StratAA Architectural Archives Layer 1

Layer

1

Iowa State University Dpt. of Architecture 2020

-

2021

STRATAA LAYER 1 Fall 2020 - Spring 2021

A word from the editors Mae Murphy, Jacob Gasper & Cameron Wahlberg In these trying and often unpredictable times, a new form of student documentation emerges from the Iowa State University College of Design Architecture program. StratAA: Architecture Archive is a recently established student publication featuring collective undergrad student work from the Department of Architecture. Inspired by the limitations brought about by the COVID-19 pandemic and online reviews, StratAA aims to disseminate/archive studio work in a cohesive publication highlighting the diverse talent across studios. This endeavor culminates in this physical book and an online pdf showcasing all of the projects submitted. This collection stands as physical evidence of the labor and effort contributed in virtual and hybrid classes this past year. All work within the publication was submitted on a volunteer basis. We are grateful for all the students who contributed and will continue to contribute to the archives.

StratAA: Architecture Archive was developed from three undergraduate students: Cameron Wahlberg, Jacob Gasper and Mae Murphy along with Associate Professor Sharon Wohl and Department Chair of Architecture Deborah Hauptmann. The three students and longtime friends, collected, categorized, edited, printed and planned the entire publication utilizing their strong passion for publication and design work.

The publication name, StratAA, is derived from stratum: ‘a layer or series of layers of rock in the ground.’ The cumulation of student work is a layering of knowledge, time, and labor— an ode to the tumultuous past and somewhat hopeful future. In order to progress our collective knowledge base we must acknowledge where we come from and learn from the archives stored in this publication. As editors, we hope that this publication invokes inspiration to continue the energy and passion into design projects and to push the limits of reality. Do not forget the origins of labor that contribute to the progression of the future.

We hope you enjoy this publication,

The StratAA Team

70

pg.

pg.

FIFTH YEAR

FOURTH YEAR

THIRD YEAR

SECOND YEAR

226

6

pg.

178

pg.

STUDENT INDEX

308

306

268

ELECTIVES

CURRICULUM

pg.

AWARDS

310

pg. pg. pg.

A Paradise Built in Hell

Black Contemporary Imaginary

New Monumentality

Firat Erdim Assistant Professor

Peter Goche´ Assistant Professor

Bosuk Hur Associate Professor of Practice

It may be that no disaster is truly natural, but all disasters are social. In her book, Solnit shows how disasters find existing frailties in society - some of us are victimized more than others - and pry them open, revealing existing inequities and injustices while temporarily disrupting the systems that enforce those biases.

This studio will focus on the production of a single generative drawing which will serve as trajectory for the production of an architectural imaginary. The drawing will be developed and exhibited at Black Contemporary: world artist archive + experimental galleries. The remainder of the semester will focus on the act of making and curating an iterative series of imaginary worlds (large-scale installations, drawing assemblies, film or performance) within the various, on-site, dormant seeddrying chambers. This course of study provides students the opportunity to make fullscale inquiries and, thereby, move beyond representational methodologies and precedents as the only means of cultivating design thinking.

Each project will investigate and establish their definition of new monumentality in a specific site through the project. How can we define the monumentality in architectural languages? How does your architecture adjust symbolic, memorable, and historical incidents? How do we invoke this subject for design? How your design considers dominated power structure(s) at the moment in the urban or natural context?

8 | StratAA

If architecture reflects the society it emerges from, what might the architecture of these fleeting utopias be? This studio will study the stories of particular disasters in relation to the histories of the cities, societies and cultures they impacted. We will attempt to understand these disasters, the inequities they pried open and moments of civil society they gave rise to, through an architectural idiom, with the goal of transforming our vision of what architecture is and can be.

Students will select their site with symbolic meaning and/or historical value; selected place should contain historical, cultural, political, spatial, or contextual significance in metropolis or nature. Students require to propose new placeness following the definition of new monumentality and amplify the memory of the place through the project.

The Museum of Capitalism is a speculative project that considers capitalism as a historical phenomenon. This is to say: within a potential future or alternate reality where capitalism has ended. The premise of this studio is to reflect upon capitalism as a background condition of American culture and its role in of a string of global crises in the 21 century – both near-term (e.g. COVID-19, civil unrest) and long-term (inequality, fascism, climate change). At the same time, the project will critically examine and reimagine the production and inhabitation of public spaces in post-pandemic culture.

Ostensibly, our studio project is to propose a Museum of Capitalism (or some offshoot thereof), but what this entails will be the subject of intensive negotiation throughout this semester.

Briefs

Nick Senske Assistant Professor

ARCH 403 ARCH 403 03 ARCH 403 ARCH 40 ARCH 403 ARCH 403 CH 403 ARCH 403 ARC 403 ARCH 403 ARCH 40 ARCH 403 ARCH 403

Museum of Capitalism

PowerPlant New Monumentality

10 | StratAA

Bussard Award Finalist

Jaya Tolefree Andrew Evans Tike Akinaten

ARCH 403 | Fall ‘20

PowerPlant is an adaptive reuse project transforming Philadelphia’s once monumental but now abandoned PECO Delaware Power Station into an urban farming innovation center. The site was given national and local historic designation for its history and impact within the Philadelphia area. However, this present-day status of monumentality celebrates the death of the site and is void of the ethos surrounding the site and its impact on Philadelphia. Rather than seeing death as the end, we see the existing ethos of output and innovation longing to be stirred up again.

New Monumentality stems from the past, referencing the historical ethos of the site to respond to its present-day context, thus creating a new future from its origins. To address many social and economic issues holding Philadelphia back, we developed a reciprocal approach sharing common ground with these very issues.

Urban farming was identified as our catalyst to activate this approach. Transforming the PECO Delaware Station into an urban farming innovation center aims to expose Philadelphians to new technologies once again, giving the city a stake in this current technological era. Our program focuses on engaging the residents of Philadelphia and evolves into an exponentially transformative impact. Visitors are drawn to immersive learning opportunities within the building and can focus on specific skills and technologies with the intention of implementing them within their communities.

Through this, we breathe a new life into the existing ethos of the site by having an impact which goes beyond the bounds of the physical building.

12 | StratAA

ARCH 403 | Fall ‘20

PowerPlant is an adaptive reuse project transforming Philadelphia’s once monumental, but now abandoned PECO Delaware Power Station into an urban farming innovation center. The site was given national and local historic designation for its history and impact within the Philadelphia area. However, this present-day status of monumentality celebrates the death of the site and is void of the ethos surrounding the site and its impact on Philadelphia. Rather than seeing death as the end, we see the existing ethos of output and innovation longing to be stirred up again. New Monumentality stems from the past referencing the historic

ethos of the site to respond to its present-day context, thus creating a new future from its origins. To address many social and economic issues holding Philadelphia back, we developed a reciprocal approach sharing common ground with these very issues. Urban farming was identified as our catalyst to activate this approach.

Transforming the PECO Delaware Station into an urban farming innovation center aims to once again expose Philadelphians to new technologies, giving the city a stake in this current technological era. Our program focuses on engaging the residents of Philadelphia and evolves into an exponentially transformative im-

Conveying Change Imaginary Drawn

14 | StratAA

Jordyn Holtmeyer Rob Agnes Mimi Kelly

ARCH 403 | Fall ‘20

Our work at Black Contemporary is an exposition of the transitional life of the place and the gravitational forces between the “natural” and the built environment. Our bin contains a piece of Black Contemporary that speaks about this transition of past life to new life, specifically related to this conveyor.

We pulled the conveyor arm from its resting place and hung it in our bin. As a result, its purpose has evolved from a functional piece of farming equipment to a scrap of unused industrial material into our work. It tells a transitional story of abandonment and reuse while demonstrating the interdependence between man and nature.

This work might be best understood as a fragment of this “discarded” environment, suspended above a biological field of volunteer species from the site. Our conveyor has been compromised structurally and is no longer able to be used for farming. We discovered it deposited on the farm, a victim to the wear and tear of natural forces and gravitational pull.

Our hope for our work at Black Contemporary is to prompt viewers to consider what living in harmony with nature truly means, and how to contribute more responsibly and seriously to the massive cycle of use, reuse, and decomposition. Designers need to create objects and spaces with their eventual expiration in mind, consider carefully how to extend the lifespan of every object created, and remain mindful of eventual opportunities for reuse and repurpose.

Observing “conveying change” will hopefully act as a catalyst for change, inspiring designers to create objects and spaces with integrity.

16 | StratAA

ARCH 403 | Fall ‘20

Regrowth New Monumentality

18 | StratAA

Kalahar Award Finalist

Tuyen Le Alice Tosi Xingda Guo

ARCH 403 | Fall ‘20

On August 4th, 2020, an explosion destroyed the port of Beirut, Lebanon. It was caused by the ignition of tons of improperly stored ammonium nitrate which the government had neglected for years despite repeated warnings of the dangerous material’s presence in the port. Food insecurity has become an even greater problem following the explosion, as Lebanon relies on imports for 90% of its grain, which it cannot receive with its port destroyed. In the midst of the ashes and wreckage, the surviving half of the port’s grain silos is the last structure left standing. The grains they contained absorbed the shock of the explosion, sparing the city beyond from the brunt of the blast. The silos’ significance to the country’s subsidence along with its newfound role of protector elevates them to the status of the new monument, making them the anchor point for the restoration of the Port of Beirut. Our concept of New monumentality envisions a monument that transcends its commemorative function. Rather than a place for pure remembrance, it takes an active role in providing

for the people and enacting change. Applying this concept to our site, we are not only building a memorial to grieve but rather taking direct action to address the emotional trauma and food insecurity the Lebanese face. Our two core programs are a series of sensory healing environments engaging the senses of touch, hearing, sight, smell, and taste, and a food production hub incorporating vertical farms, open-air markets, and an efficient distribution system. This multifaceted memorial site symbolizes the transition from the preexplosion regime to an undertaking for the people. The human, material, and cultural devastation in Beirut has caused a shockwave through Lebanon. By reimagining the definition of monumentality, we uncover the possibility of a multi-faceted memorial that provides for the ones who suffered the trauma of the explosion. While designed for Beirut, Regrowth’s purpose is universal, and its doors are open for anyone in need of grieving and healing.

PowerPlant Bussard Award Nominee

20 20| |StratAA StratAA

Jaya Tolefree Andrew Evans Tike Akinaten

ARCH 403 | Fall ‘20

BORINQUN A Paradise Built in Hell

22 | StratAA

Ariana Irizarry Tanya Sharma

ARCH 403 | Fall ‘20

This project studies the stories that emerge from natural disasters in relation to the histories of its cities, societies, and cultures and the inequities they reveal. The result is an architectural idiom that’s based on the fall itself.

Hurricane Maria was the strongest natural disaster to hit Puerto Rico in over 80 years. After it wreaked havoc through the island, it left an imbalanced level of damage among the informal and formal urban settlements. Our goal is to uncover the unique properties and material qualities that resurge in informal settlements as they’re rebuilt and destroyed in a constant cycle and how this works in conjunction to build a new society that follows anarchist-theorist Hakin Bey’s Temporary Autonomous Zones.

In thinking of the ambiguity that separates destruction vs. construction, we explore how natural disasters can anticipate form and allow for a natural reprogramming of space through citizen

participation. The hurricane then becomes a tool for the construction of responsive systems that perform as reactive elements. In order to understand the interweaved grid of networks this creates, we explored the cradle to grave nature of its components. Reverting to the purest form of tectonic space: Hearth, Roof, Enclosure, Mound or Ceramic, Carpentry, Textile, Earthwork, these textile networks are used as the pillars of reconstruction as they create physical spaces that are born and reborn from the landscape, spaces that are meant to collide and disintegrate.

These speculative designs are meant to be seen as strategies of possibilities rather than a set of form of architecture. By redefining the process of reconstruction already set in place by inhabitants of unregulated communities, we reallocate the need for constant formalized reconstruction as a negative notion and reimagine a collective art form that shifts the power dynamics of the built environment in the face of chaos.

24 | StratAA

ARCH 403 | Fall ‘20

Mall of Malice Museum of Capitalism

26 | StratAA

Bussard Award Finalist

Noah Torstenson

ARCH 403 | Fall ‘20

The Mall of Malice is a reinterpretation of Fictilis’ Museum of Capitalism. This project seeks to create a dialogue on contemporary capitalism, shopping malls, museum typology, and the nature of misinformation. Set in a dystopian post-capitalist future, the Mall of Malice is a warped reimagining of the innate American shopping mall and the role it serves in brick-and-mortar capitalism.

The fictional future created describes a world that strongly proclaims itself post-capitalist, using the term “neo-feudalist,” however, much like today, this society highlights the problems of the past in an attempt to obfuscate the problems of the day. Keen observers may notice that neo-feudalism is not as different from classical capitalism as its proponents would like to be believed.

Set in the oldest enclosed shopping mall in the United States, the museum contains 34 distinct shop typologies that mimic

recognizable mall tenants but overly generalized brands. These tenants act as museum exhibits providing harsh criticisms of many of the staples of early-21st century capitalism.

Overall, the critiques overtly provided hope to alarm the viewer into distrust. While there are certainly poignant and valid arguments presented, these arguments are often wrapped in subterfuge and hyperbole, leaving the visitor to dissect the information for themselves.

Architecturally, this project is presented not as a proposal for construction, but as a fully realized and digitally inhabitable space, asking the question “can virtual spaces be considered architecture?”

28 | StratAA

ARCH 403 | Fall ‘20

Armature of Saudade A Paradise Built in Hell

30 | StratAA

Bussard Award Finalist

Henry Melendrez Javier Rodriguez-Reyes

ARCH 403 | Fall ‘20

It may be that no disaster is truly natural, but all disasters are social.

In her book A Paradise Built in Hell, Rebecca Solnit shows how disasters find existing frailties in society - some of us are victimized more than others - and pry them open, revealing existing inequities and injustices while temporarily disrupting the systems that enforce those biases. Everyday life is already a disaster, but one experienced alone.

If architecture reflects the society it emerges from, what might the architecture of these fleeting utopias be? We attempt to understand the disasters, the inequities they pried open and moments of civil society they gave rise to, through an architectural idiom, with the goal of transforming our vision of what architecture is and can be.

With this goal in mind, we investigate the city of Lisbon, Portugal and the disaster of 1755 to determine the aftermath.

The city of Lisbon was built upon layers of history and a longingness for the past that continues to resonate throughout time. Longing not only serves as a form of reminiscing, but also as an architectural tool for transcending boundaries. Therefore the question arises, how does this architectural tool co-exist within the modern city of Lisbon, and more specifically how can it be used to acknowledge what is there and what was lost? By acknowledging the coexistence of past and present timelines a cognitive map of the city emerges.

This map reveals the reverberations felt across multiple timelines allowing its users to navigate through Lisbon’s meta-physical memories.

32 | StratAA

ARCH 403 | Fall ‘20

Refracted Realities Imaginary Drawn

34 | StratAA

Kalahar Award Finalist

Jay Borgman Mia Tiric Jennifer Tan Lauren Fordyce

ARCH 403 | Fall ‘20

Refracted Realities explores the relationship between the metaphysical and physical worlds and how one perceives these realities. We believe there is a space in limbo where both worlds converge and spatial awareness can be explored in the dual perspectives. Sol Amour says, “Light is a paradoxical material that exists simultaneously as both a physical and metaphysical condition.”

So, with light we believe what is purely physical, can be distorted to create a new atmospheric ephemera in the metaphysical. This condition allows for the built form to be experienced holistically in both spaces. Steven Holl states that, “vision is not a certain mode of thought of presence towards self; rather, it is a means given to use for being absent from ourselves.” The lack of light becomes a lack of vision, thus a rendering of the invisible. Vision is the catalyst in which one perceives and becomes aware of the metaphysical.

Coincidentally, the lack of sound becomes a rendering of silence.

