APPLICATION FOR PROMOTION AND TENURE

SELECTED WORKS: 2 0 0 6 - 2 0 1 4

KENTARO TSUBAKI, R. A.Assistant Professor

Tulane University, School of Architecture

ktsubaki@ tulane.eduwww.ktstudiokt.net

APPLICATION FOR PROMOTION AND TENURE

SELECTED WORKS: 2 0 0 6 - 2 0 1 4

KENTARO TSUBAKI, R. A.Assistant Professor

Tulane University, School of Architecture

ktsubaki@ tulane.eduwww.ktstudiokt.net

CONTENTS

CURRICULUM V ITAE 001 -01 5

CAREER OV ERV IEW NARRATIV E 01 7 -02 7

B ACK GROUND / APPROACH 01 8 -01 9

ACH IEVEMENT / CONTRIB UTION 02 0-02 7

I. Re s e a r c h & De s i g nII. Te a c h i n g III. Se r v i c eCONCLUSION 02 7

RESEARCH & DESIGN 02 9 -1 7 3

TRIPLE BRIDGE GATEWAY S: THE PORT AUTHORITY BUS TERMINAL INTERV ENTION 03 0-03 3

TUMBLING UNITS: TECTONICS OF INDETERMINATE EX TENSION 03 4-05 3MATTER: MATERIAL PROCESSES IN ARCH ITECTURAL PRODUCTION B OOK CH APTER

TUMBLING UNITS: TECTONICS OF INDETERMINATE EX TENSION 05 4-0632 009 ACSA ANNUAL CONFERENCE PROCEEDINGS

TUMBLING UNITS: STRUCTURE FOR LANDSCAPE EX HIBITION INSTALLATION 064-065

TUMBLING UNITS: TECTONICS OF INDETERMINATE EX TENSION 066-067UNIVERSITY OF CH ICAGO PH Y SICS DEPARTMENT SPECIAL SEMINAR

LIGHT RECEIV ING DEV ICE: INHABITING THE TEMPORAL 068 -07 53 0TH NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS

FOLDOUT DRAWING: A PROJ ECTIV E DRAWING FOR FABRIC FORMING 07 6-08 7JOURNAL OF ARCH ITECTURAL EDUCATION ARTICLE

ABSTRACT / CONCRETE: THE MATERIALITY AND LOGICS OF CONSTRUCTION 08 8 -1 012 4TH NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS

CONCRETE / FABRIC: MATERIALITY CAUGHT IN- BETWEEN 1 02 -1 1 12 008 ACSA WEST FALL CONFERENCE PROCEEDINGS

SMOCKING: PLEATED SURFACES AND FABRIC FORMWORK 1 1 2 -1 2 12 01 0 ACSA ANNUAL CONFERENCE PROCEEDINGS

FOLDOUT DRAWINGS: MEDITATION BETWEEN THE MATERIALS AND MAKING 1 2 2 -1 2 92 6TH NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS

SMOCKING: INPUT_ OUTPUT SY MPOSIUM EX HIBITION 1 3 0-1 3 1

SMOCKING: PLEATED SURFACES OF FABRIC FORMWORK 1 3 2 -1 3 9PERFORMATIVE MATERIALS IN ARCH ITECTURE AND DESIGN B OOK CONTRIB UTION / CITATION

THE V IRTUE OF INDETERMINACY IN ARCHITECTURAL DESIGN AND 1 40-1 5 3CONSTRUCTIONTH E GRAH AM FOUNDATION GRANT / TSA DEAN’ S FUND FOR EX CELLENCE PROPOSAL

NOLA MACHI- Y A: A MULTI- USE DUPLEX PROTOTY PE FOR NEW ORLEANS 1 5 4-1 612 01 1 ACSA FALL CONFERENCE / 1 00TH ACSA ANNUAL CONFERENCE PROCEEDINGS

Z EN MEDITATION CENTER OF NEW ORLEANS 1 62 -1 65

CONTENTS

RESEARCH & DESIGN ( CONTINUE)

PROJ ECT HOME BY HAND: SELF- HELP HOUSING PROTOTY PES 1 6. -1 69A TULANE CITY CENTER PROJECT

M& N RESTAURANT PATIO RENOV ATION 1 7 0-1 7 3

TEACHING 1 7 5 -2 9 3

THE NEW ORLEANS BUILDING ARTS INSTITUTE 1 7 6-1 9 1DSGN3 1 00 FA1 3 ARCH ITECTURE STUDIO

BALANCED EX TENSIONS / BOAT- MAKING SCHOOL 1 9 2 -2 1 3DSGN3 1 00 FA1 2 ARCH ITECTURE STUDIO

DISCIPLINE AND PROCESS OF DESIGN INV ESTIGATION 2 1 4-2 1 7DSGN5 2 00/ 602 0 SP1 2 TH ESIS DESIGN STUDIO

PERFORMANCE OF STRUCTURAL FRAMING SY STEMS 2 1 8 -2 41ATCS401 0/ 61 40 FA1 3 / SP1 2 STRUCTURAL SY STEMS

FIELD STUDIES TO INFORM DESIGN FOR HEALTHY , HIGH- PERFORMANCE BUILDINGS 2 42 -2 432 01 1 NCARB GRANT PROPOSAL

URBAN MORPHOLOGY OF KY OTO AND NEW ORLEANS 2 44-2 5 5AH ST63 3 3 SU/ FA1 3 H ISTORY TH EORY SEMINAR / JAPAN STUDY AB ROAD PROGRAM 2 01 3

URBAN MORPHOLOGY OF KY OTO AND NEW ORLEANS 2 5 6-2 5 7ADGM609 SU1 0 ADVANCED DIGITAL MEDIA / JAPAN STUDY AB ROAD 2 01 0

TECTONICS OF ANISOTROPIC MATERIAL PROPERTIES 2 5 8 -2 5 9ATCS 63 3 0 FA1 1 TECH NOLOGICAL SY STEMS SEMINAR / ROME STUDY AB ROAD 2 01 1

ECCENTRIC MASONRY UNITS: SUSTAINING THE TECHNOLOGICAL IMAGINATION ABROAD 2 60-2 672 8 TH NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS

COLLECTIV E PALIMPSEST: INTERPRETING THE STRATA OF A ROMAN PIAZ Z A 2 68 -2 7 1DSGN41 00FA1 1 OPTION STUDIO ( 1 / 2 SEMESTER) / ROME STUDY AB ROAD 2 01 1

SHIFTING SCALE 2 7 2 -2 7 3ISTU601 FA1 0 INDEPENDENT STUDIES

PERFORMANCE OF A BUILDING ENV ELOPE 2 7 4-2 7 7DSGN3 2 0 SP1 0/ 1 1 COMPREH ENSIVE DESIGN STUDIO

NEW ORLEANS FILM ARCHIV E 2 7 8 -2 8 5DSGN2 1 0 FA1 0 GRADUATE DESIGN STUDIO

FORM, SPACE, MATERIALITY AND PERFORMANCE OF LIGHT 2 86-2 8 9DSGN1 2 00 SU1 2 / 1 3 WK 5 + 6: GRADUATE ARCH ITECTURE STUDIO

V IRTUE OF INDETERMINACY AND CONTAMINATION IN URBAN ARCHITECTURE 2 9 0-2 9 3DSGN42 00/ 61 00 SP1 4 ADVANCED STUDIO ELECTIVE

SERV ICE 2 9 5 -3 05

TULANE - IBM SMART BUILDING SOLUTIONS 2 9 6-2 9 7

1 0 TH ANNUAL TULANE ENGINEERING FORUM 2 9 8 -2 99

3 D SCANNER ASSESSMENT REPORT 3 00-3 03

THE 4TH ANNUAL ACSA CONCRETE THINKING FOR A SUSTAINABLE WORLD 3 04-3 05INTERNATIONAL STUDENT DESIGN COMPETITION

CURRICULUM V ITAE

1

KENTARO TSUBAKI, R.A.Assistant Professor, Tulane University School of Architecture.6823 St. Charles Ave.New Orleans, LA 70118-5698E-mail: ktsubaki@tulane.edu Web: ktstudiokt.net

EDUCATION

1997 Master of Architecture (M.Arch II) Architecture Department, Cranbrook Academy of Art, Bloomfield Hills, Michigan.

1993 Master of Architecture (M.Arch I) College of Architecture and Planning, University of Colorado at Denver.

1990 Bachelor of Science in Physics College of Science, Kyoto University, Kyoto, Japan.

ACADEMIC APPOINTMENTS

2009 - current Assistant Professor, School of Architecture, Tulane University.

2006 - 2009 Assistant Professor, College of Architecture, Texas Tech University.

1996 - 1997 Teaching Assistant, Architecture Department, Cranbrook Academy of Art.

1995 Instructor, M. Arch I. Program, College of Architecture and Planning, University of Colorado at Denver.

1993 Teaching Assistant, College of Architecture and Planning, University of Colorado at Boulder.

ADMINISTRATIVE APPOINTMENTS

2014 - current Director of Graduate Architecture Program, School of Architecture, Tulane University.

2013 - current Director, TSA Japan Study Abroad Program, School of Architecture, Tulane University.

2012 - current Coordinator, Core Technology Sequence, School of Architecture, Tulane University.

2012 - current Coordinator, 3000 Level Core Design Studio, School of Architecture, Tulane University.

2007 - 2009 Coordinator, Technology Sequence, College of Architecture, Texas Tech University.

2007 - 2009 Chair, Exhibition Committee, College of Architecture, Texas Tech University.

2007 - 2008 Chair, Faculty Exhibition Task-Force, College of Architecture, Texas Tech University.

2007 Interim Coordinator, 3rd Year Design Studio, College of Architecture, Texas Tech University.

PROFESSIONAL AFFILIATION

1997 - current Principal, Studio KT.

2001 - 2006 Associate, Pasanella+Klein, Stolzman+Berg Architects, P.C.

1997 - 2001 Project Architect, Pasanella+Klein, Stolzman+Berg Architects, P.C.

1996 Designer, Cranbrook Architecture Office.

1994 - 1995 Designer, Urban Design Group, Inc.

PROFESSIONAL REGISTRATION

2014 - current Registered Architect in the state of Louisiana; #8014 / NCARB Certificate No. 77460.

2002 - current Registered Architect in the state of New York; #029213.

PROFESSIONAL MEMBERSHIP

1997 - 2006 Member, Architectural League of New York.

CURRICULUM VITAE

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HONORS AND RECOGNITIONS

2014 2014 JAE Best Design as Scholarship Article Award Recognition of the article, Foldout Drawing: A Projective Drawing for Fabric Forming, as one of the

two best articles published in the award year by the Journal of Architectural Education, the flagship publication of the Association of Collegiate Schools of Architecture.

2007 & 2008 Nomination: the Hemphill Wells New Professor Excellence in Teaching Award Recognition for the effort in developing the contents for lecture courses and design studios

incorporating experience-based pedagogy through unique and innovative teaching methods at the College of Architecture, Texas Tech University.

1996 Merit Scholarship Award Recognition of the work produced at Cranbrook Academy of Art juried by the Art Academy Faculty

(one of the two recipients within the Department).

1993 Bronze Medal for Distinction in Architectural Design, Tau Sigma Delta Honor Society. University of Colorado.

RESEARCH INTERESTS

2011 - current Study abroad teaching pedagogy and methods.

2009 - current Investigation of 3D laser scanning technology and its implication on the design and making process.

2009 - current Research of Kyo-Machiya, a Japanese urban vernacular housing type. Adaptation of its design principle in post-Katrina New Orleans as a housing prototype.

2007 - current Investigation of fabric formed fabrication technique and the development of a notational drawing system.

2006 - current Experience-based teaching pedagogy and methods.

1996 - current Materiality and logic of construction. The material specific fabrication techniques and its potential tectonic implication.

RESEARCH GRANTS & SUPPORTS

2013 Dean’s Fund for Excellence, Tulane School of Architecture. The Virtue of Indeterminacy in Architectural Design and Construction. Amount Requested: $4900.00. Amount Funded: $3500.00.

2013 Networking Seminar Grant Proposal co-authored w/Lin, Ruff and Del Signore, Tenure-track faculty, School of Architecture. Sponsored visit by Ashley Schafer, Associate Professor, Ohio State University. Amount Requested: $3550.00. Amount Funded: $3550.00.

2012 Graham Foundation Research and Development Grant Proposal. The Virtue of Indeterminacy in Architectural Design and Construction. Amount Requested: $9680.00. Advanced to second stage review: Unfunded.

2012 The Japan Foundation Japan-America Collegiate Exchange Travel Program Grant Proposal. The Urban Morphology of Kyoto and New Orleans. Amount Requested: $33500.00. Amount Funded: $34420.00.

2011 NCARB Grant Proposal. Assisted principal investigator Z Smith, Adjunct Assistant Professor of Architecture as a technology sequence coordinator. Field studies to inform design for healthy, high-performance buildings. Amount Requested: $13221.75. Amount Funded: $13000.00.

2009 Dean’s Fund for Excellence, Tulane School of Architecture. NOLA-Machiya: a mixed-use housing prototype for New Orleans. Amount Requested: $7498.00. Amount Funded: $5000.00.

PEER-REVIEWED JOURNAL ARTICLES

2012 Tsubaki, K, FOLDOUT DRAWING: a projective drawing for fabric forming. Journal of Architectural Education, Vol 66, Issue 1. Philadelphia: Taylor & Francis Books. 2012.

P98-106.

INVITED PEER-REVIEWED BOOK CHAPTERS

2013 Tsubaki, K, Smocking: Pleated Surfaces of Fabric Formwork. Performative Materials in Architecture and Design. Ed. Rashida NG and Patel, S. Bristol, UK/Chicago,

USA: Intellect, The University of Chicago Press. 2013. P160-161.

2011 Tsubaki, K. Tumbling Units: Tectonics of Indeterminate Extension. Matter: Material Processes in Architectural Production. Ed. Gail Peter Borden and Meredith, M.

London: Routledge Press, Taylor & Francis Books. 2011. P187-203.

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INVITED REVIEW ARTICLES

2013 Back cover endorsement for Seeing and Making: Design Exercises by Taiji Miyasaka for Routledge/Taylor & Francis, 2013

2001 Tsubaki, K. Young Architects Consider Today’s “City Limits” Oculus; Volume 64, Number 1, AIA New York Chapter Publication. Exhibition / Lecture Review. September 2001

2001 Tsubaki, K. Back to Basics Oculus; Volume 63, Number 7, AIA New York Chapter Publication. Architectural Book Review. March 2001.

PEER-REVIEWED CONFERENCE PAPERS

2014 Tsubaki, K. LIGHT RECEIVING DEVICE: INHABITING THE TEMPORAL. The 30th National Conference on the Beginning Design Student, Chicago, IL. March 29, 2014. Proceedings P. 339-344.

2013 Tsubaki, K, Tectonics of Indeterminate Structure. Second International Conference Structure and Architecture, Guimaraes, Portugal. July 24-26, 2013. Abstract accepted, not presented.

2012 Tsubaki, K, FOLDOUT DRAWING: a notational drawing for fabric forming. ACSA International Conference, Barcelona Spain. June 21-23, 2012. Presented.

2012 Tsubaki, K. ECCENTRIC MASONRY UNITS: SUSTAINING THE TECHNOLOGICAL IMAGINATION ABROAD, The 28th National Conference on the Beginning Design Student, State College, PA. March 29, 2012. Proceedings P. 385-390.

2011 Tsubaki, K. NOLA Machi-ya: a Multi-use housing prototype for New Orleans. ACSA Fall Conference, Houston, TX. October 8, 2011. Proceedings P451-461.

2010 Tsubaki, K. SMOCKING: PLEATED SURFACES AND FABRIC FORMWORK, INPUT_OUTPUT: Adaptive Materials and Mediated Environments Symposium and Exhibition, Tyler School of Art, Temple University Main Campus, Philadelphia, PA. October 8, 2010. Proceedings forthcoming.

2010 Tsubaki, K. FOLDOUT DRAWINGS: MEDITATION BETWEEN THE MATERIALS AND MAKING, The 26th National Conference on the Beginning Design Student, Charlotte, NC. March 20, 2010. (33)% acceptance rate. Proceedings P.344-348.

2010 Tsubaki, K. SMOCKING: PLEATED SURFACES AND FABRIC FORMWORK, ACSA Annual Conference, New Orleans, LA. March 4, 2010. (27)% acceptance rate. Proceedings P.462-468.

2009 Tsubaki, K. TUMBLING UNITS: Tectonics of Indeterminate Extension, ACSA Annual Conference, Portland, OR. March 28, 2009. (32)% acceptance rate. Proceedings P.291-297.

2009 Tsubaki, K. THE LIGHT FILTERING DEVICE: A TEMPORAL/SPATIAL PERFORMANCE OF ARCHITECTURE, The 25th National Conference on the Beginning Design Student, Baton Rouge, LA, March 13, 2009. Proceedings P.215-219.

2008 Tsubaki, K. CONCRETE/FABRIC: materiality caught in-between, ACSA West Fall Conference, Los Angeles, CA. October 2008. (45)% acceptance rate out of (150) submissions. Proceedings P.58-65.

2008 Tsubaki, K. TUMBLING UNITS: Tectonics of Indeterminate Extension, ACSA West Fall Conference, Los Angeles, CA. October 2008. (45)% acceptance rate out of (150) submissions. Proceedings P.284-291.

2008 Tsubaki, K. Abstract/Concrete: the materiality and logics of construction, The 24th National Conference on the Beginning Design Student, Atlanta, GA, March 2, 2008. Proceedings www.beginningdesign.org/NCBDS/24/24.html

2007 Tsubaki, K. Establishing Relationships: Empirical Exercises of “in-between,” The 23rd National Conference on the Beginning Design Student, Savannah, GA, March 14, 2007. Proceedings forthcoming.

PEER-REVIEWED CONFERENCE POSTERS

2012 Tsubaki, K. NOLA-Machiya: a multi-use housing prototype for New Orleans, ACSA 100 (Annual Conference), Boston, MA. March 1-4, 2012. Proceedings P.15.

2010 Tsubaki, K. Foldout Drawings: meditation between the materials and making, ACSA Annual Conference, New Orleans, LA. March 4-7, 2010. Poster proceedings P.13.

2009 Tsubaki, K. SMOCKING: pleated surfaces of the fabric formwork, ACSA Annual Conference, Portland, OR. March 26-28, 2009. Poster proceedings P.28.

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CITATION

2013 Ng, Rashida, Speculation of Future Materiality. Performative Materials in Architecture and Design. Ed. Rashida NG and Patel, S. Bristol, UK/Chicago, USA: Intellect, The University of Chicago Press. 2013. P243-245.

INVITED LECTURES, WORKSHOPS AND PRESENTATIONS

2014 SCHEDULED FOR FALL 2014: Lecture and Workshop on Fabric Forming, Department of Art, Architecture and Design, Lehigh University, Oct. 8-11, 2014.

2012 Foldout Drawing. School of Architecture Lecture Series, SoA, Marywood University, Oct 18 2012.

2012 Tumbling Units: Tectonics of Indeterminate Extension. Physics Department Special Seminar, University of Chicago, May 22, 2012.

2011 3D Laser Scanning Demo, ADGM 3200 Digital Media III. SoA, Tulane University, April 14, 2011.

2009 Steel and Concrete, ATCS410 Integrated Systems II. SoA, Tulane University, February 17, 2009.

2009 WORKS: KT studio KT, SoA, University of Arkansas, April 6, 2009.

2009 WORKS: KT studio KT, Department of Art, Architecture and Design, Lehigh University, March 18, 2009.

2009 WORKS: KT studio KT, SoA, Tulane University, February 6, 2009.

2006 Establishing relationships: Education and Practice, Noon Lecture Series. CoA, Texas Tech University, Lubbock, TX. October 11, 2006.

2006 Tumbling Units, ARCH5102 Graduate Colloquium. CoA, Texas Tech University, Lubbock, TX. October 5, 2006.

2006 Tumbling Units, CoA, Texas Tech University, Lubbock, TX, March 6, 2006.

INVITED DESIGN JURIES

2014 School of Architecture, Louisiana State University.

2012 School of Architecture, Louisiana State University.

2010 School of Architecture, Catholic University of America.

2009 School of Architecture, Louisiana State University.

2009 Juror, 4th annual ACSA CONCRETE THINKING FOR A SUSTAINABLE WORLD, International Student Design Competition, Building Element Category, The Association of Collegiate Schools of Architecture, Washington D.C.

2005 College of Architecture, Texas Tech University.

1999 School of Architecture, Art & Historic Preservation, Roger Williams University.

1996 College of Architecture and Planning, University of Colorado at Denver.

1994 College of Architecture and Planning, University of Colorado at Denver.

1993 College of Architecture and Planning, University of Colorado at Denver.

EXHIBITIONS

2014 SCHEDULED FOR SPRING 2015: Expression of Indeterminate conditions Tulane Scool of Architecture Landing Gallery, New Orleans, LA.

2012 Structure for Landscape: Exploring the Built Environment Group show curated by Maria Levitsky. HomeSpace Gallery, New Orleans, LA.

2010 INPUT_OUTPUT: Adaptive Materials and Mediated Environments Exhibition. Tyler School of Art Building Gallery, Temple University Main Campus, Philadelphia, PA.

2008 Measuring, Drawing, Making: Process of Architectural Design and Construction CoA Faculty Exhibition at LHUCA, Louise Hopkins Underwood Center for the Arts, Lubbock, TX.

2003 WTC Site Memorial Competition On-line Exhibition Website: http://www.wtcsitememorial.org/ent/entI=656488.html

1997 Cranbrook Academy of Art Graduate Degree Exhibition, Cranbrook Art Museum, Bloomfield Hills, MI.

1995 Units, a Group Exhibition by the Architecture Department Forum Gallery, Cranbrook Art Museum, Bloomfield Hills, MI.

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1994 Sustainability Architectural Design Competition, AIA Colorado Chapter Biltmore Hotel, Colorado Springs, CO.

1993 College Exhibition for N.A.A.B. Accreditation Board Collage of Architecture and Planning, University of Colorado at Denver.

1993 Juried Exhibition of Student Work Main Gallery, Tabor Center, Denver, CO.

1992 Exhibition at AIA Conference in Denver Brown Palace Hotel, Denver, CO.

BOOK PROPOSALS

2010 Tsubaki, K. SMOCKING: Pleated Surfaces and Fabric Formwork. Solicited by Routledge Press. Unpublished.

REPORTS

2011 Internal report on the contents of structure course discussed with Associate Prof. Kirk Martini, Associate Dean of Academics at UVA School of Architecture.

2009 Internal report on the assessment of “Nextengine 3D Scanner” and recommendation on the procurement of “Creaform Handyscan” for Tulane School of Architecture technology purchase.

WEB-BASED PUBLICATIONS

2007 Published a dedicated website for coordinating the Faculty Exhibit at the Louise Hopkins Underwood Center for the Arts.

2006 - current Publish and maintain the course archive for every course taught including the examples of student work.

TRANSLATIONS (JAPANESE - ENGLISH)

2003 Translated (3) A+U magazine articles on Eero Saarinen for Jayne Merkel in preparation for her book Eero Sarrinen, Phaidon Press Limited, London.

1993 Interpreter / Moderator for Douglas Darden, Senior Instructor at the College of Architecture and Planning, University of Colorado at Denver on his lecture tour of Japan (Tokyo, Osaka, Yokohama and Okayama) in conjunction with the publication of his book, Condemned Buildings, Princeton Architectural Press.

CONFERENCES ATTENDED

2014 ACSA 102 (Annual Conference), Miami, FL. April 10-12, 2014.

2014 The 30th National Conference on the Beginning Design Student, Chicago, IL. April 3-5, 2014.

2012 Tulane School of Architecture Continuing Education Conference, New Orleans, LA. November 3, 2012.

2012 ACSA International Conference, Barcelona Spain. June 21-23, 2012.

2012 The 28th National Conference on the Beginning Design Student, State College, PA. March 29-31, 2012.

2012 ACSA 100 (Annual Conference), Boston, MA. March 1-4, 2012.

2011 ACSA Annual Conference, Montreal, QB. March 3rd-6th 2011.

2010 Tulane School of Architecture Continuing Education Conference, New Orleans, LA. November 13-14, 2010.

2010 INPUT_OUTPUT: Adaptive Materials and Mediated Environments Symposium, Philadelphia, PA. October 8, 2010.

2010 The 10th Annual Tulane Engineering Forum, New Orleans. LA. April 16, 2010.

2010 The 26th National Conference on the Beginning Design Student, Charlotte, NC. March 18-20, 2010.

2010 ACSA Annual Conference, New Orleans, LA. March 4-7, 2010.

2009 Tulane School of Architecture Continuing Education Conference, New Orleans, LA. November 14, 2009.

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2009 New Orleans Under Reconstruction: The Crisis of Planning, New Orleans, LA. October 23-24, 2009.

2009 ACSA Annual Conference, Portland, OR. March 26-28, 2009.

2009 The 25th National Conference on the Beginning Design Student, Baton Rouge, LA. March 12-14, 2009.

2008 ACSA West Fall Conference, Los Angeles, CA. October 16-18, 2008.

2008 Fabric Formwork Conference for Architectural Structures, First International Conference, Winnipeg, Manitoba. May 16-18, 2008.

2008 The 24th National Conference on the Beginning Design Student, Atlanta, GA. March 1-3, 2008.

2007 The 23rd National Conference on the Beginning Design Student, Savannah, GA. March 13-15, 2007.

COURSES TAUGHT

Assistant Professor. Tulane University School of Architecture.Master of Architecture Program

2014 Summer DSGN1100/1200 GR: Architecture Studio. Required. Enrollment (9.) Introductory design studio for 3.5 year M. Arch I. students. Poetic Transformation of Building Precedents. Weblog: http://ktstudiokt.net/DSGN1100_1200SU14/DSGN1100_1200SU14/DSGN1100_1200SU14.html

2014 Spring DSGN4200/6100: Option Studio. Enrollment (7). Newly developed elective studio aimed to examine the contradictory role architecture plays in the large urban context by leveraging participation in the ULI Urban Design Competition. Weblog: http://ktstudiokt.net/DSGN4200SP14/DSGN4200SP14/DSGN4200SP14.html

2013 Fall DSGN3100 GR: Architecture Studio. Required. Enrollment (13.) Newly developed and coordinated intermediate design studio (3000 level) focused on site/program organization and material assembly. Main Project: New Orleans Building Arts Institute. Supplemental Exercise: Modular Masonry Units. Weblog: http://ktstudiokt.net/DSGN3100FA13/DSGN3100FA13/DSGN3100FA13.html

2013 Fall ATCS4010/6140 UG/GR: Structural Systems. Required. Enrollment (60). A large lecture course designed to cultivate understanding of the relationships between structural principles, material logics and construction techniques through careful study of their scientific principals and historical development. Substantial revision of ATCS3100 for increased (4) credit hour format. Weblog: http://ktstudiokt.net/ATCS40106140FA13/ATCS4010_6140_FA13/ATCS4010_6140_FA13.html

AHST6333 UG/GR: Architectural History/Theory Seminar. Enrollment (11). The Urban Morphology of Kyoto and New Orleans. Comparative study of the morphology of the two cities from historical, cultural and environmental perspectives and the influences of vernacular architectural forms. Weblog: http://ktstudiokt.net/ARJAPAN2013/ARJAPAN2013/ARJAPAN2013.html

2013 Summer Japan Study Abroad Program. Enrollment (11). (2+) week intense travel portion of the seminar offered in conjunction in the fall made possible by the generous Japan Foundation Grant. Re-contextualizing the familiar (New Orleans, LA) by dislocating to the unfamiliar (Kyoto/Tokyo, Japan). Weblog: http://ktstudiokt.net/ARJAPAN2013/ARJAPAN2013/ARJAPAN2013.html

DSGN1200 GR: Architecture Studio. Required. Enrollment (11). Introductory Design Studio for 3.5 year M. Arch I. students. Form, Space, Materiality and Performance of Light. Weblog: http://ktstudiokt.net/DSGN1200SM12/DSGN1200_SM12/DSGN1200_SM12.html

2012 Fall DSGN3100 GR: Architecture Studio. Required. Enrollment (10). Newly developed and coordinated intermediate design studio (3000 level). Focus is on the relationships between the materiality and architectural detailing through physical exploration of materials and their expressive potential as an assembly. Phase I: Balanced Plane Extension. Phase II: Drawing In-between Materials & Experiences. Phase III: Balanced Building Extension / Boat Making School. Weblog: http://http://ktstudiokt.net/DSGN3100FA12/DSGN3100_FA12/DSGN3100_FA12.html

2012 Summer DSGN1200 GR: Architecture Studio. Required. Enrollment (13). Introductory Design Studio for 3.5 year M. Arch I. students. Form, Space, Materiality and Performance of Light. Weblog: http://ktstudiokt.net/DSGN1200SM12/DSGN1200_SM12/DSGN1200_SM12.html

2012 Spring DSGN5200/6020 GR: Thesis Studio. Required. Enrollment (14). Having established a conceptual framework and developed an appropriate vehicle project program, site, and relevant precedents in the prerequisite course, the spring studio segment focused on design-based research to further test and explore each student’s stated priorities in architectural terms. (Four student projects were voted as one of the top thesis by the faculty, amongst which three were selected for the Ogden 8 exhibition.) Weblog: http://ktstudiokt.net/DSGN6020SP12/DSGN6020_SP12/DSGN6020_SP12.html

ATCS3100 UG/GR: Technological Systems II. Required. Enrollment (60). A large lecture course designed to cultivate understanding of the relationships between structural principles, material logics and construction techniques through careful study of scientific principals and historical development.

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2011 Fall DSGN3100 UG: Architecture Studio (1/2 semester). Required. CO-taught w/Prof. Barron. Enrollment (11). Project: A Public Library for The French Quarter. Instructed the design development of the building elevation and envelope in the second half of the semester. Weblog: http://ktstudiokt.net/DSGN3100FA11/DSGN3100FA11/DSGN3100FA11.html

DSGN4100 UG/GR: Rome Study Abroad Studio (1/2 semester). CO-taught w/Asst. Prof. Lin, program director. Enrollment (26). Project 1: Collective Palimpsest. Project 2: Public Interventions for the Jubilee of 2025. The studio aimed to cultivate an understanding of urban context as a series of formal and spatial layers that provide the stage set for social and temporal activities.

ATCS 6330 GR: Technological Systems Seminar. Enrollment (9). The seminar focuses on the tectonic characteristics of Roman buildings and their historical development through the lens of anisotropic material properties. Weblog: http://ktstudiokt.net/ATCS633_FA11/ATCS633_FA11/ATCS633_FA11.html

2011 Spring DSGN320 UG: Comprehensive Studio. Required. Enrollment (14). The Andy Warhol Foundation, a private office building with an auditorium and exhibit spaces on Chartres Street and Piety at the foot of the Mississippi River levee in Bywater, New Orleans. The studio regards the comprehensiveness not as a simple check list, rather, as a result of the negotiation between various layers of ideas and criteria. The conflicts amongst these ideas and criteria are the source of individual creativity. The general course assignments and structure is overlaid with incremental assignments specifically tailored to the goal of this studio. Weblog: http://ktstudiokt.net/DSGN320_SP11/DSGN320_SP11/DSGN320_SP11.html

2010 Fall DSGN210 GR: Architecture Studio. Required. Enrollment (14). Beginning Design Studio for 3.5 year M. Arch I. students. Project 1: Light Receiving Device. Project 2: Mixed-use urban infill project in New Orleans, LA. Newly developed studio course cultivating formal/organizational logic and exploring their poetic potential through phenomenological studies of light/mass/surface in the urban context. Weblog: http://ktstudiokt.net/DSGN210_FA10/DSGN210_FA10/DSGN210_FA10.html

2010 Fall ATCS310 UG/GR: Technological Systems II. Required. Enrollment (63). A large lecture course designed to cultivate understanding of the relationships between structural principles, material logics and construction techniques through careful study of scientific principals and historical development. Introduction to analytical modeling. Weblog: http://ktstudiokt.net/ATCS310_FA10/ATCS310_FA10/ATCS310_FA10.html

ISTU601 GR: Independent Studies. Advised students Eva Lynch and Sarah Rinehart (M. Arch I w/advanced standing) to develop a theoretical grounding and a formal language for a series of small scale architectural installations foreshadowing their thesis work in the spring semester.

2010 Summer DSGN430 UG/GR: Japan Study Abroad Studio. CO-taught w/Prof. Klingman, program director. Enrollment (11). The studio project, Consulate-General of Japan/Visiting Scholar Townhouse in the northern edge of French Quarter was accompanied by the (5) week extensive travel in Japan. The goal is to re-contextualize the familiar (New Orleans, LA) by dislocating to the unfamiliar (Kyoto/Tokyo, Japan). The project served as a connective tissue between the two countries. The design is informed from the students’ first hand traveling experiences and the rigorous comparison between the two contexts. Weblog: http://ktstudiokt.net/ARJAPAN2010/ARJAPAN2010/ARJAPAN2010.html

ADGM609 UG: Advanced Digital Media. Enrollment (7). The Urban Morphology of Kyoto. The course is intended to equip students with tools, methods and references for both, rigorous and poetic architectural analysis of urban contexts and their spatial characteristics. The project consists of 2-D, 3D graphic analysis and representation techniques specific to the digital media. Weblog: http://ktstudiokt.net/ADGM609_SM10/ADGM609_SM10/ADGM609_SM10.html

2010 Spring DSGN320 GR: Graduate Level (M. Arch I) Comprehensive Studio. Required. Enrollment (15). Louisiana Civil Rights Museum on Oretha Castle Haley Boulevard, New Orleans. Communal 3rd year project. Weblog: http://www.ktstudiokt.net/DSGN320_SP10/DSGN320_SP10/DSGN320_SP10.html

2009 Fall DSGN310 UG: Architecture Studio. Required. Enrollment (10). Project 1: Envelope redesign of an exiting building. Project 2: Urban infill performance space in Paris. Weblog: http://ktstudiokt.net/DSGN310_FA09/DSGN310_FA09/DSGN310_FA09.html

ATCS310 UG/GR: Technological Systems II. Required. Enrollment (88). A large lecture course designed to cultivate understanding of the relationships between structural principles, material logics and construction techniques through careful study of scientific principals and historical development. Introduction to analytical modeling. Weblog: http://ktstudiokt.net/ATCS310_FA09/ATCS310_FA09/ATCS310_FA09.html

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Assistant Professor. College of Architecture Texas Tech University.Master of Architecture Program

2009 Spring ARCH 3502: Architectural Design Studio V. Required. Enrollment (14). Substantially revised studio course focused on Building Envelope as a framing device.

ARCH3355: Architectural Construction III. Required. Enrollment (101). Substantially revised large lecture course designed to cultivate understanding of the relationships between structure, building technology and construction through careful study of scientific principals and historical development. Introduction to analytical modeling.

2008 Fall ARCH 3501: Architectural Design Studio IV. Required. Enrollment (14). Substantially revised studio course focused on the Tectonics of Structures as it relates to Performance of Light.

2008 Spring ARCH 3502: Architectural Design Studio V. Required. Enrollment (16). Newly developed studio course focused on the tactical design skills concerning materiality and logics of construction.

2007 Fall ARCH3501: Design Studio IV. Required. Enrollment (16). Newly developed studio course cultivating student awareness of the temporal-spatial quality of a physical construct as they develop technical proficiency in architectural design.

ARCH3355: Architectural Construction III. Required. Enrollment (120). Newly developed large lecture course designed to cultivate understanding of the relationships between building technology and construction through careful study of scientific principals and historical development.

2007 Spring ARCH3502: Architectural Design Studio V. Required. Enrollment (17). Newly developed studio course exploiting the difference between phenomenal qualities of physical construct and representational methods employed in the design process as a possible source for architectural inquiries.

2007 Spring ARCH3356: Special Studies in Construction Technologies. Enrollment (40). Newly developed lecture/lab course, dealing with the relationships between the materiality and logic of construction through physical exploration of concrete and its tectonic possibilities.

2006 Fall ARCH2401: Design Studio I. Required. Enrollment (16). Newly developed studio course addressing the formal issues of architecture and its poetic potential through a series of rigorous, incremental exercises.

Teaching Assistant, Architecture Department, Cranbrook Academy of Art.Post Professional Degree Master of Architecture Program

1996 -1997 Managed the department Computer Lab. Curated a weekly film series introducing the history of film and assembled reading materials for the interdepartmental seminar in collaboration with the head of the architecture department, Peter Lynch.

Instructor, College of Architecture and Planning, University of Colorado at DenverFirst Professional Degree Master of Architecture Program

1995 Spring ARCH5501: Design Studio II. Required. Enrollment (9). Newly developed studio course to impart basic knowledge and skills of formal design strategies. The course was taught to the graduate students without previous formal design training.

Teaching Assistant, College of Architecture and Planning, University of Colorado at Boulder.Bachelor of Environmental Design Program

1993 Spring Assisted instructor Harvey Hein in teaching a fourth year undergraduate studio.

GRADUATE STUDENT ADVISED

Assistant Professor. Tulane University School of Architecture.Master of Architecture Program

2014 Directed (1) graduate students, Richard Preston (GRA) for research on architectural potential of laser cutting applications.

2012 Directed (2) graduate students, Sean Fisher and Allison Schiller in DSGN5200/6020 Architectural Thesis Studio.

2010 Directed (2) graduate students, Eva Lynch and Sarah Reinhart on their architectural experimentations, Shifting Scale. Each student independently explored the potential and boundaries of orthographic drawings in relation to physical objects in various scales. Both developed a set of projective drawing strategies notating phenomena beyond the geometric description. Eva’s project, Cast Oscillation culminated in temporal mixed media installation in an art gallery at 820 Austerlitz as well as lecture and exhibit at TSA.

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2010 Directed (2) graduate students, Matt Decotiis and Garrett Diebold as GRA’s for research and demonstration of 3D laser scanning. Developed scanning methodologies with the Creaform 3D scanner and organized a school wide 3D scanning webinar.

Assistant Professor, College of Architecture, Texas Tech University.Master of Architecture Program

2008 Louis Jason Khan, M.Arch I. 08. Museum addition to the Spencer Theater, Ruidoso, NM. Thesis Advisor.

2007 Joe Bloodworth, M.Arch I. 07. “Form”ing Design: A Police Station, Lubbock, TX. Thesis Advisor.

Andrew Bell, M.Arch I. 07. On Music, Architecture and the City : A Recording Studio, Lubbock, TX. Thesis Advisor.

PROFESSIONAL PROJECTS

Private PracticeStudio KT New York, NY / Lubbock, TX / New Orleans, LA

2014 Project Home by Hand Prototype Housing for Gentily Neighborhood Location: New Orleans, LA. Client: Project Home Again / Tulane City Center Scope: Concept Design and Visioning Document. The project envisions (2) self-help housing

prototypes for the Gentily Neighborhood of New Orleans.

2013 Mat and Naddie’s Restaurant Patio Cover Location: New Orleans, LA. Client: Mat and Naddie’s Restaurant Scope: Concept Design of the roof structure and screen wall to enhance use of existing patio.

2012 Zen Meditation Center Location: New Orleans, LA. Client: Zen Meditation Center of New Orleans Scope: Concept Design and Visioning Document. The project envisions a place for communal and

individual meditation for So-to Zen Buddhism practice in the City of New Orleans.

2011 NOLA Machi-ya Location: New Orleans, LA. Client: Research Grant (Dean’s Fund for Excellence, Tulane School of Architecture) Scope: Concept Design of a multi-use duplex residential prototype for post-Katrina New Orleans

based on the comparative research of vernacular housing types found in two unique urban contexts: New Orleans and Kyoto, Japan.

2010 Open Classroom Location: New Orleans, LA. Client: Tulane University / Tulane City Center Scope: Concept Design and Visioning Document. A multi-purpose open classroom consisting of a roof

canopy w/the latest PVC technology, a floor deck and operable screen walls on top of a previously abandoned foundation.

2008 Johnson Loft Location: Slaton, TX Client: Mr. and Ms. Johnson Scope: Consultation on the purchase and renovation of a 40’s era department store into a residential

loft.

2007 Fink/Houston Residence Renovation Location: Ransom Canyon, TX Client: Mr. Fink, Ms. Houston Scope: Concept design for a (1000 SF) kitchen/bath renovation.

2004 - 2007 House in Michigan Location: Benzie County, MI Client: Mr. and Ms. Purcell Scope: Concept Design. A (2,000) SF residence located on (6) acre woodland.

2003 - 2004 Media Lab Renovation Location: Upper East Side, Manhattan Client: The Dalton School Estimated Construction Cost: $80,000 Scope: A (1,000 SF) renovation of media teaching facility including a computer lab and a darkroom.

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2003 World Trade Center Memorial Location: Lower Manhattan Client: Open Design Competition Scope: Concept design for the memorial dedicated to the victims of 9/11 attack

1999 Office Renovation Location: Long Island City, New York Client: Empire Art Foundry Scope: Concept design of (1,100) SF office renovation.

1998 Rockledge House Renovation Location: Upstate, New York Client: R. Marci and J. Roach Estimated Construction Cost: $120,000 Scope: Concept design and a design development for (2,500) SF residential conversion of an existing

Girl Scout Camp lodge on a (200) acre site.

1998 SBJ House Renovation Location: Upstate, New York Client: Ms. Marci and Mr. Roach Estimated Construction Cost: $150,000 Scope: Concept design and a design development for a (3,000) SF Yoga Retreat conversion of an existing Girl Scout Camp administration building on a (200) acre site.

Associate Pasanella+Klein, Stolzman+Berg Architects, P.C. New York, NY

1997 - 2007 Triple Bridges Location: Midtown, Manhattan Client: Port Authority of NY & NJ Estimated Construction Cost: $5 million Position: Project Architect Scope: A façade renovation of Port Authority Bus Terminal and custom lighting of bus ramps. Press: Architectural Record; 10/2003. Chelsea Clinton News; Vol.LIX. Issue 26.

2005 - 2006 Queens West Location: Long Island City, Queens Client: Queens West Development Corporation Position: Designer Scope: Master planning studies for a (30) acre waterfront site in Long Island City for future

commercial and residential developments.

2005 Institute of Ethics and Leadership Location: Greencastle, IN Client: DePauw University - Invitational Design Competition Estimated Construction Cost: $15 million Position: Project Architect Scope: Concept design of a (40,000) SF conference, research and residential complex.

2003 - 2005 Independent School Location: Upper East Side, Manhattan Client: Allen-Stevenson School Estimated Construction Cost: $25 million Position: Project Architect / Project Manager Scope: A (70,000) SF addition / renovation of private (K - 9) school

2002 - 2003 International School Location: Dong-Guan, China Client: Architecture Institute (Shanghai, China) Position: Project Architect Scope: A concept design of (50,000) SM (K- 9) boarding school complex.

2002 Loft Lobby Renovation Location: Cooper Square, Manhattan Client: Cooper Square Realty Estimated Construction Cost: $80,000 Position: Designer Scope: Interior lighting and custom designed reception desk.

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2001 Flemington Jewish Community Center Location: Flemington, NJ Client: Open Design Competition Estimated Construction Cost: $15 million Position: Project Architect Scope: Concept design of a (23,000) SF multi-purpose religious facility.

2001 - 2002 Manhattan Office Location: Midtown, Manhattan Client: Applecore Hotels Estimated Construction Cost: $1.2 million Position: Project Architect Scope: A (2,500) SF floor thru office renovation and furnishing, including custom designed furniture.

1999 - 2000 Energy Court Location: Harlem, Manhattan Client: New York Presbyterian Hospital Estimated Construction Cost: $250,000 Position: Project Architect Scope: An atrium facade renovation and lighting.

1998 - 1999 Central Park Apartment Location: Central Park West, Manhattan Client: Private Estimated Construction Cost: $400,000 Position: Project Architect Scope: A (900) SF duplex renovation and furnishing, including custom designed furniture Press: Interior Design; Vol. 70 No. 12, Fabric Architecture; Vol. 11 No. 5. New York Apartments;

teNeues Publishing Company, New York. Practically Minimal; Thames and Hudson, London.

1998 Event Space at STUDIO 54 Location: Midtown, Manhattan Client: Allied Partnership Position: Project Architect Scope: Concept design of a private function room adjacent to the legendary “Studio 54.”

1998 Museum of Fashion Industry Location: Midtown, Manhattan Client: Fashion B.I.D. Position: Project Architect Scope: Feasibility study and concept design for a museum conversion of a prewar bank building.

1997 Rockefeller Plaza Hotel Location: Midtown, Manhattan Client: Macklowe Properties Position: Project Architect Scope: Feasibility study for a hotel conversion of an office building.

1997 Grand Central Tower Location: Midtown, Manhattan Client: Macklowe Properties; Invitational Design Competition - 1st place Position: Project Architect Scope: Urban plaza & lobby renovation of a class-A office building.

DesignerCranbrook Architecture Office Bloomfield Hills, MI

1996 Art Academy and Museum Archive Expansion Location: Bloomfield Hills, MI Client: Cranbrook Educational Community Position: Designer Scope: Master planning of the Art Academy and the Museum Archive.

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DesignerUrban Design Group INC. Denver, CO

1995 Parking Structure Elevator Shed Location: Telluride, CO Client: Telluride Mountain Village Resort Position: Project Designer Scope: A (300) SF elevator shed for a parking structure.

1994 Banquet / Conference Facility Addition Location: Big Cedar Lodge, MO Client: Bass Pro Shops Position: Project Designer Scope: Concept design of a (5,000) SF conference facility addition to an existing meeting / restaurant

facility.

1994 Fitness, Indoor / Outdoor Pool Facility Location: Big Cedar Lodge, MO Client: Bass Pro Shops Position: Project Designer Scope: Concept design of a (20,000) SF fitness, indoor / outdoor pool facility.

