1

draft

SDSU DoArch 2010-2011

draftS D S U D o A r c h 2 0 1 0 - 2 0 1 1

DRAFT 2010-2011

Designed and Produced by Dustin Jones

Editorial Advisors - Brian Rex, Charles MacBride & Sushmita Shresta

Publisher Department of ArchitectureSouth Dakota State UniversityBox 2203Intramural Building (The Barn) 108Brookings, SD 57007Phone: (605) 688-4841

DRAFT, is a student publication of the Department of Architecture at South Dakota State University.

Copyright 2011 the Department of Architecture, South Dakota State University.All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording without permission in writing from the publisher.

PERSPECTIVE

KOCH+HAZARD

TSP

ARCH INC.

Foreword - Brian Rex 5

Main Avenue Analysis 6

“Work Like, Not Look Like” - Rick Wessling 13

Bounding Space 14

“A Look Back” - Sushmita Shresta 29

The Precedent 30

Events 38

Species of Space 40

Accreditation Report 51

Boxing Space 52

“Cheap, Crafty, & Mobile” - Alex Krug 64

Situating Space 66

“The Unique Opportunity of Integrated Design” - Charles MacBride 75

Future Expansion Project 76

Index 80

C

ONTE

NTS

FOREWORD

FOREWORD: DRAFT is a clear snapshot of how we look straddling our first and second year of teaching architecture at SDSU. Dustin Jones has done an amazing job in taking the initiative to document all the models, develop a coherent graphi-cal layout, and spend hours polishing DRAFT into a respectable first publication for the department. We must carry on with this initiative and make DRAFT a successful sustainable student retrospective publication of a years work. Reflection is an important part of growing and practicing.

We dedicate this document to all the people who have contributed their time during the first year of Architecture at South Dakota State University:

4|5

Sushmita ShresthaDustin JonesJordan Standing SoldierT.J. Olson Karen BravekLouise LobanArlene Madsen

Amber JanousekJanice HansonTiffany PetersonDan LandesKathleen DonovanJerry JorgensenTeresa Hall

David HilderbrandRick WesslingChevelle WaegeJoe FoardeGarrett WalterRachel SpeiserAlex Krug

and all the first year’s students whose patience and enthusiasm has made the biggest impact on who we are and how we are seen.

FORWARD!

Brian Rex

c o m m e r c e i n s t i t u t i o n s i n d u s t r y r e s i d e n c e s i n f r a s t r u c t u r e

S . S h r e s t h a / D . J o n e s / B . R e x - - D e p a r t m e n t o f A r c h i t e c t u r e / S o u t h D a k o t a S t a t e U n i v e r s i t y - - M a y 2 0 1 1

t y p i c a l c i t y b l o c k i s 3 5 0 f e e t b y 3 5 0 f e e t

c o m m e r c e i n s t i t u t i o n s i n d u s t r y r e s i d e n c e s i n f r a s t r u c t u r e

8th Street

6th Street

7th Street

5th Street

4th Street

3rd Street

2nd Street

Me

da

ry A

ven

ue

Ma

in A

ven

ue

5th

Ave

nu

e

6th

Ave

nu

e

7th

Ave

nu

e

8th

Ave

nu

e

9th

Ave

nu

e

3rd

Ave

nu

e

2n

d A

ven

ue

1st

Ave

nu

e

He

nry

Ave

nu

e

9th Street

10th Street

Hu

gh

es

Ave

nu

e

We

ste

rn A

ven

ue

11

th A

ven

ue

12

th A

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1st Street

2nd Street South

3rd Street South

4th Street South

courthousesquare

collegegreen

bandshell

church

B R O O K I N G S , S O U T H D A K O T AB R O O K I N G S , S O U T H D A K O T A

Arch 101 is an introduction to architecture, its culture, its practice, & its allied design arts. This course studies design as an independent discipline, and an integrated part of a much larger & complex world.

MAI

N A

VEN

UE A

NAL

YSIS

8

MAIN AVENUE BROOKINGS : PHOTOMOSAIC BY DAY

9

10

MAIN AVENUE BROOKINGS : PHOTOMOSAIC BY NIGHT

11

the journey...can mark the beginning of a lifelong exploration of the craft and of the creation.

