Architecture: Experimental
Mar 29, 2016
works 2007-2012
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'13 EMPLOYMENT:DIGITAL FABRICATION SPECIALIST
RAEL SAN FRATELLO ARCHITECTSParametric design and CNC fabrication of SOL Grotto at UC Botanical Garden summer artists installationInstruction to students on CNC and 3D Printing operation2012Contact: Ron Rael +1.510.207.2960 [email protected]
TECHNOLOGY PROTOTYPES DESIGNERFLECTIVE IMAGING SYSTEMSDesign and fabrication of geometry based adaptive imaging surfaces for architectural applications2012
FABRICATION SPECIALISTUC Berkeley CEDDesign and fabrication of special projects including reception desks and NAAB exhibition materials2010-2011Contact: Tom Buresh [email protected]
CAD/CAM LAB SUPERVISING TECHNICIANUC Berkeley CEDUpkeep and maintenance of Laser Cutters and 3dPrinters. Teaching operation, modeling and material selection to students. User Scheduling.2010-2011Contact: Patty Meade +1.510.501.7973
ARCHITECTURAL INTERNAssist Inc.Site assessment, design and construction phase documents of community design projects and access modifications. Developing educational publications and presentations.2008-2009Contact: Roger Borgenicht +1.801.355.7085
MODEL BUILDERJacoby ArchitectsFabrication from construction documents of presentation model and display case for client display in completed project2009Contact: Joe Jacoby +1.801.363.1434
PROGRAMS AND SKILLS:RHINOCEROS 4,5AUTOCAD ARCHITECTUREGRASSHOPPER SCRIPTINGMODOARDUINO PROGRAMMINGMAXWELL RENDERARCGISRHINOCAM CNC MILLINGVCARVE PRO CNC MILLINGALGOR FEA SIMULATIONARCHICAD BIM MODELINGADOBE CS6 COLLECTION3D PRINTING IN ALL MEDIUMSCNC/LASER DIGITAL FABRICATIONWELDING AND METAL WORKCONSTRUCTION TECHNIQUESPHYSICAL MODELING IN ALL MEDIUMSANALOG & DIGITAL PHOTOGRAPHYMICROSOFT OFFICE, EXCEL
BRYANALLEN
1812 Pearl StAlameda CA 94501
+1.801.916.0885+1.510.730.1065
skype: b.allen450 [email protected]
WWW.ARC-X.ORG
MASTERS OF ARCHITECTURE University of California Berkeley
2012
UNKNOWN FIELDS RESEARCHERArchitectural Association London
2011
HONORS BACHELOR OF SCIENCE: ARCHITECTURAL
STUDIES University of Utah
2009
AWARDS:2011 JOHN K. BRANNER FELLOW1 year worldwide traveling fellowship awarded for individual research on the topic of Post Industrial Latent Space
STATE OF UTAH GOVERNORS SCHOLARUniversity of Utah and Utah Governors Office2005
NATIONAL MERIT SCHOLAR2005-2009
PUBLICATIONS:"Post Industrial Latent Space"Volume Magazine #31 Guilty Landscapes2012
"TERRATOXIS"Disruptive StudioMasters Thesis UC Berkeleyadvrs: Mark Anderson, Ron Rael, Joonhong Ahn Phd.2012
"Examining Profound Experience:Exploring the process of profound experience for a better architecture"Honors Thesis, University of Utahadvr: Julio Bermudez2009
"Top 10 Ideas for Home Improvement"published by Assist Inc. 10,000 copies in circulationdistributed by:Salt Lake County/Salt Lake Citydesigner, writer, researcher2009
EXHIBITIONS+LECTURES:TERRA TOX'ISLecture and ExhibitionUC Berkeley2012
SOURCEgallery show of architectural worksHeadquarters Gallery Berkeley2012
In Ruinsarchitectural photography show University of Utah, Bailey Gallery2009
PRESS:ICON magazine 105Wiles, Will "The Irradiated Zone" cover photo, photos and interview featured2012
SF GATE 8.15.12Eaton, Joe "Natural Discourse at UC Garden"SOL Grotto Featured
HINGE magazinecover and feature photos Sparano-Mooney House2010
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////////2010SF WATERFRONT
UC BERKELEY: FRANCISCO PARDOZAC ROCKETT
sf datascape
PIER 70 TECHNOLOGY CAMPUSARCHITECTURAL DYNAMICS
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THE PORT WAS THE HUB OF INFORMATION BEFORE TELECOMMUNICATION, HERE NEW KNOWLEDGE GOODS AND IDEAS WERE EXCHANGED COMPARED AND UTILIZED. THE GREAT CITIES OF THE WORLD ARE PORT CITIES SPECIFICALLY BECAUSE THE EASY ADOPTION OF NOVEL IDEAS. IN THE MODERN WORLD WE HAVE TURNED AWAY FROM PORTS, SHIPPING HAS BEEN CONTAINERIZED LEAVING MANY WATERFRONTS DILAPIDATED AND MISUSED. THE ESSENTIAL EXCHANGE OF INFORMATION GROWING CULTURE NOW EXISTS ONLINE. THOUGH IT IS NOT AT EPHEMERAL AS AT FIRST GLANCE, THE INTERNET IS INHERENTLY PHYSICAL. ONLY A FEW DOZEN UNDERSEA CABLES CARRY 85% OF WORLDWIDE TRAFFIC.
THESE CABLES FOLLOW THE HISTORIC SHIPPING LANES AND MAKE LANDFALL WITH LITTLE FANFARE OUTSIDE THE PORTS THEY REPLACED. SAN FRANCISCOS PIER 70 WATERFRONT IS UNIQUELY POSITIONED ON THE SF-SILICON VALLEY BACKBONE WITH ITS TECH CENTERS. THE SF DATA SCAPE ENVISIONS THIS BLIGHTED SHIPYARD INTO A TECHNOLOGY CAMPUS WITH MIXED PROGRAM OF PUBLIC WATERFRONT, HOUSING, AND BUSINESS WITH TECH/STARTUP INCUBATORS AS THE FOCUS. ITS GOAL: TO RE-SOCIALIZE AND RE-PHYSICALIZE A DIVIDED CITY THROUGH OPEN ARCHITECTURE AND INTERACTIVE CITYSCAPE.
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19th Street
Illinois
St.
1
3
6
4
5
2
7
1 public entry2 media development3 amphitheater4 townhouse units5 apartment units6 tech development7 public waterfront
previous:longitudinal section
above:world shipping lanes and undersea cables
right:Pier 70site plan
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TECH STARTUPS AND HACKER SPACES. PUBLIC AND PRIVATE PROGRAMS INTERFACE AS PRESENTATIONS ARE GIVEN IN VIEW OF THE PUBLIC. THE CHANCE FOR INSPIRATION AND INFORMAL INTERFACE IS MAXIMIZED BY DIRECTED OPENNESS. THE STRUCTURE ITSELF REFLECTS THIS OPENNESS, PRE-CAST CONCRETE MEMBERS ARE WIRED WITH LED STRIPS AND SCREENS. AS DATA PASSES THROUGH THEM THEY CHANGE COLOR AND FORM REPRESENTING THE TYPE OF WORK GOING ON. A GLOWING, BREATHING, BEACON IN THE BAY FOG.
