portfolio

seth brunnerselec ted work

Contents

Parking GarageBrainhack

2404 GuadalupeObservation TowerElementary SchoolSpace Frame Hangar

Graduate Work

WeaveSwellVoid

BIM & Digital Fabrication

Resume

Architecture Research OfficeProfessional Work

ExhibitKitchenHouse

Undergraduate Work

ShelfJewelry BoxBed

Furniture

BRAINHACKAN INTERFACE FOR AUGMENTING

CREATIVITY THROUGH VISUALIZATION OF BRAIN WAVES

deltadeep, dreamless sleep

thetameditation

deep relaxationsleep

lack of focus (ADD)

alpharelaxed

creative visualizationmetaphor associating

betaalert

concentration

gammamotor function

multi-sensory activity

EVALUATION

HARVESTINGLIVING WITH IT

ANALYSIS

ENHANCEMENT

GENERATION

IMPLEMENTATION

OBSERVATION

PREPARATION IMAGINATION

DEVELOPMENTACTION

The Directed Creativity CyclePaul E. Plsek

A Technique for Producing IdeasJames Webb Young

Where Good Ideas Come FromSteven Johnson

“Groupthink”Jonah Lehrer

Innovation ProcessHartmut Esslinger

Eureka

...

Test & IncorporateCollect

‘Q’

Alternatives

Combine

Dissent

Random

( )

Incubate

Proximity

Provocation & Rejection

Serendipity Error Exaptation PlatformsAdjacent Possible Liquid Networks Slow Hunch

=

=

=

vs

Research

Creativity is unpredictable. Inspiration can happen anywhere, at any time.

Creativity is the subject of much recent research. I compiled some of these studies; some sources are prescriptive, some anecdotal.

There are common patterns to idea generation. Ideas do not happen in a vacuum. Every new idea is a novel combination of old ideas. We get most good ideas in the shower or right before falling asleep. Various sources explain the shower principle - relaxation is key for associative thinking.

04.03_26:37_Toothbrush

Theta

Delta

Low Alpha

Low Beta

High Alpha

High Beta

Low Gamma

High Gamma

04.03_26:37_Toothbrush

Theta

Delta

Low Alpha

Low Beta

High Alpha

High Beta

Low Gamma

High Gamma

05.04 23:49_SoundTest2_scaled21 minutes 40 secondsgraphs brain activity in response to songsnoted increase in High Gamma at “Stress”MindWave data must be scaled to be decipherable

Theta

Delta

Low Alpha

Low Beta

High Alpha

High Beta

Low Gamma

High Gamma

6:46_What Would I Want? Sky_Animal_Collective 4:59_Stress_Justice 4:06_Norway_Beach House 5:59_Take Care_Beach HouseProof-Of-Concept Studies

With a hacked mind-controlled EEG toy (MindFlex from Mattel), I graphed brainwave shifts. Some followed predictions, but some failed miserably. The toothbrush trial showed marked increase in Gamma (motor control) and decrease in Alpha (relaxation) when attempting to brush with the non-dominant hand. Multiple SoundTest studies showed increase in Beta (alertness) at stressful songs.

05.03 03:11_Television Late Night_scaled1 hour 41 minutesgraphs brain activity in response to watching televisionnoted increase in Alpha with time increase in Alpha indicates drowsiness

Theta

Delta

Low Alpha

Low Beta

High Alpha

High Beta

Low Gamma

High Gamma

0:00_TV

05.08 22:16_WorkTest_scaled1 hour 30 minutes 00 secondsgraphs brain activity in response to taskstasks have either Low or High Internal Processing demandsAlpha jumps up slightly at High Internal ProcessingBeta follows Alpha, though less dramatic swings

Theta

Delta

Low Alpha

Low Beta

High Alpha

High Beta

Low Gamma

High Gamma

45:00_Low Internal Processing 45:00_High Internal Processing

Design Studies

In relation to a design professional’s work, we see Alpha lower when doing rote tasks (formatting, data entry, redline drawing), and Alpha higher when working on creative and big picture problems (presentation outline, designing, sketching).

