Portfolio 2011

1P O R T LO F OI

Cultivation Pavilion

Intangible Affects

Vacuum-Formed Double-Curved Semi-Monocoque

University of Michigan Sailing Club Boathouse

Transience and Time

Modular Bookstand

Civic Refuge

The Infrastructure of Experience

Amalgamated Distortions

Contested Malleability 4

28

34

38

44

46

50

56

72

82

4Bad Neighbors

Studio Critic: Keith MitnickArchitectural Design III, 2010

Course Description

The saying good fences make good neighbors suggests that the boundaries we construct enable us to interact better with one another than we would without them. But what if the spatial divisions that defi ne normalcy (among different people, groups and institutions), have outlived the attitudes and circumstances that originally determined them? In the same way that good fences provide a means for avoiding others, architecture plays a signifi cant role in controlling what we pay attention to and what we ignore. For instance, many buildings express the apparently virtuous qualities of the institutions they house, such as accessibility, transparency, and permanence, while at the same time concealing the dark and insidious values, beliefs and practices that frequently underlay these same institutions, such as greed, violence and deceit.

Using Marcel Duchamps concept of inframinceas a tool, we will explore architectures tendency to join some programs together and keep others apart, and speculate new abutments, adjacencies, overlaps and infi ltrations among them. Towards this ends we will examine the relation of doubling-effects (the way a building may engender multiple and confl icting symbols, meanings and affects at the same time), and search out discrepancies between the way buildings appear and the ways they are actually constructed. Rather than concealing the inherent contradictions, schizophrenia, duplicates, and equivocations of the people and purposes they serve, we will fi nd ways to creatively promote and put them on display.

fi g. 1-3 CONTESTED PLANSMalliable layout shifts over time (colors denote three instances)

1

2

5

6Contested MalleabilityNegotiating structure through a series of physical revisions

This project launched with an exercise that focuses on the concept of equivocation to generate two-way forms. I used Marcel Duchamps concept of inframince to explore the potential of complex spatial and symbolic relations that generate architectural premises. Iconsidered how architectureal notions about doubling and inversion might provide a basis for architectural form.

The plan of Palais Lanckoronski in Vienna was designed by Ferdinand Fellner and Hermann Helmer. I co-opted the architectural language of the Palais to study techniques of reversal. The series of plans corrupt traditional notions of beauty and symmetry by inverting solid and void. The solid mass is carved out to create interconnected cavities that upend the typical reading of the plan and force the viewer to question how they are conditioned to interpret drawings.

7

8museum

dorm

library

school

+ + sharedunsharednshared unsharedunshare

theatre

cafecommon areammon a

gallery

ppoutdoor park

outdoor park

gym/pool

yylobbyrehersal chamberh l h bersal ch

unfixedfixed fixed

4

8 7

fi g. 4 Two enemies (school/library and dorm/museum) are forced to co-inhabit

one building in which they are unable to get along.

fi g. 5 (opposite page)As a result, they must negotiate the building through a complex set

of interactions.

fi g. 6 The building they inhabit has two kinds of spaces: those which are

shared, and those which are not shared.

fi g. 7 The unshared private space is pushed to the sides (North and South)

of the building and the shared space (in between the North and South spaces) remains in fl ux and is continually contested.

fi g. 8The contested space contains elements that both factions require to

function (including: outdoor park, gallery, caf, theatre, gym).

6

10

fi g. 9The unfi xed, moveable hinged space also works to optimize undefi ned

space and minimize unprogrammed space.

fi g. 10 (opposite)The malleable layout lets the user arrange the built environment to best

serve his needs.

fi g. 11 (see p. 5)A malleable set of walls allow one faction to dominate a resource from

the other when necessary (depending upon the time of day, the season, or decade).

fi g. 12It permits the pair of enemies to negotiate the space to create a layout

that responds to their ever-changing dynamic.

fi g. 13The physical shifts can be sparked by an individual (ex. Opening up

ones dorm room wall) or by a larger organized group to takeover a larger resource (ex: overthrow auditorium).

