JOSH MINGS

PRAISEWORTHY COMPETITION Columbus, Indiana Architecture Depository DSGN5200 - M.Arch Thesis � 2011/2012 Academic Year � Profs. Scott Ruff/Kentaro Tsubaki, RA/Elizabeth Burns Gamard

Outstanding Thesis Award, Thesis Commendation, Selected for Provocations: Ogden 8 2012 Exhibition

Twentieth-century philosophy was driven by either/or: Modernism with the abstract and pragmatic, Postmodernism with the material and poetic. Either/or is no longer sufficient. Architecture necessitates a both/and condition, bringing together the abstract and material, the pragmatic and poetic, and the object and field into a cohesive whole creating dialogue with context and disseminating meaning.

In Columbus, Indiana this both/and proposition exists through the patronage of J. Irwin Miller. It is a belief that architecture “reflects what a city thinks about itself and what it aims to be”. Columbus’ Modernism responds to previous generations, bringing together pragmatic and poetic. This thesis aspires to create an architecture depository, a record of Columbus’ material history. In combining Eero Saarinen’s Irwin Union Bank with a pragmatic-poetic addition, the project engages in praiseworthy competition with it’s architectural ancestors.

“A good life is one led in praiseworthy competition with one’s ancestors. The best response to the gifts we receive from previous generations is to create something of lasting value in our own time and in our own way for future generations.” — J. Irwin Miller

ANALYSIS/CONCEPT Saarinen Planes/Void

COLUMBUS Learning from material history

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ROCHE ADDITION AND SAARINEN OFFICE BLOCK NOT INCLUDED

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GROUND FLOOR The Dialogue Begins

MORPHOLOGY A Dialogue with Eero Saarinen

FIFTH AND WASHINGTON A sentinel for Columbus’ architectural heritage

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LONGITUDINAL SECTION A both/and dialogue with Irwin Union Bank

HORIZONTAL TURNS VERTICAL Continuing Saarinen’s Void SECTION MODEL Views shaping planes and void

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LEVEL 3 Views to architectural landmarks shape solid and mask

EXHIBITION LEVEL 3 North Christian Church/Miller House

SEGREGATION (BOTH/AND) INTEGRATION Louisiana Civil Rights Institute (New Orleans, LA) DSGN3200 - Integrated Design Studio � Spring Semester 2010 � Prof. Doug Harmon � 16 Weeks

Published in Tulane School of Architecture ReView 2009-2011

Segregation (Both/And) Integration explores the both/and condition of dualities versus the traditional either/or. A bridging gallery and unifying Cor-ten steel facade integrate segregated community and institute buildings. The gallery creates an uninterrupted plaza that serves both institute and community. Gallery, community and institute spaces integrate at the main stair, which through the use of reclaimed sinker cypress, evokes a front porch condition for the institute, allowing it to be both public and private, rarefied and everyday, segregated and integrated within the community.

CONCEPT SKETCH Plaza/Building Integration

COURTYARD Performance Area/Public Plaza

ENTRY STAIR A “Formal” Welcome

SECTIONAL PERSPECTIVE Through Institute and Community Buildings

Segregate Institute and Community

Integrate by Bridging Mask segregated parts to create integrated whole

SKIN AFFECT Conceptual drivers of Form

Integrate with community by creating public plaza

STRUCTURAL DIAGRAM Steel Bridge

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PLAZA Public/Performance ARCHIVE Permanent Gallery SKIN AFFECT Cultural Manipulations

COLLISIONS OF DUALITY A New Dance School for the Moulin Rouge (Paris, France) DSGN3100 - Architecture Design Studio � Fall Semester 2009 � Prof. Kentaro Tsubaki, RA � 12 Weeks

Published in Tulane School of Architecture ReView 2009-2011

Collisions of Duality explore the notion of collision inherent in the urban fabric of Paris, France and how those collisions can inform the Solid/Void relationship in architecture. The collision of Haussmann's plan versus the medieval, organic layout of Paris informs the void space of the building, creating an axial public void. Public functions inhabiting the void space inform the semi-public and private solids of the school and vice versa. As in dancing, where the bodies of the dancers create void space between them, the void space can also inform the dancers in their movements. By breaking up the program into three solids representing a group of dancers, a glazed public void opens up allowing light to enter the school, a crucial concern for an urban infill project that typically only has access to light from one side.

