thomas f. ellerbe scholarship, design portfolio
DESCRIPTION
Submission for 2015 Thomas F. Ellerbe Scholarship. This portfolio includes academic work and research completed at the University of Minnesota, College of Design from 2012 - 2015.TRANSCRIPT
SAMUEL PATRICK DALEYThomas F. Ellerbe Scholarship, Design Portfolio
February 15, 2015
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MISSISSIPPI
35W
RIVERSIDE AVE.
19TH AVE. S
The client for this project, Chaos Cooking, is a New York based supper club that fosters informal communities through the process of preparing food. They host events in Manhattan lofts, where club members crowd into a private kitchen to prepare a group meal, generating a “home for the holidays atmosphere.”
Conceptually, the elevated kitchen references both architectural language and underlying social implications of a balcony as a romanticized icon of informal hosting and a semi private gathering space. Here the image of a balcony instills casual intimacy and acts as a bridge to those on Riverside Avenue, unifying private and public communities during a collaborative celebration of food and friends.
Inside, club members experience ephemeral spatial conditions that respond to the programing of temperature, material, and transparency.
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Elevated KitchenGraduate Studio I
Instructor: Nat MadsonFall 2012
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10 ‘ 10 ‘ 10 ‘ 10 ‘ 10 ‘D GE HFC
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concretestainless steel wood
98°body temp
64-75° comfort
40-64°preperation
28-40° refrigeration
147°cooking
15%5% 25% 35% 45% 55%spatial exptrssion play on the porch
programing materiality organization by transmissivity
sanitation requirements ephemerial thermal space
An addition to Rapson Hall, the Zero Energy Design (ZED) Laboratory explores the existing formal tension between Robert Cerny’s square building and Steven Holl’s interlocking L building.
The ZED addition shifts an L shaped form against the square clerestory windows to create carefully balanced environmental conditions. The addition’s offset from the clerestories was generated through parametric analysis to minimize heating, cooling, and lighting loads. This is achieved by protecting against predominant north west winter winds, shading the west facade from glare, and reflecting indirect north light
The shift also serves to define a series of outdoor courtyards and open the outdoor spaces to warm south east summer breezes. The result is an addition that reveals tension between the two buildings operates with zero energy (0 kBTU/SF/Year), using solar panels, the addition produces 21 kBTU/SF/Year.
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MN ZED LABInstructors: Mary Guzowski and Loren Abraham
Collaborators: Emilie Kopp, Loubna Houri, and Mohsen Ghanbari
Spring 2013
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daylighting lab775 sq. ft.
classroom600 sq. ft.
2600 sq. ft.
classroom600 sq. ft.
classroom625 sq. ft.
materials lab760 sq. ft.
energy & air quality lab 760 sq. ft.
open offices1000 sq. ft.
site and water lab1500 sq. ft.
3200 sq. ft. 6400 sq. ft.
meditation garden
potential solar gardenoutdoor lab
[existing rapson]loby & director’s office
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circulation3000 sq. ft.
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floor plan and renderings: pun-up sun shades, meditation garden, and student research connection
parametric analysis to optimized form
130° 120° 110° 100° 90° 80° 70° 60° 50° 40° 30° 20° 10° 0° -10° -20° -30°
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32 MBtuMonthl Average MBtu 32 MBtu 32 MBtu 30 MBtu 30 MBtu 30 MBtu 31 MBtu 30 MBtu 30 MBtu 30 MBtu 31 MBtu 31 MBtu 31 MBtu 34 MBtu 34 MBtu 34 MBtu 35 MBtu
daylight as measure of time daylight as space daylight as wayfinding
David Horner and I stepped into the shoes of Coop Himmelb(l)au to “design” the UFA Cinema Center. By reworking the team’s existing drawings, diagrams, and models, we sought to understand the architects’ design thought process. After our analysis, we found that the team’s design decisions were inspired by poststructuralist theory. The architecture serves to create a form that transitions between tangible structure and illusion, real and virtual, to prepare the public for the cognitive shift and suspension of disbelief that accompany cinematic experience.