Prolonged Studies

In the longest trial, and with an upgraded headset, we see the process of falling asleep: Beta is up when first turning on the TV, but over an hour and forty-five minutes, Beta declines and Alpha increases, until fully relaxed and asleep.

submitregroup

elaborate focusidea

RFP/CompetitionSketchMassModelRender

Meeting - Internal- Client

EmailBudgetScheduling

HHHH

LL

LLL

SDSketch

ModelRenderDraw

Meeting - Internal- Client- Consultant


H

HHH

LLLLLL

DDSketch

ModelRenderDrawDetailMeeting - Internal

- Client- Consultant


H

HHHHLLLLLL

CDSketch

DrawDetailMeeting - Internal



H

HHLLLLLL

CASketch

DrawDetailMeeting - Internal



H

HHLLLLLL

2233

22

111

2

222

221111

2

2222111222

1

33111222

1

11111222

8 9 10 11 12 1 2 3 4 5 6 7

email meeting meeting

drawing drawing drawing

AlphaBeta

HighLow

RFP SD DD CD CA

High Internal Processing

We expect Alpha to increase when doing High Internal Processing, which is typical in design tasks. High Internal (or Top-Down) Processing is work you do in your head, like visualizing a three-dimensional space. Low Internal Processing is done with external information, such as data entry, which will exhibit lower alpha. Using these guidelines, we can tailor our mental state to suit various design tasks.

Predictions and Improvements

Inexpensive consumer headsets allow us to collect continuous data. We can track our patterns over time to see the most productive sequences. It is assumed these sensors will be combined with earbuds - headphones we already wear through most of the day.

designmeeting

Alpha

Beta

inspiration elaboration

set end time meetings raise alertnessshut out distractions

relax to build alpha

at first, anything goes

quick walk

AlphaBeta

working late?caffeine afternoon slumpputting out fires mtg prep stress

small wins

push on through elaboration

save mindless tasks for late

sleep!

enter cuccoon utilize residual alpha

Script 2: Corporate Identity

Real-time data from each employee using the system animates a display on the side of the building, replacing the static logo with the actual inner workings of each employee -- some of the most intimate information about a person extracted, for all to see. This would take real guts on the part of the firm to be so open with their creative process, and would inspire real confidence in clients.

Script 1: Rothko Meditation

In its first application, the processing script reads the incoming brainwave data and fills a screen with intense color. The brightness is controlled by either the user’s Alertness or Meditation values. Shown on a projector, the wash of color fills the peripheral vision, much like viewing a Rothko painting, except that in this case, the user consciously alters their mental state to achieve the desired condition.

Parking Garage

Architects have conflicted feelings towards vehicles, but we can at least say for sure that cars are not going away. This two-person team project investigates integration of other uses in a parking garage, transforming undesirable infrastructure space into a bustling commerce hub.

A two-space module of parking becomes a market stall for weekly and weekend events in fluctuating capacities. Pedestrians are given the outer sunlit lane. Columns double as display space for market events. A sweeping handrail guides the pedestrian path and provides seating and additional display space. Each team produced a detailed drawing set for presentation.

Parking garages are an opportunity for tectonic expression. Ribbed concrete shells branch off of two central service cores, allowing unobstructed daylight from all sides. The customs house and post office programs are inserted in the winding parking ribbon.

4PM

11AM

1AM2402 Guadalupe

In light of high tenant turnover rates on The Drag, the approach for this mixed-use building is to cloak its program in a singular identity which will remain a landmark as tenants change within. A system of brightly colored louvers rotate to respond to shading requirements, resulting in a changing facade throughout the day. Night program elements, such as the bar on the second floor, emerge. Passersby gradually learn the building and its functions over time. It is an attempt to curtail the ‘corporatization’ of the Drag, in favor of placemaking through legitimate sensory experience.

Concept Sketch CAFE BOOKSTOREHOSTELTHEATRE BAR

tasting rooftop views new strip for college crowd

explorationintimate performances

Experiences

As in most commercial projects, ‘vectors of desire’ entice the user through a series of spaces; but whereas the cash register is the typical end, here the courtyard is the goal, and the cash register is along the way. A gradual procession takes the user from the busy street to the serene courtyard, guiding them with ‘natural spotlights’ from the sky. A series of distinct experiences is developed for each unique program element.

Section South

Section West

Circulation

As online stores proliferate, the brick and mortar bookstore exists increasingly for the joy of browsing. To encourage serendipitous discoveries, the path meanders through the bookstore up a central void, light only illuminating each next point. The journey culminates in a secret reading room, cantilevered into the tree on the third level.

