2011-2012 Steel Design Student Competition SUMMARY BOOK

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Student: Igor Bialorucki, Warsaw University of Technology/University of Detroit MercyFaculty Sponsor: Anthony C. Martinico, University of Detroit Mercy

steel competition

2011-2012 acsa/aisc steel design student competition

culinary arts college & open

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Copyright © 2012 The Association of Collegiate Schools of ArchitectureISBN 978-0-935502-78-7

All rights reserved. Printed in the United States of America.No part of this publication may be used or reproduced in any manner whatsoever without the written permission of the Association of collegiate Schools of Architecture. To order additional copies of this summary, contact: Association of Collegiate Schools of Architecture | 1735 New York Avenue, NW Washington, DC 20006Tel: 202.785.2324 | Fax: 202.628.0448 - www.acsa-arch.org

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2011-2012

Steel Design Student Competition12th Annual ACSA /AISC Student Competition

CATEGORY I CULINARY ARTS COLLEGECATEGORY II OPEN

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SponsorAmerican Institute of Steel Construction (AISC), headquartered in Chicago, is a non-profit technical institute and trade association established in 1921 to serve the structural steel design community and construction industry in the United States. AISC’s mission is to make structural steel the material of choice by being the leader in structural-steel-related technical and market-building activities, including: specification and code development, research, education, technical assistance, quality certification, standardization, and market development. AISC has a long tradition of more than 90 years of service to the steel construction industry providing timely and reliable information.

AdministratorThe Association of Collegiate Schools of Architecture (ACSA), is a nonprofit, membership association founded in 1912 to advance the quality of architectural education. The school membership in ACSA has grown from 10 charter members to over 250 schools in several membership categories. These include full membership for all accredited programs in the United States and government-sanctioned schools in Canada, candidate membership for schools seeking accreditation, and affiliate membership for schools for two-year and international programs. Through these schools, over 5,000 architecture faculty are represented. In addition, over 500 supporting members composed of architecture firms, product associations and individuals add to the breadth of interest and support of ACSA goals. ACSA provides a major forum for ideas on the leading edge of architectural thought. Issues that will affect the architectural profession in the future are being examined today in ACSA member schools.

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CONTENTS

Sponsors 4

Introduction and the Challenge 6

Category I CULINARY ARTS COLLEGE 8

First Prize 10

Second Prize 16

Third Prize 22

Honorable Mentions 28, 30, 32, & 34

Category II OPEN 36

First Prize 38

Second Prize 44

Third Prize 50

Honorable Mentions 56, 58, & 60

Participating Schools 62

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STRUCTURAL STEELSteel should be used as the primary structural material with special emphasis placed on innovation in steel design. Structural steel offers a number of strengths in building design including high resiliency and performance under harsh and difficult conditions, (e.g., earthquakes and hurricanes) and offers the ability to span great distances with slenderness and grace. Steel can be shaped to achieve curved forms and can be erected quickly to meet tough construction schedules under almost any weather condition. Steel can be easily modified to satisfy the life cycle of a building including changing occupant requirements. Steel is the most recycled material in the world. Today structural steel is 97% recycled with the primary source of material being automobiles. It is the environmentally sound choice for a building material. Architects have praised the natural beauty of steel and are excited about exposing it in the design of their structures to emphasize grace, slenderness, strength and transparency of frame.

INTRODUCTIONThe Association of Collegiate Schools of Architecture (ACSA) is pleased to announce the winners for the 12th annual steel design student competition for the 2011-2012 academic year. Administered by the Association of Collegiate Schools of Architecture (ACSA) and sponsored by the American Institute of Steel Construction (AISC), the program is intended to challenge students, working individually or in teams, to explore a variety of design issues related to the use of steel in design and construction. Steel must be used as the primary structural material and contain at least one space that requires long-span steel structure, with special emphasis placed on innovation in steel design.

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THE CHALLENGEThe 2011-2012 Steel Design Student Competition offered architecture students the opportunity to compete in two separate categories.

CATEGORY I CULINARY ARTS COLLEGE Category I, Culinary Arts College challenges architecture students to design a Culinary Arts College in an urban setting. Steel construction offers students great benefits in this endeavor, as it is ideal for covering long-spans without sacrificing flexibility and aesthetic lightness, multi-story buildings, quick delivery and assembly in congested urban environments.

CATEGORY II OPEN Category II submission design option will permit the greatest amount of flexibility for any building type.

CRITERIA FOR JUDGINGCriteria for the judging of submissions included: creative use of structural steel in the design solution, successful response of the design to its surrounding context, and successful response to basic architectural concepts such as human activity needs, structural integrity, and coherence of architectural vocabulary. The final result of the design process was a digital submission of up to four presentation boards describing the design solution. In addressing the specific issues of the design challenge, submissions demonstrated the design solution’s response to the following requirements:• An elegant expressive understanding of the material – Steel;• A strength of the argument and the proposal’s ability to support the concept for

the design (Category I); • An articulate mastery of formal concepts and aesthetic values;• A mature awareness and innovative approach to environmental issues;• A thorough appreciation of human needs and social responsibilities;• A capability to integrate functional aspects of the problem in an architectural

manner, and• A capacity to derive a design, using steel, with the maximum innovation and

possibility.

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Category I CULINARY ARTS COLLEGEThis project category is to develop a design for a Culinary Arts College. Steel construction offers students great benefits in this endeavor, as it is ideal for covering long-spans without sacrificing flexibility and aesthetic lightness, multi-story buildings, and quick delivery and assembly in congested urban environments. Steel must be used as the primary structural material and contain at least one space that requires long-span steel structure, with special emphasis placed on innovation in steel design.

The project will concentrate on formulating specific thoughtful concepts and designs and carrying these ideas to a detailed level. The project should be developed with an integrative approach to building materials and systems—structural, environmental, enclosure, etc.—while maintaining an overall design concept. Participants will develop a selected physical area of the project in greater detail considering the building’s structural and technical issues (lighting, acoustics, sanitary facilities, mechanical, and environmental controls) through larger-scale drawings showing structure, mechanical systems, facades, fenestration, etc. Through rendered perspectives and elevations, the proposals should demonstrate surface qualities including material, color, texture, and light.

