Building Systems

WashU Approach

Edward Ford Richard Janis

478

FA19

Mingyang He Sai Hu Yiwen Jiang Yongdi Li Jiayi Wu Yazhe Wu Zhiqian Xu Wenjie Yan

Master of Architecture

479

Seminar Advanced Building Systems

WashU Approach

Edward Ford Richard Janis

480

FA19

Jing Chen Daniel Fernandez Liz Hambor Van Hoang Dayong Hu Tian Li Nathan Severiano Shuyan Wang

Master of Architecture

481

Pablo Moyano Assistant Professor

Seminar

Precast Concrete Enclosures The primary goal of this fabrication seminar was the design and construction of fullscale concrete prototypes that function as performative components of building envelopes. Intended as a hands-on course, students designed, documented, and planned to make segments of building enclosures out of different types of highperformance concrete—precast concrete assemblies, in particular.

Due to COVID-19 restrictions, students were not able to fabricate the pieces as originally planned. However, they advanced their designs through thorough construction documentation for mold making, including representing concrete pieces with detail drawings and images of the proposed building and intended design.

The course was taught in partnership with Gate Precast, a leader in the precast concrete industry, and was supported by a grant from the PCI Foundation to offset fabrication costs for the precast mockups.

WashU Approach

482

SP20

Yishan Bernard John Craig Ryan Do Hanui Yu

Master of Architecture

483

Seminar Precast Concrete Enclosures

WashU Approach

Pablo Moyano

484

SP20

Siyu Huang Xuan Li Yazhe Wu

Master of Architecture

485

Fellowship

SU19

The Divided City Graduate Summer Research Fellowship With the generous support of the Mellon Foundation, the Center for the Humanities, in partnership with the College of Architecture and Graduate School of Architecture & Urban Design at the Sam Fox School of Design & Visual Arts, leads an Urban Humanities initiative titled The Divided City.

The goal is to bring humanities scholars into productive interdisciplinary dialogue with architects, urban designers, landscape architects, legal scholars, sociologists, geographers, GIS cartographers, and others around one of the most persistent and vexing issues in urban studies: segregation.

“Segregation” is understood as not only once-legal racial separation in the United States or South Africa, but also as persistent and widespread issues related to cities divided along racial, cultural, and economic lines through the spatial divisions found in so many parts of the world. These issues include social isolation and fragmentation, loneliness, environmental risks, and lack of access to basic services such as food, transit, health care, and public education.

In short, the Divided City’s aim is to employ “segregation” as a theoretical framework, as we explore the reciprocal relationship between urban forms and social change.

The Divided City initiative focuses on how segregation in this broad sense has and often continues to play out as a set of spatial practices in cities, neighborhoods, and public spaces, including schools, health facilities, and entertainment venues. Using WashU Approach

the St. Louis metropolitan area as one of our research sites, we intend to explore the intersecting social and spatial practices of urban separation locally and globally.

The Divided City Graduate Summer Research Fellowship is an opportunity for graduate students in the Humanities, Humanistic Social Sciences, Architecture, Urban Design, and Landscape Architecture to conduct research on urban segregation during the summer.

Graduate architecture student Larissa Sattler was a 2020 fellowship recipient.

Her research project Walk a Mile in Our Shoes explored issues of urban segregation within the community as a byproduct of its industrial legacy. Historical narratives and methodical drawings were used to produce a series of palimpsests that uncover the layers of disassociated place attachment within the city. Industrial building typology, transitions of ownership, and marks of vacancy, as revealed by the subtle traces imprinted on the architecture, can begin to expose the nature of a divided city while mapping the social and economic fracturing of communities.

Walk a Mile in Our Shoes: A Case Study on the St. Louis Shoe Industry in Relation to Place Disassociation In the late 19th century, St. Louis began its development toward becoming one of the top centers of shoe manufacturing in the United States, but by the 1960s the industry

486

Larissa Sattler

had almost entirely vanished. During its peak, over thirty neighborhoods had been impacted by the industry across three living generations. This condition made the St. Louis shoe industry an ideal case study for exploring the urban conditions of place disassociation and its effects on generational segregation. Viewing the city as a projection of its people, it is evident that our understanding of the city changes with each generation; however, methods for uncovering and exploring these differences have been limited.

The outcomes of this project not only provided a deeper understanding of the urban conditions of generational place attachment, but they have the potential to set up a precedent for how others can understand their own communities.

Therefore, the final stage of this project was not only to produce a series of books, but to share this artifact with the public.

By understanding that the link between memory and reality has been fractured, pieces of information could be extracted and reassembled allowing for a greater contextualization of the whole through a process of understanding the holes in our city.

Master of Architecture

487

Fellowship The Divided City

WashU Approach

SU19

488

Larissa Sattler

Master of Architecture

489

Master of Landscape Architecture Student Work

WashU Approach

490

401 Landscape Architecture Design I Eric Ellingsen 402 Landscape Architecture Design II Micah Stanek 501 Landscape Architecture Design III Micah Stanek 502 Landscape Architecture Design IV Derek Hoeferlin 601 & 602 Landscape Architecture Design V-VI Jacqueline Margetts Seminars Eric Ellingsen Frank Hu Eric Kobal Jacqueline Margetts Micah Stanek

2019—2020

491

401

Landscape Architecture Design I Core Studio

WashU Approach

492

Instructor Eric Ellingsen

Play Again, Again: Landscape Memory Path This studio approached landscapes of memory and “spatial justice” issues.

Landscape architects are outside learners, so this studio learned outside.

The differences and similarities between the meanings of simple concepts were discussed, like “representation,” “to represent” and “to render”; make, construct, recognize, correspond, map, measure, play, and practice. The difference between being precise and exact, “spatially” speaking. In this studio, students do what they say.

Chance, procedural, and iterative operations guided drawing, performance, and modeling experiments. The body is a scientific instrument and students learned how to approach a landscape carefully, respectfully, and with open minds. Story-making balanced storytelling, which balanced story-listening to create a reciprocal learning structure.

“Viewing-in-motion” and “viewing-in-stillness,” as landscape historian Stanislaus Fung writes, was paired with “listening-in-motion,” “listening-instillness,” and other perceptual training.

Themes of urban life, love, and pain were untold, retold, and newly addressed through the landscape. Students expressed their own perspectives, values, positions, memories, and meanings about life, climate, and constant change in 2D and 3D drawings, photographs, performances, scripted lines, sound media, videos, and poems.

Frederick Law Olmsted considered landscape to be a kind of growing, constantly re-instated public law: a street curb is a democracy. Landscape architects must learn how to make the grade. At the recommendation of Adrienne Davis of Washington University, the studio performed “A Raisin in the Sun” by Lorraine Hansberry while traveling along Grand Boulevard, which served as a classroom and landscape laboratory. Everyone has a role to play; the landscape approach is to learn all these roles by heart.

Landscapes are humanity’s archives. As students traveled along Grand, they collected small urban dermis, detritus, and flotsam to identify patterns across simultaneous visual and auditory scales, and to explore Master of Landscape Architecture

493

401 Core Studio Landscape Architecture Design I

WashU Approach

FA19

494

Collective Sound Score

style, fashion, and words as policy, labels as public agreement, social and cultural nuggets, humanity’s unintentional Land Legacy of waste. These collections invited analytical online glee. Strangers asked what are you doing and why are you doing it, then who are you. Police-servants asked, kids asked, homeless people asked, panhandlers asked, anybody walking by asked, if they felt like it, and students learned how to begin constructing answers for anybody that asks what, how, when, who, and why.

Every rendering students made between September and December 2019 was an act of them “reaching out” to you.

“Collective Sound Score” was made during a walkshop with Edward Keller, director of the Center for Transformative Media, and his class at The New School, during a weeklong studio trip to New York City. Each participant was asked to select one urban system along both sides of the same block in Lower Manhattan, and to notate that system for rhythms to emerge. Notations were collectively transferred to the score, which guided further individual design iterations for both groups of students later in the semester.

Thanks to community partners: Carlie Lee and Timothy Cobb (Missouri School for the Blind), Kristin Fleischmann Brewer (Pulitzer Arts Foundation), Chris Carl (Studio Land Arts), and Ambassadors of the Why: David Cunningham, Geoff Ward, Edward Keller and his class (The New School/Parsons), Julia Debski (Tanya Bonakdar Gallery), Theodore Hoerr (Terrain Work), Thaddeus Pawlowski (Columbia University), Jesse Seldess, Jonathan Solomon (SAIC), A. J. Pires (ALLOY Development), Chris Junkin (Rogers Partners), and Isabel Castilla (Field Operations).

