ben prager m.arch portfolio

master of architecture 2014ben prager

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powerful design demands both poetry and pragmatism.

by coming to architecture, i have found that the simplicity of a solution must not preclude its beauty. i strive, therefore, to make beautiful things as much as i strive to make beautiful solutions. i believe that a sustainable solution, from the perspective of building science, is not a sustainable solution if it ignores beauty, economy, policy, and society as relevant sustainable design criteria. i have, therefore, slowly developed a design lexicon to incorporate these interdisciplinary notions into a productive design methodology.

what follows is a compiliation of both built and unbuilt work, academic and professional, that stands on the conviction that an architecture that moves the soul both knows how to transform experience and count carbon, how to make jaws drop and rates of return rise, and how to balance practicality with whimsy.

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4 - 7

8 - 13

14 - 31

32 - 35

42 - 49

36 - 41

50 - 51

52 - 59

willamette thatch

not all roofs taste the same

the willamette value

straub hall detailing

acoustabooth

big roof for buddha

SEED maker space

intervention at the palatine

page title

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material research + sculpturewillamette thatch (built)

location eugene, oregon |green finance executives |

modeling reedtwineice

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intent in preparation for my thesis, i developed a thatch installation for the finley wildlife refuge. the piece started with a 400 foot trail laid out in paired reed couples that made horizontal the height of the missoula floods 13,000 years ago.

the installation culminated in an arched form that spoke to the structural possibilities and durability of thatching material while simultaneously mimicking the growth pattern of reed rhizomes and the capillary action with which reeds moves water throughout its rhizomatic system.

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primary stakeholders

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the surface coating of reed is waxy and flaky rendering the ma-terial useful for whisking water away quickly but prohibiting any individual piece from directing the water with intent due to the lack of sufficient surface tension. it must be bundled for control. the bundling and layering of reed generates average roof thicknesses between 18 inches and 36 inches with an r value of 11 per 12 inch thickness.

even though reed is durable, lasting up to 60 years as a roofing material, the craft of thatching with reed is nearly a lost art in the united states, rendering the low carbon material nearly extinct domestically. the few master thatchers that practice in the united states have been trained in the united kingdom where the practice of thatching still thrives.

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the thatched arch was erected overnight in order to allow frost to accumulate on the reed. the tip of the arch was frozen with additional water to accentuate the curve by adding ice

weight to the end. an ice block footing stabilized the arch.

as the ice melted throughout the day, the tip of the arch dripped, lightening the load on the end of the bow, allowing for the tension of the arch to relax with passing time, recalling

the seasonality of the missoula floods.

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thatch market research + work placementnot all roofs taste the same (research)

location pembrokeshire, wales |ecological reserves, green markets |

materials reedstrawwillowoaktwine

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intent in order to further understand the possibilities of and obstacles for thatch use, i put together a proposal to travel to pemborkshire, wales to meet with alan jones, master thatcher on a work placement. though knowledge around thatching exists in limited areas within the united states, the practice is much more common and abundant in the united kingdom.

through investigation of alan’s practice, i gained an understanding of thatching techniques, the interconnected network of reed beds, wetland maintenance, and insulative value of thatching, as well as the possibilities of improving agrictulture through building construction and thatch.

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necessary for making one dirty bundle of reed

6 sf

of reed bed necessary to thatch the median single family home

45000 sf

exposed reed roof coverage that one bundle of reed will provide

bundle unsuitable due to lengthbundle unsuitable due to kinks

bundle unsuitable due to unevenessperfect long bundle with taper

1 sf

median size of new single family house

2169 sf

harvest

dry

rake

rebundle

the value of planted reed increases with age as a function of its ability to remove nitrates from ground water along agricultural land. by removing nitrates from agricultural runoff, reed indirectly prevents algal blooms within the willamette river which promotes the reintroduction and invigoration of salmon. reed also adds to wetland biodiversity in the willamette valley, in particular, serving as a nesting habitat for the northern harrier.