INDIVIDUAL MOVE parked car

ORGANIZED GROUP MOVE basketball game

13

9

12

1110

12

Site Analysis

To understand the context of my building, I gathered images of the Chicago skyline in different contexts (during winter, at night, during foggy weather, etc.) and combined them to create one continuous skyline that shows how the view evolves through the seasons and passing years. I started to investigate how the intersections of these site conditions affect the area.

The different streets in the conceptual site model create a diagrammatic city grid that illustrates how different combinations interact to create specifi c environments. Morning St., Noon St., Evening St., and Night St. run perpendicularly to Fall St., Winter St., Spring St., and Summer St. (see p.14-15). On Summer St., all of the windows are open whereas on Winter St. they are all closed. On Morning St., traffi c is dense (it is rush hour) whereas on Night St. it is a ghost town (everyone is in bed). At the intersection of Summer St. and Evening St., it is crowded (the weather is temperate and enjoyable) whereas at the intersection of Winter St. and Night St., it is empty (the weather is cold and dark).

N

13

14

fi g 14 CONCEPTUAL SITE MODEL

fi g 15 INTERSECTIONS OF SEASONS AND TIMES OF DAYas days and seasons change, pedestrian density and traffi c patterns

adjust accordingly

fi g 16 NOON ST: empty, at destination

fi g 17 SUMMER ST: crowded, warm

fi g 18 MORNING ST: crowded, rush hour

fi g 19 INTERSECTION OF SUMMER ST AND NOON ST: windows open

14

15 17 16

15 18 19

16161616161616161616166166616161616161661616616116611616161661116611111661

17

fi g. 16 (opposite) SITE ELEVATIONMichigan Avenue, Chicago

fi g. 17 and 18 DETAIL MODEL Theatre hinges back and forth in response to ever-changing dynamic

17

18

18

LIBRARY

DORMITORY

MUSEUM

SCHOOL

LIBRARYMUSEUM

SCHOOLDORMITORY

DORMRRRRRRRRRRRRRRRRRRRRR ITORY

MUSEUM LIBRARY

SCSCSSSSSSCSSSSSSSSSSSSSCSSSSCSSSSSSSSSSSSSSSSSSSCCCSCSCSCSCSSSCCSCCCSSSCCCCSSCSSCSCSSSCCHOOL

MUSEUM

DORMITORY

RY

OL

LIBRAR

SCHOO

19

20 21

19

fi g. 19 & 20 (opposite) ADJUSTING PROGRAM DISTRIBUTION (TWO INSTANCES)

fi g. 21 VIEWING DECKOutdoor park forces enemies to interact

fi g. 22 & 23 DETAIL MODEL: FLOOR 12 Cafe hinges depending on negotiations between factions

22

23

20

fi g 24FLOOR 0 (PLAN)EXCAVATING ENTRY- The square footage of the lobby, where everybody congregates when moving in and out of the building, dramatically adjusts, always giving one faction considerably more space than the other.

fi g 25FLOOR 1 (SECTION)GYM- the gym doesnt physically shift; who occupies it does. The gym switches users depending on who most requires excercise.

fi g 26FLOOR 3 AND 4 (SECTION)OSCILLATING CORRIDOR- Only one faction can access the sound proof music room at a time, the corridors location tangibly announcing who has been keeping up with their practice.

fi g 27FLOOR 7 (SECTION)OUTDOOR PARK- The hinged theatre above is constantly changing location. It always gets in the way of balls and kites on the playground.

fi g 28FLOOR 8 (PLAN)ORBITING THEATRE- The theatre can be used as one large hall or two smaller ones depending on how big an audience is and the enemies ability to coordinate.

fi g 29 FLOOR 12 (PLAN)SWIVELING CAFE- The basketball court painted on the ground is half covered by the cafe. Until the rivals cooperate and the cafe can be shared, a full basketball game regrettably will never be played.

fi g 30 FLOOR 14 (SECTION)OVERTURNING STAIR- The stair either opens into the gallery or the library. It can act as a seat for a wary museum-goer or a perfect base to study. WARNING: Be sure not to be present when it overturns.