Master of Landscape Architecture

495

401 Core Studio Landscape Architecture Design I

WashU Approach

Eric Ellingsen Assistant Professor

496

FA19

Jingyang Shi

Master of Landscape Architecture

497

401 Core Studio Landscape Architecture Design I

WashU Approach

Eric Ellingsen

498

FA19

Zhiyi Feng

Master of Landscape Architecture

499

401 Core Studio Landscape Architecture Design I

WashU Approach

Eric Ellingsen

500

FA19

Heyue Liu

Master of Landscape Architecture

501

402

Landscape Architecture Design II Core Studio

WashU Approach

502

Instructor Micah Stanek

Locating Vitality in the Post-Trolley Delmar Landscape The notion of “revitalization” assumes the vitality desired in a neighborhood or city is ready-made. To recover an urban site—where something has been lost through a set of processes, leading to a decline—importing, designing, and constructing vitality is attempted.

What is meant by “vitality” and how does it help developers make monetary value where there was previously little to none? Who or what is valued in a mode of redevelopment that attempts to reproduce some codified form of vitality? Could vitality be located in the tall grass meadows of the north side of St. Louis, which emerged due to human absence and civic neglect? Can vitality be seen in the self-organized public spaces marginalized people create when they are excluded from gentrified enclaves? Rather than serving outdated modes of redevelopment by commodifying vitality, this first-year landscape architecture studio attempted to locate vitality on Delmar Boulevard.

The Loop Trolley’s run has ended, and this studio began by studying this newly disused transportation infrastructure. Students drew the conditions left by the trolley design along with the infrastructural lines typically found in urban streetscapes. Utility location marks partially reveal the underground infrastructure, and these codes trained students to observe, research, and make many layered maps. Beyond infrastructural lines, students looked for signs of human and nonhuman vitality and began making their own interpretive marks.

Student drawings gave way to forms of representation that better suit ecological perspectives. Their studies grew and branched beyond the east-west Delmar streetscape, north and south into the Central West End and Skinker-DeBaliviere neighborhoods, as well as over and under this many layered infrastructural landscape. Through maps and 3D vignettes, students developed their own understanding of urban vitality, finding ecological corridors and patches through alleys and greenways into vacant plots and parking lots. Using a Master of Landscape Architecture

503

402 Core Studio Landscape Architecture Design II

WashU Approach

SP20

504

Heyue Liu

dual lens—environmental and social—students demonstrated their understanding of urban ecology.

The semester included two parts, with two integrated projects. The first was an episodic streetscape design for the post-trolley Delmar Boulevard. Projects reimagined temporary or long-term use of the trolley infrastructure, while integrating concepts of vitality with the entire streetscape through the lens of ecological corridors (human or nonhuman ecology). The second project also stemmed from students’ identified forms of vitality, and likewise branched beyond Delmar. A larger site project, students added the ecological patch to the studio’s ecological ideas, reimagining a stretch of Delmar, proposing a few critical crosswalks, and designing a web of corridors and patches through their own unique ecological perspectives.

Master of Landscape Architecture

505

402 Core Studio Landscape Architecture Design II

WashU Approach

Micah Stanek Lecturer

506

SP20

Heyue Liu

Master of Landscape Architecture

507

402 Core Studio Landscape Architecture Design II

WashU Approach

Micah Stanek

508

SP20

Heyue Liu

Master of Landscape Architecture

509

402 Core Studio Landscape Architecture Design II

WashU Approach

Micah Stanek

510

SP20

Weicong Huang

Master of Landscape Architecture

511

402 Core Studio Landscape Architecture Design II

WashU Approach

Micah Stanek

512

SP20

Weicong Huang

Master of Landscape Architecture

513

501

Landscape Architecture Design III Core Studio

WashU Approach

514

Instructor Micah Stanek

Confluences II: St. Louis and Its Hinterlands [C]ontexts imply other contexts, so that each context implies a global network of contexts.

—Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization (Minneapolis: University of Minnesota Press, 2011), 187.

The Gateway Arch commemorates St. Louis’ role as a launching site for the settlement of the American West. For many, it no longer evokes Manifest Destiny but conjures modern architectural ideals and 20th-century engineering feats. The 21st-century redesign of the Gateway Arch National Park reconnected city to park, drawing the indeterminate environment into the design. In this way, the St. Louis riverfront has long been a testing ground for architecture and landscape that represents U.S. history and aspirations.

While the Gateway Mall also points to Westward Expansion, the City Beautiful movement drove the removal of the historic urban core in favor of constructing the string of parks. Ideas of aesthetic clarity, open space, and civic monumentality lay the groundwork; however, block by block, designers and stakeholders shaped and reshaped the open space over time. The Mall recently underwent multiple redesigns, and its character seems to be shifting away from openness toward intensive greening and increased biodiversity. Again, landscapes represent history and aspirations.

Students in this studio traced infrastructural lines from downtown St. Louis to the hinterland1 and back. What if the monumental axis extended through the Danforth campus at Washington University? Would it continue up the Missouri River or create a straight section across the Continental Divide and down to the Pacific Ocean? How many crude oil and natural gas pipelines would it cross? How many coal mines?

Traveling to Montana and Wyoming, they sought to understand what connects St. Louis with the American West. They made drawings to Master of Landscape Architecture

515

501 Core Studio Landscape Architecture Design III

WashU Approach

FA19

516

Tianhao Xiang

visualize how infrastructure overlaps with ecology and how economy and politics impact landscapes. Students also looked downstream to understand the whole watershed context, as well as worldwide to try to disentangle our globalized network of resources and environments. Their drawings told an informed story about how St. Louis and the American West developed, how U.S. infrastructure is changing, and what St. Louis might stand for in the future.

Landscape architects are…in everything they do, contributing to the political landscapes that all things dwell within.

—Rod Barnett, “Designing Indian Country” (Places, October 2016) Returning to the Gateway Mall and the Gateway Arch National Park, students grounded their research through the design of a dialectical landscape—one that fosters the exchange of ideas and invites opposing forces.2 Large maps and valley sections were employed for understanding our continental context. Experimental drawings and models conflated the site with the hinterland, serving as generative tools. The landscapes and questions in this studio were monumental, so each student studied one infrastructure and each design project took one clear position. Final projects sought to visualize our history, especially the 20th-century infrastructure on which we depend, using design to communicate changing priorities for the 21st century.

1. Meaning “a region remote from urban areas;” from the German hinter (behind) + land (land), as cited in Merriam-Webster.com Dictionary, s.v. “hinterland,” accessed May 31, 2020, https://www.merriam-webster. com/dictionary/hinterland.

2. “Dialectical landscape” draws on Robert Smithson’s essay “Frederick Law Olmsted and the Dialectical Landscape,” (1973).

Master of Landscape Architecture

517

501 Core Studio Landscape Architecture Design III

WashU Approach

Micah Stanek Lecturer

518

FA19

Tianhao Xiang

Master of Landscape Architecture

519

501 Core Studio Landscape Architecture Design III

WashU Approach

Micah Stanek

520

FA19

Tianhao Xiang

Master of Landscape Architecture

521

501 Core Studio Landscape Architecture Design III

WashU Approach

Micah Stanek

522

FA19

Danni Hu

Master of Landscape Architecture

523

501 Core Studio Landscape Architecture Design III

WashU Approach

Micah Stanek

524

FA19

Danni Hu

Master of Landscape Architecture

525

502

Landscape Architecture Design IV Core Studio

WashU Approach

526

Instructor Derek Hoeferlin

From the Bird’s Point to the Bird’s Foot Nature, in this place, had become an enemy of the state…. You’ve heard of Murphy—“What can happen will happen”? This is where Murphy lives…. Man against nature…. There’s no place in the U.S. where there are so many competing interests relating to one water resource….

Old River Control at once became, and has since remained, the civilworks project of highest national priority for the U.S. Army Corps of Engineers…. They’re scared as hell. They don’t know what’s going to happen. This is planned chaos. The more planning they do, the more chaotic it is…. The whole deltaic plane, a superhimalaya upside down….

The levees were like cancer, because they had to keep growing while they sank into the swamp.

—John McPhee, “Atchafalaya,” New Yorker (February 23, 1987).