The objective of this project was to understand the underlying factors that influence the design of a building, including theoretical perspective, site conditions, and program. Over the course of this project, it became clear to me that while each individual variable was important to the design process, these variables frequently affected one another, creating a dynamic system of influence.
In order to understand the bidirectional interaction between project variables, I developed a way of thinking through modeling that allows me to test the relationships between multiple variables simultaneously and thus better understand the impact these dynamic systems have on our experience of space.
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Form, Order, and Meaning
Spring 2012
Instructor: Gunter DittmarCollaborator: David Horner
model studies to explore how procession, section, and screen create a cinematic spatial experience
elevation studies to explore how mass, void, and screen create a cinematic spatial experience
1/4” = 1’-0” scale model used to explore projection and light
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structural tension environmental conditions public interaction
Juxtaposed against the rigid structure of Cedric Price’s Fun Palace, this space soars as a dynamic structural system that transforms in response to the tension of the structure, condition of the environment and interaction of the public. The intrigue of exploring an ever-changing environment compels visitors to engage in this adaptive multidimensional public space.
For this project, I broke away from my tendency to design in a digital environment and developed a structural system and workflow that called for physical modeling and photo-collage. This approach resulted in a more productive and efficient design process. For this methodology, I learned to sew, use Photoshop, and developed a strong working knowledge of tensile structures.
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SKYliunkingInto Play
Instructors: Lisa HsiehSpring 2013
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model studies to explore the deformation of tensile structures
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context: 1. Fun Palace, 2. Crystal Palace, 3. London Eye concept diagram
A partnership between Professor Benjamin Ibarra-Sevilla and the Mexican government, this exploration resulted in 3D scanning, point cloud analysis, digital reconstruction, and structural investigation of three historic vaulted churches in the Mizteca region of Mexico. The completed project provided detailed insight into the architectural history, methods, and building technology that informed construction of these incredible buildings.
I worked collaboratively to represent research findings as digital animations, analytical drawings, diagrams, and models of the late-gothic vaulted structures. Then I 3D printed and reconstructed these vaults “stone” by “stone”. The drawings and models were disseminated as part of a traveling international exhibition that tells the story of the transference of building technology from Spain to Mexico during the sixteenth-century.
Published: “Mixtec Stonecutting Artistry / El arte de la cantería mixteca”, published by the National Autonomous University of Mexico
Exhibited: 1 San Pablo Cultural Center, Oaxaca, 2 Mueso Universitario de Ciencias y Artes UNAM, Mexico CIty, 3 The University of Minnesota, Minneapolis, 4 Centro Cultural Clavijero, Morelia Mexico, 5 Escuela Superior de Arquitectura, Guadalajara, 6 School of Architecture, Austin Texas
Website: http://www.mixtec-stonecutting.com/
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Mixtec Stonecutting Artistry
2011 -2013
Research under: Benjamin Ibarra-SevillaCollaborators: Andrew Hawkinson, Theodore Gustafson, Tewodros Tsigue
Credit: Photographs taken by Professor Benjamin Ibarra-Sevilla.
3d scan to point cloud point cloud to digital model 3d printed physical model
Located in Gary-New Duluth, MN, this project proposes wild rice will act as a catalyst for resiliency. This proposal aligns with the DNR’s eight hundred thousand dollar grant to re-seed wild rice along the St. Louis River Corridor. The architectural design of the Tasting Room, Production Facility, and Boathouse explore the relationship between traditional and modern wild rice harvesting, processing, and distribution.
The Boathouse is necessary for growing and harvesting wild rice. The Wild Rice Processing Facility is a light industrial building needed to parch, cure, fire, and package wild rice. The Tasting Room located on Commonwealth Avenue serves as the storefront for sales, consumption, and gathering. Here costumers can sample and purchase the rice.
Conceptually, these spaces are designed to expresses the flow of wild rices through the stages of harvesting, processing and distribution. Subtle shifts in the plan and section create moments of reflection and provide opportunities for the public to experience the journey of wild rice through its three stages, which comprise a significant part of the cultural heritage of Gary-New Duluth. Through architectural expression, the project demonstrates how traditional practices of the past can enrich the social and economic future of Gary-New Duluth.