Tim Elfström writes, “If we assume for a moment, that architecture can be defined as space around people, it follows that it can’t be fully experienced[...].The living world creates many different types of sounds, and different rooms respond to these sounds in different ways.” These intangible sensory experiences reveal humanistic meaning to physical form. Furthermore, Bachelard writes, “[The house is] an instrument with which to confront the cosmos.” The space we occupy and grow fond of becomes our universe. With shifting light and sound, the convergence of the metaphysical and physical worlds synthesizes a dynamic spatial awareness that allows one to understand the influence of the environment not just in its physical form but also its movement in its metaphysical perception that is exclusive to the individual.

36 | StratAA

ARCH 403 | Fall ‘20

The Dome(s) of Capitalism Museum of Capitalism

38 | StratAA

Nicholas Roose Brett Snyder Zach Detterman

ARCH 403 | Fall ‘20

The Dome(s) of Capitalism is a dialogue between the peak moments in capitalism and a post capitalist society. The city of Las Vegas has been chosen as the optimal city for this proposal because of the history and representation the city has given itself. The proposed project will be a series of large domes constructed over key architectural elements and significant landmarks of Las Vegas.

The proposed idea is to serve as a future adversary to the existing Museum of Capitalism as well as a companion. The recreation of Las Vegas begs the question as to why it would fulfill the role as a museum but it works much like the city of Rome. The Colosseum, Trajan’s Market, and the Vatican City all have historic values, the same can be said about Las Vegas with its history and recreations alike. With the completion of the Domes, Las vegas will live again not as a city of gambling, but one in remembrance and astonishing feats for a city that was not meant to be there.

Dome(s) of Capitalism is a theoretical, futuristic proposal in order to preserve and later understand the architecture of the capitalist world we live in now, during a time when capitalism may not be our main economic and political system. As a city built upon capitalism and its ideals, Las Vegas is the perfect place for this museum. Las Vegas features extravagant architecture from many eras, as well as many re-creations of existing monuments and contexts. There is no telling how climate change may affect Las Vegas, but with its need to import everything from water to tourists in its 115 degree heat, the future appears bleak for the neon capital. The idea is to change the past and recreate Las Vegas in its new form.

40 | StratAA

ARCH 403 | Fall ‘20

MoC: Architectural Artifact Protection Program

42 | StratAA

Museum of Capitalism

Kelsey Buenz Danica Dewitt

ARCH 403 | Fall ‘20

Years of capitalist activities and misuse of the earth have resulted in a deeply depleted state of the environment. Extensive infrastructure has been left abandoned and neglected.

We believe that the contributions to the built environment are key to understanding the past and create artifacts in themselves, so this capitalism museum comes in the form of a public service providing educational opportunities in the artifacts it has left behind.

We are exploring capitalism through large event architecture; we aim to memorialize massive event spaces, specifically the Astrodome in Houston, Texas.

We understand how harsh a creation like this was to the earth from the materials used as well as the energy taken to upkeep. But we also recognize that in the future, the earth is going to be harsh on this abandoned space as climate change continues to accelerate.

Storm surge will threaten the site with water and wind damage.

The main artifact is the architecture, but the site is filled with artifacts coming from the dome’s destruction. The artifact collection includes many elements; thousand stadium seats, turnstiles, machines, etc. The display shows that the capitalist system can die, but our creations cannot.

44 | StratAA

ARCH 403 | Fall ‘20

Lisabona

A Paradise Built in Hell

46 | StratAA

Kalaher Award Winner

Cyle King Donovan Bunn

ARCH 403 | Fall ‘20

On November 1st, 1755, disaster struck Lisbon, Portugal, altering the trajectory of time. The project speculates on a series of apparatuses that emerged through disaster, these spaces influenced by past and future artifacts and events. The project positions time as “not a linear construction consisting of the temporal causality where the present follows after the past, but where past and present exists symbiotically on the same plane in a perennial process of becoming.” - Henri Bergson.

The apparatuses coalesce through a meta-historical geo-fiction, telling the story of the ‘gap’ in time following the earthquake, tsunami and fire of 1755 in Lisbon. The work observes the impact disaster has at local and global scales and examines evidence of these imagined spaces that still exist today, ones that continue to recall A Paradise Built in Hell.

48 | StratAA

ARCH 403 | Fall ‘20

ARCH 403 | Fall ‘20

Air Drawn Imaginary Drawn

50 50| |StratAA StratAA

Brett Biwer Matt Koepke Madison Cardenas Leigha Duckett

ARCH 403 | Fall ‘20

Air Drawn is a carefully curated isolated atmosphere located inside a retired seed drying bin at Black Contemporary in Ames, Iowa. In its simplest form, Air Drawn is a column of encapsulated humid air.

It contains the body and excites the senses with thick warm air and dancing microdroplets drawn with light. It is an atmosphere within an atmosphere. We inhale it, exhale it, fill it, and it fills us.

The directly opposing forces of the seed drying bin in contrast to the column of moisture create a dramatic moment of spatial awareness and mindfulness. Upon entry of the bin, one becomes disoriented by the mystery and grandeur of the column’s exterior skin.

As they explore and wander inside Air Drawn, they are immediately met with warm dense air to immediately become attuned to their surroundings. This air is then drawn with the use of three differently angled spotlights, all of which meet upon one centered point and allow for personal and group engagement. This interaction encourages enhanced consideration of the qualities of the bin and the atmosphere created by Air Drawn.

52 | StratAA

ARCH 403 | Fall ‘20

Kessler’s Fantasia Imaginary Drawn

54 | StratAA

Gautam Pradeep Vyankatesh Chinchalkar Samantha Stumpner Ahmed Elwalid

ARCH 403 | Fall ‘20

The expanding vacuum that exists beyond Earth evokes a sense of astonishment and discovery. Space exploration is breaking technological boundaries and displaying the capabilities of the establishments in control. As advancements are made, we often forget the failures and outlived technology that has been left behind. The space debris’s arbitrary encapsulation of the Earth’s atmosphere is raising new questions.

The artifacts that once fueled space exploration have now fallen into disrepair. The power struggle that exists and fuels space exploration has been slowly creating a new issue that keeps unfolding. The fragmented decay that traps the Earth does not restrict itself with the rule of law, which brings the political struggle to a new front.

The ruins that remind us of the failures and accomplishments of yesterday for someone to attempt a solution, currently halted by the regimes of yesterday. As technological and space exploration keeps advancing, and debris keeps entrapping the Earth,we wonder how the ruins will shape our future?

56 | StratAA

ARCH 403 | Fall ‘20

Alcatraz Active Exhibitions New Monumentality

58 | StratAA

Deysy Cruz Escobar Samantha Frantik James Arnold

ARCH 403 | Fall ‘20

We see prison as a monument and metaphor of the establishment.

We recognize monumentality as offering reverence, memories, and aspirations. In statues, we display notable figures from history and hold their characteristics and attributes up as exemplary. As we have seen through current events, this version of monumentality is not as timeless as people once thought; thus comes its death.

Through new monumentality, adaptable monuments are proposed that reflect the values and culture of a place moving to the future.

We want to bring new systems into the context of a long-time oppressor. The city itself is significant, as we know their involvement in social movements throughout history. They are boisterous with their voices and demands for justice and fairness for all people.

Through the process of researching Alcatraz, social activism, monumentality, and art curation, we decided to propose an art installation on Alcatraz Island in San Francisco. We attempt to mirror the tension of actual events throughout the spaces and produce an experience unlike any other. Even though this place once served for isolation and punishment, it now displays new values and presents the tensions of social movements. It brings us to understand the importance of standing up for our beliefs. This monument is now not only a commemoration of history, but also of new attitudes and will continue to change as culture adapts.

60 | StratAA

ARCH 403 | Fall ‘20

Observing Air Imaginary Drawn

62 | StratAA

Bussard Award Winner

Mary Le Mohammed Alhoumandi Braden Cooper Jacob Gasper

ARCH 403 | Fall ‘20

The observed flatness of Iowa’s farmland is purely visual. In all other aspects, this landscape is a constantly shifting mass sculpted by an ever present volume of air. Rural architecture in this context does not exist as volumes of mass placed on the landscape, but instead wraps the atmosphere in various skins. Functionally, this invited air is what makes these passive machines operate.

Observing Air, seeks to reveal the omnipresent atmosphere moving through and around the existing seed drying bin. Wind enters through openings and is diffused as it circulates throughout the space.

Layers of paper held in tension are carved by the moving air creating constantly fluctuating voids and topographies. This consensual destruction results in the manifestation of spatial situations not usually seen.

The assembly is a constructed framework that, through continuous weathering, articulates and brings clarity to the natural elements of the larger context. We did not construct an atmosphere, we revealed one.

64 | StratAA

ARCH 403 | Fall ‘20

68 | StratAA

Making With: Architecture of Robotic Construction

Des Moines Art Center

Ames Renewable Energy Center

Shelby Doyle Associate Professor

Andrew Gleeson Assistant Teaching Professor

Ayodele Iyanalu Associate Teaching Professor

"The term robot comes from a Czech word, robota, meaning "forced labor"; the word was first used to denote a fictional humanoid in a 1920 play R.U.R. (Rossumovi Univerzální Roboti - Rossum's Universal Robots) by the writer, Karel Čapek. A hundred years later, architectural robots have evolved into many species (images above) of design collaborators rather than human proxies or perfect slaves. This studio will ask several questions: How do we define architectural robotics? What would it mean for architects to think of robots as cooperative partners?

What kind of construction would be possible through this cooperation? And what sort of architecture is necessary for people and robots to work together?

Over the course of the semester students will read provided selections from Donna Haraway’s Staying with the Trouble Making Kin in the Chthulucene in which Haraway believes that we live in the Chthulucene, as it more aptly and fully describes our epoch as one in which the human and nonhuman (in this case robots) are inextricably linked.

Students will work to design and define what it means to create sympoetically, to make-with, robots.

In these difficult times Art is required more than ever to give direction, comfort, and clarity. Art can manifest a resistance to the darker forces of human nature, it can be a shining example of the good that civilization represents, or it can stand as a critique of the system in which it inhabits. The focus on the interdisciplinary in architecture often emphasizes its relationship to technical realms, such as science and engineering.

At the other end, between these fluid disciplines, lies fine art and sculpture. So, what can architecture learn from art, its more visually pure counterpart?

As cities become ever more populated and new technologies rapidly take over our daily lives, our environment experiences an increase in resource consumption and inundated by waste generation. It should not alarm you that buildings and their occupants account for an immense amount of material consumption and waste generation. The difficulties in managing waste are even more challenging.

This studio will focus on the ambitious task of synthesizing the useful and the beautiful in a museum project. What users need and what users desire is where the difficult work of design enters in. How can we make something that functions well without being a slave to function? How can we create something beautiful without compromising its use? These are the most difficult questions we as architects can ask ourselves. We cannot focus on the merely technical in design, we have to master it in order to legitimize our work, and then we must make poetry out of it, to give it meaning beyond itself and for others. This is our work. Our work is never finished.

This brief calls for a community learning center for the exploration of alternatives in energy and material conservation. The city of Ames hopes that this project will serve as a place for self and collective interpretation in ways that improve collective awareness about issues of embodied energy and ultimately foster practical solutions to use of the material in building and the facilitation of household waste. The center will be open to the public (like a library) and serve as an open source for those who wish to demonstrate ideas and facilitate basic training.

World/Western/Wright Learning Center (WALC)

Thomas Leslie, FAIA Morrill Professor

Mikesch Muecke, PhD Associate Professor

This studio will focus on the relationship between building technology and civic presence, building on Kahn’s 1944 essay, “Monumentality,” which posited that architecture’s true “spiritual quality” arose from a dialogue between old and new, in particular between the languages of form and space received from past cultures and the technical innovation of our current situation. For Kahn this meant steel, concrete, welded tubes and plate glass; it is an open question what equivalent material, representational, and fabricational technologies exist today that offer similar spurs to new syntheses.

The brief involves either the Theme Building or the Lytton Savings & Loan building. The project involves the design of the Wright Architectural Learning Center (WALC) in either one of the two existing buildings and, through a new addition on one of the adjacent parking lots. The WALC will serve as an interface between the public and Wright’s textile block designs, and by extension his philosophy of organic architecture which, as Cronon has argued elsewhere, is based on nineteenth century romantic idealism whose proponents— Emerson, Tennison, Whitman—believed in the unity of art and technology. The project will follow their example while translating their ideas into a twenty-first century context.

Speculative Brief: "The Des Moines Art Center has announced an off-campus expansion, adding to its facilities in Greenwood Park with galleries, public functions, and a satellite administrative hub in downtown Des Moines. Building on the success of the Pappajohn Sculpture Park, the DMAC wants to engage a younger, downtown audience and to have a space for newer, more contemporary work than its current galleries allow. With a generous donation from a local philanthropist, DMAC-DT will add to the cultural life of the central city while giving the Center a higher public profile and expanding its mission. DMACDT will contain galleries, public spaces, an education wing, and an auditorium as well as curatorial and administrative facilities. It is expected that the new building will be technically innovative, curatorially functional, and accessible, and that it will also have a significant presence in downtown’s urban fabric."

Briefs

ARCH 401 ARCH 401 01 ARCH 401 ARCH 40 ARCH 401 ARCH 401

Des Moines Art Center

The Daydream Project Des Moines Art Center

70 | StratAA

Megan Ehlert McKenna Winther

Located across from the Pappajohn Sculpture Park in Downtown Des Moines, The Day Dream Project is an extension of the Des Moines Art Center which aims to challenge the notion of the traditional art gallery. In order to draw in people who would not seek out going to an art gallery, we focused on creating immersive and ever-changing spaces. Our decisions always reflected back to this versatility and impermanence that we wanted to create for the

architecture, within this permanent shell of an “art gallery”. We took the main concept of the De Stijl movement in order to influence our ideas with planes and a constantly changing space. We merged this with an inspiration of the playfulness of the pop-up museums found in large cities. The elements that allow for transient displays of art are seen through a double skin scaffolding envelope, as well as flexible track systems within the gallery spaces.

ARCH 401 | Fall ‘20

New MonumenARCH

72 | StratAA

ARCH 401 | Fall ‘20

74 | StratAA

Fall ‘20

StratAA ‘20

Des Moines Art Center

Brenna Fransen Jihoon Kim

2021 DLR Integrated Studio Finalist

What makes up the life of a city? Urban designer Jan Gehl, author of “Life Between Buildings”, finds there are three types of activities which animate public space.

Necessary: Result irregardless of the spatial conditions Optional: Occur when spatial conditions are favorable and there is

a desire to participate Social: Results from congregating in a space to socialize.

In downtown Des Moines, the Pappajohn Sculpture Park creates opportunities for these activities to occur by intertwining the outdoors with the arts and fostering engagement through the use of an extensive continuous path.

This intertwinement between the architecture and the outdoors animates the city and releases the density of downtown to provide room for better quality interactions and activities.

ARCH 401 | Fall ‘20

Intertwined: DSM Art Center + Cultural Hub

76 | StratAA

ARCH 401 | Fall ‘20

BUILDING BOTS & BRICKS Making With: Robotic Construction

78 | StratAA

Shivang Patel Dai Le

Our project is a research facility that seeks to minimize and reuse construction waste through the lens of technology. Existing human assembled brick and futuristic robot construction come together “making with” technology to challenge material efficiency in architectural construction. Hence, we attempt to design a place where both bricklayers and robot technicians collaborate to research potential ways to use materials efficiently. They will also create opportunities to educate the robot technicians and bricklayers to spread awareness regarding material efficiency among the public.

Thus, this project acts as a transition promoting a potential future where humans and robots start a conversation about building

efficiently and eliminate material waste in the architectural environment.

13% of products delivered to construction sites are sent directly to landfills without being used, which results in thousands of acres of landfills. Such growth of landfills increasingly over exploit resources for construction. On the other side, it contributes to harmful gases in the air and pollutes the underground. Hence, the project attempts to speculate how to generate better construction practices using fiberbot growth and leftover bricks from other construction sites to minimize the construction and demolition waste.