DESIGN COMPETITION ENTRIES

2012 Growing Local: a new urban farming training center, New Orleans, LA.

2005 Institute of Ethics and Leadership, DePauw University Greencastle, IN; w/PKSB.

2003 World Trade Center Site Memorial Competition

2001 Flemington Jewish Community Center, Flemington, NJ; w/PKSB.

1997 Grand Central Tower, New York, NY; w/PKSB.

1994 AIA Colorado Sustainability Architectural Design Competition

1993 Central Glass International Architectural Design Competition, 20th Century Museum; w/B. Neiman.

1993 Art Papers Architecture Competition, Anti-Millennium Dollhouse; w/B. Neiman.

SERVICE

Assistant Professor. Tulane University School of Architecture.Master of Architecture Program

2014 - current Member, University Faculty Senate Health and Benefits Committee

2013 - current Member, Executive Committee.

2012 - 2014 Member, Undergraduate Admissions Committee.

2011 - 2014 Project Manager, Tulane IBM Smart Building Solutions Richardson Memorial Hall Pilot Project

2011 - current Member, Richardson Memorial Hall Building Committee

2011 - current Member, Building Technology Curricular Task Force

2010 - 2012 ACSA Faculty Councilor.

2010 Member, Executive Committee (fall semester)

2009 - 2011 Member, Curriculum Committee.

2009 - 2011 Member, Grievance Committee.

2009 - 2010 Member, Tulane Engineering Forum Committee.

2009 - 2010 Architecture track sessions co-chair, the 10th annual Tulane Engineering Forum. New Orleans LA. April 16, 2010.

Assistant Professor, College of Architecture, Texas Tech University.Master of Architecture Program

2008 Member, Undergraduate Admissions Committee.

2007 - 2009 Member, Curriculum Committee.

2007 - 2009 Coordinator, Technology Sequence.

2007 - 2009 Chair, Exhibition Committee.

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2007 - 2008 Chair, Faculty Exhibition Task-Force.

2007 Interim Coordinator, 3rd Year Design Studio.

2006 - 2009 Member, Shop Advisory Committee.

2006 - 2009 Member, Exhibition Committee.

2006 Member, Faculty Search Committee.

REVIEWER

2011 Peer review of papers for the 28th National Conference on the Beginning Design Student, End in/of the Beginning: Realizing the Sustainable Imagination, State College, PA.

2011 Peer review of a book proposal addressing issues of seeing and making as a studio teaching pedagogy for Routledge Press, UK.

2009 Juror, 4th annual ACSA CONCRETE THINKING FOR A SUSTAINABLE WORLD, International Student Design Competition, Building Element Category, The Association of Collegiate Schools of Architecture, Washington D.C.

OTHER ACTIVITIES AND SKILLS

Photography

2000 Credited for (2) photographs in the book Pasanella+Klein Stolzman+Berg, Contemporary World Architects, Rockport Publishers Inc.

1996 - 1997 Darkroom manager, Architecture Department, Cranbrook Academy of Art.

1973 - current Engaged in darkroom photography since the age of (8) years old.

Film Curator

1995 - 1996 Curated a student film series at Cranbrook Academy of Art.

1996 - 1997 Curated a weekly film series introducing the history of the media and assembled reading materials for the Architecture Department at Cranbrook Academy of Art.

Computer Management

2001 - 2006 CAD manager for Pasanella+Klein, Stolzman+Berg Architects, P.C.

1996 - 1997 Computer Lab manager, Architecture Department, Cranbrook Academy of Art.

Volunteer Work

2005 Building Systems Committee, 1270 Fifth Avenue Coop. Advised on the design and proceedings of the pending lobby and hallway renovation.

Languages

1973 - current Fluent in both, written and verbal English and Japanese.

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CAREER OV ERV IEW NARRATIV E

B ACK GROUND / APPROACH

ACH IEVEMENT / CONTRIB UTION

I. Re s e a r c h & De s i g nII. Te a c h i n g III. Se r v i c e

CONCLUSION

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Ca r e e r Ove r vi e w Na r r a t i ve

BACKGROUND / APPROACH“ the aim of science is not things themselves, as the dogmatists in their simplicity imagine, but the relations between things; outside those relations there is no reality knowable.”

H enri Poincaré , Au t h o r ’ s P r e f a c e , Science and H ypothesis, Science Press, New Y ork, 1 9 05 . x x iv

I’ ve been a member of the faculty at Tulane School of Architecture since 2 009 . I am a registered architect in Louisiana and New Y ork. I practiced architecture professionall at an internationall reco ni ed architecture r , Pasanella+ K lein, Stolz man+ B erg Architects P.C., as a project architect and later as an Associate. Prior to my arrival at Tulane, I held a tenure-track Assistant Professor position at Tex as Tech University, College of Architecture.

The approach I take in my design scholarship in both teaching and practice, e er e out of the sa e root t is r l intert ined in past education and ex perience.

I studied physics at K yoto University, earned my professional architecture degree from University of Colorado and a post-professional degree from Cranbrook Academy of Art. I am the son of a music instructor and an astronomer. I started my formal education in New Mex ico at the age of six and returned to Japan at the age of eight. I was a “ kikokushijo” ( lit.

Sm o cki n g V 5 a n a l yt i ca l co m p o si t e s a n d Fo l d - o u t Dr a w i n g

Wh i t e Sa n d s Na t i o n a l M o n u m e n t , Ne w M e xi co

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repatriated child) , a term referring to those reintegrated into the rigid Japanese educational system in their childhood after being ex posed to

estern education and cultural alues n this conte t, often nd self in a position to negotiate diametrically opposed ideas. In order to navigate the co ple ph sical and conceptual orld, ha e orked to reconcile con ictin concepts into a form of i m p e r f e c t y e t u s e f u l c o h e s i o n . As such, it is a natural ex tension of my formative years to tackle the architectural problem as a process of synthesis, negotiating diverse and disparate components and celebrating conditions that absorb differences.

My design scholarship focuses on the virtue of indeterminate, interstitial conditions as design opportunities that negotiate complex architectural contex ts, components and systems. The ubiq uitous tendency in architectural practice today is to leverage the inex pensive, fast-paced development of digital technology in order to minimiz e or eliminate, when possible, the indeterminate risks associated with the design and construction of evermore complex buildings. Access to new technology cultivates new design opportunities. H owever, we are still operating within the old paradigm of the industrial revolution. The value proposition is that the deterministic precision of technology can generate more complex entities to be designed and built cheaper and faster. My research q uestions this notion by taking a longer and more fundamental view on the nature of indeterminate conditions in architecture, searching for a new paradigm in the process of design-thinking. My research on the structural behavior of high-density polymers as a physics major at K yoto University initiated this particular focus and also inspired my Masters architectural thesis at the Cranbrook Academy of Art.

Teaching has always been an integral part of my design scholarship. Analogous to science teaching labs in higher education, design instruction occurs within studios where students actively engage in their own learning and discovery. The instructor’ s responsibility is to program and to coordinate processes and events. It is an ideal circumstance to conduct controlled ex periments aligned with a research agenda. I have conducted such ex periments on multiple occasions to learn from students and to enhance student learning ex periences with respect to the institutional goals and responsibilit to the profession n this re ard, ha e been hea il in uenced by my former professors, B ennett Neiman and Douglas Darden, both highly in uential professors at the ni ersit of olorado

si ni cant e perience in architectural practice constitutes the core of my embodied architectural knowledge and cultivated my fundamental understanding of the design process. As an Associate at Pasanella+ K lein, Stolz man+ B erg Architects P.C. in New Y ork City, I often managed complex and demanding projects involving multiple client constituents and technical consultants. The Triple Bridge Gateways project for the Port Authority of

e ork and e erse is a professional built ork that e e pli es proclivity toward the synergy between architecture and science. This project was simultaneously the pure structural engineering of a bus-ramp platform, as well as an ephemeral architecture of light. I have come to understand that in order to successfully handle this type of complex design process, one must cultivate relationships amongst multiple threads at play, both laterally and simultaneously. While my current practice as a full-time educator and researcher is limited to speculative projects of modest complex ity, the ability to instill the spirit in this type of synergistic architecture is what motivates my teaching and my design scholarship.

Through this statement and portfolio, I intend to unpack the resonance between various aspects of my work. The goals is to tease-out the nuanced relationships Poincaré refers to as a “ knowable reality” that has directed the trajectory of my academic career.

Tr i p l e Br i d g e Ga t e w a ysP o r t Au t h o r i t y Bu s Te r m i n a l , NY C

Ryo g e n - i n r o ck g a r d e n Kyo t o , Ja p a n

So l a r Fl a r e 1 0 . 1 8 . 7 4Im a g e : Sa cr a m e n t o P e a k Ob se r va t o r y , Ne w M e xi co

M u si ca l n o t a t i o n d r a w i n gEr i k Sa t i e , Gym n o p é d i e No . 1

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Ca r e e r Ove r vi e w Na r r a t i ve

ACHIEV EMENT / CONTRIBUTIONI. Re s e a r c h & De s i g n

Intricately linked to teaching and practice, my design scholarship consists of three distinct yet interrelated areas of interest.

a. Materiality and logic of construction

b. Empirical design pedagogy and methods

c. Speculative design work as a mode of critical inq uiry

he rst area of interest is aterialit and the lo ic of construction his interest stems from my undergraduate research on structural behavior of high-density polymers as a physics major at K yoto University. The uniq ue material characteristics of polymers are based on their form ( long branching strands) and tacticity, the amorphous long-range disorder of their molecules.

he notion that “disorder,” an indeter inate condition can pla si ni cant and valuable roles in determining attributes of materials has fundamentally changed my view of the physical world in which we thrive.

The agency of disorder was tested architecturally though the design and fabrication of an unconventional ceramic structural system. This ongoing study entitled, Tumbling Units, began as an installation during my post-professional graduate thesis work at Cranbrook Academy of Art, and has served as a continuing means of empirical ex ploration in my own research. Architects-in-Residence Dan H offman and Peter Lynch were my advisors. Since its initial installation, over 600 units have been fabricated and assembled into various structural forms, documented for analyses and ex hibition, most recently in 2 01 1 , at the H omeSpace Gallery in New Orleans. The formal and material si ni cance of these e plorations as rst presented at the West fall conference as a peer-reviewed paper, Tumbling Units: Tectonics of Indeterminate Extension, and published in the 2 009 ACSA Annual Conference Proceedings ( Portland, Oregon.) The theoretical dimension of this body of work was further ex amined in a book chapter within Matter: Material Processes in Architectural Production published by Routledge Press in 2 01 1 . In the spring of 2 01 2 , I was invited to give a seminar lecture at the University of Chicago, Department of Physics on behalf of professor H einrich Jaeger. The Jaeger Lab is known for their cutting edge research on the aggregated behavior of granular materials in relation to their geometry. The Jaeger Lab was considering an ex ploration of the architectural scale and were interested in my research to identify the potentials and issues of such an endeavor. The concept that the indeterminate conditions serve positive, generative roles in architecture is the overarching focus of my design scholarship.

My second area of scholarship focuses on empirical design pedagogy and methods. This work is grounded in my belief that the poetics of architecture reside within the phenomenal performance of a physical construct, beyond the predictable. Spaces that evoke emotional and intellectual responses often rely on ephemeral factors such as light, shadows, and the passing of ti e s an educator ith si ni cant e perience in professional practice, primary concern has been raising student awareness of materiality and the temporal-spatial q uality within physical architecture. Most students in their be innin careers in architecture school ha e et to e perience rst-hand the conseq uences of their design decisions within the spatial richness of reality.

My research ex plores the haptic, empirical learning process and methods in a studio contex t. The goal is to encourage students to conscientiously integrate phenomenological ex plorations into their decision-making process. This approach is particularly valuable and complementary in the current

Un i t ce l l st r u ct u r e o f p o l ye t h yl e n e

Tu m b l i n g Un i t s

Fa b r i c- f o r m i n g co n cr e t e St u d e n t s: C. Da vi s, L. Ru t h e r f o r d , R. Lo p e z

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educational contex t that emphasiz es design decisions based on virtual simulation. I have been productive in this area of scholarship, resulting in numerous peer-reviewed papers.

One of the more recent ex amples is an investigation based on the project Li g h t Re c e i v i n g De v i c e . A peer-reviewed paper Light Receiving Device: Inhabiting the Temporal was published in the proceedings of the 3 0th National Conference on the B eginning Design Student in Chicago, Illinois in 2 01 4. The project cultivates in student awareness to the phenomenal nature of a physical construct in conjunction with the projective role of drawing. Natural light is one of the few architectural elements that are eminently scalable. The project encourages students to engage and develop an innate understanding of the relationships between a physical construct and the performance of natural light through the iterative design, fabrication and observation of a plaster-cast Li g h t Re c e i v i n g De v i c e . The materiality of plaster resists the traditional mode of incremental fabrication and correction. Plaster casts also req uire students to consider the roles of density, gravity and negative-positive relationships. Iterative drawings become indispensable tools for the design and fabrication of these plaster casts. The devices are then tested in various lighting conditions, its temporal-spatial nature embodied in a series of charcoal subtractive drawings as Li g h t Dr a w i n g s .

“ To translate is to convey. It is to move something without altering it…( edited by K T) The assumption that there is a uniform space through which meaning may glide without modulation is more than just a naive delusion, however. Only by assuming its pure and unconditional e istence in the rst place can an precise kno led e of the pattern of deviations from this imaginary condition be gained.

I would like to suggest that something similar occurs in architecture between the drawing and the building, and that a similar suspension of critical disbelief is necessary in order to enable architects to perform their task at all. I would like to suggest also that, while such an enablin ction a be ade e plicit, this has not been done in architecture, and that because of this inex plicitness a curious situation has come to pass in which, while on the one hand the drawing might be vastly overvalued, on the other the properties of drawing - its peculiar powers in relation to its putative subject, the building - are hardly recogniz ed at all.”Robin Evans, Tr a n s l a t i o n f r o m Dr a w i n g s t o Bu i l d i n g s . Translations from Drawings to B uildings and

Other Essays. Architectural Association Publications, London. 1 9 9 7 . P1 5 4.

My most substantial scholarly work to date straddles the two areas of interests discussed above. The peer-reviewed article Foldout Drawing: A Projective Drawing for Fabric Forming in Vol. 66, Issue 1 of the Journal of Architectural Education was recently awarded the “ B est Design-as-Scholarship Article” by the Association of Collegiate Schools of Architecture ( ACSA) earlier this year. The article is a focused ex tension of Robin Evans’ idea of the potential of a drawing in relationship to a building and the power of the slippage between the two. The Fo l d o u t Dr a w i n g argues for the agency of representation as a form of mediation between materials and design. The ex perimental fabric-formed plaster-casting project uses full-scale drawings to design, fabricate and to form simultaneously. It demonstrates that a hybrid projective drawing, operating between notational and geometrical logics, can integrate conceptualiz ation, visualiz ation, and fabrication.

The origin of this investigation can be traced back to a construction technology seminar I conducted in the spring 2 007 at Tex as Tech University. The focus was on the technological development and the formal implication of concrete as a building material. In conjunction with lectures and precedent research, I challenged students to cast a ( 2 ’ x 3 ’ ) “ well articulated” concrete panel to

Li g h t Re ce i vi n g De vi ce St u d e n t : A. Ash e r m a n

Li g h t Dr a w i n g St u d e n t : A. Ash e r m a n

Ar t i cu l a t e d co n cr e t e p a n e lSt u d e n t : D. Di xo n

Ar t i cu l a t e d co n cr e t e p a n e lSt u d e n t : W. Q u i n o n e z

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Ca r e e r Ove r vi e w Na r r a t i ve

ex plore the material empirically with a minimum of restrictive rules. The uniq uely intricate outcome was published in a peer-reviewed paper Abstract/Concrete: The Materiality and Logics of Construction for the 2 4th National

onference on the e innin esi n tudent in tlanta, eor ia in Subseq uently, I had the opportunity to test the material logic and empirical learning agenda in the studio setting the following year. B ased on previous results and the feedback I received from colleagues and students, I focused on the fabric-form fabrication method for casting concrete. With generous support fro the e pert in the eld, professor ark est of the ni ersit of anitoba, I employed the techniq ue to integrate the material logic in the design process. The fruitful outcome of the haptic learning ex perience is summariz ed in the peer-reviewed paper, Concrete/Fabric: Materiality Caught In-between for the est all onference in os n eles, alifornia

ne si ni cant insi ht re ealed durin this studio as the essential role a drawing plays in the dynamic process of iterative design and fabrication. It stabiliz ed the process by providing an interstitial, time-independent space allo in for a o ent of re ection, a critical co ponent in the e pirical learning process. The analysis of this discovery and the nature of the notational dra in s ste de ised speci call for the fabric for ork in the studio is detailed in the peer-reviewed paper, Foldout Drawings: Meditation between the Materials and Making, published in the proceedings for the 2 6th National Conference on the B eginning Design Student in Charlotte, North Carolina in 2 01 0.

ollo in the studio outco e, conducted o n fabric for in ex perimentation to clarify the nature of the relationship between notational drawings and fabric forming. The project Sm o c k i n g focuses on pleated surface geometry of fabric formwork and the plaster-cast form. The development of the dra in con entions to notate both, the uid eo etr and the fabrication seq uence and its impact on the iterative design process, is discussed in the peer-reviewed paper, Smocking: Pleated surfaces and fabric formwork published in the proceedings for the 2 009 ACSA Annual Conference in New Orleans, Louisiana. The theoretical connection between the notational drawing and the empirical process of making was further developed and presented at the INPUT_ OUTPUT: Adaptive Materials and Mediated Environments Symposium hosted by Temple University in Philadelphia, Pennsylvania in 2 01 0 and the ACSA International Conference in B arcelona, Spain in 2 01 2 , which also became the basis for my lecture at Marywood University, School of rchitecture s fall lecture series and nall , de eloped into the afore entioned article ith si ni cant support fro ulper, the design editor of the journal.

In her closing essay Sp e c u l a t i o n o f Fu t u r e M a t e r i a l i t y for the book Performative Materials in Architecture and Design, editor Rashid Ng offers the following observation;

“ ....the translation between digital and physical contex ts req uires hybridiz ed methods of investigation that allows for the negotiation of physical conditions to provide feedback into the virtual realm. H ence, developing modes of representation in architecture are working to close the gap that persists between digital and analog means of material making. Smocking: Pleated Surfaces, a project by K entaro Tsubaki featured within chapter 3 , ex plores the tension between the precise notational drawings that signify the design process and a haptic sense of materiality evoked by unpredictable forces within the physical construct.”

ashid , peculation of uture aterialit , erfor ati e aterials in rchitecture and esi n ntelect, the

University of Chicago Press, 2 01 3 . P.2 45 .

The areas of design scholarship presented here are indeed diverse and

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Fa b r i c- f o r m e d co n cr e t e co l u m n sSt u d e n t s: C. Da vi s, L. Ru t h e r f o r d

No t a t i o n a l Dr a w i n gSt u d e n t : L. Ru t h e r f o r d

Sm o cki n g V 5 ca st su r f a ce

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eccentric and a not i ediatel appear to directl en a e and bene t the architectural practice in the conventional sense. This work is very much rooted in the contemporary milieu and relevant to the issues faced by architects practicing at the very edge of the profession today. My work aspires to reveal the underlining principles of human activity we call architectural design. My intention is contribute to an e istin bod of kno led e in the eld throu h a combination of systematic ex perimentation and theoretical ex ploration, with ndin s disse inated in the for of peer-re ie ed publications

he nal area of scholarl interest can be de ned as speculati e desi n work as a mode of critical inq uiry. It is a relatively recent development prompted by my arrival at Tulane University and the rich cultural contex t of

e rleans, hich has inspired e to e plore ho conte tual speci cit can relate to building design.

There are many ways the city of New Orleans reminds me of K yoto, Japan where I spent my formative years. The contex tual parallels and contrasts found in these t o cities beca e a line of inquir that resulted in a si ni cant source of knowledge. The comparative research on vernacular housing types found in these t o unique urban conte ts, speci call that of the shot un house and the K yo-machiya, revealed the role of indeterminate, interstitial spaces ( front porch, tori-niwa, en-gawa, etc.) that effectively address the social-cultural and performative issues in the hot, humid climate. The project NOLA-Machiya: a Mixed-use Housing Prototype for New Orleans is an attempt to transpose, negotiate, and integrate these architectural considerations and features arising out of the two distinctive vernacular cultures, while addressing issues of contex t and time. This project was sponsored by the Tulane School of rchitecture ean s und for cellence and as published in the peer-re ie ed proceedin s for the all onference in ouston, e as and selected for a peer-reviewed poster presentation at the ACSA 1 00th Annual Conference in B oston, Massachusetts in 2 01 2 .

This body of research is further ex plored through on-going speculative design projects. The Zen Meditation Center of New Orleans is a project that negotiates program and aesthetics of the So-to Z en practice with the scale and the sensibility of a New Orleans residential neighborhood. The project Home by Hand: Prototype Housing for Gentilly Neighborhood, funded by Tulane City Center, negotiates the antagonistic relationships between the raised oor plane and the round habitation in e rleans he desi n attempts to capitaliz e on the interstitial condition between the two as an active z one for occupancy and engagement.

The future trajectory of my work in the area of design scholarship is two-fold. rst oal is to s ste aticall e a ine the role of indeter inate, interstitial

conditions ithin the si ni cant past and present architectural precedents I intend to leverage the knowledge gained from my own work to ex plore the desi n i plications of si ni cant ork done b others he outco e ill be disseminated as a book and possibly accompanied by ex hibitions. To this end, I have already began working on this goal. The proposal The Virtue of Indeterminacy in Architectural Design and Construction was awarded the ean s und for cellence and ad anced to the second sta e re ie of the raha oundation research and de elop ent rant he second oal is to nd opportunities for a full-scale application of the kno led e ained from my material ex perimentations. The potential venue for this type of physical ex ploration can be proposed as a component of speculative practice in a design-build studio setting. The two diametrically opposing modes of investigations, one empirical the other theoretical, are meant to complement each other as it advances my overall understanding of the architectural design process and practice. I look forward to continuing these efforts at Tulane in the very near future.

Tsu b o - n i w a + En - g a w aNi sh i o sh i ko j i - ch o M a ch i ya

En - g a w a + To r i - n i w aNOLA M a ch i ya

En - g a w a + Tsu b o - n i w aZ e n M e d i t a t i o n Ce n t e r o f Ne w Or l e a n s

Si d e - y a r d P o r c h Ho m e b y Ha n d : P r o t o t y p e Ho u s i n g f o r Ge n t i l y Ne i g h b o r h o o d

23

Ca r e e r Ove r vi e w Na r r a t i ve

II. Te a c h i n g

s entioned in the desi n scholarship section, ha e a speci c research interest in teaching. As a licensed architect in a professional school, I am also keenly aware of my responsibility to the students and in turn, to the community to uphold the value of the profession. I do not believe that this duty is simply about transmitting relevant knowledge or about training students to follow a ritualistic series of steps in design. In this global, inter-connected world, individual decisions have cascading conseq uences. To be good citiz ens of the planet, it is evermore critical to be conscientious of the public on various competing social, cultural, environmental and economical interests. Architects must confront a multitude of information and inspire fair and appropriate responses for their clients and for the community at large. In order to be effective in this fast-paced tech-savvy world, one critical ability we must nurture and instill in students is the capacity to laterally and simultaneously identify and prioritiz e the relationships amongst the multiple threads at play. New Orleans as a design contex t offers wonderful opportunities in this regard.

Intricately linked to design scholarship and practice, my contribution in teaching can be described in three distinct yet interrelated categories.

a. Studio Teaching and Coordination

b. Technology Support Course Teaching and Coordination

c. Japan Study Abroad Program

I organiz e and post all relevant course information and instructions materials on-line in real time for students through my personal website. The portfolio of the courses ha e tau ht in the past ears alon ith curated student projects can be accessed ( ex cept for the structure course) at my website:

h t t p : / / k t s t u d i o k t . n e t / KT_ St u d i o _ KT/ + Co u r s e s . h t m l

e era in si ni cant professional e perience and technical e pertise, my main effort in teaching has been directed to the intermediate level core studio seq uence where conceptual and technical issues on materials and assemblage are systemically introduced. With guidance from my peers and support from the administration, I developed the studio content and coordinated the teaching team for DSGN3 1 0 0 Ar c h i t e c t u r e St u d i o ( the fth studio in sequence at ulane for the past t o ears he recent

accreditation visit proved positive for this studio segment. The intention of the studio was to develop an innate understanding of the relationships between materiality and details. As the title of the fall 2 01 3 project Th e Ne w Or l e a n s Bu i l d i n g Ar t s In s t i t u t e suggests, it is intentionally layered with nuanced contex tual, technical, environmental and socio-economic issues associated with the material culture of New Orleans. Students had to uncover and confront the multitude of issues across the board in order to propose a rich and engaging architectural solution. Judging from my anecdotal observations and the near perfect score of the course evaluation with 1 0 out of 1 3 students responding in my graduate studio section, I trust that the student’ s educational e perience as a uch af r ati e and an effecti e one

Another ex ample of teaching effectiveness is demonstrated in DSGN6 0 2 0 Th e s i s De s i g n St u d i o in the spring of 2 01 2 . The thesis studio at Tulane is preceded by a semester of research where students prepare the loaded problems they hope to resolve through their architectural designs. This process poses a challenge as it is often driven by the student’ s aspirations, not throu h clear obser ation and anal sis of the conte t rst contribution as a thesis instructor was to refocus their mindset to see the multitude of collected contex tual information simultaneously without prejudice and to let them inform the problem. The second was to help them frame the problem architecturally so they could tackle the solution through design, something our students know

NOLA Bu i l d i n g Ar t s In st i t u t e p l a nSt u d e n t : E. Hi m m e l

NOLA Bu i l d i n g Ar t s In st i t u t e w a l l se ct i o nSt u d e n t : E. Hi m m e l

Fl u x Ca p a ci t y: Asym m e t r i ca l Act i vi t y o n Bo st o n ’ s Ci t y Ha l l P l a zaSt u d e n t : P . Fr a n ke

St i t ch i n g Ho u st o nSt u d e n t s: L. Be r m a n

24

ho to do quite ell at the nal sta es of their education ut of students in my studio section, four of them ( Lee B erman, Will Trakas, Sean McGuire and

atric ranke ere a arded special reco nition and co endation for their respective thesis projects. Three of them were also chosen for the Og d e n 8 Ex hibition at the Ogden Museum of Southern Art.

The most challenging aspect of my teaching effort has been making ATCS40 1 0 / 6 1 40 St r u c t u r a l Sy s t e m s course ( one of the only two science-based technical courses offered at Tulane School of Architecture) palatable to desi n students ithout sacri cin the core principles of quantitati e anal sis methods. There are many effective methods to visualiz e the basic behavior of structural elements, including full scale demonstration. H owever, analogous to learning to drive through a video instruction ( it does not make you a competent driver with it alone) , these techniq ues themselves do not constitute an embodied understanding of structural behavior. Similar to the way the drawing operates within the projective space in relation to the building itself, analytical simulation in the abstract space of mathematics is paramount in embodying the structural and material behavior. The same analytical principles apply to the B uilding, Climate and Comfort course, the other science-based technical course. It is an evermore pressing issue in the profession in the age of

lobali ation here the science of buildin perfor ance is a si ni cant aspect of the design eq uation.

My contributions as a co-coordinator of the core technology seq uence:

1 . With the support of the faculty, I worked with the administration to change the course load of ATCS3 03 0/ 61 3 0 B uilding, Climate and Comfort, ATCS401 0/ 61 40 Structural Systems and ATCS402 0/ 61 5 0 Integrated B uilding

ste s, fro to credit-hours re ectin the realit of the content demands.

2 . I worked with the physics department to institute a prereq uisite PH Y S1 05 0 Physics for Architects to help students without physics AP credits prepare for the technology courses.

3 . I held a supportive role in securing a NCARB Grant to develop an ex perimental course module for the ATCS3 03 0/ 61 3 0 B uilding, Climate and Comfort course to q uantify/ q ualify the micro climate of a building with my colleague and the principal investigator, Professor Z Smith.

The ATCS401 0/ 61 40 Structural Systems is taught along with the DSGN3 1 00 Architecture Studio to the same cohort of students. The teaching methodology I employ is two-fold. The abstract q uantitative analysis concepts and methods introduced are paired with simple yet truthful real world structural conditions to be analyz ed and designed. Z oning and building code issues affecting the structural selections are covered along with the most basic structural conditions fro roof fra in , oor fra in , colu ns, arious structural bracing and connections down to the types and principles of foundation design. The series of component design ex ercises culminate in the structure framing design for the studio project at the end of the semester. The iterative integration of the structure systems into the studio design project is further ex plored in the comprehensive studio the following semester.

The fall 2 01 3 course evaluation ( after moving to 3 days a week, ( 4) credit hour format) indicates some promising improvement and is in line with the school average. My current concern is the gap between those who understand the content and aspire to be further challenged and those who simply struggle. Judging based on the written student responses, the difference became somewhat pronounced in the sense that the course is less challenging for those who understand. My hope is that the introduction of the prereq uisite ph sics course ill ha e a si ni cant role in balancin the disparities a on st the students and allow me to accommodate rising student ex pectations.

Si e t ch Ar ch i t e ct u r e : u r b a n st r a t e g i e s f o r su b u r b a n e xp a n si o n i n Tu cso n , Ar i zo n aSt u d e n t : W. Tr a ka s

NOLA Bu i l d i n g Ar t s In st i t u t e p l a nSt u d e n t : B. Be g b i e

St r u ct u r a l a n a l ysi s / co m p o n e n t d e si g nSt u d e n t : B. Be g b i e

St r u ct u r a l f r a m i n g d e si g nSt u d e n t : B. Be g b i e

25

Ca r e e r Ove r vi e w Na r r a t i ve

he nal cate or in teachin contribution is in re ards to our J a p a n St u d y Ab r o a d Pr o g r a m . The moment I stepped foot in New Orleans, I was overwhelmed by the very familiar sensations of the heat, the humidity, the smell in the air, the coolness of the shade, the scale of the house frontage in relation to the streets, it reminded me immediately of K yoto, a city steeped in tradition ex ternal to the typical western society. It is comparable in many ways to the city of New Orleans. B oth cities possess an ex tremely rich cultural heritage and urban fabric. The striking historical, contex tual, environmental and cultural parallels and contrasts between the two are potent source for architectural inq uiry and knowledge. The pedagogical intention of the Japan Study Abroad program is to re-contex tualiz e the familiar ( New Orleans) by dislocating to the unfamiliar ( K yoto, Japan) . It consisted of two weeks of well-curated architectural and cultural tours in Japan. The AHST6 3 3 3 Ur b a n Mo r p h o l o g y o f Ky o t o a n d Ne w Or l e a n s seminar focused on the rigorous architectural analysis of the two cities accompanied the tour upon our return in the fall.

Until my arrival at Tulane, I never was compelled to bring my personal heritage into my architectural studies. The striking familiarity of New Orleans to K yoto was a complete discovery and peaked my interest. Our Japan Study Abroad Program was founded by my distinguished colleague, Professor ohn lin an in as fortunate to ha e the opportunit to assist

hi as a co-instructor of the pro ra in his e posure con r ed assumptions. Along with my involvement in the Rome Study Abroad Program in the fall of 2 01 1 , these ex periences became the basis for my inq uiry into travel teaching pedagogy and methods. My initial ex ploration of this subject was discussed in the peer-reviewed paper Eccentric Masonry Units: Sustaining the Technological Imagination Abroad presented at the th National Conference on the B eginning Design Student in State College,

enns l ania in and for ed the pre ise for the apan oundation tra el grant proposal.

My largest contribution to date for the program was securing a travel grant fro the apan oundation de eloped tra el teachin peda o and

orked it into our rant proposal ith the assistance of ulane s f ce of Development. As a result, we were awarded by the Japan-America Collegiate Ex change Travel Program over $ 3 4,000 to defray the travel cost for 1 1 graduate and undergraduate students who participated in the program.

As a Japanese ex pat living in the US by choice, I do not harbor any kind of nostalgia for Japanese culture. While it was a somewhat sobering ex perience for me to travel in Japan, I cannot deny the positive, mind-opening effect the unfa iliar ph sical en iron ent has on a student itnessed rst hand, re arkable transfor ations a r l co itted to supportin this ex ceptional learning opportunity for our students at Tulane.

III. Se r v i c e

Service activities within and outside the university are essential in maintaining the vitality of our community. At Tulane University, I have served in various school and university level committees. Some of the key service contributions are:

1 . On-going review and evaluation of creative work portfolio of student candidates, recruitment phone-calls and trips on behalf of the admissions committee.

2 . I served as a project manager for the Tulane/ IB M Smart B uilding Solutions Richardson Memorial H all pilot project representing Tulane’ s interest in evaluating the potential for university-wide big-data approach to building

St u d e n t s e n j o yi n g b e n t o - b o xe s o n Sh i n ka n - se n b u l l e t t r a i n

Fu sh i m i - In a r i Sh r i n e To r i - i g a t e s

Ur b a n m o r p h o l o g y a n a l ysi sSt u d e n t : Z . Ka u f f m a n n

26

systems management. I coordinated meetings and presentations for various interest groups within the University, facilitating the discussions and making sure that the collaboration with IB M remains genuine and effective.

3 . I co-chaired two architecture themed panel sessions ex ploring the nex us of art, architecture and en ineerin for the ulane n ineerin oru , an annual event hosted by the engineering alumni and the School of Science and

n ineerin secured out of state distin uished uest panelists in the eld and moderated one of the sessions.

or ani ed a si ni cant portion of a student ork e hibition for the visit as DSGN3 1 00 studio coordinator.

5 . I volunteered to research and evaluate various 3 D scanner options as a potential technology purchase for the school for the 2 009 -2 01 0 academic year. My research and a trial evaluation report culminated in the successful procurement of a 3 D scanner.

t the national le el, ha e ful lled the role as an facult councilor or the academic and the professional community, I served as a paper peer-reviewer for the National Conference on the B eginning Design Student and a book manuscript reviewer for Routledge Press. My most prominent role to date is to serve as a juror for the 4th annual ACSA Concrete Thinking for a Sustainable World, International Student Design Competition along with my illustrious colleagues Michelle Addington and Martin Despang. The program was intended to challenge students to investigate an innovative application of Portland cement-based materials to achieve sustainable design objectives. I reviewed over 60 entries and contributed to the discussion and delivery process of the winning submission.

CONCLUSIONhrou h the con uence of education and life e periences, ha e

developed my own view on the nature and the value of the architectural design process. I have also come to understand my own desire and ambition to test my thesis and disseminate the outcome. This portfolio documents my efforts in the past ears of acade ic career, hich be an at e as ech University and still continues at Tulane University. I am most appreciative of having been given this opportunity in a supportive institutional environment. I owe my sincere gratitude to my colleagues and students, past and present, who guided me in shaping my work.

K entaro Tsubaki

New Orleans, Louisiana

August, 2 01 4.

Tu l a n e / IBM Sm a r t Bu i l d i n g So l u t i o n s d a sh b o a r d w e b p a g e

Ha n d - h e l d 3 D l a se r sca n n e r

Di sa sse m b l e d Tu m b l i n g Un i t s

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RESEARCH & DESIGN

TRIPLE B RIDGE GATEWAY STUMB LING UNITS B OOK CH APTER

TUMB LING UNITS CONFERENCE PROCEEDINGSTUMB LING UNITS EX H IB ITION INSTALLATION

TUMB LING UNITS SPECIAL SEMINARLIGH T RECEIVING DEVICE CONFERENCE PROCEEDINGS

FOLDOUT DRAWING JOURNAL ARTICLEAB STRACT/ CONCRETE CONFERENCE PROCEEDINGS

CONCRETE/ FAB RIC CONFERENCE PROCEEDINGSSMOCK ING CONFERENCE PROCEEDINGS

FOLDOUT DRAWINGS CONFERENCE PROCEEDINGSSMOCK ING EX H IB ITION

SMOCK ING B OOK CONTRIB UTION/ CITATIONTH E VIRTUE OF INDETERMINACY GRANT PROPOSAL

NOLA MACH I-Y A CONFERENCE PROCEEDINGSZ EN MEDITATION CENTER OF NEW ORLEANS

PROJECT H OME B Y H AND: SELF-H ELP H OUSING PROTOTY PES M& N RESTAURANT PATIO RENOVATION

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RESEARCH & DESIGN

TRIPLE BRIDGE GATEWAY STHE PORT AUTHORITY BUS TERMINAL INTERV ENTION

The proposal was submitted to a design idea competition organi z ed by the local community to investigate means to transform the hulking, oppressive bus ramps - a heavily used commuter bus access from the Lincoln Tunnel to the Por t Authority B us Terminal - into a welcoming community asset. The idea turned into a real project when the Por t Authority, looking to improve the relationship with the neighborhood, decided to pick up the cost as par t of their multi-million dollar bus ramp rehabilitation project. The concept aims to reveal the hidden beauty of the ramp structures by applying a pallet of colors and multiple layers of lighting. Permanent metal scaf folding wrapping the bus ramps were carefully designed to function as a maintenance platform, as well as a theatrical scrim, ex panding and contracting the perception of the space simply by turning the illumination on and of f. Ref lections of passing lights from cars and ta x is at night interact with the composition and add to the vitality of the design.

CLIENT: T H E PORT AUTH ORIT Y OF NY & NJDESIGN: SEPTEMB ER 1 9 9 7 - FEB RUARY 2 00 2CONSTRUCTION: MAY 2 00 2 - OCTOB ER 2 006ESTIMATED CONSTRUCTION COST: $ 5 MILLIONPOSITION: PROJECT ARCH ITECTFIRM: PK S B ARCH ITECTS, P.C.LIGH TING CONSULTANT: LENI SCH WENDINGER LIGH T PROJECTS

P ABT Bu s Ra m p s b e f o r e r e n o va t i o n Bu s Ra m p s o ve r 9 t h Ave . Ae r i a l V i e w

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TRIP LE BRIDGE GATEWAY S

Ni g h t V i e w P h o t o : E. Hu e b e r / a r ch p h o t o

Co n ce p t Re n d e r i n g s

P e r m a n e n t m e t a l s c a f f o l d i n g w r a p p i n g t h e b u s r a m p s w e r e c a r e f u l l y d e s i g n e d t o f u n c t i o n a s a m a i n t e n a n c e p l a t f o r m , a s w e l l a s a t h e a t r i c a l s c r i m , e x p a n d i n g a n d

c o n t r a c t i n g t h e p e r c e p t i o n o f t h e s p a c e s i m p l y b y t u r n i n g t h e i l l u m i n a t i o n o n a n d o f f .

Da yt i m e V i e w

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Ar t i cl e Exce r p t s f r o m Ar ch i t e ct u r a l Re co r d 1 0 , 2 0 0 3 .

Ni g h t V i e w P h o t o : E. Hu e b e r / a r ch p h o t o

P r e se n t a t i o n Re n d e r i n g s

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TRIP LE BRIDGE GATEWAY S

Re f l e c t i o n s o f p a s s i n g l i g h t s f r o m c a r s a n d t a x i s a t n i g h t i n t e r a c t w i t h t h e c o m p o s i t i o n a n d a d d t o t h e v i t a l i t y o f t h e d e s i g n .

Ni g h t V i e w P h o t o : E. Hu e b e r / a r ch p h o t o

Fu l l Sca l e M o ck- u p Bu s Ra m p Se ct i o n / M o d e l

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RESEARCH & DESIGN

The recent technological obsessions fueled by the proliferation of sophisticated vir tual simulations in architecture have re-ignited the interest in the realm of building per formance. The construction of ex ceedingly complex buildings are the testament to the recent technological advances, the precision and the speed of the new digital tools that minimi z e various risks associated with such endeavor. H owever, the basic numerical methods employed are hardly a recent discovery. Theories on how to approx imate analytically indeterminate par tial deferential e q uations were developed in the late 1 7 c -1 8 c by pioneers such as Isaac Newton and Leonhard Euler. What made these computational simulations viable and practical in the recent practice is in the advance in the economy of computational power. The poetics of architecture is a phenomenal per formance of physical construct beyond the predictable, evoking emotional and intellectual response. Without the embodied understanding of the physical materiality and the sensibility to fabrication, it is impossible to interpret the simulated data back into the building design in a meaningful manner. Desire among architects to regain the long lost control over fabrication and construction process by adopting new technology is well merited and understood. These digital tools may theoretically bestow the control back to architects, allowing them to “ operate” the fabrication machine directly. H owever, it is rather shor t-sighted if the goal is simply to output the “ form” ex actly the way it was conceived in the vir tual environment, subver ting the material tendency and limitations all together. Design decisions based on feedback from material resistance in the fabrication process are integral to the ar t of craf t. Without a conscious ef for t to ref lect upon the material proper ties in the design process, the newly found control may q uickly turn into an overindulgent formal ex ercise, resulting in the fur ther erosion of design control. H ow can we re-engage the physical materiality in the design process where so much emphasis is placed on vir tual simulation? H ow do we embrace the imper fections, the material r isks and resistances always present in fabrication and making? The Tumbling Units, the ex ploration of indeterminate ex tensions aims to raise a fundamental q uestion about the way current architectural practice engages the matter and the act of making.

B OOK CH APTER CONTRI B UTION. MATTER: MATERIAL PROCESSES IN ARCH ITECTURAL PRODUCTION. ED. GAIL PETER B ORDEN AND MEREDITH , M. LONDON: ROUTLEDGE PRESS, TAY LOR & FRANCIS B OOK . P1 8 7 - 2 0 3

MATTER: MATERIAL PROCESSES IN ARCH ITECTURAL PRODUCTION

TUMBLING UNITS: TECTONICS OF INDETERMINATE EX TENSION

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RESEARCH & DESIGN

The construction of ex ceedingly complex buildings are the testament to the recent technological advances in the f ield, namely the precision and the speed of new digital tools made possible by the af fordability of the computational power. What happens if we do not have access to such power ? In the world of 1 9 th century classical physics, this limitation prompted the emergence of statistical physics, a major paradigm shif t. Can we conceive of a complex building system without relying on the computational muscles? This paper discusses the design and production of fr iction bound ceramic structural units as a possible building system with indeterminate self-organi z ing internal ex tensions. It also presents the results of a systematic ex perimentation of their tectonic possibilit ies as an aggregate system.

TH E VALUE OF DESIGN: DESIGN IS AT TH E CORE OF WH AT WE TEACH AND PRACTICE. 2 00 9 ACSA ANNUAL CONFERENCE PROCEEDINGS. ED. PH OEB E CRISMAN AND GILLEM, M. WASH INGTON, D.C.: ACSA PRESS. P 2 9 2 - 2 9 8 .

PHOEBE CRISMAN + MARK GILLEM, EDITORS

A C S A P R E S SWASHINGTON, DC

THE VALUE OF DESIGNdesign is at the core of what

we teach and practice

2 009 ACSA ANNUAL CONFERENCE PROCEEDINGS

TUMBLING UNITS: TECTONICS OF INDETERMINATE EX TENSIONTa n g l i n g Tr e e Br a n ch e s p h o t o : K. Tsu b a ki

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Material Matters:

Making Architecture

Material Regionalism: Vorarlberg’s Sustainable Timber Construction Tradition

ULRICH DANGEL, The University of Texas at Austin

Embedded Sensations: Material, Technology and the Scales of Perception

LUIS E. BOZA, Catholic University of America

MATTHEW L. GEISS, Catholic University of America

Collapsing the Empty and the Haptic: Explorations of Japanese Architecture and Design

SUMA PANDHI, The University of Michigan

Tumbling Units: Tectonics of Indeterminate Extension

KENTARO TSUBAKI, Texas Tech University

“Rebar”: Making the Ordinary-Extraordinary

ANTHONY VISCARDI, Lehigh University

Topic Chair

GAIL PETER BORDEN, University of Southern California

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INTRODUCTION

The construction of exceedingly complex buildings are the testament to the recent technological ad-vances in the eld, namely the precision and the speed of new digital tools made possible by the af-fordability of sheer computational power.

What happens if we do not have access to such power? In the world of 19th century classical phys-ics, this limitation prompted the emergence of sta-tistical physics, a major paradigm shift. Can we

conceive of a complex building system without re-lying on these computational muscles?

This paper discusses the design and production of friction bound ceramic structural units as a possible building system with indeterminate internal exten-sions. It also presents the results of a systematic experimentation of their tectonic possibilities as an aggregate system.

COMPLEXITY / PRECISION / EXTENSION

“The properties of shear-tie are fully embedded within the solid representation. Any dimension can be derived completely and accurately from the solid model, rendering the once necessary dimensional drawings now obsolete.”1

The shear-tie mentioned above fastens the exterior skin to the frame of a Boeing 777. In the book refabricating ARCHTECTURE, Kieran and Timberlake discuss how every component of this airplane is precisely modeled in the virtual environment. In addition to the full description of geometric information, each virtual part is embedded with other design controlling factors such as the physical properties and its life cycle records. A Boeing 777 consists of over one million parts, an object the size of a small building with enormous complexity. Keiran and Timberlake argue that without the technology to predetermine the data in pinpoint accuracy beyond the simple dimensional tolerances, it will not be economically feasible to build such a complex object. They make a convincing case for architecture and construction industries to adopt the technology already fully embraced in automobile and aerospace industries.

Tumbling Units: Tectonics of Indeterminate Extension

KENTARO TSUBAKITexas Tech University

Figure 1. Tumbling Units Canopy (Side View)

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Frank Gehry was one of the earliest to do so. In the forward to the book Iron: ERECTING THE WALT DISNEY CONCERT HALL, Gehry writes;

“CATIA also allowed extremely complicated steel to go together on the site without the kind of prob-lems that happen on similar sized buildings. Due to the consistency of information and the precision of the calculations, every element tied back to an ori-gin. When an Ironworker was on the scaffolding, he could get someone to survey him a point and know he was within an eighth of an inch.”2

For Gehry, it was an absolute necessity to adopt the technology in order to realize his complex sculptur-al forms. He goes on to speculate that if it was not for CATIA, the three dimensional surface modeling program developed for the aerospace industry, it would have taken him decades to meet the com-putational requirements alone for the design of the Walt Disney Concert Hall.

A building system is literally and metaphorically an extension3 of a vast number of similar elements. In general, more complex the building, more ac-curacy is expected in extending the elements both in design and in execution to make them economi-cally feasible. The construction of an exceedingly complex building such as the Walt Disney Hall is testament to the recent technological advances in the eld, namely the precision and the speed made possible by the new digital tools.