Along with structural, tectonic and technical issues above, designs should respond to context (larger regional influences of geography, topography and latitude), climate (sun, wind, light and water), and culture (patterns of interaction rising from human occupation of place). Projects should be designed in a socially and environmentally responsible manner. Additionally projects should demonstrate the manner by which they reduce dependencies on non-renewable resources.

The Culinary Arts College will draw from local restaurants for some of its faculty and will use them to provide externships for students. “On-location” sessions and walking tours will allow its students to experience everything from the behind-the-scenes action in the cities kitchens to the bustle of seasonal and farmers markets. Students will need to conduct research in the design of culinary arts educational facilities.

The general program is outlined below. The program should guide development of a rich sequence of spaces and uses, including integration of some type of outdoor space within the building related to your concept, the program, the site, or these in some combination.

THE CHALLENGECategory I, Culinary Arts College called for students to: design a Culinary Arts College in an urban setting. Steel construction offers students great benefits in this endeavor, as it is ideal for covering long-spans without sacrificing flexibility and aesthetic lightness, multi-story buildings, quick delivery and assembly in congested urban environments.

SITEThe Culinary Arts College should be sited on a city lot to be chosen by the faculty sponsor and/or the student. The criteria for site selection include the following:

Size: site should be no larger than a single city blockContext: site should be located in an easily reached area of the cityAccess: site should have access to public transportation such as light rail, commuter rail, subway, or bus

CONSTRUCTION TYPEThe design project must be conceived in structural steel construction. A strategy should be considered that evaluates a method for taking advantage of steel’s properties and characteristics in order to conceptualize and propose a critical evaluation of the design solution.

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PANEL OF JUDGESThe design jury convened July 2011, to select the winning projects and honorable mentions and consisted of the following individuals:

CAROL BURNS, Taylor & Burns Architects / Wentworth Institute of TechnologyCarol Burns is an architect and academician. Taylor & Burns Architects designs residential and institutional projects, with special expertise in design of big rooms—theatres, social halls, and sacred spaces. Carol taught at Harvard, MIT, Yale and, currently, Wentworth Institute. She co-founded the BSA research program. Her most recent book is Site Matters.

ERLEEN HATFIELd, Principal at Buro Happold, NYErleen has over 18 years of experience in structural design and sits on numerous national industry committees including the American Institute of Steel Construction Building Information Modeling Committee, the American Concrete Institute Committee on BIM and the Applied Technology Council-Committee 81. Locally in New York, she is the co-chair of the American Institute of Architects New York Technology Committee and a past director of the Structural Engineers Association of New York. In addition, she teaches graduate architecture classes at Yale University and gives regular lectures at Pratt University, New York.

GERARd SMULEvICH, Professor, Woodbury UniversityMr. Smulevich has taught at the University of Buenos Aires, SCI-Arc and USC. He has been awarded the Maxine Frankel Faculty Development Award, an ACSA Faculty Design Award and a NEXT LA Award, Los Angeles Chapter of the American Institute of Architects amongst others. Additiionally, his work has appeared in Film: Visual Acoustics, directed by Eric Bricker, Julius Shulman: Modernism Rediscovered, Northern California Modernism by Pierluigi Serraino and Suma magazine.

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FIRST PRIzECategory I CULINARY ARTS COLLEGE

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EnvironmentalThe obvious reasons for steel’s environmental sustainability are it is recyclable and durable. However, this project pushes steel even further by using its inherent light weight and strength to provide the project site with large amounts of additional space. This project not only adaptively reuses the building adjacent to the Saint Germain Market, but it also uses large steel space frames and trusses to build on top of an existing auditorium, and roof of the market. This allows for massive increased area, increased use, and increased density without increasing the footprint. As cities all over the world continue to grow, density (without sacrificing livability) will become an increasingly important design goal.

SocialAnother major driving force of this project was community, helped strengthened through public space and pedestrianism. Of course, pedestrianism and public space go hand in hand, and combined these are the most critical components to a healthy urban fabric. Unfortunately, the past 50 years of urban design has been plagued by the automobile and modernist zoning policies, which have had devastating impacts on our communities. Again, with the help of steel’s natural ability of strength and lightweight, several new public spaces are established – the grand atrium inside the renovated building, the additional entrance into the Saint Germain, the large accessible green roof, and several other highly flexible interior spaces. All of these spaces are a deliberate effort to increase accessibility and delight of walking through this site, thus helping establish the foundations of a functional community.

CulturalCulture is essential for the existence of a society; it is the collective wisdom of generations that bind people together. Historic preservation was another important aspect to this project. The most successful historic preservation projects seek to respect existing conditions while at the same time staying true to contemporary materials, technologies, and techniques. In doing so, there is a clear and respectful differentiation between old and new. This project seeks to enhance the beauty, cultural and historical richness of the existing building’s structure of stone and wood arches, which are revealed and made more vivid through contrast with the modern steel and glass addition.

STUDENTDavid Heck California Polytechnic State University

FACULTY SPONSORJonathan Reich California Polytechnic State University

PROJECT TITLEThe Paris Market Lab

JUROR COmmENTSThis winning submission is a wonderful architectural expression of steel; where steel is both clearly used in the background and also as infill in the foreground. This design works well in its use of steel construction in Paris and within the contextual fabric to create provocative monumentality, like the Eiffel Tower’s example of a terrific use of steel. The project defines the simplistic reading of a collage, with a juxtaposition of a culinary arts college and a market. The presentation is subtle, seizing on the content block with overall subtlety in the design strategy.

STUDENT DESIGN ESSAY In a world of increasing scarcity, projects that strive for holistic sustainability become profoundly important. Most “sustainable” efforts these days have a very narrow definition, and only focus on the environmental aspect. This project, however, seeks to address sustainability at all levels; which includes not only environmental, but social and cultural sustainability as well.