ARCH 401 | Fall ‘20

DSM Art MuseARCH

80 | StratAA

ARCH 401 | Fall ‘20

82 | StratAA

Des Moines Art Center

Run Lin Sara Smiley

In 2020, the social and political polarization in the US has become more transparent. Opposing sides find they do not share ideological similarities. Studies have shown that polarization stresses the fabric of society and negatively affects families, workplaces, schools, neighborhoods, religious institutions, and more. Polarization is more than disagreeing. It results in the refusal to have conversations and develop relationships with individuals who have differing views.

Instead, we often create group identities. We surround ourselves with those who have similar values and segregate our communities by political party and ideology.

The Vanish-ing Point causes and alleviates tension through the use of fragmented objects, heavy and contrasting materials, lighting, and organization of space. The long descent into the subterranean architecture encourages visitors to think deeply about what they are about to endure. The Katastwof Karavan plays irritating music which causes tension. As visitors circulate their way back to the surface, the increase of natural lighting is perceived as an element to ease tension. Lastly, they revisit the plaza with the new information they’ve learned and are encouraged to share it with the world.

ARCH 401 | Fall ‘20

VANISH-ING POINT

84 | StratAA

ARCH 401 | Fall ‘20

Unmarked Des Moines Art Center

86 | StratAA

Madison Mehls Megan Van Dalen

Our concept from the beginning was for each program to be its own separate mass, which derived from earlier programmatic exercises. We achieved this by contrast in materiality, pushing and pulling masses in different directions, separating them within the floor plan by having shadow gaps, and varying heights within the volumes. We also wanted our vertical circulation to be what drew people into our building then would push them out into different directions in each floor. Our concept is a strategy as well and once

we are on the interior you can see the color palette is very neutral.

This allows for the building to be the background and the guests and artwork to be center stage. Our design style originated from our showcased gallery space, Kehinde Wiley. Having our building be the realistic center piece and everything surrounding it became very colorful and organic. This drawing style challenged us to make sure our building diagrams and renderings still were able to portray the concepts we developed early on.

ARCH 401 | Fall ‘20

88 | StratAA

ARCH 401 | Fall ‘20

90 | StratAA

Des Moines Art Center

DLR Integrated Studio Finalist

A new downtown expansion of the Des Moines ArtCenter will bring contemporary galleries for permanent and rotating exhibitions into Iowa’s capital. This proposal for the Des Moines Art Center – Downtown is located along the western edge of the Pappajohn Sculpture Park, which influenced the design as the project works to extend the sculpture park. Curving paths and movements in the sculpture park contrast with the gridded nature of the surrounding urban context, and these sweeping forms are extended onto the site to inform the footprint of the building and its plaza. The plaza contains mound-like skylights that also contribute to the continuation of the sculpture park environment, and the system of skylights provides diffused lighting to the art galleries located directly below in the lower level. This studio project also involved curating the permanent exhibition, which will display art by Kara

Alexander Tarr Heribeto Garcia Tifanny Andrade

Walker. Walker’s work retells the African-American experience through an updated and more representative interpretation through powerful sculptures, watercolors, and black silhouettes, for which she is best known. The project is titled “Silhouettes” as a way to connect Walker’s cut-paper silhouettes and the museum’s perforated façade. A system of curving, perforated panels clads the building to shade interior spaces and create unique shadows throughout the interior. Above ground, the building is organized into offset eastern and western wings, with an open lobby centrally located and accessible by passing through the plaza. In addition to the museum shop and café, which opens to the plaza, the museum also contains educational spaces and an auditorium as a way to promote further community engagement.

ARCH 401 | Fall ‘20

Silhouettes

92 | StratAA

ARCH 401 | Fall ‘20

DMAC Exposition Des Moines Art Center

94 | StratAA

Cameron French Haley Dinderman

The Des Moines Art Center campus addition provides an envelope for unique experiential art forms. Large open gallery spaces that are free of restrictions allow for site specific installations that fully immerse visitors. Galleries and circulation are thoughtfully articulated to allow for framed views into new spaces, guiding visitors throughout the museum. The gallery spaces rotate in art installations

from sculptural, multimedia, traditional and performance art forms, providing opportunity within the Iowa art community for unique and innovative works. This extension to the downtown Des Moines scene creates a beacon of social opportunity while providing a blank canvas, free of restrictions for any artist.

ARCH 401 | Fall ‘20

96 | StratAA

ARCH 401 | Fall ‘20

Expand

Des Moines Art Center

98 | StratAA

Ruth Sarastia Kuswara Jen-Ni Lin

The Expand project is an extension of the Des Moines Art Center that is located west of the Pappajohn Sculpture Park and east of the Meredith Corporation. The two main roads that corner the building are Locust Street and 15th Avenue. Traffic is found mostly on this corner, yet we noticed that people are not utilizing the Meredith Lawn as much as the Pappajohns Sculpture Park. Our vision is to expand people’s circulation on to the site and extend the Sculpture

Park. The building is an extension of the undulations of the Pappajohns Sculpture Park. It houses a museum without disrupting the flow and integrity of the site itself. Walking from the park, people are given a choice of walking up the roof or entering the building.

Either way, they are slowly elevated up or brought down and under.

Just as the true state of a green space is never flat, we brought that into our design.

ARCH 401 | Fall ‘20

100 | StratAA

ARCH 401 | Fall ‘20

102 | StratAA

Ames Renewable Energy Center DLR Integrated Studio Finalist 2021 AIA COTE Top Ten for Students Winner

In a world where the need for innovative sustainable practices is increasing and becoming more critical, The Step begins to stimulate the discussion for continued action in Ames, Iowa to start local and grow globally. Providing a platform for students, families, and members of the Ames community to engage and learn the innovative practices of renewable energy, The Step acts as a catalyst within the community and the renewable energy movement. The Steps consists of solar and wind powered demonstration and maker spaces to serve as the engine that drives this engagement by allowing the community to study, operate, and create renewable resources and techniques. The Step is situated along the landscape

Sam Nordmeyer Cody Goedken

with a sensitivity that allows the building to follow the natural grade as well as provide moments for nature to fill in the voids that are left between the branching spaces. This embedding into the landscape allows for the programmed spaces to be visually connected pockets and levels, while expressing the demonstration spaces as the anchor for The Step. The architecture provides an informative, dynamic, and innovative environment for those who are trying to improve the world we live in. While this is not the final solution to analyzing the built environment, it is the next step in the direction of sustainable design.

ARCH 401 | Fall ‘20

The Step

104 | StratAA

ARCH 401 | Fall ‘20

Inside the Box Des Moines Art Center

106 | StratAA

Charlie Haas Hannah Skistad

For our project we wanted to create a feeling of continuation of our site, the Pappajohn Sculpture Park in Des Moines, into our building.

Our project this semester was to design a museum catered towards a younger generation. We took the idea of continuing the sculpture park onto our site and into our building and put emphasis on a nontraditional museum by having all of our gallery spaces be able to be seen from outside. Our goal was to have the art inside the museum

be seen from outside as well as able to see the sculpture park from inside the galleries. We ultimately determined the name for our project based on our large cantilever gallery, entirely enclosed in glass and supported by two trusses, which houses four screens to be used to showcase digital art. Ultimately, being inside the box allows you to think outside the box.

ARCH 401 | Fall ‘20

108 | StratAA

ARCH 401 | Fall ‘20

110 | StratAA

Des Moines Art Center

Our site is located at the intersection of 15th St. and Locust Ave, across the papa john’s Sculpture Park. Behind it, is Meredith corporation, And across it is a car dealership and a parking lot. A prominent building in the location is the Kum and Go Headquarters

by Renzo Piano. To accommodate the museum programs, we decided to have a two-story structure. After observing the long axial nature of the sculpture park, our building strategy is to stand in continuation of this axis. Our building from the west slowly opens up to the sculpture park aided by the processional march of the colonnade which also acts as an important aspect of our structural strategy. The colonnade supports the cantilever and beams and girders inside the building. The folded plates are a long span strategy for our two, large volumetric spaces.

This museum is dedicated to bringing important conversations of injustice to Des Moines and connecting larger national occurrences

Samarth Vachhrajani Adison Mixdorf

of injustice to its local manifestation. The large double-height gallery space acts as an open space that allows for discourse around these issues and a place where the museum can take a stand against these injustices. These galleries also provide a space for showcasing work by emerging and established artists of color, and provides them a space to bring light to injustices in an unfiltered way.

The colonnade is texture concrete, accented by corten steel panels on the second level. The second level gallery also has glass slivers on either side of each column to bring in concentrated light as well as creating lookouts to the city. This gallery gets concentrated light from the glass slivers and the exterior colonnade peirce through the facade and reveals themselves in the gallery. The glazing has wooden louvers for shading against the south sun exposure. We have a similar strategy on the east elevation with the columns and corten steel panels.

ARCH 401 | Fall ‘20

Downtown Des Moines Art Center

112 | StratAA

ARCH 401 | Fall ‘20

The Rest Forum Ames Renewable Energy Center

114 | StratAA

Johanna Sieja Rafael Jimenez

The REST Forum is a center that focuses on the engagement of the community, science and technology. It’s a place to inform and be informed of different sustainable technologies and practices as well as renewable energy systems. The REST forum is a community place for innovation, conventions and seminars.

smaller masses were stacked to reduce the footprint of the building and accommodate the site conditions.

The massing of this building is surrounded with trees leaving the roof to be exposed to solar radiation. With this we then decided to incorporate solar panels on the roof as the main energy sources.

This project emerges from the idea of sustainable architecture in which the main goal is to have a low impact on the environment and achieve a net zero goal in the near future. This project evolves on being respectful and delicate to the site. The site is located in the corner of North Dakota Ave and Lincoln Way, this site is heavily packed with trees and prairie plants.

In this space, the public is allowed to be informed and participate in events and activities involving sustainable energy methods, sustainability and technology, environmental topics, sustainable design, etc. The structure of this building is a hybrid structure combining CLT and concrete. Aside from the roof solar panels, we incorporated additional systems like the skin around the first floor that is made out of colored solar panels and vertical helix wind turbines that provide additional energy for exterior lighting or electric car charging stations.

With the goal of this project being sustainable, a massing of 30,000 sq. ft. was broken down into the different programs then these

ARCH 401 | Fall ‘20

116 | StratAA

ARCH 401 | Fall ‘20

118 | StratAA

Ames Renewable Energy Center Maddie Uhl Ana Ramos

‘An aperture or gap, especially one allowing access’ ‘An opportunity to achieve something’ ‘A beginning’ ‘An Opening’ is a renewable energy center designed for all people within the Ames, IA community. An experiment of sustainable design techniques that are additionally inviting and playful. By giving attention to the native vegetation, wind, and sun, we have reduced energy consumption while creating a unique environment for people to gather and learn about the possibilities of renewable energy.

Comprising three large openings that we refer to as dog trots, our building will also serve as a theoretical opening for the community to engage in conversation and explore educational resources.

Naturally, the community center will be a passageway for rural Iowans to learn and be inspired to do better for themselves and our environment.

The heavily vegetated site and native ecosystem inspired major aspects of the design. Our building is not limited to renewable energy but includes details that call attention to the significance and respect for the surrounding environment. Because of this, we chose to focus on the innovation of algae. ‘An Opening’ brings awareness to the possibilities of algae converting sunli`ght into energy as well as bio-fuels. The practice of algae energy acts as a fluid connection between vegetation and renewable energy technology; therefore, demonstrating the capabilities of what our environment can do.

We believe that through the spirit of ‘An Opening’ we will allow access, create opportunities to achieve, and establish a new beginning in the City of Ames.

ARCH 401 | Fall ‘20

An Opening

120 | StratAA

ARCH 401 | Fall ‘20

CY-HUM-ONY

Making With: Robotic Construction

122 | StratAA

Yanjui Bai Stevie Flores

Imagine, in the near future, people, robotics, and the environment interact, communicate, observe each other becoming a part of daily life. To meet this kind of future, the reflection of education is unavoidable. How to explore a new pedagogy and using architectural perspective to consider and respond are interesting questions.

The proposal is using architecture to transfer new pedagogy to offer a new education platform. The pedagogy tries to create an interactive curriculum and experience of the environment to build the connection between people and robotics. Specifically, use the

curriculum as the backbone to create the learning environment through architectural programming. For the experience of the environment, using flowing space and soft boundaries encourages interaction, communication, and observation, so people gradually learn and impact from the environment. On the other hand, the design process of the project is the initial exploration and response of the new pedagogy. Using a hybrid process of drawing and digital media experience and feel the communication, interaction, and observation of the workflow.

ARCH 401 | Fall ‘20

124 | StratAA

ARCH 401 | Fall ‘20

126 | StratAA

Making With: Robotic Construction

Luke McDonell Samantha Gibbs

Situated in the context of a global pandemic and environmental crisis we identified concrete as an intersection. Concrete, contributed through new construction, is one of the worst environmental culprits, it pollutes air, omits CO2, damages ecosystems, fills landfills, and causes flooding. We challenge apocalyptic notions of urban growth and disasters and instead propose the idea of making with the city in an act of reassembly. The existing concrete and the future production of concrete must be questioned, and the pandemic may provide a beginning for one of these opportunities.

The pandemic has at times shut down cities all around the world.

Consequently leaving streets as vacant stretches of concrete, forcing us to question their necessity.

Thinking of these ideas in the context of Des Moines and the Midwest as a whole, we focused on issues of flooding. Due to the

larger environmental crisis, extreme disastrous floods continue to occur at alarming rates.

Flooding, like the pandemic, affects neighborhoods at disproportionate scales and these crises must not be isolated but instead viewed as assemblages. Rather than provide solutions of prevention we assist in re-configuring the materiality of the city through the transformation of the abundant concrete. We propose a speculative future where streets and highways become irrelevant to the future of transportation and instead become the materiality of the future. Those areas once rendered sterile through concrete and asphalt become new spaces for the re-imagination of public space.

ARCH 401 | Fall ‘20

Architecture by Enzymes

128 | StratAA

ARCH 401 | Fall ‘20

SYNTHESIS

Making With: Robotic Construction Annie Sigmon Abby Tornow

130 | StratAA

SYNTHESIS is a space that utilizes computation and fabrication to construct sustainable and efficient building skins. At the simplest level, an architectural building skin is responsible for providing thermal comfort and protection to its users. But what if a building skin was able to provide more for the user’s needs?

SYNTHESIS houses fabrication robotics labs and controlled testing.

Lab researchers study topics such as cells growth, chemical reactions and ecosystems within the labs. The products of the research are innovative, smart building materials that mimic biological processes fabricated by current technology.

The south facade is constructed from soft robotics photo-voltaic arrays. The photo-voltaic soft robotics move orientation to follow the sun path. The skin mimics, heliotropism, the motion of plant parts in response to the direction of the sun. Plants use this process to maximize photosynthesis for energy and SYNTHESIS uses a similar process to harvest renewable energy.

As the project houses the first adaptive facade in Des Moines, it is a catalyst for future buildings. As architectural practices change, designers should be prioritizing implementing efficient and sustainable systems that positively impact users.

ARCH 401 | Fall ‘20

132 | StratAA

ARCH 401 | Fall ‘20

134 | StratAA

Making With: Robotic Construction Finn Cleveland

VAULTED is a project focused on the ideas of what make sustainable architecture sustainable. The whole project makes use of what the site has to offer material wise. Currently, the manufacturing of bricks accounts for 40.65 – 46.64 teragrams of CO2. This project is designed to use materials located on the site to construct the bricks, which will reduce in lower carbon emissions during brick manufacturing and also reduce emissions for material transportation. The construction process will be completed by autonomous robots. A more autonomous construction process results in quicker construction time. 28% more efficient and 100% more accurate production, which results in less material waste.

The structure is designed such that the stresses are uniformly distributed by its own weight and has sufficient double curvature to be stable in compression under all other loading conditions. In addition, because of the geometry of the openings, concatenated modules create a continuous and smoothly undulating surface.

Since the structure creates voids in the roof, this offered an option to collect water to be reused throughout the site. The green roof on the structure helps to shed water to the collection system, but also acts as a heat sink to absorb and retain thermal energy from entering and escaping. The remaining dirt from the site can be reused in the green roof assembly. This project is meant to be an experiment to explore the future on what automated construction can become. It challenges the question of what sustainable design can look and function like.