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Wild RiceInstructors: Ozayr Saloojee, Vincent Debritto, James Wheeler
Collaborators: Rachel Burand, MLA, Rachel Kerber, MLAFall 2014
tasting room
winter transforms the boathouse to host winter recreation, rendering by Rachel Burand
processing facility
runoff corridor that intersects the three scales of Gary-New Duluth: commercial, industrial, and natural.
boathouse
1 Entrance Vestibule 2 Vertical Rice Storage 3 Wild Rice Café 4 Open Kitchen 5 Prepreperation 6 Informal Seating 7 Formal Seating 8 Open Patio 9 Restrooms 10 Mechanical 11 Loading Dock 12 Emergency Exit 13 Harvest Plaza
tasting room site section
The facade of the Tasting Room choreographs reception of the public, ushering visitors into this gathering space by providing shelter, definition, and context. Formally, the tasting room embodies the weathered brick buildings of the historic downtown; however, this heritage is juxtaposed against the modernity of a versatile and adaptive building skin. The skin recedes to create a protected entrance along Commonwealth Avenue, bi-fold hangar doors fold open onto the south plaza, and the skin bends to deliver rainwater to the runnel.
Congregation of the community to celebrate seasonal benchmarks of wild rice takes place in the Harvest Plaza. The skin extends to define the plaza by forming an elevated wild rice planter. Rice screens the street while the white noise of wind stirring the stalks define the space acoustically.
Progress along the corridor is marked by the rhythm of oxidized aluminum weirs, created by the building skin and extending into the landscape. Each weir functions to stop runoff, allowing rainwater to infiltrate in a series of gardens that punctuate passage towards Mud Lake.
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SECTION 1 WALL SECTION 1” = 1’-0”
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tasting room aesthetic experience
Soft light washes the north wall to reveal differences in the size, color, and volume of the wild rice stores. Each vitrine displays a scaled portion of the rice harvested from local lakes. Historically, the Ojibwa depended on these rice stores to sustain the community for an entire year. Now, these stores provide a visual link between the community and the health of their environment.
The sound of rice pinging off metal is a counterpoint to clanking pots and the autumn breeze through the hanger doors. When the sound suddenly stops you are left unsure if the harvest produced enough rice to last through the coming winter. In that moment, from the safety of your counter seat, you are warmed against the thought by the cacophony of the kitchen and the gentle glow of recessed lights hidden behind oak battens below the catwalk.
AXON | SKIN
1 Overlook 2 Loading Dock 3 Parchers 4 Curing Yard 5 Mechanical 6 Storage 7 Research Plaza 8 Fire Ring
processing facility site section
The extension of the basalt wall creates a ramp to the wild rice processing gallery. The gradual change in elevation accentuates perspectives of the landscape down to Mud Lake. The overlook reveals the relationship between runoff, the hillside, and the river.
Inside the gallery, articulation of the skin provides framed views of the traditional and industrial processing of wild rice. The building reveals relationships between these processes, allowing them to exist simultaneously in the visual eye. In doing so the architecture allows the visitor to synthesize these processes into a collective experience.
The bi-fold hangar doors open the parchers and curing yard to the outdoors, allowing the moisture from the wild rice to evaporate into the breeze. The skin performs like the husk of the rice, expanding and contracting to help maintain the appropriate humidity for processing the crop.
AXON | IMPORTANT VIEWS
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Light pours through an opening in the gallery ceiling to dance like water on an ancient tamarack push pole. Traditional tools are juxtaposed against industrial tools, used in tandem to process the harvest. Visitors are greeted by a seasoned rice harvester asking if they would help winnow the freshly parched rice. The harvester acts as ambassador, explaining the uses of artifacts on display, and grabs a birch bark tray on the way outside, ready to guide others through the process.
The rich earthen smell of roasted wild rice rises on the shifting breeze as the steam is blown through the open bi-fold hangar doors. The sound remains, a discord between the monotonous mechanical rumbling of the parchers roasting rice and the staccato of moccasins grinding grains of rice into the ground. A shriek of joy strikes a sudden harmony, as the children run through the curing yard to chase rice husk blowing on the breeze.
processing facility aesthetic experience
Erosion of the hillside is resisted by thick basalt walls that form a natural amphitheater alongside the structure. These walls serve to create a natural staircase to the rooftop overlook, providing views of the St. Louis River and beyond.