Mechanisms and Devices

24

26

25

27

28

21

fi g. 31 : 8 A.M.: LEFT WALL SHIFTS, EXPANDING SCHOOLS DOMAIN WHILE SCHOOL IS IN SESSION. THE WINDOW FRAMES CHICAGOS SKY-LINE.

fi g. 32: 7 P.M.: RIGHT WALL SLIDES TO ENLARGE THE DORM ROOM IN EVENING. THE WINDOW FRAMES LAKE MICHIGAN, AND BLOCKS THE BUSY SKYLINE.

Perspectives and Views

29

30

22

1.

5.4.3.

2.

5.

4.3.

4.3.

7.

8.

6.

5.

4.

3.

2.

1.

DOWN

UP

U

P

UP

N

DOWNN

UP

DOWN

4.

5.

6.

7.

8.

9.

1.

2.

2.

1.

DOWN

UP

1. School/Library Lobby 3. Offi ce5. Rear Egress7. Storage

0 Lobby / Lobby Excavating Claw

1. School/Library Lobby 3. Offi ce5. Rear Egress7. Storage

1.Swimming Pool 2. Basketball 1/2 Court4./5. Bleachers6. Locker Rooms

1 School / DormitoryGymnasium

7. Locker Rooms

1. Dorm rooms3. Classrooms

2 School / DormitoryGymnasium

1. Dorm Rooms3. Music Room5. Corridor7. Contested common space

3 School / DormitoryOscillating Corridor

2. Classrooms 1. Dorm Rooms3. Music Rooms5. Corridor7. Contested common space

4 School / Dormitory Oscillating Corridor

2. Classrooms

23

DOWN

DOWN

UP

1.

2.

4.

3.

DOWN

1.

2.

5.

4.

3.

6.

DOWN

1.

2.

4.3.

5.

1.

2. 4.

3.

DOWN

UP

3.

5.

6.

7.

1.

2.

1.

2. 4.

3.