THE IMMENSE GROWTH OF THE TECH INDUSTRY HAS HAPPENED BEHIND CLOSED DOORS. CAMPUSES ARE AKIN TO CORPORATE GATED COMMUNITIES WHERE ONLY THE CHOSEN CAN ENTER, THIS KILLS THE FLOW OF IDEAS AND INTERFACE WITH A REAL WORLD. THE OPENS ONTO INDIANA STREET WITH A LARGE COVERED PUBLIC PLAZA INVITING WALKERS BIKERS AND BOATERS TO ENTER WITH A VISTA OF THE WATER ALONG THE HISTORIC SLIP. THE PUBLIC PLAZAS PROVIDE CIRCULATION THROUGH THE CAMPUS TO THE BUILDINGS AND EVENTUALLY CULMINATING AT A WATER PLAZA ON THE BAY.
ALONG THE PROMENADES THERE ARE PUBLIC AMPHITHEATERS AND WORKING SPACE. THE CAMPUS PROVIDES FREE INTERNET AND INCUBATOR SPACES FOR
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above:Promenade Amphitheater
opposite:Indiana Street Entrance
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PUBLIC SPACES AND THE FORMER PORT BUILDINGS PROVIDE THE FRAMEWORK FOR SMALLER PRIVATE LIVING AND WORKING UNITS. THEY FORM A SPATIAL GRADATION OF NESTED SPACES FROM PUBLIC TO PRIVATE. THEY EXISTS AS NODES WITHIN A NETWORK, UTILIZING NOT ONLY THE ADVANCED INFRASTRUCTURAL ASPECTS OF THE BUILDING BUT ALSO THE SOCIAL INTERFACE AND NETWORKING INHERENT TO THE PROJECT. THIS NODAL NETWORK MODEL EXPRESSED ARCHITECTURALLY PROVIDES A NEW
MODEL FOR SAN FRANCISCO: A VISION FOR INTEGRATION OF TECHNOLOGY, ARCHITECTURE, AND A VITAL WATERFRONT.
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above:unit plan/section
opposite:interior data flow
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above:perspective section
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////////2008SALT LAKE CITY, UTUNIVERSITY OF UTAH: JORG RUGEMER
GENESISHOUSING
MULTI FAMILY RESIDENTIALSOCIAL AND URBAN DENSIFICATION
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previous:1/8 modelfrom top:street effect studiesform finding modelssite planopposite:street elevationunit section
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AN ORGANIC GROWTH OF URBAN FABRIC: A MACRO-ORGANISM, CONSUMING AND REDEFINING THE STATIC CONSERVATIVE COMPLACENTLY OF THE SALT LAKE CITY STREET-SCAPE.
SITED ON THE WEST SIDE OF THE CITY, ON THE NEW NORTH TEMPLE LIGHT RAIL LINE, THIS PROJECT AIMS TO CREATE A NEW STANDARD FOR LIVING, BY TAKING ON A HISTORICALLY MARGINALIZED SITE AND EXPLORING IT'S POTENTIAL AS AN EXAMPLE OF DENSE TRANSIT ORIENTED DEVELOPMENT.
AMBITIOUS FORMS SET A TREND FOR BETTER RESIDENTIAL DESIGN IN THE CITY. TO CREATE A NEW LIVING MODEL REQUIRES A REDEFINITION OF THE STREET
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below:street transit renderingopposite:level plansunit plans
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TYPE A
LEVEL 1 LEVEL 3
LEVEL 2 ROOF PATI0 LEVEL
TYPE B TYPE C
ROOF PATI0 LEVEL
LEVEL 3
LEVEL 2
LEVEL 1
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SCAPE AND A CONVERSION TO A MORE TRULY URBAN MODEL. MORE WALKABILITY, EFFECTIVE TRANSIT, MORE DENSITY, THE ESSENTIALS OF CREATING A COMMUNITY OF INTERACTION.
THE PROJECT CONSISTS OF A MIX OF 18 TOWNHOUSE UNITS WITH A STREET-FRONT RETAIL UNIT. THEY ARE ARRANGED TO MAXIMIZE WINDOW AND STREET EXPOSURE AND ORIENTED TO THE INNER COURTYARD.
THE FACADE SYSTEM IS DESIGNED TO EXTEND THE ORDER OF THE UNITS INTO THE LOCAL LANDSCAPE AND INCORPORATE THE BUILDING AS AN ALTERNATIVE EXTENSION OF THE AXIAL AND LINEAR ORDER OF THE CITY FABRIC.
FAR FROM NEEDING MORE INWARD LOOKING AND EXCLUSIONARY DEVELOPMENTS, SALT LAKE CITY NEEDS MORE OPENNESS, DESIGN, AND URBAN INTEGRATION. IT NEEDS MORE COMMUNITY LIVING AND MORE MIXED USE DEVELOPMENT.
THIS PROJECT IS A START, A FIRST MOVE INTO AN EVOLUTION OF THE CITY.
left:1/64=1 site modelbelow:interior courtyardopposite:3/8"=1' sectional model
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////////2012BERKELEY, CA
RAEL SAN FRATELLO ARCHITECTS
SOLGROTTO
SOLYNDRA ROD INSTALLATIONTRANSMISSIVE POROSITY
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Existing deck extended [1 Existing bench integrated [2
1368 Solyndra rods [3 Blackout interior [4
waterfall and rock wall [5
1
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5
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4
previous:3pm interior
top:plan
creekside axo
opposite:grasshopper scriptrod depth guides
1368 GLASS RODS OUT OF 2.4 MILLION OF THE LOT LEFT BEHIND WHEN SOLYDRA WENT BANKRUPT FOUND A NEW LIFE IN THE SOL GROTTO IN THE UNIVERSITY OF CALIFORNIA BOTANICAL GARDEN IN THE HILLS ABOVE BERKELEY. RAEL SAN FRATELLO ARCHITECTS WAS INVITED TO CREATE AN INSTALLATION UTILIZING THE RODS AS PART OF THE GARDENS NATURAL DISCOURSE EVENT.
THE INSTALLATION EXTENDS AND COVERS AN EXISTING DECK NEXT TO A WATERFALL IN THE CALIFORNIA SECTION OF THE GARDEN. THE RODS PERFORATE A SOLID WALL AND PROTRUDE A SET DISTANCE TO CREATE AN UNDULATION POINTILLIST SURFACE OF LIGHT. EACH HOLE WAS MILLED TO A TOLERANCE OF 0.003 TO ALIGN THE RODS TO EACH SIDE OF THE WALL AND PROVIDE ENOUGH RESISTANCE TO HOLD THEM AFTER BEING INITIALLY SET. THE RODS WERE THEN CALIBRATED TO INDIVIDUAL DEPTHS TO CREATE THE UNDULATING SURFACE ACCORDING TO SCRIPTED DESIGN PARAMETERS.
THE RESULT IS A SOLID YET POROUS SURFACE THAT BRINGS LIGHT AIR AND THE SOFT SOUNDS OF THE WATERFALL AND GARDEN INTO THE CALMING DARKNESS OF THE SPACE. THE SOUND AND SMELL OF WATER ECHO THE DARK INTERIOR. THE RODS GLOW EVEN IN FOGGY CONDITIONS TRANSMITTING COLLECTED LIGHT INSIDE.