CONCEPT SKETCH Site Driving Form

Merce CunninghamOcean

Dancers as solid creatingvoid space in between/altering with movements

Void space can be usedby dancers to informmovements duringpractice and editing

Solids manipulated according to program, contextual, and phenomenological needs

Public spaces become partof void, which is shaped by and gives shape to solids

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Three solids are created to contain all active program

SacredRomantic notion of Paris Sacre Couer

ProfaneAdult stores, Moulin Rouge

Urban Collision Haussman’s plan for long axial boulevardscollides with an organic street grid built overtime to create a new Parisian urban fabric

Local Collision

Haussmann creates a physical boundary between Arrondisements. Below Sacre Couer a seedy nightlife develops, colliding sacred and profane

COLLISIONS Local and Urban

MORPHOLOGY A dance of solid and void

Structural system12" Site-cast two-way post-tensioned Concrete flat slab construction12 X 12 site cast concrete columns12" Sheer walls as required

Infill wall6" 20 GA metal studs5/8" Gypsum wall board on interior side5/8" Water resistant gypsum wall board on exterior sideR19 glass fiber batt insulation

Skin structureVarious sizes 20 GA metal studs as necessary4x4 tube steel as required for stability

Moisture Barrier3/4" DENSGLASS exterior sheathingTYVEK vapor barrierMounting clips for rain screen system

RainscreenTrespa Meteon Facade System panels

Windows1" Thick LOW-E reflective glazing

EXPLODED AXONOMETRIC Layers of Construction

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TRANSVERSE SECTION Void as ActivatorSECTIONAL MODEL Stair through Public Void

Photo courtesy of Jill Stoll

LONGITUDINAL SECTION Interplay/Interruption of Solid with Void

THEATER LOBBY/COURTYARD Void connects with exterior

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THEATER LEVEL Public Void GROUND LEVEL Solid and Void MUSEUM LEVEL Public Void

MUSEUM Void becomes horizontal

SHIFTED REALITIES A (new) New Orleans Typology (New Orleans, LA)DSGN4300 - Study Abroad Studio � Summer Semester 2010 � Profs. Byron Mouton, AIA/Cordula Roser Gray, RA � 4 Weeks

Published in Tulane School of Architecture ReView 2009-2011

Shifted Realities - A (new) New Orleans Typology deals with the various shifts that need to occur to create a new housing typology to match the new realities of New Orleans post-Hurricane Katrina while keeping positive aspects of the traditional New Orleans Housing typologies, namely the front porch. With a FEMA requirement to building livable levels above the base flood level elevation, the ground floor becomes an open outdoor area for both residents and community. Unit geometries are shifted for daylighting, outdoor space, and reducing exposure to the western sun.

ThoughtAppropriation of familiar forms to create both familiar and unique

SocialShifting of mass above ground allows for community use of ground plane,strengthening community center

AccessCirculation core at center breaks down mass and provides solid/void relationship to context through rhythm

ViewFront units shift to provide back units visual connection to street

CourtyardSecond level unit shifts to create courtyard for adjacent restaurant and outdoor space for third floor unit

GalleriesFamiliar galleries become shifted to create covered outdoor space for each unit

GroundGround plane shifts up to create sense of privacy for residents

UtilityUtility core becomes planametric driver separating private and public areas of each unit

CONCEPT SKETCH Shift of scale

MORPHOLOGY Shifts

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GROUND LEVEL Public Space

THIRD LEVEL Typical 2Bed/1Bath Layout.

UTILITY WALL Plan Driver

RESIDENT GREEN SPACE Urban Garden

FRERET STREET ELEVATION Shift in Scale

SECTIONAL PERSPECTIVE Through front units

RETHINKING HISTORIES The Orleans Avenue Outfall Canal (New Orleans, LA) - with Drew MazurDSGN5100 - Advanced Studio Elective � Fall Semester 2011 � Prof. John Klingman, RA � 16 Weeks

Given a historically rich site at the beginning of the Orleans St. outfall canal, histories of site were reimagined to create an appropriate beginning for the new Orleans Avenue outfall canal. The levee becomes habitable, creating single and multifamily housing, an exhibition path remembering the physical history of the site, and a restaurant as well as a path connecting Lakeview and City Park. The wetland becomes an area of repose and passage, a void contrasting with the newly programmed levee, and also serving as bioremediation of storm water run-off before its eventual passage to Lake Pontchartrain. The exhibition path becomes a floodwall, unleashing memory instead of holding back water, enabling New Orleans to regain its identity as a water city.