WORK LIKE, NOT LOOK LIKE

The journey of the first year architecture student can mark the beginning of a lifelong exploration of the craft of representation and of the creation. With first developing an understanding of the different experiences and relationships we have with our natural and built environment. Then learning how to be articulate about what these experiences and relationships are, and finally going on to develop the skills to purposefully create new experiences and relationships.

Beginning with a spacial study of their most common day to day activities and then representing them through drawings and models, the students developed a direct understanding of how the drawings and models were a representation of how the activity took place in space, but not what the activity looked like. The students used the tools of drawing and modeling to represent and articulate how something actually works versus its appearance.

Applying these skills to the study of houses by significant architects, the students created drawings and models of the buildings that represented how they were built, how they worked, but not how they looked. This exploration of the visual and physical palette the architects used to create the buildings provided the basic tools for the students to explore on their own.

Like the beginning musician, the students continued to practice the manipulation and representation of space with these very basic tools. The cube provided the basic frame work for the score. They explored many variations on the theme, with each exploration offering another lesson in the craft of representing how the solution worked, but not what it looked like. This craft of representation develops the direct connection of the hand to the mind. It is the craft of understanding how something is made and how it works. Constructing a drawing in the same manner as you would build the building is to understanding what organizes the building and what encloses or directs the space. This constructing develops an understanding of scale and the nature of the materials used. It begins to establish an understanding of the physical and visual palette of architecture. This craft of representation and this hand to mind connection is in fact thinking. Developing this sense of craft is an integral part of thinking. The act of making is thinking.

Rick Wessling, AIA12|13

Consider your room (your single most private living space).This unit uses surveying, analyzing, and synthesizing your living space as its vehicle for exploration.#1) Surveying the Room: Formal Space and Event Space#2) Analyzing the Room: Bona Fide and Fiat Space#3) Synthesizing Between Form and Event: the Interstitial

BOU

NDIN

G SP

ACE

PHOTOMOSAIC

16

17

CATALOGS

18

19

Changing Clothes

Getting Into Bed

Getting Out of Bed

Studying

Making Food

Cleaning

Getting Back From Class

Doing Homework

CHRONOPHOTOGRAPHS

20

Turn Fan on/off

Watch Movies/Tv

Clean

Change Clothes

Browse Internet

Study/Homework

Go to Bed/Sleep

Check Email

Watch TV

Get Out of Bed

Put Food In Microwave

Getting Dressed

Get in Bed

Turn on Fan

Eat/DrinkEat Meal 21

WIRE MODELS

22

23

CATSCANS

24|25

INTERSTITIAL MODELS

26

27

the gradual passage of time gave them strength and knowledge to speak their mind.

A LOOK BACK

Coming from a completely different society, culture and geography, it was challenging for me to be a part of this department as everything I know is somewhat different. With an educational background, which is more British, a religion balancing between Hinduism and Buddhism, and a society with more joint families, it was to say the least a big leap for me. But, I definitely had some new opportunities to work in a congenial environment.

My one year work as a volunteer in the department gave me ample opportunity to understand the American way of teaching and learning as well as the chance to get in touch with the architectural fraternity within the state. The batch of students in the first class were silent and introvert, but the gradual passage of time gave them strength and knowledge to speak their mind as architectural studies promote explanations, presentations and discussions.

The first year students did projects that were new to me, but I found them to be stimulating. In the bounding space project students were taking pictures of their room, making collages, wire models, foam models, and cataloging the functions. In fact, I believe that for the first time they sensed how different they were from the engineering students. Architecture takes dedication and die heart interest to get through it. When the students were making their final foam model of their room, they had to stay awake the whole night to work on the project. They were learning the reality of the architecture educational pattern.

Every day in class there was a new and challenging project to complete. It was as new to me as it was for the students, so there was a learning phase for all of us. I helped the students with their projects with ideas from similar projects that I had in my architectural studies. Architecture needs all head, heart and hand to do better. They need to think, love and work accordingly. The passion that the students expressed when they faced challenges was my favorite part of this program; they were eager to learn and tempted to work. I know that this hunger will keep them alive in the field of architecture.