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////////2010LIMA, PERU
UC BERKELEY: RENE DAVIDS
museode lima
MUSEUM OF A PEOPLES CITYBARRIO RIVER REVITALIZATION
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RIVER/CITY/LIFE: REVITALIZATION AND RECLAMATION OF THE HEAVILY URBANIZED RIMAC RIVER AT AN IMPOVERISHED SITE IN THE LIMINAL FRINGE OF HISTORIC LIMA. PEDAGOGICAL MUSEUM PROGRAM TO INFORM, INFLUENCE AND INSPIRE PEOPLE MAKING DECISIONS ABOUT THE BUILT ENVIRONMENT AT ALL LEVELS SITE OF A FORMER GARBAGE DUMP ENCROACHED BY INFORMAL HOUSING, BARRIADAS IN CLOSE PROXIMITY TO THE COLONIAL CENTER. ISSUES OF CULTURE+CLASS CONFLICT AND ENVIRONMENTAL REMEDIATION PARAMOUNT.
pervious:tower viewopposite:barrio planabove:sectionsbuilding plans
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A
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above:barrio side entrybridge aerial
MUSEO DE LIMA IS NOT A TRADITIONAL MUSEUM PRESENTING JUST ANOTHER COLLECTION OF EDITED RELICS FROM A CONTRIVED PAST. IT IS A PROFOUND REORDERING, A REMEMBERING OF FORGOTTEN SEQUENCE: RIVER-BRIDGE-TOWER-CITY. IT IS A WARPING AND PEELING OF THE UNDERLYING AND BURIED CONTEXTUAL FABRIC OF THE BUILT ENVIRONMENT TO REVEAL AND RE-REALIZE THE TRUE NATURE OF LIMA. IT IS A MUSEUM OF THE PEOPLE, A COUNTERPOINT TO THE CORPORATE WATCHTOWERS AND WALLS DEFINING THE STREETSCAPE OF THE CITY. ITS A CONNECTION OF HIGH ART AND GRAFFITI, THE SACRED AND PROFANE, THE SLUM AND THE VILLA, THE RIVER, THE SKY, THE ROCK, AND THE CITY.
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above:museum tower sectionmuseum interioropposite:museum interior moto exhibit
THIS PROJECT RECONNECTS THE DEVELOPING WATERFRONT PARK IN THE COLONIAL CENTER OF LIMA THROUGH A RECLAIMED RIVERFRONT, RIVER CROSSING, AND TOWER TO AN OVERARCHING VIEW OF THE CITY. THIS PROGRESSION RISES FROM THE RIVER EDGE THOUGH LOCAL GRASSES, SHRUBS, AND BOULDERS TRANSECTED BY PATHS AND SEATING WHERE COUPLES CONGREGATE. IT RAMPS UP, PULLING FORCIBLY OUT OF THE GROUND GEOMETRIC MASSES OF RAMMED EARTH EVOKING THE CONTEXTUAL BUILT ENVIRONMENT AND GEOLOGY. THE PATH CONTINUES INTO THESE FORMS CREATING THE MUSEUM RUIN: DARK CORRIDORS WITH BAFFLED ENTRANCES OPEN INTO OCULUS LIT GALLERIES EXHIBITING PUBLICLY CHOSEN ART.
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above:1/2=1 section modelroof level perspectiveopposite:wall section
THE ENTIRE ARCHITECTURE BECOMES THE EXHIBIT WRAPPED AS A HUACA IN A SHIMMERING GLASS SHEATH. THE PROGRESSION SYNCOPATES FROM LIGHT TO DARK ALLOWING FLEXIBLE PUBLIC USES IN THE GALLERY SPACES. THE PUBLIC IS DRAWN ONWARD AND FINALLY UP THE TOWER TO THE MOMENT OF OPENING: A WHOLISTIC REALIZATION OF THE CITY, AND A PEOPLE CONNECTED BEYOND TIME, SPACE, AND CLASS.
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1 2.5in extruded glass rods2 powder coated white anodized aluminum secondary frame3 p.c. aluminum tension bracing4 steel -column with white anodized aluminum jacket5 precast color dc8a41 concrete cap6 structural tie-in7 polished concrete finish floating slab8 lighting+systems plenum9 cast-in-place reinforced concrete frame10 reinforced precast rammed earth panel11 cold rolled steel oiled finish12 acoustic insulation13 c.i.p. reinforced concrete brace14 glazed railing15 acoustic floor insulation16 c.i.p reinforced concrete 2-way structural slab
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////////2009SALT LAKE CITY, UTUNIVERSITY OF UTAH: LIBBY HASLAM
nervecenter
ART AND TECHNOLOGY CHARTER SCHOOLWAREHOUSE DISTRICT, SLC
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individual based computer based
group based
oral presentation based
lecture based forum based
1ST FLOOR 2ND FLOOR 3RD FLOOR 4TH FLOOR
DIGITAL MEDIA BASED CHARTER SCHOOL: STRATIFIED INFORMAL LEARNING THE EMERGENCE OF DIGITAL TECHNOLOGY HAS LED TO AN INEVITABLE RETHINKING OF THE EDUCATION EXPERIENCE AND THE WEIGHT OF MEDIA IN EDUCATION. OLD SPATIAL MODELS OF SCHOOLS ARE OUTDATED AND UNABLE TO ADAPT, A NEW MODEL IS NEEDED. THE NERVE CENTER EXPANDS UPON THE EDUCATIONAL PROGRAM STARTED AT SPY-HOP MEDIA PRODUCTIONS IN DOWNTOWN SALT LAKES EMERGING WAREHOUSE DISTRICT.
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pervious:1/16=1 model
above:elevationsectionopposite:
site planfloor plans
classroom plans
guerrilla learningclass section
teacher office
upper grade
lower grade
THE SCHOOL FOCUSES ON A TIERED STACK OF K-12 CLASSROOMS. OVERLAPPING GALLERY SPACES MEET AT EACH GRADE LEVEL TOINSPIRE THE GRADES BELOW AND PROVIDE OPPORTUNITY OF INFORMAL LEARNING. THE CANTED CLASSROOM VOLUMES SIT ABOVE THE PUBLIC PROGRAM SPACES AND FORM A BARRIER FROM THE STREET FOR OUTDOOR PLAY AREAS IN THE HEART OF THE CITY.
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(A) full wall section
perforated metal screen
zinc panel system
steel structure
acoustic drop ceiling
ventwood (tm) screen
web joists with mechanical plenum
composite slab
modular acoustic rubber floor systemcable space below
recessed metal base
acoustic insulation
exterior wood screen
triple pane curtain wall
rigid insulationdrainage layer/root barrier
substrate with retention matrix
native plant green roof
drainage tub
(B) upper wall section
(C) lower wall section
glass railing
operable screen
operable windowsoperable screen
THE INTERPLAY OF INFORMAL AND FORMAL INSTRUCTION IS ASSISTED BY MODULATING MATERIAL POROSITY TO PROVIDE A GRADATION OF PRIVATE SPACES. THE MAIN CORRIDORS ARE WIDE AND WELL LIT WITH MANY NOOKS FOR ART AND MEDIA INSTALLATIONS AND SMALL GROUP SOCIALIZATION. THE BUILDING IS SUPPLE BUT ROBUST, RUBBERIZED FLOORING AND WOOD WALLS WITH DAMPERS MUFFLE THE POTENTIALLY OVERWHELMING SOUNDS OF INTERFACE. AIR SPACES AND RAISED FLOORING PROVIDE AVENUES FOR FUTURE TECHNOLOGICAL ADDITIONS AND MODIFICATIONS. THE SCHOOLS ARCHITECTURE
EXPRESSES AN OPENNESS AND AN INTERACTIVE MEDIA FOCUS .