COMPUTATIONAL MUSCLES

If the future of architecture is dependent upon these new digital tools, what makes these tools possible?

“The complexity for minimum component costs has increased at a rate of roughly a factor of two per year. Certainly over the short term this rate can be expected to continue, if not to increase. Over the longer term, the rate of increase is a bit more uncer-tain, although there is no reason to believe it will not remain nearly constant for at least 10 years. That means by 1975, the number of components per in-tegrated circuit for minimum cost will be 65,000. I believe that such a large circuit can be built on a single wafer.”4

In 1965, Gordon Moore, the future co-founder of Intel Corporation, published the now famous ar-ticle; Cramming more components onto integrated circuits on an obscure electronic trade magazine, Electronics. He predicted that the number of tran-

sistors economically placed on an integrated circuit will increase exponentially, doubling approximately every two years as mentioned in the above quote. This notion has since been widely embraced by the industry as “Moore’s Law.” The key in reading the article is his careful attention to the impact of such rapid technological advance in the context of econ-omy. If we assume that the computational power is proportional to the number of transistors on the single chip, we will see exponential growth in the power for the same price year by year.

Gordon writes, “Computers will be more powerful, and will be organized in completely different ways. Machines similar to those in existence today will be built at lower costs and with faster turn-around.”5 Many future products he had mentioned in the arti-cle did come to a fruition - Electronic wristwatches, home computers, automatic controls for automo-biles, personal portable communications equipment to name a few. The availability of the ubiquitous, increasingly powerful computing and its effect on the way of life seems to echo the technological op-timism of the era.

Patrick P. Gelsinger, the current Intel Corp. senior president, con rmed that the performance/dollar ratio of computers has increased by a factor of over one million in the past 30 years, in line with the Moore’s Law.6

We are surrounded by computers. Our future ad-vancement seems to rely ever more on the contin-uation of this trend, the exponential increase of the affordable computational muscles. This is precisely what makes these new digital tools possible and increasingly viable in the eld of architecture.

DETERMINACY / INDETERMINACY

This reliance on computational muscles, however, was not the choice late 19th century classical phys-icists had when they were studying particle mo-tions on a molecular level. Instead, this limitation gave birth to statistical physics, a paradigm shift which lead to the eventual emergence of quantum mechanics.

“It is true classically that if we knew the position and the velocity of every particle in the world, or in a box of gas, we could predict exactly what would happen. And therefore the classical world is deterministic.”7

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Classical mechanics are known to be a simple and beautiful way to describe the relative motion of macroscopic objects. In principal, any problem in mechanics can be solved based on Newton’s sec-ond Law of Motion. This is indeed true when deal-ing with one or two bodies in motion. However, it becomes exponentially dif cult to solve when the number of bodies involved are greater than two. The famous three-body problem, two planet bodies rotating around a sun for example, challenged the power of human analysis for ages. Such Problems cannot be solved in elegant, analytical mathemat-ics with the deterministic accuracy. It is necessary to resort in approximations through heavy numeri-cal calculations.

Thus, when it came to dealing with a molecular level description of the behavior of a gas, the 19th century scientists had to come to terms with the task of numerical calculation for every single mol-ecule. Without a massive computational power at their disposal, this was physically impossible. In-stead, they discovered a ingenious work-around to the seemingly insurmountable obstacle in the form of “probability.” Statistical mechanics was born. Statistically dealing with large number of bodies resulted in indeterminacy. Looking back, accept-ing the indeterminacy as part of the nature, forced an enormous paradigm shift in the world of phys-ics. This shift, ignited by the works of Maxwell and Boltzmann, eventually lead the second revolution in the eld, paving the way to the development of quantum mechanics by such giants as Einstein, Heisenberg and Bohr in the early 20th Century.

TUMBLING UNITS

Fueled by the proliferation of sophisticated com-puter simulations, it is now tantalizingly close to predict exactly what would happen in the box of gas, molecule by molecule. The interest in the clas-sical physics problems have been reinvigorated and reexamined closely in the recently established eld of computational physics.

The affordability of the computational muscles has also impacted the eld of architecture, perhaps, a little too soon. It is analogous to bestowing mas-sive computational power to the 19th century sci-entists. It is easy to speculate that the availability of such power may have hindered the game alter-ing development of statistical mechanics.

The current technological obsession in architecture is one-dimensional. As it is evident in the Gehry’s earlier remarks, the advances are measured in terms of speed, accuracy and in turn, economy. With the deterministic precision made possible by inexpensive computational power, we can design and build a complex building cheaper in a much shorter time. Kerian and Timberlake merely reaf- rm this point through the idea of prefabrication and mass customization.

Is it possible to conceive an ingenious work around in the eld of architecture, equivalent to the intro-duction of probability to the molecular behavior of gas? Can we conceive a building method that does not rely on precision in an ordinary sense? Is it possible to form a building system with an inde-terminate system? What will be the tectonic im-plications? The Tumbling Units8 were conceived in an attempt to address these questions. The friction bound ceramic structural units were designed and fabricated as a possible building system with inde-terminate internal extensions.

BASIC GEOMETRY

The basic geometry of the unit is conceived as a hybrid of (2) tetrahedrons attached at a vertex with 30 degrees offset rotation, composing a dumbbell shape. The prongs at the both ends of the main axis function as an indeterminate joint condition to cling and/or stack to one another. The member connecting the tetrahedrons gives the capacity to span

Figure 2. Orthographic Drawings

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The actual form of the units depends on the mate-rial and the production methods. Several alterna-tive designs were investigated and evaluated based on the ease of production, rigidity, density (scale/weight) and esthetic concerns (form/materiality). This design based on ceramic stoneware proved to be the most desirable, allowing the rigid continu-ous forming of complex geometry with substantial material quality.

FABRICATION

There are a number of resistance factors to con-tend with in fabricating elements of multiplicity. The design parameters were established so that it is feasible for one person to economically produce (1000) units in (30) days using a single (5) c.f. electric kiln.

The property of wet clay is typically characterized as plastic. However, this is not necessarily an ac-curate description. Clay exhibits an elastic property when the moisture content is relatively low. Its property swings from plastic to elastic depending on the moisture content. The fabrication method exploits this subtle variation of stoneware to the fullest extent.

The pre-mixed stoneware was extruded through a custom fabricated hexagonal die in approximately (3’) length and left to dry for about (45) minutes to the desired stiffness. The strand of extruded clay was then cut to length. Subsequently, both ends were manually split into (3) prongs and spread into the approximate shape.

The weight and the size of each unit were the criti-cal controlling factors in the production tolerance. It was necessary to carefully balance the drying time required to meet the production schedule against the changing elasticity of the clay prior to ring. The spread of the prong depended on the weight of the unit and the elasticity of the clay. The units were air-dried approximately (2) hours at room temperature in an upright position, the sides ipped and dried for additional (3)-(3 1/2) hours. The timing of ipping was also crucial to balance the top and bottom spreads since the unrestricted prongs on top began to close in as the clay dries.

Note how the tolerance of form depends on the ma-terial’s internal response to the gravitational forces, not through a direct arti cial manipulation. The ex-

ternal controls imposed are the initial condition and the duration. The material tendencies will take care of the rest. The air-dried units were then loaded in the kiln, red at cone (2) and left to cool overnight. At the end, over (600) units were produced. One of the unexpected formal outcomes was the unique in ecting surface observed in the unit.

TECTONICS OF AN AGGREGATE SYSTEM

As the production progressed, the behaviors in a small number of units were systemically cata-logued. Simultaneously, a larger number of units were employed to explore the range of tectonic possibilities as an aggregate.

Based on observation, a simple extension offers (3) distinct directional freedom without considering the speci city of the exact angle in a pair of units. Assume the average number of units consisting an extension node is (3) units for an aggregate of (100) units total.

Possible extension combination per node:

3^3 = 27

Number of nodes in an aggregate of (100): 100C3 x (1+1/3+1/3+1/3) = 3234009

Then, the possible combination (state) of the ag-gregate re ecting the directional freedom at the nodes: 323400 x 3^3 = 8731800, a rather large sum. The number tells us the magnitude of the possible con guration of the whole aggregate, a step forward towards quantifying the tectonic char-acteristics using statistics.

Let us consider what can be quanti ed as tectonic characteristics of this aggregate. One of the ob-vious parameters is the number of units consist-ing each extension nodes. In the previous analy-sis, we simply assumed the average condition. The further observations reveal that the number can vary somewhere between (2-5). It is also clear that these are not randomly assigned numbers. It is the result of an equilibrium reached against the conglomeration of various geometrical, gravita-tional and contextual in uences that can be held constant in the macro scale. Thus, by conducting a large number of empirical experiments, it is pos-sible to statistically establish a distribution pattern against the overall state of the aggregate system.

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In turn, through the numerically established dis-tribution pattern, it is possible to predict the prob-ability of observing (x) number of extension nodes constituted by (y) number of units in an aggregate system with (z) number of total units and so on. A role equivalent of the Maxwell-Boltzmann’s distri-bution in the statistical mechanics.

Through the introduction of statistics, it is conceiv-able to establish a “most probable” tectonic charac-teristic of an indeterminately complex system.

CONSTRUCTION SEQUENCE OF AN INDETERMINATE SYSTEM

Human judgment involved in the extension of the units is one of the controlling, yet less consistent, macroscopic factors in the earlier tectonic stud-ies. A sensory and motor skill level of the human hand depends on the individual’s talent and train-ing. Further, it is impossible to replicate the kind of delicate balancing act human hands are capable of

in the scale of building construction.

The skilled labor/judgment issue is a common topic in building construction. In fact, this is one of the reasons why this kind of precision, the ability to virtually map every building component with ac-curacy, is sought after by such architects as Kiran/Temberlake and Frank Gehry as discussed in the earlier examples. It is an attempt to eliminate the discrepancy between the design and execution by identifying every building part and correlating them one to one in the model. The thinking is that by minimizing the unknown, little skilled onsite judg-ments will be required. The ultimate goal of such a system is for the components to go together in a predetermined, singular manner.

An alternative approach in deploying the units is speculated and tested in the following example. A mound of silica sand is formed inside an elevat-ed (3’x3’) plywood box. The bottom of the box is designed to evenly drain the sand, sloping to the

Figure 3. Tumbling Units, Construction Sequence via Silica-sand Formwork

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(1”x1”) center opening. The units were rst placed along the edge of the box in higher density to ac-commodate the anticipated lateral and vertical force transferring into the box. Then the remaining area is loosely lled in with layers. General atten-tion was paid only to the direction of the units to lie evenly distributed against the slope of the sand. As it was drained, the units fell into place and locked into each other seeking a gravitational equilibrium without any external interventions. This resulted in a formation of a shallow dome, spanning across the plywood box.

In actual building scale construction, slightly dif-ferent tactics may be employed substituting the mound of sand with in atable formwork. Once the elements are roughly placed in position by crane, the formwork is de ated slowly, inducing a similar effect to draining the sand. In this scenario, the skilled onsite judgments are also reduced, however, without relying on computational muscles and the precision necessary for a predetermined system.

INSTALLATIONS

Over and above the basic human need for shelter, architecture aims to evoke an emotional and intel-lectual response. Acrobatic forms are often justi- ed as one of the elements of the surprise. How-ever, there are other phenomenal qualities such as materiality, texture, light, shade, time, sequence, scale, proportion and spatial, structural order. Vari-ous aforementioned experiments have culminated in temporary installations for (2) exhibitions ex-ploring these qualities beyond the acrobatic form. All (600 +/-) units were used for both occasions.

In the rst exhibition, the Graduate Degree Exhi-bition at Cranbrook Art Museum, Bloom eld Hills, Michigan, the units were con gured into a self-sup-porting oblong dome in the size of (HWD: 3’x4’x3’). Exploring the tectonics of spatial/structural order was of prime interest. Attention was paid to the gradual transition from the more ordered con gu-ration at the foundation to more random con gu-

Figure 4. Tumbling Units Canopy Figure 5. Tumbling Units Light Filter

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rations at the top. A layer of silica sand stabilized the foundation by lling in the gap, increasing the friction against the platform for lateral support. The viewers were fascinated by the contrasting quali-ties of the dome. The surprising stability as an as-sembly despite the delicate qualities of the ceramic units in friction-bound. The museum guards have informed me that there were numerous attempts to touch and to dislodge the units during the (2) weeks of exhibition in May 1997.

In the second exhibition, the CoA Faculty Exhibition at Louise Hopkins Underwood Center for the Arts in Lubbock, Texas, the units were stacked against a large storefront window to take advantage of the given context. Exploring the phenomenal qualities of light/shade and scale/proportion were of the prime interest.

CONCLUSION

The reality of current building practice is to execute a complex building ef ciently with minimum risks. The technology and its computational muscles are almost exclusively used for this purpose. The Tum-bling Units, the exploration of indeterminate exten-sions aims to provoke the deeply entrenched archi-tectural practice through questioning the obvious and the rational in a most fundamental way.

ENDNOTES

1. Stephan Kieran, James Timberlake, refabricating ARCHTECTURE, McGraw-Hill, New York, 2004, p.61

2. Gil Garcetti, Forward by Frank O. Gehry, Iron: ERECTING THE WALT DISNEY CONCERT HALL, Balcony Press, Los Angeles, 2002, p.8.

3. extension: almost interchangeable with a joint, however the emphasis is on the relationship of one part to another, not the space in between.

4. Gordon E. Moore, Cramming more components onto integrated circuits, Electronics, Volume 38, McGraw-Hill, New York, 1965

5. Moore

6. Gelsinger, PP, Gargini, P A, Parker, G H, & YU A Y C, 1989, ‘Microprocessors circa 2000’, IEEE Spectrum, Vol. 26 No. 10, October, pp 43-47.

7. Richard P. Feynman, Robert B. Leighton, Matthew Sands, The Feynman Lectures on Physics, Addison-Wesley Publishing Company Inc., Reading, Massachusetts, P.38-39.

8. The units were designed and fabricated as the author’s M.ARCH II thesis project at Cranbrook Academy of Art in 1996-97. Advisors: Dan Hoffman and Peter Lynch.

9. “nCk” stands for combination: n is the number of objects from which you can choose and k is the number to be chosen.

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Di sa sse m b l e d Tu m b l i n g Un i t s

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Architecture is inherently a complex endeavor due to its scale. The construction of ex ceedingly complex buildings are the testament to the recent technological advances in the f ield, namely the precision and the speed of the new digital tools made possible by the af fordability of the computational power. A building system is literally and metaphorically an “ ex tension” of a vast number of similar elements. In general, more complex the building, more precision is ex pected in ex tending the elements both in design and in ex ecution.

The reliance on computational muscles, however, was not the choice the late 1 9 th century classical physicists had when they were studying the par ticle motions on a molecular level. Instead, this limitation gave bir th to the statistical physics, a paradigm shif t which lead to the eventual emergence of q uantum mechanics.

Can we conceive a building method which does not rely on precision in an ordinary sense? Is it possible to form a building system with an imper fect ex tension? Style has evolved in architecture, however, the nature of precision in ex tension has yet to be q uestioned to the degree that induces a paradigm shif t analogous to the statistical physics. My work intends to continue provoking the deeply entrenched architectural practice through q uestioning the obvious and the rational in a fundamental way.

A MULTI-MEDIA GROUP SH OW FEATURING SEVEN VISUAL ARTISTS, TWO ARCH ITECTS AND ONE SOUND ARTIST,WH O ALL PLAY UPON MULTIPLE FACETS OF TH E B UILT ENVIRONMENT. FROM SOUND TO COLOR TO STRUCTURE, IT IS A GAME OF MEMORY , FAMILIARIT Y AND STRANGENESS IN H OW WE RELATE TO B UILDINGS AND STRUCTURES TH AT SURROUND US. CURATED B Y MARIA LEVITSK Y .

H OMESPACE GALLERY 1 1 2 8 ST ROCH AVE. NEW ORLEANS

STRUCTURE FOR LANDSCAPE EX HIBITIONINSTALLATION: TUMBLING UNITS

P r o m o t i o n a l p o st ca r d De si g n : M . Le vi t sky

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Tu m b l i n g Un i t s: ca n o p y P h o t o : M . Le vi t sky

C a n w e c o n c e i v e a b u i l d i n g m e t h o d w h i c h d o e s n o t r e l y o n p r e c i s i o n i n a n o r d i n a r y s e n s e ? I s i t p o s s i b l e t o f o r m a b u i l d i n g s y s t e m w i t h a n

i m p e r f e c t e x t e n s i o n ?

Ga l l e r y vi e w P h o t o : K Tsu b a ki

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UNIVERSITY OF CH ICAGO PH Y SICS DEPARTMENT SPECIAL SEMINAR

TUMBLING UNITS: TECTONICS OF INDETERMINATE EX TENSION

Invited to give a seminar lecture at the University of Chicago, Department of Physics on behalf of professor H einrich Jaeger in the spring of 2 01 2 , The Jaeger lab is known for their cutting edge research on the aggregated behavior of granular materials in relation to their geometry. They were considering an ex ploration of the architectural scale and were interested in my research to identify the potentials and issues of such an endeavor.

3 D p r i n t e d p a r t i cl e s: Ja e g e r La b Tu m b l i n g Un i t s: ca n o p y

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H ow do we instill in students the importance of drawing as a projective tool for making? H ow can we encourage students to be conscious of the temporal-spatial nature of the physical ar tifacts they construct ? This paper is a case study of beginning design investigation. The project cultivates the student awareness to the phenomenal nature of a physical construct in conjunction with the projective role of drawing in making.

Natural light is one of few architectural elements that are eminently scalable. The project encourages students to engage and develop an innate understanding of the relationships between the physical construct and the per formance of light through the iterative design, fabrication and observation of Light Receiving Device.

Students, par tial only to the representational mode of architectural investigation, were for the f irst time, systemically introduced to confront, ex perience and embody the temporal-spatial nature of a physical construct through the per formance of light. This fundamental perceptual shif t will no doubt positively impact the future development of the students as a counterpoint to the ever more ubi q uitous vir tually simulated digital environments.

MATERIALIT Y : ESSENCE + SUB STANCE. T H E 3 0T H NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS. LESLIE JOH NSON AND CATH ERINE WETZ EL, CO-CH AIRS. K ATH LEEN NAGLE, EDITOR.

3 0TH NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS

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Foldout Drawing argues for the agency of representation as a form of mediation between materials and design.

It ex plores the generative role of projective representation in a contemporary contex t. As both a pedagogical program and a design project, Foldout Drawing argues for reactivating the agency of drawing as a primary means of mediation between design and fabrication. Operating between notational and geometrical logics, this work mines projection as an essential tool for conceptuali z ation, visuali z ation, and fabrication, and renews the drawing’ s role as a means for reali z ing and ex ploiting the complex relation between ideas and things. It revives Evans’ s in q uiry into the role of drawing as the critical disciplinary practice for architecture, and attempts to amplify its operation by making the drawing a vir tual form for the construction.This ar ticle describes how the foldout drawing, a par ticular form of notational drawing, emerged out of my studio teaching and fur ther evolved in my research. It demonstrates the subtle, yet critical role the slow notational drawing plays in stabili z ing the dynamic relationship between the ideal ( design intent) and the real ( fabricated outcome) . It contemplates an alternative position to contemporary design-fabrication practices governed by precision and speed.

JOURNAL ARTICLE CONTRI B UTION. JOURNAL OF ARCH ITECTURAL EDUCATION, VOL 66, ISSUE 1 . PH ILADELPH IA : TAY LOR & FRANCIS B OOK S. 2 01 2 . P 9 8 -1 06.

2 01 4 JAE B EST DESIGN AS SCH OLARSH IP ARTICLE AWARD

JOURNAL OF ARCH ITECTURAL EDUCATION

FOLDOUT DRAWING: A PROJ ECTIV E DRAWING FOR FABRIC FORMING

Sm o cki n g - V 5 co m p o si t e

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Similar in response to the typical construction technology courses, introduction of sophisticated digital technologies early in the design education tends to accentuate the “ Tech School Mentality ” amongst the average architecture student. They are of ten too concerned with the technical correctness of employing various softwares distancing themselves from the opportunities for empirical ex ploration of design and making. In the studio contex t, this manifests in a manner where students are eager to meet the minimum “ ex ternal ” re q uirements ( code, program, function etc.) but resistant to creatively ex plore the “ internal ” ( emotional, ex periential ) aspect of the design on their own.

This paper contends that the key in evoking curiosity and encouraging the ex ploratory behavior is to introduce a material based ex ploration in a carefully coordinated educational setting. It discusses the methodology and the benefits of integrating the hands-on investigation into a standard construction technology lecture course. The paper speculates on the latent possibility of this approach employing the ex amples from the course taught by the author at the College of Architecture, Tex as Tech University in the Spring of 2 007 .

WE H AVE NEVER B EEN PRE-DISCIPLINARY . 2 4T H NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT. SAB IR K H AN, CH AIR.

2 4TH NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS

ABSTRACT / CONCRETE: THE MATERIALITY AND LOGICS OF CONSTRUCTION

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24TH NATIONAL CONFERENCE ON THE BEGINNING DESIGN STUDENT

Open Section Submission

Abstract / Concrete: the materiality and logics of construction

Kentaro Tsubaki, R.A., Assistant Professor

College of Architecture, Texas Tech University

Introduction:

The recent technological obsessions fueled by the proliferation of sophisticated structural,

environmental, and visual computer simulations have re-ignited the interest in the realm of

building performance. However, without a critical understanding of the physical processes

of making, these new technologies tend to limit its potential by merely re-affirming the old

functionalist thinking: predicting the predictable.

Similar in response to the typical construction technology courses, introduction of these

sophisticated digital technologies early in the design education tends to accentuate

amongst the average architecture student the “Tech School Mentality.” They are often too

concerned with the technical correctness of employing various software, distancing them-

selves from the opportunities for empirical exploration of design and making. In the design

studio, this manifests in a manner where students are eager to meet the minimum “exter-

nal” requirements (code, program, function etc.) but resistant to creatively explore the “in-

ternal” (emotional, experiential) aspect of the design on their own.

This paper contends that the key in evoking curiosity and encouraging the exploratory be-

havior in architecture students in the digital age is to introduce a material based explora-

tion in a carefully coordinated educational setting. It also discusses the methodology and

benefit of integrating the hands-on investigation of concrete into a standard construction

technology lecture course and speculates the latent possibility as a mode of design educa-

tion through the examples from a course taught by the author at College of Architecture,

Texas Tech University in the Spring of 2007.

Experience and Education:

“I believe that the active side precedes the passive in the development of the child nature;

that expression comes before conscious impression; that muscular development precedes

the sensory; that movements come before conscious sensations; I believe that conscious-

ness is essentially motor or impulsive; that conscious state tends to project themselves in

Abstract / Concrete 24th NCBDS

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action.”1 As instructors, we all acknowledge that intellectual learning is not only a function

of amassing and retaining information. They become “knowledge” only when it is compre-

hended and internalized.

In his 1933 essay Education in Relation to Form, John Dewey, an influential American phi-

losopher and leader of the experiential education movement notes, “Comprehension

means that various parts of the information acquired are grasped in their relations to one

another - a result that is attained only when acquisition is accompanied by constant reflec-

tion upon the meaning of what is studied.”2

He criticized both the traditional educational model (overtly concerned with the delivery of

pre-ordained knowledge) and the progressive educational model (overtly concerned with

freedom of self expression and individuality) for the lack of respect for the native tendency

of the mind towards reflective and truly logical activities at any stage of its development.

He goes on to introduce an experience base education model as an alternative along with

the Theory of Experience to harness these native tendencies of the mind.

Dewey’s Theory of Experience consists of (2) key concepts: The concept of Continuity and

the concept of Interaction.

The concept of Continuity refers to the fact that the previous experience will inevitably ef-

fect the current experience. It in turn, will effect the future experience. A “domino effect” of

experience over time. Dewey states, “Every experience enacted and undergone modifies

the one who acts and undergoes, while this modification affects, whether we wish it or not,

the quality of subsequent experience.”3 Thus, it is the educator’s business to arrange for

the kind of experience that are more than just immediately enjoyable, rather, promotes

having desirable future experience.

The concept of Interaction refers to the fact that the objective (external) and internal condi-

tions are equally important factors in an experience. This seemingly obvious concept is

important for Dewey in distinguishing the traditional mode of education from the progres-

sive mode of education. The former emphasizes only the transmission of external, pre-

ordained knowledge and does not consider the internal experience of the student at all.

Abstract / Concrete 24th NCBDS

Page 2 of 12

1 John Dewey, “My Pedagogic Creed,” The Collected Works of John Dewey, 1882-1953,

The Early Works, ed. Jo Ann Boydston, 5 vols, (Carbondale and Edwardsville: Southern Illinois University Press, 1969-1991) 90.

2 John Dewey, “Education in Relation to Form,” The Collected Works of John Dewey,

1882-1953, The later Works, ed. Jo Ann Boydston, 8 vols. (Carbondale and Edwardsville: Southern Illinois University Press, 1969-1991) 176.

3 John Dewey, Experience and Education, (New York: The Macmillan Company, 1938) 26-

27.

90

ABSTRACT / CONCRETE

The goal of an educator, according to Dewey is fostering experiences that encourage good

habits, growth (physical, intellectual, and moral), positive interaction, and knowledge or

skills that become instruments of understanding in dealing effectively with situations to

come. In other words, good educational experience is a well conceived positive experi-

ence, which ensure positive future experience that leads to the better preparation for life-

time appreciation, independence, and development.

Teaching Methods:

The typical educational method in a design studio setting is by default empirical in nature.

Students are expected to form individual approaches to architectural solutions through

production (drawings and models) and critiques under the personal guidance of an instruc-

tor. This is one of the most valuable aspects of architectural education, not only from the

perspective of acquiring design skills but also from a more general effect to the personal

growth and maturity of the students.

However, this is not necessary the case with construction technology education. These

courses generally follow the traditional mode of education, structured to emphasize effi-

cient transmission of pre-ordained knowledge with minimum effort of the instructor to a

maximum number of the students. Due to the amount of information required to be cov-

ered in a set period of time, it is often devoid of any authentic experiences concerning the

actual materials covered in the course. How can we integrate the experiential in these

courses?

The embodied knowledge of making is gained through the physical interaction with materi-

als, searching for an order rooted in history, perception and materiality. ARCH3356 “Spe-

cial Studies in Construction Technology” course taught by the author in the spring 2007 at

Texas Tech University, College of Architecture encouraged students to develop an innate

understanding of relationships between the materiality and logic of construction through

the exploration of concrete and its tectonic possibilities. (37) Students were enrolled in this

course.

As an architect, it is unsatisfying to teach a technology course just to impart knowledge of

generic, risk adverse, industry standard construction details without any consideration of

the materiality and the implications of tectonic design. Simulation through digital modeling

and quantitative structural analysis has possibilities for tectonic exploration. However, ig-

noring the complexities of the physical qualities such as mass, weight, balance, material

tendencies, texture, scale, surface quality under various lights, weather conditions, and

time will subordinate the materiality to digital mapping on a surface, an appliqué. Without a

link to physical making, this effectively reduces the tectonic exploration into exploration of

form. The course provides an opportunity for students to systematically confront the mate-

rial, concrete.

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RESEARCH & DESIGN

Modes of Investigation:

The course was modeled after typical undergraduate level experimental physics courses

from the authors personal experience. (3) distinct modes of investigation were employed:

theoretical / historical, physical / perceptual, and precedence research in lieu of data

analysis and conclusion.

The “theoretical” examined the history and theory, including basic quantitative engineering

methods behind the property and development of cement and reinforced concrete in tradi-

tional lecture format.

It begun with the discussion regarding the origin and evolution of the concept “Tectonics”

and arrived at our own definition for the course: Logic of materials and its inherent poten-

tial for architectural expression as an assembly. Examples of tectonic implications of the

materials were presented. Definition and historical evolution of concrete as a material fol-

lowed. The emphasis was placed not only on the scientific facts of the material itself but

also on the political, economical, cultural and geographical influences which shaped the

market for the emergence of such new industrial material. Then, the concept of reinforced

concrete, its historical development and tectonic application were introduced prior to en-

gaging in the basic quantitative engineering methods on composite material design. Look-

ing at the development of the material from a historical and cultural perspective, I believe,

gave a more complex and nuanced understanding of the technology as a result of human

activities. Each lecture was accompanied by a short quiz to provide an opportunity for re-

flection and to check the students’ level of comprehension. To conclude the lecture, ad-

vanced studies on concrete technology was discussed, including experimental works done

at The Center for Architectural Structures and Technology at the Faculty of Architecture,

University of Manitoba under the direction of Prof. Mark West. I’d like to acknowledge his

generous contribution regarding the latest developments at the C.A.S.T.

The “physical” examined “the making” of concrete panels and documenting them in various

natural lighting and weather conditions (equivalent of data collection). Each student pro-

duced a minimum of two (24”x36”x2”) concrete panels by designing and constructing

formwork. They used various materials and methods including basic digital fabrication

techniques. The students were randomly assigned into groups of (5) to collaboratively mix

and cast concrete. Under supervision of the instructor, each group had (3) opportunities to

“pour” during the regular class session.

The “precedence research” consisted of a comparison of a pair of buildings constructed

with unique applications of concrete. The research was performed as a group project, par-

allel to the concrete panel fabrication, culminating in a digital media presentation. It al-

lowed students to begin speculating the tectonic application of the concrete panels they

have fabricated. Due to the technical nature of the course and schedule limitation, in order

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ABSTRACT / CONCRETE

to foster the “future positive” experience, studying appropriate precedence seemed more

effective than embarking on an individual design projects exploring the tectonic possibili-

ties of concrete panels.

Concrete as a material:

Ubiquitous yet rich in process, concrete is an ideal material for creating an effective em-

pirical learning experience. It is one of the few materials where manufacturing is required

on site via proportioning and mixing of the cement, aggregates, and water under various

weather conditions. These subtle variables influence the outcome of the workability,

strength and surface quality. The material exhibits the property of liquid when poured and

the property of solid when cured providing little margin for any correction. Combined with

the substantial density/weight, it resists control without proper consideration for gravity.

The material is infinitely scalable with rich color, texture and surface quality. Construction

of required formwork implies the dichotomy of negative and positive relationships, retain-

ing the memory of the formwork. A level of imprecision in the outcome resisting predictable

human manipulation results in the distinct tectonic possibilities. Also, having been a re-

cently rediscovered material, historical development and its creative applications are well

documented.

Concrete Panel Casting Outcome:

Students were encouraged to experiment with the fabrication of the concrete panels. No

design sketches or mock-ups were required. Technical advice was provided on an individ-

ual basis. No critiques regarding esthetics were given as per nature of the course. A re-

covery from a spectacular failure was emphasized over a mediocre, predictable success.

The enforcement of this simple principal freed the students from the burden of the prede-

termined notion of success and fostered unique, unexpected methodologies and results.

The absence of preexisting expectation seemed to have been a positive asset as students

relied on their native common sense and power of judgment.

Example 1: Texture - performance of unique material

Student: Dixon

The formwork was made of spray-on polyurethane insulation foam. The flexible, rubber-

like quality of the foam allowed for the removal of the formwork without taking away the

minute details.

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RESEARCH & DESIGN

Example 2: Pattern - unexpected use and performance of common material

Student: Guerin

Formwork made of a colorful marble like substance was “caught” in the concrete. Left ex-

posed in the rain and snow for a few days, the marble like substance, which turned out to

be “gum-balls” dissolved way and left the voids on the concrete surface.

Example 3: Texture - unique application and performance of common material

Student: Faulkner

Concrete was poured over wood-chips laid over the surface of the formwork. Lighter fluid

was doused over the wood-chips and burned away. The ashes were carefully brushed

away. Remnants were washed away by the subsequent snow and rain.

Example 4: Fabric formwork - post tensioning

Student: Musset

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94

ABSTRACT / CONCRETE

A vinyl sheet was tightly stretched over the frame and was post tensioned at the center af-

ter the concrete pour. This resulted in deformed surface on both sides of the panel. The

smooth, impermeable surface of the vinyl resulted in glassy, reflective concrete surface.

Example 5: Fabric formwork - negative / positive

Student: Slingerland

A cotton muslin was stretched over the bent metal bars fixed across the frame. Concrete

was poured over the fabric for the initial cast. The resulting cast was used as a positive

mold to cast a negative cast.

Example 6: Digital fabrication - laser cut

Student: Wester

Intricate patterns created by repeating units were laser-cut and laid in to the form.

Precedence Research Outcome:

The precedence research paralleled the fabrication of concrete panels. A pair of concrete

building was randomly assigned to each group early in the semester. (2) Weeks were as-

signed to complete basic research to collect the following information and upload the data

in PDF format to the designated server folder for instructors review and input.

a.) Basic Project Data of the buildings - Location, Client, Architects,

Landscape Architects, Other Collaborators (if any), Engineers (structural,

mechanical, civil etc.), Contractor and/or Construction Managers, Project

Design Date, Project Completion Date, Built Area

b.) Bibliography of reference books related to the buildings

Abstract / Concrete 24th NCBDS

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RESEARCH & DESIGN

c.) Collection of web pages and images related to the buildings

d.) Outline schedule to complete the research and put together the pres-

entation

In order to form a educational collaborative environment, the roll of each individual within

the group was discussed and determined during the class based on the following guide-

lines.

Select a project manager (PM). The project manager is the organizer of

the team, responsible for assigning specific tasks to the team members

and keeping track of their activities to ensuring the timely completion of

the project. For this assignment, The PM will assume the following re-

sponsibilities.

1.)Assign research and writing tasks to the members.

2.)Lead the discussion and establish consensus regarding the presenta-

tion concepts.

3.)Organize research information and images gathered by the team and

assemble them into packages for other team member(s) to put it into

digital presentation.

4.)Responsible for uploading the research materials to the server

5.)Organize the presenter(s) for the presentation (everyone in the group

must present a portion)

6.)Tweak the digital presentation if necessary.

Team members are responsible for carrying out the assigned tasks as

required and to support the PM to accomplish the project in an efficient

manner.

Example 1:

The Sydney Opera House, Jørn Utzon / The Eberswalde Technical School Library, Herzog

& de Meuron

Students: Mussett(PM), Guerin, Hanson, Houlette, Wester

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96

ABSTRACT / CONCRETE

The presentation compared the technique and ideas behind the precast exterior panels.

Example 2:

TWA Terminal, Eerro Saarinen / Igualada Cemetery, Eric Miralles, Carmen Pinos

Students: Penner(PM), Bartholomew, Carter, Dorris, Kuxhausen

The presentation compared the metaphorical ideas behind “flight” and “weightlessness” of

concrete.

Example 3:

National Assembly, Dhaka, Louis Kahn / Magma Arte and Congresos, Artengo-Menis-

Pastrana

Students: Quinonez(PM), Larriva, Cruz, Slingerland

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RESEARCH & DESIGN

The presentation compared the integration of local materials and labour and its tectonic

implications.

Speculation:

“Modes of thought, of observation and reflection, enter as forms of skill and of desire into

the habits that make a man an engineer, and architect, a physician, or a merchant.”4

“Thought or reflection ....... is the discernment of the relation between what we try to do

and what happens in consequence.”5

What is an effective method for the students to reflect upon what they have just fabri-

cated? As Dewey points out, opportunity for reflection is a key component of effective

education. The course did not attempt to deal with this question directly for the same rea-

son why no official feedback was made regarding aesthetics of the concrete panels. In

stead, it focused on forming habits to observe through photo-documentation. In some

ways, the course was successful in getting students to think “outside of the box” precisely

because the exercises focused on the “habit forming” positive experience. They were re-

leased from the expectation and anxiety from being externally forced to think construc-

tively. Emphasis on opportunity for reflection may not exactly be suited in this particular

context.

Perhaps, the best way to address this question is to speculate how we can integrate the

material and tectonic base investigation into design studio environment as a useful learn-

ing experience. As discussed earlier, design studio education is inherently empirical. The

key tool which stabilize this dynamic process and allows moment for reflection crucial to

creating effective learning environment is the notational drawings (not pictorial) - plans,

sections, elevations and details. The drawings not only function as a medium to visually

communicate ideas but also as a tool for analysis and finally as a record of operations.

Drawing as a medium for recording measured operations can be most potent when com-

bined with material base investigations. It provides much needed moment for reflecting

upon the operations the student has undertaken and to revise subsequent operations

Abstract / Concrete 24th NCBDS

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4 John Dewey, Democracy and Education, (New York: The Macmillan Company, 1916) 57.

5 Dewey, 169.

98

ABSTRACT / CONCRETE

based on the previous outcome. The following examples are from the on-going investiga-

tion conducted in the authors performance base design studio ARCH3502 in Spring 2008.

Example:

Student: Rutherford

Students were asked to design and construct a formwork out of a single sheet of (45"x45")

natural, unbleached cotton muslin without any cuts and to vertically cast a solid concrete

“deformed column” with a maximum outer dimension of (10”w x36”h) thickness of (2” +/-).

The use of a plywood sheet backing in conjunction with washers, nuts and bolts to restrain

the fabric formwork against the hydrostatic pressure of the concrete was suggested. This

allows post tensioning of the fabric formwork during or immediately after the pour. Stu-

dents were encouraged to consider articulating the surface of the deformed column with

pleats and folds however, were restricted to a single (80) pound bag of pre-mixed concrete

per pour to take the overall volume of the deformed columns into account. After the initial

cast, they were asked to focus on a specific aspect of the cast and construct another fabric

formwork. In conjunction with this exercise, they were asked to construct a “fold-out” re-

cord drawing of the fabrication of the formwork based on a suggested notation system re-

cording every operations made on the surface of the fabric. This drawing became a “work-

ing drawing” for the design and cast of subsequent deformed columns. Any changes made

were layered over the drawings to track the design changes, allowing them to contemplate

and reflect on the processes.

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RESEARCH & DESIGN

The “record drawings” also presents a secondary benefit, an opportunity for interpretation

and transformation. The drawings are a record of type, location and duration of “actions” in

relation to each other and to the surface of the fabric, not a pictorial depiction of the final

product. It implies scalable and interpretable opportunities as operations to other types of

architectural surfaces including a site, linking the technological application of the material

with building and site strategies.

Based on the theory of experience, Dewey discusses how the developmental methods be-

gins with consideration of the prior experience of the student. The role of an educator is to

arrange and sequence the materials and to create a learning environment that is most ef-

fective. Between a direct material investigation and strategy for recording the operations

as drawings, it is possible to imagine an architecture design studio dealing with the issue

of materiality and the logics of construction. The construction technology course previously

discussed is an ideal set up in the support of such studio experience.

Conclusion:

“Deliberation (inquiry) is a dramatic rehearsal (in imagination) of various competing possi-

ble lines of action. It starts from the blocking of efficient overt (habitual) action, due to

.....conflict.”6

“More ‘passions,’ not fewer is the answer.... Rationality....... is not a force to evoke against

impulse and habits. It is the attainment of a working harmony among diverse desires”7

The above remarks by Dewey suggest that passion and development of a creative imagi-

nation are every bit as important as acquiring a mastery of facts and principles of logic.

Students, partial to the representational mode of architectural investigation through virtual

modeling and visualization were, for the first time, systemically introduced to confront, ex-

perience, and embody the reality of basic material and the scale of construction within the

carefully calibrated course structure. The positive experience dealing with the rich proper-

ties and possibilities of concrete “on their own terms” nurtures and prepares the students

with inklings to creatively deal with any construction material in the future. I believe that

this fundamental perceptual shift will have a significant impact on the development of be-

ginning design students, complementing the ever more sophisticated simulated design en-

vironments.

Abstract / Concrete 24th NCBDS

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6 John Dewey, “Human Nature and Conduct,” The Collected Works of John Dewey, 1882-

1953, The Later Works, ed. JoAnn Boydston, 14 vols. (Carbondale and Edwardsville: Southern Illinois University Press, 1969-1991) 132.

7 Dewey, 136.

100

ABSTRACT / CONCRETE

Ar t i cu l a t e d Co n cr e t e P a n e l St u d e n t : J. M u sse t

101

RESEARCH & DESIGN

The recent technological obsession fueled by the proliferation of sophisticated simulations has reignited the interest in building per formance in q uantif iable terms, no dif ferent from the old functionalist thinking. The poetics of architecture reside within a phenomenal per formance of physical construct beyond the predictable, evoking an emotional and intellectual response. Without the embodied understanding of materiality and fabrication, it is impossible to feed the simulated data back into the design in a meaningful manner.

H ow can we engage students into an empirical learning process of making and instill the attention to phenomenal q ualities of the materials? This paper is a case study, discussing the theory, methodology and inherent issues behind the empirical material investigation in the design studio setting

MATERIAL MATTERS: MAK ING ARCH ITECTURE. 2 00 8 ACSA FALL CONFERENCE PROCEEDINGS. ED. GAIL PETER B ORDEN AND MEREDITH , M. WASH INGTON, D.C.: ACSA PRESS. P5 8 -6 5 .

1

Copyright © 2008 The Association of Collegiate Schools of ArchitectureISBN 978-0-935502-63-3

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 20006 - Tel: 202.785.2324 - Fax: 202.628.0448 - www.acsa-arch.org

2008 ACSA Fall ConferenceThe University of Southern California

EditorsGail Peter BordenMichael Meredith

978-0-935502-66-4

2 008 ACSA WEST FALL CONFERENCE PROCEEDINGS

CONCRETE / FABRIC: MATERIALITY CAUGHT IN- BETWEENFa b r i c Fo r m e d Co n cr e t e P a n e l St u d e n t : J. St o r r s

102

CONCRETE / FABRIC

10 Table of Contents

24A New Detailing Ontology

Axel Schmitzberger

32Digital Fabrication: Craft

Phillip Anzalone, Joseph Vidich and Joshua Draper

40Inside Studs

Peter Hind

50Structure, Memory, and Visibility

Mark Barnhouse and Mike Christenson

58Concrete/FabricKentaro Tsubaki

66Felt Constructions

Helene Renard

72Penomenology & its Afterglow

Mireille Roddier

74Tectonics in Architecture�’s Expanded Field

Tulay Atak

76Good Sensations

Paul Preissner

82Architectural Product Design in Cardboard

Robert Barnstone

88Brick Whispering

William Willoughby

96Perfection is Not Man-Made

K.M. Gouwy

23Material Detail: Piece and ConnectionJohn Enright

49Case Studies in Materials PedagogyEd Woll

71Material SensationsPeter Zellner

81Material Precedentcase studies in material application and conceptual detailing of designPatrick Rand

103

RESEARCH & DESIGN

42

CONCRETE/FABRIC: materiality caught in-between

KENTARO TSUBAKI

College of Architecture, Texas Tech University

Columns Deformed Columns

Introduction

The recent technological obsession fueled by the

proliferation of sophisticated simulations has

reignited the interest in building performance in

quantifiable terms, no different from the old

functionalist thinking. The poetics of architecture

reside within a phenomenal performance of

physical construct beyond the predictable, evok-

ing an emotional and intellectual response.

Without the embodied understanding of materi-

ality and fabrication, it is impossible to feed the

simulated data back into the design in a mean-

ingful manner.

How can we engage students into an empirical

learning process of making and instill the atten-

tion to phenomenal qualities of the materials?

This paper is a case study, discussing the the-

ory, methodology and inherent issues behind the

empirical material investigation in the design

studio setting.

Experience and Education

“I believe that the active side precedes the pas-

sive in the development of the child nature; that

expression comes before conscious impression;

that muscular development precedes the sen-

sory; that movements come before conscious

sensations; I believe that consciousness is es-

sentially motor or impulsive; that conscious

state tends to project themselves in action.”1

As instructors, we all acknowledge that intellec-

tual learning is not only a function of amassing

and retaining information. It becomes “knowl-

edge” only when it is comprehended and inter-

nalized.

In his 1933 essay “Education in Relation to

Form,” John Dewey, an influential American phi-

losopher and leader of the experiential education

movement notes, “Comprehension means that

various parts of the information acquired are

grasped in their relations to one another - a re-

sult that is attained only when acquisition is ac-

companied by constant reflection upon the

meaning of what is studied.”2

He criticized both the traditional educational

model (overtly concerned with the delivery of

pre-ordained knowledge) and the progressive

104

CONCRETE / FABRIC

43

educational model (overtly concerned with free-

dom of self-expression and individuality). They

lack the respect for the native tendency of the

mind towards reflective and truly logical activi-

ties at various stage of its development. He goes

on to introduce an experience based education

model as an alternative along with the “Theory

of Experience” to harness these native tenden-

cies of the mind.

Dewey’s “Theory of Experience consists of (2)

key concepts. “The concept of Continuity” and

“the concept of Interaction.”

“The concept of Continuity” refers to the fact

that the previous experience will inevitably ef-

fect the current experience. It in turn will effect

the future experience. In essence, a “domino

effect” of experience over time. Dewey states,

“Every experience enacted and undergone modi-

fies the one who acts and undergoes, while this

modification affects, whether we wish it or not,

the quality of subsequent experience.”3 Thus, it

is the educator’s business to arrange for the

kind of experience that is more than just imme-

diately enjoyable, rather, promotes having de-

sirable future experience.

“The concept of Interaction” refers to the fact

that the objective (external) and internal condi-

tions are equally important factors in an experi-

ence. This seemingly obvious concept is impor-

tant for Dewey in distinguishing the traditional

mode of education from the progressive mode of

education. The former emphasizes only the

transmission of external, pre-ordained knowl-

edge and does not consider the internal experi-

ence of the student at all.

According to Dewey, the goal of an educator is

fostering experiences that encourage good hab-

its, growth (physical, intellectual, and moral),

positive interaction, and knowledge or skills that

become instruments of understanding in dealing

effectively with situations to come. In other

words, good educational experience is a well

conceived positive experience, which ensure

positive future experience that leads to the bet-

ter preparation for lifetime appreciation, inde-

pendence, and development.

Studio Overview

The typical educational method in a design stu-

dio is by default empirical in nature. Students

are expected to form individual approaches to

architectural solutions through production

(drawings and models) and critiques under the

guidance of an instructor. This is one of the

most valuable aspects of architectural education,

not only from the perspective of acquiring de-

sign skills but also from a more general effect to

the personal growth and maturity of the stu-

dents.