This studio began with research, critique, and speculation about what landscape architecture’s role can be within one of the most powerfully engineered and constructed sites in the U.S.—the Old River Control Complex (ORCC). Located at the juncture of the Atchafalaya, Mississippi, and Red rivers in Louisiana, the ORCC is publicly known to few. Yet it is potentially one of the most—if not arguably the most—important infrastructural acts of control, and by extension American hubris, in the entire Mississippi River Basin. Banal as it is in form, its unequivocal mission is clear and present: absolute control of the Mississippi’s course. If not for the ORCC, everything southeast of it, including Baton Rouge and New Orleans, would not have reason to exist. To put it another way, the ORCC mandates and switches the flow of the Mississippi River via regulated percentages and muscular engineering so it continues toward these cities and surrounding economies, instead of due south along the steeper gradient of the Atchafalaya River, where the Mississippi “naturally” wants to flow.

For the first weeks of the semester, students spatially translated John McPhee’s seminal essay “Atchafalaya” (a beautiful yet cautionary tale Master of Landscape Architecture

527

502 Core Studio Landscape Architecture Design IV

WashU Approach

SP20

528

Xue Ying’s project site

about the ORCC), into iterative physical models and drawings to formulate abstracted landscape concepts. The translations were both systemsbased and physically grounded in their explorations. For the remainder of the semester, using McPhee’s text and their translations as conceptual referents, each student proposed a new landscape toolkit for multiple sites consisting of contextual, programmatic, infrastructural, and ecological control (or non-control), across the entire Lower Mississippi River Basin.

Finally, students focused on interventions that centered on one of the toolkit sites, addressing themes of ecology, hydrology, pollution, and species. As a collective vision, the studio proposes the future of the basin as a productive, powerful, water-rich landscape.

To better frame their understanding of the region, students took a road trip through the Lower Mississippi River Basin “From the Bird’s Point to the Bird’s Foot,” visiting sites of control such as the New Madrid Floodway, the Old River Control Complex, and the Morganza and Bonnet Carré spillways.

From Cairo, Illinois to New Orleans, Louisiana, students scrutinized these infrastructurally hinterland-based sites in relation to the communities and urbanisms they serve.

Master of Landscape Architecture

529

502 Core Studio Landscape Architecture Design IV

WashU Approach

Derek Hoeferlin Associate Professor

530

SP20

Danni Hu

Master of Landscape Architecture

531

502 Core Studio Landscape Architecture Design IV

WashU Approach

Derek Hoeferlin

532

SP20

Danni Hu

Master of Landscape Architecture

533

502 Core Studio Landscape Architecture Design IV

WashU Approach

Derek Hoeferlin

534

SP20

Xue Ying

Master of Landscape Architecture

535

502 Core Studio Landscape Architecture Design IV

WashU Approach

Derek Hoeferlin

536

SP20

Xue Ying

Master of Landscape Architecture

537

601 & 602 Landscape Architecture Design V–VI Thesis Studio WashU Approach

538

Instructor Jacqueline Margetts

Research by design is a type of investigation that produces new knowledge about the world through the act of designing. Design is employed as a method of inquiry that generates outcomes through the testing of ideas, materials, and technologies. Innovative conceptual development is achieved through an iterative process that embraces the evolution and modification of ideas, and an accompanying exploration into cultural, social, economic, aesthetic, and ethical issues.

Students in this two-semester Thesis Studio develop a theoretically sophisticated understanding of landscape architecture through engagement in research by design. Participants undertake an individual research project that involves creating a new body of work within a theoretical context and then critically appraising their work and the framework that informed it.

Research by design is predicated on the proposition that design is research if—and only if—new things (concepts, techniques, strategies) are discovered by doing design; that is, by making things. For example, a student designing a riverfront precinct does not begin by conducting an exhaustive review of riverfront precincts around the world (though an awareness of precedents is necessary), but by designing, drawing, diagramming, and graphic mapping.

Research by design is investigative rather than propositional. What is investigated is often multiple and unknown at the beginning of the project.

Students must become comfortable with not knowing what they are doing.

Along with the reversal of the professional design process, students must also deeply consider the theoretical dimension of their projects, which is primarily what distinguishes their design research from standard practice.

In the second semester, students continue the research started in the fall, developing an original body of work and an accompanying narrative that lays out and explains their research.

Master of Landscape Architecture

539

Jacqueline Margetts Senior Lecturer

601 & 602 Thesis Studio

Dark Matter John Whitaker This project investigated organic reduction (composting) of human remains as a means of promoting biological and cultural diversity in urban cemeteries. This process moves the human body beyond coexistence to merge entirely with non-human ecologies. Dissolution of the body prior to interment removes the conceit of somatic permanence; the subsequent transference of energy and matter to adjacent life is foregrounded and the personal memorial’s embodiment in place is expanded to include natural systems and ecological productivity.

The funerary landscape is decentralized from static site of memorial to evolving memorial system that invites engagement with the living.

Dark Matter was selected by the American Society of Landscape Architects as a 2020 Student Award of Excellence in General Design.

The ASLA recognizes exemplary student work from across the United States and around the world. In 2020, it received 560 entries and awarded 35 projects. The prestige of the ASLA awards program relies on the high caliber of the juries convened each year. The 2020 Student Awards Jury was chaired by Kristina Hill of the University of California, Berkeley.

Dark Matter will be published in the September issue of Landscape Architecture Magazine, the magazine of the ASLA. John Whitaker and thesis advisor Jacqueline Margetts were honored at the awards presentation ceremony during the 2020 ASLA Conference on Landscape Architecture.

WashU Approach

540

FA19–SP20

Student Award of Excellence in General Design 2020 by the American Society of Landscape Architects

Master of Landscape Architecture

541

601 & 602 Thesis Studio Landscape Architecture Design V-VI

WashU Approach

Jacqueline Margetts

542

FA19–SP20

John Whitaker

Master of Landscape Architecture

543

601 & 602 Thesis Studio Landscape Architecture Design V-VI

WashU Approach

Jacqueline Margetts

544

FA19–SP20

John Whitaker

Master of Landscape Architecture

545

601 & 602 Thesis Studio Landscape Architecture Design V-VI

WashU Approach

Jacqueline Margetts

546

FA19–SP20

John Whitaker

Master of Landscape Architecture

547

Jacqueline Margetts Senior Lecturer

601 & 602 Thesis Studio

St. Louis, Missouri: A River City?

Virginia Eckinger This project investigated how floodwater can be an agent for activating the riparian landscape of the Mississippi River. On a localized scale, design tests showed river engagement can be increased through platforms and riparian biodiversity through hydroseeded cubes.

At a larger scale, research revealed that making room for the river to flood would impact riverfront cities throughout the watershed. Ecologically and socially beneficial relationships would be made with the river, defining our history and determining our future.

WashU Approach

548

FA19–SP20

Master of Landscape Architecture

549

601 & 602 Thesis Studio Landscape Architecture Design V-VI

WashU Approach

Jacqueline Margetts

550

FA19–SP20

Virginia Eckinger

Master of Landscape Architecture

551

601 & 602 Thesis Studio Landscape Architecture Design V-VI

WashU Approach

Jacqueline Margetts

552

FA19–SP20

Virginia Eckinger

Master of Landscape Architecture

553

Seminars Selection

WashU Approach

554

John Whitaker

Visualizing Ecological Processes Representation II: Digital Tools Introduction to Planting Design: Designed Plant Communities Integrated Planting Design Landscape Technology

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

555

Eric Ellingsen Assistant Professor

Seminar

FA19

Visualizing Ecological Processes This course dove into three sections, each of which materialized as an exercise: 1) a personal WEBSITE, 2) a MOVIE TRAILER on climate change, and 3) a COMMERCIAL on climate change.

Ecology is traditionally understood as the flow of energy and the cycling of materials.

We work with digital and analogue timebased models to represent ecology as a biology-based science entangled with social and cultural ecologies. Media waves are as real as water waves, and it is time landscape architects stop refusing to equate digital with immaterial ecologies. Visualizations do work.

All representations are political. From the 1920s agitpróp (agitation propaganda) to Arab Spring, Cambridge Analytica, and police body cameras, media has been explicitly politicized as a weapon. The “Scorched Earth” documentaries relay this history, as well as “The Century of the Self,” “HyperNormalisation,” the Bechdel Test, and Laura Mulvey’s Male Gaze.

Orientalisms are reified when populations and places are misrepresented or remain invisible. In 1968 Los Angeles and again in 1977 Chicago, Ray and Charles Eames released the “Powers of 10.” Yet the two bright, young, white characters represent the leisure and privilege to nap and dream on a lakeside, while from ’68 until ’77 those same cities and universities burned. The representations we make for others render our own portraits in terms of what we value.