1. Dorm rooms 3. Theatre4. Outdoor Park (below)

7 School / DormitoryTheatre

2. Classrooms 1. Gallery3. Ramp/tunnel4. Contested common area5. Stacks

10 Library / MuseumSky Tunnel

2. Study Area

1. Gallery3. Cafe5. Kitchen7. Stacks

12 Library / MuseumSwiveling Cafe

2. Study Area

6. Kitchen

1. Gallery 3. Overturning Stair4. Stacks

14 Library / MuseumOverturning Stair

2. Study Area 1. Gallery 3. Overturning Stair (below)4. Stacks

16 Library / MuseumOutdoor Viewing Deck

2. Study Area

1. Offi ces3. Theatre4. Lounge6. Contested common space

8 Library / MuseumTheatre

2. Offi ces

5. Lounge

24

Floor 13

Floor 14

Floor 9

Floor 3

Floor 11

Floor 8

Floor 16

Floor 4

Floor 6

Floor 7

Floor 15

Floor 5

Floor 1

Floor 2

Floor 10

Floor 12

Ground Floor

Floor 13Floor 13Floor 13Floor 13Floor 13oor 13loor 1

Floor 14Floor 14FFloor 14Floor 14loor 14Floor 14r 14

Floor 9Floor 9orFloor 9Floor 9or 9o

Floor 3Floor 3Floor 3r 33

Floor 11Floor 11Floor 11Floor 11Floor 11Floor 111

Floor 8Floor 8Floor 8loor 8or 8loor 8o

Floor 16Floor 1Floor 16Floor 16Floor 16Floor 16or 16o

Floor Floor 4Floor 4444

Floor 6Floor 6Floor 6loor 6Floor 6or 6

Floor 7Floor 7loor 7oroor 7

Floor 15Floor 15Floor 15or 15Floor 15Floor 15r 15o

Floor 5FloFloor 5Floor 5Floor 5Floor 5

Floor 1Floor 1Floor 1Floor 1

Floor 2Floor 2ooooloor 2

Floor 10Floor 10Floor 10Floor 10oor 10or 10r 0

Floor 12Floor 12Floor 12Floor 12Floor 12loor 122

Ground FGround FGround Fround FdGround Floorloorlooloorloorloor

fi g 1-4 NORTH SECTION 90

25

Ground Floor

Floor 12

Floor 10

Floor 2

Floor 1

Floor 5

Floor 15

Floor 7

Floor 6

Floor 4

Floor 16

Floor 8

Floor 11

Floor 3

Floor 9

Floor 14

Floor 13

fi g 5-8 EAST SECTION 75

26

Shared Program

Orbiting Theatre

Outdoor Park

Overturning Stair

Swiveling Cafe

Gym

Outdoor Park

Sky TunnelTT

y

Oscillating Corridor

Gym

Oscillating Corridor

Orbiting Theatre

Overturning Stair

Swiveling Cafe

TunnelTT

27

Mary and Jack is excited to Jenny perform watch a Star Warsin a class playmarathon in the theatre in the theatre,with his roommate Mary is a pirate James and their and Jenny is afriends down the hall shark. Jennys as soon as they allMom is going to nish dinner.be late.

Marcus knew he Sitting on the overturning stair, wouldnt fi nish his Julia sighed in solace, shepaper before his 12 couldnt believe she made ita.m. deadline. He to the presentation given byclosed his eyes. Since her all time favorite sculptor, he had been sitting in Fernand Hernandez. The earlythe library, it had morning traf c was horrendous!snowed six inches.

Frank thought that he would goKristine fi nally for a bike ride before he had his learned to tie her own afternoon nap. He pondered the shoes! As hernotion in front of his building babysitter walked herfor a second. Scanning Michigan into preschool, Avenue, he decided: not today, Kristine pictured maybe on Sunday, when the the look on her beststreet is vacant of frantic, friend Palomas face.distracted tourists.

Frau Matina counted theCould the sun take any longer to set? Only students heads in a hurry, shethen could Ashley go out to the the park knew that soon the playgroundand get phone service to call her Mother back would be overtaken by the in Memphis.enemy.

ChrisMatt wassuresick of doinglovedother chicken.peoplesHe forgot dishes. He that theonly got this cafeteria job to buy didnta new ipod. open He untilconsidered 3 p.m. quitting.though.

28

Vacuum-Formed Double-Curved Semi-MonocoqueA modular parametric wall system researching material and structural effi ciency

Studio Critics: Wes Mcgee, Dave PigramRobotic Fabrications in Architecture/Advanced Computational Geometry, 2010

Collaboration with Ning Wang

This research project examines how a double curve can maximize load distribution to create structural resilience in a modular wall system.The study investigates whether a system of double-curved surfaces can create a stronger wall than one made of single-curved surfaces.

One of the goals was to use vacuum-formed modularized components that maintain maximum material effi ciency. The wall system is modeled on three double curve types that streamlined the form generation process. We used these curves to fabricate plywood molds for vacuum form plastic panels. Using three

molds instead of customizing a mold for each unique panel drastically simplifi ed a complicated design.

To customize each vacuum-formed modularized component, we cut each of the three different plastic form types into unique shapes depending on their placement in the wall system. The panel averaging system and trimming procedure was generated using the Rhinoceros scripting plug-in Monkey. It allowed us to create a complex parametric design that increases strength while maintaining material effi ciency.

MOLD TYPES:

Original 1

Flip 1

Original 2

Flip 2

Original 3

Flip 3

fi g. 1-3 WALL FEATURING SIX DOUBLE-CURVED MOLD TYPES

fi g. 1 TOP ELEVATION

fi g. 1 BOTTOM ELEVATION

fi g. 3 FRONT ELEVATION

fi g. 4 (opposite) VACUUM-FORMED DOUBLE-CURVED PROTOTYPE

1

2

3

30

fi g. 5 DESIGN PHASE

fi g. 6 CUT PATH SIMULATION IN MONKEY (RHINOSCRIPT EDITOR)Preparation for physical cutting done by robot

fi g. 7 & 8 MOLD FABRICATION PHASE: Material: MDF

fi g. 9 & 10 VACUUM FORMING PHASE

5

6

7

8

9

10

31

fi g. 11 & 12 CUTTING PHASE Surface consists of part saddle shape, egg shape. fl at surface, and