The embodied knowledge of making is gained

through the physical interaction with materials,

searching for an order rooted in history, percep-

tion and materiality. ARCH3502 Architectural

Design Studio V taught by the author in the

spring 2008 at Texas Tech University, College of

Architecture encouraged students to develop an

innate understanding of relationships between

the materiality and logic of construction through

the exploration of concrete and its tectonic pos-

sibilities. (16) students were enrolled in this

course.

As an architect, it is unsatisfying to teach a de-

sign studio just to impart knowledge of generic

construction details without any consideration to

the materiality and its tectonic implications.

Simulation through digital modeling has some

potential. However, ignoring the complexities of

the physical qualities such as mass, weight, bal-

ance, material tendencies, texture, scale, sur-

face quality under various lights, weather condi-

tions, and time will subordinate the materiality

to digital mapping on a surface, an appliqué.

Without a link to physical making, this effec-

tively reduces the tectonic exploration into an

exploration of form. The introduction of these

technologies early in design education also ac-

centuates the anxiety of the average architec-

CONCRETE/FABRIC

105

RESEARCH & DESIGN

44

ture student. They are often too concerned with

the technical correctness of employing the soft-

ware, distancing themselves from empirical ex-

ploration of design and making.

This studio was intended to provide an opportu-

nity for students to confront the material, con-

crete head on. It encouraged students to de-

velop an innate understanding of relationships

between the materiality and logic of construction

through the exploration of concrete and its tec-

tonic possibilities.

The studio consisted of (2) interrelated yet dis-

tinctive project phases. In the first phase, fabric

formwork4 was introduced to cast basic building

components such as columns, walls and slabs.

The emphasis was on the physical understanding

of gravitational and hydrostatic forces of the

concrete in a liquid state. Fabric is an ideal ma-

terial to formalize these forces at work. The de-

sired effects were achieved by conscious ma-

nipulation of these forces through the articula-

tion of the fabric surfaces with folds and

stitches. In conjunction, a notational drawing

system was introduced to document the per-

formed operations to the fabric formwork sur-

faces and to reflect upon prior to the alteration

of the subsequent design.

In the second phase, a carefully calibrated site

and program were introduced. The students

were encouraged to reinterpret their notational

drawings as a site strategy, as operations to the

site surfaces. They then, proceeded to design

concrete buildings speculating the implementa-

tion of the building components fabricated in the

first phase.

Concrete as a material

Ubiquitous yet rich in process, concrete is an

ideal material for creating an effective empirical

learning experience. It is one of the few materi-

als where manufacturing is required on site via

proportioning and mixing of the cement, aggre-

gates, and water under various weather condi-

tions. These subtle variables influence the out-

come of the workability, strength and surface

quality. The material exhibits the property of

liquid when poured and the property of solid

when cured providing little margin for any cor-

rection. Combined with the substantial den-

sity/weight, it resists control without proper

consideration for gravity. The material is infi-

nitely scalable with rich color, texture and sur-

face quality. Construction of a required form-

work implies the dichotomy of negative and

positive relationships, retaining the memory of

the formwork. A level of indeterminacy in the

outcome resisting predictable human manipula-

tion results in the distinct tectonic possibilities.

Phase I: Fabric Formwork (5 week dura-

tion)

Students were asked to perform a series of con-

crete casting out of fabric formwork they de-

signed and fabricated. Following basic rules were

established and remained constant for the dura-

tion of the studio:

1.) Formwork must be fabricated from a single

sheet of (45"x45") natural, unbleached cotton

muslin.

2.) Cutting the fabric was not allowed.

3.) Formwork must be fabricated through folding

and sewing with red heavy-duty upholstery

thread.

4.) Concrete casting is done collectively during

the studio hours under the supervision of the

instructor.

The very first problem was intentionally set up

for the students to fail. They were asked to fab-

ricate a formwork to cast a solid rectilinear con-

crete block to the dimension of (10"x8"x16"). It

is theoretically impossible to form a rectilinear

block out of fabric since the fabric resists only in

tension and the hydrostatic pressures are uni-

formly distributed in all directions.

106

CONCRETE / FABRIC

45

ailed lock

The attention to the corner of the formwork seen

in this example, assume that the fabric will be-

have like a material that can take a bending

stress. Perhaps, this is an assumption made

based on their previous experiences dealing with

sheet materials. A total of (3) formworks were

fabricated and concrete poured with the inten-

sion to improve upon the previous experience.

The drawings record the fabrication sequence

accompanied each formwork. Through trial and

error, students recognize the fundamental work-

ings of hydrostatic forces against surface tension

of fabric. They also begin to develop a sensibility

to the volume/weight relationship of the materi-

als and the logistics of organizing a concrete

pour. On a more anecdotal note, the failure re-

laxed, and at the same time, energized the stu-

dents’ attitude toward the projects. They seem

more willing to try things on their own initiative

without the incessant prodding of the instruc-

tor’s expectations.

The next problem was intended to take advan-

tage of the nature of gravity and hydrostatic

pressure. The students were asked to design

and fabricate a formwork to vertically cast a

(36" h) solid concrete column. The surface ten-

sion of the fabric resists the hydrostatic pressure

when properly accounted for rigidifies the form-

work. The amount of concrete used was re-

stricted to (500) in , (1/2) of a (80) pound bag

of pre-mixed concrete. A total of (2) formworks

were fabricated accompanied by the record

drawings.

a ric ormed Column (C. . Davis)

ecord Drawing of a a ric ormwork

(C. . Davis)

CONCRETE/FABRIC

107

RESEARCH & DESIGN

46

Deformed Column (J. Storrs)

The third problem was a variation on the second

problem, analogues to a cast in place wall. The

students were asked to vertically cast a solid

concrete “deformed column” with a maximum

outer dimension of (10”w x 36”h) thickness of

(2” +/-). The use of a plywood sheet backing in

conjunction with washers, nuts and bolts to re-

strain the fabric formwork against the hydro-

static pressure of the concrete was suggested.

This allows post tensioning of the fabric form-

work during or immediately after the pour. Stu-

dents were encouraged to consider articulating

the surface of the deformed column with pleats

and folds. The students were restricted to a sin-

gle (80) pound bag of pre-mixed concrete per

pour to take the overall volume into considera-

tion.

After the initial cast, they were asked to focus

on a specific aspect of the cast and construct

another fabric formwork. In conjunction with this

exercise, they were asked to construct a “fold-

out” record drawing. The drawing is essentially

constructed as if the fabric is folded out, tracing

each action made on the surface. It notates the

points where the folds or stitches begin and end,

whether the fold is a valley fold or peak fold,

critical dimensions and regulating lines, etc. on a

one to one scale. It enables you to duplicate the

complex fabric formwork with precision by read-

ing a single drawing. It became a “working

drawing” for the design and casting of subse-

quent deformed columns. Any changes made

were layered over the drawings, allowing them

to contemplate and reflect on the processes. A

total of (3) formworks was fabricated accompa-

nied by the “fold-out” record drawings.

The last problem of this phase was intended as a

transitional exercise to the next phase of the

studio. Students were asked to interpret their

foldout record drawings into a three dimensional

construct made of laser-cut MDF (1/8" - 1/4"

thk). These constructs were used as “inserts,”

supporting the unaltered fabric stretched over a

frame to horizontally cast a solid concrete panel

(20”w x 34”h x 2”d). Each operation

(folds/stitches) and location recorded in the

drawing was consistently interpreted in terms of

sectional moves. The inserts was designed and

joined together without mechanical means to

stand on its own.

nserts and a a ric ormed Concrete Panel

(S. Stevens)

Reflection

“Modes of thought, of observation and reflection,

enter as forms of skill and of desire into the hab-

its that make a man an engineer, and architect,

a physician, or a merchant.”5

“Thought or reflection ....... is the discernment

of the relation between what we try to do and

what happens in consequence.”6

What is an effective method for the students to

reflect upon what they have just fabricated? As

Dewey points out, opportunity for reflection is a

108

CONCRETE / FABRIC

47

key component of effective education. As dis-

cussed earlier, the design studio education is

inherently empirical. The notational drawing is

the key in stabilizing this dynamic process. It

allows a moment for reflection. This is crucial to

creating effective learning environment. The

drawings not only function as a medium to visu-

ally communicate ideas but also as a tool for

analysis and finally as a record of operations. As

a medium for recording measured operations, it

can be most potent when combined with mate-

rial base investigations. It provides a much-

needed moment to reflect upon the operations

the student has undertaken and to revise subse-

quent operations based on the previous out-

come. The “record drawings” also presents a

secondary benefit, an opportunity for interpreta-

tion and transformation. The drawings are a re-

cord of type, location and duration of “actions”

in relation to each other and to the surface of

the fabric, not a pictorial depiction of the final

product. It implies scalable and interpretable

opportunities as operations to other types of

architectural surfaces including a site, linking the

technological application of the material with

building and site strategies

Progression of old-out ecord Drawings for Deformed Columns (L. utherford)

Detail of old-out ecord Drawings and corresponding a ric ormwork (L. utherford)

CONCRETE/FABRIC

109

RESEARCH & DESIGN

48

Phase II: Cabins and a Comfort Station at

Monahans Sandhills State Park (10 week

duration)

Cabins and a Comfort Station at Monahans

Sandhills State Park go beyond the traditional

notion of a cabin or a public restroom in state

park. It aims to become a destination, a modern

meeting ground for rejuvenation in an extraor-

dinary natural setting.

Monahans Sandhills State Park consists of 3840

acres of sand dunes, some up to 70 feet high, in

Ward and Winkler Counties, about (30) minutes

drive west of Odessa, Texas. Historically, it is

known to be a temporary campground and a

place of recreation for Native American tribes,

finding food and abundant fresh water beneath

the sands. The area remained a favorable

environment for them until the 1880s, when the

Texas and Pacific Railroad selected Monahans as

a water stop between the Pecos River and the

town of Big Spring.

For its unique geographical features, the site is a

perfect background for the fabric formed con-

crete buildings. The continuous surface of the

dunes resonates with that of fabric formed con-

crete. For example, constructing a building is an

operation into the dune surface in the state of

dynamic equilibrium, altering the topography of

the dunes. Articulating a surface of concrete

panel or a column is an operation to the fabric

surface in equilibrium with the hydrostatic pres-

sure. Both the concrete and the dune surface

are an aggregate of fine particles, a mixture of

water and sands. Concrete’s high thermal-mass

suggests a creative use in the desert climate.

Finally, the site is located with in a daytrip dis-

tance allowing the students to visit the site and

physically experience the landscape uniquely

outside of their ordinary environment.

Similar to the final project of the phase I, stu-

dents were encouraged to interpret the record

drawings as a starting point for their site strate-

gies. Detailed programs on individual cabins and

a comfort station with a pool were given. The

buildings were to be integrated into a (12) acre

site where the existing picnic ground is located.

The main focus of the exercise was to explore

the tectonic potential of the fabric formed con-

crete panels, walls and columns the students

had fabricated in phase I and to speculate on a

larger scale construction. The results were sub-

mitted to the “Building Element” category of the

third annual CONCRETE THINKING FOR A SUS-

TAINABLE WORLD, International Student Design

Competition, administered by ACSA.

ecreational acility (C. . Davis)

Dune oardwalk (C.P. Davis)

110

CONCRETE / FABRIC

49

Concrete Heat sink for Passive Cooling

(S. Stevens)

Conclusion

“Deliberation (inquiry) is a dramatic rehearsal

(in imagination) of various competing possible

lines of action. It starts from the blocking of effi-

cient overt (habitual) action, due to

.....conflict.”7

“More ‘passions,’ not fewer is the answer.... Ra-

tionality....... is not a force to evoke against im-

pulse and habits. It is the attainment of a work-

ing harmony among diverse desires”8

The above remarks by Dewey suggest that pas-

sion and development of a creative imagination

are every bit as important as acquiring a mas-

tery of facts and principles of logic.

Students were for the first time systemically in-

troduced to confront, experience, and embody

the reality of basic material behavior and the

scale of construction. The fabricated components

became a counter reference to the representa-

tional mode in the design exploration. This fun-

damental perceptual shift will have a significant

impact on the further development of the stu-

dents, complementing the ever more sophisti-

cate simulation environment.

The enthusiasm of the students was clear in

their willingness to plunge into the unpredictable

task of casting concrete in fabric. During the

course of (10 +/-) castings, the level of sophisti-

cation in the fabric formwork improved re-

markably, particularly after the notational draw-

ing system was introduced. The confidence

gained from the fabrication of near full-scale

building components inspired the students to

explore the possible architectural application

with fewer preconceptions, resulting in unique,

unexpected building articulations.

Notes

1John Dewey, “My Pedagogic Creed,” The Collected

Works of John Dewey, 1882-1953, The Early Works,

ed. Jo Ann Boydston, 5 vols, (Carbondale and Edward-

sville: Southern Illinois University Press, 1969-1991)

90.

2 John Dewey, “Education in Relation to Form,” The

Collected Works of John Dewey, 1882-1953, The later

Works, ed. Jo Ann Boydston, 8 vols. (Carbondale and

Edwardsville: Southern Illinois University Press, 1969-

1991) 176.

3 John Dewey, Experience and Education, (New York:

The Macmillan Company, 1938) 26-27.

4 I’d like to acknowledge Prof. Mark West’s generous

support in sharing the latest developments on Fabric

Formwork at The Center for Architectural Structures

and Technology (C.A.S.T.) at the Faculty of Architec-

ture, University of Manitoba.

5 John Dewey, Democracy and Education, (New York:

The Macmillan Company, 1916) 57.

6 Dewey, 169.

7 John Dewey, “Human Nature and Conduct,” The Col-

lected Works of John Dewey, 1882-1953, The Later

Works, ed. JoAnn Boydston, 14 vols. (Carbondale and

Edwardsville: Southern Illinois University Press, 1969-

1991) 132.

8 Dewey, 136.

CONCRETE/FABRIC

111

RESEARCH & DESIGN

Concrete is a high-strength, low maintenance and versatile material ideal for building construction. The ability to economically reproduce complex shapes is well ex ploited as precast architectural decorative products, of ten guised as more ex pensive and labor-intensive materials.Fabric formwork techni q ue is known to be the most ef f icient structural use of material for a formwork. Resisting only in tension, fabric redistributes the hydrostatic forces e q ually in all directions, r igidifying the formwork, making ex tra reinforcing unnecessary. Light, inex pensive and easy to manipulate, fabric is also an ideal candidate for molding complex three-dimensional concrete sur faces. The bleeding of ex cess air and moisture through the permeable membrane results in an undulating sur face with f ine tex ture and f inish. This q uality is appreciated. H owever, it is not ex plored systemically in regards to the formal possibilit ies of the sur face geometry.What kind of uni q ue sur face ar ticulation can we derive beyond the simple funicular geometry ? Sur face geometry of the fabric changes as the concrete is poured. H ow can we document, control and ref ine such a dynamic process? And f inally, what potential application such fabrication method may have beyond the q ualitative attractiveness of the sur face geometry ? This paper touches upon the historical development of cement and concrete use as a building material. It also provides a general overview of fabric formed concrete techni q ue to establish a basis to address aforementioned issues through the author ’ s own investigations and outcomes grown out of a series of ex perimentation conducted in the studio setting with students.

REB UILDING. 2 01 0 ACSA ANNUAL CONFERENCE PROCEEDINGS. ED. B RUCE GOODWIN AND K INNARD, J. WASH INGTON, D.C.: ACSA PRESS. P462 -46 8

BRUCE GOODWIN + JUDITH KINNARD, EDITORS

ACSA PRESSWASHINGTON, DC

gbuildin9 8 TH ACSA ANNUAL MEETING

b

2 01 0 ACSA ANNUAL CONFERENCE PROCEEDINGS

SMOCKING: PLEATED SURFACES AND FABRIC FORMWORKSm o cki n g V e r si o n 3 Ca st

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CONCRETE / FABRIC

vi

373 Conduit Urbanism: Opportune Urban Byproducts of Bundled Megaregional Energy and Mobility Systems KATHY VELIKOV, University of Michigan

GEOFFREY THUN, University of Michigan

381 New New Deal: Infrastructures on Life Support MASON WHITE, University of Toronto

LOLA SHEPPARD, University of Waterloo

Is Architecture Critical?388 The Operative Criticism of Rem Koolhaas FRANCES HSU, Georgia Institute of Technology

394 Re-setting the Critical Project MAURIZIO SABINI, Kent State University

402 Taste Is Critical DAVID SALOMON, Syracuse University

Making Sense of the Architectural Production of ‘Others’410 Dealing With the Challenges of Teaching Latin American Architecture: A Case Study PATRICIA MORGADO, North Carolina State University

418 Making Sense of The Architectural Production of ‘Others’: Architectural Design and Multiculturalism ARIJIT SEN, University of Wisconsin-Milwaukee

429 Stepping Outside the Comfortable Confines of the West: Provoking Narratives on ‘Other’ Urbanities MANU SOBTI, University of Wisconsin-Milwaukee

437 Archipelago Construct : The Matter of Polynesia INGALILL WAHLROOS-RITTER, Woodbury University

Material Making: The Process of Precedent446 Ornament and Materiality in the Work of Adolf Loos BRIAN ANDREWS, University of Nebraska-Lincoln

454 Framing Space PHILLIP ANZALONE, Columbia University

STEPHANIE BAYARD, Pratt Institute Graduate School of Architecture

462 SMOCKING: Pleated Surfaces and Fabric Formwork KENTARO TSUBAKI, Tulane University

469 Assemblies and Aggregations: Design and Production of Variable Cast Units GLENN WILCOX, University of Michigan

Open Session476 Interfacing Architecture | Collapsing the Distance Between Design & Experience NICHOLAS AULT, University of North Carolina at Charlotte

ZACHARY PORTER, University of North Carolina at Charlotte

ERIC SAUDA, University of North Carolina at Charlotte

485 (re)thought: The Political Transparency of Space C. DAVID BERTOLINI, Louisiana State University

495 The Affordable Housing Workshop: Where Were the Architects? RON DULANEY JR., West Virginia University

503 The Chicago Courtyard Apartment Building: A Sustainable Model Type RICHARD GNAT, Kansas State University

514 Iowa: Reconstructing the Farm Unit PETER GOCHE, Iowa State University

520 Nakagin Capsule Tower and the Metabolist Movement Revisited ZHONGJIE LIN, University of North Carolina at Charlotte

531 Sustainability and the Transformative Value of Repair KATHRYN MERLINO, University of Washington

539 Principle and Practice: The Ethic and Efficacy of Donald Judd’s Interventions at La Mansana de Chinati JOHN MESSINA, University of Arizona

547 studiEAUX: A Wetlandscape Workshop ONEZIEME MOUTON, University of Louisiana at Lafayette

554 Consequential Encounters: Luis Barragan’s Influence on Louis Kahn PATRICIA O’LEARY, University of Colorado Denver

561 An Architecture Tradition/ A Craftsman’s Tradition: The Craftman’s Role in Japanese Architecture STANLEY RUSSELL, University of South Florida

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RESEARCH & DESIGN

46 Re.Building

le ed u e nd i

T O  TS B ITulane   niversity

 

R

Concrete  is  a  high-­strength,  low  maintenance  and  versatile   material   ideal   for   building   construction.  The   ability   to   economically   reproduce   complex  

exploited  as  precast  architectural  decorative  prod-­ucts,   often   guised   as  more   expensive   and   labor-­intensive  materials.

abric   formwork  technique  being  studied  by   ark  est  et  al.  and  realized  in  such  products  as  “ ast-­

foot”  by  the  Canadian  company   ab-­form  Industries  

material  for  a  formwork.   esisting  only  in  tension,  fabric  redistributes  the  hydrostatic  forces  equally  in  all  directions,  rigidifying  the  formwork  and  making  extra   reinforcing   unnecessary.   ight,   inexpensive  and  easy  to  manipulate,  fabric  is  also  an  ideal  can-­didate  for  molding  complex  three-­dimensional  con-­

crete  surfaces.  The  bleeding  of  the  air  bubbles  and  excess  moisture  through  the  permeable  membrane  

 This  quality  is  appreciated.  However,  it  is  not  necessary  explored  in  a  systemic  manner  in  regards   to   the   formal   possibilities   of   the   surface  geometry.

hat  kind  of  unique  surface  articulation  can  we  de-­rive   from  the  combination  between   fabric  surface  and   concrete   beyond   the   simple   funicular   geom-­etry  Casting  concrete  on  fabric  formwork  is  a  dy-­namic  process.  The  surface  geometry  of  the  fabric  changes  as  the  liquid  is  poured.  How  can  we  docu-­

construction  of   formwork   in  relation  to  the  actual  

fabrication  method  may  have  beyond  the  qualita-­tive   attractiveness   of   the   surface  geometry   This  paper  touches  upon  the  historical  development  of  

igure    Smocking  Version    (composite  photo  of  the  cast  and  fabric  formwork)

114

CONCRETE / FABRIC

46

cement  and  concrete  use  as  a  building  material.  It  also  provides  a  general  overview  of  fabric  formed  concrete  technique  to  establish  a  basis  to  address  aforementioned   issues   through   the   author s   own  investigations  and  outcomes  grown  out  of  a  series  of  experimentation  conducted  in  the  studio  setting  with  students.

R

“There  is  also  a  kind  of  powder  which  from  natural  causes  produces  astonishing  results.   It   is   found   in  the  neighborhood  of  Baiae  and   in   the   country  be-­longing  to  the  towns  round  about   t.  Vesuvius.  This  substance,  when  mixed  with   lime   and   rubble,   not  only  lends  strength  to  buildings  of  other  kinds,  but  even  when   piers   of   it   are   constructed   in   the   sea,  they  set  hard  under  water.”

The   omans   knew   the   existence   of   ozzolana,   a  natural  compound  of  silica  alumina  and  iron  oxide  referred   to  by  Vitruvius   as   the   “magical   powder.”  The  mixture  with  lime  was  the  predecessor  to   ort-­land  cement.  The  critical  difference  from  the  lime  mortar  is  the  fact  that  cement  cures  and  hardens  in  a  hydration  process  (chemical  reaction  with  wa-­ter).   ime  mortar,  commonly  used  for  the  masonry  work   in   those   days,   cures   and   hardens   with   the  chemical   reaction   with   carbon   dioxide   in   the   air.  

difference  in  strength,  lime  mortar  will  never  fully  cure  and  harden   if  used   in  quantities  beyond   the  thin  layers  between  the  stones.  However  cement,  a   seemingly   promising   building  material  was   lost  during  the  medieval  period  where  building  technol-­ogy  was   ruled   by   the   secretive   asonry   guild.   It  had  to  wait  to  be  rediscovered  by  John  Smeaton,  an  engineer  in  the   c   ngland.  He  was  in  quest  for  a  perfect  mortar  with  hydraulic  properties  suitable  for   the   construction   of   a   lighthouse,   an   essential  infrastructure  for  commerce  in  the  era  of  the  indus-­trial  revolution.

arly  studies  of  cement  were  focused  on  improving  the  quality  of  mortar  for  masonry  work.  However,  the  hydraulic  properties  of  cement  did  not  go  un-­noticed.   se  of  cement  as  concrete  (mixture  with  sand  and  crushed  rocks  as  an  aggregate)  increased  as  it  was  recognized  advantageous  for  foundation  work   on   harbors   and   bridges.   s   the  mechanical  understanding   of   the   iron   reinforcing  progressed,  concrete  made   its  way   above   ground   to   be   used  

columns.  Simultaneously,  attempts  were  made  to  

exploit  the  property  to  replicate  multiple  elements  with   intricate   surface   articulations   from   a   single  

Henry   ascelles  patented  a  building  system  in  the  late   c  based  on  precast  concrete  panels  as  a  way  to  mass-­produce  inexpensive  houses.  The  precast  panels  were  fastened  directly  to  regular  wood  stud  framing  on  both  sides  as  well  as  onto  the  roof  fram-­ing.  The  efforts  were  made  to  replicate  the  texture  

building  features.   xterior  and   interior  walls  were  

scale   pattern   of   shingles.   ore   famous   example  is   that   of   the   inventor,   Thomas   dison s   attempt  to  cast  a   rench-­style  traditional  house  in  a  single  

and   colors.   ven   to   this   day,   the  most   common  use   of   architectural   precast   product   is   to   mimic  stone,  or  brick  not  necessary  to  express  the  nature  of  the  material  itself.

unique  property  of  concrete  to  preserve  the  forms  and  textures  of  other  materials.  He  called  it  “B ton  brut,“   a   residual  memory  of   the   construction  pro-­cess.   The   rawness   of   the   concrete,   the   imprint   of  the   formwork,   tie   marks   and   imperfections,   were  celebrated  in  projects  such  as   nite  de  Habitation.  Conversely,  the  perfect  uniform  concrete  surfaces  of  ndo s  buildings  are   antithesis   to   that   of  Corbusi-­er.   It   is  about  complete  erasure  of  rawness  aimed  at  distilling  the  materiality  to  its  essence,  or  in  his  words,  ”beyond  the  will  of   the  material.”  His  care  to  locate  tie  marks  and  control  joints  for  the  sake  of  uniformity   is   legendary.   The   craftsmanship  he  de-­mands   of   his   formwork,   assuring   the   smoothness  

subdued  expression  of  the  result.  “Smocking”  falls  somewhere   in-­between   the   two   extremes.   It   cap-­tures  the  material  essence  of  the  liquid  working  in  

surface  of  fabric,  augmented  by  the  human  will.

R BR

abric  formwork  is  an  emerging  area  of  studies  in  

Center  for   rchitectural  Structures  and  Technology  (C. .S.T.)  at  the   niversity  of   anitoba,  is  the  lead-­ing  expert.  His  introduction  literature  for  C. .S.T.

-­

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RESEARCH & DESIGN

464 Re.Building

vice.  The  unsettling  scale  and  the  beauty  of  these  infrastructures  is  one  of  the  prime  subjects  of  the  internationally  known  photographer,  Toshio  Shiba-­ta.  Spanish  architect   iguel   isac,  known  for  his  precast   post-­tension   concrete   structures   inspired  by   the   section   geometry   of   bone   structure,   also  experimented  with  thin  plastic  sheets  to  cast  tex-­tured  concrete  wall  panels  in  the   s.  In  the   s  and   s  fabric  formwork  technique  to  cast  above  ground  architectural  elements  were  independently  discovered  and  applied  to  a  full  scale  construction  by   three   individuals,   enzo   nno,   an   architect    contractor  in  Tokyo,  Japan,   ick   earn,  a  builder    businessman  in  Canada  and  professor   est.

-­brated  for  cast-­in-­place  concrete  walls  in  residential  scale.  He  has  built  a  number  of  residences  using  this  

building  system.  It  integrates  the  rigid  foam  insu-­lation  to  one  side  of  the  fabric  formwork,  allowing  the  opposite  surface  with  the  beautifully  undulating  

 This  is  not  possible  with  the  typical  rigid  insulation  form-­work  requiring  insulation  on  the  both  sides.

earn s  company,   ab-­form  Industries  in  Surrey  BC  produces  fabric-­based  forms  for  columns,  founda-­tion  walls  and  footings.  These  products  are  distrib-­uted  in  Canada  as  well  as  in  the   S.   ow  cost  and  lightweight,  requiring  minimum  labor  and  materials  producing  less  waste  compare  to  traditional  form-­work  using  plywood,  efforts  are  made  to  educate  and  market  to  the  segments  conscientious  of  build-­ing  green.

on  the  research  and  education  of  fabric  formwork  methods,  he   is  responsible   for  many  of  the  origi-­nal   inventions   and   recent   innovations.   His   fabric  

-­al  scene  at  the  Storefront   rt  and   rchitecture  gal-­lery  in   C  in    as  sculptures  and  drawings  in  the  exhibition,  “ ressure  Buildings  and  Blackouts.”  The  intent  was  to  question  the  role  of  the  tradition-­al  rigid  geometry  we  “perceive”  and  “build”  through  the  indeterminate  nature  of  his  “blackout”  drawings  and  the  fabric  formed  sculptures.  The  exhibition  

and  the  philosophical  foundation  of  his  work.  Since  then,  his   research  has  primarily  been  devoted   to  

the   areas   of   a)   evelopment   of   the   techniques  and  methods  to  apply  fabric  formed  concrete  to  the  architectural   scale   construction,   b)   esign   of   the  

trusses  using  fabric-­forming  geometry,  c)   pplica-­tion  of  fabric  forming  principles  to  other  construc-­tion  methods   such  as   shot-­create,   rammed  earth  and  masonry  brick  vaults.

long   with   earn,   est   cofounded   the   Interna-­tional  Society  of   abric   orming  (ISO ),  an  insti-­tution   dedicated   to   the   communication   amongst  researchers,  professionals  and  the  building  indus-­try.   embers  such  as  Sandy   awton  of   rrodesign  

  are   actively   utilizing   the  fabric-­forming  concrete  technique  in  all  aspects  of  construction  of  residential  scale  structures.

R B

The   embodied   knowledge   of   making   is   gained  through   the   physical   interaction   with   materials,  searching   for   an   order   rooted   in   history,   percep-­tion  and  materiality.  The   third  year  design  studio  taught  by  the  author  in  spring    was  designed  to  encourage  students  to  develop  an  innate  under-­standing   of   relationships   between   the  materiality  and   logic   of   construction   through   the   exploration  of  fabric-­formed  concrete  and  its  tectonic  possibili-­ties.  The  studio  yielded  the  following  results  rel-­evant  to  this  paper.

i)  In  order  to  qualitatively  evaluate  the  cast  and  to  

stationary  medium  documenting  how  the  formwork  is  constructed  is  an  absolute  necessity.

ii)   Conventional   pictorial   depiction   of   the   end   re-­sults   does   not   work   for   the   documentation   pur-­pose.  It  must  be  a  precise  record  of  the  nature  of  the  manipulation  done  to  the  fabric  surface  as  well  as  the  location  and  sequence.  It  also  needs  to  proj-­ect   the  general   formal  characteristics  of   the  cast.  ocumentation   method   analogues   to   the   tailors  

pattern  drawings  were  developed  for  this  purpose.

iii)   leated  surfaces  are  one  of  the  most  qualitative-­ly   attractive   surface   articulations   fundamental   to  the  fabric.  In  conjunction  with  the  funicular  geom-­etry,   it   takes  on  additional  dimensions  when   they  are  transferred  into  the  hard  surface  of  concrete.

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ollowing   the   results,   the   author   focused   on   the  surface   articulation   technique   called   “smocking”  and   conducted   scaled   fabric   forming  experiments  using  Hydro-­cal   in   lieu   of   concrete.   The   assump-­tion   is   that   the   fabric   forming   technique   is   scal-­able.  In  other  words,  if  you  can  fabric-­form  a  cast  in  a  scaled  condition  reasonable  for  a  single  person  to  perform,  it  can  be  accurately  transferred  to  an  architectural  scale  cast  with  modest  effort.  This  is  anecdotally  a  well-­accepted  fact  by  the  experts  in  

Simultaneously,   a   notational   drawing   method   to  document  the  fabrication  and  to  speculate  the  al-­teration  was  developed.

ollowing   constants   (boundary   conditions)   were  established  for  the  experiments

)  Size  of  the  fabric   ”x ”.

)  Size  of  the  frame   -­ ”x -­ ”.

)   abric  surface  was  augmented  through  “picking”  points  (see   igure   ).   o  alterations  were  made  by  cutting  and or  sewing.

)   ll  notational  drawings  were  done   in   full   scale  prior  to  the  fabrication  of  the  formwork.

ollowing  variables  were  investigated  in  the  initial  batch  of  experimentation

)   imension  of  the  point  matrix.  This  affects  the  general  length  and  depth  of  the  folds  on  the  fabric  formwork.

)   ethod  of  “picking”  points  how  many  points  are  picked  and  how  (in  what  pattern)  they  are  picked.  hat  effect  does  it  produce  locally  This  affects  the  

general   characteristics  of   crease   lines  around   the  picking  points.

)   attern   of   picking   points   the   relationships.  This  affects  the  general  characteristics  of  how  the  crease  line  travels.

 total  of    types  of  fabric  forms  were  constructed  and    casts  were  performed  within  a   week  period  in  June   .

Version    Test  smocking  on  cotton  muslin.   o  casts  were  performed  on  the  formwork.  The  drawing  ex-­plored   the   folding  depth  and   length  of   the  pleats,  

dimensions   based   on   the   golden   ratio   on     direc-­tion.  The  fabric  was  ironed  carefully  according  to  the  drawing  to  “record”  the  folds  on  the  fabric  surface.  very  two  pleats  were  threaded  at  midpoints  of  the  folding  depth  determined  by  the  “eye”  and  tied  to-­gether,   collapsing   the   folded   fabric  surfaces   into  a  single  point.   istribution  of  the  “thread  points”  al-­ternating  from  row  to  row  remained  consistent.  

Version     (see   igure   )   irst  cast.  Smocking  on  

discovery  from  the  previous  test  that  spacing  of  the  picking   points   automatically   establishes   the   fold-­ing  depth  (see   igure   .)  and  remained  constant  at  

”.  The  folding  lengths  (  direction)  were  altered.  ine   (indicated   in   blue)   speculating   the   potential  creases  were  introduced  between  the  picked  points.  However,  it  is  not  an  accurate  representation  since  the  method   how   points  were   picked   (indicated   in  red)  ignores  the  fact  that  they  are  often  picked  in  multiple  pairs.  This  crucial  defect  in  the  notational  system  is  not  remedied  until  the  design  drawing  of  Version   .  The  cast  did  not  release  from  the  fabric  formwork   for   the   following   reasons.   a)   eometry  of  the  fold  at  the  pick  points  on  the  poured  side  al-­

igure    Casts  (from  left  to  right  v ,  v ,  v ,  v . )  

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b)  The  fabric  was  caught  in  the  cast  due  to  the  deep  fold.  High  friction  of  cotton  muslin  made  it  cumber-­some  to  release  the  cast  from  the  formwork.

Version     (see   igure   )  Second  cast.  Smocking  -­

lease  issue,  alternate  fabric  was  chosen.  Hydro-­cal  poured  on  the  opposite  side  of  the  smocked  surface  

Shorter   folding   length   is   assigned   to   the   middle  section  to  control  the  bulging  with  slightly  shorter  folding  depth  at  ( ”).  The  estimated  crease  line  in  the  drawing  accurately  correlates  with  the  cast  results.   Stiffness   of   the   fabric   itself   at   the   given  scale  affected   the  surface  articulation  seen  as  an  

Version     (see   igure   )   Third   and   forth   cast.  Smocking  on  rip-­stop  nylon  fabric,  thinner  and  soft-­

the  second  cast  to  check  against  repeat  casting.   o  

igure    Smocking  Version    (cast  w  notational  drawing)

igure    “ icks”  (two  examples  type    above,  type  B  below)

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46

dramatic   changes  were   observed   in   the   repeated  cast.   olding  depth  was  dramatically  shortened  to  ( ”)  to  test  how  far  the  crease  line  will  travel.  It  was  observed  to  be  ( ” -­)  in  the  given  condition.

cast  for  this  batch  of  experimentation.  Base  dimen-­sions  for  the  point  matrix  remained  relatively  un-­changed.  Careful  attention  was  paid  to  the  deploy-­ment  of  the  variation  in  the  way  points  are  picked.  revious   picking   methods   were   evaluated   and   a  notational   system  was   developed   to   depict   those  conditions.   The   estimated   crease   lines   (indicated  

blue)  in  the  drawing  were  compared  and  analyzed  against  the  crease  of  the  actual  cast.  The  revised  crease  lines  (indicated  in  orange),  begins  to  form  a  “logic”  of  crease  lines  form  the  types  of  point  pick-­ing   and   its   relations   to   one   another.   This   is   par-­ticularly  an  important  tool  in  projecting  the  surface  characteristics  of  complex  smocked  surfaces  yet  to  be  fabricated.

The   following   general   conclusions  were   extracted  from  the  results  of  the  short  focused  experiments.

igure    Smocking  Version    (formwork  analysis  w  notational  drawing)

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“Smocking”   is   a   surface   articulation   naturally  drawn  out  of  the  fundamental  properties  of  fabric  and  liquid  captured  in  a  hard  surface,  a  manifesta-­tion  of  an  equilibrium  reached  between  the  surface  tension  of  the  fabric  and  the  omni-­directional  hy-­drostatic  pressure  of  the  concrete  in  a  liquid  state.  It  is  a  dynamic  self-­organizing  process  that  the  re-­sult  cannot  simply  be  depicted  pictorially.  The  no-­tational  drawing  system  developed  and  introduced  in   the   experiment   precisely   documents   the   fabri-­cation  process  and  implies  formal  characteristic  of  the  result.  It  is  just  enough  information  to  contem-­plate  and  to  project  the  design  alteration  of  fabric  formwork.

Being  able  to  control  such  surface  articulation  has  a   potential   for   application   beyond   the   qualitative  attractiveness  of  the  surface  geometry.  

Concrete   is  known   for   its  high   thermal  mass   (in-­ertia),   absorbing   and   storing   heat  when   the   sur-­rounding  temperature  climbs  higher  and  releasing  heat  when  the  surrounding  temperature  drops  low-­er.  This  generally  translates  to  a  temperature  stabi-­lizing  effect  ideal  for  the  dry  desert  climate,  leading  to  the  energy  savings  for  heating  and  cooling  of  the  building.  Optimizing  the  surface  geometry  for  heat  gain  or  loss  can  further  enhance  this  property.  Ja-­son  Vollen  et  al.  have  conducted  a  similar  explora-­tion  in  a  ceramic  masonry  wall  system.  However,  it   is   not   exploited  as   a   sustainable   solution   for   a  concrete  building  system.

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Sm o cki n g V e r si o n 2 Fo r m w o r k

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RESEARCH & DESIGN

“ Real time now prevails above both real space and geosphere. The primacy of real time, of immediacy, over and above space and sur face is a fait accompli and has inaugural value.” In his essay, Speed and Information: Cyberspace Alarm! Virillio focuses on speed, the ef fect of digital media in the cultural contex t. Digital culture demands instantaneous visual gratif ication. Pictorial depictions of vir tual models have long replaced the slow notational drawings in the design process. Digital fabrication tools, a staple in many architectural institutions, q uickly and accurately replicate three-dimensional forms. Theoretically, these tools are to bestow back in the hands of architects the long lost control over fabrication. H owever, it is shor tsighted if the goal is simply to replicate by skipping the hands of the fabricator and subver ting the material tendencies and limitations all together. Design decisions based on feedbacks from material proper ties and fabrication processes are integral to the notion of craf t and making. Without a conscious ef for t to ref lect upon material resistance, the newly found control will turn into an overindulgent formal ex ercise.The poetics of architecture resides within a phenomenal per formance of a physical construct beyond the predictable, evoking an emotional and intellectual response. Without the embodied understanding of materiality and sensibility to fabrication, it is impossible to make potent design decisions. H ow can we engage students in an empirical process of making and instill the attention to phenomenal q ualities of the materials? H ow do we emphasi z e the importance of notational drawings to ref lect on the design intention and material ex ecution? Is a drawing too slow and obsolete in the digital-centric age? This paper focuses on the role of drawing as a meditation between the materials and the act of making. It demonstrates that notational drawing is an essential tool for both design and fabrication that is impossible to substitute with pictorial depiction. Student ex ploration, directed by the author in the core design studio would be referenced for this purpose.

MADE: DESIGN EDUCATION & T H E ART OF MAK ING. 2 6T H NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT. JEFFREY B ALMER AND B EORK REM. C, CO-CH AIRS.

PROCEEDINGS2010

2 N C D s S

College of Arts Architecture U N C C

D s E A M

2 6TH NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS

FOLDOUT DRAWINGS: MEDITATION BETWEEN THE MATERIALS AND MAKING

Fo l d o u t Dr a w i n g De t a i l St u d e n t : L. Ru t h e r f o r d

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FOLDOUT DRAWINGS

2010 BEGINNING DESIGN CONFERENCE22

CONFERENCE SCHEDULE

SATURDAY,MARCH20

9:30-11:30AM

PAPERSESSIONS:UNCCSCHOOLOFARCHITECTUREUNCC Gallery, 155, 290, 110

MAKINGREAL3 GALLERY

Paper to Trailer Constructions: Contextual Responses and Public Acts of EngagementKristina H. Yu, University Of New Mexico

Making ConcreteMichael Zebrowski and Mark Wise, Morgan State University and Mississippi State University

Reconfigured Matters: Form Follows Matter and Affective DetailsPaul C Dean, The School Of The Art Institute Of Chicago

MAKINGPEDAGOGY4 RM 155

A Design[Er}/ EducatorBrian Dougan, American University Of Sharjah

At the Scene of the Crime: Translational Fingerprints And Beginning DesignAnn Sobiech- Munson, Iowa State University

Formative Materials Studies: Developing Tectonic Awareness in Beginning Design StudentsRobert Arens, Cal Poly, San Luis Obispo

Informed Vision: Developing Observation And Drawing Skills that Define a Sense of PlaceRebecca Sweet, East Carolina University

MAKINGCONNECTIONS2 RM 290

Curiositas and Studiositas: Examining the Link Between Curiosity and Design EducationKorydon H Smith, University Of Arkansas

Processes of Concrete Design. Max Bill’s Integration of the Rational and IntuitiveTania Calovi Pereira, Federal University Of Rio Grande Do Sul

Vice Versa Machines: Architecture/CinemaJodi La Coe And Marcus Shaffer, Pennsylvania State University

Making Design Out of Thin Air: Music as Design InspirationCharles F Gustina, East Carolina University

MADE: Design Education & the Art of Making 23

CONFERENCE SCHEDULE

SATURDAY,MARCH20

MAKINGDRAWINGs1 RM 110

Why We DrawJorge Prado, Todo Design

Hit Print: Virtual Trace-Paper in Beginning DesignHans Herrmann, Mississippi State University

Hand, Eye, and Mind, Make That!Maria Del C. Vera, Southern Illinois University

12-1:00PMLUNCHOn Patio, weather permitting

1-2:30PMPANELSESSIONSTORRS110

The Portability Problem: Architecture, Foundation design Teaching and Tenure Moderators: Kristina Luce And Kristina YuPanel: William Willoughby, lousiana TechCatherine Wetzel, Illinois Institute of Technologyand James Sullivan, lousiana State University

Though one may not wish or intend to replant at another institution, the notion of portability in tenure may be a way to address issues of peer to peer recognized standards. What does this mean in architectural teaching and what are the issues of building a strong case for tenure while teaching the foundation years of design?

2:30-4:30PMPAPERSESSIONS:UNCCSCHOOLOFARCHITECTURE

MAKINGCONNECTIONS3 RM 290

Create|Observe|ConnectJon Hunt, Kansas State University

A “Fashion” Design Project: Wearable and Moveable ArchitectureWeiling He, Texas A&M University

Body Copy: Typography and the Human ScaleRoderick Grant, Ontario College Of Art & Design

MAKINGDRAWINGs2 RM 110

Through The LucindaJodi La Coe and Marcus Shaffer, Pennsylvania State University

Foldout Drawings: Meditation Between the Materials and MakingKentaro Tsubaki, Tulane University

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RESEARCH & DESIGN

Introduction

“Real time now prevails above both real space and

geosphere. The primacy of real time, of imme-

diacy, over and above space and surface is a fait

accompli and has inaugural value.”1

In his essay, Speed and Information: Cyberspace Alarm! Virillio focuses on speed, the effect of digital media in the cultural context. Digital culture demands instantaneous visual gratifi-cation. Pictorial depictions of accurately rep-licate three-dimensional forms. Theoretically, these tools are to bestow back in the hands of architects the long lost control over fabri-cation. However, it virtual models have long replaced the slow notational drawings in the design process. Digital fabrication tools, a sta-ple in many architectural institutions, quickly and is shortsighted if the goal is simply to rep-licate by skipping the hands of the fabricator and subverting the material tendencies and limitations all together. Design decisions based on feedbacks from material properties and fab-rication processes are integral to the notion of craft and making. Without a conscious effort to reflect upon material resistance, the newly found control will turn into an overindulgent formal exercise.

The poetics of architecture resides within a phenomenal performance of a physical con-struct beyond the predictable, evoking an emotional and intellectual response. With-out the embodied understanding of material-ity and sensibility to fabrication, it is impos-sible to make potent design decisions. How can we engage students in an empirical pro-cess of making and instill the attention to phe-nomenal qualities of the materials? How do we emphasize the importance of notational drawings to reflect on the design intention and

1 Virillio, ‘Paul. Speed and Information: Cyberspace Alarm!.’ Reading Digital Culture. Ed. David Trend. Oxford, UK: Blackwell Publishing, 2001. P23. Print.

material execution? Is a drawing too slow and obsolete in the digital-centric age? This paper focuses on the role of drawing as a meditation between the materials and the act of making. It demonstrates that notational drawing is an essential tool for both design and fabrication that is impossible to substitute with pictorial depiction. Student exploration, directed by the author in the core design studio would be ref-erenced for this purpose.

Language, Music and Notation

“This division between the materiality of sound

- its physical substance - and its ideal represen-

tation is however a modern construct. It would

have made no sense in terms of a philosophy of

being according to which, as we shall see, bodily

performance and intellectual comprehension are

as viscerally linked as eating and digestion.”2

In Lines: A Brief History, Ingold begins his quest to lay the foundations for a new disci-pline, the anthropological archaeology of “the line” by dedicating a whole chapter on the question of the relationship between speech and song. The modern notion can be reason-ably attributed to a difference between the use of voice in language and music. In speech, the meanings of words subvert the sound. We respond to what’s conveyed through the voice. In song, it is the opposite. We respond to the sonorous space rendered by the voice, not nec-essarily the meaning conveyed through the words themselves. However, Ingold points out that this distinction did not exist in classical Antiquity or in the Middle Ages. Speech and song were one and the same. Serious music was considered a verbal art, harmony and rhythm following the word’s lead.