WashU Approach

In this seminar, students focused on the how and why of time-based tools and technology by covering concepts like duration, narrative, story, character, subject, plot, and genera. Particular attention was also paid to how representations affect our perception of people and places. Dynamic material modeling processes, such as “wet computation” (Lars Spuybroek-like soap films) and sound (Foley effects, field recordings, narration) were used. The seminar also addressed the role of branding and the need for designers to take charge of framing their own public identity, skills, and experiences in a manner that far exceeds reliance on traditional design portfolios.

556

Danni Hu

Master of Landscape Architecture

557

Seminar Visualizing Ecological Processes

WashU Approach

Eric Ellingsen

558

FA19

Qi Zhang

Master of Landscape Architecture

559

Micah Stanek Lecturer

Seminar

Representation II: Digital Tools In the second course of the landscape architecture representation series, students become acquainted with digital landscape drawing and 3D modeling. The focus is on the representation of landscape systems. Starting with the line, students experimented with how the digital line delineates space and material, but also how lines can represent trajectory or range of variation.

Adding in painting, printing, and collage techniques from landscape representation I, the digital line can be augmented in many ways. Through hybrid analog-digital drawings, students produced environments with time and contingency. The course especially focused on digital tools that can support a generative, iterative design process on the digital platform, in the drawing, and in the 3D model.

At the center of the practice of representation are exquisite craft, intelligent methods, and clarity of communication.

Projects required students to first become acquainted with new tools, then quickly find the most effective and efficient methods for restarting or applying them to various exercises in the studio.

Students were also asked to address questions of audience. Images and models approximate environments; they are not the environments. These approximations can be read and misread—aesthetically, rhetorically, and politically.

WashU Approach

560

SP20

Heyue Liu

Master of Landscape Architecture

561

Seminar Representation II: Digital Tools

WashU Approach

Micah Stanek

562

SP20

Weicong Huang

Master of Landscape Architecture

563

Seminar Representation II: Digital Tools

WashU Approach

Micah Stanek

564

SP20

Weicong Huang

Master of Landscape Architecture

565

Seminar Representation II: Digital Tools

WashU Approach

Micah Stanek

566

SP20

Nanqi Wang

Master of Landscape Architecture

567

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 idea is the strategy of layering plant species according to their evolved survival strategies. At the forefront of this topic are landscape architect Thomas Rainer and landscape designer Claudia West. In their book, Planting in a Post-Wild World: Designing Plant Communities for Resilient Landscapes, Rainer and West describe “a designed plant community” as “a translation of a wild plant community into a cultural language” (Portland, OR: Timber Press, 2015, p. 38).

Over the semester, students studied the primary layers of three widespread plant communities: grassland, shrubland, and forest. Students then reinterpreted these key layers for plant communities of their own design for various urban sites around St. Louis.

WashU Approach

568

SP20

Nanqi Wang

Master of Landscape Architecture

569

Seminar Introduction to Planting Design

WashU Approach

Eric Kobal

570

SP20

Nanqi Wang

Master of Landscape Architecture

571

Seminar Introduction to Planting Design

WashU Approach

Eric Kobal

572

SP20

Weicong Huang

Master of Landscape Architecture

573

Jacqueline Margetts Senior Lecturer

Seminar

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.

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 planthuman assemblages that emphasize spatial, textural, and chromatic plant attributes.

WashU Approach

574

SP20

Xue Ying

Master of Landscape Architecture

575

Seminar Integrated Planting Design

WashU Approach

Jacqueline Margetts

576

SP20

Chanil Park

Master of Landscape Architecture

577

Seminar Integrated Planting Design

MAR 18

APR 10

MAR 22

APR 11

WashU Approach

Jacqueline Margetts

MAR 26

MAR 30

APR 12

APR 13

578

SP20

APR 02

APR 14

APR 04

APR 15

Xue Ying

APR 04

APR 15

APR 05

APR 17

Master of Landscape Architecture

APR 07

APR 08

APR 18

APR 19

579

APR 09

APR 20

APR 10

APR 22

Seminar

Landscape Technology

Frank Hu Lecturer

Throughout the world of landscape design, there has been a strong resurgence of interest in landscape methods as a comprehensive and innovative approach toward defining and engineering sites.

Techniques for working the land engage dynamic processes, molding conditions and creating forms to control erosion, conserve water, and minimize human impact. As such, landscape methods have created new standards of performance for sites of all sizes and circumstances.

In this seminar, students created a series of detail drawings and site plans to further develop the constructability of a landscape architecture design project. Drawings utilized industry standard conventions in annotation, dimensioning, hatching, and lineweights to communicate the intended design outcome. Students selected a studio project they previous worked on as a starting point, and developed professional-level documentation as if they were preparing an initial schematic design package.

WashU Approach

580

SP20

Danni Hu

Beyond Coal Layout Plan

Beyond Coal Layout Plan

on a nearby facade.

on a nearby facade.

20

1’’=15’-0’’ GRAFIC SCALE

0

0

20

40

1’’=15’-0’’ GRAFIC SCALE

581

40

Master of Landscape Architecture

Seminar Landscape Technology

Beyond Coal Site Section WashU Approach

Frank Hu

SP20

The site section shows the transition from vegetation area to hardscape. There are two typical plant beds on the s occupy. The floodplain topography is made of recycled concrete and the coal pollution markers are made of recycl

582

Danni Hu

site: one is planted with short grass and the other is planted with tall grass. Near the water channel, there is the platform with brick pavers for people to led utility wooden poles.

Master of Landscape Architecture

583

Seminar Landscape Technology

Frank Hu

Approach 584 ondWashU Coal conduit system to provide lighting in the night.

SP20

Danni Hu

Master of Landscape Architecture

585

Master of Urban Design Student Work

WashU Approach

586

711 Elements of Urban Design L. Irene Compadre Linda C. Samuels 713 Metropolitan Design Elements Patty Heyda John Hoal 714 Global Urbanism Studio Doreen Adengo Matthew Bernstine Ferdi le Grange Jonathan Stitelman Seminars Derek Hoeferlin Petra Kempf Gavin Kroeber

2019—2020

587

711

Elements of Urban Design Core Studio

WashU Approach

588

Instructors L. Irene Compadre Linda C. Samuels

Impossible STL We’re on a mission…to save meat. And Earth.

If everyone who ate an Impossible Burger in 2018 chose it explicitly over a burger made from cows, we would have collectively spared greenhouse gas emissions equivalent to 250 million driving miles in a typical US car, a land area nearly the size of San Francisco and enough water to hydrate 3 million people for a year.

—Impossible Foods On April 1, 2019—at the risk of being seen as a flame-broiled April Fools’ joke—Burger King launched a test run of the all-plant based Impossible Whopper at 59 locations across St. Louis. Why St. Louis (and not a more stereotypical, vegetarian-friendly city like San Francisco or Los Angeles) was selected as the pilot city is up for speculation. Is St. Louis a sleeper city of environmentalists or a convenient crossroads in the food supply chain? If true, this is an opportunity to rebrand St. Louis as a laboratory for creative thinking around sustainability, particularly symbiotic relationships between health, food, resource use, and innovation. Understanding the many ways to intervene in the currently inefficient and destructive systems of food production could create more advanced and holistic solutions.

This interdisciplinary, systems-based urban design studio emphasized the interconnectivity of macro- to micro-level health, food, resource, and innovation systems, and opportunities for their spatial, social, and environmental design. Hybridizing strategies from landscape architecture, architecture, and urban design, students utilized the tenets of infrastructural urbanism to develop next-generation, integrated design solutions that explored sustainable, innovative, and creative proposals for strategic interventions in multi-scalar systems.

Beginning with Impossible Food’s claims that its burger needs “approximately 75% less water and 95% less land, and generates about 87% lower greenhouse gas emissions than a conventional burger from Master of Urban Design

589

711 Core Studio Elements of Urban Design

WashU Approach

FA19

590

Josiah Brown / Ye Liu / Joe Mueller / Dongzhe Tao

cows,” students mapped the systems and their relationships that relate to food, including water, waste, energy, agriculture, mobility, land use, access, information, power, hydrology, and ecology. The discrepancies, disruptions, and demands between current patterns and those necessary for projecting a more sustainable future were also mapped. The Impossible Foods company itself was part of the analysis.

A quick, intense design charrette on a local macro/micro condition followed to help narrow the scope to select sites across the St. Louis area.

Final projects took two forms: a centralized catalytic proposition related to the Impossible Foods company relocating a research, manufacturing, or distribution branch in the city of St. Louis, or a decentralized proposition where a network of individual fast-food restaurants, by virtue of their relationships to the Impossible Foods company, act as micro-nuclei of change. Neither strategy was intended to focus on individual sites, blocks, or districts, but on the redesign of overlapping and interdependent systems at multiple scales.

