Michael J Smith Interior Architecture Portfolio

WORK SAMPLES michael smith

1 ABANDONMENT ISSUES: POWER PLANT ADAPTIVE RE-USE PROJECT

2 NEXT UNIVERSITY HUB ACADEMIC SPACE

3 LIGHT & COLOR ANALYSIS

ABANDONMENT ISSUES

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RESEARCH STATEMENT: in various “post-� eras (e.g. post-war, post-industrial), specialized architecture often lays abandoned. How can we make the best of these structures to both eliminate waste and preserve resources? This project turns to a defunct coal burning power plant on the Potomac River, THE POTOMAC RIVER GENERATING PLANT in Alexandria, VA. Through this, we hope to learn how to lessen environmental impact by reusing existing architecture, but also draw people to the space through curiousity and a desire to engage with the past.

note: this is a selection of work from my Studio 5 capstone. The project is a fab lab/ maker space at an abandoned coal power plant in Alexandria, VA.

SITE SELECTION: THE INDUSTRIAL POTOMAC The industrial history of the DC area is closely tied to it’s relationship to the Potomac River: for transport of raw materials, water as an industrial resource, and how city planners prioritized harbor areas as industrial work sites. With the emergence of clean energy, especially a movement away from coal as a source of fuel, power plants and their large boiler halls have been abandoned and left to sit for remediation. These sites are obvious choices for adaptive re-use and a resignifying of their typology into spaces that have a positive impact on health, well-being, and creativity. Three sites were considered.

NAVY YARD

SITE 1: POTOMAC RIVER POWER PLANT old town north, alexandria, va

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SITE 3: NAVY YARD BOILER PLANT navy yard, dc

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SITE

OLD TOWN

2: BUZZARD POINT POWER PLANT

POTOMA C RIVER

buzzard point, dc

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BUZZARD POINT

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FINAL CHOICE: The Potomac River Generating Plant has been abandoned since 2013, when the city of Alexandria struck a deal with the power provider (Migrant) to decomission and decontaminate the aging coal-powered power plant. The argument from both the city and Clear Skies (an independant environmental group) was that the site has a more profitable future as mixed-used development crowned with a renewable energy museum. With that future on hold (no developer has made an offer on the site yet), this project proposes a new life for the behemoth structure: a fabrication lab.

This project began as a personal desire: to save a supposed eyesore that has grown on me. The five towering stacks are both wayfinding and welcoming to me now; any commute I make begins and ends with a turn to and from the bend on the George Washington Parkway where the plant firmly sits. It’s presence has taken on meaning through ritual and repetition. But the plant means more to me than pure nostalgia. The typology of the power plant, once seen as a necessary evil to ensure the comforts of a modern life, has the potential to take on new, more positive meaning as adaptive re-use projects.

Rather than tear down the structure, this project proposed to transform the site’s five smoke stacks to beacons that signal a clean and more creative way of generating: the fab lab (aka Maker Lab) will be open to designers, tradespeople, and scientists across disciplines. The hope is to make the space a collaborative powerhouse for ideas that push us firmly into the FUTURE.

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OLD TOWN site photos, clockwise: smokestack #4, tanks and view from bike path, river cove, south view from chain link fence.

site photos, clockwise: coal field and tanks, sihlihuette from Rt1 Bridge, South Elevation, rock along mt. vernon bike path.

OLD TOWN ART WALK

site rezoned as arts district

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The Old Town Art Walk is a 1.5 mile proposed path that both follows the river and takes its organic form. Not all sites have been developed; however, these current sites are most likely to be incorporated into that route.

MIRROR, MIRROR.

Old Town North planning committies have already begun the process of transforming the industrial legacy of the river into hubs for art. The most famous is the Torpedo Factory, which houses artist studios and hosts art classes. This proposal for a maker space in the power plant is in line with this vision.