Wall Section Ground Floor Second Floor Third Floor

Observation TowerBased on Kenneth Snelson’s research in Tensegrity sculptures, a system of discontinuous compression members suspended by tension cables, this observation tower modularizes Snelson’s “Indexer” sculpture to suspend visitors 200ft above Mt Bonnell in Austin, TX.

Circulation

To generate the vertical circulation, the geometry of the tower is projected through its interior volume like a series of blades, cutting planes that are suspended every 5”. These planes are then sifted through to find the best route based on headroom requirements. The geometry of the tower naturally creates “viewing platforms” on the outer edge of the tower, and smaller “stairs” towards its inner edge-- though there is no clear distinction between stair and platform.

Tensegrity Frame

Volume

Floor Contours

Frame Projected

Headroom Guides Resultant Platforms

When asked what they would like in their neighborhood, children asked for 1) more places to play, and 2) people stop behaving badly. Farver; Garcia. 2008. Living With Community Violence.

A courtyard scheme provides a safe enclosure where children can play, with indoor and outdoor spaces for alternate study environments (a key to learning). The massing of the school is an embracing gesture, further accentuated by the molded, woven louvre system. The project adopts a community-building strategy focusing on outdoor play and gathering spaces. The scheme plans for future density by massing towards the north end of the site, while corresponding to the current neighborhood scale.

The start of the school day is celebrated through a winding path under the large existing oak canopy, becoming a daily ‘walk in the park’. Its location encourages urban density through orienting to walk / bike paths from downtown residential towers.

Spring

The W

Austin 360

The AustonianThe Ashton

1

1

2

3

443

2

Cong

ress

Elementary School

Kawneer Versoleil Sunshade System formed in CNC-bent extruded aluminum

A

A

Diffuse light and rolling landscape make exterior circulation throughout the site fun and comfortable experiences. Two levels distinguish ages and daily patterns. Older children are given freedom to walk across the green as they go from class to class. Younger grades have more distinct, secure outdoor spaces.

Diverse moments take place which engage the façade. It morphs from sunshade to secure wall, intertwining around the glass curtain walls of the western buildings and the outdoor porches of the classrooms on the east. The sculptural screen acknowledges the symbolism of ‘security blanket’ while cultivating an identity of excitement, utilizing the cutting-edge technology of a leading architectural innovator for a striking, emotive effect.

Space frames have the specific advantage of being able to span large distances with minimal weight. Appropriating the form of flapping wings, this aircraft hangar reminds us of the origin of man’s desire for flight. Tracing still frames of an amateur video, the dynamic roof tracks one full cycle of the wings’ motion. A space frame grid spans across both wings, while the grid is flipped 90 degrees for the middle corridor. Gaps between the roof segments become clerestory windows.

Space Frame Hangar

Connection Detail

13.43°

18.43 °

23 .43 °

28.43°

33.43°

8.43°10°15°

20°25°

35°40°

77” 85

” 92” 10

0” 115”

107”

115”

127”

138”

150”

173”

161”

182”

170”158”

145”

122”134”

INCLINE ANGLE >INCLINE ANGLE >

< DEA

D LO

AD

< SPACE FRAM

E DEPTH

0

Structural Concept

By locking one direction of the diagonal grid and rotating the arm, the intersections give new dimensions for the space frame depth. This depth can be adjusted to suit loading demands the ‘wing’ becomes more horizontal.

ColumnsSpace FrameCladding

Front Elevation

Side Elevation

Merging the light-filtering wall tiles of Erwin Hauer with the most basic knit pattern, a screen subtly differentiates interior from exterior through change in profile along the weaves. The result is an organic fabric with dense ‘spines’ on the interior and thick ‘lobes’ hung on the facade. It attempts to invoke the ‘sublime’ through assemblies which push the building information model (BIM) beyond current practice.

Weave

The second iteration informs these lobes with a radius parameter based on a map of the shadows cast on it by adjacent trees. Imagining they are filled with a fluid or gas, these lobes, or ‘sacs’, swell as a result of the heat from the direct sun rays, blocking solar heat gain within the interior. The stronger the direct sunlight, the more the sacs inflate, while those in shadow remain deflated. As a result, direct sunlight is blocked while indirect illumination is allowed through the cooler areas of the facade. In this way, light animates the building as the delicate modules swell and intertwine.