VAULTED is a project focused on the ideas of what make sustainable architecture sustainable. The whole project makes use of what the site has to offer material wise. Currently, the manufacturing of bricks accounts for 40.65 – 46.64 teragrams of CO2. This project is designed to use materials located on the site to construct the bricks, which will reduce in lower carbon emissions during brick manufacturing and also reduce emissions for material transportation. The construction process will be completed by autonomous robots. A more autonomous construction process results in quicker construction time. 28% more efficient and 100% more accurate production, which results in less material waste. The structure is designed such that the stresses are uniformly distributed by its own weight and has sufficient double curvature to be stable in compression under all other loading conditions. In addition, because of the geometry of the openings, concatenated modules create a continuous and smoothly undulating surface. Since the structure creates voids in the roof, this offered an option to collect water to be reused throughout the site. The green roof on the structure helps to shed water to the collection system, but also acts as a heat sink to absorb and retain thermal energy from entering and escaping. The remaining dirt from the site can be reused in the green roof assembly. This project is meant to be an experiment to explore the future on what automated construction can become. It challenges the question of what sustainable design can look and function like.

ARCH 401 | Fall ‘20

Vaulted

136 | StratAA

ARCH 401 | Fall ‘20

On The Butcher’s Block Making With: Robotic Construction DLR Integrated Studio Winner

Current architectural building construction methods are contributing to an immense amount of earth exploitation and permanent resource depletion. This waste in slaughterhouse terms is called hacking.

What happens when there are no more resources left to feed a consumerist appetite for extraction, abandonment, and exploitation of materials? We butcher.

138 | StratAA

To butcher is to carefully extract, examine, and reconstruct artifacts.

Carefully taking pieces from existing sites and reassembling them into new structures. The proposed space in Des Moines, IA at the once-abandoned East DSM Train Depot provides care/preservation on a material scale through the process of a circular construction economy.

Machines will carefully dissect/butcher the existing Depot an emphasis on brick and masonry. The transportation of machines, materials, and resources will be a part of a larger network of proposed urban mining laboratories in the US.

Mae Murphy Cameron Wahlberg

The building provides robotic analysis, deconstruction, & maintenance. It will kickstart the process of creating a material library, research database, and a path forward in the construction industry in the U.S. Program includes education workshops, as well as galleries for hands-on experiences. Placement of education, research, and workshops together demystifies these deconstruction and reconstruction practices. A system of robots and resources focused on the storage and testing of masonry is directly connected to the depot, and rail line for material transportation.

Energy consumption and passive systems are integrated with a key focus on the sustainability of material narrative and ecology which currently accounts for 40% of waste in landfills.

The integration of a multiplicity of socio-economic, environmental scales and systems creates a speculative intervention in the Des Moines context focused on questioning our current construction practices while pushing for innovative means of reuse, and environmental impact.

ARCH 401 | Fall ‘20

140 | StratAA

ARCH 401 | Fall ‘20

Fall ‘20

Prenestino Social Hub

Repeat, Repeat

Embedded Rapport

Simone Carpra

Kimberly Elman-Zarecor, PhD Professor Andrew Gleeson Assistant Teaching Professor

Andrew Ballard Associate Professor of Practice

The studio is an opportunity to speculate on large-scale densification strategies in the Midwest, and also to test ideas for recalibrating the urban-to-rural spectrum within regions so that as the population increases, suburban sprawl is not the inevitable response. The wards and unitbased urbanism will be investigated as new typologies appropriate to this speculative future that can integrate multiple requirements in terms transportation, economics, politics, environment, philosophies, and shared community mindsets. The limiting conditions for these projects will be based on narratives developed by students through readings, discussions, and design propositions.

Final projects will result either in densified ward concepts constructed within the urban footprint of an existing city, or, in decentralized proposals (in the spirit of Broadacre City) that will suggest a series of wards that extend into the countryside.

Cities need to be more robust; more porous, more sustainable, more accommodating of diverse populations. But the methods and knowledge at hand are lagging. Master plans and form-based codes are woefully inadequate. Data-driven computational tools for modeling urban complexity fail to describe what makes a good neighborhood or find nuance in a street’s capacity to support activities beyond traffic.

Consuelo Nunez Ciuffa

144 | | StratAA STRATAA 144

After the great expansion and urban growth in the 20th century, nowadays the idea of sustainability of our cities is not only related to the recovery or development of green spaces, but it is also related to the commitment to not consume more virgin land,vice-versa to recover natural conditions and buffer zones in the existing city. In order to stop the sprawl, to preserve and not to consume more land, designers in Europe are more and more called upon to work in the existing city fabric, renewing entire urban zones, investigating a layered urban condition, dictated by cultural, physical and geographical stratification of our historical cities. The idea of modernity as Tabula Rasa of the previous world has been questioned by the architects, the landscape designers and the urban planners. In this sense we firmly consider the city of Rome as a paradigm for a contemporary design approach to a multilayered city. The relationship between urban morphology and architecture together with the challenge of designing within a specific context, make Rome the best possible example to develop a project structured around the critical, complex relationship between design and site.

This studio posits shared operative systems as a means to weave architecture and locale into an adaptable urbanism. In its focus on alternative organizing structures, the studio references several related 20th century architectural movements-Modernism, Situationism, Metabolism, and Structuralism—that survived Post-Modernity to re-emerge in urban design strains such as Infrastructural and Landscape Urbanisms.

The issues they tackle are freshly relevant in the contemporary collision of urban growth and ecological responsibility.

Briefs

ARCH 402 ARCH 402 02 ARCH 402 ARCH 40 ARCH 402 ARCH 402 CH 402 ARCH 402 ARC 402 ARCH 402 ARCH 40 ARCH 402 ARCH 402 CH 402 ARCH 402 ARC 402 ARCH 402 ARCH 40 ARCH 402 ARCH 402

Revive

Embedded Rapport

146 | StratAA

Heriberto Garcia Hannah Skistad Brian Welp

Our site is located on the south east corner of Sherman Hill - a neighborhood in Des Moines, Iowa. The plot of land for our proposal we recognized as a transition zone between residential and commercial aspects of Des Moines. Our focus was to maintain the historic identity of Sherman Hill, while being sensitive to the urban fabric. For our proposal, we have added an educational aspect that focuses on the classical trades and skills; such as masonry, metalwork, glass, and woodwork. When introduced to the site through earlier research, we found that Des Moines residents, from the age of 20-30, a large percentage have only obtained a highschool diploma. We wanted to connect education to the city and provide access and alternative life paths for those who didn’t pursue

higher education. By offering a trade program, we hope to bring awareness to the demand of historic restoration and preservation.

Through developing our proposal, we used preliminary strategies from prior exercises that utilized modularity and re-purposing which allowed us to build upon an existing fabric. The architecture is to preserve the historical aesthetic of brick seen in Sherman Hill by utilizing our parasitic, modular strategy creating a relationship between the old and new Des Moines. Being sensitive to the neighborhood and its historic buildings was a goal. Taking down and reusing buildings and their materials allowed for the revival of the south eastern corner of Sherman Hill while maintaining the integrity of the neighborhood.

ARCH 402 | Spring ‘21

New MonumenARCH

148 | StratAA

ARCH 402 | Spring ‘21

150 | StratAA

Fall ‘20

StratAA ‘20

Embedded Rapport

Cody Goedken Maddie Uhl

This is Awakened Artery, an urban design for a piece of historic Sherman Hill neighborhood in Des Moines, Iowa that uses the idea of community to form an environment that enhances the experiences and relationships of the neighborhood.

As a studio, we were each to design a specific piece of Sherman Hill, to create a new proposal for the neighborhood with each group having a unique focus.

Being in the heart of the historic district, we are striving to highlight the character of the neighborhood by not mirroring what is already there but by adding our own modern take. Recognizing what the neighborhood has to offer and implementing more opportunities for community, local businesses, and accessible health and wellness.

The Awakened Artery consists of organs, veins, muscles, and a central artery aimed to provide the intimate experiences that the community desires and needs. The central artery is the diagonal pedestrian path that cuts through our site and provides walkability and connectivity throughout. The artery is the source from which the organs and veins branch from. One of the organs is the community hub and another is the local shop market. The veins consist of a variety of paved pods, recreation space, a community garden, and open green space. The muscles are what develop over time as the neighborhood undergoes more stress and needs to adapt to new challenges of density, while maintaining the character of this neighborhood.

ARCH 402 | Spring ‘21

Awakened Artery

152 | StratAA

ARCH 402 | Spring ‘21

The V.E.H.L

154 | StratAA

Embedded Rapport

In reaction to population growth and demand for increased housing opportunities in Des Moines, the VEHL was developed as a project proposal to improve the living conditions and atmospheric qualities. With the main focus on Sherman Hill, the

Keegan Holdorf Noah Schulte

VEHL works in ways to address community needs and concerns, as well as provide effective change towards urban (high-density) living and environmental well-being.

ARCH 402 | Spring ‘21

New MonumenARCH

156 | StratAA

ARCH 402 | Spring ‘21

158 | StratAA

Embedded Rapport

Megan Ehlert Cameron French

In a proposed increase of density to the historic neighborhood of Sherman Hill, in Des Moines, Iowa, located towards the northwest end of the Pappajohn Sculpture Park, Interconnection aims to become the self-sustaining community center for the neighborhood.

With the diversity in proposals around our site, we developed a space where the production of an object can be made, turned around, and sold in the same place. Allowing for various trades to

be located here, Interconnection features large selling kiosks and production spaces throughout. In addition, to connect to other developments around Interconnection, there are two pedestrian bridges that lead to an open green park at the north end of the site.

This is an infrastructural benefit to carry water from Sherman Hill into Interconnection, which allows for self-sustainability.

ARCH 402 | Spring ‘21

Interconnection

160 | StratAA

ARCH 402 | Spring ‘21

Life After Collapse Repeat, Repeat

Brenna Fransen Jihoon Kim Run Lin

162 | StratAA

There are hundreds of abandoned coal mines in Iowa, many of which you wouldn’t even notice are right below you.

Waukee, Iowa is home to the Schuler mine which spans over 1500 acres underground and is the largest and deepest coal mine in Iowa that operated from 1921-1949. Today, the presence of the coal mine and the mining community goes unnoticed, and with rapid urban sprawl coming from Des Moines in the late 1900’s and early 2000s, the Waukee population quickly grew and suburbs started to develop above the abandoned coal mine. While the mine remains inactive, it poses a hidden risk for mine collapse, resulting in subsidence of the land and catastrophic damage on the surface.

In the year 2050, the mines did just that. The over accumulation of internal erosion combined with Waukees history coal mining caused a weakening of the subsurface and a sinkhole emerged.

Homes, schools, and cars were swallowed up by the pit and the calm suburbs of Waukee became a place of chaos and fear. This catastrophe, while jarring, awakened Waukee to its anthropogenic past, and required a rethinking of both what we consider to be ground and how and where we get our energy from.

We propose a new energy infrastructure, which lifts the existing homes, commercial zones, and civic spaces off the ground and creates an interconnected circular energy economy which capitalizes on the immense amount of waste from agricultural land and city waste to power these previously coal dominant cities.

ARCH 402 | Spring ‘21

New MonumenARCH

164 | StratAA

ARCH 402 | Spring ‘21

166 | StratAA

Fall ‘20

StratAA ‘20

Torrione Prestino

Finn Cleveland Jonathan Kaye

In a proposed increase of density to the historic neighbThis project is sited in the Roman quartiere of Pigneto on a parkland site defined by disparate morphologies: railways to the North, varying scales of housing to the East, West, and South, and the distinct identity of the ancient cylindrical tomb, Torrione Prenestino. Torrione has been cut, a figure partially sliced in the 20th century to make way for an expansion of Via Prenestina. Our proposal mediates between morphologies with a strong horizontal form and references the monumental disfigurement by intersecting this shape with a lower wider tube at its West. In this way, one interrupting the other, our building form becomes contextualized. On the East of the site our building is raised, framing industry, the torrione, and a public piazza below with one gesture. This radical decision determines

the role of the building as a social agitator, one which defines historical monument and industrial progress as equal contributors to the central human experience. Public spaces are organized linearly through the lower floors of the building, with housing above. The porosity of the form at ground level opens the building to the community, just as the openness of the building shape suggests an embrace of the site itself. Prenestino Social Hub is a project of division, exploring the dichotomy between separation and continuity, monument and mundanity, natural and artificial.

Its mediation is not antagonistic, but restorative as it seeds this palimpsest of a site with a new, inhabitable layer, one ready to be augmented by the community it serves.

ARCH 402 | Spring ‘21

Prenestino Social Hub

168 | StratAA

ARCH 402 | Spring ‘21

The Salubrious City Repeat, Repeat

170 | StratAA

Madison Mehls Anne Sigmon Abby Tornow

By the year 2100, cities on the coast will have unsuitable living conditions and there will be a large migration of people to Midwest cities. The effects of climate change will be in full force and we will have no choice but to change the way Americans are currently living.

What if we didn’t wait until it was too late to promote a healthier city? What if, today the United States commences a sponsored competition to design the healthiest city by 2100 and Des Moines enters the competition?

The Salubrious City questions how cities in the future can change to implement healthier practices. The proposal is a phased change that results in a rezoning, reprogramming, and densifying of a current urban landscape. The design uses a gentle approach of acknowledging existing infrastructure and learning from previous inconsiderate design decisions of Des Moines. Our vision for Des Moines is a network of integrated neighborhoods that reinforces physical, mental, and environmental health to result in a salubrious city.

ARCH 402 | Spring ‘21

New MonumenARCH

AH NNIA VA R2G50’ A O S E200 X G SS PUBLIC TR MA

RTATION SPO AN

AU T

L EA IDOC60K’ B2L40’ X 3 N TA AT RK 0’ NH YO 90 A X ’ 6 MNEW 24

OUS CAR OM ON

NG

KI

AL E RW

BIKI NG

IL FO.5 M

DLE X AR1 MI W L

EA

ID

KING WAL

RSITY

RAILLINE UNIVE

BLVD

AY NW

L CO

US LIN

EL

MM PA

P

DR

M CMAILE TEEX .5 A ST MIL

A W

1

IO

K

R PA

EN

E AC SP

RE

0%

10

O BL

CK

P

G

M

TI

G

10

RO

D IXE

AL

EN

ID

RE

0%

L

TIA

EN

SID

RA

M

S RE

TI RA

O

KS

%

%

20

3

30

50

6

C LO

8B

-5

PARK

-3

-2

Y

G

E AT

D

ED

AL CI L ER IA M T M EN AL O C SID UR % RE LT IC 40 % CU CIV 30 5% 5% 1 1

S

%

T REE ST

E

US

AR W

R ST

T RA

G

TE

IN

172 | StratAA

MIXE DU

SE

ENTIAL SID RE

ARCH 402 | Spring ‘21

Driving Change Repeat, Repeat

Youn Choi Samuel Nordmeyer Cameron Wahlberg

174 | StratAA

The United States is sewn together thru 46, 876 miles of Interstate, passing through hundreds of cities and across the vast patches of the US. These strings of transportation, while providing a mass infrastructure, were built on a system of marginalization through redlining, inequality of city amenity inclusion, and has affects on the urban infrastructure to this day.

What if by the year 2100, with the influx of people from east coast cities who have also felt the impacts of displacement due to redlining and the interstate system and climate change, Des Moines was able to ease some of the boundaries imposed on the city and offer the unused space above the interstate to help heal the urban fabric and offer new densification and community oriented planning with the people already living there?

The proposal cites precedents such as the Big Dig in Boston, MA as a way to reclaim space above charged infrastructure, though removing the adverse economic effects of privatization and increased rent, to create a repeatable kit of parts that offer an integration rather than demolition of existing neighborhoods. This offers the ability to adapt as needed while providing a new typological amenity as a way to activate the public between the built environment.

The planning of the new ward strategy focuses on rebuilding the connections lost over the 20th century and rekindle the community ties for the new residents of the city in 2100. Des Moines could be the driver for new typological systems that help create a better 22nd century less focused on the boundaries between us and more focused on the connections we share.