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TORPEDO FACTORY years as a factory: 1917-1945 remodeled: 1974,1982

METROSTAGE THEATER

photo credit: annette

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CANAL CENTER SCULTURE GARDEN

1201 ROYAL ART ANCHOR

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photo credit: ana moran

https://alexandrialivingmagazine.com/home-and-garden/ new-residences-arts-center-planned-for-north-old-town/

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SITE: POTOMAC RIVER GENERATING STATION

CONCEPT DEVELOPMENT < EROSION Erosion comes naturally from a study of abandonment: it is natural forces acting against the built environment, enabled by time and neglect, to remove material from solid matter. In architectectural terms, it is a subtractive operation. Physical forms may smooth over, hallow out, break off, fragment and wander, but the the composition of the material remains the same. This can amount to a big change in a physical structure over time. The identity of the object may change drastically. Erosion can also lead to surprising new geological and architectural forms, some more pleasing than the orginal: the Grand Canyon was carved over time from solid rock; arches and natural bridges are the result of epoches of rock being worked over by wind and water; and caves, arguably humansâ&#x20AC;&#x2122; first homes, provide shelter and security where there was once only solid rock.

Erosion as a design concept for the adaptive re-use of Potomac River Power Plant makes use of erosion to support the goals of transforming the space from a closed off utility space to an open, light filled, publically accessible maker and art space with inspirational views to the Potomac River. Erosion, as a subtractive operation, also provides opportunities for a balance between solid and void spaces on the interior. The large scale of the power plant does well with a play of a variety of open and closed spaces, and a dramatic movement from compressed to wide open and high spaces.

The siteless models started by playing off of the site context: The riverâ&#x20AC;&#x2122;s form meanders and branches past the linear edges of the power plant; the footprint of the old Potomac Yards bulges against the grid of the city streets , and the rail lines the remain switch and merge. These explorations were interesting and respect the site context, but didnâ&#x20AC;&#x2122;t do much to solve the main design problem of thinning out the structure and offering viewports to the river.

the Potomac Yard used to be one of the biggest of its kind in North America. The past railyard and its remnants gesture towards how the trains moved: switches, turntables, and places for loading and unloading and passing through.

TURNTABLE Circular Grid with RADIAL connections from shared maker space to studios and workflow support areas. SUBTRACT from grid for more dynamic space.

The Potomacâ&#x20AC;&#x2122;s meandering form haphazardly inspired the final concept of erosion. The river working against the bank to subtract coves and harbors near the site ultimately inspired the final form of the design. This was not without a few experiments to see how decomposition might work in all its forms.

MEANDER

SWITCH & TURN

TYPES OF DECAY and DECOMPOSITION

ARCHEALOGICAL RUINS

The push and pull of the solids and noticable loss of voided space in this annoymous model show the dynamic potential of working from a grid.

a student’s model inspired by erosion. It’s easy to see the seduction of the cavities that are formed and their possibilities: a welcoming doorway on the lower level welcomes guests, and a large cavity on the upper level is the perfect perch for prospective views (allitaeration not intented)

“erosion”

by Tobias Putrih

Tobias Putrih’s “erosion” installion highlights the architectural potential of erosion forming an arcade for social gathering.

PROGRAM & SCHEMATICS

DESIGN DEVELOPMENT D-SHAPE 3d STONE PRINTER The scale of the boiler house allows for large scale equipment. The D-Shape is a 3d printer that prints stone up to 30x30x30â&#x20AC;&#x2122;. This technology will print modules for the studio spaces. Because 3d printing is more flexible than traditional construction, it will allow organic forms that can mimick eroded stone forms.

Radiolaria Pavilion model by Andrea Morgante, Shiro Studio. created by the D-Shape; the horizontal striping is the result of 3d printing resembles geological striation.

cavities for insulation andplenum space can be incorporated into printed modules

3D printed structures can take on more organic shapes; this module is a cross section

The D-Shape prints stone with the help of adsive nozzels onto a sand bed that most closely resembles limestone. Similar to the flexibility of dying concrete, the printed stone for the studios will take on the warm tones of limestone with a hint of red.