The project site is strategically located a few steps away from the Saint-Germain Market at the heart of Paris, forcing the new culinary school to integrate and dialogue with all the history and the urban planning that surrounds it. It is an adaptive re-use project, aimed at using steel’s inherent properties to help preserve, re-use, and improve as much of the existing conditions as possible.

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FIRST PRIzECategory I CULINARY ARTS COLLEGE

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FIRST PRIzE

It is important for the bridge from the renovated building, and the rooftop addition to leave the Saint Germain Marché undisturbed. Additionally, the extension of the existing building’s foot print is done with great care, making sure the path to the Saint Germain Marche is preserved.

In a world of increasing scarcity, the importance of adaptively reusing buildings becomes greater and greater. Careful observation, and meticulous documentation of the existing buildings and the surrounding site was the first step of the design process. Existing conditions were seen as opportunities rather than constraints. The beauty and cultural and historical richness of the existing building’s historic structure of stone and wood arches is revealed and made more vivid through contrast with the modern steel and glass addition.

Reused Structure

Reused Shell

New Structure

New Shell

New Canopy

Category I CULINARY ARTS COLLEGE

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SECOND PRIzECategory I CULINARY ARTS COLLEGE

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STUDENTEric Simon Drexel University

FACULTY SPONSORJeff Krieger, David Ade, Jim Rowe, David Brawer, Kurt Raymond and Robert E. Nalls Drexel University

PROJECT TITLECulinary Arts College

JUROR COmmENTSThis winning design submission’s use of a steel frame structure creates a permeable volume that fronts the public space. The project has a variety of scales, from super structure with floor plates, with a variation of structure, to an assortment of inside to outside spaces. The students clearly integrated steel structure and sustainable objectives. Though the design project is attached to elements of urban structure, it does not depend on them and has its own identity, making attachments without losing its own character. There are variations within the building allowing for its self-sufficient aspect while connecting two separate ends of the building.

STUDENT DESIGN ESSAYThe site of the Culinary Arts College is a unique intersection of higher education, commerce, mass transit, and industry. It sits on the edge of Drexel University to the west, and north of the recently completed recreational hub of University of Pennsylvania, Penn Park. The skyline of downtown Philadelphia and the iconic Cira Center are visible from Market St., which runs toward Center City along the sites northern edge. Originating from the rail yards of 30th St. Station just blocks away, a subway delivers passengers to the College’s front door, and a freight train still runs along the elevated rail line that cuts through the site. The Culinary Arts College responds uniquely to each of these urban conditions, and gives back to the city by integrating inviting and pleasantly scaled outdoor public spaces and providing an exciting and contextually relevant street presence. The culinary profession is part of a distinctive subculture where professional relationships are valued, and the school is designed to reflect these values by creating spaces to encourage and nurture a sense of community among the students. Program spaces, circulation, and common areas are arranged so that informal gathering spaces are integrated into a student’s movement through the building, allowing chance encounters to develop into new ideas and lasting professional relationships.

Structural steel is also a driving force in the design of the College. Both the strength and the subtlety that steel can express are apparent in the structural legibility of the building’s facade. The ability of steel to support extensive cantilevers, combined with a bold use of color, create a dynamic and expressive presence for the Culinary Arts College that reflects the energy and creativity of modern cuisine and those who create it. In addition to creating an exciting sensual and spatial experience, the school is also designed to function efficiently and sustainably. Building orientation and massing, daylighting, and natural ventilation are sustainable strategies that are used ensure a comfortable, functional space for the students with a minimal environmental impact. The Culinary Arts College is designed to create a great experience and a sense of community for its students, provide pleasant spaces for the public, contribute to the architectural character of the neighborhood around it, and to do so in an environmentally responsible way. The following words and images will attempt to demonstrate that these goals were accomplished and to explain how it was done.

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THIRD PRIzECategory I CULINARY ARTS COLLEGE

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STUDENTMichael Markham Louisiana Tech University

FACULTY SPONSORKevin Stevens Louisiana Tech University

PROJECT TITLENative American Culinary Arts Institute (NACAI)

JUROR COmmENTSThis project is driven by the climate and landscape of the city of Phoenix with a clear response to the location. The building’s arrangement of two edges creates a void of an urban space plaza. The steel structure provides the project with perforated steel skin apertures; creating a pattern of shadows, evocative of the native culture. This aspect of light and shadow is an eloquent and pragmatic response.

STUDENT DESIGN ESSAYCulinary Arts is more than just food. It is the ceremony, the tradition, and the ritual behind preparing and serving food. The proposed Native American Culinary Arts Institute (NACAI) for Phoenix Arizona is intended to allow students to take a look at the traditions of the Native American population in the Phoenix area and study the means by which they make a meal what it truly is; an expression of their culture, history, and place. The NACAI College will provide knowledge on how to sustain a healthy and tasty diet in dry, arid regions of the globe, primarily focusing on Southwest cuisine, but not excluding flavors from Northern Africa, the Middle East, and Central Australia. Students will study these cultures by looking at their climates, their history, and their traditions in order to decode how each of them sustain crops, preserve foods, reuse waste products, and prepare and serve meals.

The best way for students to learn the traditions and methods of Native culinary technique is to immerse them in the culture itself. Located in Phoenix, the Culinary Arts School is surrounded with Native American and Hispanic influences. Working alongside the community, students will get hands on, first person experience of what it takes to thrive in dry, arid climates, and how this relates to culture. The program will be broken down into for parts. The first three will be a mix of classes teaching agriculture,

environmental responsibility, cultural traditions, history, and food theory, along with the appropriate level of culinary education (basic technique, native technique, and professional practice). Students will work with professionals and experts of their choice to learn how things are done, and in return share their developing skills with their peers and local community. The fourth part will consist of an internship at the school’s own restaurant in which students are encouraged to share their skills and develop a thesis about food, create new and innovative ideas in the culinary world, and above all have fun putting on a show for the community.