“....that meaning and sound, and cognition and

performance, which modern thought aligns on

either side of a distinction between language and

2 Ingold, Tim. Lines: A Brief History. Oxon, UK: Routledge. 2007 P15. Print.

FOLDOUT DRAWINGS: MEDITA-TION BETWEEN THE MATERIALS

AND MAKINGMaking Drawings

KENTARO TSUBAKI, ASSISTANT PROFESSORTULANE UNIVERSITY

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FOLDOUT DRAWINGS

ncdbs 2010

345

music, are in the writing of classical and medieval

scribes not opposed at all, but are rather aspects

of the same thing......... Thus reading was, at one

and the same time, both an ‘acting out’ and a

‘taking in’.”3

Then, the question becomes, how did this difference evolve? Ingold contends that the distinction is directly linked to the develop-ment of notation system. The score gradually emerged as an aid to script, notating varia-tions in pitch to assist speech. The sophistica-tion and the separation of score from script as an independent notational system forged the distinction we are accustomed to, the differ-ence between music (sound/performance) and language (meaning/cognition). It “silenced” the script. The classical and medieval scribes

“spoke” first and foremost, evoking sounds. Words were recited externally as sounds first and heard by the ear before comprehension. To read was to listen and to internalize through remembering, an action to recover and recon-struct not as a means to recall a complete and objective account of the past or specification of a plot, already composed and complete in itself.

The separation also induced a significant shift in the perception of scripts. If the modern idea of texts is the birds-eye view of the constructed world, a complete navigational chart, the clas-sical and medieval understanding is analogous to an experience moving through the land-scape. It is an open-ended territory with sign-posts and directional markers where readers of antiquity inhabited and explored empirically.

If pictorial depiction of a digital model is analogous to the modern texts, a birds-eye view of the constructed world, what is the equivalent of the classical and medieval scripts in architectural design and making? Is it pos-sible to create a drawing, comprised of cogni-tion and performance, its reading an action to recover and reconstruct? The author asserts that the “Foldout Drawing,” a notational draw-ing system discussed in this paper is just such a drawing.

Fabric Formwork

As a means to cultivate and promote mate-rial understanding and fabrication sensibility,

3 Ingold, Tim. Lines: A Brief History. Oxon, UK: Routledge. 2007 P17. Print.

the author introduced a fabric formwork tech-nique4 in the context of a core design studio in the spring of 2008.5 Students experimented in casting scaled building components such as columns, walls, and slabs and speculated on its tectonic potential in a subsequent building design project. The emphasis was on a physical understanding of gravitational and hydrostatic forces of the concrete in a liquid state. Fab-ric is an ideal material to formalize these forces at work. The desired effects were achieved by conscious manipulation of these forces through the articulation of fabric surfaces with folds and stitches. In conjunction, the foldout draw-ing, initially introduced as practical means to document the fabrication of fabric formwork, evolved into a necessary drawing to reflect and to contemplate prior to the revision of the design.

Concrete as a Material

Ubiquitous yet rich in process, concrete is an ideal material for creating an effective empiri-cal learning experience. It is one of the few materials where manufacturing is required on site via proportioning and mixing of the cement, aggregates, and water under vari-ous weather conditions. These subtle vari-ables influence the outcome of the workabil-ity, strength and surface quality. The material exhibits the property of liquid when poured and the property of solid when cured provid-ing little margin for any correction. Combined with the substantial density/weight, it resists control without proper consideration for grav-ity. The material is infinitely scalable with rich color, texture and surface quality. Construction of a required formwork implies the dichotomy of negative and positive relationships, retaining the memory of the formwork. A level of inde-terminacy in the outcome resists predictable

4 One of the inventors/leading innovators of this technique is Professor Mark West, director of C.A.S.T., University of Manitoba. Overview of the fabric form-work is detailed in West, Mark. “A Brief description of Fabric-Formed Concrete.” CAST The Center for Archi-tectural Structures and Technology. 2008. University of Manitoba. 25 Sep. 2009. <http://www.umanitoba.ca/cast_building/resources.html>

5 Overview of the studio is discussed in Tsubaki, K. Concrete/Fabric: materiality caught in-between. ACSA West Fall Conference. Los Angeles, CA. October 2008. Proceedings. P58-65. Print

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human manipulation and results in the distinct tectonic possibilities.

The Experiments

Within five weeks duration, students were asked to cast basic building components in multiple iterations of the fabric formwork they designed and fabricated. Following basic rules were established and observed.

• Formwork must be fabricated from a single sheet of (45”x45”) natu-ral, unbleached cotton muslin.

• No cutting/shearing of the fab-ric was allowed.

• Formwork must be fabricated through folding and sewing with red heavy-duty upholstery thread.

• Concrete casting is done collec-tively during the studio hours under the supervision of the author.

Four distinct scaled components were fabri-cated: block, column, deformed wall, and slab. We will compare how the drawing “performed” in the design and fabrication process of the two components, column and deformed wall, to demonstrate the author’s assertion.

The column problem was intended to take advantage of the nature of gravity and hydro-static pressure. The students were asked to design and fabricate a formwork to vertically cast a (36” h) solid concrete column. When properly accounted for, the surface tension of the fabric resists the hydrostatic pressure and rigidifies the formwork. The amount of con-crete used was restricted to (500) in³, (1/2) of a (80) pound bag of pre-mixed concrete. A total of (2) forms were fabricated accompanied by the conventional record drawings. See Figure 1: Column casting and drawing, C.Davis.

The deformed wall problem was a variation on the column problem. The students were asked to vertically cast a solid concrete flat ele-ment with an outer dimension of (10”w x 36”h) by controlling the thickness to (2” +/-). The use of a plywood sheet backing was suggested in conjunction with washers, nuts and bolts to restrain the fabric formwork against the hydro-static pressure of the concrete. This method allowed a post tensioning of the fabric to make subtle adjustments during or immediately after the pour. Students were encouraged to con-

sider articulating the surface of the deformed column with pleats and folds. However, taking the overall volume into consideration, restric-tion was placed to limit a pre-mixed concrete to a single (80) pound bag of per pour.

After the initial cast, they were asked to focus on a specific aspect of the cast and con-struct another fabric formwork. A total of (3) formworks were fabricated accompanied by the foldout drawings. See Figure 2: Deformed wall, Ver. 2. L. Rutherford.

Conventional Drawing

Along with the column formwork fabrication, students were asked to document the pro-cess by drawing. The intent was to gain collec-tive insight into how the operation to the fab-ric surface manifested on to the surface of the concrete (cognitive) and to determine if we can use the drawing in a projective manner to con-trol the outcome of the subsequent castings (performative). Both aspects are paramount to the role of the drawing if it is to become a meditative ground between the material and making. On this attempt, students defaulted on a series of conventional architectural draw-ing methods (plan, section, elevation, axo-nometeric), a pictorial depiction of the form-work in particular stages of fabrication. The drawing diagrammatically indicates the look of the formwork and describes the fabrication sequence, but not much beyond. It does not convey meaningful information to reconstruct the formwork adequately, let alone, to be used projectively in the design process.

Foldout Drawing

What information do we need to duplicate a fabric formwork? How can we document them? A simple notation system was devised to resolve these very practical questions. Students were asked to record the fabrication of their formwork, step by step, along with the initial casting of the deformed wall according to this system. They documented each operation per-formed to the surface of the fabric as they con-structed the formwork. The result, a full-scale line drawing in the form of unthreaded, folded out fabric formwork.

The foldout drawing is a notational line drawing that documents the following:

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• Beginning and end points of the folds and stitches.

• Spatial relationship of the points.• Line and type of fold (val-

ley fold or peak fold).• Line of stitches.• Regulating/extension lines infer-

ring the line of stitches and folds.• Critical relative dimensions of

the various points and lines.The implication of the foldout drawing is sig-

nificant, precisely because the drawing is not a pictorial depiction of end results. Nonethe-less, it is visually permeated with the poten-tial figurative outcome of the cast, analogous to the classical and medieval notion of scripts mentioned earlier. It is a record of the past and a promise to the future, a disassembled assem-bly. To reconstruct the formwork, one can sim-ply “read” the drawings to trace the steps of the action and take those actions one at a time against the surface of the fabric. There are no separation between the meta-physical and the physical, the cognitive and the performative. They are the one and the same. See Figure 3: Deformed wall, Ver.3. Casting and drawing. L. Rutherford.

Reflection

“Thought or reflection ....... is the discernment of

the relation between what we try to do and what

happens in consequence.”6

Further implication of the foldout draw-ing is in relation to the role of reflection, the thought between the design intent and the outcome in the design process. Cement, aggre-gate, water, fabric, wood, metal etc. Explora-tion involving various materials and the act of making is inherently empirical and fluid. The foldout drawing stabilizes this dynamic pro-cess by providing an interstitial, time indepen-dent space allowing for a moment of reflection. In the subsequent design and fabrication of the formwork for the deformed walls, students were asked to focus on a few figurative aspect of the initial cast and intensify them by alter-ing the design of the fabric formwork, projec-tively utilizing the foldout drawing. Based on their experience and outcome of the previous iteration, students contemplated and altered

6 Dewy, John. Democracy and Education. New York: The Macmillan Company, 1916. P 169. Print.

the drawing prior to the fabrication of the formwork for the next to achieve the intended effect. In essence, the drawing became a

“working drawing.” Any changes made were layered over the previous drawing to track the changes, to reflect on the design process and to contemplate of the results of the cast. See Figure 4: Deformed wall, Ver.3. L. Rutherford.

Conclusion

During the course of iterative castings, the level of sophistication in the formwork fabri-cation clearly improved after the introduction of the foldout drawing. For the first time, stu-dents confronted, experienced, and embodied the performative role of drawings in relation to the reality of the basic material behavior and making. They became one and the same. These categorical separations are nothing more than a modern convention where intellectual con-struct is distinguished from the physical con-struct and the act of construction itself. With this recognition, the idea of “representation” disappears. Drawing is no longer a mode of communication. Thus the question of digital versus analogue becomes a moot point. Per-haps, the real question we need to address is:

“How does a drawing perform regardless of the media by which it was created?

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figure 1: Column casting and drawing, C. Davis figure 3: Deformed wall, Ver. 3. Cast-ing and drawing. L. Rutherform

figure 4: Deformed wall, Ver. 3. L. Rutherfordfigure 2: Deformed wall, Ver. 2. L. Rutherford

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The project was presented and ex hibited at the INPUT_ OUTPUT: Adaptive Materials and Mediated Environments Symposium and E x hibition, as par t of the annual Designphiladelphia Event.

T Y LER SCH OOL OF ART B UILDING GALLERY , TEMPLE UNIVERSIT Y MAIN CAMPUS PH ILADELPH IA, PA. OCTOB ER 6TH -1 9 T H , 2 01 0.

TY LER SCH OOL OF ART B UILDING GALLERY , TEMPLE UNIVERSITY , PH ILADELPH IA.

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Exh i b i t i o n

Exh i b i t e d Im a g eSm o cki n g - V 5 co m p o si t e

S u r f a c e g e o m e t r y o f t h e f a b r i c c h a n g e s a s t h e c o n c r e t e i s p o u r e d . H o w c a n w e d o c u m e n t , c o n t r o l a n d r e f i n e s u c h a d y n a m i c p r o c e s s ? W h a t p o t e n t i a l a p p l i c a t i o n s u c h f a b r i c a t i o n m e t h o d

m a y h a v e b e y o n d t h e q u a l i t a t i v e a t t r a c t i v e n e s s o f t h e s u r f a c e g e o m e t r y ?

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In her closing essay Sp e c u l a t i o n o f F u t u r e M a t e r i a l i t y for the book Per formative Materials in Architecture and Design, editor Rashid Ng of fers the following observation;

“ ....the translation between digital and physical contex ts re q uires hybridi z ed methods of investigation that allows for the negotiation of physical conditions to provide feedback into the vir tual realm. H ence, developing modes of representation in architecture are working to close the gap that persists between digital and analog means of material making. Smocking: Pleated Sur faces, a project by K entaro Tsubaki featured within chapter 3 , ex plores the tension between the precise notational drawings that signify the design process and a haptic sense of materiality evoked by unpredictable forces within the physical construct.”

“ Smocking” is an initial phase of a research project investigating the potential of fabric formed concrete panels. It il lustrates the development of a notational drawing system documenting a precise fabrication of fabric formwork with complex pleated sur faces. This type of pleated sur face is usually too complex to represent simply through pictorial depiction. An archaic notational system proved to be surprisingly ef fective for representing both the sur face geometries and fabrication seq uences.What kind of uni q ue sur face ar ticulation can we derive beyond the simple funicular geometry of fabric formed concrete? H ow can we document, control and ref ine such a dynamic process? And f inally, what potential application such fabrication method may have beyond the q ualitative attractiveness of the sur face geometry ? The project attempts to address these issues through the author ’ s own investigations and outcomes grown out of a series of ex perimentation conducted in the studio setting with students.

PROJECT CONTRI B UTION. PERFORMATIVE MATERIALS IN ARCH ITECTURE AND DESIGN. ED. RASH IDA NG, AND PATEL S. B RISTOL, U K / C H ICAGO, USA: INTELLECT, T H E UNIVERSIT Y OF CH ICAGO PRESS. 2 01 3 . P1 60-1 61 .

PERFORMATIVE MATERIALS IN ARCH ITECTURE AND DESIGN

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Wo r k Ci t e d : Ng , Ra sh i d a , Sp e cu l a t i o n o f Fu t u r e M a t e r i a l i t y . P e r f o r m a t i ve M a t e r i a l s i n Ar ch i t e ct u r e a n d De si g n . Ed . Ra sh i d a NG a n d P a t e l , S. Br i st o l , UK/ Ch i ca g o , USA: In t e l l e ct , Th e Un i ve r si t y o f Ch i ca g o P r e ss. 2 0 1 3 . P 2 4 3 - 2 4 5 .

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TH E GRAH AM FOUNDATION GRANT / TSA DEAN’ S FUND FOR EX CELLENCE PROPOSAL

THE V IRTUE OF INDETERMINACY IN ARCHITECTURAL DESIGN AND CONSTRUCTION

Proposed research in q uires into the generative role of indeterminacy in architecture. Alternative to the current discourse focused towards technological advances, it aims to ex plore the fundamentals of building design and construction. Nothing is built with complete determinacy in the material world. Proper ties of building components drif t of f from the ideal. The reasonable range of variability without compromising the outcome is called tolerance. It is a vital indeterminate factor controlling the accumulation of inherent variables in architectural scale endeavor. H ow to orchestrate indeterminacy has traditionally been one of the important roles of an architect. In prevailing contemporary practice, digital technology is seen as a way to minimi z e indeterminacy through the precision made possible by brute computational power. Along with this evolution, the nature of an architect ’ s role is beginning to be q uestioned. This research q uestions such simplistic approach and ex plores the rich creative veins within the uncer tainty.

DEAN’ S FUND FOR E X CELLENCE, TULANE SCH OOL OF ARCH ITECTURE. T H E VIRTUE OF INDETERMINACY IN ARCH ITECTURAL DESIGN AND CONSTRUCTION. AMOUNT REQ UESTED: $ 4 9 00.00. AMOUNT FUNDED: $ 3 5 00.00.

GRAH AM FOUNDATION RESEARCH AND DEVELOPMENT GRANT PROPOSAL. T H E VIRTUE OF INDETERMINACY IN ARCH ITECTURAL DESIGN AND CONSTRUCTION. AMOUNT REQ UESTED: $ 9 6 8 0.00. ADVANCED TO SECOND STAGE REVIEW: UNFUNDED.

V e r i f y i n Fi e l d : P ABT 9 t h a ve f a ca d e d e t a i l P KSB Ar ch i t e ct s, P . C.

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MEMORANDUM To: Kentaro Tsubaki The Virtue of Indeterminacy in Architectural Design and Construction From: Kenneth Schwartz Date: February 28, 2013 Re: 2012-2013 Dean's Fund for Excellence cc: Kathy Branley, Melissa Erekson I am delighted to be able to support worthy research and creative projects like yours. You will note that I have copied Melissa Erekson from Corporate and Foundations in our Central Development Office. If you have not met with her already, I would encourage you to do so. You can explain your current project, and she may be able to connect you with additional opportunities leveraged off this initial support from the Dean’s Fund for Excellence at the School. Funding I am approving this project for $3,000. You will need to set up your budget and review it in a meeting with Kathy Branley before the end of March. Please schedule an appointment to meet with her. You need to develop the most efficient and appropriate way for you to track and disburse these in support of your project. I would ask that you take notes during the meeting, and when you have these written up, please send them to Kathy with a cc to Christy for our files. Please note that you are expected to maintain your own accounting to track all expenses against this award. This will provide a cross-check for Kathy as the expenses come through her office. It is your responsibility not to exceed the amount awarded. Also, please note that you must utilize these funds by December 31, 2013 and all expenses must be turned in to Kathy by that date. Your summary accounting must also be done and submitted to her by December 31. Your Final Report along with your final accounting are both due to me with a cc to Kathy and Christy by December 31. Unspent funds by that date revert to our budget, and you are not allowed to spend beyond that date. Please note that any equipment (such as computers and related equipment, books, cameras, travel cases, etc.) purchased with University funds remain the property of the School. I am excited about your work, and I look forward to seeing the results. I would like to receive five copies of your publication or other product of your work so I may share with others. In some cases over the past two years I have had to remind some faculty to submit final reports on the research and final summaries of expenses. I would rather not have to do this, as these are requirements of the awards. Please sign to indicate your acceptance of the award and the understanding of your responsibilities. Name Date

03.04.13

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Dean's Fund for Excellence for Research and Creative Work Proposal

Figure Above: Change order partial detail of the Port Authority Bus Terminal 9th Avenue Facade Project drawn by the author

1.0 Project Title

The Virtue of Indeterminacy in Architectural Design and Construction

2.0 Project description (one paragraph summary)

This proposal seeks initial funding to survey, evaluate and catalogue significant past and present architectural precedents from the unique perspective; virtue of indeterminacy. The goal is to identify a range of creative approaches to the issue of indeterminacy inherent in the design and construction process. Analytical texts will accompany the original representa-tional drawings and diagrams specifically developed for this purpose to form the basis for future book publications and exhibits. The research inquires into the generative role of indeterminacy in architecture. Alternative to the current dis-course focused towards technological advances, it aims to explore the fundamentals of building design and construction. Nothing is built with complete determinacy in the material world. Properties of building components drift off from the ideal. The reasonable range of variability without compromising the outcome is called tolerance. It is a vital indeterminate factor controlling the accumulation of inherent variables in architectural scale endeavor. How to orchestrate indeterminacy has traditionally been one of the important roles of an architect. In prevailing contemporary practice, digital technology is seen as a way to minimize indeterminacy through the precision made possible by brut computational power. Along with this evolution, the nature of an architect’s role is beginning to be questioned. The research disputes such simplistic ap-proach and explores the rich creative veins within the uncertainty.

3.0 Significance of project to support applicant’s research and initiatives

For the past several years, I have focused on the topic of indeterminacy inherent within the architectural design and con-struction process in my research and experimental projects. Judging from the feedbacks I have received through confer-ence presentations and article publications, I am convinced that this unique perspective is particularly relevant to the current milieu where architectural discourse is increasingly diverse and convoluted.

The culprit of the current confusion in the field is the uncritical infatuation with recently introduced digital technology and its rapid adaptation made possible by inexpensive computational power. The technology itself is not new and has been available in other industries for some time. It finally made its way into architecture due to its economical feasibility. Gen-erally, when the new technology is introduced, it has a disruptive effect. We tend to embrace them simply for the novelty or as an accretion of conventional method to do things faster and cheaper. For instance, our ability to construct a formally complex building within a conventional price tag by leveraging the precision and speed of the technology can be seen as a progress. However, it perhaps is “a progress” in the paradigm of 19 century industrial capitalism. The fundamental change the recent technological revolution brought forth is not just about the precision and the speed; it is about the democrati-zation of information, the sheer quantity of information contributed by individuals and how it is accessed qualitatively as an aggregate through various venues. It has changed the way we participate in shaping the conceptual and the physical reality of the world. The indeterminate factor, the difference between physical and the conceptual reality is normalized and managed in real time - not minimized or eliminated. I contend that the fundamental impact of the latest technological revolution in our field can be revealed through the notion of indeterminacy. How this manifests and alters the relation-ships between the physical world of construction and the conceptual process of design is the subject of the investigation. Careful documentation of this relationship will provide us with a new framework to navigate the complex and murky con-temporary architectural landscape.

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The project is a logical extension of my research agenda regarding materiality and the logic of construction. The long-term goal is to forge a new paradigm to gage and unlock the true potential of the technological advances in the field of architecture.

The main objectives of this project are: a) To organize basic research materials and establish a list of significant precedents suitable for demonstrating the range of creative approaches b) To analyze the precedents and establish appli-cable rubrics to qualify the range of approaches c) Develop two-dimensional drawing/diagraming techniques to visualize the invisible; indeterminacy/tolerance factor impacting the design and construction of the precedents.

The central hypothesis is that the fundamental affect of the latest technological revolution in the field of architecture is revealed through the study of the role indeterminacy and tolerance plays within the architectural design and construction process.

This project is innovative for two reasons: 1.) It establishes a methodology to visualize previously invisible dimen-sion of the architectural design and construction process. 2.) The research attempts to qualify the previously untapped generative role of indeterminacy in the architectural design and construction process.

The project aspires to set an alternative framework to gauge the value of architects’ creativity and sort out the convoluted techno-centric discourse. I will study carefully chosen architectural precedents from the past and present to reveal how architects approach the issue of indeterminacy in design and construction of built work. It will demonstrate the rich crea-tive veins within the uncertainty, clarifying the role of architects that are not attainable simply through technological ad-vances. The findings will be documented in a series of original drawings and diagrams accompanied by analytical texts in preparation for the future publications and exhibits.

In terms of my track record, please note that NOLA Machi-ya, a project previously funded by DFE has yielded in a juried conference paper and a poster presentation at ACSA conferences.

4.0 Relationship to other current or future funding sources

Accumulated knowledge from the project will serve as a basis to seek following future funding opportunities:

1) Seek funding to further develop the research and to produce a book on this topic.

2) Seek funding to host a symposium of the topic and organize a publication of the outcome.

3) Seek funding to prepare a traveling exhibit of the research. *similar research proposal is currently undergoing a sec-ond stage review for the Graham Foundation research and development grant. If my Graham Foundation grant proposal is accepted -very remote probability since the grant is highly competitive- the Dean’s Fund for Excellence requested here will be appropriated to fund the design and production of a traveling exhibition and a catalogue as indicated in the alter-native budget.

5.0 Budget Estimate (rev. post award 03.09.13)

Item Unit Cost Units Total

Personnel

assistance in gathering research materials $10.00 /hr 20 hrs $200.00

assistance in original drawings/diagrams production $10.00 /hr 44 hrs $440.00

assistance in editing analytical texts $10.00 /hr 20 hrs $200.00

Fringe Benefit (9.2%) $77.28

Copying/printing etc. $160.00 LS 1 ct $160.00

Travel (to research venues)

airfare $600.00 /travel 2 travel $1,200.00

accommodations $120.00 /day 6 days $720.00

Total Project Cost $2,997.28

6.0 Project timetable (rev. post award 03.09.13)

Item Timeline Budget DistributionPreliminary preparation and research to establish a list of architectural precedents Spring 13 10%Precedents research including travels to research venues Summer 13 45%Drawings/diagrams production + draft of accompanying texts / Editing texts and packaging together for conference pa-pers and journal articles + book proposals

Fall13 45%

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From: Grant Programs GrantPrograms@grahamfoundation.orgSubject: Graham Foundation Invitation to Advance to Stage Two/Proposal Form

Date: December 21, 2012 at 11:55 AMTo: ktsubaki@tulane.edu

Re: The Virtue of Indeterminacy in Architectural Design and Construction

Dear Mr. Tsubaki,

Thank you for submitting an Inquiry Form to the Graham Foundation for the 2013 Grants to Individuals cycle.

We received 600 Inquiry Forms in this grant cycle, so the review was very competitive. You have been invited to advance to thesecond stage of review and submit a Proposal Form and supplementary materials so that we may continue our review of yourproposal.

The Proposal Form is available on the web and must be submitted online; please see the instructions below. The deadline forsubmission of the Proposal Form and all supplementary materials is January 22, 2013, 5:00 PM CST.

Graham Foundation staff may also contact you during the review period with questions or to request additional information.

We will notify you of a final decision on project funding in early April 2013. Please note that an invitation to submit a ProposalForm does not guarantee eventual funding.

Reference letters: You are asked to provide two letters of reference for the second-stage review. We strongly recommend that you contact yourreferences now and arrange for letters. Your references should send letters directly to the Graham Foundation and the deadlinefor our receipt of the letters by post is January 22, 2013.

If you are applying for a Production and Presentation Grant, you must also provide a letter from a Committed Producer, such as apublisher or exhibition venue, confirming a commitment to produce and/or present your project. This letter should also be sentdirectly to the Graham Foundation and the deadline for our receipt of the letter by post is also January 22, 2013.

Please see the Proposal Form for full information on submitting letters of support.

Instructions on how to begin your Proposal Form:

1. Log in to your "My Account" page at https://www.grantrequest.com/SID_776?SA=AM You will log in using the same e-mail address and password you created for your Inquiry Form. (If you do not remember yourpassword, you can request to have a password reminder emailed to you from the "My Account" page.)

2. Once you log in you will be at your "My Account" page. Click on the link called "2012-2013 Proposal Form for Individuals." Thiswill begin your Proposal Form.

3. Note that some of the information from your submitted Inquiry Form already appears on your Proposal Form. As the ProposalForm instructs, you may update or augment any of this information.

4. You may save your work on the Proposal Form and return to it at any time until the submission deadline. Be sure to use the"Save & Finish Later" button at the bottom of the page. To log out, close your web browser.

5. After you finish and submit your Proposal Form, you will receive an email confirmation. The email includes a copy of yourProposal Form.

Instructions on how to return to work on the Proposal Form that you started but have not yet submitted:

1. Log in to your "My Account" page at https://www.grantrequest.com/SID_776?SA=AM

2. Once you log in, click on the link called "2012-2013 Proposal Form for Individuals" on the "My Account" page.

Submitting the Proposal Form:

1. After you finish your Proposal Form, be sure to click on the "Submit" button at the bottom of the "Review My Application" page.Once you have submitted, an email will be sent to you confirming that the Proposal Form was successfully submitted. The emailwill include a copy of your submitted Proposal Form.

2. If you do not receive an email confirming submission, your Proposal Form has not been submitted successfully. Please contactus at grantprograms@grahamfoundation.org.

If you have any questions in general about the Proposal Form, please write us at grantprograms@grahamfoundation.org.

Best wishes as you work on your Proposal Form,

Stephanie WhitlockProgram OfficerGraham Foundation

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Graham  Foundation:  2012-­‐2013    Stage  2  Proposal

Project  SummarProgram  Area

Research  and  Development

Project  Title

The  Virtue  of  Indeterminacy  in  Architectural  Design  and  Construction

Project  A stract

1 0   ord  ma imum     ou  are  a arded  a  grant  the  project  a stract   ill   e  pu lished  on  our  e site  and  in  other  Graham  Foundation  materials  relating  to  our   unded  projects  The  

a stract  should  there ore   e  a  concise  summar  o   our  project  that  communicates  to  a   road  pu lic  the  signi icance  o   our  project  to  the   ield   t  should  not  discuss  ho  and   hen  grant  unds   ill   e  used  The  a stract  should   e   ritten  in  the  present  tense

 research   n res   nto  the   enerat ve  role  o  indeterminacy   n  arch tect re   lternat ve  to  the  c rrent  d sco rse   oc sed  to ards  technolo cal  advances   t  a ms  to  e plore  the   ndamentals  o   ld n  des n  and  constr ct on   oth n   s   lt   th  complete  determ nac   n  the  mater al  orld   ropert es  o   ld n  components  dr t  o   rom  the   deal   he  reasona le  ran e  o  

var a l t   tho t  comprom s n  the  o tcome   s  called  tolerance   t   s  a  v tal  indeterminate  actor  controll n  the  acc m lat on  o   nherent  var a les   n  arch tect ral  scale  endeavor   o  to  orchestrate   ndeterm nac  has  trad t onall   een  one  o  the   mportant  roles  o  an  arch tect   n  preva l n  contemporar  pract ce  d tal  technolo   s  seen  as  a   a  to  m n m e  indeterminacy  thro h  the  prec s on  made  poss le     r t  comp tat onal  po er   lon   th  th s  evol t on  the  nat re  o  an  arch tect s  role   s   e nn n  to   e   est oned   h s  research   est ons  s ch  s mpl st c  approach  and  e plores  the  r ch  creat ve  ve ns   th n  the   ncerta nt  

Project   escription   ne  Sentence

a imum  one  sentence  description  o   our  project  including  the   inal   orm   our  project   ill  ta e

 a m  to  s rve  eval ate  and  catalo e  s n cant  past  and  present  arch tect ral  precedents  rom  the  standpo nt  o   ndeterm nac  as  a   as s   or   t re   oo  p l cat on  and  e h t ons

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RESEARCH & DESIGN

Project   penses

2 0   ord  ma imum   n  list   ormat  pro ide  the  e penses   or  this  project   nclude  the  line  item  and  amount  and  total   our  e penses

t dent  ass stance   n   ather n  research  mater als     ee s   hrs ee     hr        

t dent  ass stance   n  prod ct on  o  or nal  dra n s  and  anal t cal  d a rams     ee s   hrsee     hr        

d t n  anal t cal  te ts  accompan n  the  or nal  dra n s  and  d a rams    a  pro ess onal  ed tor       ee s   hrs ee     hr    

c r n  cop r hts   or  necessar   ma es     ma es  at   ma e    

r are  and  accommodat on    tr ps  to  research  ven es   anad an   enter   or   rch tect re   he  at onal   ld n   se m  etc       tr p    

otal          

  our  project  is   unded   hat   ill  Graham  Foundation   unds   e  used   or

ne  sentence  ma imum

he   nds   ll   e   sed  pr mar l  to  pa   or  the  prod ct on  o  or nal  dra n s  anal t cal  d a rams  and  te t  ed t n  ass stance

Project   arrati ee  Project  Statement Proposal  Form

00   ord  ma imum  The  second-­‐stage  project  statement  should  pro ide  additional  details  a out   our  project  and  discuss  ho  it   ill  ma e  a  meaning ul  contri ution  to  discourse  or  to  the   ield   n  the  second-­‐stage  re ie  the   irst  and  second-­‐stage  project  statements   ill   e  read  together  

Applicants  are  strongl  encouraged  to  ta e  ad antage  o  the  opportunit  to  augment  the  project  statement  that   as  su mitted   ith  the   n uir  Form  The  project  statement  su mitted  ith   our   irst-­‐stage  application  is  pro ided   elo   or   our  re erence

he   oc s  o  m  research   or  several   ears  has  addressed  the   irtue  of  indeterminacy  in  architectural  design  and  construction   hro h  m  o n  pro ects   d n   rom   eed ac    have  rece ved   rom  the  academ c  comm n t  a ter  con erence  presentat ons  and  art cle  p l cat ons    am  conv nced  that  th s   n e  perspect ve   s  part c larl  relevant  to  the  c rrent  m l e   here  arch tect ral  d sco rse   s   ncreas n l  d verse  and  compl cated

he  c lpr t  o  c rrent  con s on   n  the   eld   s  the   ncr t cal   n at at on   th  recentl   ntrod ced  d tal  technolo  and   ts  rap d  adaptat on  made  poss le     ne pens ve  comp tat onal  po er  he  technolo   tsel   s  not  ne  and  has   een  ava la le   n  other   nd str es   or  some  t me   t  

146

V IRTUE OF INDETERM INACY

nall  made   ts   a   nto  arch tect re  d e  to   ts  econom cal   eas l t   enerall   hen  the  ne  technolo   s   ntrod ced   t  has  a  d sr pt ve  e ect   e  tend  to  em race  them  s mpl   or  the  novelt  or  as  an  accret on  o  convent onal  method  to  do  th n s   aster  and  cheaper   or   nstance  o r  a l t  to  constr ct  a   ormall  comple   ld n   th n  a  pr ce  ta  o  a  convent onal   ld n    levera n  the  prec s on  and  speed  o  the  technolo   s  a  pro ress   t   s  perhaps   pro ress   n  

the  parad m  o    cent r   nd str al  cap tal sm   he   ndamental  chan e  the  recent  technolo cal  revol t on   ro ht   orth   s  not   st  a o t  the  prec s on  and  the  speed   t   s  a o t  the  democrat at on  o   n ormat on  the  sheer   ant t  o   n ormat on  contr ted     nd v d als  and  ho  it  is  accessed   al tat vel  as  an  a re ate  thro h  var o s  ven es   t  has  chan ed  the  a   e  part c pate   n  shap n  the  concept al  and  the  ph s cal  real t  o  the   orld   he  ndeterm nate   actor  the  d erence   et een  ph s cal  and  the  concept al  real t   s  normal ed  and  mana ed   n  real  t me    not  m n m ed  or  el m nated

 contend  that  the   ndamental   mpact  o  the  latest  technolo cal  revol t on   n  the   eld  o  arch tect re  can   e  revealed  thro h  the  not on  o   ndeterm nac   oth n   s   lt   th  complete  determ nac   n  the  mater al   orld  D mens ons  propert es  conte ts  and  cond t ons  o  an  

ld n  pro ram  and  components  dr t  o   rom  the   deal   he  reasona le  ran e  o  the  var a l t  tho t  s n cantl  comprom s n  the  o tcome   s  called  the  tolerance   t   s  a  v tal   ndeterm nate  

actor  controll n  the  acc m lat on  o   mper ect ons  and   nherent  var a les   n  the  des n  man act r n  and  assem l  process  o  a  constr cted   orld   ne  o  the   ntessent al  des n  roles  an  arch tect  ass mes   s  arch tect ral  deta l n   t   s  a o t  ant c pat n  and  or an n  these  ndeterm nate   actors  o  the   ld n  components  and  ne ot at n  the  resol t on  v s all  and  per ormat vel   o  the   ndeterm nac  man ests  and  alters  the  relat onsh ps   et een  the  ph s cal   orld  o  constr ct on  and  the  concept al  process  o  des n   s  the  s ect  o  the  nvest at on   are l  doc mentat on  o  th s  relat onsh p   ll  prov de   s   th  a  ne   rame or  to  nav ate  the  comple  and  m r  contemporar  arch tect ral  landscape  

he  pro ect   s  a  lo cal  e tens on  o  m  research  a enda  re ard n  mater al t  and  the  lo c  o  constr ct on   he  o ect ve   s  to  promote  the  arch tect ral  d sco rse   ased  on  the   dea  o  ndeterm nac  nat onall  and   nternat onall   n  the   eld  o  arch tect re  and   e ond

  ords

Project  Statement

3 0   ord  ma imum  The  project  statement  should  descri e   our  project  and  discuss  its  immediate  and  larger  o jecti es  to  sho  its  impact  and  ho  it   ill  ma e  a  meaning ul  contri ution  to  discourse  and or  to  the   ield

oth n   s   lt   th  complete  determ nac   n  the  mater al   orld  D mens ons  propert es  conte ts  and  cond t ons  o   ld n  pro rams  dr t  o   rom  the   deal   he  reasona le  ran e  o  var a l t   tho t  comprom s n  the  o tcome   s  called  tolerance   olerance   s  a  v tal  indeterminate   actor  controll n  the  acc m lat on  o   mper ect ons  and   nherent  var a les   n  the  

147

RESEARCH & DESIGN

des n  and   a r cat on  process   he  capac t  to  orchestrate  indeterminacy   n  a  creat ve  manner  has  trad t onall   een  one  o  the  most   mportant  roles  o  the  arch tect

oda  d tal  technolo   s  o ten  seen  as  a   a  to  m n m e  and  el m nate  indeterminacy  and  the  assoc ated  r s s  thro h  the  speed  and  prec s on  made  poss le    the  a orda l t  o  comp tat onal  po er   ld n   n ormat on  mana ement  s stems  trac  the  development  o  

ld n  pro rams  all  the   a  do n  to  the   eometr c   n ormat on  o  n ts  and   olts   n  real  t me  D tal  s m lat ons  pred ct  var o s   ld n  per ormances  and  en neers  rel  on  d tal  a r cat on  technolo  to  acc ratel  convert  comple  three  d mens onal   eometr  to  real t  lon   th  th s  techn cal  evol t on   oth  the  role  o  an  arch tect  and  the  nat re  o  arch tect ral  

des n  and  deta l n  are   e nn n  to   e   est oned   e  are   n  the   nterest n  moment   here  lon  accepted  arch tect ral  convent ons  are   e n   ract red    rap d  technolo cal  advances  o ever  the  preva l n  d sco rse  rarel  reco n es  that   ts  r s  adverse  s n le  m nded  p rs t  o  

e c enc  and  econom   s  deepl  rooted   n  the  parad m  o   th  cent r   nd str al  cap tal sm  

 research  asp res  to  set  an  alternat ve   rame or  to   a e  the  val e  o  arch tects  creat v t  and  sort  o t  the  convol ted  techno centr c  d sco rse     ll  st d  care ll  chosen  arch tect ral  precedents   rom  the  past  and  present  to  reveal  ho  arch tects  approach  the   ss e  o  indeterminacy   n  des n  and  constr ct on  o   lt   or   t   ll  demonstrate  the  r ch  creat ve  ve ns   th n  the   ncerta nt  clar n  the  role  o  arch tects  that  are  not  atta na le  s mpl  thro h  technolo cal  advances   he   nd n s   ll   e  doc mented   n  a  ser es  o  or nal  dra n s  and  d a rams  accompan ed    anal t cal  te ts   n  preparat on   or   t re  p l cat ons  and  e h ts

2   ords

  ou  selected   esearch  and   e elopment  as  the  Program  Area  on  page    please  e plain  the  goals  and  e pected  outcomes  o   our  research   nclude   here   ou   ill   e  doing  research  and  the  t pes  o  sources   ou   ill  use

 

he   oal  o  m  research  pro ect   s  to  s rve  and  eval ate  past  and  present   ld n s  to  come   p  th  a  comprehens ve  l st  o    precedents  demonstrat n  a  ran e  o  approaches  to  the   ss e  

o   ndeterm nac  and  tolerance   ach  precedent   ll   e  represented   n  or nal  dra n s  and  d a rams  alon   th  accompan n  anal t cal  te ts   orm n  the   as s  o  the  proposals   or   t re  oo  p l cat ons  and  e h ts   he  research   ll  pr mar l   e  done  on  the  camp s  o   lane  n vers t   s n   o ard lton   emor al   rar  as  a  pr mar  so rce   ther  so rces   ncl de  the  at onal   ld n   se m   n   ash n ton  D  and  the   anad an   enter   or   rch tect re   n  ontreal

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V IRTUE OF INDETERM INACY

hat  distinguishes  this  project   rom  other   or  on  the  topic  or  in   our   ield  o  in uir   200  ord  ma imum

n  contemporar  arch tect ral  pract ce   ndeterm nac   s  seen  as  a  r s  D tal  technolo   s  o ten  to ted  as  a  revol t onar   a  to  m n m e  the  r s  thro h  the  speed  and  prec s on  made  poss le    the  a orda l t  o  comp tat onal  po er   t  allo s  more  comple   ld n  to   e  des ned  and  econom call  constr cted   nev ta l  th s   est ons  the  trad t onal  role  o  arch tects  and  the  nat re  o  arch tect ral  des n  deta l n  and  assem l  methods  

he  preva l n  d sco rse  rarel  reco n es   ts  r s  adverse  or  s n le m ndedness   n  p rs t  o  e c enc  and  econom   hat   s  rarel  ac no led ed   s   t   s  s mpl  an  e tens on  o  the  parad m  o   th  cent r   nd str al  cap tal sm    more   etter   aster  cheaper   t   ndamentall   nores  the  act  that   ndeterm nac   desta l ed  control  pla s  an   nval a le  role   n  the  creat ve  process  o  des n  and  constr ct on  

 research  asp res  to  set  an  alternat ve   rame or   rom  the  preva l n  technolo cal  d sco rse  n  the   eld   h ch   s  r s adverse  and  o tcome oc sed   hro h  st d n  the  role  o  ndeterm nac   n  trad t onal  and  contemporar  precedents   t  a ms  to   or e  a  ne  parad m  to  a e  and   nloc  the  tr e  potent al  o  the  technolo cal  advances   n  the   eld  o  arch tect re

1 2 ords

ho  is  the  target  audience   or  this  project   o   ill  the  project   e  disseminated  and  promoted  to  reach  this  audience   200   ord  ma imum

he  pr mar  tar et  a d ence   or  th s  part c lar  phase   ll   e  those  en a ed   n  the  ed cat on  o  the  arch tect   oth  the  academ c  and  the  st dent   he   n t al  research   ll   e  presented  as  a  small  travel n  e h t on  to  arch tect re   nst t t ons   th  an  accompan n  catalo      am t on   e ond  th s   n t al  phase   s  to   rther  develop  the  core  thes s  o  the  pro ect  that   ll  appeal  to  a   eneral  a d ence    re erenc n  precedents   rom  other  arts  and  des n  d sc pl nes  he   nal   terat on  o  the  pro ect   ll  res lt   n  an   ll strated   oo  o  or nal  anal t cal  d a rams  and  reconstr cted  dra n s   th  accompan n  te ts

  ords

149

RESEARCH & DESIGN

Through  our  grants  to  indi iduals  the  Graham  Foundation   ants  to  contri ute  to  the  creati e  intellectual  and  pro essional  gro th  o  indi iduals  and  support  them  at  crucial  or  potentiall  trans ormati e  stages  in  their  careers  Gi en  that  Graham  Foundation  grants  are   oth  limited  and  competiti e  please  e plain   h  support   ould   e  pi otal  at  this  particular  point  in   our  career  or   or  this  particular  project   200   ord  ma imum

  nterest   n  the  s ect  can   e  traced   ac  to  an  electron  m croscope  e per ment    cond cted  as  a  st dent  some  t ent   ears  a o     tnessed   rst  hand  the  stream  o  electrons  str n l    as  a le  to  o serve  the  matter  as   t   as  s m ltaneo sl  destro ed   ontrar  to  th s  theoret cal  

constr ct    real ed  ho  pro o ndl  temporal  ten o s  and   mper ect  the  ph s cal   orld   s  so  m ch  so  that  an  act on  as   as c  as  o serv n   ll  chan e  the  state  o  the  matter   rrevers l   ver  s nce    have   een   nvest at n  the  relat onsh p   et een  des n  concept on  and  the  ph s cal  e ec t on  ho   ndeterm nac   n  e ec t on   ll   mpact  the  or nal   dea    have  developed  the  thes s  and  research  methodolo  thro h  m  o n  pro ects  c lm nat n   n   ell rece ved  academ c  papers  and   o rnal  art cles   or   h ch    am   rate l

  nd  m sel  at  p votal  po nt   n  m  research    no  see  the  potent al  o  m  thes s  as  appl ed  to  pro ects   e ond  m  o n   o r  s pport   ll   e  trans ormat ve   n  e pand n  m  endeavor  rant n  access  to  reso rces   or  research  and  prov d n  ass stance  to  develop  doc mentat on  methods   ll strat n  the  nat re  o   ndeterm nac   overn n  the  des n  and  e ec t on   or  each  precedent   he  o tcome   ll   orm  the   as s   or  reach n  o t  to  lar er  a d ence

200   ords

re or     nt       R     o nd n  Dean   ar ood   n vers t   chool  o   rch tect re

ar ood   n vers t   chool  o   rch tect re

  dams   ven ecranton    

   e t  h nt mar ood ed

  ar n   oeller   r     en or   ce   res dent  and   rator   a onal   ld n   se m

a onal   ld n   se m  

    treet  ash n ton  D  

 e t  

mmoeller n m or

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V IRTUE OF INDETERM INACY

  RR   R

ve  pa e  ma m m   le  t pes   ord   D

  R   D

ncl de   ncome  and  e penses  one  pa e  ma m m   or  the  en re  pro ect   not   st  the   raham  o nda on  re est   o  more  than    o  total  pro ect  re est  ma   e  d rected  to  compensa on

le  t pes   cel   ord   D

Project  Budget   the  en re  project  not  just  the  Graham  Founda on  re uest   nter   hole  num ers   o  not  enter  dollar  signs  commas  or  decimal  points  

e uest  Amount   nter   hole  num ers   o  not  enter  dollar  signs  commas  or  decimal  points

Project   penses

2 0   ord  ma imum   n  list   ormat  pro ide  the  e penses   or  this  project   nclude  the  line  item  and  amount  and  total   our  e penses   ote  that  no  more  than  30  o  total  project  re uest  ma   e  directed  to  compensa on

pense   nder  Re ested   nd n   otal  

Research  ass stance   n   ather n  precedent  mater als     ee s   hrs ee     hr    

Research  ass stance   n  prod c on  o  or nal  dra n s  and  anal cal  d a rams     ee s   hrs ee     hr    

ro ess onal  serv ce   n  ed n  anal cal  te ts    a  pro ess onal  techn cal  ed tor   mp   m    

c r n  cop r hts   or  necessar   ma es     ma es  at   ma e  

r are  and  accommoda on    tr ps  to  research  ven es   anad an   enter   or   rch tect re   he   a onal  ld n   se m  etc     tr p  

dd onal  e pense   nder  other  poten al  so rces   otal  

h on  des n  ass stance   hrs     hr    

ro ess onal  serv ce  e h on   oards  pr n n    mo n n    pac n    

atalo e  des n  ass stance   hrs     hr    

ro ess onal  serv ce  e h on  catalo e  pr n n    

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RESEARCH & DESIGN

Graham  Foundation:  2012-­‐2013    Stage  2  Proposal

Project  BudgetProgram  Area

Research  and  Development

Project  Title

The  Virtue  of  Indeterminacy  in  Architectural  Design  and  Construction    

Budget Line Item Unit Cost Unit Qt Notes Budget

Travel Expensesairfare $520 /trip 3 $1,560accommodation $120 /night 12 $1440

$3,000 subtotalResearch Expensesresearch assistance $10 /hr 96 8 weeks: gathering research materials $960

research assistance $10 /hr 192 16 weeks: drawings and analytical diagrams production $1920

professional service $1800 LS 1 editing analytical texts / techncal $1800copyrights acquisition $200 /image 10 $2000

$6680 subtotal

Exhibition Expensesdesign assistance $10 /hr 60 design of exhibition boards $600

professional service $1800 LS 1 exhibition boards printing & mounting + packing $1800

catalogue design assistance $10 /hr 80 design of exhibition catalogue $800professional service $800 LS 1 exhibition catalogue printing $800

$4000 subtotal

Grand Total $13,680

Graham Foundation funding requested $9,680

Funding from other sources $4,000

152

V IRTUE OF INDETERM INACY

153

RESEARCH & DESIGN

This project aspires to develop a new housing prototype for post- K atr ina New Orleans. It is based on the comparative research of vernacular housing types found in two uni q ue urban contex ts: New Orleans and K yoto, Japan, the shotgun house and the K yo Machi-ya. The striking contex tual, cultural and technological parallels and contrasts found in the two cities are the potent source of in q uiry and knowledge informing the design.