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necessary for making one dirty bundle of reed

6 sf

of reed bed necessary to thatch the median single family home

45000 sf

exposed reed roof coverage that one bundle of reed will provide

bundle unsuitable due to lengthbundle unsuitable due to kinks

bundle unsuitable due to unevenessperfect long bundle with taper

1 sf

median size of new single family house

2169 sf

harvest

dry

rake

rebundle

subsequently, the value of reed decreases as an envelope material with age as a function of its resistance to water. a 300 millimeter layer of reed, a typical depth with an R-value of 11 per food (untested), will, in 50 years, degrade down to 180 millimeters. fortunately, this 25 times the time necessary for the reed bed to recover the reed necessary for roofing a median sized home in the united states.

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in order to better understand how reed functions as an enclosure material, i proposed and completed a 4 day work placement with alan jones, master thatcher, in pembrokshire, wales. the search for master thatchers practicing within the united states yielded a key obstacle to thatch adoption domestically: a labor force unfamiliar with the peculiarities of building with thatch.

next steps to complete preliminary research include performing controlled tests for r-value, flamability, and durability along with life cycle analysis and market comparison to other roofing materials.

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massing explorations used a process flow that iterated through the following sequence: 2D sketch, scale wood gridshell build, sweet potato carving, 3D printed plastic scale massing, repeat. the use of a sweet potato greatly increased efficiency in decision making and kept in line with the low carbon ethic of the studio by foregoing

typical foam models for a low carbon, starchy alternative.

we want to develop an architecture that transforms traditional notions of value, making explicit the implicit worth of the imperceptible.

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alternative valuations + environmental artthe willamette value (thesis)

location monroe, oregon |green entrepreneurs, accountants |

media |

intent where a market does not exist, in particular, for the immaterial, the value that we as designers create is either hard to quantify, as in the case of contingency value approaches to determining the monetized cost or willingness-to-pay for the maintenance of an endangered species, or impossible, as in the case of the consumption of an intriguing idea or a pleasant experience even though we can not deny that value exists in both.

the proposal for this environmental art museum demonstrates how design makes visible the value of the immaterial, transforming normative notions of value into alternative valuations.

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rhino 3d + vray + grasshopperadobe illustrator + photoshopchalk pastelink

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modeling sweet potato + broomtwinewoodrammed earth

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existing roofing material acquisition model (asphalt) proposed roofing material aquisition model (reed)

perceived influenceactual influence

the artists in residence program does not restrict the definition of artist to any particular species. by critically examining and developing a language of unit-to-unit value interactions, overlaying them on top of program, and resequencing light, sound, and water access to the program, the willamette value artists in residence design proposal attemps to architecturally decrease the decisional distance between human and non-human entities from a relationship that presumes independence to one that celebraties a unified-converging value proposition.

knowledge value

as individual consumers, we make purchasing decisions on a daily basis. we base the decisions we make on imperfect information even though basic economic theory teaches that as consumers in a free market economy, we make purchasing decisions based on perfect and available information. similarly, when financiers trade commodities, they trade based on a limited subset of information. their consumption of commodities, and therefore the price and cost of those commodities, fails to take into account the underlying externalities generated by those commodities trades. by reducing the decisional distance and encouraging decisional proximity, we move closer to perfect information and bettere decision making..

independent independent-separated independent-inviting independent-dissolving independent-excluding independent-filtering independent-converging independent-diluting

tangential tangential-separated tangential-inviting tangential-dissolving tangential-excluding tangential-filtering tangential-converging tangential-diluting

overlapping overlapping-separated overlapping-inviting overlapping-dissolving overlapping-excluding overlapping-filtering overlapping-converging overlapping-diluting

unified unified-inviting unified-dissolving unified-excluding unified-filtering unified-converging

sound light water

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99 W

to portland

to eugene

amtra

k

to portland

from eugene

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1”