Phoenix is the perfect city for the new School of Culinary Arts. Its unique climate and rich tradition allows for an interesting yet intensive study of technique and tradition. It allows for students to not only learn about cooking, but learn about what goes on before the food reaches the kitchen. Its climate leads to study of irrigation and growing techniques that are often overlooked in the culinary world; It’s dense urban core and agricultural outskirts are the perfect thresholds for students to cross into and see hands on how they affect culinary trends and possibilities; and its rapid growth means more and more culture is pouring into the city every day.

The proposed building for the NACAI was designed as a direct response to the site and climate of the area which it is located. The form of the building was revealed through a series of divisions and separations that were moved around the site in accordance to specific site conditions. First, the program was divided into two main bars that ran east and west, allowing maximum access to the natural light from the north. The program was also divided between the bars, with the northern bar becoming the main scholastic buildings due to its adjacency to Arizona States University, and the southern bar becoming the more publicly accessed areas such as the restaurant. This division also allows for the proposed buildings to maintain a street front as well as create a public courtyard within the site. Having a courtyard creates a space that draws in the public, creating a dynamic area in which culinary arts, Native American history, and the Phoenix community can come together as one. The building will also serve the community by offering ways to escape the extreme temperature in Phoenix, AZ. Each of the four kitchen units can collect up to 5,000 gallons of rainwater each year (based on average of 13 inchers per year). This water is then stored in four large cisterns that feed a series of misters on the site’s eastern edge. The skin also helps regulate temperature by providing a vast amount of shade and blocking the southern sunlight. The skin consists of a lightweight copper with perforations that create images that resemble the surrounding mountains and mesquite trees. The skin is supported by light weight steel tubing that is triangulated to create a rigid structure that is not overwhelming to the overall design.

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STUDENTJingjie Zhao Clemson University

FACULTY SPONSORSKeith Evan Green Clemson University

PROJECT TITLE‘Futurist.Culinary.Matrix’

STUDENT DESIGN ESSAYA transformation from an imaginative machine to a building design…

The design concept of this Culinary Art School in Greenville, South Carolina developed from focusing on the process and production from raw ingredients into a three course meal, which is what chefs all around the globe are expected to be able to produce. The design process began with an inquiry of ‘can architecture be transformed into a living assembly line of production’, which the proceeding visual experimental exercise tested by placing the imaginative machine onto the site via the transparency producing a model matrix. This then was further developed by mimicking the organic vertical form from the transparency as a matrix which provides the freedom of uses and maximum amount of possibilities. Along with that are two rectangular forms, one growing from the initial vertical matrix and one being the foundation base which constructs the connection with the ground level.

The major steel structure of the matrix form was inspired by the Rome Congress project by Richard Rogers and Partners, which ideally highlighted the major steel structural elements that support most of the programs in order to create this ‘floating’ mass to separate the more private education zone and the more public mix-use zone. The advantage of lifting most of the building programs into the vertical zone also naturally lends itself to a more sustainable way of creating shading and natural ventilation in the summer due to the hot weather in South

HONORAbLE mENTIONCategory I CULINARY ARTS COLLEGE

Carolina. The roof level of the rectangular mix-used foundation form is designed to be a semi-public urban park, which takes advantage of the shading provided by the forms above while performing as sky lights for the functions below. The organic pattern language of the park was inspired from the machine image that was chosen in the visual experimental exercise, to generate paths, sitting areas and floating shading panels, as well as green spaces.

The interior function of the culinary school was divided into three major themes: learning, socializing and entertaining; just like the three major courses of a meal: appetizer, entrée and dessert, with the library being the center of the school zone, including two floating forms which are study rooms also acting as a major attraction, and the restaurant being the key space of the public zone having a stunning open view. The vision of interior spaces are very modern and industrious like, designed with the intent of having multi-functional purposes and minimum of walls, just like the diagram displays in the collages. The project provides a freedom of using a flexible application of steel and a substantial context to present as an exciting vertical architectural icon within the surrounding urban environment.

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STUDENTSJose Sanchez and Adam Strauss California Polytechnic State University

FACULTY SPONSORThomas Fowler IV California Polytechnic State University

PROJECT TITLECulinary_Bridge

STUDENT DESIGN ESSAYThe project looks toward bridging the gap between the cooks and the consumers. Those attending the restaurant are given the opportunity to see their food cooked right in front of them. Allowing them to share the same experience and magic the cook feels when creating their meal and future enjoyment. The building acts as a literal bridge from the Highline to the restaurant located inside of it, as well as a metaphorical bridge between the different cultures experienced while walking across the Highline and those experienced within food and the culture where that food came from.

Contextually, the building takes advantage of the Highline located next to it. It is seen as an extension of the public park walkway leading onto and into itself. The observer experiences a cultural journey through New York within the Highline and then ends it with the experience of some of the emerging foods and recipes coming out of The New York Culinary School Building.

The site is located at the end of the Highline in the Meatpacking District of the lower East side of New York. There are a great deal of restaurants and high end shops located in this area that we can take influence from. The building tends to be in shadow from the building across the street from it, usually protecting it from strong south light. But a majority of it must remain closed in order to keep the inhabitants warm from the harsh winters and incredibly humid summers. It’s also across the street from

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the Manhattan River, giving the inhabitants a great cityscape view from across the water.

Each part of the program is broken up into it’s own module within the building, forcing the inhabitants to use the bridge and walkway circulation system in order to move from one part of the program to the other. The program pieces are separated on two different floors according to privacy. The most public spaces: the demo space, the restaurant, and the kitchens are located on the top floor while the more private spaces: the library and lounge space, the classrooms and lecture hall and the administration area are located on the bottom floor. The atrium space is left open on the bottom for various mixed uses such as a farmer’s market that shares the food and culture of the Meatpacking district area and various temporary cafes from emerging New York Companies.