This studio’s ultimate focus was to imagine St. Louis through the perspective of infrastructural optimism—projecting an [Im]possible future that confronts the social challenges of health, access, vacancy, and environmental issues through a narrative of innovation and opportunity.

Students took a position, interrogated the facts, and proposed designs to tackle wicked and complex problems while testing spatial strategies to save the planet.

Master of Urban Design

591

711 Core Studio Elements of Urban Design

WashU Approach

L. Irene Compadre Lecturer Linda C. Samuels Associate Professor

592

FA19

Sebastian Jin Wenjie Yan Left

Master of Urban Design

Josiah Brown Yitian Zhang Right

593

711 Core Studio Elements of Urban Design

WashU Approach

L. Irene Compadre Linda C. Samuels

594

FA19

Josiah Brown Ye Liu Joe Mueller Dongzhe Tao

Master of Urban Design

595

711 Core Studio Elements of Urban Design

WashU Approach

L. Irene Compadre Linda C. Samuels

596

FA19

Josiah Brown Ye Liu Joe Mueller Dongzhe Tao

Master of Urban Design

597

711 Core Studio Elements of Urban Design

L. Irene Compadre Linda C. Samuels

FA19

IMPOSSIBLE CRAFT “ HEADQUATER BUILDING ANALYSIS

DESIGN DOCUMENTATION Client: Impossible Food Company We are not asking Impossible Food Company to relocate, instead, we are promoting a new experimental branch of Impossible Craft burger with local craft breweries’ waste yeasts.

The headquater will locate in Saint Louis’s most innovative area, Cortex, promoting and exhibiting the Impossible Craft, transitting and selling products with food truck system in the decentralized Impossible fast food restaurants which, in return, act as biogas stations for our proposed transitting system--Food Truck.

FOOD SYSTEM

TRANSPORTATION SYSTEM

WASTE SYSTEM

PROTOTYPE D

SECTION A1-A2 scale: 1 in = 6.5ft

BREWERS’

LAND VACANCY

The obvious separation between north and south can be illustrated by the huge amount of vacant lands.

PROSPEROUS SOUTH SAINT LOUIS Churches, luxury apartments and galleries gather here and beautiful facades decorate the city.

PROJECT COURSE REVALUATION OF WASTE BREWERS’ YEAST

YEAST CULTIVATION + CRAFT HEME HARVEST

WashU Approach

MICROBIAL ELECTRICITY PRODUCTION + MICROBIAL WATER FILTRATION + IMPOSSIBLE CRAFT PRODUCTION

FOOD TRUCK TRANSPORTATION

598

PROTOTYPE SELLERS + REVALUATION OF CRAFT ZONES

PILOT SAINT LOUIS IMPOSSIBLE CRAFT

THE WHOLE NATION IMPOSSIBLE CRAFT

PROTOTYPE MAPPING

Qi Jin Teresa Lu Haihan Qu

“FOODWAY”

scale: 1in = 20ft

6 biofuel fertilizer

17

hour driv in

HEADQUATER ILLUSTRATION tons c rop

er year sp

b

ea iofuel ch day gb

7000

er each time urg

DESIGN IMPOSSIBLE FAST FOOD RESTAURANT

food waste

SECTION B1-B2 scale: 1 in = 6.5ft

FAST FOOD RESTAURANT

Burger King, White Castle and KFC gathered around the intersection, surrounding the gas station as an energy-oriented district..

SYSTEM ANALYSIS vacancy to farm

vacancy to farm

Drive-through

A2

Farming

FOOD SYSTEM vacancy to farm

I have bought a impossible craft with 0 emission!

Add some green biofuel while downloading and seeling products.

Let me use the waste to fertilize the crops.

B1

FOOD MARKET

Wow, today’s special is impossible urban chestnut.

Add some highcarboncrops in the biofuelmachine.

B2

TRANSPORTATION SYSTEM crops

Family Dollar and Aldi sell foods here at low price and high variety.

But few customers come here.

waste

Bike rack Israel biofuel machine Food truck

WASTE SYSTEM

I want a set of craft burger and beer.

Impossible food vendor Oh, I miss today’s special impossible burger and beer!

ENERGY SYSTEM

biofuel

biogas fertilizer

Master of Urban Design

PROTOTYPE PLAN

scale: 1 in = 15ft

A1

599

PROTOTYPE ILLUSTRATION

Vacant lands can be used for food.

It is easy for me to get to food.

711 Core Studio Elements of Urban Design

WashU Approach

L. Irene Compadre Linda C. Samuels

600

FA19

Qi Jin Teresa Lu Haihan Qu

Master of Urban Design

601

711 Core Studio Elements of Urban Design

WashU Approach

L. Irene Compadre Linda C. Samuels

602

FA19

Haihan Qu

Master of Urban Design

603

713

Metropolitan Design Elements Core Studio

WashU Approach

604

Instructors Patty Heyda John Hoal

These studios engage 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. They typically involve travel to large North American cities such as Chicago, Dallas, Los Angeles, Toronto, and Washington D.C.

Master of Urban Design

605

713 Core Studio Metropolitan Design Elements

Patty Heyda Associate Professor

SP20

The spring semester studio in the Master of Urban Design program engages a growing North American city at multiple scales to examine how urban public and private life can be re/shaped amid intense pressures of growth and development. This studio used Washington D.C. to explore those dynamics, but with an added twist: political life.

A nation’s capital brings compounded layers of complexity to the normal localregional dynamics of city making, where the federal government competes for urban space. Washington D.C. is unique as a major city; it is also a district serving the State, yet is not located within any U.S. state.

Residents pay federal taxes, but do not have full elected representation in Congress.

The familiar slogan “Taxation without Representation” found on every capital license plate summarizes the contradiction and frustrations of being unaccounted for in a capital center. How do designers navigate these exceptional, competing politicalspatial-ideological needs and influences in neglected neighborhoods nested in a city “worthy of a nation”? The studio was focused on understanding the tensions and needs (and opportunities) of local life in a national capital city.

The site for this studio was Poplar Point, a contested area in the crosshairs of nested planning agendas and other environmental constraints. Overlaid by extensions of Pierre Charles L’Enfant’s original axial ideals,

Poplar Point is poised for development.

Difficult to access, yet in proximity to the long neglected, historic Anacostia neighborhood, it lacks local services. The site forms a promontory at the foot of the Frederick Douglass Memorial Bridge— currently being realigned—across from the reinvented Navy Yard on the Anacostia River.

At the time of the studio, Poplar Point hung in the balance with Congress, who approved its transfer from National Park Service to District ownership based on approval of a master plan, among other things.

The Office of Planning worked with students, who met with them during a studio trip to the capital, and generously provided feedback during reviews. Students carefully mapped a full range of about 100 “stakeholders” on the site, from the National Park Service and National Capital Planning Commission to the nonprofit group Martha’s Table to different profiles of residents and native “critters” living in and around the site. Students developed framework plans to guide equitable, long-term ecological, transit, and policy formation on the site.

They then created urban design proposals for the site within the broader framework.

A full view of the work can be seen here: https://wethepeoplewashu.wixsite.com/ mud713-sp2020

We the People: Capital City Urbanism in Washington D.C.

WashU Approach

606

Dongzhe Tao

Master of Urban Design

607

713 Core Studio Metropolitan Design Elements

WashU Approach

Patty Heyda

608

SP20

Dongzhe Tao

Master of Urban Design

609

713 Core Studio Metropolitan Design Elements

Patty Heyda

EE E E E EE E E E E E EE E EE E E E E E E E EE E EE E EE E E EE E E E E Mt. Olivet Cemetery E E E E E E EE EE E E EE EE E EE EE E EEE E E E E E E E E E E EE E E EE E E E E E E E EE E EEE EE E E E E E E E EEE EE EE E EEEEE E EE E EEE EEE E EEE EE E EE EE E E EE E EEE E E E E EE E EE EE E E E E E EE E E EE EE E E EE E E EE EE E E E E E E EE E

E EEE E E E E E E E E E E E E E E E E EE EE E EEEE E EEE E E E EE EE E E E EEE E E E EE E E E E E E E E E E E E E E E E Mt. Olivet Cemetery EE E

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Navy Yard the Navy’s oldest shore station and the oldest continuously operated federal facility in the United States.

In 1959, WNY was re-designated the United States Naval Weapons Plant. After WWII, administrative activities continued to replace industrial work as the primary function of the facility.

Numerous cleanup projects at the site have been implemented under the FFA. They include lead paint, polychlorinated biphenyl (PCB) and mercury removal, and the rehabilitation of almost six miles of stormwater and sewer pipes. However, tIndustrial activities and the production of weapons at the Navy Yard led to pollution of the site. The Environmental Protection Agency is leading the process to study and propose actions for the site.