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displaced residentsslough extension 2014 wetlands 20 year wetland growth 60 year wetland growth

during summer months, the willamette value environmental art museum opens to the public. july and august are the dryest months in the valley, and as the flood waters subside, the site and building open up to access via alternative forms of transportation. a nearby, previously defunct railroad offers rails-to-trails access while a newly installed bus station deters individuals drivers and favors public transportation.

as the site opens to the public in july and august, subsiding waters invite an influx of birds. the choreography of public exhibition of artists’ work along side the exhibition of non-human species reduces mental distance between human and non-human and allows for humans disconnected from long term cycles to gain increased awareness.

temporal value

25’

1”

100’

on site parking is availble for only the director of the museum and for a delivery truck

the site design responds to the challenge of decreasing decisional distance by proposing increased proximity to ecological functions. it re-introduces a slough and reed bed to restore ecological function and give access to the site and the building for artists in residence by boat in the winter while also acknowledging the subsiding of flooding in summer months and foregoing public parking by introducing an additional bus stop to bring museum goers on site. lcd displays of ecological financial data emerge from the reed bed displaying trading data to the financial management artist while a roof display connects the same data to a variety of species of commuters flying overhead.

the value of altered site

summer guests arrive via public transport due to lack of on-site parking and a convenient bus stop

artists in residence arrive in the winter via the willamette river, trecking up the reintroduced slough to the boat dock at the museum

site access maximum grade is 1:20 offering a seamless undulation throughout

bathrooms in the wild decrease decisional distance of waste management

reed harvests provide roofing for nearby housing on 2 year alternating cycles

at the bus stop, museum goers are asked to change their boots for sloshing through the wetland

an amphitheater allows for large scale installations, outdoor performances, and an ecological valuation data matinee

a rails-to-trails system encourages museum goers to access the site via additional alternative means of access in summer months

ecological stock ticker displays site valuation data

summer arrival (south)

winter arrival (north)

prevailing summer winds oliver butte relationship


25’

1”

100’

on site parking is availble for only the director of the museum and for a delivery truck


the value of altered site

summer guests arrive via public transport due to lack of on-site parking and a convenient bus stop

artists in residence arrive in the winter via the willamette river, trecking up the reintroduced slough to the boat dock at the museum

site access maximum grade is 1:20 offering a seamless undulation throughout

bathrooms in the wild decrease decisional distance of waste management

reed harvests provide roofing for nearby housing on 2 year alternating cycles

at the bus stop, museum goers are asked to change their boots for sloshing through the wetland

an amphitheater allows for large scale installations, outdoor performances, and an ecological valuation data matinee

a rails-to-trails system encourages museum goers to access the site via additional alternative means of access in summer months

ecological stock ticker displays site valuation data

summer arrival (south)

winter arrival (north)

prevailing summer winds oliver butte relationship

altered site value

average angle + white box

white box

environmental art generator

catalyst program performance criteria

formal + structural exploration

white box roof minimum thatch angle 30 optimal thatch angle 45 optimal solar angle 68

angle collisions idealized section program expansion program compression

material optimizer solar collector

conflict resolver program responder

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by iterating through overlays of reed performance requirements, the catalyst of an artist in residency program, and the deman for a formal expression that was evocative of a modern, marketable design, an idealized section was discovered.

it simply can not be a straight line. a straight line has two control points, a start and an end. however, a curve or spline has at least three, a start, end, and a “hidden” control point. the hidden control point defines the curvature of a curve, adding value to the geometry without explicitly being seen. by introducing curvature into the formal expression of the environmental art museum, we make visible the value of the control point.

slow discovery value

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roof punctures light unconditioned galleries

solar panels protect vulnerable thatch

thatch has a stated R-value of 11 per foot of thickness

four layers of 60mm x 90mm ribs layer in a gridshell

wall curvature adopts to gridshell intersection points

main footings change height to adopt to undulations in thatch roof

wood flooring undulates to continue site path through museum

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conditioned space

radiant schematic

conditioned views

seasonal flood zones

non-human entry points

the willamette value plan...