The most apparent use of steel is in the cladding and structural system. Much like the Pompidou center in France, the circulation is separate from the actual program of the building and the inhabitants are required to pass through an all steel atrium when going from program to circulation. This atrium space is an expression of the structure located behind the cladding and the different levels of circulation helps the observer experience the different depths within the empty space and the impact it has on the overall feeling of the interior space. The breaks in the steel structure allow light to pass through, creating ambient shadowing across the entire interior space and allowing the light to dance within the space, varying in appearance and never the same throughout the day.

The cladding system that aids in this play in light is a zinc perforated mesh that fits within the steel structural cross bracing. The cladding conceals the cross bracing and is meant to be flush with one another, making it look like one single piece of cladding. It isn’t until dusk, when the lights within the building come on, that the structure is then exposed through its silhouette as light passes through the semi-permeable mesh, but not through the structure.


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STUDENTMichael Knowlton, Forest Agnew and Daniel Botten NewSchool of Architecture and Design

FACULTY SPONSORHussein MunaimNewSchool of Architecture and Design

PROJECT TITLECulinary Arts Institute of San Diego

STUDENT DESIGN ESSAYPROGRAmThe Culinary Arts Institute of San Diego is a 32,000 square foot exciting and inspiring campus of higher education. On site is a place where students can learn, interact, create, and grow as culinary masters. The overall program to form relation was discovered by site response, and an advance programmatic formula for easy movement between exterior and interior programs. The first floor, ground level is divided by an exterior courtyard that houses public and student circulation. This starts the buildings formality of an open and exposed atrium that presents opportunity for public culinary exposure. The Northside contains administration and staff functions, and the Southside contains commercial use such as a bake shop, pastry kitchen, and wine shop. The site surrounding the culinary movement contains Ramsey’s park, and a structural tree terrace. The tree terrace gives shade over the park, and provides a terrace for adequate outdoor circulation for students and public pedestrians. As culinary students move through the interior of the building and education, they graduate through three levels of new teaching kitchens. Each one brings them closer to their goal of cooking, creating, and collaborating in a real life kitchen environment. Once each student reaches top chef standards, the Bay View Bar and Grill located on the top floor is where students can demonstrate their skills through public tastings, presentations, and food creativity.

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FORmThe form mimics movement, just as conditions of a fast pace kitchen environment would be. The building rises and orients its open outdoor atrium towards the Northwest in order to take advantage of prevailing winds for passive cooling tactics.

SKINThe structure has a double-skin system consisting of steel structural systems, translucent curtain wall facades, and an 8” perforated copper skin. This system is pre-fabricated in 16’ x 16’ units in order for adequate construction cost and to lower overall time of construction. The perforated copper skins was carefully located throughout the exterior facades to shade the interior spaces from the harsh South sun, but still allowing natural light into the 216 degree panoramic view shed of surrounding condense urban environment. This provides a unique textile skin arrangement, and presents a changing exterior system for viewing pleasure.

SYSTEmSThere are three green gardens located on the third level terrace and the seventh floor. These create a natural setting within an urban landscape, while providing enough vegetation for culinary art occupants to use, interact and ingest nature and its growth process. There are several systems used within the buildings functions: a hydroponic system located on the 8th floor, a recycled water replenishment system, an air filtration system for teaching kitchens, and form positioning for maximum prevailing wind absorption.


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STUDENTKyle Duvernay, Ian Patzke, Siah Afrasiabi NewSchool of Architecture and Design

FACULTY SPONSORHussein MunaimNewSchool of Architecture and Design

PROJECT TITLESan Diego School of Culinary Arts

STUDENT DESIGN ESSAYSteel train truss bridges have been a staple in American culture since the early 19th century. Truss bridges have helped shape the steel industry with new truss construction and engineering able to hold 120-240 ton trains. As technology progresses and steel has become almost a 100% recyclable old train truss bridges are being retrofitted and torn down due to increased shipping loads; creating a wide range of adaptive reuse possibilities.

The Culinary Arts School of San Diego aims to take advantage of existing resources and couple them with new design projects and programs. The school’s mission is to show how the culinary industry is all about efficiency and circulation. The continuous ribbon that transforms from double skin into the walls, floors and façade represents these culinary ideas. This school will become an icon which emanates green design by utilizing existing trusses for the long span structure, growing rooftop herbs, and using a double skin to control lighting conditions. The culinary school’s positive ideology will go hand in hand with San Diego’s East Village identity, which aims to connect the community through education and involvement.

By creating transparency throughout the school between public and private usage, each person walking by the structure should take away an architectural and culinary learning experience; relating human scale to the scale of the steel structural design. These elements will promote learning in day-to-day interactions while people wait in the new bus stop, walk to the trolley one block away, interact with the ground floor restaurant or enter in the community plaza.

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THE CHALLENGE The ACSA/AISC 2011-2012 Steel Design Student Competition offers architecture students the opportunity to participate in an open competition category with limited restrictions. This category will allow the students (with the approval of a faculty sponsor) to select a site and building program. Steel must be used as the primary structural material and contain at least one space that requires long-span steel structure, with special emphasis placed on innovation in steel design.

The Category II program should be of equal complexity as the Category I program.

Students entering Category II must submit a written building program along with the final submission.

Category II OPENRESTRICTIONSTo enter the open competition students may select any building occupancy other than an educational facility. The structure must have at least one space requiring long-span steel structure. Students may not enter both categories of the competition.

CONSTRUCTION TYPEThe design project must be conceived in structural steel construction. A strategy should be considered that evaluates a method for taking advantage of steel’s properties and characteristics in order to conceptualize and propose a critical evaluation of the design solution.

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PANEL OF JUDGESThe design jury convened July 2011, to select the winning projects and honorable mentions and consisted of the following individuals:

URSULA EMERY MCCLURE, Associate Professor, Louisiana State UniversityPrincipal of emerymcclure architecture (1996 to present). In addition to the firm, she currently holds the Emogene Pliner Professorship. Her firm’s work and writing has been published in numerous journals and popular magazines including 306090-05, Architecture Record Online, Journal of Architectural Education, Dwell Magazine, and Southern Living Magazine. Emerymcclure architecture has also been recognized by the 2006 Venice Biennale, Architectural Record, and the AIA. Washington University in St. Louis, School of Architecture recognized the firm in 2002 by awarding them the Distinguished Young Alumni Award. Most recently, the firm was awarded the Gorham P. Stevens Rome Prize for their project, Terra Viscus: Hybrid Tectonic Precedent.