single curved surface

fi g. 13 & 14 Seven-axis robot cutting scripted geometry in plastic

fi g. 15 PROTOTYPE Double-curved wall system

11

12

13

14 15

32

fi g. 16 The geometry of each mold is generated through averaging the curvature of the target surface

fi g. 17 THREE MOLDS TO VACUUM-FORM PLASTIC WITH Generated from target surface Material: plywood

fi g. 18 Plastic with mold (after vacuum-forming)

fi g. 19 PETG vacuum-forms gather, await customization on CNC Router

fi g. 20 PETG panel cut using 3-Axis CNC Router

fi g. 21 (opposite) VACUUM-FORMED DOUBLE-CURVED PROTOTYPE

16 17

18

19

20

34343434343434343334334343343434344444444

Cultivation PavilionUsing Rhinoceros, with the paneling tools plug-as well as Grasshopper to develop a surface model that aggregates a three-dimensional part into a parametric system.

Studio Critic: Glenn WilcoxGenerative Design Computing, 2009

This pavilion is generated from a binary surface form. A set of rules parametrically regulate the formal and functional properties of a single structural lattice. The pavilion consists of two identical meshes rotated and folded over to create a space within. The two fi gures form a pair of bridges: one that burrows into the ground and one that rises above it. Holes in the parametric structure allow views in and out of the structure, framing specifi c moments and letting light in. The pavilion provides visitors with a break from the sun without blocking out light completely.

The openings in the pavilions surface that make contact with the earth act as fl ower beds. The pavilion creates fi ltered light, making it a prime

environment to experiment with shade-dwelling plants that wouldnt survive in the sunny setting. The fl owers depend on visitors for cultivation.

The pavilion acts as an agency for guests to interact with nature.

fi g. 1 SURFACE DUPLICATE ROTATED, THEN FLIPPED

fi g. 2 PAVILION GENERATED FROM A PAIR OF BINARY MESH FROMS

fi g. 2 (opposite) FLOWER BEDS IN FULL BLOOM

1 2

36

fi g. 4 WITHIN PAVILION3D printed model detail

fi g. 5 LARGER APERTURES SERVE AS FLOWER BEDS3D printed model detail

fi g. 6 VISITOR TENDING FLOWER GARDENWest elevation

fi g. 7 BINARY MAKEUP Two identical parametric surfaces (one rotated and fl ipped) produce pavilion

fi g. 8 (opposite) 3D PRINTED MODEL AND SITEPavilion material: plastic, Site material: chipboardPavilion material: plastic, Site material: chipboard

4 5

6 7

37373777737373773737773737373373733373373373373733333733333737337333737373777737373777373773777737777773377737373737773333

38

10 11

fi g. 9 VISITORS INTERACT WITH PAVILION

fi g. 10 COMPACT GEOMETRY CREATES STRUCTURE

fi g. 11 LARGER APERTURES BECOME THE FLOWER BEDS

fi g. 12 (opposite) IN SEASONFlowers in full bloom within the openings of the surface form

9

40

Modular BookstandA bookstand made of a single two-by-six without adhesives or fasteners

Studio Critc: Lars GrbnerConstruction I, 2009

The exercise was to create a bookstand that is high enough to read from while standing out of a single 2 x 6 board. The goal of the design and construction was to generate as little waste as possible and forgo the use of adhesives or fasteners.

This bookstand uses a standardized module that is stacked to create a sturdy shaft on which a book can be read. The modular design makes the bookstand easy to fabricate and the modules quickly can be stacked and un-stacked in order to customize the bookstand to reach a specifi c height. The notched modular system creates a stable structure that can withstand use by many eager readers.

+ =

fi g. 1 THE DESIGN

fi g. 2 THE 2x6 PRIOR TO PROCESSING

fi g. 3 BOOKSTAND

fi g. 4 (opposite) DETAIL

1 2 3

42

Civic RefugeAn urban shelter for a downtown garden

Studio Critic: Karl DaubmannGenerative Design Computing, 2010

This project used generative computing to design a garden structure for a new garden planted in the heart of Shenzhen, China The design employs parametric controls to manipulate the constraints and context of the site. The resulting shape of the garden creeps out into the urban square, reaching the plazas corners drawing passersby in.