The main objective is to develop a mi x ed-use, multi-unit housing prototype appropriate for standard 3 0 ‘ x 1 2 0 ’ lot, creatively addressing the post K atr ina social-cultural and per formative issues in the hot, humid climate. The central hypothesis is that the design principles and features found in K yo Machi-ya can ef fectively be translated into a housing design strategy in New Orleans. The project promotes a holistic approach to the sustainable housing design contrary to the current trend where a product oriented, techno-centric approach is the norm.

The Nola Machi-ya is a hybrid of K yo Machi-ya and a shotgun house, an attempt to transpose, negotiate, and integrate the architectural considerations and features arising out of the two distinctive vernacular cultures, while addressing issues of contex t and time. Through a careful ex amination of the design process, the project demonstrate an ex ample of per formative design strategy for urban dwellings in the dynamic global contex t.

LOCAL IDENTITIES GLOB AL CH ALLENGES. 2 01 1 ACSA FALL CONFERENCE PROCEEDINGS. ED. I K H LAS SAB OUNI AND VANEGAS J, WASH INGTON, D.C.: ACSA PRESS. P45 1 - 4 5 6

DIGITAL APTITUDES. 1 00TH ACSA ANNUAL CONFERENCE PROJECT PROCEEDINGS. ED. MARK GOULTH OREPE AND MURPH Y , A. WASH INGTON, D.C.: ACSA PRESS. P1 5

PROJECT FUNDED B Y T H E TSA DEAN’ S FUND FOR E X CELLENCE PROGRAMSTUDENT ASSISTANT: ERIC B AUMGARTNER, MODELS & RENDERINGS

A A th Annual Meeting

+ other openings

AL A

Mark Goulthorpe + Amy Murphy, Editors

ACSA PressWashington, DC

O O N

2 01 1 ACSA FALL CONFERENCE / 1 00TH ACSA ANNUAL CONFERENCE PROCEEDINGS

NOLA MACHI- Y A: A MULTI- USE DUPLEX PROTOTY PE FOR NEW ORLEANS

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NOLA MACH-YA: a MULTI-USE DUPLEX PROTOTYPE for NEW ORLEANS

KENTARO TSUBAKI Tulane University

Figure 1: Street View (front porch, tori-niwa coverd side porch/yard)

INTRODUCTION

This project aspires to develop a new housing prototype for post-Katrina New Orleans. It is based on the comparative research of vernacular housing types found in two unique urban contexts: New Orleans and Kyoto,

Japan, the shotgun house and the Kyo Machi-ya. The striking contextual, cultural and technological parallels and contrasts found in the two cities are the potent source of inquiry and knowledge informing the design.

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452 LOCAL IDENTITIES GLOBAL CHALLENGES

APPROACH

The main objective is to develop a mixed-use, multi-unit housing prototype appropriate for standard 30‘x120’ lot, creatively addressing the post Katrina social-cultural and performative issues in the hot, humid climate. The central hypothesis is that the design principles and features found in Kyo Machi-ya can effectively be translated into a housing design strategy in New Orleans. The project promotes holistic approach to the sustainable housing design contrary to the current trend

where a product oriented techno-centric approach is the norm.

The Nola Machi-ya is a hybrid of Kyo Machi-ya and a shotgun house, an attempt to transpose, negotiate, and integrate the architectural considerations and features arising out of the two distinctive vernacular cultures, while addressing issues of context and time. Through a careful examination of the design process, the project demonstrates a performative design strategy for urban dwellings in the dynamic global context.

Figure 2: Typical Kyo Machi-ya and Single Shotgun House

DESIGN

Similar to the Shotgun House, the basic physical characteristic of Machi-ya is defined in terms of a very narrow and long urban lot it occupies. However, it employs several distinctive spatial strategies, such as tori-niwa, tsubo-niwa, and en-gawa to accommodate and take advantage of the limited configuration. Combined with the tectonic characteristics of timber framing and removable screens panels, these features foster impromptu community interactions, alleviate hot and humid conditions and cerebrate the seasonal transitions, merging the spatial efficiency and climactic performance with dramatic visual esthetics for urban

dwelling. The post-storm population of New Orleans is skewed towards well-educated young creative types, singles and couples with no children. The study also indicates the relative success of various rebuilding programs. However, these programs were not intended to address pre-Katrina racial segregation and poverty. The city suffers with disproportionate numbers of unoccupied homes, yet, average rent in the city is still unaffordable. Nola Machi-ya addresses these issues through the design, programing and siting strategies. It is intended to foster economic development beyond its initial investment value, facilitating self-healing process of the existing urban fabric.

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NOLA MACHI-YA 453

Figure 3: Floor Plans (lower and upper level)

Figure 4: Kyo Machi-ya and Shotgun House Feature Analysis

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454 LOCAL IDENTITIES GLOBAL CHALLENGES

Figure 5: Transverse Section Perspective (looking towards the street front)

Figure 6: Longitudinal Section Perspective

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NOLA MACHYA 455

Figure 7: Model (east elevation)

Figure 8: Street View (front porch, side access to the rear unit)

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456 LOCAL IDENTITIES GLOBAL CHALLENGES

AKNOWLEDGEMENT

This project was funded by the Tulane School of Architecture Dean’s Fund for Excellence Program

Eric Baumgartner, project assistant with models & renderings

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NOLA Machi-ya: a MULTI-use duplex prototype for New Orleans

This project aspires to develop a new housing prototype for post-Katrina New Orleans. It is based on the comparative research of vernacular housing types found in two unique urban contexts: New Orleans and Kyoto, Japan, the shotgun house and the Kyo Machi-ya. The striking contextual, cultural and technological parallels and contrasts found in the two cities are the potent source of inquiry and knowledge informing the design.

The main objective is to develop a mixed-use, multi-unit housing prototype appropriate for standard 30‘x120’ lot, creatively addressing the post Katrina social-cultural and performative issues in the hot, humid climate. The central hypothesis is that the design principles and features found in Kyo Machi-ya can effectively be translated into a housing design strategy in New Orleans. The project promotes a holistic approach to the sustainable housing design contrary to the current trend where a product oriented, technocentric approach is the norm.

The Nola Machi-ya is a hybrid of Kyo Machi-ya and a shotgun house, an attempt to transpose, negotiate, and integrate the architectural considerations and features arising out of the two distinc-tive vernacular cultures, while addressing issues of context and time. Through a careful examination of the design process, the project demonstrate an example of performative design strategy for urban dwellings in the dynamic global context.

Areal View to the rear unit yard

Street View (side access to rear unit)

Longitudinal Section Perspective

Street View (front porch, tori-niwa covered side porch/yard)

Single Shotgun House Features Kyo Machi-ya Features NOLA Machi-ya Hybrid Floor Plans (lower and upper level)

Engawa: Interstitial Spacea covered circulation porch

Tsubo-niwa: Private Spacea small courtyard garden for light and air

Ima: Private Space (2F)

Daidoko, Okunoma: Semi Private Space (1F Back)

Mise: Semi Public Spacestore front / parlor - flexible business space (1F Front)

Tori-niwa: Interstitial Space (public - private)

Raised Floor / Service Space (storage, bath etc.)

Backyard: Private Space

Bedroom: Private Space

Parlor, living & Dining: Semi Private Space (Front / Back)

Front Porch: Interstitial Space (public - private)

Raised Floor / Service Space (storage, bath etc.)

Transverse Section Perspective

Model, East Elevation

Model, West Elevation

15

NOLA Machi-ya: a MULTI-use duplex prototype for New Orleans

This project aspires to develop a new housing prototype for post-Katrina New Orleans. It is based on the comparative research of vernacular housing types found in two unique urban contexts: New Orleans and Kyoto, Japan, the shotgun house and the Kyo Machi-ya. The striking contextual, cultural and technological parallels and contrasts found in the two cities are the potent source of inquiry and knowledge informing the design.

The main objective is to develop a mixed-use, multi-unit housing prototype appropriate for standard 30‘x120’ lot, creatively addressing the post Katrina social-cultural and performative issues in the hot, humid climate. The central hypothesis is that the design principles and features found in Kyo Machi-ya can effectively be translated into a housing design strategy in New Orleans. The project promotes a holistic approach to the sustainable housing design contrary to the current trend where a product oriented, technocentric approach is the norm.

The Nola Machi-ya is a hybrid of Kyo Machi-ya and a shotgun house, an attempt to transpose, negotiate, and integrate the architectural considerations and features arising out of the two distinc-tive vernacular cultures, while addressing issues of context and time. Through a careful examination of the design process, the project demonstrate an example of performative design strategy for urban dwellings in the dynamic global context.

Areal View to the rear unit yard

Street View (side access to rear unit)

Longitudinal Section Perspective

Street View (front porch, tori-niwa covered side porch/yard)

Single Shotgun House Features Kyo Machi-ya Features NOLA Machi-ya Hybrid Floor Plans (lower and upper level)

Engawa: Interstitial Spacea covered circulation porch

Tsubo-niwa: Private Spacea small courtyard garden for light and air

Ima: Private Space (2F)

Daidoko, Okunoma: Semi Private Space (1F Back)

Mise: Semi Public Spacestore front / parlor - flexible business space (1F Front)

Tori-niwa: Interstitial Space (public - private)

Raised Floor / Service Space (storage, bath etc.)

Backyard: Private Space

Bedroom: Private Space

Parlor, living & Dining: Semi Private Space (Front / Back)

Front Porch: Interstitial Space (public - private)

Raised Floor / Service Space (storage, bath etc.)

Transverse Section Perspective

Model, East Elevation

Model, West Elevation

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RESEARCH & DESIGN

The project envisions a dedicated Z en Meditation Center in the historic residential neighborhood on a steady rebound from the devastation of hurricane K atr ina. The intention is to provide the presence and stability of a dedicated B uddhist community in the hear t of New Orleans. After practicing in a small shotgun house for several years, Mid City Z en sang-ha was provided with an opportunity to purchase a vacant proper ty and began to consider the possibility of a fully dedicated Z en temple serving the community. My of f ice, studio K T provided assistance in visuali z ing the project architecturally.

The design ref lects the serene aesthetic sensibility of a Z en Temple gently adopting to the historic residential fabric of the city. This unity is achieved by a balancing act, a careful integration of the two uni q ue yet related urban housing typologies; K yo machi-ya in K yoto, Japan and the Camel-back Shotgun house of New Orleans aimed at creating a calm and q uite place of contemplation paramount to the Z en practice.

DESIGN ASSISTANCE: CH RISTINE FOLEY MODELS & RENDERINGS

Z EN MEDITATION CENTER OF NEW ORLEANS

Kyo M a ch i - ya ( l e f t ) a n d Ca m e l - b a ck Sh o t g u n Ho u se ( r i g h t )

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Fr o n t P o r ch

Sca l e i n t e g r a t i o n t o t h e si t e - co n t e xt

T h e F r o n t p o r c h i s o n e o f t h e d e f i n i n g f e a t u r e s o f t h e N e w O r l e a n s v e r n a c u l a r c o n t r i b u t i n g t o t h e s t r e e t l i f e a n d t h e u r b a n l a n d s c a p e . T h e f r o n t r o o m i s t h e S h u r y o s t u d y h a l l . I t i s a w e l c o m i n g , i n v i t i n g p l a c e o p e n t o t h e n e i g h b o r h o o d a s a m e e t i n g r o o m t o b u i l d o u r c o m m u n i t y a n d t o s t r e n g t h e n o u r l o c a l t i e s .

S l i d i n g s c r e e n p a n e l s o n t h e p o r c h n e g o t i a t e t h e e x p o s u r e t o t h e s t r e e t d e p e n d i n g o n t h e o c c a s i o n .

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P l a n s

Si d e El e va t i o n

Se ct i o n - e l e va t i o n s t h r o u g h Tsu b o - n i w a co u r t ya r d

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Z EN M EDITATION CENTER OF NEW ORLEANS

Tsu b o - n i w a / En g a w a

Lo o ki n g t o w a r d s t h e r e si d e n t i a l q u a r t e r s

T h e Ts u b o - n i w a c o u r t y a r d s u r r o u n d e d b y t h e E n g a w a p o r c h i s t h e d e f i n i n g f e a t u r e o f Ky o m a c h i - y a a n d t h e h e a r t a n d s o u l o f t h e c e n t e r . I t l i t e r a l l y b r e a t h e s n a t u r a l l i g h t a n d a i r i n t o

t h e a r c h i t e c t u r a l p o t e n t i a l o f a d e e p a n d n a r r o w l o t u n i q u e t o N e w O r l e a n s . A s a v i s u a l f o c a l p o i n t b l u r r i n g t h e s p a t i a l b o u n d a r y b e t w e e n t h e i n t e r i o r a n d e x t e r i o r , t h e c o u r t y a r d c o n s t a n t l y

r e m i n d s u s o f o u r r e l a t i o n s h i p t o t h e s u r r o u n d i n g e n v i r o n m e n t .

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RESEARCH & DESIGN

Project H ome Again is a nonprof it, housing development organi z ation created by the Leonard and Louise Riggio Foundation shor tly af ter H urr icane K atr ina to build high- q uality, energy-ef f icient homes for low and moderate-income New Orleanians. The organi z ation has successfully built hundreds of beautiful, energy-ef f icient, af fordable homes for sale in several Gentilly neighborhoods.

Project H ome by H and will be a branch of Project H ome Again. It intends to harness the energy, talent, and resources of volunteers, do-it-yourselfers, design-build enthusiasts, and young adults to rebuild under-populated neighborhoods in New Orleans and throughout other weak market cities in the US. The program welcomes people who are willing to contribute sweat-e q uity toward the building and ac q uisition of a new home to revitali z e the Gentilly neighborhoods while simultaneously serving as a model for sweat-e q uity ( urban homesteading) projects throughout the city. In a city that has approx imately 40,000 vacant proper ties and has lost about a third of its population since its peak, Project H ome by H and seeks to provide a path to homeownership for everyone who strongly desires homeownership and is willing to work hard to achieve it.

A TULANE CIT Y CENTER PROJECTCLIENT: PROJECT H OME AGAINEMILIE TAY LOR, TCC PROJECT MANAGERALFIA WH ITE, TCC INTERN MODELS & RENDERINGSDESIGN CONSULTANT: STUDIOK T / K ENTARO TSUB A K I

PROJ ECT HOME BY HAND: SELF- HELP HOUSING PROTOTY PES FOR GENTILLY NEIGHBORHOOD, NEW ORLEANS

Typ i ca l Ge n t i l l y Si t e : 6 0 ’ w i d e p l o t ( l e f t ) a n d 4 2 ’ w i d e p l o t ( r i g h t )

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P ROJE CT HOM E BY HAND

Th e L a t e r a l S p i n e S c h e m e i s d e s i g n e d f o r t h e 6 0 ’ w i d e p l o t s . I t u t i l i z e s a s p l i t l e v e l t e c h n i q u e . T h e u p p e r p r i v a t e l e v e l i s r o t a t e d 9 0 d e g r e e s t o f u l l y o c c u p y t h e s t r e e t f r o n t w h i l e m a i n t a i n i n g

o p t i m a l s q u a r e f o o t a g e a n d c r e a t e s t h e c o v e r e d o c c u p y - a b l e w o r k s p a c e d u r i n g a n d a f t e r t h e c o n s t r u c t i o n .

La t e r a l Sp i n e Sch e m e

St r e e t V i e w

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RESEARCH & DESIGN

P a r a l l e l Sp i n e Sch e m e

T h e P a r a l l e l S p i n e S c h e m e i s d e s i g n e d f o r t h e 4 2 ’ w i d e p l o t s . I t i s d e s i g n e d t o a d o p t t h e l o n g a n d n a r r o w p l o t w i t h o p t i m u m e f f i c i e n c y a n d f l e x i b i l i t y w h i l e m a i n t a i n i n g t h e c o n n e c t i o n t o t h e o u t s i d e a n d

t h e g r o u n d .

St r e e t V i e w

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P ROJE CT HOM E BY HAND

Co m p o n e n t s Axo

Tr a n si t i o n a l P o r ch e s

P o r c h e s a c t a s t r a n s i t i o n s b e t w e e n t h e o u t d o o r s p a c e a n d i n d o o r s p a c e . T h e s l o p e s o f t h e m e t a l r o o f i n g d i r e c t s t o r m - w a t e r o f f o f t h e h o u s e a n d i n t o p l a n t e r b e d s a n d r a i n g a r d e n s .

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Taking advantage of the warmer weather in New Orleans, the project envisions a covered outdoor patio structure for the M& N restaurant located right on the edge of the historic residential neighborhood and the mighty Mississippi along the busy road, rail and a levy. The proposed design takes advantage of the site-contex t by activating its facade through projected headlights of the passing vehicles at night, commanding attention from the drivers and enhancing the uni q ue hands-on atmosphere of the restaurant : a ju x taposition of funky, fr iendly and comfor table roadside neighborhood cafe sensibility with its ambitious and sophisticated Creole f ine dining ex perience.

SCH EMATIC DESIGN STUDIESDESIGN ASSISTANT: CH RISTINE FOLEY , MODELS & RENDERINGS

M& N RESTAURANT PATIO RENOV ATION

Si t e : Ur b a n Ed g e

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Ni g h t El e va t i o n

Ni g h t In t e r i o r V i e w

T h e d e s i g n g o a l i s t o c o m m a n d a t t e n t i o n f r o m t h e d r i v e r s a n d e n h a n c i n g t h e u n i q u e h a n d s - o n a t m o s p h e r e o f t h e r e s t a u r a n t

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P r i ci n g Dr a w i n g s

Se ct i o n P e r sp e ct i ve V i e w

T h e r e s t a u r a n t i s l o c a t e d r i g h t o n t h e e d g e o f t h e h i s t o r i c r e s i d e n t i a l n e i g h b o r h o o d a n d t h e m i g h t y M i s s i s s i p p i a l o n g t h e b u s y r o a d , r a i l a n d a l e v y

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M & N RESTAURANT P ATIO RENOV ATION

V e h i cu l a r He a d l i g h t St u d i e s

Fr a m i n g St u d i e s

T h e p r o p o s e d d e s i g n t a k e s a d v a n t a g e o f t h e s i t e - c o n t e x t b y a c t i v a t i n g i t s f a c a d e t h r o u g h p r o j e c t e d h e a d l i g h t s o f t h e p a s s i n g v e h i c l e s a t n i g h t .

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TH E NEW ORLEANS B UILDING ARTS INSTITUTEB ALANCED EX TENSIONS / B OAT-MAK ING SCH OOL

DISCIPLINE AND PROCESS OF DESIGN INVESTIGATIONPERFORMANCE OF STRUCTURAL FRAMING SY STEMS

2 01 1 NCARB GRANT PROPOSALURB AN MORPH OLOGY OF K Y OTO AND NEW ORLEANS 2 01 3URB AN MORPH OLOGY OF K Y OTO AND NEW ORLEANS 2 01 0

TECTONICS OF ANISOTROPIC MATERIAL PROPERTIESECCENTRIC MASONRY UNITS CONFERENCE PROCEEDINGS

COLLECTIVE PALIMPSESTSH IFTING SCALE

PERFORMANCE OF A B UILDING ENVELOPENEW ORLEANS FILM ARCH IVE

FORM, SPACE, MATERIALITY AND PERFORMANCE OF LIGH TVIRTUE OF INDETERMINACY AND CONTAMINATION

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DSGN3 1 00 FA1 3 ARCH ITECTURE STUDIO POETICS OF MATERIAL ASSEMBLY : THE NEW ORLEANS BUILDING ARTS INSTITUTE

“ A n d y o u c a n m a k e t h e s a m e c o n v e r s a t i o n w i t h c o n c r e t e . A n d y o u c a n m a k e t h e s a m e c o n v e r s a t i o n w i t h p a p e r , o r w i t h p a p e r - m a c h e , o r w i t h p l a s t i c , o r w i t h m a r b l e , o r a n y m a t e r i a l t h a t h a s i t s n a t u r e . A n d i t ’ s t h e b e a u t y o f w h a t y o u c r e a t e t h a t y o u h o n o r - t h e m a t e r i a l f o r w h a t i t r e a l l y i s . A n d n e v e r s a y t h a t y o u u s e i t i n a k i n d o f s u b s i d i a r y w a y w h i c h m a k e s t h e m a t e r i a l i t s e l f w o n d e r w h e n t h e n e x t m a n w i l l c o m e w h o w i l l h o n o r i t s c h a r a c t e r , y o u s e e . ” Louis K ahn, “ Lecture at Pratt Institute, 1 9 7 3 ”

Architecture aims to evoke emotional and intellectual response from the phenomenal q ualities of physical constructs. It req uires the masterful use of materials and meticulously crafted details beyond the basic human needs for shelter. The pedagogical intention of this studio is to develop an innate understanding of relationships between the materiality and details through the physical ex ploration of specif ic materials and their ex pressive potential as assemblies. The course employs two distinct modes of investigations, empirical and theoretical. The empirical focuses on making, ex ploring a specif ic material and assembly method through trial and error. The process is methodically documented and the artifact q ualitatively analy z ed through various representational means. The theoretical focuses on the speculative investigations of signif icant building precedents and their material assemblage ex plored through various representational means. B oth methodologies are discreet yet, ex plicitly treated as an ex ploration on how to mediate the in-between spatial condition as an architectural resolution. It is intended to instill new skills and foster the kernel of ideas along the way, seamlessly integrating into the semester long design project.

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Ne w Or l e a n s Bu i l d i n g Ar t In st i t u t e St u d e n t : M . Ase n j o

T h e N e w O r l e a n s B u i l d i n g A r t s I n s t i t u t e i s a n a r t i s t c o m m u n i t y a n d a r e s e a r c h i n s t i t u t i o n d e d i c a t e d t o t h e s t u d y o f t h e l i v i n g t r a d i t i o n s o f b u i l d i n g a r t s .

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M o d u l a r M a so n r y Un i t s Exe r ci se St u d e n t s: H. Lu m m i s ( l e f t , ) D. Do d g e ( ce n t e r ) a n d W, Jo r d a n ( r i g h t )

T h e b u i l d i n g m a t e r i a l s , m e t h o d s a n d c u l t u r e s u r r o u n d i n g t h e p h y s i c a l r e a l i t y o f t h e b u i l d i n g a r e a n i n t e g r a l p a r t o f t h e d e s i g n e x p r e s s i o n .

Ne w Or l e a n s Bu i l d i n g Ar t In st i t u t e St u d e n t s: H. Lu m m i s ( a b o ve ) P . He n se l e r ( b e l o w )

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No t e t h e s i t e p r o x i m i t y t o t h e c e m e t e r i e s . Y o u m u s t c o n s i d e r t h e o r g a n i z a t i o n a l a n d m a t e r i a l i m p l i c a t i o n o f “ c i t y o f t h e d e a d ” i n r e l a t i o n t o y o u r d e s i g n a n d p r o g r a m i n g p r o p o s a l .

Ne w Or l e a n s Bu i l d i n g Ar t In st i t u t e St u d e n t : E. Hi m m e l

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TEACHING

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THE NEW ORLEANS BUILDING ARTS INSTITUTE

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TEACHING

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TEACHING

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THE NEW ORLEANS BUILDING ARTS INSTITUTE

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TEACHING

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TEACHING

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THE NEW ORLEANS BUILDING ARTS INSTITUTE

Si t e In t e r ve n t i o n Id e o g r a m St u d e n t s: W, Jo r d a n ( r i g h t )

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DSGN3 1 00 FA1 2 ARCH ITECTURE STUDIO POETICS OF MATERIAL ASSEMBLY : BALANCED EX TENSIONS / BOAT- MAKING SCHOOL

Architecture aims to evoke emotional and intellectual response from the phenomenal q ualities of physical constructs, req uiring the masterful use of materials and meticulously crafted details beyond the basic human needs for shelter. The pedagogical intention of this studio is to develop an innate understanding of relationships between the materiality and details through the physical ex ploration of specif ic materials and their ex pressive potential as assemblies. The course will employ two distinct modes of investigations, empirical and theoretical. The empirical consists of making, ex ploring materials and assembly methods through trial and error. The process will be methodically documented and the assembled artifact will be q ualitatively analy z ed through a series of drawings and diagrams. The theoretical focuses on the study of historical and contemporary building precedent. Speculative investigations on material assemblages will be further ex plored through representational means.

Two introductory phases, each focused on the specif ic mode of investigation, will accompany the main building design phase. All phases are ex plicitly threaded with investigations of the in-between spatial conditions and how to mediate them as architectural resolutions in various scales. The studio entrusts the individual students to build and synthesi z e the previously introduced architectural issues to achieve the educational goal set forth in the course.

The First Phase of the studio ( duration: 3 weeks) will begin with a simple yet rich conceptual ex ercise of material assemblage. It is centered around the notion of surface ex tension and physical balance, investigated through the empirical means and process drawings on a one-to-one scale. The ex ercise emphasi z es the generative relationship between design intension and the material / gravitational resistance.

The Second Phase of the studio ( duration: 3 weeks) will engage in a precedent analysis. The goal is to identify key material assemblage in the building envelope balancing the design intention and the ex ternal contex t. It will culminate in a design modif ication of the assemblage in a hypothetical contrasting contex t, investigated through representational means at the scale of wall section details.

The Third Phase of the studio ( duration: 8 weeks) will engage in the design addition to a signif icant institutional building of modest complex ity. The emphasis will be placed on the poetics of material assemblage balancing ( mediating) the spatial intention and ex ternal contex t, ex amined though representational means at multiple scales.

Existing Museum

Property

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for Extension325

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Ba l a n ce d P l a n e Ext e n si o n St u d e n t : S Sa t t e r l e e

Ba l a n ce d P l a n e Ext e n si o n St u d e n t : J. La ze r e

P h a s e I f o c u s e s o n h a p t i c ( t a c t i l e ) e x p e r i e n c e o f t h e m a t e r i a l a n d m a k i n g . J o i n ( 2 ) p i e c e s o f i d e n t i c a l r e c t a n g u l a r p l y w o o d t o e x t e n d t h e s u r f a c e b y i n t r o d u c t i o n o f a t h i r d

c o n n e c t i n g e l e m e n t o r s y s t e m o f e l e m e n t s .sarah satterlee | PHASE I | �nal modeldsgn3100 | balanced plane extension

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Dr a w i n g In - b e t w e e n M a t e r i a l s & Exp e r i e n ce s St u d e n t : E. Am a t o

Dr a w i n g In - b e t w e e n M a t e r i a l s & Exp e r i e n ce s St u d e n t : N. V e r m a

P h a s e I I i s a p r e c e d e n t s t u d y f o c u s e d o n s p a t i a l a n d m a t e r i a l t h r e s h o l d / t r a n s i t i o n a s a s s e m b l i e s . D e s i g n a s i n g l e o p e n i n g t o t h e p r e c e d e n t a s a n a d d i t i o n t o e n h a n c e t h e e x p e r i e n c e o f t h e

b u i l d i n g . D e s i g n a n d d e t a i l t h e o p e n i n g a s a t h r e s h o l d , a s a m a t e r i a l a s s e m b l y f o r a m o m e n t o f e x p e r i e n t i a l t r a n s i t i o n w h i l e m a i n t a i n i n g t h e t h e r m a l / m o i s t u r e s e p a r a t i o n o f t h e b u i l d i n g e n v e l o p .

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P h a s e I I I i s t h e s y n t h e s i s o f t h e p r e v i o u s t w o p h a s e s . D e s i g n a b o a t m a k i n g s c h o o l a s a n e x t e n s i o n t o L a k e P o n t c h a r t r a i n B a s i n M a r i t i m e M u s e u m o n t h e b a n k s o f t h e s c e n i c

Tc h e f u n c t e R i v e r i n M a d i s o n v i l l e L o u i s i a n a .

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Th e b u i l d i n g m a t e r i a l s , m e t h o d s a n d c u l t u r e s s u r r o u n d i n g t h e p h y s i c a l r e a l i t y o f t h e b u i l d i n g a r e i n t e g r a l p a r t o f t h e d e s i g n e x p r e s s i o n . T h u s , c o n s i d e r a t i o n t o t h e m e t h o d o f m a t e r i a l a s s e m b l a g e i n v a r i o u s s c a l e s m u s t b e a s i g n i f i c a n t p a r t o f t h e d e s i g n c o n c e p t .

Bo a t - m a ki n g Sch o o l St u d e n t : N. V e r m a

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Ar c h i t e c t u r a l d e s i g n i s n o t s i m p l y a b o u t j u s t i f y i n g f o r m s b a s e d o n t h e p r o g r a m m a t i c f u n c t i o n ( u s e ) o f t h e s p a c e . N e i t h e r i s t h e a c t o f c o n s t r u c t i o n m e r e l y a n i m p l e m e n t a t i o n o f f o r m a n d s p a c e i n s e r v i c e

o f f u n c t i o n . D e c i s i o n s m a d e a s p e r l o g i c o f c o n s t r u c t i o n a r e i n h e r e n t l y s p a t i a l . I t i s a n i n c r e d i b l y r i c h s o u r c e f o r t h e d e s i g n i n q u i r y a n d h a s g e n e r a t i v e i m p l i c a t i o n s .

Bo a t - m a ki n g Sch o o l St u d e n t : S. Sa t t e r l e e

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DSGN5 2 00/ 602 0 SP1 2 TH ESIS DESIGN STUDIO DISCIPLINE AND PROCESS OF DESIGN INV ESTIGATION

Thesis Design Studio will continue work star ted in the fall semester ’ s Thesis Research and Analysis course. H aving established a conceptual framework and developed an appropriate vehicle project program, site, and relevant precedents in the prere q uisite course, the spring studio segment will focus on design-based research to fur ther test and ex plore each student ’ s stated priorities in architectural terms. Continuing to apply both traditional scholarly, and design-based research methods, students will pursue means by which architecture can engage broader issues in culture, community, and the state of the world at large. While broad-mindedness and ambition in establishing relevance and signif icance of the thesis project is ex pected, it should be stressed that architecture as a discipline and as a mode of in q uiry will determine the process, methodology, and eventually, the success or failure of the proposition. Final projects will be rigorously researched, developed, and represented.

An a l yt i ca l Si t e M o d e l s St u d e n t s: S. Fi sh e r ( l e f t , ) G. Fa i r cl o t h ( r i g h t )

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St i t ch i n g Ho u st o n St u d e n t : L. Be r m a n

T h e a r c h i t e c t u r a l p r o p o s a l i s a d e s i g n i n t e r v e n t i o n i n t o t h e h e a r t o f t h e “ S k y l i n e d i s t r i c t ” t h a t w i l l s e e k t o a d d r e s s t h e w e a k s t r e e t s c a p e ( h o w b u i l d i n g s i n t e r a c t , c a r p a t h s , e t c . ) , I n c r e a s e a c c e s s i b i l i t y t o

s e r v i c e s ( p h y s i c a l a n d v i s u a l c o n n e c t i o n s t o t h e h i d d e n t u n n e l s ) , a n d c r e a t e o p p o r t u n i t i e s f o r w o r k e r s t o i n t e r c o n n e c t , w h i l e b u i l d i n g a u n i q u e a n d i d e n t i f i a b l e c e n t e r o f t h e n o d e . S t u d e n t : L . B e r m a n

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Si e t ch Ar ch i t e ct u r e St u d e n t : W. Tr a ka s

Arc itect re as t e otential to minimi e desertification t ro g redefining s r an s ra l T is t esis creates a n a l t e r n a t e vi si o n f o r su b u r b a n l i vi n g t h a t w o r ks t o co n t a i n t h e e xi st i n g sp r a w l i n a m o r e e n vi r o n m e n t a l l y

se n si t i ve m a n n e r . S t u d e n t : W. Tr a k a s

Ch a o t i c Te r r i t o r i a l i t y St u d e n t : S. M cG u i r e

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Fl u x Ca p a ci t y St u d e n t : P . Fr a n ke

Th e p r o p o se d p r o j e ct r e cl a i m s t h e u n d e r - u se d Bo st o n Ci t y Ha l l p l a za , t r a n sf o r m i n g i t i n t o a p l a ce o f co n st a n t a ct i vi t y . Re d u n d a n cy i s r e p l a ce d w i t h va r i e t y a s t h e m a ssi ve

sp a ce i s sl i ce d , l a ye r e d , a n d d i vi d e d . S t u d e n t : P . F r a n k e

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ATCS401 0/ 61 40 FA1 3 / SP1 2 STRUCTURAL SY STEMS ( formerly ATCS3 1 0/ 3 1 00)

PERFORMANCE OF STRUCTURAL FRAMING SY STEMS

“ Te c h n o l o g y i s f a r m o r e t h a n a m e t h o d . I t i s a w o r l d i n i t s e l f . As a m e t h o d i t i s s u p e r i o r i n a l m o s t e v e r y r e s p e c t . B u t o n l y w h e r e i t i s l e f t t o i t s e l f , a s i n g i g a n t i c s t r u c t u r e s o f e n g i n e e r i n g , t h e r e t e c h n o l o g y r e v e a l s i t s t r u e n a t u r e . T h e r e i t i s e v i d e n t t h a t i t i s n o t o n l y a u s e f u l m e a n s b u t t h a t i t i s s o m e t h i n g t h a t h a s a m e a n i n g a n d a p o w e r f u l f o r m - s o p o w e r f u l i n f a c t , t h a t i t i s n o t e a s y t o n a m e i t . Wh e r e t e c h n o l o g y r e a c h e s i t s r e a l f u l f i l l m e n t i t t r a n s c e n d s i n t o a r c h i t e c t u r e . ”Mies van der Rohe, From IIT address, 1 9 5 0

“ I t i s r a d i c a l a n d c o n s e r v a t i v e a t o n c e . I t i s r a d i c a l i n a c c e p t i n g t h e s c i e n t i f i c a n d t e c h n o l o g i c a l d r i v i n g a n d s u s t a i n i n g f o r c e s o f o u r t i m e . I t h a s a s c i e n t i f i c c h a r a c t e r , b u t i t i s n o t s c i e n c e . I t u s e s t e c h n o l o g i c a l m e a n s b u t i t i s n o t t e c h n o l o g y . I t i s c o n s e r v a t i v e a s i t i s n o t o n l y c o n c e r n e d w i t h a p u r p o s e b u t a l s o w i t h a m e a n i n g , a s i t i s n o t o n l y c o n c e r n e d w i t h a f u n c t i o n b u t a l s o w i t h a n e x p r e s s i o n . I t i s c o n s e r v a t i v e a s i t i s b a s e d o n t h e e t e r n a l l a w s o f a r c h i t e c t u r e : O r d e r , S p a c e , P r o p o r t i o n . ” Mies van der Rohe, From essay on the IIT curriculum

Two contrasting remarks made by Mies van der Rohe suggest the complex role of technology in architecture. The recent technological obsessions fueled by the proliferation of sophisticated structural, environmental and visual computer simulations reignited the interest in the realm of building performance in architectural design. H owever, without a critical understanding of the role technology plays within the design process, it will become a superficial nod to the old functionalist thinking of predicting the predictable. The intention of this course is to impart students with an innate understanding of the relationships between parameters of framing construction and its impact on design decisions. The primary objective is to provide a sound conceptual understating and vocabulary necessary for future architects to lead the engineers and contractors with confidence.

St r u ct u r a l Ba y M o d e l Co n n e ct i o n De t a i l St u d e n t Y . Li ( l e f t ) Co n n e ct i n g t h e b e a m s, Th e Co n st r u ct i o n o f t h e Em p i r e St a t e Bu i l d i n g , 1 9 3 0 - 1 9 3 1 P h o t o : Le w i s Wi cke s Hi n e Ne w Y o r k P u b l i c Li b r a r y Co l l e ct i o n ( r i g h t )

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Comprehensive Framing Design ProjectStudent: G. West

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Comprehensive Framing Design ProjectStudent: E. H immel

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Comprehensive Framing Design ProjectStudent: B . B egbie

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2 01 1 NCARB GRANT PROPOSAL

FIELD STUDIES TO INFORM DESIGN FOR HEALTHY , HIGH- PERFORMANCE BUILDINGS

Proposed project aims to address the pre-building delivery issues identif ied in the NCARB position papers by establishing an over-arching pedagogy, integrating the post building delivery practice ( survey and analysis) into architectural education.The recent shif t in the building design and construction industry demands “ smart ” building delivery. As society moves towards environmentally sustainable built environment as emphasi z ed in The B oyer ’ s Report, the building’ s per formance over time is increasingly scrutini z ed and moneti z ed, impacting the process of building design and delivery. Life cycle per formance of a building is not simply a measurement of overall energy consumption. It is something much more complex and f luid, an aggregate of many factors. In order to deliver a building in “ smart ” manner, oppor tunity for dynamic building modif ications ref lecting the post building delivery practice, must be systemically factored-in in the initial building design and delivery practice.The students will be e q uipped with the latest, most advanced technologies to collect various per formance data of the building. They will establish a method for post building survey in collaboration through empirical, evidence based in q uiry guided through the practicing professionals. They will analy z e and sor t the data into speculative relationships to form a hypothesis, learning to ask “ the right q uestions.” The students will then “ apply ” the hypothesis to see how it will impact the design management process, par ticularly in terms of project schedules, budgetary concerns and post building delivery services compare to the traditional building deliver process.The project outcome will be summari z ed in terms of a clear and concise graphic and oral presentations aimed for the project community and clients. Students will learn to be ef fective and empathetic communicators on highly technical and complex subject.

2 01 1 NCARB GRANT PROPOSAL. ASSISTED PRINCIPAL INVESTIGATOR Z SMITH , ADJUNCT ASSISTANT PROFESSOR AS A TECH NOLOGY SEQ UENCE COORDINATOR. FIELD STUDIES TO INFORM DESIGN FOR H EALTH Y , H IG H -PERFORMANCE B UILDINGS. AMOUNT REQ UESTED: $ 1 3 2 2 1 . 7 5 . AMOUNT FUNDED: $ 1 3 000.00.

The National Council of Architectural Registration Boards (NCARB) announces the 2011 NCARB Grant schedule and invites submission of proposals. A total of $75,000 will be available for up to seven awards to support new for-credit curricular initiatives that integrate practice and education in the academy, raise awareness of the architect’s responsibility for the public health, safety, and welfare, and address specific criteria of the 2011 NCARB Grant Program outlined inside.

NCARB GRANT FOR THE INTEGRATION OF PRACTICE AND EDUCATION IN THE ACADEMY

2011

GrantNCARB

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10 January 2012

Professor Z Smith, PhD, AIA, LEED AP Professor Kentaro Tsubaki, RATulane School of Architecture Tulane University 6823 Saint Charles AveNew Orleans, LA 70118-5698

Dear Professor Smith and Professor Tsubaki:

We are pleased to send you a check in the amount of $13,000, two 2011NCARB Grant certificates, and the 2011 NCARB Grant Award Conditions.

The NCARB Grant is awarded under the 2011 NCARB Grant Award Conditions, 10 January 2012. This outlines the award period, requirements for reports, and conditions for use of funds. If you have any questions about the award conditions, please inform us no later than 31 January 2012.

NCARB extends congratulations to you and the School of Architecture and best wishes for continued success in further development of your project. We look forward to receiving your interim and final reports with information about the development and implementation of your project.

Please feel free to contact me if you have any questions about the conditions or requirements for interim and final reports or if there is any way that we can be of assistance.

Yours very truly,

Greg G. Hall, PhD, AIA, NCARBDirector, Education

Cc: Scott S. Cowen, President Michael A. Bernstein, Provost Kenneth Schwartz, FAIA, Dean, School of Architecture John P. Klingman, RA, Richard Koch Chair of Architecture

Encs: a/s

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AH ST63 3 3 SU/ FA1 3 H ISTORY TH EORY SEMINAR / JAPAN STUDY AB ROAD PROGRAM 2 01 3

URBAN MORPHOLOGY OF KY OTO AND NEW ORLEANS

The aim of the Japan Study Abroad program is to re-contex tuali z e the familiar by dislocating to the unfamiliar. K yoto is a city steeped in tradition and cultural heritage outside of the typical western society. H owever it is comparable in many ways to the city of New Orleans. B oth cities possess an ex tremely rich cultural heritage and urban fabric. The striking historical, contex tual, environmental and cultural parallels / contrasts between the two will be a potent source for in q uiry and knowledge.

The goal of this seminar is to comparatively study the morphology of the two cities from historical, cultural and environmental perspective and the inf luences on the vernacular architectural forms. In order to aid the in q uiry, students will develop visual analytical tools, methods and references for r igorous architectural comparison of traditional and modern urban Morphology. The outcome will consist of 2 -D, 3 D graphic representations and research tex ts comparing / contrasting urban residential buildings in New Orleans and K yoto.

We will spend considerable amount of time in K yoto to study the traditional and vernacular architecture and urban fabric. H owever, in order to contex tuali z e the tradition, we will be immersing ourselves in the contemporary culture of Japan in Tokyo, a city full of sleek, modern architecture.

Ne w Or l e a n s La f f a ye t t e # 1 Ce m e t a r y ( l e f t ) a n d Fu sh i m i - In a r i Sh r i n e To r i - i Ga t e s P h o t o : K. Tsu b a ki

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I n o r d e r t o c o n t e x t u a l i z e t h e t h e t r a d i t i o n , w e w i l l b e i m m e r s i n g o u r s e l v e s t o t h e c o n t e m p o r a r y c u l t u r e o f J a p a n i n To k y o , a c i t y f u l l o f s l e e k , m o d e r n a r c h i t e c t u r e .