Sushmita Shresta28|29

Lovell Beach House by R.M. Schindler, Newport Beach CA, 1926Villa Stein by LeCorbusier, Garches FR, 1927Eames House by Charles and Ray Eames, Pacific Palisades CA, 1949Villa Curutchet by LeCorbusier, LaPlata Argentina, 1955Maisons Jaoul by LeCorbusier, Neuilly-sur-Seine, Paris FR, 1956Margaret Esherick House by Louis Kahn, Chestnut Hill PA, 1961Mother’s House by Robert Venturi, Chestnut Hill PA, 1964Norman Fisher House by Louis Kahn, Hatboro PA, 1967

T

HE P

RECE

DENT

NORMAN FISHER HOUSE BY LOUIS KAHN

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MOTHER’S HOUSE BY ROBERT VENTURI

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VILLA CURUTCHET BY LECORBUSIER

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VILLA STEIN BY LECORBUSIER

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LOVELL BEACH HOUSE BY R.M. SCHINDLER

37

Garden SpaceVilla Medici Renaissance @ Fiesole by Michelozzi in 1460Villa d’Este Renaissance @ Tivoli, Rome by Ligorio in 1550Villa Lante Mannerist @ Bagnaia, Tuscany by Vignola in 1550Villa Papa Guilia Mannerist @ Rome by Vignola in 1553Villa Gamberaia Mannerist @ Settignano, Florence in 1610Villa Torlonia Baroque @Frascati by Maderno in 1623Villa Valmarana Baroque @ Ai Nani, Vicenza by Mutoni in 1668Villa Dona Dalle Rose Baroque @ Valzanzibio, Padua by Barbarigio in 1690

What is the FORM of the SPACES in the garden?What is the FIGURE of the WHOLE in the garden?What are the SPATIAL PARTS of the garden?What is the PART to WHOLE relationship in the garden?

SPE

CIES

OF

SPAC

E

CATALOG

42

43

STRING MODELS

44

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PAPER MODELS

46

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SPACIAL MODELS

48

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enthusiasm and the

support it brings is a critical

indicator of what I believe will become an incredibly successful program...

50|51

ACCREDITATION

The National Architectural Accrediting Board or NAAB gives full accreditation to new programs once they’ve run a gauntlet of extensive reporting and careful scrutiny that the institution is dedicated to the education of professionally qualified students.

This past May we entered that process by submitting an 80 page report on the development of the Department of Architecture.

On 22 June Miguel Rodriguez, FAIA, a practicing architect in Miami, visited us to determine whether we are ready for Initial Candidacy for accreditation. He spent two days with us touring, interviewing, and studying how we’re doing. Here are his closing evaluation remarks as submitted to the accrediting board:

Its difficult to express in written form the enthusiasm, excitement and anticipation that is evident from all involved in the development of this program, starting with University leadership, the Dean and Heads of existing departments both within and outside the College of Arts and Sciences, current students, and the Foundation itself. In fact, as if to fit neatly within a larger ‘plan,’ even my seat-mate on the flight leaving Sioux Falls, an SDSU alum, former employee and current Grad student in an unrelated field was not only aware of the new program but exhibited the same level of enthusiasm. This enthusiasm and the support it brings to this endeavor is a critical indicator of what I believe will become an incredibly successful program serving not just the people of South Dakota but those of the broader region of which it is a part.

Our initial candidacy visit is scheduled for Fall of 2012 with ensuing meetings coming in Fall 2014, and the final accreditation approval visit in Fall 2016, a semester after the first class has graduated with their Master of Architecture. Once final, everyone’s degrees, including the already graduated class, are accredited degrees.

Accreditation is not a goal. It is a validation of our effort to build a strong, unique, and focused professional program here in South Dakota. What we are doing here is to a standard. That standard is professional. In time, with proof of consistency and foresight, we’ll earn this credential just by doing what we do professionally and making what we’re doing obvious, public, thoughtful, and sustainable.

Site the garden’s narrative, a story free of its Italian sources, into a variety of boxes: boxes of space, boxes of form, and everything we can imagine in between. To box the narrative we’ll work through some operative techniques of formal and spatial design such as: folding compressing, sectioning, and scaling. At the end of all this pushing and shoving we’ll have a graphical and modeled description of way that the garden’s narrative is structured within generic form/space modulations of the box.