The fi nal form is derived from a series of arcs designating different sections of the urban garden. Six areas identifi ed in the original plan are further defi ned by lofting the arcs over to create a tent-like structure. The 3D forms of the original plan combined with this sweeping organizational technique control the horizontal section and create a series of interacting pavilions. The structure provides shelter for the shade-loving plants and humans.

1

43

fi g. 1 (opposite) EXISITING SITE PLAN

fi g. 2 MANIPULATED SITE PLAN

fi g. 3 MANIPULATED PLAN BECOMES 3D FORM

fi g. 4 PLAZA ELEVATION

43

2

44

fi g. 5 OVERLAIN LOGIC OF PLANS VARIATIONSuccessive instances

fi g. 6-22 CONTROLLED FORMS PARAMETRIC EVOLUTIONCivic pavillion provides shelter for shade -loving plants

4

15

10

5

45

First row, fi g. 1 & 2 of second row PLAN MANIPULATIONSAssignment 1: Sketching the Plan

fi g. 3, 4, 5 of second row & third row FORM TRANSLATIONAssignment 2: From Flat to Form

16

11

6

17

12

7

18

13

8

19

14

9

46

Transience and TimeA space for two transients and one watch repairman generated by windswept water

Studio Critic: Ellen DonnellyArchitectural Design I, 2009

The building at the core of this project is inspired by the properties of water when exposed to wind. It consists of three parts. The fi rst is the long, narrow arch that acts as a passage to the neighboring living space and doubles as a watch repair shop and integrates vertical storage of watch parts. The second part is the cube. Using the aesthetic properties of water when exposed to wind the cube derives its form from wave action and bubbling and serves as a resting place for weary travelers. The third part is the entry sequence: a pod. The transients plug into the structure through a pod that opens up and lets them into the space, similar to the way a raindrop falls into water and disperses. There is a small door that connects the transients space to the watch repairmans shop; they rarely interact.

fi g. 1 DECENT FROM POD INTO TRANSIENTS QUARTERS Section model & interior perspective

fi g. 2 (opposite) TRANSIENTS MOST TEMPESTUOUS ENCLAVEModel interior (Material: basswood)

1

48

fi g. 3 POD PLUGGED INTO ROOF STRUCTURE (top view)Model detail (Material: basswood)

fi g. 4 POD ABSENT, REVEALING 2ND FLOOR BENEATH (top view)Model detail (Material: basswood)

3 4

49

ROOF STRUCTURE

ROOF STRUCTURE WITH POD PLUGGED IN

ROOF STRUCTURE WITH POD PLUGGED IN AND OPENED

SURROUNDING FLOOR SYSTEMS

OUTER FACADE

BRIDGE TO NEIGHBORING SHELTER

50

fi g. 5 THE POD DESCENDS

fi g. 6 SITE WHERE POD PLUGS IN

fi g. 7 VIEW WITHIN TRANSIENTS QUARTERS TO LAUNCH PAD

7

6

5

fi g. 820 NORTH SECTION

Pod plugs into building, opens, letting travelers out, and then leaves again when they are ready to move forward

8

52

Amalgamated DistortionsHow seemingly random combinationsand intersections create and distort space

Studio Critic: Ellen DonnellyArchitectural Design I, 2009

My models and drawings examine spatial confusion through shifting lines and seemingly jumbled groups of volumes. After researching Andreas Gursky and studying his image Cairo (Diptych), I produced three drawings analyzing movement, perspective and negative space. In my subsequent models and drawings I explored how the chaos of Gurskys image could be brought to life spatially. In my fi nal model I carried lines through space to connect the negative and positive, produce movement, and question perspective.

In my fi rst drawings I explored the shifting confusion and chaotic shapes of the space Gursky photographed. Through my preliminary work, I began to understand a fabric created by the images inhabitants. Diagramming how the space

is inhabited and how Gursky manipulated shapeand shade to make his image compelling, I considered how angles and perspective were used in Gurskys work to create negative/positive and tangible/intangible space.