Swell

d

d/2d/3

a

The third iteration explores the parameterized profile as generator of void instead of solid. In the CNC-milled version (above), amorphous curves are manipulated at random, and cut into a sheet of MDF. The layers are then laminated, the rough surfaces left by the router bit aligned. In the rendered version (at right), ellipses are assigned distance, rotation, and radius parameters. In each medium, the effect is an enticing glimpse into an unknown landscape. Beauty can sometimes be found by hiding things.

Void

Shelvesreclaimed longleaf pine siding3/4” galvanized steel pipe3/8” threaded rods wingnuts

Jewelry BoxSometimes “less is more” when working with natural materials. Here, sapwood and heartwood distinguish exterior from interior. A fascinating pattern is left by worms eating the soft outer layer. Similarly, a void is carved out of the inside with a chisel, marks left by the human hand.

cherry branchsteel rodsaluminum rods

BedI enjoy using typical industrial objects in unexpected ways. Here, an anchor bolt becomes a sturdy yet thin support for a bed frame. Solid poplar and birch plywood are oiled to a rich grain. Connections hide within the frame to emphasize the main tectonic elements.

1 1/4” salvaged anchor bolts1 1/4” salvaged nuts1/4” U-boltsPoplar Birch plywoodrubber stoppers

ExhibitPre-existing conditions play a much larger role than at first glance, particularly for the farmer. He only uses what is already there. Rethinking the relationship of man to nature in the trade of agriculture, this project abandons the barn aesthetic, whether in functionalism or nostalgia, in favor something naturalistic in appearance and in construction. This design seeks to rectify the balance between pre-existing elements and that which is artificial, resulting in a more enlightened concept of shelter.

An exercise in biophilia, this agricultural equipment exhibition space showcases the machinery while emphasizing the natural elements it manipulates. The exhibit pods can be arranged to work independently, together, or in clumps to work with the site. The walls of each section invoke strands of grass, forming a translucent barrier that shifts and dances with the wind, made up of 20’ strips of 1x1 lumber. Upon arrival, the trailer becomes the platform, making obsolete the need for storage areas for transportation equipment. The attachment of the wall strands clamps the wood to the metal frame using only gravity. The important aspect of this connection is that different lengths and wood types can be used, easing the replacement of worn or broken strips, although the natural warping and weathering of the members is to be accepted and even celebrated.

The choice of two monks as clients presented a unique set of problems and opportunities. The structure is essentially a circle and square extruded, which in many cultures symbolize the inner divine life (circle) and the mortal physical life (the square). Thus, the square shelters the circle, and the circle supports the square. The circle is limestone for thermal mass and the square shades with wooden slats which provide ethereal lighting.

southeast breeze north light

House

KitchenThe home needs to be a place of connection and security. Here, behaviors are encouraged which center on social interaction between members of the single-parent family. Interaction is accomplished through the elongation of a narrow, multi-use countertop that doubles as a dining table, homework desk, breakfast bar, and lounge. Piercing the windows, the counter becomes again an exterior dining table, drawing the family out into the fresh air to talk, eat, play, and lounge. Massive concrete walls were drawn around to envelope and protect the home’s occupants, much like a nest or a burrow, curved to guide the circulation. Glazing in the roof diffuses sunlight off the walls, and illuminates tasks on the long table.

This collection of work focuses on three projects: the Flea Theater, the TWA Terminal Competition, and Dickinson College. Most of my time was spent on the Flea. I entered the Flea project in the SD phase. As is typical in the city, the Flea program was large for its narrow site in the dense Tribeca neighborhood. Since the basic programming and layout had been set, much of my time was spent trying stair configurations, testing ticket booth options, drawing

seating riser slopes, finding storage space, and other design development. It was a time of matching the ideals of the diagram to the reality of the footprint, but the team encouraged design and creativity whenever possible. I spent a portion of time visualizing lobby materials, using illustrator and photoshop to quickly sketch iterations, as is a common practice in the office.

architecture research officeprofess ional res idenc y program

seth brunnerfa l l 2011

The Flea is an off-off-Broadway theater company in the Tribeca neighborhood of Lower Manhattan. Perhaps more than any other ARO client, the Flea is intensely DIY and low-budget, so we continually evaluated our work based on economy, ingenuity, and uniqueness. Often, materials were thrown out for their perceived refinement in favor of recognizable, low-budget alternatives. The client had conflicting opinions about materials,

which delayed a final resolution beyond my time in the office; however, this was where I learned the most. At one point, we presented about sixty façade options, and encouraged those in the meeting to physically sort their favorites on the wall. The technique helped narrow our focus immensely and rekindled client involvement. My main roles here were to model and render a couple of these ideas and produce signage options.