B

OXIN

G SP

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3 x 3 x 3 CUBE DRAWINGS

54

3 x 3 x 3 CUBE MODELS

55

TemplateDRAWING CUBE SECTIONS

56|57

COMPOSITE CUBE MODELS

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59

Assignment:Drawing to Wire/Chipboard Model1) Take your 9 inch Large Cube Model and Draw 9 sec-tions evenly spaced on one piece of 24’ by 24’ vellum.2) Use a cross hatching technique (or color) to fill in the positive space.3) Cut 9 pieces of chipboard to match the 9 section drawings. Cutting out the negative space of the drawing.4) Tape together your 9 chipboard sections and drill holes evenly spaced through all 9 sections.5) Weave wire through the holes to space out the sections.

SECTION DRAWINGS

60

61

WIRE/CHIPBOARD MODELS

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63

64|65

DoArch is cheap, crafty, and mobile. We’ll see at least three different facilities before we find a real home. We started poor with no money, so we began making place in the surplus barns of the university. When 1/3rd of the students in the program can weld and we have one of the best metal shops of any architecture program in the U.S.A, we figure we can make all of our tables and other fixtures. Alex Krug has provided the craft throughout this project. So, here’s a sample of a simple design for a table Alex concocted for the studios and a few of the salvaged cabinets and flat files set into a frame and raised up on casters to get us from one office to the next over our first years at SDSU.

DoArch is in every sense a design problem to be analyzed, resourced, and constructed.

CHEAP, CRAFTY, & MOBILE

In this phase we’ll move the work back towards a specificity by putting it somewhere, giving it context, situation, and surroundings as well as returning the work to a particular scalar and enveloping relationship to the human body.

SIT

UATI

NG S

PACE

Assignment:Part One1) Make a Dummy Site from blue foam where the total possible build area is left as a void.2) Make five Box Sitings according to the following: a) Make a 2 x 2 x 2 condensed project box b) Site the 2 x 2 x 2 box in the site, filling in the appropriate amount of foam to complete the volume of the sloped ground missing. You can extend chipboard planes and piano wire out of the box (not brass, copper, or wood) to mediate between the site and the box but you can’t make new parts to do this.These five box sitings should each fit into your “dummy site” so we can switch them out and look at them.

Part Two1) Increase the scale of the Dummy Site 3x2) Take an existing Large Cube Model and modify it based on feedback to exemplify part to whole.3) Examine the relationship of your cube to the site to find the best suited location.4) Place Cube on, in, over, or of the site.

68

PART ONE: DUMMY SITE

69

PART TWO: SITUATION

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PART TWO: SITUATION

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...the slow success of the simple, repetitive acts of making and building.

THE UNIQUE OPPORTUNITY OF INTEGRATED DESIGN

The acknowledgement and shift towards sustainability and “green thinking” over the past ten years has forced a change in both architectural practice and education. This has been an important, if belated, advance that the profession has (quickly) embraced, while the schools, always slower to change, have tried to rework these new ideas into the traditional studio-based system. Integrated design has been introduced into what is now known as “comprehensive studio,” but the delivery of required technical and professional coursework generally remains on the periphery of the most effective, hands-on means of design education. Sustainable building emerges as the most visible of the many systems and forces within integrated design, but ultimately must remain as flexible as any of the other physical or conceptual requirements of thoughtful building design.

The acknowledgement and active response to the environmental impact and energy usage by buildings and infrastructure is regarded now as the most significant shift in architecture since the critique and ultimate rejection of modernism in the 1960s. That shift, largely due to cultural, political and societal changes, brought with it an approach to architectural education based less upon the formal and constructive, and more upon the humanistic, stylized and process driven narratives best embodied by postmodernism. Concerns of tectonics, materiality, and building mechanics were left out of the design studio and practice both for generations. The lessons of learning through basic acts of assembly and the exploration of various material qualities was substituted for poetic, detached meanderings, and has left the standard or accepted studio teaching methodology that much further behind the comprehensive design model. Integrated building concepts now influence design thinking as much as traditional concepts of space, light and formal composition, and while both are crucial, the former requires more accountability to the professional and technical training and education of architects.

The new Department of Architecture at SDSU has a unique opportunity to set up a curriculum unburdened by the conventional separation of design studio and the “lesser” supporting technical and professional coursework. The program will be based on applying ideas of craft, assembly and material, and on the slow success of the simple, repetitive acts of making and building. This is the new potential of architectural education for our new era. The program doesn’t reject the importance or place of theory, form, or history, but rather claims that learning architecture by using your hands supports all of these integrated principals in combination.