De t a i l e d It i n e r a r y m a p p e d i n t o Go o g l e m a p - e n g i n e a cce ssi b l e vi a sm a r t p h o n e f o r n a vi g a t i o n d u r i n g t h e t r i p

On - l i n e d e t a i l e d It e n i a r y Re a l - t i m e p u b l i c t r a n sp o r t a t i o n d i r e ct i o n l i n ke d t o Da y- t o - d a y It e n i a r y

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Think Z one ( Tokujin Y oshioka Design 2 001 )2 1 _ 2 1 Design Sight pavilion ( Tadao Ando, 2 007 ) / Ex hibition: “ Design Ah! ”isit ok o idto n of ce,

Suntory Museum of Art ( K engo K uma 2 007 ) Ex hibition: “ Mono no Aware” and Japanese B eautyReiyukai Shakuden Temple?H otel Okura?( open dinner)Accommodation: Akasaka Ex cel H otel Tokyu / IH J ( JK )

Fri 05 . 2 4: Day 5A day focused on commercial space and architecture( open breakfast)H otel Lobby @ 9 AMvisit Daikanyama H illside Terrace ( Fumihiko Maki, 1 9 67 - 9 2 ) Daikanyama T-Site ( K lein Dytham Architecture, 2 01 2 )Sarugaku ( Akihisa H irata, 2 007 )visit ShibuyaShibuya crossing( informal lunch)visit Omote-sando w/ Norie ( Meiji-jingumae/ H ara-juku Station @ 1 : 3 0PM)“ Cat Street ” ( H H Style, SANAA, 2 000 & Armani Casa B lg., Ando) Tod’ s ( Toyo Ito, 2 005 )Carina Store ( SANNA, 2 009 )Louis Vuitton ( Jun Aoki, 2 002 )Gyre B uilding ( MVDRV, 2 007 )Christian Dior ( SANAA, 2 006)Omotesando H ills ( Tadao Ando, 2 005 ) Spiral ( Fumihiko Maki, 1 9 8 5 )Comme des Garç on ( Future Systems, 1 9 9 9 )Prada ( H er z og & De Meuron, 2 003 )Marc Jacobs ( Jaklitsch/ Gardner Architects, 2 01 0)Collez ione ( Tadao Ando, 1 9 8 9 )Coach Omotesando ( OMA, 2 01 2 )( group dinner w/ Norie @ Maisen Aoyama-honten)Accommodation: Akasaka Ex cel H otel Tokyu / IH J ( JK )

Sat 05 . 2 5 : Day 6A travel day focused on the vicinity of Tokyo( open breakfast) H otel Lobby @ 8 : 45 AM check-out travel to H achiojivisit H achioji-city Y ume Art Museum / Ex hibition: Introduction to Architect SAK AMOTO K az unari’ s Works ( curated by Tatsuo Iso)visit Tama Art University Library ( Toyo Ito, 2 007 )travel to Y okohama ( informal lunch)Y okohama Port Terminal ( F.O.A. 2 002 )Tower of Winds ( Toyo Ito)6: 00PM: depart Y okohama / travel to K yoto ( informal dinner in transit)hotel check-in and restAccommodation: The Westin Miyako, K yoto

Sun 05 . 2 6: Day 7Introduction to aesthetic sensibility of K yoto( open breakfast) H otel Lobby @ 9 AMvisit Ryoanji Temple visit Daitokuji Monasterythree Z en sub temples ( Ryogen-in, Z uiho-in, K oto-in)( informal lunch)visit Nishiki Market and Walk through Teramachi Arcade. Shop at K yukyo-do.stroll along Takasegawa, Pontocho / GionTimes Gallery ( Tadao Ando, 1 9 8 4)( group dinner @ 7 PM Ganko Takasegawa Nijoen 07 5 -2 2 3 - 3 45 6)Accommodation: The Westin Miyako, K yoto

Week 2

Mon 05 . 2 7 : Day 8A day focused on historic urban fabric( open breakfast) H otel Lobby @ 9 AM

De t a i l e d I t i n e r a r y

We e k 1

Su n 0 5 . 1 9 : Da y 0depart MSY , New Orleans

Mo n 0 5 . 2 0 : Da y 1arrive H aneda Airport ( H ND) , Tokyo @ 1 0: 2 0PMbrief travel to city center via monorail/ metrohotel check-in and restAccommodation: Akasaka Ex cel H otel Tokyu / IH J ( JK )

Tue 05 . 2 1 : Day 2Introduction to Tokyo / Japan( open breakfast) Tatsuo Iso Lecture @ 1 0: 00AM, conf. rm “ Miyabi” / Issues on Contemporary Japanese Architecture( informal lunch)ist rontof cetok o in kasaka

series of brief input lectures by Christian Dimmer, William Galloway, K oen K linkers & Erez Golani Solomon( group dinner @ 8 PM Do-z o - Akasaka B iz Tower B 1 05 0- 5 8 1 5 - 5 2 5 0)Accommodation: Akasaka Ex cel H otel Tokyu / IH J ( JK )

Wed 05 . 2 2 : Day 3A day focused on recent past - post WWII modernist architecture and Metabolism( open breakfast) H otel Lobby @ 9 AMwalk to Sogetsu K aikan ( K enz o Tange, 1 9 7 7 )visit Ryogoku Metropolitan Edo-Tokyo Museum ( K iyonori K ikutake, 1 9 9 2 )visit UenoTokyo National Museum Complex Metropolitan Festival H all, ( K unio Maekawa, 1 9 61 )Museum of Western Art, ( Le Corbusier 1 9 5 5 - 9 ) ( Annex , K unio Maekawa 1 9 7 9 ) AIA-T2 TOUR F2 .pdf * courtesy of Tomoaki Tanaka, Prof. Meiji Univ.( informal lunch)Gallery of H oryuji Treasures, ( Y oshio Taniguchi,1 9 9 9 )visit AsakusaAsakusa Culture and Tourism Center ( K engo K uma, 2 01 2 )Asakusa K aminarimon / Senso-ji TempleAsahi beer superdry-hall ( Phillipe Starck, 1 9 8 9 )Tokyo Skytree Tower ( Nikken Sekkei, 2 01 2 )B ack to the H otel( open dinner)Accommodation: Akasaka Ex cel H otel Tokyu / IH J ( JK )

Thu 05 . 2 3 : Day 4A day focused on large scale urban intervention( open breakfast) H otel Lobby @ 9 AMvisit Tsukiji ( Mt JK @ Tsukiji Shijo Station @ Oedo Line E-1 8 )

suki i sh arket Nakagin Capsule Tower ( K isho K urokawa, 1 9 7 2 )visit ShiodomeShiodome Sio-Site

( Skip in lieu of Y oyogi Statium Tour)Shiz uoka Newspaper bld ( K enz o Tange, visit MarunouchiTokyo international Forum ( Rafael Vinoly, 1 9 9 7 )

Imperial Palace Moat Walk ( Takebashi Station)The National Museum of Modern Art, Tokyo ( Y oshiro Taniguchi, 1 9 69 ) / Ex hibition: Design Project for the Tokyo 1 9 64 Olympic Games( informal lunch)visit Y oyogi ParkY oyogi Stadium Tour @ 1 : 3 0PMvisit Roppongi National Art Center ( K isho K urokawa, 2 007 ) / Ex hibition: California Design, 1 9 3 0 - 1 9 65 : “ Living in a Modern Way”GRIPS Roppongi campus ( Richard Rogers Partnership, 2 005 )Mori Tower Viewing Deck ( K PF, 2 003 )TV Asahi B roadcasting Center ( Fumihiko Maki, 2 003 )

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bus to Ginkaku-ji Templebus to Shisen-do( informal lunch @ Ichijo-ji Area)bus to K amigamo ShrineEx ploration/ Documentation K amigamo Preservation District for Groups of H istoric B uildingsbus to K itaoji Stationsubway to K yoto International Conference Center ( Sachio Otani, 1 9 66- 8 8 )Grand Prince H otel K yoto ( Togo Murano, 1 9 8 6) ( a drink at the bar as a group, open dinner)Accommodation: The Westin Miyako, K yoto

Tue 05 . 2 8 : Day 9A day focused on major historic architecture( open breakfast) H otel Lobby @ 9 AMsubway/ K eihan line to Shichijo StationSanjusangen-doK awai K anjiro’ s H ouse Museumwalk to K iyomiz u TempleK eihan line from K iyomiz u Gojo to Shijo Station( informal lunch @ H ankyu Department Store)walk to K arasuma Shijo, subway to Matsugasaki Station / K yoto Institute of Technology CampusProf. Akira Y oneda Lecture @ 3 : 3 0PM, 60th Anniversary H all 1 Fsubway to H igashiyama Stationwalk to National Museum of Modern Art K yoto ( Fumihiko Maki, 1 9 8 6) thru Gion DistrictMiyako Messe ( K iyoshi K awasaki, 1 9 9 6)K yoto-city concert hall ( K unio Maekawa, 1 9 60)H eian-jingu Shrine ( Chuta Ito, 1 8 9 5 )B iwako-sosui Memorial H all ( K iyoshi K awasaki, 1 9 8 9 )B iwako-sosui / InclineNanz en-ji Temple K asui-en hotel annex ( Togo Murano, 1 9 60)( open dinner)Accommodation: The Westin Miyako, K yoto

Wed 05 . 2 9 : Day 1 0A day focused on Machi-ya( open breakfast)H otel Lobby @ 8 : 45 AM - hotel check-out subway to K arasuma Oike station ( drop off luggage at coin locker @ Oike Station)K amz amachi Machiya Tour @ 1 0AMY asuhiro Uchida Lecture on Machiya and Urban Fabric of K yoto( informal lunch)retrieve luggage and Nishioshikoji-cho Machi-ya check-in @ 2 PM ( call Iori Co. Tel + 8 1 -7 5 - 3 5 2 -02 1 1 )ex plore Nishioshikoji-cho Machiya( open dinner)Accommodation: Nishioshikoji-cho Machiya

Thu 05 .3 0: Day 1 1A day focused on the vicinity of K yoto( open breakfast)Leave Machiya @ 9 AMvisit SaganoSagatorimoto Preservation District for Groups of H istoric B uildings Adashino-nenbutsujivisit K yoto Station( informal lunch)visit Fushimi Inari, via JR linevisit Osaka via ShinkansenUmeda Sky B uildingNight-out in Namba, Minami/ Dotonbori area( open dinner)Accommodation: Nishioshikoji-cho Machiya

Fri 05 .3 1 : Day 1 2A travel day focused on historic Nara( open breakfast)checkout Machiya @ 9 AMtravel to Uji ( 2 0 min)visit B yodo-in Phoenix H all / continue by travel to Nara & hotel check in around 1 2 PM

visit Nara Centennial H all ( Arata Isoz aki, 1 9 9 8 ) ( informal lunch)H otel Lobby at 1 PMvisit Todai-jiGreat South Gate and Dabutsu TempleNigatsu-do H allH okke-do ( Sangatsu) H all( dinner open)Accommodation: H otel Nikko Nara / Nara H otel ( JK )

Sat 06.01 : Day 1 3 A travel day - Seto inland sea and Shikoku Island( open breakfast)hotel check-out @ 8 : 45 AMtravel to K yoto and to Takamatsu( lunch during transit)H otel check in @ 1 PM Takamatsu Tokyu InnH otel lobby @ 1 : 3 0PMK agawa Prefectural Gymnasium ( K enz o Tange 1 9 64)3 : 00PM Isamu Noguchi Garden Museum

( Skip - no time)Sakaide City Urban Platform housing complex ( Masato Otaka 1 9 68 )Seto Inland Sea Folk-history Museum ( Tadashi Y amamoto 1 9 7 3 )

The Ritsurin Garden ( 1 62 5 -1 7 45 ) - open till 7 PMnal roup dinner,

Accommodation: Takamatsu Tokyu Inn

Sun 06.02 : Day 1 4The last day of organiz ed travel and dismissal( open breakfast)hotel check-out @ 8 : 00AM / drop off luggage @ JR Takamatsu Stationtake i-speed boat o oatin ter inal froa aka astu port to Miyanoura port, Naoshimatake 1 0: 08 AM town operated municipal bus ( 1 00yen) to Tsutsuji-sou take 1 0: 3 0AM B enesse Art Site free shuttle to Chichyu Art Museum ( Ando, 2 004)

Alternative 1( informal lunch @ the museum cafe)walk to Lee Ufan Museum ( Ando, 2 01 0)walk to B enesse H ouse Museum ( Ando, 1 9 9 6-2 006)walk back to Tsutsuji-soutake 2 : 2 9 PM town operated municipal bus ( 1 00yen) to Miyanoura port / Naoshima Ferry Terminal ( SANNA, 2 006)

Alternative 2take 1 1 : 3 5 AM B enesse Art Site free shuttle back to Tsutsuji-soutake 1 1 : 5 0AM town operated municipal bus ( 1 00yen) to Nokyo-mae Ex plore Art H ouse Projects( informal lunch)take 2 : 3 5 PM town operated municipal bus ( 1 00yen) from Nokyo-mae to Miyanoura port / Naoshima Ferry Terminal ( SANNA, 2 006)

travel back to Takamatsu port via 3 : 40PM H i-speed boat pick-up luggage @ Takamatsu Station and travel to Okayama via JR Dismissal @ 6PMContinue on to Tokyo and/ or your own destination ( dinner in transit)hotel check-in and restAccommodation: on your own ( will assist selection/ booking)

Sun 06.3 0: 1 000 words travel essay due as per the Japan Foundation req uirement* wait for the course weblog posting for details

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Sa m p l e Tr a ve l P h o t o s i n To kyo : K. Tsu b a ki

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Sa m p l e Tr a ve l P h o t o s i n Kyo t o K. Ts u b a ki

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“ At H i l l s i d e Te r r a c e , l o n g v i e w s p a s s t h r o u g h m u l t i p l e s p a t i a l b o u n d a r i e s c r e a t e d b y t o p o g r a p h y , s t a i r s , r o a d s , t r e e s , a n d l o w w a l l s . S e v e r a l p o s s i b l e l o o p s a r e o f f e r e d f o r p a s s a g e t h r o u g h t h e s i t e a n d b a c k t o t h e s t r e e t , a n d g l i m p s e s o f g r e e n e r y s e e n a r o u n d t h e c o r n e r a r e j u s t a s i m p o r t a n t a s f u l l y t r a n s p a r e n t v i e w s f o r s u g g e s t i n g a p a t h . ”

Fumihiko Maki, Nu r t u r i n g D r e a m s

While this project was intended to be an investigation of three urban-scale planned developments – Daitoku-ji monastery in K yoto, Fumihiko Maki ’ s H i l lside Terrace community in Tokyo, and one of New Orleans’ recent mi x ed income housing projects ( for ex ample, H armony Oaks) – i t seems that it would be more productive to compare the former two highly “ successful ” Japanese urban typologies with New Orleans’ own highly celebrated urban character, as opposed to its failures. Maki writes at length about the presence of “ inner space” in Japanese architecture at multiple scales, and draws an opposition between this and the European predilection toward establishing the heaviest or most pivotal point at the architectural center. The discussion of inner space, and the Maki q uote above, seem to suggest a strong tie with the New Orleanian ( Spanish? Creole? ) urban typology associated with the French Q uar ter.

B y drawing a comparison between the formal q ualit ies of these three ( more or less) neighborhood-scale projects, we can discuss how placemaking is accomplished following very dif ferent approaches – Daitoku-ji conforming to a traditional a x ial layout modif ied over centuries, H i l lside Terrace having a single author over the course of 2 5 years, and the French Q uar ter having no single author but conforming to a palette of historical building typologies that create dialogue through their relationships in urban space.

The par ticularit ies of this comparison should be teased out through a diagrammatic analysis of the three projects in both plan and section ( in the case of the French Q uar ter, taking a small sample of the neighborhood, either a four-block s q uare or the 9 -block s q uare encompassing Jackson Sq uare) . Modes of analysis should include depth of view, circulation /passage, physical and visual boundaries, a x is / symmetry, and enclosure.

This comparative study will not yield any groundbreaking results, but will be instructive in f inding commonalit ies across cultural urban forms. Maki writes in an essay on H i l lside Terrace and public space, “ One does not physically ex perience urban space by simply ga z ing at buildings or looking at them from above — space is ex perienced only through se q uential movement. Like music, movement in space can be a source of elemental joy, something to which one can give oneself up entirely.” Maki writes in multiple instances of the capacity for urban design to produce “ delight,” and that principle seems to have clear resonance in both the Z en monastery ( on an architectural and spir itual level ) and the French Q uar ter.

Studnt : L. H immel

Da i ka n - ya m a , To kyo

Da i t o ku - j i , Ryo g e n - i n su b - t e m p l e

Hi l l - si d e Te r r a ce An a l ysi s St u d e n t : E. Hi m m e l

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“ We c a n d i s c u s s h o w p l a c e m a k i n g i s a c c o m p l i s h e d f o l l o w i n g v e r y d i f f e r e n t a p p r o a c h e s : D a i t o k u - j i c o n f o r m i n g t o a t r a d i t i o n a l a x i a l l a y o u t m o d i f i e d o v e r c e n t u r i e s V S H i l l s i d e Te r r a c e h a v i n g a s i n g l e

a u t h o r o v e r t h e c o u r s e o f 2 5 y e a r s ”

Hi l l - si d e Te r r a ce BLD G In t e r i o r Co u r t ya r d Da i t o ku - j i , Ryo g e n - i n Su b - t e m p l e Ro ck- g a r d e n

Da i t o ku - j i , Ko t o - - i n su b - t e m p l e An a l ysi s

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M o n u m e n t a l b u i l d i n g s a r e o f t e n p l a c e d i n t h e l a n d s c a p e a s o b j e c t s t h a t a r e s e p a r a t e d f r o m t h e s u r r o u n d i n g c o n t e x t . T h i s e m p h a s i z e s t h e i m p o r t a n c e o f t h e b u i l d i n g , w h i c h n o r m a l l y h a s a h i s t o r i c , c i v i c , o r r e l i g i o u s v a l u e . B e c a u s e o f i t s p o s i t i o n i n t h e l a n d s c a p e , t h e p r o c e s s i o n t o a n o b j e c t b u i l d i n g i s v e r y i m p o r t a n t , n o r m a l l y u s i n g a p a t t e r n o f r e v e a l s a s o n e a p p r o a c h e s t h e b u i l d i n g . A n o t h e r c h a r a c t e r i s t i c o f t h e s e b u i l d i n g s i s h o w t h e y d i f f e r e n t i a t e t h e m s e l v e s f r o m t h e i r s u r r o u n d i n g s . T h i s c a n b e d o n e t h r o u g h m a n y t e c h n i q u e s s u c h a s b e i n g p h y s i c a l l y a p a r t f r o m t h e s u r r o u n d i n g o r h a v i n g a d i s t i n c t a n d u n u s u a l f o r m .

I w i l l b e c o m p a r i n g t h r e e ‘ o b j e c t b u i l d i n g s ’ b y a n a l y z i n g h o w t h e y f i t i n t o t h e i r l a n d s c a p e , w h a t f o r m t h e y t a k e , a n d w h a t i m p o r t a n c e t h e y h a v e i n t h e i r r e s p e c t i v e s o c i e t i e s . T h e f i r s t b u i l d i n g i s t h e N a t i o n a l Wo r l d Wa r I I M u s e u m l o c a t e d i n t h e N e w O r l e a n s CBD. T h e n e w d e s i g n , b y V o o r s a n g e r A r c h i t e c t s , i s b e i n g b u i l t i n p h a s e s t o e v e n t u a l l y h o l d 2 8 4 , 0 0 0 s q u a r e f e e t o f s p a c e . T h e m u s e u m i s t o b e a n a t i o n a l m o n u m e n t t o h o n o r t h e s o l d i e r s w h o f o u g h t i n WWII , g i v i n g t h e s i t e a n i m p l i e d h i s t o r i c s i g n i f i c a n c e . To m a k e t h e b u i l d i n g m o n u m e n t a l , t h e f o r m w a s d e s i g n e d t o c o n t r a s t t h e e x i s t i n g b u i l d i n g s . A l s o , t h e l a r g e c a n o p y o v e r t h e w h o l e s i t e i n c r e a s e s t h e s c a l e o f t h e p r o j e c t a n d i t s m o n u m e n t a l i t y . W h e n d r i v i n g o n I - 1 0 , o n e h a s a g l i m p s e o f t h e b u i l d i n g s , b e g i n n i n g t h e a p p r o a c h t o t h e m u s e u m .

T h e s e c o n d b u i l d i n g I w i l l b e l o o k i n g a t i s t h e E d o - To k y o M u s e u m i n R y o g o k u . S i m i l a r t o t h e N a t i o n a l WWII M u s e u m , t h e E d o - To k y o m u s e u m i s b a s e d i n h i s t o r i c s i g n i f i c a n c e b y h o u s i n g h i s t o r i c a l l y s i g n i f i c a n t i t e m s . T h e m u s e u m t e l l s t h e h i s t o r y o f To k y o d u r i n g t h e E d o p e r i o d . T h e b u i l d i n g , d e s i g n e d b y t h e J a p a n e s e m e t a b o l i s t a r c h i t e c t K i y o n o r i K i k u t a k e , g a i n s m o n u m e n t a l i t y w i t h i t s m a s s i v e s c a l e a n d i t s f o r m t h a t r a i s e s t h e b o d y o f t h e b u i l d i n g 5 0 f e e t i n t o t h e a i r . W h e n a p p r o a c h i n g t h e m u s e u m f r o m b e l o w , i t i s a l m o s t t o o m a s s i v e t o v i e w t h e e n t i r e b u i l d i n g . A t t h e p l a z a u n d e r n e a t h t h e b u i l d i n g s , t h e b u i l d i n g c h a n g e s f r o m b e i n g a n o b j e c t t o b e i n g a f r a m i n g d e v i c e o f t h e s u r r o u n d i n g n e i g h b o r h o o d .

L a s t l y , I l o o k a t G i n k a k u - j i , o r t h e S i l v e r P a v i l i o n , i n Ky o t o . T h e m a i n t e m p l e b u i l d i n g a n d t h e s u r r o u n d i n g l a n d s c a p e w e r e p l a n n e d h u n d r e d s o f y e a r s b e f o r e t h e p r e v i o u s l y d i s c u s s e d b u i l d i n g s . T h e e l a b o r a t e w o o d b u i l d i n g b e c o m e s t h e f o c u s p o i n t o f t h e t e m p l e ; h o w e v e r , t h e p u b l i c c a n n o t e n t e r t h e b u i l d i n g . T h e s t r u c t u r e i s a l w a y s s e e n a s a n o b j e c t i n i t s l a n d s c a p e a s y o u

m o v e a r o u n d t h e g a r d e n p a t h s t h a t f r a m e s p e c i f i c v i e w s . T h e p a t h w i n d s i t s w a y u p t h e h i l l s i d e t o a v i e w t h a t o v e r l o o k s t h e S i l v e r P a v i l i o n .

A l l t h r e e b u i l d i n g s h a v e a d i s t i n c t , o b j e c t - l i k e q u a l i t y t h a t i s s h o w n t h r o u g h t h e a p p r o a c h t o t h e b u i l d i n g , i n t e n t i o n a l o r n o t .

Student : L. K ovacevic

Ed o - To kyo M u se u m

Gi n ka ku - j i Te m p l e

WWII M u se u m , Ne w Or l e a n s An a l ysi s St u d e n t L. Ko va ce vi c

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Ed o - To kyo M u se u m An a l ysi s St u d e n t L. Ko va ce vi c

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Prior to the travel, we conducted two introductory lectures surveying Japanese architecture and taking a brief look at Japanese history and culture from the western perspective. The lectures were somewhat over simplif ied and bare bones in terms of the amount of information. H owever, the lectures proved to be q uite valuable as the successive lectures in Japan by our guests added the nuanced layers in conjunction with our travel ex perience, absorbing the surrounding contex t.

Our travel began on Monday, May 2 0th as we arr ived in H aneda aipor t and concluded in dismissal at JR Okyama station on the evening of Sunday, June 2 nd, two weeks later. The travel roughly breaks down into two main ( 5 days) segments and shor t connecting travel segments. The f irst main segment was based in Tokyo and its vicinity, ex ploring the issues facing contemporary Japan and its development. We kicked of f this segment with the lecture on the development of post World War II Japanese architecture by Tatsuo Iso, a well known architectural journalist and a history theory instructor at K uahara Design Institute and Musashino Ar t University. Professor Iso clearly laid out the key cathar tic events in Japan that shaped the architectural trends and the design thinking of the signif icant architects up to the 1 9 9 0 ’ s period of the economic bubble. This was followed by the ensemble of lectures by the par tners of front of f ice Tokyo, Christian Dimmer ( Assistant Professor, The University of Tokyo) , William Galloway ( Assistant Professor, K eio University) and Erez Golani Solomon ( Assistant Professor, Waseda University) regarding the present issues in Japanese architecture and contemporary culture, especially af ter 3 .1 1 disaster ear th q uake and tsunami. The combination of lectures was a par ticularly power ful beginning. Professor Iso provided the overview of the post WWII architectural scene from the Japanese perspective, complimented by the ongoing view of the ex patr iate westerner architects practicing in the post-bubble Japanese economy. Students were clued into the fact that not everything is the way it seems, and were encouraged to see beyond the sur face and their preconceptions. The day to day it inerary of the building tour roughly coordinated with the architectural trends discussed in Professor Iso’ s lecture, heightening the relationship between perception and reality.

The second main segment was based in K yoto and its vicinity, ex ploring the traditional and vernacular Japanese architecture tracing the contemporary esthetic sensibility back in history. It was also a pedagogical setup for students to deliberately compare New Orleans, their native environment. The Intention was to re-contex tuali z e the new ex periences into a useful concept in the future. Some of the physical parallels of the urban environment ( c limate, presence of the r iver, conf iguration of the vernacular housing types, culinary tradition etc.) are a great prop, an oppor tunity for developing crit ical disposition. H ere, we began our tour with peaceful visits to famous Z en gardens and a leisurely evening group dinner on traditional “ Y uka” along the K amo river, slowing down the tempo of observation. Akira Y oneda ( Associate Professor, K yoto Institute of Technology) provided the background for the techni q ues on traditional Japanese garden design and its relation to the concept of “ Japan as an island nation” with his uni q ue, provocative lecture. We visited signif icant cultural heritage sites such as K iyomi z u Temple, Sanjusangen-do and K amigamo Preservation Distr ict to observe the implication on architectural scale and urban tex ture. We then concluded the segment with one of the highlights of the entire travel by spending two nights in a beautifully restored and renovated K yo-machiya internali z ing the phenomenal ex periences. Y asuhiro Uchida, a local architecture who speciali z es in restoration / renovation of K yo-machiya, delivered a lecture heightening our appreciation for this wonder ful oppor tunity.

We made the most out of our connecting travel segments as well. En route to K yoto, we visited H achi-oji to see the Japanese architect K a z unari Sakamoto’ s wonder ful carr ier survey ex hibit ion curated by Professor Iso. We visited Prit z ker Pri z e winner Toyo Ito’ s library at Tama Ar t University, and then made our way to Y okohama Por t Terminal, the Foreign Of f ice Architect ’ s competit ion winner that is very popular with architecture students. On our way out of K yoto, we visited Fushimi Inari, Osaka, Nara, across the Seto inland sea to Takamatsu, where we visited Isamu Nogichi Garden Museum. The museum is a former studio residence of the late sculptor Isamu Noguchi whose life straddled both Japan and US, another relevant oppor tunity to contemplate the nuanced reality between the cultures. We then concluded our guided travel with a visit to Naoshima Island, f i l led with ex periential ar t housed in architect Tadao Ando’ s ex q uisite architecture.

Students were then free to ex plore on their own, putting their knowledge and communication skills to the test. Most stayed for an additional week or more, adding another layer to the wonder ful ex perience they had over the course in this magical and complex country called Japan

left arrati e account for the nal report including the major activities and academic-oriented lectures during the stay in Japan.

( below) Innitial grant roposal

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ADGM609 SU1 0 ADVANCED DIGITAL MEDIA / JAPAN STUDY AB ROAD 2 01 0

URBAN MORPHOLOGY OF KY OTO AND NEW ORLEANS

The goal of this study abroad studio is to re-contex tuali z e the familiar by dislocating to the unfamiliar. K yoto is a city steeped in tradition and cultural heritage outside of the typical western society. H owever it is comparable in many ways to the city of New Orleans. B oth cities possess an ex tremely rich cultural heritage and urban fabric. The striking historical, contex tual, environmental and cultural parallels / contrasts between the two will be a potent source for in q uiry and knowledge.

This course is designed to aid the in q uiry by providing student with analytical tools, methods and references for r igorous architectural comparison of traditional and modern urban residential buildings. The project will consist of 2 -D, 3 D graphic representations and research tex ts comparing / contrasting urban residential buildings in New Orleans and K yoto.

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Im a g i n a r y Th r e e - d i m e n si o n a l M a p p i n g Di a g r a m sSt u d e n t : J. Fl a x

Im a g i n a r y Th r e e - d i m e n si o n a l M a p p i n g Di a g r a m sSt u d e n t : Z . Ka u f f m a n

S p a t i a l D i a g r a m A n a l y s i s f u r t h e r r e v e a l s t h e u n c o n s c i o u s a n d / o r a c c i d e n t a l s p a t i a l a g e n d a f o u n d t h r o u g h t h e w h i t e o u t a n a l y s i s i n t h e

p h o t o g r a p h i c s e q u e n c e p l a t e s . S p a t i a l s t r u c t u r e i s f u r t h e r r e d u c e d d o w n t o p o i n t s , l i n e s , p l a n e s c o l o r s a n d t e x t s .

Im a g i n a r y Th r e e - d i m e n si o n a l M a p p i n g Di a g r a m sSt u d e n t : S. Be r g e r

Sp a t i a l Di a g r a m An a l ysi s St u d e n t : S. Be r g e r

Sp a t i a l Di a g r a m An a l ysi s St u d e n t : R. M i l l e r

Sp a t i a l Di a g r a m An a l ysi s St u d e n t : Z . Ka u f f m a n

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ATCS 63 3 0 FA1 1 TECH NOLOGICAL SY STEMS SEMINAR / ROME STUDY AB ROAD 2 01 1

TECTONICS OF ANISOTROPIC MATERIAL PROPERTIES

“ S o E i n s t e i n w a s w r o n g w h e n h e s a i d , “ G o d d o e s n o t p l a y d i c e . ” C o n s i d e r a t i o n o f b l a c k h o l e s s u g g e s t s , n o t o n l y t h a t G o d d o e s p l a y d i c e , b u t t h a t h e s o m e t i m e s c o n f u s e s u s b y t h r o w i n g t h e m w h e r e t h e y c a n ’ t b e s e e n . ”Nature of Space and Time, Stephen H awking and Roger Penrose, p. 2 6

a n i s o t r o p i c |anˌīsəˈtrōpik, -ˈträpik|adjective Physics( of an object or substance) having a physical proper ty that has a dif ferent value when measured in dif ferent directions. A simple ex ample is wood, which is stronger along the grain than across it.

Steel and glass; the two isotropic materials dominated the building construction of the post WWII era and def ined the tectonics of modern architecture. This is a no coincidence as “isotropic-ness” lends itself to the quantif iable and predictable material behavior, minimi z ing the risk inherent in the design and construction of an architectural scale object. H owever, none of the predominant construction materials prior to the modern era were isotropic. Wood, masonry, concrete all possess anisotropic ( or thotropic) proper ty. Tectonic characteristics of the earlier buildings rose out of and developed through the necessity to compensate and in some cases, take advantage of these less predictable material behavior.

This seminar focuses on the tectonic characteristics of the building and their historical development through the lens of anisotropic material proper ties. Our research goal is to gain insight into how the visual intention and the material ex ecution are reconciled through the design and construction process, informing the tectonics of the building as a whole. We will also speculate on how the recent technological development in digital fabrication and scripting can inf luence the tectonic potential of these materials. Rich architectural heritage of Rome is a per fect backdrop and an ideal resource for such endeavor.

Co l o sse u m ( l e f t ) a n d Da i t o ku - j i Te m p l e Ga t e d e t a i l ( r i g h t ) P h o t o : K. Tsu b a ki

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AXONOMETRIC DETAIL

DIAGRAM STACKING VARIATION

AXONOMETRIC

GARRETT DIEBOLD

SECTION

ELEVATION SCALE: 1” = 1’

SCALE: 1” = 1’

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CONNECTION 1 REINFORCED

CONNECTION 2 CONNECTION 3

RENDERED VIEW 2

Ecce n t r i c M a so n r y Un i t s St u d e n t : K. Ta yl o r

Ecce n t r i c M a so n r y Un i t s St u d e n t : V . Sm i t h - To r r e s

Ecce n t r i c M a so n r y Un i t s St u d e n t : G. Di e b o l d

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2 8 T H NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS

ECCENTRIC MASONRY UNITS: SUSTAINING THE TECHNOLOGICAL IMAGINATION ABROAD

“ O n e ’ s d e s t i n a t i o n i s n e v e r a p l a c e , b u t r a t h e r a n e w w a y o f l o o k i n g a t t h i n g s . ”

M i l l e r , H . ( 1 9 5 7 ) . f r o m B i g S u r a n d t h e O r a n g e s o f H i e r o n y m u s B o s c h

Tr a v e l i n g a b r o a d h a s a l w a y s b e e n c o n s i d e r e d a s i g n i f i c a n t p a r t o f t h e a r c h i t e c t u r a l e d u c a t i o n . T h e G r a n d To u r , f o r e x a m p l e , h a s b e e n t h e r i t e o f p a s s a g e f o r a r c h i t e c t u r e s t u d e n t s u p o n g r a d u a t i o n f o r g e n e r a t i o n s . R e c e n t g l o b a l i z a t i o n o f t h e p r o f e s s i o n p l a c e s a p r e m i u m o n a n i n d i v i d u a l i n t e r n a t i o n a l e x p e r i e n c e . To g a i n t h e e d g e i n t h e j o b m a r k e t , o p p o r t u n i t i e s f o r r o b u s t f o r e i g n e x p e r i e n c e s a r e e v e r m o r e p o p u l a r a m o n g s t s t u d e n t s . I n s t i t u t i o n s a r e u n d e r p r e s s u r e t o f i l l t h e d e m a n d b y a d d i n g s t u d y a b r o a d p r o g r a m s t o c o m p e t e f o r q u a l i t y s t u d e n t s . H o w e v e r , a f u l l s e m e s t e r p r o g r a m a w a y f r o m h o m e p o s e s u n i q u e p r o b l e m s f o r t h e a r c h i t e c t u r e c u r r i c u l u m . O f f e r i n g t e c h n o l o g y c o u r s e s r e l e v a n t f o r t h e p l a c e a n d t i m e i s o f t e n a c h a l l e n g e . H o w c a n w e e n c o u r a g e s t u d e n t s t o b e i n v e n t i v e i n t e c h n o l o g y c o u r s e s ? H o w c a n w e t a k e a d v a n t a g e o f t h e u n i q u e f o r e i g n c o n t e x t t h e s t u d e n t s a r e i n t r o d u c e d t o ? T h i s p a p e r f o c u s e s o n o p p o r t u n i t i e s p r e s e n t i n t h e s t u d y a b r o a d p r o g r a m f o r a r c h i t e c t u r a l t e c h n o l o g y c o u r s e s . I t t o u c h e s u p o n t h e s t u d y a b r o a d p e d a g o g y a n d d i s c u s s e s t h e s p e c i f i c t e a c h i n g m e t h o d o l o g i e s a n d t h e r e s u l t s f r o m t h e Te c h n o l o g i c a l S y s t e m s s e m i n a r t h e a u t h o r t a u g h t i n R o m e i n t h e f a l l o f 2 0 1 1 .

END OF / IN TH E B EGINNING: REALI Z ING TH E SUSTAINAB LE IMAGINATION

TH E 2 8 T H NATIONAL CONFERENCE ON TH E B EGINNING DESIGN STUDENT PROCEEDINGS. JODI LA COE, ED AND CH AIR.

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Eccentric Masonry Units: sustaining the technological imagination abroad Kentaro Tsubaki

Tulane University School of Architecture

Introduction

I do not aspire much to travel. I prefer a deep understanding of a familiar environment where efficient and effective execution of routine activities can take place. Recently I’ve had a few opportunities to participate in study abroad programs. First, in Japan during the summer of 2010 and second, in Rome during the fall of 2011. These opportunities prompted me to question why study abroad experiences are so valued and how effective the study abroad programs are in forming architectural knowledge.

In Japan where I grew up, traveling abroad is generally considered as leisure, an indication of ones social status not as an essential educational activity. In the western culture however, travel abroad has always been considered a significant part of the education. The idea of the Grand Tour, for example, has been the rite of passage for architecture students upon graduation for generations.

Globalization of the architecture profession places a premium on an individual international experience.1 To gain the edge in the job market, opportunities for robust foreign experiences are ever more popular amongst students. Institutions are under pressure to fill the demand by adding study abroad programs to compete for quality students.

However, a full semester program away from home poses unique problems in the curriculum. Full semester (15 credits) study abroad programs must provide an equivalent of what’s offered in the home campus. Technology course inevitably becomes part of this, especially when accommodating accelerated curriculums such as a 3.5year M.ARCH I program.

Making technology courses to be relevant for the place and time is a challenge. Unlike the discipline of history or language, the basic scientific contents of the technical course are often contemporary and none-site or context specific.

How can technology courses take advantage of the unique foreign context the students are introduced to? How can we be innovative in offering a technology course relevant to the contemporary practice and encourage students to be inventive?

The intent of this paper is to identify opportunities present in the study abroad program for architectural technology courses. It touches upon the study abroad pedagogy and speculate on the teaching methodologies. The outcome of the technological systems seminar the author taught in Rome in the fall of 2011 will be referenced for this purpose.

Virtue of Study Abroad

"It is odd because I studied abroad to learn; to

learn facts, statistics, and to gain knowledge. But instead I came away realizing more about myself than anything else. I realize more my intellectual interests, more my ability to communicate, and, once more, my place in the world. I realize how much I can depend on myself and how much I

need to depend on others. If I had the chance, I would do the trip all over again. It broadened in every sense my idea of the world.”

- Anonymous student quote2

What is the true value of the study abroad in

education?

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Above remark can be considered as a typical student response to the experience of study abroad program. It is about an increased self-understanding from an individual’s perspective.

Great! However, is this enough? Doesn’t any travel broaden one’s horizon and independence of mind, more or less?

In order for “study abroad” to truly be a valuable educational experience, it must allow students to move beyond the realm of “increased self-

knowledge.” It ought to form “a new body of knowledge.” It needs to foster an intellectual ability to relate complex cross-cultural and/or disciplinary issues from multiple perspectives into a cohesive whole.

Culture-shock and Nostalgia

"Traveling makes men wiser but less happy. When men of sober age travel, they gather knowledge which may apply usefully for their country; but they are subject ever after to recollections mixed with regret; their affections are weakened by

being extended over more objects; and they learn new habits which cannot be gratified when they return home.”

From Thomas Jefferson’s letter to Peter Carr.3

There are two key concepts identifying the significant opportunities for meaningful learning

to take place in the study abroad program; the idea of culture-shock and the idea of nostalgia, working concurrently as discussed in an article, “Learning Outside the Home Culture: An Anatomy and Ecology of Memory” by Brian J. Whalen.4

Dislocation from home disrupts the comfort and the continuity of daily life. It demands a suspension of the familiar behavior and requires temporary restructuring of views in order to function in the new and unfamiliar context. The

associated psychological strain is what is commonly referred to as “culture-shock.” It destabilizes the existing habits, an opening for

change. It creates an opportunity to instill new learning habits in students. Many educators equate the culture-shock to the notion of a cross-cultural learning experience. However, if the

opportunity is not consciously coordinated with specific body of knowledge, it tends to stay within the realm of students’ increased self-understanding as mentioned before, not much beyond.

The other fundamental effect of dislocation is a

psychological phenomenon known as nostalgia. The Jefferson’s unhappiness quoted above is what is referred to as “the second nostalgia,” a form of melancholy towards the foreign country he left behind upon return to home.

If the culture shock is a response to a new external environment, nostalgia is a response to an internal one; an overwhelming attachment to the memory of the place and experience one has left behind. Although nostalgia can have debilitating effects, it often is an invaluable part

of learning in another culture. Overcoming nostalgia is to re-evaluate and re-establish the past memory of experiences relative to the ones you are forming in the new environment. In other words, this ability to compare and integrate “the past” to make sense of “the present” allows

students to move toward the formation of the new body of knowledge.

Eccentric Masonry Units

How do we take advantage of these unique

psychological conditions the students are exposed to in the study abroad setting? What is

the appropriate methodology particular to the architectural technology course taught in the foreign context? The “Eccentric Masonry Units,” a six-week, mini technology seminar was designed for the fourth semester M. Arch I. graduate

students enrolled in Tulane School of Architecture study abroad in Rome program.

The tectonic characteristics of the Roman structures emerged from the an-isotropic

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properties of the construction materials, stone, brick and concrete. Many important historical, technological and cultural studies in this area are also available as resources, making it ideal for a

seminar topic relevant to the context.5 The special consideration was given to concrete in particular, to exploit the aforementioned potential effect of dislocation, cultural-shock and nostalgia. Concrete is simultaneously a modern, common technology the students have physical

familiarity with as well as an ancient, uniquely Roman material many Roman structures relied on.

Two distinct modes of investigation were employed: the theoretical and the experimental.

The theoretical examined the past, the technical evolution of the masonry construction through seminar style readings and discussions. The study emphasized not only the structural theory on Roman arches, domes and vaults but also, the evolution of construction techniques such as

false-work and lifting devices to build and to augment the indeterminate characteristics of such structures.

Figure 1. Adjustable stone weighted rope device for electing vaults without fixed centering (left)

and rotating cranes and other devices for lifting loads (right). 6

It also attempts to juxtapose the “the familiar” technology of concrete block construction from the home country onto “the unfamiliar context” of the ancient Rome. For instance the article

“Stone for the Masses: Concrete Block in the Early Twentieth Century” by Pamela Simpson discusses the wide spread use of hollow concrete block machines by individuals to manufacture rock-

face CMUs, a uniquely American phenomena in the early 20th century. Buildings made of these imitation stones still dots the landscape of the mid-west making it a rich and complex technological and cultural counterpoint to stone masonry of Rome.

Figure 2. The Sears Robebuck Wizard concrete-block Machine (left) and the rock-face CMU August Kuhlman House, 1908, lower Delores Valley, Colorado (right).7

The experimental gaged the future. It explored the potential for innovation in the masonry construction, an attempt to project the ancient technology forward. Students were pushed to “invent” an eccentric masonry unit system and investigate their tectonic potential through

design. This approach is psychologically analogous to a culture-shock in the context of technology education where systematic application the accumulated knowledge is the norm. Evolution of the design paralleled the topic discussed in the seminar. It challenged students

to deal with technological issues unfamiliar and uncomfortable by contemplating on the technology of the past and the familiar.

See Figure 3,4,5,6 and the detailed captions for the evolution of the outcomes.

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ECCENTRIC MASONRY UNITS

Figure 3. Units with Eccentricity (Taylor, K.) Questioning the norm, the first exercise asks students to invent a

CMU typology that cannot be easily deciphered as a pattern when stacked. Due to the nature of the eccentricity, units may not able to extend infinitely. In such case, students were asked to investigate at what point it will begin to fail

Figure 4. Units with Span (Fishman, J.) Roman structural ingenuity is attributed to the systemic use of masonry arches to span and create habitable voids. The second exercise is to explore the capacity of the eccentric

masonry units to span minimum of 3' as a collective system.

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Figure 5. Units with Reinforcing (Diebold, G.) Roman masonry structures are indeterminate, redundant structure system contrary to the notion that the masonry arches and domes are in pure compression. In fact, both, classic as well as contemporary masonry structures are reinforced in one way or another with

secondary materials. The third and final exercise is to identify the structural weakness in your spanning masonry structure and consider ways to compensate by introducing another appropriate material.

Figure 6. Units with Scale/Context (Smith-Torres, V.) The environment surrounding the students sustained the two modes of investigation, stimulating their imagination. It allowed students to contemplate on how it was

done in the past and how it can be done in the future at once.

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Conclusion

“The training is not that they know how to make a zero-energy building. Or that they know how to manipulate a BIM model. The training is that they

know how to see things laterally and simultaneously.”

Renée Cheng’s interview with Markku Allison8

Study abroad displaces the students from the familiar. It takes away their creature comforts, making them venerable to changes. This state of

mind also makes it a unique opportunity to open their eyes and encourage to think outside the box. The technological systems seminar discussed here tried its best to take advantage of the study abroad program and dared students to dream

of an invention with the ultimate educational goal; to foster an intellectual ability to relate complex cross-cultural and/or disciplinary issues from multiple perspectives into a cohesive whole. In other words, “to see things laterally and simultaneously.”

Notes

1 "While it is impossible to accurately estimate the increased number of international commissions, an indication of the increased globalization of architecture can be found in the cumulative number of branch offices opened in different global regions. Since the fall of the Berlin Wall in 1989 these have increased by from less than 20 to more than 150.”

Adam, Robert. “Globalization and Architecture,” The Architectural Review 223. 1332 (Feb 2008): 74-77.

2 Ingraham, E & Peterson, D. “Assessing the Impact of Study Abroad on Student Learning at Michigan State University.” Frontiers, Volume X, (Fall 2004): 83-100

3 Brandt Anthony ed. Thomas Jefferson travels: selected writings 1784-1789, Washington D.C.: The National Geographic Society, 2006.

4 Whalen, Brian J. “Learning Outside the Home Culture: An Anatomy and Ecology of Memory,” Frontiers, Volume II, (Fall 1996)

5 Texts used in this seminar as follows:

Homer-Dixon, Thomas F. “Keystone in Time.” The Upside of Down: Catastrophe, Creativity, and the Renewal of

Civilization. Washington: Island Press, 2006.

Simpson, Pamela H. “Stone for the Masses Concrete Block in the Early Twentieth Century.” Cheap, Quick, & Easy: Imitative Architectural Materials, 1870-1930. Knoxville : University of Tennessee Press, 1999.

Taylor, Rabun M. “Structure Aesthetics, Structural Innovation in Design.” Roman builders: a study in architectural process. Cambridge, U.K. ; New York : Cambridge University Press, 2003.

Robert Mark and Paul Hutchinson. “On the Structure of Roman Pantheon.” The Art Bulletin, Vol. 68, No. 1, Mar., 1986: 24-34.

M.ª Ángeles Utrero Agudo. “Reinforcement in Early Medieval Hispanic Architecture” Dunkeld, Malcolm, ed. Proceedings of the Second International Congress on Construction History: 3431-3445

Fitchen, John. “Falsework and Lifting Devices” Building Construction Before Mechanization. Cambridge, Mass. :MIT Press, 1986.

6 Illustrations of adjustable stone weighted rope device for electing vaults without fixed centering, Fitchen, John. “Falsework and Lifting Devices” Building Construction Before Mechanization and early rotating

cranes and Illustrations of other devices for raising or moving loads from Diderot and d’Alembert, reproduced in Antoine Moles, Histoire des charpentiers, Paris, Gründ: 1949. Fig.155, p.146.

7 Image of the Sears Robebuck Wizard concrete-block Machine (left) and Image of the rock-face CMU August Kuhlman House, 1908, lower Delores Valley, Colorado. Simpson, Both from Pamela H. “Stone for the Masses Concrete Block in the Early Twentieth Century.” Cheap, Quick, & Easy: Imitative Architectural Materials, 1870-1930. Knoxville : University of Tennessee Press, 1999. Fig 3. p15, fig 4, p16.

8 AIA Pod Net on integrative education. Transcribed by Randy Deutsch. http://architects2zebras.com/2010/05/21/the-last-architect/, accessed on 05.06.12.

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DSGN41 00FA1 1 OPTION STUDIO ( 1 / 2 SEMESTER) / ROME STUDY AB ROAD 2 01 1

COLLECTIV E PALIMPSEST: INTERPRETING THE STRATA OF A ROMAN PIAZ Z A

“ I n t h e c e n t e r o f a v e r y l a r g e c i t y , . . . . , t h e s t r e e t i n t h e m i d d l e o f t h e t o w n w a n t s t o b e a b u i l d i n g ; i t d o e s n o t w a n t t o b e j u s t a s t r e e t , a n d t h a t i s r e a l i z a t i o n . I f y o u t h i n k o f i t o n l y a s a s t r e e t , t h e n i t n e v e r c a n o c c u r t o y o u t h a t t h e c o n s t r u c t i o n o f i t i s a n y t h i n g b u t a l e f t o v e r t h i n g i n w h i c h y o u u s e t h e m e a n e s t w a y s o f m a k i n g i t , b e c a u s e y o u w i l l n o t s e e i t .

B u t i f y o u t h i n k o f i t a s b e i n g t h a t w h i c h i t r e a l l y w a n t s t o b e a n d t h a t i s a b u i l d i n g y o u w i l l n o t h a v e t o d i g i t u p e v e r y t i m e a p i p e g o e s b a d . Y o u w i l l h a v e a p l a c e f o r t h e s e t h i n g s . Y o u w i l l h a v e a p l a c e f o r w a l k i n g u n d e r , y o u w i l l h a v e a p l a c e f o r o t h e r t h i n g s , a n d i t w i l l o c c u r t o y o u w h a t t h i s b u i l d i n g i s w h i c h i s c a l l e d a s t r e e t , a n d t h e n y o u w i l l r e a l i z e t h a t y o u a r e a c t u a l l y w a l k i n g o n o r r i d i n g o n t h e r o o f o f t h i s b u i l d i n g . T h a t i s a v e r y i m p o r t a n t t h i n g t o r e a l i z e a b o u t a s t r e e t i n t h e m i d d l e o f a t o w n , b e c a u s e i t i s r e a l l y a c o n t o u r , i t i s r e a l l y a l e v e l , a n d i t r e a l l y i s a b u i l d i n g . ”Louis K ahn

E x cerpts from Talk at the Otter lo Congress, Louis K ahn Essential Tex ts.