Through documenting the space as if I were a pedestrian in the scene, (through elevation), and modeling and drawing angles from viewpoints that distort perspective, I analyzed how seemingly random combinations and intersections create and distort space. Shapes (people, cars) combine to create a new space in an already existing space (Cairo). The shifting social environment and confusion of the two photographed scenes of the diptych create a mysterious, unexplained phenomenon leaving the viewer wondering what sort of system he is studying, what produces its chaos.

After cutting 96 layers of museum board I stacked them to create a 6x4x8 box. In the box, I carved out seemingly random shapes. These spaces penetrated one another to create a complex amalgamation of negative space within the confi nes of the museum board. After pouring Rockite into a cast of the negative space of the museum board model, I create a negative of the inner space of my stacked model. The negative space, now formed in Rockite, is as tangible as the unique space create by fi gures and vehicles in Gurskys Cairo (Diptych).

fi g. 1 DISTORTED SECTIONS

fi g. 2 ANDREAS GURSKYS CAIRO (DIPTYCH)

fi g. 3 NEGATIVE/POSITIVE STUDY

2

3

53

54

fi g. 4 SECTIONS IN OBLIQUE AXONOMETRIC

fi g. 5 (opposite) PERCEIVED PERSPECTIVE: STUDY MODEL

4

56

fi g. 7, 8 and 9PERCEIVED PERSPECTIVE: STUDY MODELS

fi g. 10DISTORTED VIEWPOINTS: DRAWING

fi g. 11 (opposite)STACKED MUSEUM BOARD MODEL

7

8

9 10

11

58

The Infrastructure of ExperienceRepurposing unnecessary highway inter-changes as headquarters for Ninja Warrior Competition

Studio Critic: Jennifer Harmon, 2010Architectural Design II

Obliterating highways and re-appropriating them into the structure of new buildings forces Detroit to stop using cars and seek other modes of transportation. We were to design a Ninja Warrior Athletic Center and production headquarters for the obstacle course-based reality TV show based in Japan. Noticing that highways surround the site of our building, Downtown Detroits Grand Circus Park, I became interested in what would happen if they were removed from the city and replaced by reliable public transportation which Detroit currently has very little of.

I began my research mapping Detroits various transportation routes through history (horse car, bus, people mover, etc.) and how they

parking lots in the area? What if Detroiters bus system wasnt cut back again and residents could actually access their resources downtown instead of being isolated in their neighborhoods? Can Ninja Warrior act as an example of how a community can be brought together again to reinvigorate a city center through re-appropriating dated city resources?

interact with our proposed site. I considered how if these diverse modes of transportation were available currently, many more Detroiters would be able to access the entertainment provided by the Ninja Warrior Center instead of just Metro suburbanites who can afford cars and who come into the city only for entertainment and then leave again (as exampled in neighboring Ford Field and Comerica Park).

As seen in the mapping, approximately half of the buildings and lots where buildings have been torn down in this area of Detroit have been re-appropriated into parking lots. There is more parking than building. What if the highways were obliterated and recycled into new buildings and these buildings replaced

fi g. 1 and 2 UNDERNEATH (WITHIN) INTERCHANGES

fi g. 3 and 4 PLAN VIEW

fi g. 5, 6 and 7 (opposite) REPURPOSING INTERCHANGES (SKETCHES)

1 2 3 4 5 6

60

Woodward Light Rail2011

ParkingPresent

ParkPresent

People MoverPresent

HighwayPresent

Detroit BusPresent

Windsor BusPresent

Tour De Troit Bike Path2006

Formula One World Championship Circuit 1982

Electric Street Car Lines1897

Horse Car Lines1897

fi g. 7 DETROITS HISTORIC TRANSPORTATION SYSTEMS

fi g. 8 SITE PLAN

fi g. 9 (opposite) MAPDetroits present-day parking lots (gray) and public transport routes

available through history (various linetypes)

NN

7 8

62

Parasitic InterchangesThe reevaluation of Detroits transportation system

If a person doesnt have access to a car, traveling around Metro Detroit is diffi cult. Getting to Grand Circus Park, the site of the tournament, to see the Ninja Warrior competition is an obstacle because there is little access to public transport. Almost all bus routes in Detroit were cut in 2010 due to lack of funding.