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above:1/4=1 model
opposite:wall sections
interior renderings
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////////2010foster city, ca
uc Berkeley: jill stoner
SEA LEVEL RISE INFRASTRUCTURESFO TO FOSTER CITY
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SLOW-REVERSE/FAST FORWARD AN ARCHITECTURE THAT IS REDUCTIVE AND SUBTRACTIVE, ADDRESSING BUILDINGS AS SITE THAT ARCHITECTURE CAN BE EXCAVATED OUT OF THEIR VERY SUBSTANCE. BUILDINGS SELECTED FROM THE 101 CORRIDOR WITH THE INTENTION TO REVERSE THE ENVIRONMENTAL DEGRADATION OF THE PAST 50 YEARS, WHILE AT THE SAME TIME TAKING ON THE LEAST APPEALING ARCHITECTURAL PRODUCTS OF THAT PERIOD. COMPREHENSIVE STUDIO DRAWING SET: 1. DEMOLITION, 2. STRUCTURE, 3. CODES, AND 4. DETAILS. PRODUCED. PHASE 1: CONVERTS CONSERVATIVE, SECURITY DRIVEN ARCHITECTURE OF A FORTUNE 500 TECH COMPANY INTO A NEXT GENERATION CLOSED-SYSTEM SEWAGE TREATMENT FACILITY.
previous:tidal swamp perspectiveabove:integration detailopposite:drawing set:planselevationstructure plans
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THE SYSTEM PERFORATES THE OFFICE FLOORS INTRODUCING, LIGHT, AIR, PLANTS, AND ANIMALS WHILE MAINTAINING OFFICE FUNCTIONALITY. VOLUMETRICALLY THE POTENTIAL EXISTS TO TREAT 90,000 GALLONS OF RAW SEWAGE EXPANDING SERVICE ACROSS THE PENINSULA. THE PROJECT WILL ACT AS A FUNCTIONAL TREATMENT PLANT, AS WELL AS AN EDUCATIONAL OPPORTUNITY EXPRESSING THE PROCESS OF WASTE WATER TREATMENT AND ITS INTEGRATION INTO THE BAY ECOSYSTEM. THE SURROUNDING HARDSCAPE IS REMOVED AND THE LOWER FLOORS OPENED TO ACCOMMODATE EXPANDING WETLANDS DUE TO SEA LEVEL RISE. PHASE TWO ELABORATED ON PHASE ONE BY GOING UP IN SCALE TO EXPLORE THE IMPENDING RE-TERRITORIALIZATION OF THE 101 CORRIDOR OVER THE NEXT 100 YEARS.
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2040 2070 2100
PHASE ONE PROPOSALS EXPANDED TO CORRIDOR-WIDE STRATEGIES IN ORDER TO CREATE VISIONARY IMAGES, CITY SCALE PLANS, AND BALLOT MEASURES TO ENGAGE BOTH ECOLOGICAL IMPERATIVES AND POPULATION GROWTH ALONG THE CORRIDOR. PHASE 2: SAN MATEO BAY NETWORK (SMBN) AMPLIFIES THE CONCEPTS EXPLORED IN PHASE 1 BY PROPOSING A NODAL NETWORK OF VEGETATED SERVICE CORRIDORS (VSCS) THAT REORGANIZE AND INTEGRATE INFRASTRUCTURE WHILE RECLAIMING LOST BAY WETLANDS. ASSUMING A 1.4M SEA LEVEL RISE, 35 KM2 OF LAND ALONG THE HIGHWAY101 CORRIDOR WILL BE SUBMERGED IN THE NEXT CENTURY. SIX WASTE WATER TREATMENT PLANTS AND MILES OF UTILITY CORRIDORS REPRESENTING MORE THAN 9 BILLION DOLLARS IN PUBLIC INFRASTRUCTURE, AND SERVING THE MAJORITY OF THE POPULATION ON THE PENINSULA WILL BE LOST. THE SMBN
PLAN CALLS FOR THE SYSTEM OF VSCS TO PROGRESSIVELY REPLACE AND REORGANIZE THE INUNDATED SERVICE CORRIDORS. THEY WILL BE THE HARBINGERS OF PHASED RECLAMATION AS WELL AS PROVIDE AN EVOLVING SERVICE SUBSTRATE FOR CONSTRUCTION OF THE NEXT VISION OF THE CORRIDOR AS IT ADAPTS TO THE CHANGING BAY. THE VSCS WILL FIRST RESTORE HISTORIC CREEKS, WATERWAYS, AND EXISTING CORRIDORS. THEN EXPANDING WITH THE RISING BAY, THEY WILL FORM A GREEN NETWORK AND TIDAL BUFFER ZONE CONNECTING
NEW AND REMAINING STRUCTURES WITH SINEW OF VEGETATED SPACE AND MECHANICAL SERVICE.
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previous:tidal inundation
above:network cities
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////////2008ALTA,UT
UNIVERSITY OF UTAH: JOE JACOBY
TICKET OFFICE PAVILIONADAPTIVE SPATIAL DEFINITION
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A TICKET OFFICE BY DAY AND AN OUTDOOR CLUB BY NIGHT FOR ALTA SKI RESORT: A DAILY AND SEASONALLY DYNAMIC SITE PROVIDES PROGRAMMATIC CHALLENGES AS WELL AS AN OPPORTUNITY FOR THE INTERVENTION TO BE A CONNECTION TO THE PAST AND THE FUTURE OF ALTA. INSPIRED BY TIME SPENT IN THE MOUNTAINS.
THE PROJECT CONNECTS THE ARRIVING SKIERS WITH THE GOLDMINERS DAUGHTER LODGE AND THE NEW SUNNYSIDE BASE. IT DEFINES A MOMENT OF ARRIVAL AND A TRANSITIONAL THRESHOLD TO THE MOUNTAIN.
previous:1/4=1 modelabove:architectural flow studiesopposite:entry elevation
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ALTA RECEIVES OVER 500 OF SNOW EACH YEAR. ENVIRONMENTAL FACTORS LED THE DESIGN TO BE CONSTRUCTED USING MODULAR INSULATED RAMMED EARTH PANELS MOUNTED ON A STEEL FRAME. THIS MODULARITY ALLOWS FOR FUTURE ADDITIONS AS WELL AS SEASONAL MODIFICATIONS ACCORDING TO THE HIGHLY VARIABLE MOUNTAIN CLIMATE. THE INTERIOR OF THE STRUCTURE HOUSES A SIMPLE TICKET OFFICE PROGRAM INSIDE HEAVILY INSULATED WALLS.FORM IS EXTRACTED FROM TANGENTS OF SKIER PATHS. SERPENTINE SPACES FLOW AROUND ANGULAR WALLS, GUIDING THE SKIER FROM CAR, TO TICKET OFFICE, TO LIFT. THE PLAZA CREATES A GATEWAY AND A SENSE OF ARRIVAL FOR THE BASE AREA, ORIENTING AND DIRECTING SKIERS AND GUESTS. THE CENTRAL NODE, A GATEWAY TO ALTA.