...for devising an architectural, planar methodology by which to introduce alternative notions of value

20. the

trading floor

offers day

trades a

decreased decisional

distance.

19. reed harvested from this reed bed is

sufficient to cover six median sized

american roofs. the reed bed on the

opposite side of the slough covers a

similar amount of roofing demand. the

two reed beds can be harvested in

alternating years in order to allow

wildlife to move a short distance from

one bed to the other.

16. the boat dock acts as a coat hanger

for kayaks in the summer, marking the

seasonal change like leaves fallen from

a tree.

12. another installation deck offers

overflow outdoor summer seating

for the small restaurant.

4’

1”

16’

1. a carve away of thatch scoops visitors into a liminal space between programs.

2. a shoe cubby gives museum goers a final thrshold to cross where they can deposit their mud boots and mark their arrival.

3. a shoe cubby gives museum goers a final thrshold to cross where they can deposit their mud boots and mark their arrival.

4. a shop space connects to an exterior deck and provides noisy workspace for artists in residence.

5. covered, unconditioned, galleries invite art to respond to microclimatic conditions.

6. a small restaurant serves as kitchen and eating area for artists in residence and as celebratory summer retreat.

7. a large, conditioned, indoor gallery space houses long term exhibitions and collections.

8. the water catchment area. it feeds the magic mechanical room.

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conditioned space

radiant schematic

conditioned views

seasonal flood zones

non-human entry points

the willamette value plan...

...for devising an architectural, planar methodology by which to introduce alternative notions of value

20. the

trading floor

offers day

trades a

decreased decisional

distance.

19. reed harvested from this reed bed is

sufficient to cover six median sized

american roofs. the reed bed on the

opposite side of the slough covers a

similar amount of roofing demand. the

two reed beds can be harvested in

alternating years in order to allow

wildlife to move a short distance from

one bed to the other.

16. the boat dock acts as a coat hanger

for kayaks in the summer, marking the

seasonal change like leaves fallen from

a tree.

12. another installation deck offers

overflow outdoor summer seating

for the small restaurant.

9. the mechanical room. magic happens here to let magic happen everywhere.

10. storage

11. this ecology lab offers the slow passage of moments to heighten an artists awareness of ecological time.

12. the installation deck offers the slough an opportunity to visit the artists through capillary action.

13. ramp for entrepreneuring non-human access to the building from the slough.

14. dull bathrooms. a necessity.

15. individual artists studios.

16. the boat dock acts as a coat hanger for kayaks in the summer, marking seasonal change like leaves fallen from a tree.

17. the fun bathrooms offer visitors and artists an opportunity to experience privacy while breaking their notions of traditional boundaries.

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solar panels run along the flat spines of the thatched roof, protecting the thatch where it is least durable and gathering energy to power the facilities

the outdoor work area steps down towards the reed bed to the west of the willamette value environmental art museum in order to allow artists in residence to engage intimately with a boundary, that by code, does not require a railing. the absence of a railing makes a small contribution to eliminating boundary between human and non-human

1,060cubic feet of concrete for 265 footings to support and lift the structure

14,000square feet of thin film solar that provide energy to power equipment and heat harvestted rain water

47,500bundles of reed needed to thatch the roof of the willamette value environmental art museum. at 6 square feet per bundle, we desire a reed bed of just under 6.5 acres for the roofing material

in certain areas, the thatch roof dips its toe in the water of the slough and reed bed, a small demonstration of its susceptibility to wear from direct water contact, but also a marker of the changing flood levels and the passage of time

section aa

uncanny value

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displaying a timeline that incorporates the history of a local ecology necessarily involves deciding the beginning and end of that ecology even though such distinctions are, in most capacities, aribitrary. however, it is rather difficult to draw infinity.

intangible haptic value

before we had a microscope, we did not understand the value of a healthy cell. once the microscope was developed, we were able to grasp the importance of rna, dna, osmosis, anything the human eye could not previously perceive.