Facade Iterations

Lobby Materials Study

Facade Shingling Models

1 Ground Floor Plan1/4" = 1'-0"

1 Mezzanine Plan1/4" = 1'-0"

Sheet

ScaleProject

Drawing

20 Thomas St.

New York, NY 10013

Flea Theater

Issue Revision

1012

Design Development Progress Set 12.06.2011

Ground Floor Plan

A-101.001/4"-1'-0"

Sheet

ScaleProject

Drawing

20 Thomas St.

New York, NY 10013

Flea Theater

Issue Revision

1012


Mezzanine Plan

A-103.001/4"-1'-0"

UP DN

-9

-8

-7

2

-5

-6

-4

-3

-2

-1

0L0L

1

-2-1

DN

0L -3 -4 -5 -6 -7 -8 -9 -11L-10 -12 -13 -14 -15 -10L

4

6

-13 -12

3

5

7

-11

8L

RM 1-03STAIR 1

RM 1-11REAR LOBBY163 SF

RM - 1-14STAIR 4

RM 1-02TICKET BTH.100 SF

RM 1-01LOBBY561 SF

RM 1-07CLOSET23 SF

RM 1-15GARDEN750 SF

RM 1-05STAIR 2

RM 1-10WOMEN'S WC149 SF

RM 1-12ELEV. VEST125 SF

RM 1-06REAR LOBBY163 SF

RM 1-04THEATER 2811 SF

RM 1-09MEN'S WC99 SF

RM - 1-13STAIR 3

HATCH TO CELLAR

-14

RM 1-08CLOSET13 SF

2

4

3

1

5

6

7

8

A B C D F HGE I J K L NM

2

3

1

4

0L UP

5

6

2

4

3

1

5

6

7

8

A B C D F HGE I J K L NM

RM 3-01STAIR 3

RM 3-06DRESSING104 SF

RM 3-07WC

RM 3-02HALLWAY164 SF

RM 3-04DRESSING94 SF

50

49

48

47

46

41L

45

44

43

42

36

37

38

39

40

41L

35L

RM 3-08STAIR 5

RM 3-03TECH BALC.648 SF

All legal rights including, but not limited to, copyright and designpatent rights, in the designs, arrangements and plans shown onthis drawing are the property of Architecture Research Office LLC(ARO), and were developed for use solely in connection with thisproject. This drawing may not be used or reused, in whole or inpart, except in connection with this project, without prior writtenconsent of ARO.

Copyright 2011 Architecture Research Office LLC, all rights reserved.

170 Varick Street7th FloorNew York NY 1001T 212 . 675 . 1870F 212 . 675 . 1645www.aro.net

ArchitectureResearchOffice LLC

917.339.930

212.260.797

203.866.553

New York, NY

New York, NY

Norwalk, CT

Mueser Rutledge ConsultingGeotechnical Engineer

Robert Silman AssociatesStructural Engineer

MEP/FP EngineerAltieri Sebor Wieber

Chicago, IL

Threshold Acoustics LLCAcoustical Engineer

312.386.140

New York, NY

William Vitacco Associates Ltd.Code Consultant

212.791.457

New York, NY

YRGSustainability Consultant

917.677.802

New York, NY

StantecCivil Engineer

212.366.560

Raleigh, NC

Theatre Consultants Collaborative, LLCTheater Consultant

919.546.028





917.339.930

212.260.797

203.866.553

New York, NY

New York, NY

Norwalk, CT




Chicago, IL


312.386.140

New York, NY


212.791.457

New York, NY


917.677.802

New York, NY


212.366.560

Raleigh, NC


919.546.028

STORAGE

OPEN TOBEYONDCLOSETTHEATER 2GARDEN THEATER

PANTRYTHEATER 3CORRIDORCUSTUME SHOP

THEATER 1

BATHROOMCORRIDOR

STAIR 2

STAIR 2 STAIR 4

DRESSING ROOM

STAIR 1 STAIR 3

STAIR 3

STAIR 5

EXTERIORBALCONY

STORAGE

D H I J KCBA

67'-10 1/4"