rammed earth panelbat insulationinterior steel tube structureheated roof to reduce snow load and ice damming
LED interior fixtures
insulated ticket window
insulated thermally isolated wood sill
exterior rebranding logo plate
foundation insulation
perforated steel
polished aluminum
frosted glass
wood/cor-ten
above:re-brandinginsulation section detailopposite:ticket office plan
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below:plan
opposite:section
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////////2010BERKELEY, CA
UC BERKELEY
PARAMETRIC PAVILIONFOLDED PLATE SPAN
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STRUCTURAL OPTIMIZATION, NEGOTIATING MATERIAL, DIGITAL, VISUAL, AESTHETIC, ETC. CONDITIONS TOWARDS EXPERIENTIAL AND PERCEPTUAL CRITERIA KUBB DOME IMPOSED A SHELTER PROGRAM FOR VIEWING LAWN GAMES IN THE COURTYARD OF WURSTER HALL. THE FORMAL STRATEGY WARPS THE EXISTING COURTYARD SURFACE INTO A SMALL FOLDED-PLATE ENCLOSURE. A PARAMETRICIZED FOLDED-PLATE SCRIPT WAS APPLIED ITERATIVELY TO SCLUPTED BASE SURFACES. THE FINAL SURFACE WAS THEN UNROLLED AND TABS+HOLES FOR NYLON FASTENERS WERE ADDED VIA SCRIPT. THE FINAL SURFACE WAS STRUCTURALLY ANALYZED TO IDENTIFY WHERE HOLES COULD BE PUNCHED. PIECES WERE THEN LASER CUT FROM HDPE. PREFABRICATED IN STRIPS, THE INSTALLATION WAS ERECTED IN UNDER 2 HOURS BY 4 PEOPLE.
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////////2009WURSTER COURTYARD
UC BERKELEY: MARK ANDERSON
enormousplasticrainflower
RECYCLED PREFAB PAVILIONWATER PURIFICATION STRUCTURE
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A GROUP STUDY IN STRUCTURE, CONSTRUCTION AND MATERIALS CONSTRUCTED FROM FERTILE WASTE OF EXCESSIVE HUMAN CONSUMPTION TO CAPTURE AND PURIFY DRINKING WATER FROM THE SKY. BEAUTIFUL AND GROTESQUE, OUR FLOWER WILL FURTHER SERVE AS A WIDE-SPREADING PUBLIC UMBRELLA TREE DRAWING PEOPLE TO GATHER UNDER ITS SHELTER
E.P.R.F. WAS CONSTRUCTED FROM OVER 3000 2L, 3500 .5L, AND 90 3L BOTTLES HARVESTED FROM A LOCAL RECYCLING PLANT. CUT AND HEAT-WELDED THEY FORMED STRUCTURAL MEMBERS AND TUBES CAPABLE OF RESISTING TENSION/
3L: C
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COMPRESSION FORCES, CONVEYING WATER, HOUSING ACTIVATED CARBON FILTERS, AND SUPPORTING STORAGE BLADDERS. A SYSTEM OF SPACE-FRAME WATER STORAGE PYLONS FORMED A TRANSLUCENT AIRY PAVILION; SHADING, HARVESTING WATER, AND DEFINING AN INTIMATE SPACE IN THE COURTYARD. THE FLOWER WAS PREFABRICATED IN PIECES AND INSTALLED BY THE CLASS IN 6 HOURS. AFTER ITS EXHIBITION IT DECOMPOSED ORGANICALLY PIECE BY PIECE INTO THE URBAN BERKELEY ENVIRONMENT.
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////////2010BERKELEY, CA
UC BERKELEY: RON RAEL
DIGITALCERAMIC
PARAMETRIC FACADEMODULAR CARAPACE
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machined mounting rails
machined mounting rails
welded wire plate network
ceramic CNC milled tile
cast resin insert
AN EXERCISE IN DIGITAL CRAFT: STARTING FROM A DIGITAL FILE A TILE BLANK IS MILLED INTO PLASTER. IT IS THEN SLIP CAST AND REPLICATED TO FIRED CERAMIC TILES. THE TILES ARE GLAZED AND RESIN IS POURED INTO THE HOLES. THEY ARE TAPPED AND METAL RODS ARE INSERTED TO INTERFACE WITH THE SECONDARY STRUCTURAL HEX GRID. THE HEX GRID IS A DEPLOYABLE SUBSTRUCTURE AND IS ATTACHED TO THE PRIMARY CURTAIN WALL STEEL STRUCTURE. THE MODULE IS EXPANDABLE TO A FULL CURTAIN WALL SCALE AND LIGHTING CAN BE INTEGRATED INTO AN INTERACTIVE FACADE. THROUGH THIS PROCESS AN FACADE MADE OF UNIQUE TILES SPECIFICALLY ADAPTED TO THEIR LOCATIONS IS POSSIBLE.
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////////2011SONOMA, CA
UC BERKELEY: FRANCISCO PARDOZAC ROCKETT
MOBILE WORKER HOUSINGTEMPORAL 3D PRINTED STRUCTURES
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CALIFORNIAS WINE INDUSTRY COULD NOT SURVIVE WITHOUT MIGRANT LABOR. BOURGEOIS TASTE IS BALANCED ON THE BACKS OF MARGINALIZED LABORERS.IN CALIFORNIAS NAPA AND SONOMA COUNTY 92% OF OVERALL AGRICULTURAL
YIELD IS COMPRISED OF WINE GRAPES.WORKER MOVEMENTS COMPRISE AN OFTEN OVERLOOKED AND TEMPORAL NODAL NETWORK DRIVEN BY CHANGING SEASONS AND HARVESTS. YET IT IS THIS NETWORK THAT ENSURES THE YIELD OF ONE OF THE MOST FAMOUS
COLLECTIONS OF WINE IN THE WORLD.
IT TAKES 8 WORKERS 2 DAYS TO HARVEST 35 ACRES OF VINES. ACCORDING TO RECENT DEMOGRAPHIC SURVEYS: OF THOSE 8 WORKERS , 6 ARE MARRIED, 4 LIVE IN THE SAME SPACE AS THEIR CHILDREN. 2 OF THEM HAVE 1 CHILD, 2 HAVE 2 CHILDREN, AND ONE HAS 3 OR MORE. SO PER 35 ACRES (A SMALL VINEYARD) A TOTAL OF 20 WORKER FAMILIES
NEED TO BE ACCOMMODATED.
THE TERRA:MOTUS SYSTEM IS A SOLUTION FOR INTEGRATING THE TEMPORAL PILGRIMAGES OF BOTH WINE TOURISTS AND WORKERS WITH
PERMANINT ARTIST IN RESIDENCE ABODES.
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harvest upkeeppruning
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milking calnggestation
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harvest pest controlsowing
6.21_5:48_596.21_8:35_301
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THE PERMANINT RESIDENTS ON THE SITE ARE WINE MANAGERS AND ARTISTS IN RESIDENCE. ARTIST TOWERS ARE DISPERSED THROUGH THE SITE ALONG EXISTING ACCESS PATHS TURNED INTO BIKE-WAYS. AS THE SEASON APPROACHES THESE TOWERS ARE ENCASED IN FULL SCALE 3D PRINTED SHELLS FOR THE ARRIVING WORKERS.USING CROP PREDICTIONS THE STRUCTURES ARE DESIGNED UNIQUELY EACH YEAR TO HOUSE THE ADEQUATE
NUMBER OF WORKERS.