Charles MacBride74|75

AecDbWall (AecArchBase60) AecDbWall (AecArchBase60)

AecDbWall (AecArchBase60)

AecDbWall (AecArchBase60)

ROTUNDA

WAGNER HALL

CAMPANILE

CROTHERS

LOHR LAB

PUGSLEY

LINCOLN

ARTMUSEUM

HARDING HALL

ADMINISTRATION

OLDHORT

COM

M

SCIENCE CENTER

ELECTRICAL ENGINEERING

AVERA HEALTH &

COTT

AGE

WO

OD

BIN

E

SOLB

ERG

12th

AVE

NU

E A

XIS

MUSEUM

ENGINEERING QUAD

AME BUILDINGEX

PAN

SIO

N

LAYOUT YARD

PATIO

PROPOSAL FOR THE

ISSUE:

DATE:

CONCEPT DESIGN

19 AUG 2011

AMEBUILDINGARCHITECTUREMATHEMATICSENGINEERING

UNIVERSITY

SOUTH DAKOTASTATE

BROOKINGS, SD

Department of ArchitectureSouth Dakota State UniversitySIM 108 / The Barn 57006

A0

N

SITE PLANSCALE: 1" = 100'-0"

LEVEL ONE PLAN

MECHL RM

ELEV

DO

CK

STAIR

THE ATRIUM

ENTRY

ENTRY FROM DOCK

NORTH ENTRY

CAFE600sf

AIAS240sf

HIGH BAY2400sf

MASONRYSTORAGE

1900sf

METAL SHOPMACHINE SHOP

FOUNDRY

1500sf

LAYOUT &ASSEMBLY

WOOD SHOP1800sf

MODEL SHOP575sf

TOOL ROOM& STORAGE

CONTROL RM840sf

THE GALLERY

LOUNGE, READING CARRELS & STUDENT ACTIVITIESDISPLAY (PLATFORMS, HANGING, CASES)

VIEW INTO SHOPS

EN

TR

Y

WM

SE

RV

ICE

CO

RR

IDO

R(COVERED)

OUTDOOR LAYOUT& ASSEMBLY

LOADING& YARD LAYOUT

FABRICATION

PRINT SHOP

500sf

& DIGITAL& TEACHING

CLASSROOM

LAB

THE PATIO

CAFE TABLES

CIMLANDING

ENTRY

(CIM)

EXISTINGSOLBERG HALL

CIM ADMIN750sf

(EXISTING)

MECHL RM

VIE

W I

NT

O M

EC

HL

VIE

W I

NT

O M

EC

HL

WORKSPACES1800sf

ME DESIGN TEAM

WELDING

MACHINEAREA

400sf

ME TESTING LABENGINES AREA

1150sf

SOPHOMOREPROJECTS& LAYOUT

VIE

W I

NT

O S

HO

PD

ISP

LAY

&

300sf

CNCSHOP

ME PROJECTSTORAGE

CIM PROJECTSTORAGE

ARCH PROJECTSTORAGE

OPEN

LEVEL THREE PLAN

GALLERY & NORTH LANDING

& PLACEMENT

ADVISING,RECRUITMENT,

500sf

SCHOLARSHIP,

FACULTY OFFICES

01/150sf 02/150sf 03/150sf 04/150sf 05/150sf 06/150sf 07/150sf 08/150sf 09/150sf 10/150sf

RE

AD

ING

RO

OM

RE

SO

UR

CE

CT

RM

AT

L'S

& T

EC

H

1100

sf

AN

D A

RC

H

STUDYAREA

570sf

CONFERENCEAREA

570sf

GALLERY &CRIT SPACE

ARCH ADMIN

WORK ROOM

1150sf

WAITING &STAFF OFFICES,

DEPT HEAD220sf

ATRIUMBELOW

ATRIUMBELOW

ELEVWM

650sf

& ACCREDITATIONARCH WORK RM

ROOM

GALLERY & CRIT SPACE

MEDIA RM300sf

1450sf

6TH YR STUDIOCOLD DESKS

1450sf

5TH YR STUDIOCOLD DESKS

CRITSPACE

CRITSPACE

CRITSPACE

CRITSPACE

CRITSPACE

1450sf

1ST & 2ND YR STUDIOHOT DESKS

1300sf

3RD YR STUDIOCOLD DESKS

1300sf

4TH YR STUDIOCOLD DESKS

LOC

KE

RS

LOC

KE

RS

LOC

KE

RS

CRITSPACE

LINE OF CLERESTORY WINDOWS ABOVE

ARCHLANDING ENTRY

ENTRY

ARCHLANDING

(CIM)