ARCH 402 | Spring ‘21

StratAA ‘20 Fall ‘20

176 | StratAA

ARCH 402 | Spring ‘21

Smoky Mountains Park Center

Nature Conservation Center

Cultural Interpretation Center

Liza Walling Assistant Teaching Professor

Roman Chikerinets Assistant Teaching Professor

Ayodele Iyanalu Associate Teaching Professor

We are interpreting the 301 studio-wide theme of caring, through our celebration of the commons, natural and cultural resources we hold collectively. This studio invites you to imagine an architecture which troubles the history of the national park system and conservation in the United States, building upon our mappings of common resources.

Your designs will project into a future in which conservation has been de-coupled from carbon, and the celebration and care of landscapes includes people and species .

Propose a new Nature Conservation Center at McFarland Park as a near future scenario; The proposal should have 7,000sf - 10,000sf max for total enclosed spaces (excluding landscape manipulation).

Proposals are to utilize and synthesize extracted forms and site analysis information from previous investigations during this semester in the prologue and site forces projects.

In this course, students are to explore the intersection of architecture and landscape.

They will develop and make manifest in their designs a philosophy of architecture that reflects personal and general values and proclivities. The focus will be on ways students personally understand and create habitable spaces. This brief calls on you to design a space that infuses a mixture of non-local cultures with those/that found within the Iowan landscape. The goal of your design is to encourage “GATHERING” for the exchange of ideas and knowledge.

A primary objective is to design with consideration of landscapes as the leading facilitator of any constructed and cultural artifact.

180 | StratAA

In the United States, access to so-called natural landscapes has always been fraught with inequality—from indigenous dispossession during colonialization, to the recent reckoning with the racist past of the Sierra Club and John Muir, and every day acts of violence, such as the incident. The United States has always striated access to the American landscape, along racist, classist, sexist, and ableist lines.

The foundation of a National Park System in the United States is enmeshed in these histories, and its aims have had as much to do with nation-building as conservation.

The NPS, and the photography and advertisements which actively create and maintain it, have preserved the landscape in a very particular, artificial way. Yet, access to the National Parks remains important to people. As we discovered in our Prelude project, these landscapes provide necessary natural and cultural resources which improve our physical and mental health and give us access to ecological knowledge. In order to imagine a different, more equitable relationship to the National Park System, your work should demonstrate knowledge of a critical history about conservation in the United States and in other countries.

The architectural proposal should interrogate questions of what is nature? Explore extensions of ideas of post-humanism towards landscape, as in “Post-Landscape” ; Focusing on this hybridity of boundaries between naturally occurring systems and manipulated /evolved or new natures ; Musing on near future scenarios and a degree of speculation based on projected technological advances. Considering both human and non human needs and entities and questioning the familiar. Familiarizing the otherness and bringing it to the surface.

How does your architectural proposal extend towards non-human entities as it addresses the landscape. In addition to the spatial requirements, you are to develop a scenario for a future setting, this might involve researching technologies that deal with cultivation, landscape rehabilitation, landscape evolution, adaptability, sustainability and potential for harnessing energy and resources or presently occurring researches at the site and speculating the future projections. Conception of an overall vision master plan; shall act as a primary organizing principle for the building and fields layout. Your explorations of site forces should aide in this.

Can the architectural proposals become part of and an extension of the landscape?

All culture in architecture is intricately bound to the understanding of the natural environment. Understanding nature is evident in the timeline of most cultures and integral to both the modern and ancient expressions of form or space. The Cultural Interpretation Center seeks to explore disparate cultures and present them through assimilation (the absorption and integration of people, ideas, or culture into a wider society or culture) and expressionism.

Students are to propose a program as well as a design for a building able to expose different layers of the meaning of culture or its integration thereof: eco-centric design, socio-cultural spaces, and aesthetic qualities.

The program will be achieved by confronting the architectural images of a selected region or specific location and subjecting them to analysis. It will address the perceptual aspects and strategies of situation and location.

Roadside Studio

Kevin Lair Assistant Teaching Professor

Anna Aversing Associate Teaching Professor

The goal of the Ecocultural landscape begins with the harsh admission of the damage humans and specifically European settlers wrought. Regardless of past ethical and moral failings we have a current and future conditions in which we must care for the land now or the land will no longer care for us or future generations.”

Design a gas station. I-35 PARKING LOOP, SOUTHBOUND, I-35, south of 150th St The Roadside Studio is conceptual and creative storytelling, compositional and intellectual engagement with site and program, fluidity and engagement of studio process and class discussion, demonstration of process and iterations, legibility and composition of presentation Concepts include American Roadside Culture, Beauty and Boredom, Remembrance, Artifacts, and Relics, Regeneration vs.

Obliteration vs.

Integration, Rooted vs. Transient, Isolation, Signage, Wayfinding, Iconography, Branding, Symbolism, Vernacular and Rural Architecture, Odd Media, and Representation vs. Presentation.

The BCC site is to be one for adaptive/ reuse, or one can simply think of the BCC as a landscape and the buildings are just one more component to the landscape.

However, the requirement is you cannot remove the structures or simply add but are working in partnership with these structures.

Everyone will have to have an appropriately accurate/detailed digital and/or physical model of the existing structures. You may choose to leave out the current intervention but it is recommended you use it so create a layer for it. The structure needs to be included not just form.

In addition, at least one small scale “DETAIL” will be needed to be represented in existing and proposed condition. The small scale can vary due to what is most relevant to show but rule of thumb is an area of roughly a cubic meter (see the mandala).

The exact dimensions will depend again on how to best represent a relevant area of interest. In keeping the mandala the goal is a hyper realization of the detail area. You can reference the reading from “Wood Urbanism” regarding the scale of inquiry of the tree expanding from molecular to the forest.

The goal is not to have a single idea for program and start to make formal decisions to create that program but rather to maintain

Projects include pumps for regular petrol and diesel fuel, house or celebrate a roadside attraction (interior or exterior), incorporate a bike path that connects to McFarland Park, include bike racks, include locker rooms with showers and locking storage, include separate rest rooms located outside of the locker rooms, specify an area for tent camping must include one other mode of transportation, integrate signage into your design; signage can be applied to the building, located outside the building or near the road, or signage can be the architecture itself, 4,000 SF maximum (built structure), consider circulation (vehicular and pedestrian/visitor) and accessibility.

Briefs

ARCH 301 ARCH 301 01 ARCH 301 ARCH 30 ARCH 301 ARCH 301

Ecocultural Landscape

Amalgam 182 | StratAA

Roadside Studio Hansen Prize Finalist

Gabriela Robles-Munoz

Fall ARCH ‘20 | 301 ARCH 301‘20 | Fall

The project’s goal, Amalgam, is to disrupt the reasonably flat landscape of the Iowan prairie with angular, layered forms, which would, in turn, spark curiosity in the inhabitant and encourage them to find their path through the installation and site as a whole.

Taking precedents from Damien Hirst and Jenny Holzer, conventional materials and objects were employed, such as highway announcement boards, to invoke thought and reaction from passersby. The curiosity and potential discovery of the site that

this leads to is also the driving concept behind the composition of the structure’s physical form. The structures themselves are a careful arrangement of intersecting planes and volumes, which experiment with depth and layering, thus questioning the relationship between solid and void.

The structures on the site plan are experiential, as they appear completely different based on viewing angle, an effect that is present at both pedestrian and vehicular scale.

Unearthing Thick Injustice 184 | StratAA

Smoky Mountains Park Center Hansen Prize Winner

Hiba Salih

ARCH 301 | Fall ‘20

Peeling back the layers of a landscape to reveal the thick injustice beneath the surface, this project explores the Black experience of Cades Cove, which is situated on the Tennessee side of the intricately sculpted Great Smoky Mountains. Thick injustices are deeply rooted and embedded unjust power relations that trickle down to institutional, societal, and economic systems; thick injustices are hard to see, assign responsibility for, and change. Cades Cove is a geological fault composed of micro and macrofossils, more specifically Jonesboro limestone. Contrary to known settlement

by only White Appalachians, the Great Smoky Mountains was once a “home” to Cherokee Native Americans, used as foraging and hunting grounds, and converted into a hiding place during the Trail of Tears during colonization. By questioning the methods used to memorialize, and commemorate the forgotten and underrepresented lives, this project utilizes methods that transcend the Eurocentric and imperialist standards to tell a story. A story of how one injustice leads to another. A story of once upon a time we mattered. And hopefully a story of what will be.

Sanctuary : A Prairie Refuge Ecocultural Landscape

186 | StratAA

Hansen Prize Winner

Griffin Lilly Adam Myhre Andrew Moon

Our site, the Westbrook Artists’ Site, in Winterset, is home to one of the largest remaining privately owned plots of prairie land in Iowa.

Tallgrass Prairie like these relies upon human interaction, particularly seasonal burns. However, it would be naïve to think that we are the only ones that aid in the cultivation and tending of a prairie.

By supporting the rituals of the bees and providing shelter, these structures highlight the experience of drastic seasonal changes through solar rhythms and bring importance to the more profound impact that these actions can carry. Our project calls attention to the importance of place and the relationship with the landscape.

ARCH 301 | Fall ‘20

Sanctuary is a prairie reservation that calls attention to the relationship between the architecture and the land it occupies. Throughout this project, we have aimed to create a balanced environment for our site’s inhabitants, draw attention to the rhythms and rituals of the native ecology, and explore how small gestures can make a significant impact on the surrounding landscape.

UTU NIYAMA

Cultural Interpretation Center

188 | StratAA

Hansen Prize Finalist

Macallister Weber Emma Bontrager

Our site, located within a large floodplain, can often be seen as an unusable area with the floodwaters’ destructive elements. In Vietnam, where flooding is a yearly occurrence, flooding can benefit day-to-day life or destruction. However, for many in Vietnam, what

causes disaster is not an important thing. This attitude of healing found in Eastern Asian countries inspired us to dive into Vietnamese culture but, more specifically, the beliefs of Buddhism.

In focusing on these ideas, we wanted to create a center where people could come to re-center themselves embracing nature and forms of meditation aiming to create a space where a huge issue such as mental health can be focused on and using the floodplain and landscape as a tool to help enhance the healing process.

ARCH 301 | Fall ‘20

Utu Niyama, one of the Buddha’s five natural laws, represents energy in its two forms. This cycle and equilibrium of human and nature have focused our research and design on creating a center that unites the two.

Intertwined Nature

190 | StratAA

Nature Conservation Center

Brandon Schoo

embraces the complexity of the piping structure. Placed on a pre-existing path, the center allows for exploration of the unique moments the building provides. Like climbing ivy, the center has several branches that lead into narrow corridors that create moments to grow and expand our connection with the living world.

These spaces allow the human occupant to contemplate, explore, and appreciate the environment humans can sometimes take for granted. Intertwined Nature intervenes on the landscape capturing the art of sustainable design inhabitation.

ARCH 301 | Fall ‘20

Inspired by climbing ivy, Intertwined Nature is a conservation center that utilizes weaved piping for geothermal energy collection while creating a synthetic nature for animals and insects to dwell. The approach interprets sustainability as an art form that celebrates its beauty and its positive impact on the environment. Although the crevasses on top of the building inhabit other life forms, the interior creates an experience for humans. An open floor plan with glass windows creates a blurred barrier between the interior and exterior, allowing for a better site connection. The space is minimalist yet

Cherokee Memorial Center 192 | StratAA

Smoky Mountains Park Center

Andrew Tawfik

ARCH 301 | Fall ‘20

The theme for the last fall semester was Commons. Commons is a kind of place where all people are welcome, which also has two kinds of resources: natural resources represented by air, wind, water, light, and shade, and for artificial resources, we have Wi-Fi data, transportation, etc. We took the Great Smoky Mountains as our site to work on.

Through knowing the history of that site, the site was not quite having the spirit of the indigenous people of the place as there was

just a historical center in the far east. When the indigenous people lived in the park, they were forced to leave for the white race to be replaced. We had an indigenous architecture that made full use of it and specifying Cherokees with wigwam structures. The story was very touching and a catastrophe that has a tragic point in American history.

Chroma Collection

194 | StratAA

Roadside Studio

Erica Halstead

The project’s program is a charging station for cars, paired with a meditative space for people to utilize while they wait for their cars to charge. The hyperbolic paraboloid-shaped roof was the project’s focal point by showcasing a delicate design of modern stained

glass and solar shingles to power up to eight cars at once and allow for a colorful space below. In addition to these two programs, the project also allowed for a camping area, locker room building, restroom facility, and color tunnels integrated within a walking trail.

Landscape incorporation guided building orientation, material selection, and the stained glass color palette. Users of the meditative space would feel connected to nature calmly and intimately, all while experiencing bouncing colors below the roof.

ARCH 301 | Fall ‘20

Chroma Collection, the name itself, communicates the two critical parts of this charging station design proposal - modern stained glass and light collection through solar shingles. Inspiration for this project came from researching roadside culture in chapels.

Cherokee Memorial Center 196 | StratAA

Smoky Mountains Park Center

Garrett Ringblum

ARCH 301 | Fall ‘20

Throughout this project, the idea of “what could have been” in Cades Cove was found deeply interesting. This comes from the project’s research phase, diving deep into the infrastructure of the Great Smoky Mountain National Park and the impact dams have on the area.

The Tennessee Valley Authority made dams a priority in WWII for their critical production of energy for war efforts and proposed a dam in the Cades Cove area. This idea was never fulfilled, and the project

focuses on a visitor center that informs guests on hydroelectricity, the history of the area, nearby dams, and what could have been for Cades Cove if a dam was constructed.

Throughout the project ideas of what could have been for this area included a historical area and small-scale model of the hypothetical landscape proposed and researched.

E-63, 198 | StratAA

Ecocultural Landscape Hansen Prize Finalist

Oliver Goche Aaron Koopal

ARCH 301 | Fall ‘20

é Page 30

Goché Page 24

Goché Page 50 Our project, E-63, seeks to document, record, archive, and preserve the midwestern landscape through various means. These modes of documentation include the archiving of objects and the stories connected to them, projections of phenomena from throughout the landscape, and data from an already semi-in-place infrastructure that can record the landscape down to the micro-scale of a singular seed. With this, we recognize that the region is rapidly changing in violent and existential ways due to mono-agricultural production, desertification, and an increasing strain on underground aquifers.

From this, we have begun to imagine what the future of midwestern landscapes looks like, one where a dust bowl has wiped out much of the existing ecological and cultural phenomena in the midwest.

Through a multitude of research, we realized that this landscape, and its ecology, are directly intertwined with the culture that encompasses it. By hypothesizing the future of data collection and its parallels to agricultural production, we sought to see how these stories, phenomena, and data may continue recording.

Blurring Boundary

Hudson River Housing

New Organicism: An Anatomy of Housing

Bosuk Hur Associate Professor of Practice

Peter Goche´ Assistant Professor

Vladimir Kulic, PhD Associate Professor

Manhattan, NYC, has the lowest vacant lot ratio in the United States. Housing market prices in Manhattan continue to skyrocket, and homeownership rates plummet to an all-time low; homeownership rates in NYC are around 33 percent (average homeownership rate across the country is 67 percent). As the demand for housing increased, developers purchased vacant lots and old properties to fill them with a highly-secured apartment.

This investigation delves into material culture and integrative design practices in the production of artists residency housing to be conceived in the context of the Hudson River and as an addition to the Dia: Beacon museum. Students will engage in a highly experimental procedure of making 2d and 3d assemblies. Following the site visit, we will select project teams and embark on our integrative design process.

Each 2-person team inquiry will include 24-36 work-live residential units along with a series of communal and meditative spaces. This relationship forms the basis for our integrative studies in architecture with emphasis on conceptual agendas for temporary domesticity and design as a full undertaking of issues surrounding the production of space.

A building can indeed be seen like a body: it has structural supports that are akin to bones, it has “organs” that serve different human functions, it has an envelope comparable to the skin, it consumes energy and water, it excretes various kinds of waste.