E E EE EE E E E E E Southwest E Federal Center

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EE E E EE E E EE E E E EEEEE E E E EE E E E E E E EE EE E E EE E E E E E E E E EE E E E E EE E E E E E E EEE E E E EE E EE E EE E E E Congressional Cemetery EE EE EE E Navy Yard Washington E E Gas E E E EE

EMajor Cleanup Projects E THE ANACOSTIA RIVER SEDIMENT PROJECT

E E

Elesavetgrad Cemetery Kenilworth Park Landfill South

EE EE E EE E EE

Source: EPA

E E EEE E EE

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National Arboretum for instance, doesn't use D.C. Water's storm drains and reuses its wastewater for plants, but it still pays a hefty tab.

WashU Approach

E E E SERVICE CENTER PEPCOE EBENNING Lead Agency: District Department of Energy and Environment (DOEE)

Proposed plan Proposed plan

WASHINGTON NAVY YARD E Lead Agency: Environmental Protection Agency.

Proposed plan Under Construction

Planning

Poplar Point

Washington Gas

CSX

The site was created between 1882 and 1927 in part by the filling of tidal marshes. It undergone a variety of land uses since that time.

Washington Gas - East Station Site is defined as the area where hazardous substances released from past Washington Gas Light Company gas manufacturing operations have come to be located, including contamination in Anacostia River sediments.

The site is currently an unused former industrial facility which is bordered by a closed Browning Ferris Industries (BFI) landfill to the immediate west, the CSX railroad to the south, and mixed agricultural and light industrial uses (including one occupied residence) to the north along Charles City Road. Between 1949 and 1983, Koppers operated a wood treatment facility on the property that produced creosote-treated railroad ties.

Since the early 1990s, several environmental investigations have been done. Mostly at these investgation focused on the western part of the site. In areas formally operated as nurseries and greenhouses.

nvestigations showed that the Site, including the area southeast of Water Street, was contaminated with industrial waste from Washington Gas. Additionally, water beneath the surface at the Site, both shallow and deep, is contaminated with solutions that do not dissolve or mix easily with water. Site-related contaminants have also been detected in the sediments of the Anacostia River.

Source: National Park service

The main contaminants in the soil, sediment, surface water and groundwater at the site are phenols such as pentachlorophenol, polynuclear aromatic hydrocarbons (PAHs) such as benzo(a)pyrene, and volatile organics such as xylene.

Source: EPA

Active CSO outfall

Northeast Boundary tunnel Bald Eagle

Potomac River Tunnel Community Garden

Source: Department of Energy & Environment. Office of the Deputy Mayor for Planning and Economic Development

Habitat Area

E

Anacostia River Tunnel

Cemetery

Places of Worship

National Parks

Combined Sewer Area

Flooding Area (100 years)

nbcwashington- March 15, 2017

November 3, 2017

“Financing the cost of the $2.6 billion tunnel system on the backs of nonprofits and green spaces is ill-conceived”

Proposed plan Proposed plan

WASHINGTON GAS

Before the property transferred to the District, the site must undergo a federal environmental impact analysis (EIS) and Small Area Planning (SAP) process.

“Eaglet Hatches at Police Academy; DC’s Eagle Couples Keep Eggs Safe”

2020

First phase completed

Lead Agency: National Park Service.

It identified metals, pesticides, semi-volatile organic compounds (SVOCs), volatile organic compounds (VOCs), petroleum hydrocarbons, and polychlorinated biphenyls (PCBs) in the soil above the concentration that may pose a high risk for the human health and the environment.

E

2019

Proposed plan

ANACOSTIA RIVER TUNNEL PROJECT / CLEAN RIVERS PROJECT

Under a 2008 Settlement Agreement and Administrative Order on Consent, the District has agreed to conduct a Remedial Investigation and Feasibility Study (RI/FS) under the oversight of NPS.

E End D.C.’s ‘rain tax’ on the poor and the dead

2018

E EE EEE E E E KENILWORTH LANDFILL E Lead E E EAgency: National Park Service E EE POPLAR E POINT Lead Agency: DEPUTY MAYOR’S OFFICE OF PLANNING AND E (DMPED) AND DOEE WITH NPS OVERSIGHT. ECONOMIC DEVELOPMENT

Source: EPA

From 1942 until 1970, the District of Columbia (DC) used the Site for municipal solid waste disposal. Municipal waste incineration, incinerator ash disposal, and landfilling of municipal solid waste occurred at the Site. By the 1970s, the entire landfill (KPN and KPS) had ceased operations, was covered with soil, revegetated, and reclaimed for recreational purposes. KPN currently contains athletic fields which are actively used for recreation. KPS is currently undeveloped and not used for active recreation.

2017

Lead Agency: District Department of Energy & Environment (DOEE) Lead Agency: DC Water

55 million gallon per day sewage pumping station.

Contaminants found in soil include petroleum hydrocarbons, polycyclic aromatic hydrocarbons (PAHs), polychlorinated biphenyls (PCBs) and metals, such as lead, arsenic and chromium.

Groundwater (GW) contamination was discovered only under the Department of Transportation (DOT) Parcel, prior to development.

“Where’s Justice? High Drama Unfolds in Southwest

E E DC Bald Eagle Nest After Male Goes Missing” E E February 16, 2019 E E E E E Liberty EE EE E E Justice E EE EE E E E EEE EE E E Raised many eaglets successfully E E E EE EE over their 15 years together.

E EE E E E EE E PEPCOE E E E EEE E E EEE E E EE E E E E EE E E EEEE E E E EE E E E Woodlawn Cemetery E EE E E E E E E E EE E E E

Pesticides, semi-volatile organic compounds (SVOCs) Volatile organic compounds (VOCs) Petroleum hydrocarbons Polychlorinated biphenyls (PCBs) in the soil.

Southwest Federal Center In 1799, WNY was commissioned as a shipbuilding facility and later became an ordnance research and manufacturing facility.

Since World War II, the WNY was restructured for use as office and storage space.

Poisoning from a wide variety of sources accounted for 16% of all eagle deaths necropsied since 1963 at NWHC (Franson et al. 1995c).

Kenilworth Park Landfill south

National Arboretum

E

E E EE E EEE PointE E EEPoplar E EE E E P.P Pumping Station E E E E E E EE EE E EE E E E E

Source: EPA , Anacostia Riverfrontfront Trust.

SP20

E

PEPCO

E

Blue Plains Advanced Wastewater Treatment Plant the largest plant of its kind in the world

Treat 300 million gallons of wastewater.

10 megawatts of electricity reused from waste.

610

From 1942 until 1970, the District of Columbia (DC) used the Site for municipal solid waste disposal. Municipal waste incineration, incinerator ash disposal, and landfilling of municipal solid waste occurred at the Site. By the 1970s, the entire landfill (KPN and KPS) had ceased operations, was covered with soil, revegetated, and reclaimed for recreational purposes. KPN currently contains athletic fields which are actively used for recreation. KPS is currently undeveloped and not used for active recreation.

Source: PEPCO

Contaminated Sites Resources:

EPA. Washington Post newsletters Washington Times.

Dc Water.

Anacostia River Trust.

National Park Servies.

Department of Energy & Environment.

Office of the Deputy Mayor for Planning and Economic Development.

N

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Khalid Aljohani

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Black Non- Hispanic Residents

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The life expectancy is The lowest in WARD 7 !

People are likely to live 15 Years less than WARD 3.

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DD

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EE E Ward 7 residents protest another fast-food E chain On Minnesota Avenue, NE DC E Neighbors want healthier food optionsE in Ward 7.

D

D

Child Poverty

5.3%

D

D

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53.9%

Which make community members commute to the city center.

DC ranked the sixth-worst traffic congestion because of commuting.

Opportunities for Mixed income Housing, healthy food access Recreation and retail.

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Renter-Occupied Units

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$777,000

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National Parks

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Master of Urban Design

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D

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Source: 11th Street Bridge Park’s Equitable Development Plan

E

Frederick Douglass Memorial Bridge Carrying 70,000 vehicles each day and pedestrian ways

Retail Use

Median Value of Owner-Occupied Housing

D

E D

Public Housing

$329,500

D

E

“ Smith usually rides a bus with a subsidized fare For people her age or with disabilities, but the stops are limited.”

D D

Median Value of Owner-Occupied Housing

D

E

D

E E

Bus Route

Child Mental Health Care Grocery Store

!