THE MODULES

Because stone and conrete isnâ&#x20AC;&#x2122;t printed as structural web rather than a solid, channels for plumbing, electric, and other utilities can easily be incorporated into the build.

* diagram modified from https://d-shape. com/portfolio-item/villa-roccia/; the project studio thoughtfully imagined how 3-d printed architecture could also incorporate the realities of the construction process.

BOILER HOUSE GALLERY & EVENT SPACE

“Numbers”, Emmanuelle Mureaux

Sometimes a space this large will even accomodate number crunching from the STEM makers. Who needs a calculator when you can solve the problem by free hand?

ROXY PAINE’S DENDROID the average utility pole is 40-60’ tall. sculptor Roxy Payne displayes how large scale metalworks can be designed and assembled in this space.

CORAL CURTAIN, MICHAEL SMITH the large space lends itself to displays of modularity. A single unit takes on power when it multiplies itself.

DISRUPTING EDUCATION

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FRICTION abrasion wearing down scraping rubbing chafing grinding wearing down eroding

noun. 1. the resistance that one surface or object encounters when moving over another. 2. the action of one surface or object rubbing against another. 3.

conflict or animosity caused by a clash of will, temperaments, or opinions.

The concept of FRICTION magines an exchange between two people with different viewpoints, values, or backgrounds to challenge one another, share ideas, and leave changed. This abrasive exchange will be educational -- i.e. empathy will inform future learning and projects.

NEXT UNIVERSITY HUB believes that students learn best when they are challenged by others who are different from themselves. This space encourages SOCIAL FRICTION, in which students are forced to embrace opportunities to meet and engage other students whose worldview they do not share. I chose DISRUPTION as the design concept that will drive these chance meetings. What happens when different disciplines bump up against one other? How about different origins, opinions, and goals?

Friction is TWO RECTILINEAR volumes or faces in contact with one another. The contact one will both inform circulation and collaboration.

Variations will follow the logic of CONTACT between different enties, but also the ability to retreat into a familiar field of learning.

DISRUPTION split break shatter dislocation

“stranger than friction” by peisy ting acrylic on stretched canvas

noun. 1. literally ‘to break apart’ 2. disturbance or problems which interrupt an event, activity, or process. 3. a break or interruption in the normal course or coninuation of some activitiy, process, etc.

disturbance upset revolution upheaval

DISRUPTION

The dominant form of the space will be a uniform datum punctured by rectilinear planes smaller in scale.

This indicates that will the ideas push past established ideas, they aren’t meant to fundamentally break from the discipline.

Design decisions will follow the logic of a uniform space with antagonistic design elements that interact with the balance of the space.

CEILING CLOUD

(& RETREAT)

DISRUPTION is a space where well-established ideas or conventions of a field are challenged to push the field in a pioneering direction.

“Supremus #58: Yellow and Black” by Kazimir Malevich

discord disharmony conflict disagreement contention opposition variance dissension dissent argument clashing

disruptive elements areas of retreat

WAYFINDING and ORIENTATION ob

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object 1

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quiet core

classroom core

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offi ces day car e

mon u stair mental

MONUMENTAL STAIR

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activ e lea rn comp uter rm

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RETREAT INTO CELULAR SPACES

seminar core

split & shift

DIS

RUP T

ION

parti diagram

in between

active learning

multi-use space in between

tutor

view

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tutor faculty hub tutor

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faculty offices

tutor

tutor

in between

multi-use space

seminar

tutor

11th FLOOR

maker

in between

commons

VR

wild card: nap/ meditation

stair

stair

bleachers

computer

multi-use space

motherâ&#x20AC;&#x2122;s rm

view 1

daycare

uad the q ) s mon

10th FL

(com

view 3

seminar

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MULTI-USE SPACE (crit space view)