Tension between the Boathouse and the dock provides a visual representation of the processions that traversed the amphitheater and Mud Lake during traditional tobacco-burning rituals honoring the wild rice harvest. The skin embodies this time-honored procession to the dock by transitioning into metal edging dividing coarse and fine aggregate and demarcating the path to the lake.
Suspension of the dock above Mud Lake connects land and water, both providing public water access and allowing the public to participate in the collection of wild rice. Here, the skin reduces from edging to only 1/8” in height, a visual and tactile guide to the water’s edge.
1 Parking Lot 2 Boat Staging 3 Woodshop 4 Boat Storage 5 Amphitheater 6 Approach 7 Dock 8 Mud Lake
boathouse site section
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The skylight accentuates the tension between traditional and modern wild rice practices. From within, the canoes appear to be venerated, showcased by the glow of light from the opening; the skylight both highlights their beauty and provides ample reflected light within. When viewed from above the skylight appears as a gash in the earth, presenting the canoes as entombed relics. Standing on top of the building, canoes are trapped within the earth while, on the horizon, motorboats race along the river.
The sound of the boats reverberates into the boathouse. The subtle cant of the wall, inspired by Eero Saarinen’s Christ Church Lutheran, amplifies the acoustic experience of Mud Lake. As the sound of the boat fades, you are left listening to the wind, wild rice, and wild life.
boathouse aesthetic experience
Thank Youfor your time and consideration
SAMUEL PATRICK DALEYThomas F. Ellerbe Scholarship, Personal Statement
February 15, 2015
Allegory of the Building | Architecture beyond Elements
In 2014, Rem Koolhaas curated the 14th International Architecture Exhibition, the Venice Biennale, titled Fundamentals and composed of three interlocking exhibitions. Arguably the most discussed of these exhibitions is ‘Absorbing Modernity 1914-2014,’ a self-critical exploration of an architecture composed of elements. Koolhaas claims that while he has made buildings by organizing building elements, he has done so without truly understanding the elements themselves. I believe that the exhibition deconstructs architectural history and trend to embody a question posed by Koolhaas: “How has this come to pass?” The, answer, I believe, lies in industrial and technological advances over the last one hundred years that have, in effect, transformed architecture into engineering. If our emblem once was a ruler and compass to measure and make, it is now a Revit schedule, a shopping list of building elements. Our profession has changed from one focused on creation of whole structures to one driven by consumption of new individual technologies, materials and methods. In order to reclaim the role of architect as creator we must expand the scope of design influence to transition from an architecture of elements to an architecture of systems.
Currently the use of technology to produce architectural documentation reveals a bias towards thinking about buildings as linear, cumulative objects that can be understood by an itemized spreadsheet of discrete variables. In the Biennale Koolhaas puts these elements into four categories: doors, windows, walls, and toilets. Building information modeling now allows for the neat organization of these elements into “spatial” configurations, all without drawing attention to the designer’s demotion to specification writer. In order to change the profession we must take an active role in the use of technology, using it not as the lens through which one generates spatial options but as a tool that can expand the scope of what is thought spatially possible.
Over the last century we have unknowingly and unwillingly established a value system focused on the bottom line. This value system is also influencing the practice of medicine, politics, and law. However, one way technology may be used to work effectively within these constraints is to facilitate our understanding of not only individual building components, but how these variables interact with each other to create a whole that is greater than the sum of its parts. As architects we possess a way of thinking that allows us to shift scales and understand complex dynamic systems of influence. Through this way of thinking we must establish new value systems that look across both scale and time to analyze the financial, cognitive, social and emotional ramifications of the spaces we create. As designers we must extend the scope of our work beyond building elements. The architecture of the past century is an architecture of elements, but the architecture of the coming century is an architecture of systems. As I enter the architectural profession I aspire to undertake the responsibility of transitioning between these ways of thinking.
ascent to systems
engineers BIM
the fire