THE 3D PRINTERS USE EARTHEN MATERIALS FROM THE LANDSCAPE AND PROVIDE A CONCRETE LIKE STRUCTURE FOR THE WORKERS. DURING THE GROWING SEASON THE STRUCTURES CURE TO A SUFFICIENT HARDNESS IN THE
previous:towers in the vineyard
above:topographic suitability map
crop/work/time graphs
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SUN. AS THE HARVEST APPROACHES THE WORKERS ARRIVE AND INHABIT THEIR TOWERS. THEY COHABITATE WITH THE LOCAL ARTISTS IN THE NEWLY
CONSTRUCTED STRUCTURES.AFTER THE FEW DAYS OF THE HARVEST THE WORKERS MOVE ON AND SHELLS ARE THEN AVAILABLE TO TOURISTS AND CYCLE TOURISTS AS LODGING IN THE VINEYARDS. THEY ARE AFFORDED A UNIQUE VIEW AND INTEGRATION INTO THE
24 HOUR AGRICULTURAL BALLET OF A VINEYARD.AS THE RAINY SEASON ARRIVES THE RAINS TURN THE 3D PRINTED STRUCTURES BACK INTO EARTH AND THEY MELT AWAY BACK INTO THE LANDSCAPE. THE ARTIST IN RESIDENCE BEGINS THE PROCESS OF DESIGNING
NEXT YEARS STRUCTURE.
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opposite:sample units plansvineyard dispersion
above:additive manufacturing
processfollowing:
wine tasting in vineyard
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12.21
06.21
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1. DEEP OVERHANG AND SUN SHADES
2. SUPER INSULATED ROOF: SIPS PANELS OVER FULL-CAVITY SPRAY FOAM MAINTAINS COOLING IN SUMMER AND WARMTH IN WINTER
3. THERMAL CHIMNEY WITH OPERABLE WINDOWS FOR CIRCULATION AND PASSIVE COOLING
4. VENTILATING WHOLE HOUSE FANS DRAW HOT AIR OUT THROUGH THERMAL CHIMNEY FOR ADDITIONAL COOLING
5. CEILING FANS PROVIDE TEMPERATURE DESTRATIFICATION AND COOLING AIR MOVEMENT
6. GROUND SOURCE HEAT PUMP PROVIDES HEAT TO THERMALLY EFFICIENT WELDED STEEL RADIATORS FOR ADDITIONAL HEATING, SUPPLEMENTED BY EPA-CERTIFIED WOOD STOVES
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WEST PORCH
SOUTH PORCH
EAST PORCH
NORTHPORCH
1 2
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1 LIVING/DINING AREA2 DINING NOOK
3 KITCHEN
4 PANTRY
5 ENTRY
6 MUDROOM
7 UTILITY
FIRST FLOOR
8 WOOD-BURNING STOVES
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8 MASTER BEDROOM WITH WOOD-BURNING STOVE
9 MASTER BATHROOM
10 OPEN TO KITCHEN BELOW
11 BATHROOM
12 CHILDREN'S BEDROOM
13 SLEEPING NOOK
SECOND FLOOR
COOLING CHIMNEY ABOVE
5'
10'
20'0'
////////2012////////////
FERNAU AND HARTMAN ARCHITECTS
MONTANACOOKHOUSE
PROJECT VISUALIZATIONFREELANCE COMPETITION ENTRY
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////////2011////////////
UC BERKELEY
post-industrial latent space
2011 BRANNER FELLOW RESEARCHPOST-INDUSTRIAL ARCHITECTURE
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Virtually every city in industrial regions, no matter its size grapples with the challenge of unused manufacturing facilities and other industrial sites1. Existing within a guilty landscape generated by their excess and excretions these post-industrial latent spaces permeate the contemporary built environment and present an evolving imperative for architecture. Vast zones of toxicity and dereliction they are the artifacts of the atomic and industrial age.
They exhibit architectural dreams and fears, at once inspiring architectures promise, and ultimately aware of its inevitable entropy. Here the lines between solid and void; building and landscape; inside and outside become ambiguous yet, paradoxically present. In post-Industrial latent spaces we see buildings after the builders have left; the layers of human detritus peel away and materials and structures begin a temporal existence abstracted by time.
Though in a condition of traditional disuse, post-industrial latent spaces are by no means empty. Rather than phantoms of past industry, in their latent state they are the host to heterotopic2 uses. From scavengers to scrappers, Stalker3esk pirates to paintballers, taggers to urban explorers, these sites are host to a myriad of temporal users. This use implies an assumption: that the exponential expansion and exploitation of the industrial society is now complete: terra incognita is a memory. A virginal wilderness has been replaced with contaminated ruin: the wastes of the Aral Sea, the oil sands in Alberta, the crackling spectrum
of Prpyat, and the technicolor waters of Montanas Berkeley Pit. A TerraToxis defines our age.1 Charles Bartsch and Elizabeth Collaton, Brownfields. Cleaning and Reusing Contaminated Properties (Praeger Westport, Conn: 1997)
2 Michel Foucault,Of Other Spaces Heterotopias translated by Jay Miskowiec At: http://foucault.info/documents/heteroTopia/foucault.heteroTopia.en.html (accessed Feb 15th 2012).
3 t (Stalker) Dir. Andrei Tarkovsky, Alexander Kaidanovsky, Anatoli Solonitsyn, Nikolai Grinko. Kinostudiya Mosfilm 1979
The Branner Fellowship is awarded each year by the UC Berkeley Department of Architecture to 2-3 Masters of Architecture Students in preparation for their thesis year. The fellowship funds a year of international travel on a research agenda of the students definition.
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In TerraToxis we find Post-Industrial Latent Spaces (PILS) presenting a counterpoint to the former notions of exploration into virginal wilderness: the Urbis Incognita--hidden, subterranean, forgotten, or ignored wilderness of the cities both dead and alive inviting exploration and temporary inhabitation by diverse elements as heterotopic space.
Despite the apparent lack of discernible order present in many former industrial zones they are grounded by the pragmatic efficiency of the Industries that originally created them. Their former use is a direct cuase of their contamination and dereliction so in spite of their dispersed locations, sites of a similar typology illustrate similar spatial conditions and contextual relationships.
Under that assumption it is therefore possible to extrapolate: that by studying and designing a sample of categorical sites, a more general understanding of that typology, its issues, imlications, and challeneges is generated and its design methedoloy can be applied to similar contexts.
This architecture of introspective valuation and precise addition as exhibited in projects such a Peter Latzs Duisburg-Nord Landscape Park, Grimshaws Museo del Acero Horno, and OMAs Ruhr Museum represent a profound shift in the way blighted and abandoned architectural fragments are reintegrated into the architectural lexicon and former industrial regions are redefined: from brownsites to cultural loci.