Transport Free

M

Metro Station

Water Taxi

Unemployment

Renter-Occupied Units

D

D Low Food Access Many people relay on“LYFT” rides for Groceries.

The Lyft Grocery Access program

D

15.9%

D

E E

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49.2% Child Poverty

74.4%

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The Unemployment rate in Anacostia is high ,

Unemployment

D D

Food Desert

High

Nonprofit Tax Abatement Zones Low

611

D

E

N

0

E

0.175

0.35

713 Core Studio Metropolitan Design Elements

Patty Heyda

SP20

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Barry Farms 444 Public housing units (Demolished)

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Opportunity for Mixed income Housing 1,400 Units & 50,000 square feet of retail space

Ecological Connec�on

WashU Approach

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Free public transit

Enterance

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G

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Public School

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New Street Extension

Mussel/ Oyster Wetlands

Ecological and food Corridor

Affordable Housing

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G

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Sports fields

!

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Historic District

Community Gardens

Metro Station

!

!

Bike trail

Small Businesses

D

Anacostia Heritage Trail

National Parks

Roads

G

Park/Recreation

G

Metro Bus

!

!

Flooding Area (100 years)

Metro Green Line

Mixed income Development

Railroad

D

G

!

N

0

! !

Master of Urban Design

613

0.25

0.5 Miles

713 Core Studio Metropolitan Design Elements

John Hoal Professor

The Metabolism and Morphology of Public Works + Public Life

The region also has access to significant operational landscapes for energy, food, production materials, and other resources necessary for the megacity’s continued growth. It is also projected to have a cool future as one of the most climatically livable areas in 2100, although the effects of climate change in this area are still subject to considerable uncertainty. Considering all of these factors, students redesigned the lakefront with a focus on the implications of climate change projected over the next 50 years.

SP20

Cool Futures: The Mega Non-City in the MID The future of urbanism as a state of being— being urban—is increasingly concentrated in a limited number of global megacities.

They are the future planetary habitats of humans as they metamorphize into an urban species—Homo urbanis—and the urbanocene is fully realized [Urbanized % = Pc [city population] / Pt [total population].

Megacities are also centers of global innovation, creativity, productivity, consumption, wealth creation, inequity, poverty, and resource use. Each megacity competes for resources and is more connected to a planetary system of production and exchange than its immediate spatiality. Their metabolism is increasingly interdependent, with specialized global regions of production and supply, implying a new morphological form and process for urbanization: the Non-City.

Students in this studio investigated one of North America’s MID megacities: the Great Lakes megacity, a binational urban area anchored by Chicago and Toronto integrating over 30 other cities. Projected to grow to over 70 million people and have one of the largest economies in the world, this megacity is supported by an abundance of natural resources. The Great Lakes accounts for 20 percent of the global and 80 percent of the national fresh water supply.

WashU Approach

614

Qi Jin

To North

To Downtown

To West

To Island

Transportaaon Network + Transit Hub

SMLXL

The proposal aaempts to use various scales - small, medium, large, extra large - to accomodate different accviies.

The New Exhibiion District will be mainly served by convenient and fast public transportaaon system. Two terminals for cruise ships and modern streetcar are created.

Modern Streetcar

Metro

Station

Hotel Residential Retail Shopping Center

Cruise Ship

0.05M sq ft

Government Building Sports Center Historical Building Event Venue

0.05-0.15M sq ft

National Field Conference Center Historical Park Convention Center (old)

0.3-1M sq ft

New Convention Center

2.4M sq ft

Chicago Convention Center (the largest in North America) 2.6M sq ft

Commercial Residennal (exissng)

Residennal (exissng)

Mixed-use

Mixed-use

Exhibiion Center Mixed-use Mixed-use

Hotels + Residennal

Heritage

In order to be a well serviced dessnaaon for tourism and future seelement, hotels and apartments are provided for temporal tourists influx and future populaaon growth.

Future Dwelling: 100,000 Population 72,000 Residents + 28,000 Tourists

Master of Urban Design

The development also reinforces the cultural iden-ty of Toronto by conneccng heritage sites to public spaces networks.

Hotel: 2.4M sq ft Apartment: 4M aq ft Land Area: 30M sq ft Toronto Average Household Size: 3 people

Exhibition Center

615

Heritage Architecture

713 Core Studio Metropolitan Design Elements

WashU Approach

John Hoal

616

SP20

Yurong Xue

Master of Urban Design

617

713 Core Studio Metropolitan Design Elements

WashU Approach

John Hoal

618

SP20

Dunyang Chen

Master of Urban Design

619

713 Core Studio Metropolitan Design Elements

WashU Approach

John Hoal

620

SP20

Dunyang Chen

Master of Urban Design

621

714

Global Urbanism Studio Core Studio

WashU Approach

622

Instructors Doreen Adengo Matthew Bernstine Ferdi le Grange Jonathan Stitelman (Coordinator)

Double Vision: A Comparative Studio Starring Johannesburg, South Africa, and Kampala, Uganda This studio engaged global urbanism through direct observations of urban morphology and spatial negotiations in Johannesburg, South Africa, and Kampala, Uganda. Ferdi le Grange joined the Johannesburg studio, which focused intensely on differing spatial and material conditions at the center and periphery of the city. In Kampala, Doreen Adengo led a one-week drawing workshop focused on negotiation—of space, goods, authority— in thriving Nakasero Market. The studio’s comparative model built on tensions between central and peripheral urban development, design processes reliant on formal and social systems, and two cities poised for significant change.

In the 21st century, Johannesburg and Kampala will grow, facing competition from several other African cities. Students traveled to both cities, directly observing their richness and complexity. Speculations centered on how urban design can reinforce equity in the public realm, bolster social and economic support systems, and adapt urban forms to be resilient in the face of climate and demographic change.

Situated at the heart of Gauteng province, South Africa, Johannesburg has a complex history of spatial segregation by race. This has left enduring regional challenges in terms of persistent mismatch between housing and employment locations, transportation access, resource delivery, economic mobility, and public health. Myriad municipal plans, including the United Nations Human Settlements Programme (UNHSP), have addressed these challenges. In each plan, the push and pull between the center and periphery has laid bare conflicting attitudes regarding density, safety, employment, and ecological health.

Students tested dual (dueling) sites at the center (Marshalltown) and perimeter (Modderfontein) to assert new conditions of housing density, employment, ecologies, sustainability, economies, and the public realm.

Beginning with direct observation, students drew and documented strategic points in the center and periphery of the city. The depicted Master of Urban Design

623

714 Core Studio Global Urbanism Studio

WashU Approach

SU19

624

Nathan Severiano

physical reality of each site was used as the base layer for grounded speculations on future adaptations in the public realm.

In Kampala, students worked collaboratively with students from Uganda Martyrs University to observe and document negotiation in the market. This studio focused on the complex relationships among vendors, consumers, authority, and weather, and how they shape the social space in bustling Nakasero Market in downtown Kampala. As Kampala competes with other cities for international investment and prominence, sites like Nakasero Market are often developed into mid-rise buildings, displacing vendors, and extinguishing the social system it provides. By observing and documenting negotiations, students hoped to frame a conversation around the value of these spaces to the vitality and cosmopolitanism of the city—and what would be lost if the market was to disappear.

Master of Urban Design

625

714 Core Studio Global Urbanism Studio

WashU Approach

Doreen Adengo Lecturer Matthew Bernstine Lecturer Ferdi le Grange Lecturer Abroad Jonathan Stitelman Visiting Assistant Professor

626

SU19

Nathan Severiano

Master of Urban Design

627

714 Core Studio Global Urbanism Studio

WashU Approach

Doreen Adengo Matthew Bernstine Ferdi le Grange Jonathan Stitelman

628

SU19

Nathan Severiano

Master of Urban Design

629

714 Core Studio Global Urbanism Studio

WashU Approach

Doreen Adengo Matthew Bernstine Ferdi le Grange Jonathan Stitelman

630

SU19

Danni Hu

Master of Urban Design

631

714 Core Studio Global Urbanism Studio

WashU Approach

Doreen Adengo Matthew Bernstine Ferdi le Grange Jonathan Stitelman

632

SU19

Yaoyao Chen

Master of Urban Design

633

Seminars Selection

WashU Approach

634

Xinyang Chen / Yongdi Li

Territories—Watersheds—Infrastructures Confronting Urbanization Laboratory for Suburbia

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, students are introduced to urban design history, theory, concepts, and principles through required seminars: Metropolitan Development, Metropolitan Sustainability, and Metropolitan 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. Students also take two master class workshops that focus on current urban conditions relating to informal urbanism and contemporary public space.