As of late, we are increasingly facing the reality of “smart buildings,”which are even able to sense the environment and respond to stimuli with rudimentary intelligence. This studio will take such complexity as its starting point to gradually teach the students how to think about a building holistically and even how to find room for creativity among the multiple constraints that determine architecture in the 21stcentury.

202 | StratAA

A newly constructed project has disregarded the public value by focusing on private value; it accelerates to dilute the publicness in the urban context. To expand public-engaged space in new construction, the NYC requested privately owned public spaces (POPS). “Privately owned public spaces, also known by the acronym POPS, are spaces dedicated to public use and enjoyment and which are owned and maintained by private property owners, in exchange for bonus floor area or waivers.” However, the current privately owned public spaces (POPS) consists of the monotonous program like an open arcade and plaza; comprising the monotonous public program has limits to serve various urban activities/events.

Programmatically, the studio will focus on the design of student housing in Harlem/ Hamilton Heights, New York City. The site is the corner of the 136thSt. and Broadway, Manhattan’s most important thoroughfare, just a couple of blocks away from the CUNY campus. The steeply sloped corner lot is challenging yet highly inspiring, offering numerous opportunities to explore complex three-dimensional spatial solutions and to respond to an exciting urban environment, including a vibrant and highly diverse population.

Anna Aversing Associate Professor of Practice

There is a profundity of dwelling. This studio is based on the premise that designers can elevate seemingly mundane acts (e.g., eating, resting, co-living, etc.) through the mindful creation of spatial volumes to enhance experiential richness and a sense of place. These challenges have intensified during periods of quarantine. Our evolved perceptions of dwelling and design have inextricably linked the physical nature of where we live, who we live with, and how we live in the broadest sense. What we’re living through matters.

Our studio will leverage these experiences by presenting a series of design challenges focused on all scales of progressive urban housing. Initially we will link experiential, human-centered design for routine acts of dwelling with large-scale, detail-oriented examinations of interiority. The explicitness of this challenge is simple and imperative while the philosophical underpinnings and physical manifestations may be vexing.

What conditions need to be met to fully switch off or gain fulfillment out of an analog experience like reading a book or drinking a cup of coffee? How do we represent how these acts occur in the spaces we’ve created, or test the efficacy of these efforts? How are these individual acts also influenced by exigent forces of the environment, culture, and place? Ultimately, we will look for ways to translate these individual acts of dwelling design into a broader framework of a sustainable urban housing project.

Briefs

Rod Kruse Professor of Practice Rob Whitehead Associate Professor

ARCH 302 ARCH 302 02 ARCH 302 ARCH 30 ARCH 302 ARCH 302 CH 302 ARCH 302 ARC 302 ARCH 302 ARCH 30 ARCH 302 ARCH 302

Profundity Of Dwelling

204 | StratAA

Co-Housing + Urban Food Production Profundity Of Dwelling

Berit Nuetzmann Aaron Howe

ARCH 302 | Spring ‘21

This project situated in Des Moines, IA. It utilizes centralized circulation as well as a unique public to private gradient that pushes the affordances of co-housing and encourages deeper relationships among residents.

StratAA | 45

+1 206 | StratAA

Blurring Boundary BWBR Prize Winner

Griffin Lily Megan Kavlock

ARCH 302 | Spring ‘21

Cities are often recognized for the towering heights of their buildings, but the average person will most likely never be able to experience the city from this elevation. Before the elevator, high-value real estate was on the ground floors, but this invention inverted the city’s vertical boundaries. Even more so now, young families struggle to find space to grow within these vertical datums.

By challenging the vertical arrangement of the city through playful interventions and thought-provoking architecture, the boundaries between urban landscape and family begin to blur.

+1 Aims to provide an all-encompassing space for young families.

We are allowing them to move and grow within the complex. Many programs allow all age ranges to learn, play, and grow within this urban environment throughout the building.

As a family matures, the building will grow alongside them, providing space unlike any other within the city. Has New York become too mature? Could we change the language of the city through playful experiences?

Coterie-DSM

208 | StratAA

Profundity Of Dwelling

Aubrey White Suzette Sosa Valle

ARCH 302 | Spring ‘21

This project by Aubrey White and Suzette Sosa Valle is titled Coterie- DSM in the Profundity of Dwelling Studio with professors Anna Aversing, Rob Whitehead, and Rod Kruse.

Crossroads

210 | StratAA

Blurring Boundary

Zach Busch Jack Strait

context, this proposal seeks to criticize the tyrannical rules that contemporary designers have imposed on visual expression.

If our painters of today are free to experiment with historical styles such as impressionism and cubism entirely divorced from the cultural associations they may have been tied to, why is it that architects are expected to only design with combinations of shapes created in the last 25 years? As artists, don’t we deserve better than that?

I will answer that one for you—yes, we do.

ARCH 302 | Spring ‘21

During a semester that emphasized the blurring of boundaries, this design sought to remove them entirely. Within this mixed-use building containing apartments, an urban farm, a restaurant, and a market, shared spaces and opportunities for occupants to work within the building provide a means for increased interaction.

Extensive open-air pathways cutting through the spaces let passersby witness the interior’s lively atmosphere, allowing them to contribute to the strong sense of community within the building.

While simultaneously embracing the innate plurality of its aesthetic

Dia: Beacon Artist Residency Hudson River Housing

212 | StratAA

BWBR Prize Finalist

Gabby Robles-Munoz Aaron Koopal

inhabit this space, both through the things they create and the simple fact that they inhabit, participate in the relationship of what is to what can be.

Through intentional exposure of its connections, details, layers, and inner workings, this architecture lays itself bare. Transparency, layering, and repetition work together with subtle variation, through which varied details expose the fact that this structure is not a homogenous unity but a heterogeneous totality.

ARCH 302 | Spring ‘21

Art and architecture are mediums that reflect their makers and the circumstances they endure through their creation and expression.

Within the scope of this architecture, we are concerned with the delicate relationship between the part and the whole. This architecture is meant for those whose lived experiences inform the things they create, whether tangible artifacts, writings, spaces, or just thoughts. We deliberately moved towards design decisions that would create open-ended, ambiguous spaces whose prescription would ultimately be determined through their usage. Those who

Coterie-DSM 214 | StratAA

Profundity Of Dwelling

Garrett Ringblum Grant Dirks

ARCH 302 | Spring ‘21

The project “Coterie-DSM” was about a detailed understanding of scales and varieties of communities and how they interact with each other. Tasked to us were a mid-rise Co-Living residential space and a smaller scale community food hub that would connect smaller farmers in the DSM area to a central distribution area.

Included in our food hub are market spaces, distribution areas, and production/botanical gardens. The Co-Living residence was highlighted by single, double, and 4-bedroom units that allowed residents to control their public vs. private balance. This balance

of public vs. private was further expanded with shared community spaces both indoors and outdoors with the option of residentsonly or all community visitors. Overall, the project was intended to be sustainable and was accomplished by a built-in shading system façade on both the residence and food hub, operable greenhouse walls, rainwater collection, photovoltaic panels, and an angled orientation the site for optimal solar performance. Overall, our project accomplished all programmatical goals and created a space for all community scales in the Des Moines area.

Market Overlap 216 | StratAA

Blurring Boundary BWBR Prize Finalist

Adam Myhre Erica Halstead

ARCH 302 | Spring ‘21

Located in Hudson Square, Market Overlap showcases a mixed-use building encompassing artist residency, artisan market spaces, and studio workspace. The first three floors of the building are molded by a continuous ramp that allows the user to integrate within the rentable market stalls thoroughly. The upper three floors provide artist residency space with amenities including a rooftop garden, gym, and studio space to create their artisan products.

There is no doubt that art and music are a predominant part of Manhattan culture. Because of this integral part of the city, growing

demand for vendor spaces where these people can sell their artisan products.

There has been a significant increase in small businesses closing their brick and mortar stores around Manhattan within the past year due to Covid-19. An estimated one-third of those doors may never open back up. Market Overlap is a building that allows these individuals to join together and have adaptable space for their needs.

Harlem Nexus

New Organicism: An Anatomy of Housing

218 | StratAA

BWBR Prize Finalist

Mercedes Cooper Lilian Juma

Our site is located on the shoulder of Harlem in the exact location of the Harlem Renaissance. It was an era that boomed with multitalented black figures like Josephine Baker, Langston Hughes, Cab Calloway, and many more. This historical legacy embarked

on a cultural revival of black music, dance, art, fashion, literature, theater, and politics. This created a cultural mecca that flourished for black people, which enabled the community to grow as we were nearly inspired by the limitations of the surrounding buildings that lacked a sense of community and identity due to gentrification. We wanted to bring out a proper form that outlined the subdivisions of residences while inclusive to the local community.

ARCH 302 | Spring ‘21

The name of our project is Harlem Nexus. As we were prompted to design a space for student housing in New York, we explored the organicism of a structure. We wanted to create a space that connects the community with its Historical context.

First Street Living

220 | StratAA

Profundity Of Dwelling

Anthony Rodriguez Laryssa Meira Amani Taleb

result, the structures are rotated 18 degrees, counter-clockwise from the x-axis. This decision was made so greenhouses could face as much south as possible, while still keeping the buildings within the site’s boundaries. With this orientation, the greenhouse enclosures can take advantage of the winter sun. Furthermore, shading devices and openings are designed within the greenhouses in order to block intense summer sun all while enhancing natural ventilation.

The buildings stand at a mere three-stories in order to establish a modest presence to the site.

ARCH 302 | Spring ‘21

Critical subjects that the project addressed were community relations, drawn from the Food Hub program; and an abundance of solar consumption for all greenhouse enclosures. Considering the project’s implementation of greenhouses, it was imperative that all enclosures could receive an effective amount of sunlight throughout the year. However, at the same time, still addressing the site’s context to thoughtfully provoke local engagement.

Factors taken into consideration for the buildings’ orientation were the site’s solar geometry in addition to surrounding pathways. As a

The City College of New York Dormitories

222 | StratAA

New Organicism: An Anatomy of Housing

Sitong Wang Andrew Tawfik

Our project’s ideal precedent of that integration for our approach is the Hanging Gardens of Babylon as the earliest structure that

blended nature with an artificial environment. To create that integration, we were thinking of creating shafts and cantilevers to grow plants. This approach goes beyond decorating with green buildings and makes nature a vital integrated element in the built urban ecosystem. In a resilient ecosystem, the themes of health, biodiversity, food production, experience, and energy symbolize the value that people can attach to nature, such as clean air, health, fresh organic food, and the ways in which people add value to nature, by stimulating biodiversity and creating new habitats.

ARCH 302 | Spring ‘21

Our project is about creating student housing for the City College of New York Students, we were thinking about making it stand out in Manhattan as to make it greener and to make student housing greener and provide better habitats for animals and plant species, increases the ecological livability of student housing through greenhouses that we created.

C7 Apartments 224 | StratAA

Blurring Boundary

Parker Carson Lily Ehler

ARCH 302 | Spring ‘21

Cities are predominantly known for their diverse range of communities that encompass culture and human interaction. A sense of community is essential to the health and well-being of residents, however; recent trends in modern construction have begun to shift towards monotonous high-rise buildings with privately owned public spaces restricting the diversity of inhabitants.

While most of these spaces aren’t necessarily empty during the week, they aren’t lively and do not provide an environment capable of fostering community growth. Hundreds of these bare concrete

plazas and uninviting seating spaces have severed individuals’ connections to the diverse neighborhoods Manhattan is known for.

Without a sense of shared culture, recent construction has lost the quality and originality that defines each community as well as the people within them.C7 seeks to address these problematic trends by engaging the public in interactive exhibitions and mixed-use community spaces. These exhibitions represent the intersection of art and landscape, as art and nature are two predominant foundations of culture.

Emily Preston

Kimberly Zarecor

228 | StratAA

A modular exploration of a two-dimensional pattern assembled with wrapped joints.

Some patterns use repetition, others might reveal compositional and spatial hierarchies, or classifications into series or groups. During the semester, students analyze images and objects through mark making and seek out patterns and make speculations at every step. The projects move between 2D and 3D representational techniques to expand and deepen the project potentials. We will also ask you to work with analog and digital representational tools and methods.

This semester students engage with generative approaches and formal play to explore architecture that may be aesthetic and form-driven before it can integrate functional or site-specific qualities. We also adapt designs considering particular constraints and environmental conditions.

Architecture emerges from a combination of form, site, environment, and function.

ARCH 201 | Fall ‘20

The conceptual focus of the semester is experimentation and speculation.

Students study architectural patterning and iterative processes as forms of architectural emergence. In these projects, we define a pattern as the discernment of a higher order of organization within an image, a space, or a field, and patterning as the process of making such a pattern.

01 ARCH 201 ARCH 20 ARCH 201 ARCH 201

Architectural Design I

230 | StratAA

Connor Shanahan

Abstraction of an architectural photograph exploring forms and patterns.

Andrea Wheeler

Kimberly Zarecor

Study of light on a model through the use of stippling.

ARCH 201 | Fall ‘20

Pierre Mure-Ravaud

232 | StratAA

Peter Jaynes

Andrea Wheeler

An exploration of combining a form and a texture to manifest a new thought process.

Obhishek Mandal

Collage created to give the final model a sense of architectural space and describe the mood of which should be perceived. Its focus is on the feeling of suspension in the air, isolation, and its relation to the natural elements.

ARCH 201 | Fall ‘20

Sophia Allen

234 | StratAA

Micah Berger

Obhishek Mandal

A close-up image taken of concept model that would further influence trace drawing explorations.

Reinaldo Correa

A final rendered image project from 201. A pedestrian bridge going across Lake LaVerne displays the extensive collection of art on Iowa State University’s campus.

ARCH 201 | Fall ‘20

Armin Hasancevic

236 | StratAA

Donovan Sandoval

A non-photorealistic rendering of an outdoor intervention that would sit over College Creek.

Patience Lueth

Obhishek Mandal

A section collage representing the site and highlighting the interior tree that is incorporated into the final design.

ARCH 201 | Fall ‘20

Nathaniel Stoltenberg

238 | StratAA

Timothy Zhang

Reinaldo Correa

Manifesto of ideations and studies of religious representation in architecture.

Reinaldo Correa

An elevation of two woven pods constructed around the trunks of two large trees unified by a bridge. Within the space, the user can relax and enjoy the shaded environment that each pod creates.

ARCH 201 | Fall ‘20

Will Sanders

240 | StratAA

Nicole Friedman

A render of the final intervention. I wanted to create an outdoor pavilion that students could use year-round to provide a relaxing and creative outdoor study space.

Andrea Wheeler

Obhishek Mandal

Collage drawing transitioning from physical model to architecture narrative: capturing a moment in time.

ARCH 201 | Fall ‘20

Mircea Nastase

242 | StratAA

Bryce Berthusen

A stylized section drawing for a dwelling installation. The drawing shows one of the possible uses for the space.

Andrea Wheeler

Obhishek Mandel

A section cut of a pavilion within the topography of a lake.

ARCH 201 | Fall ‘20

Samuel Berg

244 | StratAA

Emily Hatch

Nicholas Senske

3D Camera and Perspective

Kimberly Zarecor

Section of a bus stop pavilion for studio.

ARCH 201 | Fall ‘20

Hunter Pifer

246 | StratAA

Aidan Andrews

Reinaldo Correa

A beacon amongst a digital wildfire.

Patience Lueth

Coal Chutes transport coal quickly without stopping the train’s intended path.

ARCH 201 | Fall ‘20

Jillian Wilhelmson

250 | StratAA

Mircea Nastase Megan Sawyer

Ayodele Iyanalu

Concept drawing of our proposed structure representing the ritual: Self Healing In Thirds.

Architecture and Ritual explores how the varied rituals of everyday life are framed and defined in space by the buildings we inhabit. Ritual moves beyond traditional assumptions about architectural style, aesthetics, and utility to deal with something more implicit: how buildings shape and reflect our experience in ways of which we remain unconscious.

The program of ritual will be determined within each section. New rituals can be designed by reinterpreting existing ones or through carefully observed conditions and understanding of the nature of ritual. Rituals can be created from careful observation of everyday life.