SEUNG K. RA, Assistant Professor, Oklahoma State University. Additionally, he has taught at the University of Nebraska at Lincoln, New York Institute of Technology, and worked as a Project Designer at Studio Daniel Libeskind, New York, NY. Awards include a Big12 Faculty Fellowship, SHIFTboston International Ideas Competition, and a Young Architects Award. Scholarship and Research publications, exhibitions and conferences include The ACADIA 2011 Regional Conference, The 3rd MediaCity International Conference Proceeding: MediaArchitecture, Urban Context and Social Practices on the interaction of architecture, media and social phenomena and SHIFTboston Forum at the Institute of Contemporary Art at Boston, MA.

CHRISTINE THEOdOROPOULOS, Universtiy of OregonAssociate Professor & head of the Dept of Architecture since 2003. Her work has been supported by regional initiatives such as the Pacific Northwest Energy Alliance and Oregon BEST (Built Environment and Sustainable Technologies).Theodoropoulos has held leadership positions on the National Architectural Accreditation Board, the Association of Collegiate Schools of Architecture, the National Board of the American Institute of Architecture Students and served as president of the Building Technology Educators Society.

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STUDENTDan DeWeese University of Kansas

FACULTY SPONSORKent Spreckelmeyer University of Kansas

PROJECT TITLEKansas City Soccer Training Center

JUROR COmmENTSThis winning submission has clear structure, good details, clear program, and truthful intention, with a focus on illustrating an idea all the way through design from beginning to end. The steel is configured to create tectonic spaces using honeycomb geometry, which will allow the building to become the branding element linking the soccer stadium to the architectural hexagon shapes.

STUDENT DESIGN ESSAYSoccer is the world’s most popular sport, involving over four percent of the world’s population. Two-hundred-sixty-five million players in addition to five million referees are actively involved in the game. With such a large number of people competing, there are also a large number of associated injuries. The Centers for Disease Control and Prevention looked at high school sports injuries for 2005-06 and found soccer had one of the highest injury rates at 2.4 Injuries / 1000 athletes. The U.S. Consumer Product Safety Commission estimated that there were 186,544 soccer related injuries in 2006 with eighty percent occurring in athletes under the age of 24.

It is critical that young athletes are taught to train and play effectively and safely from an early age in order to discourage injuries. Doctors, parents, coaches, referees, and players all need to be aware of the risk of injury involved with soccer and constantly provide knowledge and supervision in order to decrease the number of injuries. However, this is often not the case. Players must travel great distances from one place to the next to participate in training, practice, games and therapy. It is the goal of the Kansas City Soccer training Center to bring all of these activities together in one place in order to develop elite athletes and train young soccer

players to play the game they enjoy at the top of their respective competitive level and do so without injury.

Located just outside of Kansas City, Kansas, in the heart of the United States, Wyandotte County Park contains a deteriorating athletic field. This brownfield site provides the new center with sustainable access to land within a dense recreation context. Such a location allows this facility to be accessible to all regions of the United States and draw national interest in the cause. In order to achieve high sustainability the building is oriented north and south, allowing morning light into the building and block out the harsh afternoon and evening sun.

The steel structure of the project draws inspiration from three simple images: the hexagon in a soccer ball, soccer net pattern, and the strength of the honeycomb structure found in nature. Steel tubing creates a repeatable and easily constructed system in the form of the hexagon, and covers the regularized building underneath. Large steel columns support a space frame roof spanning the building’s width and programmatic spaces within. The skin of the building integrates into this hexagon structure with solid surfaces containing the most private functions. The skin deteriorates in stages around open and public functions before it is completely removed to provide open and generous views from the building to the outdoor playing surface.

The solid portion of the skin is constructed of lightweight stainless steel extruded panels. Translucent skin protrudes from the building in the form of stretched and expanded ethylene tetrafluoroethylene allowing natural light to penetrate the public and training spaces of the building and provides the necessary insulation and sun blocking where necessary to train effectively. In areas where applicable, the façade becomes operable allowing for natural ventilation to condition the space.

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or other environmental conditions shift. Important to this project are those areas that are not naturally so barren, but those that have potential to be aberrantly degraded by human influence. This degradation can be caused by many factors but particularly evident are improper agricultural use and natural and human disasters. The 2010 gulf oil spill in the US, the 2011 tsunami in Japan, and the ongoing crisis in drylands to maintain arable land are some significant examples.

The focus of this project is to integrate landscape and architecture into a research center that focuses on how to reverse or slow the degradation of valuable landscapes. As a formal indication of its function this research center will have an exterior form that emphasizes two major lateral cuts into the landscape that pass through an artificial topography made of steel that encloses three greenhouses above and laboratory research spaces below. The exterior envelope is created from mullion less curtain walls and steel mesh shading devices supported by V-shaped steel elements.

The greenhouses enclose imported landscapes and are placed at an elevation near grade so that in combination with the transparent glazing system they create as system of visually layered landscapes and allow for multiple landscapes including the local one to be viewed as layers of raw information that can be combined and synthesis into solutions for repairing damaged landscapes. The concept of collaborating solutions from diverse global landscapes is supported by creating a facility that uses circulation space as collaborative zone that connects people from multiple projects and disciplines.

STUDENTJason Allread University of Idaho

FACULTY SPONSORSRoman Montoto University of Idaho

PROJECT TITLELandscape: Rehabilitation Research Center

JUROR COmmENTSThis project has terrific integration of site with the tectonic of the building which is very intriguing. The structural characters of the long span elements are evocative of agricultural sprinklers. The delicate and light filled frames take advantage of steel’s lightness. The submission has a clear complexity of design and a clarity of program.