The elective seminars featured in the following pages ask students to build upon required coursework and broaden their inquiries into other complex areas impacting the future of urban design, including suburbia, social and environmental justice, infrastructure and systems, and river cities and climate change.

Master of Urban Design

635

Derek Hoeferlin Associate Professor

Seminar

SP20

Territories— Watersheds— Infrastructures This seminar was a collaborative, community-engaged, multi-scalar field documentation and mapping project that positioned the Mississippi watershed, its tributaries, and the St. Louis region within its broader watershed, particularly highlighting the complicated intersections of river management, industry, and recreation.

In early October 2019, students designed and installed a series of sitespecific exhibits just north of downtown St. Louis at the Continental Cement Company. The exhibition complemented a panel discussion on board CCC’s platform barge on the Mississippi River, occurring as part of “Mississippi: An Anthropocene River,” a project sponsored by the Haus der Kulturen der Welt (HKW) from Berlin. Group installations were partially inspired by two canoe trips students took from the Chain of Rocks to the Gateway Arch, both guided by Big Muddy Adventures.

The work not only was used to represent ideas, but as objects of action for a set of dialogues about responsibility, agency, and possible futures for the Mississippi River Basin, especially when weighed in relation to stresses to the river, such as climate change and future industrial uncertainties.

This fascinating industrial site straddles the intersections of the Mississippi River, the barge industry, a riverfront bike trail, a floodwall, the Stan Musial Veterans Memorial Bridge/Interstate 70, multiple rail WashU Approach

lines, and even the erased Mississippian culture’s “Big Mound.” The work was scattered across the site in various platform zones for dialogues, including the roof of the cement silo and the active barge used for loading cement. These dialogues included representatives from the U.S. Army Corps of Engineers, Big Muddy Adventures, Continental Cement Company, the City of St. Louis, Great Rivers Greenway, Missouri Confluence Waterkeeper, Mississippi River Cities and Towns Initiative, the Pulitzer Arts Foundation, and the National Great Rivers Research and Education Center.

636

Master of Urban Design

637

Continental Cement Company

Seminar Territories—Watersheds—Infrastructures

WashU Approach

Derek Hoeferlin

638

SP20

Virginia Eckinger John Whitaker

Master of Urban Design

639

Seminar Territories—Watersheds—Infrastructures

WashU Approach

Derek Hoeferlin

640

SP20

Mason Radford Erin Socha

Master of Urban Design

641

Petra Kempf Assistant Professor

Seminar

Confronting Urbanization Research on the (Inter)-Active Tissue of Urban Life Students in this course investigated the urban condition through the lens of its interactive tissue—a tissue that ranges from smartphones, 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 as ordinary and unremarkable as air.

Within this frame of reference, students probed 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 were: How does daily life unfold in this limitlessness and complete integration of movement and communication, 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 things and events have a limit, a form, and an existence, is there a limit to this infinity?

WashU Approach

642

SP20

Qi Jin

Master of Urban Design

643

Seminar Confronting Urbanization

WashU Approach

Petra Kempf

644

SP20

Qi Jin

Master of Urban Design

645

Seminar Confronting Urbanization

WashU Approach

Petra Kempf

646

SP20

Qi Jin

Master of Urban Design

647

Gavin Kroeber Lecturer

Seminar

Laboratory for Suburbia In the past five years, America’s suburbanized landscape has emerged as a site of urgent electoral, cultural, and spatial contestation—arguably the defining geography of the national political moment. The fields of urban design, architecture, and art, however, have largely failed to engage this critical space, instead remaining focused on prestigious cosmopolitan destinations and distressed inner-city communities. This interdisciplinary seminar asked students to step into this gap, exploring and proposing new forms of critical suburban practice and how these new forms are possibly more pertinent to contemporary urban design, in the way that cities traditionally have been. Students rethought the St. Louis region, not as a city, but as a paradigmatic 21st-century suburbia and a generative site for interventionist projects.

The course was part of the instructor’s larger research project of the same name.

It was partially supported by a grant from the Divided City initiative, which included project team members Derek Hoeferlin and Patty Heyda (urban design), Ila Sheren (art history), and The Luminary (local community partner). The seminar resulted in a book publication supported by the Divided City initiative and The Luminary.

WashU Approach

648

SP20

Rachel Reinhard

Master of Urban Design

649

Seminar Laboratory for Suburbia

WashU Approach

Gavin Kroeber

650

SP20

Katherine Nemetz

Master of Urban Design

651

Faculty SU19–SP20

WashU Approach

652

PROFESSOR Heather Woofter Sam and Marilyn Fox Professor; Director, College of Architecture and Graduate School of Architecture & Urban Design John Hoal 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 PROFESSOR OF PRACTICE Valerie Greer Coordinator of Graduate Strategic Initiatives Philip Holden Mónica Rivera Chair, Graduate Architecture Nanako Umemoto Henry S. Webber ASSOCIATE PROFESSOR Chandler Ahrens Gia Daskalakis Catalina Freixas Bob Hansman Patty Heyda Derek Hoeferlin Chair, Landscape Architecture & Urban Design Zeuler R. Lima Linda C. Samuels Hongxi Yin InCEES Associate Professor 2019—2020

ASSISTANT PROFESSOR Shantel Blakely Wyly Brown Eric Ellingsen Petra Kempf Pablo Moyano Kelley Van Dyck Murphy Constance Vale SENIOR LECTURER Ryan Abendroth Michael Allen Richard Janis George Johannes Don Koster Doug Ladd Emiliano López Matas Gay Lorberbaum Jacqueline Margetts Dennis McGrath Bob Moore Jim Scott Phillip Shinn Lindsey Stouffer LECTURER Ben Arenberg Douglis Beck Max Bemberg Matthew Bernstine Charles Brown L. Irene Compadre Nona Davitaia Bob Ducker Carolyn Gaidis Amy Gilbertson Laura Ginn Frank Hu Dennis Hyland Carl Karlen Eric Kobal Gavin Kroeber Bill Kuehling Bob Lewis Alexandra Mei Allison Mendez Amela Parcic

653

Lynn Peemoeller Marcos Petroli Andrew Petty Hannah Roth Aaron Schump Micah Stanek Andy VanMater Donna Ware Andrew Weil RESEARCH FELLOW Rod Barnett David Kromm Jenny Price Davis van Bakergem VISITING PROFESSOR Robert Cole Sara de Giles Edward Ford Patrick Gmür Ruth and Norman Moore Visiting Professor (fall 2019) Robert Kahn John Maher José Morales Michael Willis José Zabala Roji Ruth and Norman Moore Visiting Professor (spring 2020) VISITING ASSOCIATE PROFESSOR Julie Bauer VISITING ASSISTANT PROFESSOR Jonathan Stitelman Ian Trivers Coordinator, Doctor of Sustainable Urbanism

Gustavo Cardón Daniel Kozak Fernando Williams FACULTY EMERITUS Kathryn Dean 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 PROGRAMS MANAGEMENT AND COORDINATION Audrey Treece Programs Manager, College of Architecture and Graduate School of Architecture & Urban Design Ellen Bailey Program Coordinator, Graduate School of Architecture & Urban Design

LECTURER ABROAD Doreen Adengo Ferdi le Grange AFFILIATE ASSOCIATE PROFESSOR Jeffrey Berk Gerardo Caballero WashU Approach

654

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.

Through the work of our students, faculty, and alumni, we are striving to create a more just, sustainable, humane, and beautiful world.

The Sam Fox School was founded in 2006, uniting the academic units of Architecture and Art with the University’s museum to create a unique new paradigm for design education. Each of these units boasts a rich history: - The College of Architecture (formerly the School of Architecture) was established in 1910, and has the distinction of being one of the 10 founding members of the Association of Collegiate Schools of Architecture.

- The College of Art (formerly the School of Art) was founded in 1879 as the first professional, university-affiliated art school in the United States. It is the only art school to have borne a major metropolitan art museum—the Saint Louis Art Museum.

- The Mildred Lane Kemper Art Museum (formerly the Washington University Gallery of Art) was founded in 1881 as the first art museum west of the Mississippi River.

This year’s body of work marks an unprecedented collision of environmental and social concerns. As a community of designers, we are resilient because of the very nature of our work. We have a predilection for inventiveness with our ability to solve problems, attain flexibility with transformative scenarios, adapt our methods to the situation at hand, and imagine new realities under puzzling systemic conditions. We understand the world is interconnected and that our success relies on others’ wellbeing. When the design disciplines seem less relevant we must double down with a renewed commitment to making cities differently, design with ecology at the forefront of our minds, and believe that architecture can respond to changing values and priorities.

Heather Woofter

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