The rituals should be selected, adapted or designed in order to facilitate the richness of experience of the people participating. Rituals are often dramatic highly kinetic performances but also can be contemplative, silent affairs. The architecture should be designed to enable, frame, or augment the sequence of ritual that are practiced at particular times and over particular periods of time.

ARCH 201 | Fall ‘20

Ritual in the Everyday

ARCH 202 ARCH 202 02 ARCH 202 ARCH 20

Detail in Architecture

252 | StratAA

Sophi Allen Jamileth Sarcenco

Reinaldo Correa

The final design for the Live/Work Container project.

Roman Chikerinets

Pavilion connecting those who are guided through it with nature while supporting mindfulness and meditation.

ARCH 202 | Spring ‘21

Emily Preston Madelyn Day

254 | StratAA

Khelod Alkhashram

AND: The relationship between the Sky AND Earth, Yin AND Yang. Inspired by the Chinese and the Arab culture. An open space for calligraphy and performance.

Kevin Lair

A non-photorealistic rendering to better understand the different styles of renders.

Nick Senske

ARCH 202 | Spring ‘21

Evan Pearson

256 | StratAA

Ryan VerMulm Oscar Mozolewski

Kevin Lair

Rendering of The Oculus Temple.

Kevin Lair

A depiction of our meditation space includes a Zen garden for relaxing and a peaceful oasis.

ARCH 202 | Spring ‘21

Nicole Friedman Carlie Boelk

258 | StratAA

Emily Hatch

Nick Senske

A non-photorealistic study. It relies on varying textures and collages to emphasize depth and space usage around the building.

Reinaldo Correa

Perspective section of a yellow room with bottle bricks.

ARCH 202 | Spring ‘21

Hunter Pifer Chloe Coleman

260 | StratAA

Micah Berger Nathaniel Stoltenberg

An isometric section drawing focusing on the interior activity through and inside the ritual space.

Ayodele Iyanalu

Reinaldo Correa

The manifestation of our Live, Work, and Meditate container project through concrete casts.

ARCH 202 | Spring ‘21

Peter Jaynes Pierre Mure-Ravaud

262 | StratAA

Aidan Andrews Daniel Leira

Ayodele Iyanalu

A reluctance for the unknown.

Reinaldo Correa

The Delmar Klover Memorial Temple is a chapel situated on the shores of Lake Laverne and allows individuals to partake in self-reflection through interaction with water.

ARCH 202 | Spring ‘21

Ryan Poppert Daniel Sellnau

264 | StratAA

Connor Shanahan Dylan Rivera

The Glade Pavilion aims to create a place where communication is used as a vessel to relieve stress and create a comforting environment for the Ames community.

Reinaldo Correa

Roman Chikerinets

Rendered perspective view of our site installation

ARCH 202 | Spring ‘21

Bryce Berthusen Will Sanders

266 | StratAA

Jaclyn Nicoll Nathan Wardle

Reinaldo Correa

A Live/Work/Meditate space that embodies relaxation, inner peace, and encapsulation in nature. The space is for individuals who want to indulge in nature for the off-the-gridlike feeling.

Ayodele Iyanalu

An interior perspective reveals pathways that lead to individual meditation spaces through modularity.

ARCH 202 | Spring ‘21

Evan Corkery Armin Hasancevic

Introduction to Digital Fabrication Arch 433

Mary Le Sandeep Kumar Shivang Patel Cameron Wahlberg

Associate Professor Shelby Doyle

270 | StratAA

Utilizing the tools of the ISU Computation + Construction Lab students explore the intersection of computation, physical materials, manufacturing processes, and design. Projects include casting into 3D prints, clay 3D printing and CNC molds.

1

2

Electives

3

1 Mary Le, Sandeep Kumar 2 Mary Le, Sandeep Kumar 3 Cameron Wahlberg, Shivang Patel

4 Cameron Wahlberg, Shivang Patel 5 Cameron Wahlberg, Shivang Patel 6 Mary Le, Sandeep Kumar

272 | StratAA

4

5

Electives

6

Advanced Design Media Arch 436

Maddie Uhl Austin Howe Cody Goedken Cameron Wahlberg Assistant Teaching Professor Roman Chikerinets

274 | StratAA

This course looks towards animation capabilities of a software as explorative and generative means of formal development; projects range from conceptual drawing machines to applied architectural design.

1

2

Electives

3

1 Maddie Uhl 2 Cody Goedken 3 Cameron Wahlberg 4 Austin Howe

5 Cameron Wahlberg 6 Austin Howe 7 Maddie Uhl 8 Cody Goedken

276 276| |StratAA StratAA

4

ARCH 403 | Fall ‘20

Electives

5

6

7

8

Architectural Clay Formworks Arch 490

Associate Professor Shelby Doyle

278 | StratAA

An independent Honors Capstone research project conducted in the Architectural Robotics Lab (ARL).

Cyle King Jacob Gasper

Electives

This body of work explores 3d printing clay as a reusable formwork for concrete applications. The research develops methods and mockups for unfired clay 3D printing, both for its geometric possibilities and limitations as a reusable architectural formwork. The hypothesis of this project is that clay can be 3D printed to produce a mold, poured into to produce a concrete cast, then dissolved, remixed, and then used to produce new prints and molds. The project methodology relies upon iterative digital fabrication to combine robotic fabrication knowledge, computational design, and ceramic knowledge.

Beginning in 2019 as a series of seminars and independent studies this work began with the design and development of a pressurized air extrusion system that works with a KUKA industrial robotic arm located in the ISU Student Innovation Center. Initial iterative studies focused on clay consistency, end effector design, compressed air

calculations for pressuring clay, and robotic arm travel velocity to produce clay prints.

Funded in part by the Iowa State University Foundation Funded in part by the Iowa State Honors College Supported by the ISU Computation + Construction Lab Featured in: 2021 National Conference of Undergraduate Research 2021 ISU Symposium on Undergraduate Research 2021 Iowa State Honors Capstone Poster Sessions 2021 Wearables Design Fashion Show Special Thanks to Erin Hunt, Nick Senske, Jasmine Beul, Mae Murphy, Cameron Wahlberg, Mary Le, and Roman Chikerinets,

280 | StratAA

Electives

Regimes of Perception Arch 538

Run Lin Hannah Hogan

Assistant Professor Firat Erdim

282 | StratAA

This seminar in drawing, fabrication, and performance explores projection as a speculative aesthetic practice.It will set the stage for projects in projective drawings, bespoke drawing apparatuses, and other experimental instruments that throw forth possibilities for regimes of perception directed otherwise.

1

Electives

2

2,3,4,5 Hannah Hogan

1,6,7 Run Lin

Existential Environments explores ways that familiar places can be manipulated to create new experiences. The project consists of a fabricated “lens” apparatus used to create the videos and images edited and collaged for the final presentation. The “lens” is made of six mirrors arranged to reflect the peripheral areas that would otherwise be left out of the image. The videos and stills produced with this instrument document a distorted projection of reality that can alter and influence one’s experience within any given environment. In a society revolving around Photoshop and digital post-production, this apparatus distorts space as the user is embraced within it. This lens breaks through the traditional regime of perception to foster new, otherworldly encounters with nature and the built environment.

Me-asurements / produced, directed by, and starring Run Lin / filmed by Montana Gam-Ad. Using a non-numerical body language to communicate an object’s elevations.

284 | StratAA

4

3

5

Electives

6

7

The World is Not Enough Arch 528a

Professor and Chair Deborah Hauptmann OMA Partner Reinier De Graff

286 | StratAA

Large architecture practices are typically arranged for serving the rich and powerful, while small practices prefer to stick to small jobs uncorrupted by the greed of capitalism. But is big really evil and small always good? In an age marked by global threats, what could be the relevance of big thinking? This course invited students to reflect on this question and the related moral dilemmas.

1

Mary Le Cyle King Hiba Salih Ruchi Patel Jacob Gasper

Electives

2

3,4,5 Mary Le Cyle King Jacob Gasper

1,2 Hiba Salih Ruchi Patel

Air, as a mass, is inherently invisible. As an ever-changing dynamic element, it is transborderal in its setting, and either an asset or contaminant to all. Nonetheless, air is latent. Air is a solid. Air is a vehicle. Air is a resource. Throughout time, air has continuously gained toxicity. As certain territories carry certain toxicities, humans and their societies are forced to be nomadic. While air becomes less and less breathable, where will we go to find “clean air”? How long do we have until “clean air” is non-existent? Is it already too late? In reaction, a radical and provocative effort by humans must be made. The reaction must be dynamic in the same form air is.

Neo-Pangea is a global archipelago that grows in contrast to the right of land currently dictated through local wealth and political boundaries. Globally contested lands and borders reveal an “in between,” a “grey area” of ownership. Entire countries much larger than the microscopic pieces of land drawn on the map are thrown into global disputes, this proves that a few square kilometers could dictate and paint ownership of land as obsolete. Through the use of technologies such as floating islands and wave energy to create sand masses, these lands continue to grow through time. With the islands growing globally, a global archipelago becomes the new borderless land where nomadic communities and the high rate of displaced people can grow and establish themselves to a new, flexible land.

288 | StratAA

3

4

Electives

5

Complex Adaptive Systems Arch 522

Associate Professor Sharon Wohl

290 | StratAA

Complex Adaptive Systems Theory is the science that explains how clusters of interacting agents are able to enter into relationships of coordinated structured activity and pattern in the absence of a leader or top-down plan. Architects and Urbanists are now using insights from CAS theory to help understand ways in which cities and spaces can self-organize into resilient, adaptive enviornments, tuned to local conditions, in the absence of top-down control.

1

Gautam Pradeep Lauren Fordyce

Electives

2

3

4

5

1,2,3,4,5 Lauren Fordyce

6,7,8,9 Gautam Pradeep

The village of Ko Panyi was originally established as a temporary solution 200 years ago when Indonesians migrated to Thailand but were not allowed to own land in the country, forcing to build in the water off the coast of Thailand. The construction currently consists of small huts held to the site on a grid of stilts, but this construction with rising sea levels is no longer sufficient.

This project looks at the bus as a complex system and proposes a different way to look at the affordances offered by the current system and remodels it as a constantly configuring system. By rethinking the bus infrastructure as a modular one, we can embed evolutionary optimization capabilities within the system to generate fitter solutions by making the system responsive to feedbacks in each unique environment. The support structures within the bus become modular and give us the freedom to change the bus’s spatial conditions after trips. The folding chairs and tables that slide along the support create responsive environments during bus travel where riders can take part in leaving trails in the bus as additional clues to their spatial needs.

Goals of Panyi Pods are to expand space of the village, amplify economy, protect infrastructure from natural causes, and increase biolife. The smallest functional unit of the system is one pod, which is buoyant and deployable, dimensioned at 28 x 20 x 18, and made of concrete and bamboo. Transformable options of the unit include combined living, private living, wave breakers, and fishing vessels

292 | StratAA

6

7

Electives

8

9

PLUSH DsnS 546

Associate Professor Shelby Doyle

294 | StratAA

The Architectural Robotics Lab explores the emergent field of research, design, and construction utilizing robotic technology. The ARL is an outpost of the ISU Computation & Construction Lab an initiative of the ISU Department of Architecture that works to connect developments in computation to the challenges of construction through teaching, research, publication, and exhibition. A primary tenet of this work is the democratization of access to and knowledge about technology in architecture.

Jacob Goeckel Deysy Cruz-Escobar Elisabeth Hocamp Jordyn Holtmeyer Grant Runtsch Mary Le

Brett Biwer Andrew Evans Jacob Gasper Chase Ritchie Sarah Cobb Matt Koepke

Electives

PLUSH is a full scale exhibition exploring the fluid and organic capabilities of concrete through low-tech methodologies. Located in the King Pavilion Courtyard on the north side of the College of Design, this exhibition will be a culmination of the work from Assistant Professor Shelby Doyle’s DSN S 546 interdisciplinary studio. Throughout the semester, eleven students and one industrial design student in Doyle’s studio researched, tested, and designed concrete casting workflows.

As a result, the students created two typologies of soft formworks that showcase this process. Wall-like modules flow throughout the space, guiding users while creating more private spaces.

Additionally, curvaceous vertical elements utilize their various heights and intriguing organic forms to populate the courtyard’s grid.

PLUSH invites users to engage with the exhibition firsthand. Through touch, dwelling, or moving through the space, users can experience the concrete materiality and its unique and fascinating qualities. The exhibition was completed in the spring of 2021 and will remain in the space into the fall of 2021.

296 | StratAA

Electives

Superfundamental Dsn S 546 Ecologies of Repair

Professor Douglas Spencer Assistant Teaching Professor Liza Walling

298 | StratAA

The proposed Green New Deal calls on designers to engage with issues of climate change, environmental justice, and social equity. “Ecologies of Repair”, is a interdisciplinary studio addressed to this challenge, focused on the specific social, historical, environmental and geological conditions of Iowa.

We will explore how interdisciplinary and transdisciplinary approaches can enable us to collectively rethink, reflect on, and respond to these conditions through a variety of media and methods.

Carolan Hoffman Anna Losen Peter Miller Mae Murphy Tara Tilstraw

Electives

Forty-five years ago, the city of Des Moines discovered dangerous levels of trichloroethylene, a known carcinogen, in their drinking water. The contamination was traced to an industrial site owned and operated by a manufacturing company called Dico, near Des Moines Water Works (DMWW) on the banks of the Raccoon river southwest of the city’s downtown. Eight years later, in 1983, the Environmental Protection Agency (EPA) added the Dico site to the National Priorities List, and a series of legal proceedings and remedial efforts commenced.

To understand this site and its environmentally tragic past, we investigated the history and present conditions to speculate about its future. Its past started much earlier than when Dico first used the land, but the company’s brief stint on the site had an immense impact.

wWe propose a future where all exploited land and Superfund sites will be put on a list for eternal protection through the NonExtraction Zone Ordinance. A Non-Extraction Zone (NEZ) is a former Superfund site in a state of late or completed remediation that has been transferred from the national priorities list to a new land and property classification category. A single organization, company, or other human-led entity cannot directly benefit monetarily from the use or occupation of the site. Criteria for a site to be classified as a NEZ requires the site to: benefit all parts of the ecosystem(s) present; not allow ‘redevelopment’ on the site, and not be owned or operated by a single organization for their benefit.

Examples of small-scale development are allowable to include but are not limited to community gardens; land art with participatory community involvement; musical instruments; bird sanctuary; restorative prairie; and more.

300 | StratAA

Electives

The Great White Way Dsn S 546 Breathing: On Language Capital, and Possibility

Professor Mitchell Squire

302 | StratAA

Breathlessness is all around us. We are in a grip that is suffocating social respiration on every level imaginable. The Italian theorist Franco Berardi askes, “How do we deal with the suffocation that abstraction has produced in the history of humankind?” His answer is a call for poetical reactivation of the “erotic body of the general intellect” as the only pathway of liberation from the abstract domination of financial capitalism. His theory forms the basis of this studio.

Cyle King

Electives

We are distracted by novel forms and the aesthetics of iconography rather than space itself. To overcome the exclusionary practices of segregation, African-Americans have often had to negotiate boundaries, think about how to be in spaces in which they were prohibited from being. This project, titled The Great White Way, studies an infrastructural component along the Lincoln Highway 1,064 miles away from the United States Capitol building, in an attempt to make latent their coincidence.

The United States Capitol building is a microcosm of the systematic unjust that is “the land of the free, and home of the brave’’. This effort of Americanic patriotism is the name of an automation; a machine that performs a function according to a predetermined set of coded instructions, written by, and intended for, an exclusionary audience.This machine is an attempt against everything Black. The Capitol building, seen as a monument to this, refers us back in time as it concretizes in its marble clad shell.

These found objects construct more than a machine. It is very much a spatial idea. Space must never be marginalized. Space is anything BUT reductive or minimalist. It must embody spaces in the complex variants of continuous transformations. Today, space exists in tension. Space in tension suggests a struggling architecture and humanity with limited control of the forces of nature and itself. The last time this machine’s components were operable, gas was $1.80 for the white man, but much more for the Black man. There was a risk of life stepping in this space whether being for gas or the toilet.