EXISTINGSOLBERG HALL

76|77

DEMOSOLBERG

ADDITIONS

DEMOINDUSTRIAL

ARTS BLD

1) MASSING CONCEPT: FIRST PHASE

• UTILIZE SOLBERG HALL• CONNECTION WITH CONSTRUCTION MANAGEMENT PROGRAM• SYNERGY BETWEEN CONSTRUCTION MANAGEMENT AND ARCHITECTURE CURRICULUM, FACILITIES, TEACHING• PHYSICAL CONNECTIONS AT EACH FLOOR LEVEL BETWEEN SOLBERG & AME

DEMOSOLBERG

ADDITIONS

DEMOINDUSTRIAL

ARTS BLD

2ND & 3RD FLOORCONNECTION TONORTH STAIRTOWER

EXISTING CONNECTION TO SOLBERG HALL

N

78

ENTRY

ENTRY

THEPORCH

THEATRIUM

ARCHITECTURE

MATHEMATICS

SHOPS

2) MASSING CONCEPT: SECOND PHASE

• CREATE PUBLIC SPACES• CREATE STUDENT GATHERING AND STUDY AREAS• RESOLVE CIRCULATION BETWEEN SOLBERG & AME• PROVIDE VIEWING AND DISPLAY AREAS ON FIRST FLOOR FOR ARCHITECTURE AND ENGINEERING SHOPS

3) MASSING CONCEPT: THIRD PHASE

• FIRST FLOOR (RED): SHOP SPACES FOR ARCHITECTURE, MECHANICAL ENGINEERING, AND CONSTRUCTION MANAGEMENT• SECOND FLOOR (GREEN): MATHEMATICS DEPT• THIRD FLOOR (BLUE): ARCHITECTURE DEPT

N

N

OPEN STAIR FOR CIRCULATION AND CASUAL RELAXING

THE ATRIUM

NEW ELEVATOR

MAIN ENTRY TO AME BUILDING

OPEN GALLERY FOR STUDY, CAFE, VIEWING OFSHOP SPACES AND OTHER STUDENT ACTIVITIES

THE PORCH

THE PATIOOUTDOOR SEATING, OPENS INTO THE PORCH

ENTRY

ENTRY

THEPORCH

THEATRIUM

ARCHITECTURE

MATHEMATICS

SHOPS

CLERESTORY WINDOWSABOVE ARCHITECTURE STUDIOS

79

Bilka, Daniel 20,36,38,47

Dyk, Anthony 54,59,62

Farde, Joe 4

Foxley, Blake 21,54,55,62,74

Haley, Kelsey 45

Hamer, Emily 40,49,54,55,62

Hamilton, James 56,59,66

Harrington, Katherine 59,62,71

Hawley, Rebecca 18

Jones, Dustin 6,19,21,27,37,38,47,54,57,61,72,76

Krug, Alex 4,8,9,10,11,16,17,49,64,65,76

Lyon, Rex 63

MacBride, Charles 74,75,76,77,78,79

Mathiesen, Sienna 47,55,62

Nelson, Keeghan 8,9,10,11,52,58

Olafson, Nicholas 38,46

Rex, Brian 4,5,6,38,39,57,76,77

Rolf, Neil 38

Shresta, Sushmita 4,6,28,29,38,57,76

Speiser, Rachel 38,57

Schrempp, Jared 63,69

Sedlmajer, Bobbie 24,25,26,43,59,60

Standing Soldier, Jordan 45

Urban, Jacob 47,49,59,61,70

I

NDEX

Van De Rostyne, Brian 22,27,35,42,47,55,59,69

Wagner, Joshua 38,48,55,59

Waldner, Christina 47

Walter, Garrett 30,34,38,63

Wessling, Rick 12,13,38 Wevik, Daniel 32,33,38,54

Wiswall, Libby 38,44,47,63