Highways were constructed in Detroit in the 1950s and 1960s, cutting through neighborhoods. The introduction of the highways to the city transformed the community of Detroit. A highway isnt really thought of as an experience in itself, it is a place one inhabits simply to get from point A to point B. The Ninja Warrior competition could unite Detroit while encouraging public transportation.

The Ninja Warrior Course could do the opposite of what the highway did in Detroit. Instead of

tearing communities apart, it could bring them together. The highway parasitically inserts itself between two existing buildings. The course is accessible to the pedestrian. Detroiters can experience a new kind of highway that is free and open to the public, inviting locals to come together and experience a monumental sport.

The building pulls its shape from the delicate form realized in highway interchanges. The building evolves the interweaving infrastructure of exit and entrance ramps to cater to the requirements of the Ninja Warrior course. Ramps puncture the building walls to mimic the highway while providing paths for observing visitors and obstacles.

n

fi g. 9 FULL Y INTERCHANGE

fi g. 10 (opposite)HALF-CLOVER INTERCHANGE

fi g. 11 (opposite)TRUMPET INTERCHANGE

9

63

10 11

6464

fi g. 12 AXONOMETRIC: PROGRAM DISTRIBUTIONDark Gray- Visitor

Light Gray- NinjaGreen- Circulation

fi g. 13 SITE MODEL

fi g. 14 SECTION MODEL

fi g. 15 (opposite) 80 NORTH VERTICAL SECTION

12 14

13

66

fi g. 152ND FLOOR HORIZONTAL SECTION

67

1ST FLOOR HORIZONTAL SECTION80 WEST VERTICAL SECTION 2ND FLOOR HORIZONTAL SECTION

Core Body iningaiStrength Traai

Studio

Receptionists

Gym

CopyRoom Weights & Cardiovascular

Machines

MailRoom

roomshBathhr

BASEMENT HORIZONTAL SECTION40 NORTH VERTICAL SECTION WEST ELEVATION

EAST ELEVATIONSOUTH ELEVATION 80 EAST VERTICAL SECTION

68

University of Michigan Sailing Club BoathouseA second story addition to existing boathouse

Collaboration with Maynard Len, 2010

The University of Michigans Sailing Club has grown steadily since its inception, now counting over two-hundred members. The clubhouse/boat storage (designed and built by members of the club in the 1970s) has grown so crowded with new nautical acquisitions that the members can barely use the space. The boathouse lacks dry space where sailing classes can be taught and members can gather. The club also needs an observation deck where club sailors can watch over novice sailors on the Base Line Lake.

After conversing with club members, we came to the conclusion that the best option was to invest in a second story for the boathouse. We designed the space and organized the program (classrooms, observation deck, communal space) to satisfy their requests while working with a contractor to save resources and maintain a $25,000 budget.

fi g. 1 SITE MAP

fi g. 2 (opposite) FIELDNOTES AND MEASUREMENTS

fi g. 3 (opposite) SITE LOOKING NORTH BASE LINE LAKE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ES TCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCOD E

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

ESTCODE

N

Construction on the Boathouse will commence in Spring 2011 and will maintain the wet area on the fi rst fl oor for boat maintenance and storage and add a dry second fl oor for classrooms, offi ces and a kitchen.

1

69

2 3

70

fi g. 4FIRST FLOOR PLAN

fi g. 5 (opposite)SECOND FLOOR PLAN

fi g. 6 (p. 86) CURRENT SITE

fi g. 7 (p. 87)FUTURE ADDITION

DRESSING ROOM 1

DRESSING ROOM 2

DRESSING ROOM 3

UP BUILT-IN STORAGE

BATHROOM 2

OPEN SHOP AND STORAGE SPACE

BATHROOM 1

4

71

5

KITCHEN

STORAGE/OFFICE

OBSERVATION DECK

STOVE

LOCKERS

LOCKERS

COMMUNAL SPACE

DOWN

WALKWAY TO PARKING

Cover: Ford Motor Company Engine and Fuel Plant, Dearborn, MI,