CONCEPT SKETCH A new beginning

Site Context: Single Family Residence

High Density Apartments

Addition Of Single Family Residences

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MORPHOLOGY Housing Block

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SECTIONAL PERSPECTIVE The Levee, the Wetland and the Floodwall

SITE PLAN Connecting Lakeview with City Park

Before 1900: Wetland

Post-1970 : Floodwall

Before Hurricane Betsy: Levee

EXHIBITION

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Parking

City Park

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HISTORIES/PATHS Generators of Form GENERAL HAIG ST Response to Lakeview

EXHIBITION PATH Floodwall of Memories

THE STORY OF BUILDING: SVERRE FEHN’S MUSEUMS Research Fellowship (Norway) 2011 John William Lawrence Research Fellowship � Summer 2011 � Lecture available at www.joshuamings.com

Book available for purchase at http://www.blurb.com/bookstore/detail/2537931

The museums of Sverre Fehn tell a story. A story of building, place and time. One of modern architecture’s lesser known figures, Fehn was both a modernist and regionalist, interpreting Modernist ideals within the Norwegian lexicon of heaven and earth, life and death, sense of place, and his notions of moving the horizon. Many of his works are lesser known due to their remote locations, all but one of his museums being located in the Norwegian countryside that shaped his approach to building.

Fehn tells a story with his museums. The museum becomes the object due to careful examination and placement of exhibits. The architecture becomes a story of place, of time, one that moves the horizon. The connection of heaven and earth is always apparent in the architecture; the way the museums meet the sky and the way Fehn brings in and moves the horizon within his buildings.

By researching Fehn’s work, a new understanding of combining global theory with regionalist thought will emerge. In my research, I have prepared a story of interaction with Sverre Fehn’s museums and the context that shaped his approach through sketches, photography, and experiences. This interaction will serve to further understanding of the notions of place and story; phenomenological aspects of building that make the invisible become the visible.

NORSK BREMUSEUM Fjærland

HEDMARKSMUSEET Hamar

AUKRUSTSENTERET Alvdal

WALL SECTION NOLA Museum of Hydrology ELEVATION With Global Design Studio 2007

MAIN ENTRY Construction and Concept come together

TECHNICAL/CONSTRUCTION DOCUMENTATION Various Projects as noted Academic and Professional Work � A focus is shown on reconcilng concept and construction

EPDM Membrane

2x2x.25 Steel Tube To SupportMetal Skin @ 6’ O.C.

11ga Perforated Corten Steel Panel, Weld To Skin, AttachTo Storefront

11ga Perforated And ProfiledCorten Steel Panel

Access Walkway Support

1” X 8” Reclaimed Cypress Flooring

Column Beyond

14” Concrete Structural Slab/Transfer Beam(Post-tensioned)

Access Walkway(Maintainance)

Double Pane Low-EGlazing

8” Concrete Slab

Storefront System Mullion

Double Pane Low-E Glazing

14” Concrete Structural Slab(Post-tensioned)

Pre-cast Concrete Panels(Silkscreened)

5 1/2” 20 Gauge Metal Studs@ 16” O.C.

R19 Glass Fiber Batt Insulation5/8” Type X Gypsum Wall Board

Weather-resistantSilkscreening

Column Beyond

Thickened Concrete SlabEdge/Pile Cap

Rigid Extruded Insulation Board

CUTS INTO SKIN EXTERNALIZE PUBLICSPACE AND ALLOW VIEWS TO CITY

SKIN MEDIATES WEATHER, WHILEALLOWING THE WEATHERING TO SCULPT IT’S AFFECT

DOUBLE SKIN SYSTEM PROVOKESCHIMNEY EFFECT AROUND BUILDING, REDUCING NEED FOR HVAC

SKIN DIFFUSES NATURAL LIGHT TO PROTECT ARCHIVES/ART FROM UV RAYS. INTERNALIZES PRIVATE SPACES WHILE ALLOWING NATURAL LIGHT

WALL SECTION Comprehensive Studio Spring 2010 INTERIOR AFFECT Construction enables affect

JOSH MINGS www.joshuamings.com � joshuamings@gmail.com317.531.3207 � twitter: @joshuamings