STUDENT DESIGN ESSAYOur human influence is apparent at some level in all of the great variety of landscape conditions which exist globally. At the extreme extent of that influence our effect degrades the viability of a landscape to support life, human or otherwise. There are some conditions in which landscapes experience natural degradation as climatic

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STUDENT DESIGN ESSAYInvestigating the potential of a decommissioned refinery.

The refining process of the Climate Change Research Center takes into account the closing of the HOVENSA Oil Refinery by re-commissioning its refining mechanisms. Scavenged parts once used to support non-renewable energy become a new paradigm that supports a clean, environmentally responsive energy. Rather than housing petroleum, the cylindrical tank is repurposed to house the study of the preservation of natural resources on St. Croix. The once singular use of the refinery tanks now become adaptive in the Research Center. The cylindrical tank is both de-constructed and used as a whole. The multiplicity of the singular component facilitates the dynamic and active program of the Research Center.

Similar to how the project looks inwardly to environmentally sensitive responses, the exhibition program does the same in relation to the maritime research areas. This focus inwards highlights the research centers, which are the heart of the building. The soon to be de-commissioned refinery that was once the economic stimulus of St. Croix has now found its root purpose in preserving the ecologies found on the island. The vernacular architecture of the island suggests a deep porch approach. By defining program around central closed systems, the overall energy footprint is reduced. These two moves allow the building to explore passive systems and create ways of gaining energy. The building is optimized to harvest the windward breeze of St. Croix to produce energy for the building and island as a whole.

STUDENTTeagan Castellon and Brian Diaz Woodbury University

FACULTY SPONSOREric Olsen and Gerard Smulevich Woodbury University

PROJECT TITLE[Re]Purposed

JUROR COmmENTSThis project is innovative in adaptively reusing old refinery parts of drums and plates into a creative design. The form and design of the project is clearly expressed with reflections of the refinery. The design evidently shows sensitivity to the environmental concepts, which permeate throughout the project. The submission is evocative with a floating quality, over the water. Cantilevered design elements add a delicate, subtle quality to the behavior of the structure. Local aesthetics were taken into consideration with the deep porch effect and the adaptation of an existing building type.

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STUDENTAndrew Coenen and Connor Fischer University of Wisconsin-Milwaukee

FACULTY SPONSORGil Snyder University of Wisconsin-Milwaukee

PROJECT TITLECartesia: Bridging Pertinent Space

STUDENT DESIGN ESSAYThe Freshwater Challenge Gallery is sited in northern strand of program in the Reed Street Yards Freshwater Innovation Cluster. This location is reinforced by the south bank of the river as a physical and ideological boundary. The morphology of the Gallery incorporates city scale and development scale influences, which ultimately manifest themselves into an orthogonal scheme.

The primary gesture of the gallery is to continue the Haussmann-esque street wall along Pittsburgh Avenue. This normative bar connects the buildings directly adjacent to the East and West and serves to define the street space. It also serves as a permeable barrier between the large public green space to the south and the more intimate outdoor spaces and river to the north. The secondary gesture is the gallery piece itself, an object that pierces the primary bar. It acts as a visual and conceptual connection to outdoor spaces. It relates the building scale back to the urban scale, paying homage to views of downtown.

The mixed programming of the Gallery is intended to stimulate interaction and idea sharing. The first floor is largely a commercial gesture for the street and river walk. The east end is occupied by Café Ostend, a restaurant focusing on fresh aquatic cuisine. The west end serves as the entrance and atrium for the Freshwater Challenge Gallery. The gallery is comprised of two entities: the main gallery, a 180’ long raised promenade, and the subservient gallery housed in the normative bar to the west. The intent of the gallery is to provide public focus and a proving ground for incubating companies focusing on freshwater

technologies and innovation. The additional building floors are occupied by four incubator office suites and a bar of private housing on the top level.

Environmental strategies include a composition of systems to maximize energy efficiency. Daylighting is a primary concern: the narrow widths of the programmatic bars assure daylight with a reasonable amount of glazing. Geothermal wells provide heating and cooling for radiant floor systems throughout. Water features on the first floor are functional: they serve a dual purpose as humidifiers and heat condensers.

Structurally, the normative office bar uses typical steel construction with bays roughly 900 SF in area. One line of columns is nonexistent to allow the penetration of the gallery piece. The gallery is composed of two parallel trusses, each 20’-0” deep. Joists and stiffening elements connect the truss planes, defining a long, axial space. The trusses rest on two quartets of massive built-up steel section columns.

The enclosure systems used on the offices and gallery give each object its own reading while keeping a continuous harmonizing language. The street bar uses metal battens and perforated metal panels to build up the concept of thin, permeable layers. The gallery uses a clean aluminum mullion system to echo the sleekness of the trusses. The first floor glazing system serves as a transparent pedestal for the more solid object and allows a visual connection from park and street to river and river walk.

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STUDENTMarilina Cianci and Yekaterina Artemchuk McGill University

FACULTY SPONSORSinisha BrdarMcGill University

PROJECT TITLEINTERTWINE: An Energy Resource Machine & Wildlife Habitat for Maldives

STUDENT DESIGN ESSAYOn the surface, the problem that threatens Maldives seems to be rising water levels. But as one dwells deeper, the true enemy of the country is not straightforward. Due to the nature of the formation of the islands that comprise the country, primarily being that of natural coral, the land that houses the populous is essentially a living organism, able to adequately react to rising sea levels. What truly threatens the country, and particularly the capital of Malé, is its diminishing water resources and its subsequent dependence upon fossil fuels for water desalination.

Bearing these essential issues in mind, Intertwine aims to create an innovative system of living that addresses not only the mechanical requirements of the growing population, but also creates a new spatial organization that questions the interaction with the natural world. At the core, a new system of energy production, called Ocean Thermal Energy Conversion (OTEC), combines warm surface water from the equator with cold water from a 1000 m depth to generate electricity in a process that inherently produces freshwater and brings deep water nutrients to the surface as a by-product. The energy and fresh water that is not ultimately used by the building requirements is then pumped to both Malé and Hulhule through a system of veins that also acts as a maglev link between the building and islands. The by-products, particularly the nutrients, allow for integration of the program in the building.