T.O. CELLAR F.F.EL -13'-5 3/4"

T.O. FIRST F.F.EL +0'-0"

T.O. BULKHEADEL +48'-2"

T.O. PARAPETEL +39'-11"

T.O. MEZZANINE F.F.EL +25'-0 1/2"

T.O. SECOND F.F.EL +13'-8"

T.O. EXIST. CELLAR F.FEL -11'-7"

Sheet

ScaleProject

Drawing

20 Thomas St.

New York, NY 10013

Flea Theater

Issue Revision





1012

NOT FOR CONSTRUCTION

917.339.930

212.260.797

203.866.553

New York, NY

New York, NY

Norwalk, CT




Chicago, IL


312.386.140

New York, NY


212.791.457

New York, NY


917.677.802

New York, NY


212.366.560


Raleigh, NC


919.546.028

Building Section

A-201.001/4"-1'-0"

1 Section B1/4" = 1'-0"

In preparation for the DD set deadline, we periodically updated the drawing set with design changes. I worked on plans, sections, and elevations, as well as helping with formatting. We looked at a couple of rooms more intently, such as smoothing out the narrow corridors of the basement. Theater seating went through many iterations. Storage was packed into any residual spaces.

TWA Terminal

For the competition to revitalize Eero Saarinen’s canonical Terminal 5 at JFK airport, ARO chose a strategy of humility. Instead of a large hotel block or tower, we chose two low bars placed behind the existing flat arms. Even the landscape gently rises to help conceal the addition.

Seth Brunner, LEED AP442 W45th StNY, NY [email protected]

resume

May 2012 The University of Texas at Austin, Masters of Architecture

May 2008 Texas A&M University, Bachelors of Environmental Design Texas A&M University, Minor in Business Administrationed

ucat

ion

rhino vrayautodesk revitautodesk autocadprocessinggrasshopperautodesk 3ds maxalias studios mayaadobe photoshopadobe illustratoradobe indesignequest energy sim

ItalySpainFranceEngland SwitzerlandThe NetherlandsGreeceCanada Mexico

2011:

Featured in ISSUE 007: 2011UT School of Architecture student-juried publication of student work for 2404 Guadalupe Weave, Swell, Void

Participated in ‘Beauty and the BIM’ Seminar Exhibition, Goldsmith Lobby Weave, Void

‘Beauty and the BIM’ Seminar mentioned on Buildz blog

soft

war

e

trav

el

men

tions

2012 Architecture Research Office Architecture Intern - Six Month Residency Schematic Design - Models, Renders, Drawings Ref: Stephen Cassell: (212) 675-1870

2011 Freelance, Hsu Property Management Remodel Plan Schedule of Work

2010 Sixthriver Architects Architecture Intern Renderings and Space Plans Ref: Eric Herron: (512) 306-9928 Freelance, UrbanDish Restaurant Concept Renderings

Freelance, Seaux-Pierce Architects Rendering and Detail Drawing

2009 Stearns Design Build Design/Bidding Intern Ref.: Hugh Stearns (979) 696-0524 Freelance, Coast Oil Drawings for a barn and boathouse 2008 Texas A&M University Athletic Department Graphic Design and Animation using Autodesk Maya Ref.: Milton Overton: (979) 218-8923 [email protected]

2007 Texas A&M University Woodshop CAD Lasercutting, Extensive Woodworking Ref.: Chuck Tedrick: (979) 845-3926 [email protected]

2006 Architectural Intern, Luna Design Model Building, CAD Ref.: Robert Luna: (210)-496-6611

empl

oym

ent

SETH BRUNNER, LEED AP Masters of Architecture, ‘12The University of [email protected]

portfolio

Documents

secondsgraphs brain

songsnoted increase

marked increase

televisionnoted increase

alpha relaxation

high internal processingbeta

minutesgraphs brain

low internal processing