PILS are gargantuan structures devoted to dynamics and change: a static framework representing and dedicated to the creation and support of dynamic process. They exhibit a profound spatial order and a potential to inform an architecture that re-presents a site while avoiding hackneyed nostalgic representation. As spaces of transformation they are inherently resilient matrices supporting change both structurally and programmatically. The complexity of the original function necessitates a simplicity and utilitarianism in their basic structure and an ability to modify.
In dereliction they then present a nascent order not devoid of constraint, but providing a robust and thus actively adaptable system of architectural relation. Strong, malleable, and available they are a framework for a new architecture.
It is this malleability that provides their potential. Heavy base structure demands a certain post-rationalization: There is no sanctity of these buildings. Rip, cut, tear-err on the side of violence. They must be liberated cut free, exposed and exploded. Insert, destroy, mangle: Create.
Indeed it is in this subtractive and paradoxically additive move that any architecture existing in PILS becomes more than simply a speculative project on a given site. Palimpsest additions by subtraction reveal collage and juxtaposition in the evolving condition of sites1. In the re-visioning of the Zeche Zollverein coal washing plant in the Emscher Park region into the new Ruhr Museum a subtraction by an art volume evokes Gordon Matta-Clark taken a step further. A ribbon of glowing circulation evicerates clumsy compartmentailzed industrial weight, recasting process and form.
Matta-Clarks work realized the artistic elements of subtraction and the revelation of section: the spaces that can be created by such moves. However the moves presented in these architectures propose not only a bold subtraction revealing section and the spatial potential of unexpected adjacency but rather, through the insertion of new volumes and architectonic elements within the created void, they effectively re-present the space entirely. Through the new voids a new process emerges, a new order, a new scale: a new space. This re-presentation of PILS is therefore intrinsically based on the spaces it evolves out of by treating them as hyper-local site conditions to be played off of and changed.
1 Niall Kirkwood, Manufactured Sites: Rethinking the Post-Industrial Landscape (London: Spoon Press 2001).
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Concurrent with the physical change of the structures though adaptation, the cultural reintegration of the sites represents a graft of new cultural relationships along vectors of industrial networks. Post industrial sites have embedded contextual connections to the cities they helped spawn, and this network has a capacity of being explored and expanded to understand the regional condition as a whole. These industrial networks represent prime paths for reclamation. As illustrated by the Highline in New York, and the Dequindre Cut in Detroit, cuts and vectors offer activating avenues through which a population can realize a new relation to the city. In conglomeration they provide the potential to create a multi nodal cultural and recreational network such as seen in Emscher Park.
More than dealing with any one site, to design on a post-industrial space is to deal with a network. Its about reigniting the interface of the site to the city to impart a dynamic social condition in a formally static space, thus projecting the evolutionary urban condition of the industrial city beyond the individual site.
Despite initial and persistent levels of toxicity, ecologically the sites provide a haven within the city. They possess a unique ecological richness and opportunity despite their toxic nature1. Although its easy to postulate that in the absence of industrial processes a natural system would begin to reclaim a site and move back towards its initial state, this is rarely the case. There is a nature that recolonizes the sites, but it is a nature of graft and adaptation. The industrial processes leave indelible marks on the environment beyond the visual frame guiding the selection of successful pioneer species. The international nature of resource collection and distribution carries along with it species which establish colonies in their remote new post-industrial homes. In Duisburg-Nord for example a colony of African jellyfish, inexplicably transported via ore shipments, has made its way into the water filled bunkers around the former furnaces.
It is this very uncertainty and conglomeration of variables that make 1 Niall Kirkwood, Manufactured Sites: Rethinking the Post-Industrial Landscape (London: Spoon Press 2001).
these sites such fertile environments for design. They are collections of times, of machines, of ideas, and populations. As seen in Detroit and the Chernobyl zone, industrial production is projected though inevitable accident and obsolescence to create this space. It defines a population; it truncates lives and dictates new spatial conditions. These divisions define a haven of sorts, a liminal zone where insurgent populations and ecologies can exist. They are representative of innumerable tragedies but also evolving opportunities. This is the zone of fantasy and visions, of extremes and misfits, mutants and hybrids.
PILS are proximally connected to the cities in which they helped spawn through the latent networks of industrial transport in which they were a part of. Along these corridors and extending into the sites a new ecology can evolve, quite remote for the original condition but never the less a haven for species and evolution.
The insertion of architecture into the sites necessitates a subtractive move and an addition in the resulting void adding yet another level of palimpsest into the evolution of a landscape and architecture. But, above all these spaces are unique, their spatial condition unparalleled elsewhere, and in their evolution and recasting they shape the possibility of space, of experience and integration with process. They demand something more of architecture: A true moderation of technological imperative with sensitivity to form, aestetic, and space.
It is our charge as designers of the built environment to take on such zones, to deal with them is not easy, the issues are severe but they serve as prototypes and vehicles of critique for more ordinary concerns highlighted by the extreme. In their re-envisioning the impossible can become probable, speculation a reality, and a post-industrial ruin a cultural icon.
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Guilty Landscapes can be amended. A city can be remade, a country recast, a culture renewed, from the ground up in TerraToxis.In these sites there is a moment of criticality, when a site can be elevated to meaning or slip into dereliction and destruction. A city can embrace revolution and change (economic and cultural), or it will fall, fade, and burn. These moments are upon us, we must realize and act. Not towards overly nostalgic static preservation and representation or towards overt re-creationalism without recognition of any past, nor towards exculsion and obfiscation, but towards a hybrid vision.
With this imperative in mind we came to Chernobyl, the space of dreams and nightmares. Outside of reality a no-place: existing on the liminal edge of perception and space. Only a few venture into the zone.
Pripyat was a purpose built city, a new utopian model for a workers built on the promise of the atomic city of tomorrow.
With all necessary safety gear we entered the zone, Our bodies silent recorders of events. DNA in a cosmic shooting gallery. Sensors chirped and cameras snapped. I carried with me a lead pouch of x-ray film attached to my head, chest, belt, and foot. My Go-Pro recorded center of mass motion while the Geiger counter and GPS bore silent witness to the interactions of an ephemeral electromagnetic topography.
After the accident in on April 29 1986 for 2 days the city carried on life as normal as fallout silently rained down around them.
On the third day the entire city of Pripyat was evacuated. The hope of an Atomic city of tomorrow forever dashed.
The journey into the zone is a transition though the pastoral, after Kiev the landscape shifts from urban into forest and at the boundary of the zone small yellow signs begin to dot the landscape.
Close to the reactors the promethean landscape still bears evidence of the disaster. In some areas of the road the bus cannot stop because the contamination downwind of the reactor is still too strong. Although the Red Forest has regrown, its prodigy are stunted and deformed.
The reactor itself is a sort of dark shrine. As the jurryrigged iconic sarcofogas spalls and crumbles away thousands of workers operate in the zone building annother containment structure and decomissioning the other 3 reactors on the site. The 4th reactor itself is a pole of nuclear tourism. Although the only indication that what you are seeing is special is the clicking and flashing Geiger counter; a talisments procured for the trip.
We pushed deeper into the ghost city of Pripyat. The buzz of the Geiger counter was drowned out by the wind in the trees and insects, the smell of roses all around.
Explorers wandered through spaces one fulfilling the social needs of a company town.
In the bright light and clear blue sky of a July day the birds sang and insects chired. The cliched images of the ferris wheel bore little relation to the ominous presence it evokes in digital media.