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Since Maldives is a natural habitat for a large number of species of both birds (170 species) and fish (over 2000 species), the potential for a research facility is tremendous. Combined with the tradition of fishing that predominated Maldivian industry before the advent of tourism, the integration of mariculture becomes vital to the country as both a source of potential future income (which is necessary in light of the fluctuations within the tourism industry that cripple the country financially in times of global recession), and food (which is predominantly imported at great cost). It is to this end that Intertwine devotes space to not only house native aquatic species in an open ocean, tank-less environment, but also devotes a portion of the voids to maintain a fish farming facility that can be enlarged as needed.

In its essence, Intertwine aims to challenge the typical, mono-dimensional interaction between street and skyscraper, inverting the spatial topography inherent in our notion of the relationship. Through the use of an inventive system of circulation, the woven ‘streets’ become filled with research program, while the ‘voids’ that would typically house large towers now become the wildlife habitats. It is this inversion that makes Intertwine so unique. The country is essentially made up of water, yet there seems to be very little interaction with this potentially life-saving resource. This notion needs to change if the dream of a sustainable future is to be achieved. Only through the act of dreaming can reality be accomplished, and Intertwine is as much a dream as it is the future.

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STUDENTFabio Segre Florida International University

FACULTY SPONSORCamilo Rosales Florida International University

PROJECT TITLEMulti-Functional Urban Connectivity

STUDENT DESIGN ESSAYThe proposed urban intervention is located in Miami Beach, Florida at an access which connects the city to The Lincoln Road Mall through a pedestrian promenade. The underpinning of the site’s design is to essentially intensify and diversify passive connectivity within the existing urban tissue where surrounding public spaces become more responsive to the social interactions of Miami Beach. This mixed-use development is subdivided into several micro-regions which generate social and cultural activities, as it also introduces new opportunities programmed for retail spaces, art galleries and a public park. Such public connections further establish a harmonious rhythm between sustainable buildings and public spaces. Conceptually, the building’s design derives from a culmination of Regionalism-Urban Biotope which integrates the built archetype with naturalistic conditions. Additionally, it introduces an infinite-like structural product allowing for future accommodations or expansions. The architectural sensibility towards regionalism expression holistically integrates the site’s design with social and natural environments through the use of tectonic structures. The building’s entirety is grounded within a public park at the ground level, which cuts the site diagonally. Such diagonal incision creates an active transitional space between buildings, pedestrian circulation and landscape. The various interstitial moments unite multi-functional spaces consisting of restaurants, play areas, and other social gatherings.

Indistinguishably, the boundaries and ends of the multi-layered systems within the apartment towers, retail and park area present an immeasurable spatial condition. These unique spatial conditions require for welded structural components that detail a monolithic and unique aesthetic. The truncated steel members become reminiscent of elongated trees, encompassing a naturalistic depiction that provides a forest-like setting within the urban fabric. The building’s modular structure steel systems provide flexibilities to capacitate and accommodate anticipated or unforeseen changes inherent of urban sprawl characteristics. The architecture allows inhabitants to shape and reposition their individual spaces to suit their personal lifestyle. The aspect of regional integration is the implementation of vastly open design habitats with varying heights between floor slabs favorable for tropical weather. Additionally, allowing natural light and cross ventilation to increasingly harness the visual and spatial relationship between city and building promotes a positive effect on the well-being of human behavior. The unit reconfiguration designs continue the discourse in how we can re-interpret the design compositions of our cities. Furthermore, the implementation of a sustainable intervention consisting of vegetation, responsive architecture and sensitivity towards ecology will generate a healthy environment in the Miami Beach communities. HONORAbLE mENTION

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Academy of Art UniversityArizona State UniversityAuburn UniversityBoston Architectural CollegeCalifornia Polytechnic State UniversityCarleton UniversityCentral Piedmont Community CollegeCity College of New YorkClemson UniversityColumbia UniversityDalhousie UniversityDrexel UniversityFlorida Agricultural and Mechanical UniversityFlorida Atlantic UniversityFlorida International UniversityHarvard UniversityIllinois Institute of TechnologyKansas State UniversityLaval UniversityLawrence Technological UniversityLouisiana Tech UniversityMarywood UniversityMcGill UniversityMississippi State UniversityNew Jersey Institute of TechnologyNew York City College of TechnologyNew York Institute of TechnologyNewSchool of Architecture and DesignOklahoma State UniversityPolytechnic University of Puerto RicoRyerson UniversitySavannah College of Art and DesignSouthern Polytechnic State UniversitySyracuse UniversityTexas A&M University

Texas Tech UniversityTexas Tech University El PasoTulane UniversityTuskegee UniversityUniversidad De La Salle BajíoUniversity of ArizonaUniversity of ColoradoUniversity of Colorado DenverUniversity of FloridaUniversity of HartfordUniversity of HoustonUniversity of IdahoUniversity of Illinois, Urbana-ChampaignUniversity of KansasUniversity of MassachusettsUniversity of Massachusetts, AmherstUniversity of MiamiUniversity of Nebraska-LincolnUniversity of New MexicoUniversity of OklahomaUniversity of Southern CaliforniaUniversity of TennesseeUniversity of Tennessee-KnoxvilleUniversity of Texas at ArlingtonUniversity of Texas at AustinUniversity of VirginiaUniversity of WashingtonUniversity of WaterlooUniversity of Wisconsin-MilwaukeeVirginia TechWashington State UniversityWashington University in St. LouisWentworth Institute of TechnologyWoodbury University

Participating SchoolsACSA and AISC would like to thank all member schools for their continued support and participation in our student design competitions.

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2011-2012

ACSA PRESSWASHINGTON, DC

Documents

2011-2012 Steel Design Student Competition SUMMARY BOOK