This project exists not as a visualization of breathing, but more so to state our body’s existence for breathing; the importance of it.

Breath is the construction of space in the absence of material. The pedagogy of design does not acknowledge this. In response, The Great White Way visualizes this air as the domain where different vectors of crisis and conflict converge. Amongst these vectors, one may assume that there are multiple locations where transformations can be observed and potential sites of intervention in which projects can be imagined.

304 | StratAA

Electives

2021 Design Studios ARCH 201 Architectural Design I Kimberly Zarecor, PhD Reinaldo Correa Andrea Wheeler, PhD Obishek Mandal Patience Lueth ARCH 202 Architectural Design II Reinaldo Correa Kevin Lair Ayodele Iyanalu Mikesch Muecke, PhD Roman Chikerinets ARCH 301 Architectural Design III Anna Aversing Ayodele Iyanalu Liza Walling Roman Chikerinets Kevin Lair ARCH 302 Architectural Design IV Bosuk Hur Pete Goche´ Rob Whitehead Anna Aversing Rod Kruse Vladimir Kulic, PhD

306 | StratAA

ARCH 401 Architectural Design V Ayodele Iyanalu Andrew Gleeson Shelby Doyle Mikesch Muecke, PhD Tom Leslie FAIA

ARCH 402 Architectural Design VI Kimberly Zarecor, PhD Andrew Gleeson Andrew Ballard Simone Capra Consuelo Nunez Ciuffa

ARCH 422 Byzantine Architecture Jelena Bogdanovic, PhD

ARCH 403 Architectural Design VII Firat Erdim Nick Senske Pete Goche´ Bosuk Hur

ARCH 426 History of Indigenous Architecture and Placemaking of North America Lynn Paxson

DSN S 546 Interdisciplinary Design Studio Mitchell Squire Cameron Campbell Liza Walling Douglas Spencer, PhD Firat Erdim Mikesch Muecke, PhD Shelby Doyle

History Theory Culture ARCH 220 Contemporary Architecture Vladimir Kulic, PhD Liza Walling ARCH 221 History of Pre-Modern Architecture Jelena Bogdanovic, PhD ARCH 321 History of the American City Andrew Gleeson ARCH 322 Histories and Theories of Modern Architecture Kimberly Zarecor, PhD

ARCH 425 Balkans to Baltics Vladimir Kulic, PhD

ARCH 429 Topics in Italian Architecture : History ARCH 431 Analytical Drawing : Rome Consuelo Nunez Ciuffa ARCH 486 Urban Realities Pia Schnieder Tom Rankin ARCH 521 Urbanism in Film Andrew Gleeson Mikesch Muecke, PhD ARCH 522 Complexity Adaptive Systems Theory Sharon Wohl, PhD ARCH 525 Meaning and Form in Architecture Jelena Bogdanovic, PhD ARCH 528a Trip to Rome Simone Capra ARCH 528a Design as Protest Kevin Lair

ARCH 558 Sustainability and Green Architecture Andrea Wheeler, PhD ARCH 568 Historic Preservation Arvid Osterberg ARCH 571 Design for All People Arvid Osterberg ARCH 575 Contemporary Urban Theory Liza Walling ARCH 598 The Architectures of Global Socialism Vladimir Kulic, PhD

Building Technologies ARCH 345 Building Science and Tech I Ulrike Passe Tom Leslie, FAIA Bosuk Hur ARCH 345L Building Science and Tech I Lab Eric Badding ARCH 346 Building Science and Tech II Ulrike Passe Eric Badding Bosuk Hur

ARCH 346L Building Science and Tech II Lab Eric Badding

ARCH 436 Advanced Design Media Roman Chikerinets

ARCH 347 Building Science and Tech III Ayodele Iyanalu Ulrike Passe Tome Leslie, FAIA

ARCH 538 Regimes of Perception Firat Erdim

ARCH 347L Building Science and Tech III Lab Eric Badding ARCH 348 Building Science and Tech IV Ayodele Iyanalu Ulrike Passe Bosuk Hur ARCH 348L Building Science and Tech IV Lab Eric Badding ARCH 445 Building Science and Tech V Tom Leslie, FAIA Ulrike Passe Bosuk Hur ARCH 445L Building Science and Tech V Lab Eric Badding

Professional Options ARCH 335 Three-Dimensional Studio Paul Shao ARCH 433 Intro to Digital Fabrication Shelby Doyle

ARCH 451 Whole Building Energy Performance Ulrike Passe ARCH 534 Design Workflows in Revit Nick Senske

Behavioral Studies/ Practice ARCH 371 Human Behavior and Enviornment Sharon Wohl, PhD ARCH 482 Professional Practice Ann Sobiech Munson

Design Communications ARCH 230 Design Communications Nick Senske ARCH 231 Advanced Design Representation Nick Senske

Curriculum

ARCH 528a The World is Not Enough Deborah Hauptmann, PhD Reinier de Graaf

3rd Year Studio Prizes

4th Year Studio Prize

Richard F. Hansen Lectures in Architecture Prize

DLR Integrated Studio Prize

This third year undergraduate architecture studio competition recognizes the student project that best investigates landscape as a central and integrated part of the architectural artifact. Projects should demonstrate an understanding of the perceptual aspects and strategies of the site, thoroughly examine the environmental condition, and develop a clearly articulated design concept. Development of a critical design process is stressed.

The fourth year undergraduate architecture studio competition recognizes the student project best demonstrating a rigorous examination of how buildings participate sustainably in socio-political and environmental systems. This prize recognizes a student project that presents rigorous research and an architectural proposal that integrates issues of physical site, socioeconomic context, programming, structure, form, materiality, and building systems.

Unearthing Thick Injustice

On the Butcher’s Block

Hiba Salih Studio Instructor: Liza Walling Sanctuary: A Prairie Refuge Griffin Lilly Adam Myhre Andrew Moon Studio Instructor: Kevin Lair

BWBR Prize The BWBR Prize is offered to second semester third year undergraduates to promote development of skills BWBR values in the profession: design excellence, technical knowledge, communication skills, and equity in the built environment. +1 Griffin Lily Megan Kavlock

308 | StratAA

Studio Instructor: Bosuk Hur

Mae Murphy Cameron Wahlberg Studio Instructor: Shelby Doyle

Building Tech.

Prize

Nathan and Lisa Kalaher Prize

Wells Concrete Prize

This fifth year undergraduate architecture studio competition rewards the project best exhibiting research and critical thinking in research and design. This award recognizes the importance of the relation between design practice and critical, theoretical discourse informed by research. It seeks to reward students who take risks in proposing pioneering and intellectually provocative architectural design. This includes not only the final design and how well it represents a result of this research, but especially considers the questions raised, quality of methodology, and the intellectual merits of its conclusions.

Experts in precast concrete Wells Concrete established this architecture design competition in order to promote the utilization of architectural and structural precast concrete components and systems. Eligible projects were selected from undergraduate architecture student submissions of final building technology course work. Competition criteria included: performance to form, structural optimization, and aesthetic qualities, as well as innovative use of precast concrete systems. Ultimately, the prize seeks to award students who include life-cycle considerations with respect to overall project projections including long term functional and performative value.

Lisabona Cyle King Donovan Bunn Studio Instructor: Firat Erdim

H. Kennard Bussard Prize The fifth year undergraduate architecture studio competition recognizes the project that best develops a well communicated and conceptually rigorous architectural response to the project assignment. In particular, the award recipients will exhibit outstanding ability and creativity in the architecture design process.

Oberserving Air Mary Le Mohammed Alhoumandi Braden Cooper Jacob Gasper Studio Instructor: Pete Goche´

Hex Beam Sal Zajac Noah Torstenson Christopher Shoemaker Studio Instructors: Tom Leslie Bosuk Hur Ulrike Passe

Awards

5th Year Studio Prizes

Class List 310 | StratAA

Alarifi, Nora

Guenther, Kyle

Postula, Anna

Alkhashram, Khelod

Guevara, Fernanda

Preston, Emily

Allen, Sophia

Gutierrez, Andrea

Ritland, Jessica

Andrews, Aidan

Hasancevic, Armin

Rivera, Dylan

Awan, Nawal

Hatch, Emily

Rivera, Osvaldo

Becker, Jacob

Hewitt, Thomas

Sanders, William

Berg, Samuel

Hyun, Ka Heun

Sandoval, Donovan

Berger, Micah

Jaynes, Peter

Sarceno Cortez, Jamileth

Berthusen, Bryce

Jensen, Morgan

Sawyer, Megan

Blum, Abigail

Kracl, Thomas

Schmitz, Maggie

Boelk, Carlie

Kremer, Caroline

Schuur, Alexis

Boor, Anna

Kuhn, Bryce

Sellnau, Daniel

Caudle, Travis

Leira, Daniel

Shanahan, Connor

Chen, Qiaofeng

Lyons, Ben

Stoltenberg, Nathaniel

Chen, Shuaiqing

Maguina, Sophia

Stykel, Cole

Cheung, Nick

Meoni, Austin

Swegle, Lauren

Christensen, Jaida

Merkle, Georgia

Thompson, Anaiah

Clark, Alexis

Meyers, Ryan

Todhunter, Madelinn

Clark, Colton

Miller, Travis

VanDenTop, McKenna

Clemente, Ashley

Mozolewski, Oscar

VerMulm, Ryan

Coleman, Chloe

Mure-Ravaud, Pierre

Vogel, Seth

Corkery, Evan

Nastase, Mircea

Wardle, Nathan

Day, Madelyn

Newhouse, Hannah

Wernsing, Craig

Diemer, Jonah

Nicoll, Jaclyn

Wilhelmson, Jillian

Doody, Savannah

Paz, Edwin

Wolter, Leah

Evans, Yasmine

Pearson, Evan

Yingst, Gabriel

Fantz, Weston

Pfannebecker, Logan

Zhang, Timothy

Flynn, Zoe

Pierce, Jaren

Friedman, Nicole

Pifer, Hunter

Gilroy, Peter

Poppert, Ryan

Howell, William

Salih, Hiba

Allogani, Shoroug

Huynh, Tien

Schoo, Brandon

Anderson, Brenden

Juma, Lilian

Schwarzkopf, Elijah

Bartelme, Jenna

Kavlock, Megan

Scott, Cameron

Bennett, Morgan

Kempema, Tyler

Socha, Jack

Boelter, Ashlee

Kincaid, Edward

Sosa Valle, Suzette

Bontrager, Emma

Koopal, Aaron

Stapella, Arden

Bran Quintana, Luis

Kuehl, Carrington

Stirling, Garrett

Busch, Zachary

Lam, Kaming

Strait, Jack

Carson, Parker

Lawless, Lauren

Taleb, Amani

Carver, Anastasia

Lilly, Griffin

Tawfik, Andrawes

Chicos, Sydney

Mauro Nguemah, Karl

Thao, Tristian

Cole, Donovan

McDermott, Connor

Thornton, Emily

Cooper, Mercedes

Meira, Laryssa

Tokarczyk, Kevin

Dawa, Journey

Mohamed, Yahia

Torrens, Samuel

Dehnke, Dakota

Moon, Andrew

Vaidya, Aditi

Dirks, Grant

Murphy, Amanda

Villalpando, Isabella

Dresser, Anna

Myhre, Adam

Wang, Sitong

Edwards, Brandon

Nuetzmann, Berit

Weber, Macallister

Ehler, Lily

Nunez, Jorge

White, Aubrey

Feldmann, Keigan

Oh, Nathaniel

Wiley, Jonathon

Fjelstad, Elizabeth

Olsen-Walker, Thomas

Yanga, Collin

Gainer, Zachary

Palmberg, Devin

Youngstrom, Andrew

Gatewood, Jessica

Piloni, Ryan

Goche, Oliver

Rathi, Utsav

Gunnerson, Haylee

Ringblum, Garrett

Halstead, Erica

Rivera Ortega, Rocio

Henningsen, Haven

Robles-Munoz, Gabriela

Hickson, Lorissa

Rodriguez, Anthony

Howe, Aaron

Rojas, Janeese

Students

Alessio, Joseph

312 | StratAA

Allen, Danielle

Goedken, Cody

Shaw, Taylor

Bai, Yanjiu

Haas, Charli

Sieja, Johanna

Barger, Samantha

Hanus, Lee

Sigmon, Anne

Baringer, Sara

Holdorf, Keegan

Skistad, Hannah

Bell, Trevor

Hunt, Davis

Smiley, Sara

Benton, Cole

Jimenez Camacho, Rafael

Snell, Reid

Betti, Anthony

Kaye, Jonathan

Speer, Jordan

Bishop, Parker

Khoury, Fawzi

Tarr, Alexander

Call, Alexis

Kim, Jihoon

Teal, Graham

Chen, Cuiling

Kuswara, Ruth

Tornow, Abby

Chen, Zhaoyue

Le, Dai

Uhl, Madelyn

Choi, Youn

Leeder, Brandon

Vachhrajani, Samarth

Chow, Jia

Lin, Jen-Ni

Vail, Alyssa

Cleveland, Finn

Lin, Run-Qian

Van Dalen, Megan

Coates, Andersen

Lin, Zixiong

Voss, Julie

Deiuliis, Mackenzie

Liu, Chi

Wahlberg, Cameron

Dellett, Bryan

Lopez-Villalobos, Jose

Welp, Brian

Dinderman, Haley

McDonell, Luke

Winther, Mckenna

Ding, Ming

Mehls, Madison

Xia, Fengxue

Drewlow, Katie

Mixdorf, Adison

Zhang, Ruodi

Dust, Kelsey

Murphy, Mae

Zhu, Yuewen

Ehlert, Megan

Nall, Nathan

Espinoza, Angie

Nayman, Cameron

Flores, Stevie

Nordmeyer, Samuel

Fransen, Brenna

Patel, Shivang

French, Cameron

Pico, Claudia

Fritz, Michael

Ramos, Ana

Garcia, Heriberto

Rohlfsen, Samantha

Gehl, Michael

Schendel, Austin

Gibbs, Samantha

Schulte, Noah

Guo, Xingda

Sharma, Tanya

Agnes, Robert

Hansen, Benjamin

Shoemaker, Christopher

Akintan, Tikeoluwa

Harding, Abbigail

Snyder, Brett

Alatrista Calsino, Angela

Hocamp, Elisabeth

Stenslie, Nicholas

Alhamoudi, Mohammed

Hoffman, Carolan

Stokes, Lauren

Anderson, Dylan

Hogan, Hannah

Stumpner, Samantha

Arnold, James

Holtmeyer, Jordyn

Sturtz, Caleb

Biwer, Brett

Huston, Emily

Sullivan, Nolan

Borgman, Jay

Irizarry, Ariana

Tan, Jennifer

Buenz, Kelsey

Kelly, Mary

Teoh, Yee

Cardenas, Madison

King, Cyle

Tiric, Mia

Chen, Ruoxi

Koepke, Matthew

Tolefree, Jaya

Chinchalkar, Vyankatesh

Langley, Jasen

Tornabane, Noah

Cobb, Sarah

Larsen, Hannah

Torstenson, Noah

Cooper, Braden

Le, Mary

Tosi, Alice

Cruz, Deysy

Le, Tuyen

Townsley, Mathew

Detterman, Zachary

Melendrez, Henry

Toy, Trevor

Dewit, Danica

Modra, Elizabeth

Vanzante, Emma

Doan, Thien

Morgan, Allison

Xin, Haoyang

Duckett, Leigha

Murrow, Robert

Zajac, Salvatore

Duenser, Diandra

Olsen, Ben

Zhang, Wenyuan

Evans, Andrew

Olson, Grant

Fagbule, Oluwatobiloba

Pradeep, Gautam

Fordyce, Lauren

Qian, Haiyang

Frantik, Samantha

Ramirez, Jhonriel

Frazier, Cassandra

Ritchie, Terry

Gasper, Jacob

Rodriguez, Javier

Gockel, Jacob

Roose, Nicholas

Godhani, Hemant

Rushenberg, Samuel

Gray-Trier, Melanie

Schulte, Heather

Students

Alwalid, Ahmed