Another infamous location, the community swimming pool became a launch pad for spiny-whinny the recon drone.
Our final stop was the school, books littered the tables and ground, left a bit too perfectly to be a completely organic image of decay.The gas mask room rounded out the trip, a questionably authentic macabre image of gas masks broken out of boxes and strewn on the floor greeted the visitor-along with a guest book. This was it, the center of the Ruined world.
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-
It is our charge as designers of the built environment to take on such zones, to deal with them is not easy, the issues are severe yet lend themselves to mehtods of data driven design. They serve as prototypes and vehicles of critique for everyday concerns taken to the extreme. These sites are warnings and testbeds, testiment to human folly and strength; they are not going away anytime soon.
Our final stop in the zone was a visit to one of the small re-settlement villages. Here, after the fall of the soviet union small groups of elderly formally displaced villagers were allowed to return and tend their fields and live their lives. I had the Geiger counter as we approached the village, the levels dropped markedly as we passed though Chernobyl town and into the forest, they continued to drop. When the bus stopped, the level was lower than background in Kiev.
We walked down and overgrown wagon road toward a cluster of small houses disappearing into the lush grassland. Amazingly pastoral, the surroundings were calmly beautiful. The levels were normal. On top of a well a cat rested.
The farmer and his wife came out and the greeted our guide Maxim warmly and offered rare and friendly Ukrainian smiles to us. They talked and gave us a tour of the farm. These farmers were some of the only ones still offering to talk to visitors, after the Fukushima disaster their village was overrun with reporters and many stopped talking. Our hosts were incredibly gracious and so welcoming that with Maxims reassurance and following his lead a few of us even popped a couple of the ripe hanging mulberries into our mouths (delicious!) [I also took a sample to be mass-speced later, we will see the intelligence of this small indulgence]
After showing us around the farm, the ponds, and the fields, we gave the farmers a few gifts scrounged from our supplies. The group posed for a photo.
You cannot taste radiation, It has no feel, no smell, yet it has left indelible marks on this landscape. A electromagnetic topography exists in contrast to and augmenting the physical ground. In zones like Chernobyl and Fukushima the invisible and ephemeral become more of a concern than the overt.The industrial production of nuclear power projected though inevitable accident and obsolescence has created this space. It defines a population, truncates lives and dictates new spatial conditions. These deviations define a haven of sorts, a liminal zone where insurgent populations and ecologies can exist.
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7
30.07
12
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17
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51.40
27
30.071
2
opposite:Chernobyl radiation data
-
MASTERS THESIS
////////2012FUKUSHIMA,JAPAN
UC BERKELEY
RADIANT EPHERMERAARCHITECTURE OF RADIATION
-
1.1407 Sv/
hr [10x] EP
A limit
0.57035 Sv/h
r [5x] limit
0.22814 Sv
/hr double E
PA limit [2x]
0.171105 Sv/
hr1.5 epa pub
lic limit [1.5x
]
0.11407 Sv/h
r EPA limit fo
r member to p
ublic [1 mSv/y
r]3000
SV mammogr
am
1500 SV sp
ine xray
10000 SV c
t scan
5.70 Sv
/hr rad
worker
limit [50
x]
50 mSv/
yr
0.11407 Sv/hr EPA limit for member to public [1 mSv/yr]0.171105 Sv/hr 1.5x EPA public limit
0.22814 Sv/hr double EPA limit0.57035 Sv/hr 5x limit
4.89% 15.66% 25.00% 31.86% 41.78%
83.3%
100%
relative residual2012 [+1]2021 [+10]2031 [+20]2041 [+30]2061 [+50]2111 [+100]
Cs137
Cs134
3.2011
>>THERE ARE 66,773 SQUARE KILOMETERS IN JAPAN THAT ARE ABOVE BACKGROUND LEVELS OF RADIOACTIVE CONTAMINATION AS A DIRECT RESULT OF THE FUKUSHIMA DISASTER*. THAT AMOUNTS TO 28.8% OF THE ISLAND OF HONSHU AND 17.7% OF THE TOTAL LAND AREA OF JAPAN*. THAT VOLUME OF THAT AREA FIVE CENTIMETERS DEEP* IS ENOUGH TO BURRY MANHATTAN UNDER 56.11 METERS OF CONTAMINATED SOIL. TRADITIONAL METHODS OF REMEDIATION HAVE FAILED IN THE HYPER DENSE CONDITION OF JAPAN. IT IS NO LONGER POSSIBLE TO APPLY THE SAME SCENARIOS THAT CREATED THE SPATIAL CONDITION OF CHERNOBYL AS AN
EXCLUSION ZONE TO NEVER BE ENTERED.
>>GIVEN THAT THE INHABITATION OF RADIONUCLEIDE CONTAMINATED ZONES IS BOTH INEVITABLE AND ONGOING, THE AVAILABILITY OF HYPER LOCAL OPEN SOURCE DATA COUPLED WITH ROBOTIC IMPLEMENTATION OF RAPID PROTOTYPING AND DIGITAL FABRICATION AT A LANDSCAPE SCALE, A METHOD CAN BE DERIVED TO REMEDIATE AND CONSTRUCT
ARCHITECTURE OUT OF THIS TOXIC EARTH.
-
1.1407 Sv/
hr [10x] EP
A limit
0.57035 Sv/h
r [5x] limit
0.22814 Sv
/hr double E
PA limit [2x]
0.171105 Sv/
hr1.5 epa pub
lic limit [1.5x
]
0.11407 Sv/h
r EPA limit fo
r member to p
ublic [1 mSv/y
r]3000
SV mammogr
am
1500 SV sp
ine xray
10000 SV c
t scan
5.70 Sv
/hr rad
worker
limit [50
x]
50 mSv/
yr
0.11407 Sv/hr EPA limit for member to public [1 mSv/yr]0.171105 Sv/hr 1.5x EPA public limit
0.22814 Sv/hr double EPA limit0.57035 Sv/hr 5x limit
4.89% 15.66% 25.00% 31.86% 41.78%
83.3%
100%
relative residual2012 [+1]2021 [+10]2031 [+20]2041 [+30]2061 [+50]2111 [+100]
Cs137
Cs134
3.2011
_Japan377,923.1 km
__Honshu
231,608.8 km_Population128,057,357
_California423,970 km
___
_Population37,691,912
previous:rendered section
above:radiation data graph
-
KORIYAMA
SOMA
SUKAGAWA
UNK
LIZAKAMACHI
KOORI
HONJO
TOKIWA
HARAMACHI
NAMIE
HIWADA
KAWAMATA
ONONIIMACHI
TOMIOKA
FUNAHIKI
KAMMATA
MOTOMIYA NIHONMATSU
ODAKA
FUKUSHIMA
UKEDO
(
_2xgreater EPA limit2011: 7,291.423 km
3.15% _Honshu
0.22814 Sv/hr ~2.00 mSv/yr
2011
2012
2021
2061
_10xgreater EPA limit2011: 1151.377 km0.49% _Honshu
1.1407 Sv/hr ~10.00 mSv/yr
2011
2012
2021
2061
_[50x] limit for nuclear workers
2011: 808.764 km0.35% _Honshu
5.703978 Sv/hr ~50.00 mSv/yr
2011
2012
2021
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