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MULTI-USE SPACE (auditorium view)

PROJECT LUMINAIRES

1 2 3 4

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active learning classroom

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small seminar maker space computer lab

large multi use classroom

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10 11 12

immersive learning learning commons tutoring center

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faculty open hub faculty offices

wild card/meditation/nap

brand/luminaire

symbol/purpose/ output

fc =

in-between learning

decorative and ambiance

mother’s room

1600 lm

50 =

[# of lamps] x 12,469 x .63 x .43 705

TWIST RECTANGLE LED

50 = cr [# of lamps] x 3,377

RPD15/R

oss mult ip

lm 12,469

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TWIST RECTANGLE LED

RPD15/R

ambient & theme

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35,250 3377

[# of lamps]=

10.5

LLF = LDD X LLD LLF = .9 X .7 LLF = .63

decorative

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spot and task

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705

[# of lamps]=

1500 lumens

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705 sf target illuminance: 40-50 fc

[# of lamps] x ILL x LLF x CU

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see detail in light calculations

active learning rm/ computer

area

childcare

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CALCULATIONS (LUMEN MENTHOD)

LUMINAIRE DATA

RCR = 5hrc (L+W) (LxW) RCR = 5(70”)(26’+30’) (26x30) RCR = 1633 780 RCR =2.1

source: department of energy

This room probably doesn’t need/shouldn’t use this 11th luminaire, because a) I’ve calculated for the top end of the target range (40-50 fc), b) it would be an extra 800 dollars on the project to light a corner of the room that is used for circulation and c) my concept of disruption reads more clearly with the configuaration of 10 luminaires.

workhorse lights FLOS infra-structure

LIGHTING PLAN: 11th floor

3381 lumens

calculation:

high table seating

point source method (direct, horizontal surface)

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active learning classroom

6 7 8

small seminar maker space computer lab

large multi use classroom

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10 11 12

immersive learning learning commons tutoring center

13 14

faculty open hub faculty offices

fc = I

wild card/meditation/nap in-between learning

1250

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childcare mother’s room

4’-0”

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Too muc h

ligh t!

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fc =

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see detail in light calculations

see detail in light calculations

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fc =

fc = I sin x d2

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fc = 12

ENTRANCE

11

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11 LIGHTING PLAN: 10th floor

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1250

— 4.0

fc =

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crit space

target illuminance: 40-50 fc activity: reading verticle surface

sin 45

1250 .7 — 16

fc = 54 A more appropriate use of this luminaire. It is a little above target illuminance, but within the 7 fc threshold at which we percieve a noticable difference.

4’0”

1 2 3 4

target illuminance: 50 fc

45°

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LIGHT & COLOR ANALYSIS: PRINCE OF EGYPT (1998)

This is a selection from an analysis of light and sound in the burning bush scene from Disneyâ&#x20AC;&#x2122;s Prince of Egypt. The challenge was to interpret how light and sound give the scene its meaning and then translate that analysis to architecture. The goal is to have fun and be loose and see how strategties in animation and cinema can inspire interior design.

SEQUENCE

& COLOR normalcy

curiosity

ates in revelation culmin

revelation

awe

uncertainy

anger/force

transformation

white light 64 frames from the scene are abstracted to highlight how light color signals narrative structure.

ARCHITECTURAL PRECEDENT

DESIGN IDEA: The sequence from the film abstracted into a louver system. This will not only create visual interest that contains meaning, but will also mitigate solar gain on the south-facing curtain wall.

curtain wall

PROJECT APPLICATION

Light INTENSITY, as well the play between silhouette/shaddow and light, signal importance in the scene: Moses bowled over by light = submission to God.

PRECEDENT: Daniel Libeskindâ&#x20AC;&#x2122;s Jewish Museum in Berlin likewise uses light to signify importance.

The silo is meant to be one of the most emotional spaces, and it is the contrast between the scarcity of light in the space against the intensity of light above that draws visitors to the threshold.