E x perience of living in Rome reveals the city as both, a bustling contemporary metropolis and a collection of historic monuments forming a dense urban fabric. The f irst ( 8 ) weeks of your study abroad semester will focus on the understanding of urban morphology as a collective palimpsest of physical and socio-temporal spatial entity. Roman pia z z as are one of the most celebrated ex amples of public space. They are historic architectural landmarks that adapts and transforms spectacularly with the hybrid of present-day uses. Y ou will begin by ex amine the strata of Roman pia z z as as formal and spatial constructs that provide the stage set for an array of social-temporal activities. Y ou will then, propose an architectural intervention to transform the pia z z a of your choice, accommodating a specif ic event based on your observation, analysis and interpretations.

* STUDIO CO-INSTRUCTORS: K ENTARO TSUB A K ITIFFANY LIN ( ROME PROGRAM DIRECTOR)

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ISTU601 FA1 0 INDEPENDENT STUDIES

SHIFTING SCALE

Directed ( 2 ) graduate students, Eva Lynch and Sarah Rinehart on their architectural ex perimentations, Shif ting Scale. Each student independently ex plored the potential and boundaries of or thographic drawings in relation to physical objects in various scales. B oth developed a set of projective drawing strategies notating phenomena beyond the geometric description. Eva’ s project, Cast Oscillation culminated in temporal mi x ed media installation in an independent ar t gallery at 8 2 0 Austerlit z as well as lecture and ex hibit at TSA.

MARCH 28 – APRIL 19, 2011 TULANE SCHOOL OF ARCHITECTURE

Analytical Drawings to Capture Ephemeral

Qualit

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E V A LY N C H : Cas t Osc i l la t ion

Ca st Osci l l a t i o n Exh i b i t i o n P o st ca r d ( De si g n : Le i g h Wi l ke r so n )

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Cast Oscillation (E. Lynch)!"#$% !"#$% !"#$%

Ca st Osci l l a t i o n St u d e n t : Eva Lyn ch

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DSGN3 2 0 SP1 0/ 1 1 COMPREH ENSIVE DESIGN STUDIO

PERFORMANCE OF A BUILDING ENV ELOPE

Comprehensiveness is of ten misunderstood as a laundry list of multiple criteria. The success is typically measured in terms of how many per formance criteria you have complied with and integrated into the project as a whole.

This studio takes an alternative approach. It regards the comprehensiveness not as a simple check list. Rather, as a result of the negotiation between various layers of ideas. The conf licts amongst these ideas and criteria are the source of the individual creativity. Thus, the success of the project is measured in terms of how these multiple ideas and per formance criteria are woven into one another to create a cohesive whole, not as an relentless pursuit of singular idea.

The studio follows the general course assignments and structure as def ined in the course syllabus. H owever it is overlaid with incremental assignments specif ically tailored to the goal of this studio. It begins with the ex amination of building precedents assigned by the co-re q uisite Integrated Technology II course. Through a generative process, the precedents are transformed into a “ Light Filtering Device.” The phenomenal q ualities of individual devices are ex amined and become the conceptual catalysts ( design intent) for the communal projects ( Louisiana Civil Rights Museum, Fall 2 01 0 / The Andy Warhol Foundation, Fall, 2 01 1 .) The design details of the building envelope are developed as a conseq uence of the constant “ negotiation” between the design intent and the technical re q uirements.

Li g h t Fi l t e r i n g De vi ce St u d e n t s: K. De La cy ( r i g h t ) W. Ro se n t h a l ( l e f t )

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Lo u i si a n a Ci vi l Ri g h t s M u se u m St u d e n t : W. Ro se n t h a l

“ I s e n s e i g h t a s t h e g i v e r o f a l l p r e s e n c e s , a n d m a t e r i a l s a s s p e n t l i g h t ” L o u i s K a h n , S i l e n c e a n d L i g h t I

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Th e An d y Wa r h o l Fo u n d a t i o n Se ct i o n De t a i l s St u d e n t : M . Ka h n

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“ B u t i n t e r m s o f a n e x p e r i e n c e , t h a t g r a c e i s t o g i v e i t t i m e s o t h a t i t d o e s n o t h a v e t o b e a n i m p a c t p i e c e t h a t i s s e e n a n d b e h e l d w i t h o n e g l a n c e . I w a n t s o m e t h i n g t o g r o w

o n u s . S o t h a t i t b e g i n s t o r e a l i s e i t s e l f s l o w l y , n o t a l l a t o n c e . ” J a m e s Tu r r e l l , A r t M i n i m a l & C o n c e p t u a l O n l y

Th e An d y Wa r h o l Fo u n d a t i o n St u d e n t : K. De La cy

Lo u i si a n a Ci vi l Ri g h t s M u se u m St u d e n t : J. Ga u g l e r

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DSGN2 1 0 FA1 0 GRADUATE DESIGN STUDIO

PERFORMANCE OF SPACE, STRUCTURE AND FORM NEW ORLEANS FILM ARCHIV E

The graduate level beginning design studio ( M. Arch I. 3 -1 / 2 year) aims to ex amine the complex nature of the building per formance through focused iteration, cultivating student awareness to the temporal-spatial ( phenomenal) q uality of a physical construct as they develop technical prof iciency in the design process.

The studio begins with a discourse on architectural diagrams as a generative tool. Series of space/ form generating and skill forming ex ercises accompany the discourse, culminating in the construction of “ Light Receiving Device.” Plaster casting is introduced as a critical method of making in order to highlight the importance of the two-dimensional drawings as a cognitive design tool for making. Plaster-cast devices accompanied by the process drawings and the observational “ Light Drawings” culminated in an impromptu ex hibition at the Favrot Lobby during the TSA advisory board meeting in October of 2 01 0.

The phenomenal q uality of the individual devices became a conceptual catalyst for the “ New Orleans Film Archive” located in the Warehouse District, an urban inf ill project of modest complex ity. The per formance of the design was interrogated through the interplay of light, shade and shadow analogous to the Light Receiving Device, as it is crucial to the perception of space, structure, form and function of the building.

Ne w Or l e a n s Fi l m Ar ch i ve M o d e l St u d e n t : J. M o r g a n st e i n Fa vr o t Lo b b y Exh i b i t

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Re n d e r e d ( sh a d e a n d sh a d o w - g r a p h i t e ) u n f o l d e d p l a n / se ct i o n - e l e va t i o n d r a w i n g s St u d e n t : V . Sm i t h - To r r e s

Li g h t Dr a w i n g s a n d P l a st e r - ca st Li g h t Re ce i vi n g De vi ce St u d e n t s: V . Sm i t h - To r r e s ( a b o ve ) A. Ash e r m a n ( b e l o w )

“ I w a n t t o e m p h a s i z e t h e s e n s e o f t i m e a n d t o c r e a t e c o m p o s i t i o n s i n w h i c h a f e e l i n g o f t r a n s i e n c e o r t h e p a s s i n g o f t i m e i s a p a r t o f t h e s p a t i a l e x p e r i e n c e . ”

Ta d a o A n d o , “ F r o m t h e P e r i p h e r y o f A r c h i t e c t u r e ”

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Li g h t Re ce i vi n g De vi ce - Ge n e r a t i ve Di a g r a m s St u d e n t : G. Di e b o l d

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Ne w Or l e a n s Fi l m Ar c h i ve M o d e l s a n d Dr a w i n g s St u d e n t : N. Sa cko s

“ P h o t o g r a p h y i s t r u t h . T h e c i n e m a i s t r u t h t w e n t y - f o u r t i m e s p e r s e c o n d . ”J e a n - L u c G o d a r d

Ne w Or l e a n s Fi l m Ar c h i ve M o d e l s a n d Dr a w i n g s St u d e n t : V . Le u n g

Ne w Or l e a n s Fi l m Ar c h i ve M o d e l s a n d Dr a w i n g s St u d e n t : A. Ash e r m a n

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DSGN210: Graduate Architecture Design StudioPerformance of Space, Structure and Form

Benesse House / Ando Photo: Tsubaki©

Course Information: Name: Architecture Design Studio (Graduate Level)Number: DSGN210Narrative: Urban and landscape conditions form the frame-work for second year studio projects. Development of con-ceptual intentions are emphasized, building on the foundation of first year. Context serves as a driving factor in a schemes early development and position.Prerequisite: DSGN120Credits: (6) semester credit hoursMeeting Place: RMEM TBDMeeting Time: MWF 01:00-05:00 PM

Instructor Information: Name: Kentaro Tsubaki, RA., Assistant ProfessorOffice: RMEM120Office Hours: TR Noon -1:00PM (other times by appointment only)Office Phone: 504-314-2345 E-mail address: ktsubaki@tulane.eduCourse Website: http://www.ktstudiokt.net/KT_Studio_KT/+Courses.html

Introduction:"Nature in the form of water, light, and sky restores architecture from a metaphysical to an earthly plane and gives life to architecture. A concern for the relationship between architecture and nature inevitably leads to a concern for the temporal context of architecture. I want to emphasize the sense of time and to create compositions in which a feeling of transience or the passing of time is a part of the spatial experience." Tadao Ando, “From the Periphery of Architecture”

performance |pəәrˈfôrməәns|, noun1. an act of staging or presenting a play, concert, or other form of entertainment2. the action or process of carrying out or accomplishing an action, task, or function

A building performance is not simply a technical predictability of its structural and environmental behavior or an aesthetic legibility of the design ideas. It is an action, an ingenious response to various internal and external forces as they seek equilibrium through time.

Recent technological obsessions in architecture fueled by the proliferation of sophisticated structural, environmental and visual computer simulations re-ignited the interest in building performance. However, the current trend tends to limit its potential by merely re-affirming the old functionalist thinking, predicting the predictable, to justify the space, structure and form. A good musical performance has an element of surprise, an unexpected experience, as it is an intuitive, improvised response to the audience and to the context. So is the performance of a building. This studio aims to examine the complex nature of building performance through focused iteration, cultivating student awareness to the temporal-spatial (phenomenal) quality of a physical construct as they develop technical proficiency in the design process. This semester, our focus will be on the space, structure and form in relation to the performance of light in the urban context.

The First Phase of the studio (duration: 5 weeks) will begin with a discourse on architectural diagrams as a generative tool. Series of space/form generating and skill forming exercises will accompany the discourse, culminating in the construction of “Light Receiving Device.” The observational records of its phenomenal performance will be documented and appreciated as “Light Drawings.” A series of analytical diagrams of the device will accompany the drawings, establishing the conceptual foundation for the next phase of the studio.

The Second Phase of the studio (duration: 10 weeks) will be an urban infill project of modest complexity. We will engage in the design of a mixed-use building in New Orleans, Warehouse District. In particular, the performance of building as a “Light Receiving Device” will be examined, as the

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interplay of light and shadow is a crucial to the perception of space, structure, form and function of the building.

This studio will require an extensive use of both, traditional form of drafting/modeling as well as digital modeling. Sketch-Up will not be accepted. The interface and data structure does not lend itself for a precision modeling. It is not suitable for a sophisticated design exploration and fabrication required in this studio. You must be willing to learn and use one of the following 3D software; Form Z, Bonzai-3D, 3D-Max or Rhino. Basic skills on Adobe Suite (Illustrator & Photoshop) will also be required. “Performance” is an empirical process of improvisation and adjustment through trial and error, a self-discovery process. “Student Performance” in the studio is also evaluated as such. Disciplined, self-directed recovery from a spectacular error is valued over mediocre success merely following the instructions. Expected Learning Outcomes: Student will be able to:• observe and analyze various scales of construction in

relation to the cultural setting.• identify the interrelationship among various architec-

tonic ordering characteristics from diverse sources• develop circulatory systems through sectional spatial

relationshipsThese outcomes will be demonstrated through diagrams, collages, physical and digital models of various scales, or-thographic drawings, axonometric drawings and perspectival renderings as well as concise written / verbal presentations.

Computer: Students are required to provide and maintain their own lap-top computers for use during the class. See the college web-site for minimum specifications. Technical difficulties, viruses, crashes, server and print bureau problems, or corrupted files will not be accepted as legitimate excuses. ALL WORK SHOULD BE CONTINUOUSLY SAVED AND REGULARLY BACKED UP.

Equipments / Software / Materials: Digital Camera w/ minimum of (5) mega-pixel resolution. 2D drafting 3D modeling software: AutoCad, Rhino.2D graphics software: Adobe Creative Suite (Photoshop, Il-lustrator, Acrobat, etc.)Rolls of white or yellow trace Basic model-making materials and tools as needed.

Digital Portfolio: Digital files (images, drawings, photographs of physical con-structs and presentations as well as computer models) will be submitted according to specified formats at designated times throughout the semester. Files must be uploaded to the des-ignated course folder on the public server; ftp.arch.tulane.edu

Readings and Articles:Will be assigned throughout the semester and posted on the course website.

Environmental Responsibility: Aerosol paints, spray glues or fixatives, etc. must not be used inside the building. Violators will FAIL the course.

Attendance Policy: Students are responsible for attending class. All absences must be reported to the course instructor; the only excused absences are those for reasons of health or crisis, and must be justified with written documentation. Unexcused absences could reduce a student’s course grade, as will late arrivals or early departures from class. Three consecu-tive absences or four nonconsecutive absences will, in nor-mal circumstances, mean that the instructor may give a WF grade to the student. For further details, refer to the aca-demic policies on Tulane School of Architecture website at: http://architecture.tulane.edu/students/academic-policies

Academic IntegrityTulane University values student self-governance and the development of a strong ethical foundation. The Honor Code is a central element of the University’s identity. All academic work must be the result of the student's own efforts, except when collaboration has been explicitly allowed. Any student behavior that has the effect of interfering with education, pur-suit of knowledge, or fair evaluation of a student's perform-ance is considered a violation and will be prosecuted through the procedure outlined in the Honor Code. For further details, refer to the Honor Code on the Tulane University website at: http://www.tulane.edu/~jruscher/dept/Honor.Code.html

Civility in the Classroom:All individuals and/or groups of the Tulane University com-munity are expected to speak and act with scrupulous re-spect for the human dignity of others, both within the class-room and outside it, in social and recreational as well as academic activities. By accepting admission to Tulane Uni-versity, a student accepts its regulations and acknowledges the right of the University to take disciplinary action, including suspension or expulsion, for conduct judged unsatisfactory or disruptive. For further information, refer to the code of stu-den t conduc t on Tu lane Un ive rs i t y webs i t e a t : http://studentconduct.tulane.edu/

ADA Statement: It is the policy and practice of Tulane University to comply with the Americans with Disabilities Act (Pub. L. No. 101-336), Section 504 of the Rehabilitation Act of 1973 (Pub. L. No. 93-112, § 504, as amended), and state and local re-quirements regarding individuals with disabilities. Students who seek accommodation are responsible for registering their disabilities with the Office of Disability Services (ODS) at the Center for Educational Resources and Counseling, re-questing the specific accommodations they may need and providing adequate documentation that substantiates their disabilities and shows the need for the requested accommo-dations. For further details, refer to the Overview of Accom-modations Procedures for Students with Disabilities on the Tulane University website at: http://www.tulane.edu/~erc/disability/AccOverview.htm

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Grading/Evaluation: Evaluation of student performance is based upon daily studio process as well as the product. Improvements and growth are the keys. The instructor will conduct his/her expert as-sessment on student performance following each major stage of the semester. Note that this is not a mathematically quanti-fiable assessment. It is based on the experienced judgment of student work. The following general criteria will be consid-ered: (1) strength of idea; (2) articulation and development; (3) technical competency, clarity, and craft; (4) concise verbal/written presentation; (5) passion, commitment, dedica-tion and work ethic. All requirements and deadlines must be met in a timely manner. There will be no extensions to due dates. Late or incomplete work will result in a substantial re-duction of the semester grade defined as follows:A (excellent) exceptional performance; exceeding the re-

quirements of the course, showing strong academic initiative and independent resourcefulness.B (good) performance above the norm; accurate and com-plete; beyond the minimum requirements of the course; work demonstrates marked progress and initiative.C (average) satisfactory work that adequately meets mini-mum requirements and demonstrates satisfactory compre-hension, communication skills, and effort; demonstrates little initiative to investigate the problem without substantial prod-ding of the instructor; work shows little improvement.D (inferior) unsatisfactorily meets minimum requirements; demonstrates minimum comprehension, communication skills, and effort at an inferior level; initiative lacking; im-provement not noticeable.F (failing) does not meet minimum requirements; fails to adequately demonstrate comprehension, communication skills, and effort.

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ATCS210 FA10 Course Calendar (subject to change/adjustment: Updated 8/31/10)Meeting Date Agenda TSA Events

Week 18/23 Student Design Competition - Move in to Studio Classes begin

1 8/25 Meet for Studio Introduction @ 1:00PM - 2:00PM8/27 Student Design Competition Due @ 5:00PM

Week 22 8/30 Phase I: Light Receiving Device3 9/1 Phase I: Light Receiving Device Pinup 1 @4054 9/3 Phase I: Light Receiving Device Pinup 2 @404

Week 39/6 No Class Labor Day Holiday

5 9/8 Phase I: Light Receiving Device Pinup 3 @4056 9/10 Phase I: Light Receiving Device Pinup 4 @South Lobby

Week 47 9/13 Phase I: Light Receiving Device Pinup 5 @4058 9/15 Phase I: Light Receiving Device Pinup 6 @North Lobby9 9/17 Phase I: Light Receiving Device Pinup 7 @South Lobby

Week 5

10 9/20 Phase I: Light Receiving Device Pinup 8 @404(Undergrad Project I Intermediate Review)

11 9/22 (Undergrad Project I Intermediate Review)12 9/24 Last day to drop w/o record

Week 613 9/27 Phase I: Light Receiving Device Pinup 9 @40514 9/2915 10/1

Week 716 10/4 Phase I: Light Receiving Device Final Review @South Lobby17 10/6 Phase II: Multi-purpose, Urban Infill Project 18 10/8

Week 8

19 10/11 Phase II: Multi-purpose, Urban Infill Project Pinup 1 @405(Undergrad Project I Final Review)

20 10/13 Phase II: Multi-purpose, Urban Infill Project Pinup 2 @404(Undergrad Project I Final Review)

10/15 No Class Fall BreakWeek 9

21 10/18 Phase II: Multi-purpose, Urban Infill Project Pinup 3 @40422 10/2023 10/22

Week 1024 10/25 Phase II: Multi-purpose, Urban Infill Project Pinup 4 @405 Last day to drop25 10/2726 10/29

Week 1127 11/1 Phase II: Multi-purpose, Urban Infill Project Mid Review @South Lobby28 11/329 11/5

Week 1230 11/8 (Undergrad Project II Intermediate Review)31 11/10 (Undergrad Project II Intermediate Review)32 11/12

Week 1333 11/15 Phase II: Multi-purpose, Urban Infill Project Pinup 5 @40434 11/1735 11/19

Week 1436 11/22 Phase II: Multi-purpose, Urban Infill Project Pinup Mock Final Review @405

11/24 No Class Thanksgiving Holiday11/26 No Class Thanksgiving Holiday

Week 1537 11/2938 12/139 12/3 Last Studio Meeting Last day of class

Week 16Final Reviews / Exam Week

Week 1712/12 Digital Portfolio Due for Evaluation12/13 Studio Walk Through12/15 Studio Cleanup Last day of Exam week12/17 Grades Due

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DSGN1 2 00 SU1 2 / 1 3 WK 5 + 6: GRADUATE ARCH ITECTURE STUDIO

FORM, SPACE, MATERIALITY AND PERFORMANCE OF LIGHT

“ N a t u r e i n t h e f o r m o f w a t e r , l i g h t , a n d s k y r e s t o r e s a r c h i t e c t u r e f r o m a m e t a p h y s i c a l t o a n e a r t h l y p l a n e a n d g i v e s l i f e t o a r c h i t e c t u r e . A c o n c e r n f o r t h e r e l a t i o n s h i p b e t w e e n a r c h i t e c t u r e a n d n a t u r e i n e v i t a b l y l e a d s t o a c o n c e r n f o r t h e t e m p o r a l c o n t e x t o f a r c h i t e c t u r e . I w a n t t o e m p h a s i z e t h e s e n s e o f t i m e a n d t o c r e a t e c o m p o s i t i o n s i n w h i c h a f e e l i n g o f t r a n s i e n c e o r t h e p a s s i n g o f t i m e i s a p a r t o f t h e s p a t i a l e x p e r i e n c e . ” Tadao Ando, From the Periphery of Architecture.

A building performance is not simply a technical predictability of its structural and environmental behavior or an aesthetic legibility of the design ideas. It is an action, an ingenious response to various internal and ex ternal forces as they seek eq uilibrium through time. Recent technological obsessions fueled by the proliferation of sophisticated structural, environmental and visual computer simulations re-ignited the interest in building performance. H owever, the current trend tends to limit its potential by merely re-aff irming the old functionalist thinking, predicting the predictable. A good musical performance has an element of surprise, an unex pected ex perience, as it is an intuitive, improvised response to the audience and to the contex t. So is the performance of a building.

This segment of the summer studio aims to ex amine the complex nature of performance through focused iteration, cultivating student awareness to the temporal-spatial ( phenomenal) q uality of a physical construct as they develop technical proficiency in the design process.

Our focus will be on the tectonic transformation of form and space in relation to the materiality and making. We will begin with a discourse on “ drawing” as a projective tool, accompanied by a series of skill forming analytical ex ercises. Construction of “ Light Receiving Device” will follow as a synthesis of the stereotomic / tectonic transformation and the observational record of its phenomenal performance will be captured and internali z ed through “ Light Drawings.”

The outcome will consist of ex q uisitely crafted architectural artifacts complemented by a series of process diagrams and drawings, establishing the conceptual foundation for the future iteration.Studio Instructor: K entaro Tsubaki Media Instructors: Michael Gruber / Thaddeus Z arse TA: Marielle Asenjo / Eliz abeth Davis

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Te ct o n i c Tr a n sf o r m a t i o n o f Li g h t Re ce i vi n g De vi ceSt u d e n t : E. Hi m m e l

Li g h t Dr a w i n g St u d e n t : E. Hi m m e l

T h i s s e g m e n t o f t h e s u m m e r s t u d i o a i m s t o e x a m i n e t h e c o m p l e x n a t u r e o f p e r f o r m a n c e t h r o u g h f o c u s e d i t e r a t i o n , c u l t i v a t i n g s t u d e n t a w a r e n e s s t o t h e t e m p o r a l - s p a t i a l ( p h e n o m e n a l )

q u a l i t y o f a p h y s i c a l c o n s t r u c t a s t h e y d e v e l o p t e c h n i c a l p r o f i c i e n c y i n t h e d e s i g n p r o c e s s .

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Fo c u s i s o n t h e t e c t o n i c t r a n s f o r m a t i o n o f f o r m a n d s p a c e i n r e l a t i o n t o t h e m a t e r i a l i t y a n d m a k i n g .

Te ct o n i c Tr a n sf o r m a t i o n o f Li g h t Re ce i vi n g De vi ceSt u d e n t : C. Le a ve n g o o d - Bo xe r

Te ct o n i c Tr a n sf o r m a t i o n o f Li g h t Re ce i vi n g De vi ceSt u d e n t : S. Hu r t

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Th e o u t c o m e w i l l c o n s i s t o f e x q u i s i t e l y c r a f t e d a r c h i t e c t u r a l a r t i f a c t s c o m p l e m e n t e d b y a s e r i e s o f p r o c e s s d i a g r a m s a n d d r a w i n g s , e s t a b l i s h i n g t h e c o n c e p t u a l f o u n d a t i o n f o r t h e f u t u r e i t e r a t i o n .

Analytical Transformation of Significant PrecedentsSt u d e n t s: M . Tu n g ( a b o ve , ) A. Cr o f t ( b e l o w )

Analytical Transformation of Significant PrecedentsSt u d e n t s: J. Ta u b e

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DSGN42 00/ 61 00 SP1 4 ADVANCED STUDIO ELECTIVE V IRTUE OF INDETERMINACY AND CONTAMINATION IN URBAN ARCHITECTURE

This studio will aim to ex amine this seemingly contradictory role architecture plays in the large urban contex t by leveraging par ticipation in the Urban Land Institutes’ s ( ULI) Gerald D. H ines Student Urban Design Competition. This competition is the Institutes’ s ongoing ef for t to raise interest among young professionals in creating better communities, improving development patterns and increasing awareness for multidisciplinary solutions to development and design challenges in our cities. The f irst two weeks of the semester will be dedicated to design preparation and submission for the competition in conjunction /collaboration with the MSRED students led by Professor Chris Calotte and LSU Landscape Architecture students led by Professor Eli z abeth Mossop. It provides the opportunity for architecture students to become ac q uainted with the Proforma driven, pragmatic and “ secure” approach to urban design, a per fect ! backdrop in ex ploring the architecture’ s aesthetic potential. This studio will aim to ex amine this seemingly contradictory role architecture plays in the large urban contex t by leveraging par ticipation in the Urban Land Institutes’ s ( ULI) Gerald D. H ines Student Urban Design Competition. This competition is the Institutes’ s ongoing ef for t to raise interest among young professionals in creating better communities, improving development patterns and increasing awareness for multidisciplinary solutions to development and design challenges in our cities. The f irst two weeks of the semester will be dedicated to design preparation and submission for the competition in conjunction / collaboration.

ULI Ur b a n De si g n Co m p e t i t i o n Bo a r d s St u d e n t Te a m : A. Ri ch e , J. La ze r e , A. De sh o t e l ( TSA) S. Li n , V . Ni g a m ( LSU)

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Fr e e l a n ce / / M a ke r Cu l t u r e : ce l e b r a t i n g t h e r e ce ssi o n co u n t e r cu l t u r e .St u d e n t : A. De sh o t e l

H o w d o y o u s u p p o r t t h e F r e e l a n c e / / M a k e r C u l t u r e m o v e m e n t t h r o u g h a n U r b a n D e v e l o p m e n t ?H o w d o y o u c e l e b r a t e t h e d i v e r s e c o n d i t i o n s t h a t e x i s t e d i n t h e 1 9 t h c e n t u r y c i t y f a b r i c ?

T h i s p r o p o s a l w i l l f i g h t t h e l u x u r y d o w n t o w n d e v e l o p m e n t m o v e m e n t . I t s t r i v e t o f o s t e r a v i b r a n t , p r o d u c t i v e a n d d i v e r s e c o m m u n i t y a n d t o p r o v i d e d e v e l o p m e n t g u i d e l i n e f o r f u t u r e e x p a n s i o n

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FREESTYLE BMX

1) HIGH MOBILITY

medium strength jump ( )

allows for level change

low strength jump (from platform) ( )

allows for level change + trick

FREESTYLE BMX

SKATEBOARDING

low strength jump ( )

allows for minor level change

medium strength jump ( )

allows for level change + tricking

riding and performing tricks while on a skateboard.

level change( )

allows for level change + tricking

a form of acrobatics performed with skates. athletes go above the coping and perform

spins and flips. can be practiced informally in the urban environment.

VERT SKATING

medium strength jump ( )

allows for level change

high strength jump ( )

allows for level change and spin

PARKOUR

using only your body andurban obstales to move yourself from point A to point B as quickly as possible

freerunning(somersault component)

parkour

Th e c o m b i n a t i o n o f t h e s c h o o l p r o g r a m w i t h a n ‘ u r b a n / e x t r e m e s p o r t s ’ f a c i l i t y e n c o u r a g e s s t u d e n t s t o e x e r c i s e i n a m o r e d y n a m i c w a y – a n d i n a w a y t h a t c a n b e

p r a c t i c e d i n t h e u r b a n e n v i r o n m e n t .

De si g n e d t o M o ve ( n a sh vi l l e ) St u d e n t : K. Al l e n

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V IRTUE OF INDETERM INACY AND CONTAM INATION IN URBAN ARCHITECTURE

Th e s e a l l e y s p r o v i d e c o m m u n a l s p a c e f o r r e s i d e n t s o f t h e e n t i r e b l o c k a s w e l l a s t o t h e p u b l i c a t l a r g e , m a k i n g t h e m a l r e a d y s u i t e d t o a c u l t u r e o f c o l l a b o r a t i v e c o n s u m p t i o n .

“ Al l e y Sh a r e ” St u d e n t : J. La ze r e

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TULANE-IB M SMART B UILDING SOLUTIONS

1 0TH ANNUAL TULANE ENGINEERING FORUM

3 D SCANNER ASSESSMENT REPORT

4TH ANNUAL ACSA CONCRETE TH INK ING COMPETITION

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TULANE - IBM SMART BUILDING SOLUTIONS RICHARDSON MEMORIAL HALL PILOT PROJ ECT

This pilot project is a genuine collaboration between Tulane University and I B M that aims to optimi z e the energy use of Richardson Memorial H all by developing and implementing a “ smart ” data system over the ex isting building infrastructure. B y tapping into the building management system and utility metering, the system harvests previously disregarded real-time data and displays them intelligently. B asic infrastructure anomalies will be immediately recogni z ed. Complex problematic symptoms will be diagnosed through a series of algorithms, analy z ing multiple data. A work order if re q uired will be automatically issued and tracked to keep the building infrastructure in good working order with the minimum downtime from eq uipment failures and maintenance. The system also aggregates the data and makes them accessible in a useful manner to anyone interested. For instance, energy cost and consumption trends can be displayed in conjunction with the indoor thermal and the outdoor weather data in desired time aggregation. It fosters an informed and intelligent decision on the operation of the building infrastructure, increasing the thermal comfor t and conserving energy simultaneously. Finally, the system transforms Richardson Memorial H all into a cutting edge teaching laboratory. Our educational aspiration is to instill students with an innate understanding of thermal comfor t and human behavior through f irst hand ex perience, a critical mission for architecture schools in the 2 1 st century as we face the serious issue of global warming.

PROJECT MANAGER REPRESENTING TULANE’ S INTEREST IN EVALUATING TH E POTENTIAL FOR UNIVERSIT Y -WIDE B IG-DATA APPROACH TO B UILDING SY STEMS MANAGEMENT

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The system displays energy cost and consumption trends in conjunction with the indoor thermal and the outdoor weather data in desired time aggregation. It fosters an informed and intelligent

decision on the operation of the building infrastructure, increasing the thermal comfor t and conserving energy.

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1 0 TH ANNUAL TULANE ENGINEERING FORUM

Co-chaired two architecture themed panel sessions ex ploring the nex us of ar t, architecture and engineering for the 2 01 0 Tulane Engineering Forum, an annual event hosted by the engineering alumni and the School of Science and Engineering. Secured ( 3 ) out of state distinguished guest panelists in the f ield and moderated one of the sessions.

MEMB ER OF TH E FORUM COMMITTEE AND ARCH ITECTURE TRACK SESSIONS CO-CH AIR

Gr o t t o P r o j e ct : M e t a l a b Eco Ce r a m i c En ve l o p e Syst e m : CASE

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9/28/10 9:08 PM2010 Tulane Engineering Forum - Program

Page 2 of 4http://tef.tulane.edu/program/

Charles Parish (TBC)

The Huey Long Bridge ExpansionDave Kanger, PE, Senior Structural Engineer, and BruceE. Peterson, PE, Senior Associate, Modjeski and Masters,Inc.

Stay Cable Replacement for the Luling Bridge Floodand the corp's LACPRArmin B. Mehrabi, PhD, PE, President, Bridge EngineeringSolutions, PC

Natural Gas, Liquified Natural Gas and OilRusty Braziel, Managing Director, Bentek Energy

Nuclear EnergyMichael G. Anness, Manager of Advanced Reactors,Westinghouse Electric Co.

Global Renewable Options (past, present, future)Bryan Hannegan, PhD, Vice President, Environment andRenewables, EPRI Global Renewables

Session C - Trends in Chemical & PetrochemicalProcessing

Co-chairs: John C. Prindle, Jr. PhD, PE Tulane School ofScience and Engineering and Franz Vogt, PE Rain CIICarbon

Implementation of PSM into Diverse CorporateCulturesHarry J. Glidden, Independent Consultant DeliveryResource, DuPont Safety Resources

Adapting in a Changing EnvironmentGabby Dipp, Production Supervisor, Refining EastOperations, Motiva; Jennie Najolia, Coker/ReformingOperations Support Engineer, Motiva; and Marc Budinich,Controls Systems Manager, Motiva

Using Six Sigma "Lean" for Process ImprovementsDan Charles, Process Engineer, Rain CII Carbon

Session D - Emerging Technologies and Materials inArchitectural Practice

Co-chairs: Kentaro Tsubaki, RA Tulane School ofArchiteture; Douglas Meffert, D Env, MBATulane Centerfor Bioenvironmental Research and Michael Blum, PhD,Tulane Department of Ecology and Evolutionary Biology

Energy and Urban Metabolism - Demonstrations ofSustainable Architecture and Climate ChangeMitigationZ Smith PhD, AIA LEED AP, Architect,Eskew+Dumez+Ripple

Bio-analytic Digital Design Strategies for the BuiltEcology: High Performance Masonry EnvelopeSystemsJason Oliver Vollen RA, Associate Professor, Researcher,Rensselaer Polytechnic Institute, Case Center forArchitecture, Science and Ecology

Biomorphic Design Enabled by Parametric Softwareand Digital Fabrication: New Harmony GrottoJoe Meppelink, Adjunct Assistant Professor and Directorof Applied Research, Principal Partner, METALABArchitecture + Fabrication, University of Houston Collegeof Architecture and Andrew Vrana, AIA, Visiting AssistantProfessor and Research Assistant Professor, PrincipalPartner, METALAB Architecture + Fabrication, Universityof Houston College of Architecture

Session E: Aerospace

Co-chairs: Mark A. McCandless, Lockheed Martin SpaceSystems Company and Eric Enright, Lockheed MartinSpace Systems Company

Stennis Space Center's A3 Test StandLionel "Lonnie" J. Dutreix PE, A3 Altitude Test FacilityProject Manager, NASA

LM Advanced Welding at Michoud Assembly FacilityRandy Brown, Large Metallic Structures Senior Manager,Program Management and Advanced Technology,Lockheed Martin Space Systems Company

Orion Crew CapsuleWes Geiman, Lockheed Martin Space Systems Company

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3 D SCANNER ASSESSMENT REPORT

Volunteered to research and evaluate various 3 D scanner options as a potential technology purchase for the school for the 2 00 9 - 2 01 0 academic year. The research and the tr ial evaluation repor t culminated in the successful procurement of Creaform REVscan 3 D scanner.

TRIAL EVALUATION AND RECOMMENDATION ON 3 D SCANNING TECH NOLOGY FOR 2 00 9 -1 0 TSA TECH NOLOGY PURCH ASE

REV UP YOUR SCANNING POWER!

RE

Vsc

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Ne xt En g i n e Sca n n e r Cr e a f o r m REV sca n

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3 D SCANNER

Assessment: Nextengine 3D Scanner

Report: October 26th 2009Prepared by: Kentaro Tsubaki, R.A. Asst. Prof. Architecture, TSA

Introduction:

This report seek to asses the overall performance of Nextengine 3D scanner in order to determine whether the scanner can manage the general uses at Tulane School of Architecture.

The goal is to make a recommendation whether to keep or to return the scanner. This decision must be made by 10/29/09 if we are to return the scanner. The item was ordered on 9/29/09 through the University Purchase De-partment and arrived in the afternoon of 10/08/09.

Procedures:

Three items of various sizes were scanned.

a)Ceramic “Unit” approximate dim: 3”x3”x7” b) Student Study Model approximate dim: 2”x4”x12”c) Fabric cast hydrocal panel approximate dim: 3”x10”x22”

Item a) was scanned on the self-rotating carousel provided with the scanner on macro setting - (6) consecutive scans for (360) degree scan. Duration of the scan was (15) minutesItem b) was scanned on the self-rotating carousel provided with the scanner on wide setting - (12) consecutive scans for (360) degree scan.Item c) was scanned w/o the self-rotating carousel (was not feasible due to size and weight) - (3) consecutive scans for (180) degree scan.

Results:

Item a) Duration of the scans were (15) minutes. Post production to manually align Post production to manually align the first (2) scans were (5) minutes. However, took approximately (60) minutes to figure out how the align-ment process works. The rest of the scan were auto aligned. Completeness of the scan is approximately (80)%. This is partially due to the fact that the top and the bottom has yet to be scanned. Fairly complete good quality scan.

Assessment: Nextengine 3D Scanner Report 09-1026

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Item b) Duration of the scans were (28) minutes. Post production to manually align the first (2) scans were (5) minutes. The rest of the scan were auto aligned. Completeness of the scan is approximately (80)% of the section we were able to scan. We would need to change the setting and conduct a (360) degree scans at least one more time to cover the missing portions. We were able to use the auto align feature in the software due to the fact that the item was on the carousel and that we have rough scanned the same item (exactly at the same position) prior to calibrate the carousel. When scanning a complex shaped surfaces, this is an important feature to reduce the post processing time. However this feature only works with the calibrated carousel. If the object is larger or too heavy to be place on the carousel you will have to align the multiple scans manually which adds to the post pro-duction time.

Assessment: Nextengine 3D Scanner Report 09-1026

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Item c) Duration of the scans were (15) minutes. Post production to manually align the (3) scans were (10) min-utes. Completeness of the scan is approximately (60)%. It will probably require (6) or more scans from different direction to get the necessary point clouds to achieve (80 - 90) percent completeness. I would estimate it will take (30) minutes to do (6) scans and additional (60) minutes to align the scans.

Conclusions and recommendations:

From the limited number of tests conducted above, we can draw following general conclusions:

1) Nextengine 3D scanner is suited to scan object of relatively simple geometry (ideally convex shape) with lim-ited size and weight appropriate to fit on the provided carousel. When properly calibrated, the scanner auto aligns multiple scans to complete the surface.

2) Nextengine 3D scanner is not suited to scan objects with complex surface geometry. This is a fundamental en-gineering issue with any stationary positioned scanner. The surface condition where the emitted laser line (the profile of the object) becomes invisible (in the shadow casted by the surface upfront) from the sensor camera re-sults in the dropped data, a hole in the surface. In order to correct this problem, multiple scans from different di-rections will be necessary.

3.) Nextengine 3D scanner is not suited to scan large or heavy objects that cannot be placed on the carousel. Larger objects require a manual alignment of partial scans. If the object has a complex surface, each portion re-quire multiple scans and the process becomes particularly cumbersome.

Further studies are needed to see how the completeness of the scan can be improved. However, We can conclu-sively state that Nextengine 3D scanner lacks the robustness for the general use in the architecture school due to above issues especially considering that it will be used by the students. The operation software is relativity simple for scanning. However the post production process to align, trim, fuse and patch the scanned data requires a steeper learning curve. It is a concern particularly because it will require some major post processing to get a use-ful surface model out of the scanner.

Self-positioning 3D scanner by Creaform which do not require an external tracking device (such as the carousel in this case) will eliminate these issues all together and will clearly be a superior choice for this purpose.

Assessment: Nextengine 3D Scanner Report 09-1026

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THE 4TH ANNUAL ACSA CONCRETE THINKING FOR A SUSTAINABLE WORLD, INTERNATIONAL STUDENT DESIGN COMPETITION

Invited to served as a juror for the 4th annual ACSA Concrete Thinking for a Sustainable World, International Student Design Competition. The program was intended to challenge students to investigate an innovative application of Por tland cement-based materials to achieve sustainable design objectives. I reviewed over 60 entries and contributed to the discussion and delivery process of the winning submission.

INVITED JUROR FOR AN INTERNATIONAL STUDENT DESIGN COMPETITION

INTRODUCTION The Association of Collegiate Schools of Architecture (ACSA) is pleased to announce the fourth annual CONCRETE THINKING FOR A SUSTAINABLE WORLD, International Student Design Competition. Administered by ACSA and sponsored by the Portland Cement Association (PCA) & the National Ready Mixed Concrete Association, the program is intended to challenge students, working individually or in teams, to investigate an innovative application of portland cement-based materials to achieve sustainable design objectives.

OPPORTUNITY This fourth annual Concrete Thinking For A Sustainable World competition offers two separate entry categories, each without site restrictions, for maximum flexibility.

CATEGORY I TRANSIT HUB Design an environmentally responsible Public Transportation Center focusing on architectural innovations to preserve tomorrow’s resources.

CATEGORY II BUILDING ELEMENT Design a single element of a building that provides a sustainable solution to real-world environmental challenges.

CONCRE TETHINKING FOR A SUSTAINABLE WORLDA 2008-09 INTERNATIONAL STUDENT DESIGN COMPETITION

NEW ONLINE SUBMISSIONS

On e o f t h e h o n o r a b l e m e n t i o n sch e m e s i n Bu i l d i n g El e m e n t Ca t e g o r y

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7/25/09 5:58 PMPCA - Newsroom | 2009 "Concrete Thinking for a Sustainable World" Student Design Competition Winners Announced PCA - Newsroom

Page 1 of 2http://www.cement.org/newsroom/2009_Winners.asp

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June 26, 2009

For more information, contactPatti Flesher

847.972.9136www.cement.org/newsroom

2009 "Concrete Thinking for a Sustainable World" Student

Design Competition Winners Announced

SKOKIE, Ill. — The Association of Collegiate Schools of Architecture (ACSA) is pleased to

announce the winners of the fourth annual CONCRETE THINKING FOR A SUSTAINABLE

WORLD, International Student Design Competition, administered by ACSA and sponsored by

the Portland Cement Association (PCA) and the National Ready Mixed Concrete Association

(NRMCA).

The program challenged students to investigate an innovative application of portland cement-

based materials to achieve sustainable design objectives. The competition offered two

separate entry categories, each without site restrictions, for maximum flexibility.

This year more than 300 students from 55 architecture schools around the world

participated. Students either designed an environmentally responsible public transportation

center focusing on architectural innovations to preserve tomorrow’s resources or created a

single element of a building that provides a sustainable solution to real-world environmental

challenges.

“We applaud these students for coming up with such innovative submissions and pushing the

boundaries of concrete in green building,” said David Shepherd, AIA, LEED AP, and PCA’s

director of sustainable development. “Concrete’s durability and versatility make it an ideal

building material for sustainable design. This competition clearly illustrates its many

applications.”

Winning students, their faculty sponsors and schools will receive cash prizes and software

totaling nearly $50,000. Included in the prize package is StructurePoint©, concrete design

software, a retail value of nearly $10,000.

Prize-winning projects will be displayed at the 2010 ACSA Annual Meeting in New Orleans

and at the 2010 American Institute of Architects Convention in Miami. In addition, the

projects will be published on an online competition summary Website this fall.

First Place Winner—Transit Hub "Full Cycle"Students: Brodie Bricker, Akira Hirosawa, and Marc Rutzen

Faculty Sponsors: Kevin N. Erickson

University of Illinois, Urbana-Champaign

Juror comments: This project is flexible and forward thinking, incorporating auto and bike

transit systems, such as the bicycle train-car within the metro. Carving into the existing

urban fabric to integrate the new solution highlights the durability and adaptability that the

concrete structures offer.

Additional Winners—Transit HubSecond Place: "Transfer Hub Lomma"

Students: Haydar Alward and Mikael Pettersson

Faculty Sponsor: John Stack Ross, Tina-Henriette Kristiansen and Abelardo Gonzalez

Lund University, Sweden

Honorable Mention: "Mobility in Flux"

Students: Tim Keepers and Wes Bradley

Faculty Sponsor: Stanley R. Russell and Vikas Mehta

University of South Florida, Tampa

Honorable Mention: "Media-Hub"

Students: Shujia Chen, Truls Hakansson and Sven Teder

7/25/09 5:58 PMPCA - Newsroom | 2009 "Concrete Thinking for a Sustainable World" Student Design Competition Winners Announced PCA - Newsroom

Page 2 of 2http://www.cement.org/newsroom/2009_Winners.asp

Faculty Sponsor: John Stack Ross, Tina-Henriette Kristiansen and Abelardo Gonzalez

Lund University, Sweden

First Place Winner—Building Element, "Defying Gravity: Casting over tensilemembranes"Students: Rasha Alkhatib, Kristiina Mair and Christina Gaiger

Faculty Sponsor: Remo Pedreschi

University of Edinburgh, Scotland

Juror comments: This project recreates something existing in a new way. The design is

mindful of construction material conservation and has a reusable form which could be pulled

apart and put back together for future reuse.

Additional Winners—Building Element

Second Place: "Constructed Ecologies"

Student: Zhan Chen and Brantley Highfill

Faculty Sponsor: Douglas E. Oliver

Rice University, Houston, Texas

Honorable Mention: "Minimal Surface Building Unit"

Student: Gavet Douangvichit, John Puff and Kristopher John Walters Jr.

Faculty Sponsors: Glenn Wilcox

University of Michigan, Ann Arbor

Honorable Mention: "TesseTrek"

Students: Joshua R Kehl and Clay Montgomery

Faculty Sponsor: Douglas Hecker

Clemson University, Clemson, S.C.

Panel of Judges During the weekend of June 20, 2009, a design jury convened in Washington, D.C., to select

the winning projects. The design jury consisted of the following individuals:

D. Michelle Addington, Yale University

Ulrike Altenmüller, Drexel University

Martin Despang, University of Nebraska

Robb Jolly, ReVisios

David Shepherd, PCA

Kentaro Tsubaki, Tulane University

About PCAThe Portland Cement Association (PCA), based in Skokie, Ill., represents cement companies

in the United States and Canada. It conducts market development engineering, research,

education, and public affairs programs. Additional information is available at

www.cement.org. PCA also developed www.concretethinker.org, a Web site devoted to how

concrete can be used to achieve sustainability solutions.

About ACSAAssociation of Collegiate Schools of Architecture (ACSA) is a nonprofit organization founded

in 1912 to enhance the quality of architectural education. School membership in ACSA has

grown from 10 charter schools to more than 200 schools in several membership categories.

Through these schools, more than 4,500 architecture faculty are represented in ACSA’s

membership. ACSA, unique in its representative role for professional schools of architecture,

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. Additional information is available at www.acsa-arch.org.

About NRMCANRMCA, based in Silver Spring, MD, represents the producers of ready mixed concrete and

the companies that provide materials, equipment and support to the industry. It conducts

education, training, promotion, research, engineering, safety, environmental, technological,

lobbying and regulatory programs.

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