we need to see it to believe it. or touch it, hear it, smell it, or taste it, in that specific order. it’s troubling for designers because what we make by putting together walls, beams, columns, systems, lighting, and so on, is an experience that doesn’t exist through the lens of any one sense, but rather transcends all senses through to the realm of perception.

how then can we make an argument for an improvement, not just of architecture, but of a general sensibility as a species to be stewards of things not immediately perceptible?

how can we create an architecture that generates a shift in embedded awarenes that makes known the value of experience?

we make the thing.we make the thing that creates the experience. we make a building more pourous to allow for an ecology to permeate and shake hands with an artist in residence. we invite non-human interaction rather than hide it. we make a table to serve the sheep and the people.

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Drawing 93” = 1’Ben Prager // TTh 6:00ARCH 571 // Project 2 // Cycle 2

Double Pane Glazing

10” 20 Gage Metal StudKawneer 451 Extruded Aluminum Window Copper Flashing

Silicone Sealant

Backer Rod

Blocking for Thermal BreakBrick VaneerMortarWeather Resistant BarrierRigid InsulationBrick Vaneer AnchorSpray Foam InsulationSteel AngleUSG Densglass Gypsum Sheathing

Blocking for Nailing OSB3/4” OSB

1/2” Finish Maple PlyCopper Rain Gutter

HSS TubeSpray Foam InsulationC ChannelGlass Canopy

1”x1” Canopy Steel Perlin

Custom I Beam with Taper

Steel Bracket for Attaching I Beam

Kawneer 451 Extruded Aluminum Window HeaderGlazing

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architectural detailsstraub hall detailing

location eugene, oregon |john rowell |

media revitautocad

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intent as part of required coursework, students were asked to detail elevations, sections, and axonometrics of a main entry at straub hall in eugene, oregon. required drawings included a facade elevation, a section through the main entry, a jamb detail, header detail, canopy detail, and a parapet detail.

the building combines a brick facade with connections to a steel supported glass canopy.

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Double Pane Glazing

10” 20 Gage Metal StudKawneer 451 Extruded Aluminum Window Copper Flashing

Silicone Sealant

Backer Rod

Blocking for Thermal BreakBrick VaneerMortarWeather Resistant BarrierRigid InsulationBrick Vaneer AnchorSpray Foam InsulationSteel AngleUSG Densglass Gypsum Sheathing

Blocking for Nailing OSB3/4” OSB

1/2” Finish Maple PlyCopper Rain Gutter

HSS TubeSpray Foam InsulationC ChannelGlass Canopy

1”x1” Canopy Steel Perlin

Custom I Beam with Taper

Steel Bracket for Attaching I Beam

Kawneer 451 Extruded Aluminum Window HeaderGlazing

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1/2” Finish Maple PlyBlocking for Attaching 1/2”Maple PlyKawneer 451 SillKawneer 451 Double GlazingSilicone SealantBacker RodKawneer 451 Extruded Aluminum JambBlocking for Thermal BreakSteel Lintel with Copper FlashingCopper FlashingLight Gage Steel for Attaching Copper FlashingWeather Resistant BarrierUSG Densglass Gypsum Sheathing1/2” Finish Maple Ply3/4” OSB Sheathing10” 20 Gage Metal Stud3” Rigid InsulationBrick Vaneer Anchor TieBrick VaneerMortar


Vertical Expansion JointRunning Bond Brick Vaneer

Flashing with Steel Angle Bracket

Flashing with Steel Angle Bracket

Precast Concrete Parapet CapFlashing

Canopy Glazing1.25”x1.25” Steel Perlins7.5” Steel I Beam with TaperC Channel Steel

Kawneer 451T Type B Assembly

Kawneer 451T Type B Assembly

Kawneer 451T Entrance Door with Husky Closer

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Precast Concrete Parapet CapHSS Tube for Roof DeckingRunning Bond Brick VaneerHSS Tube ColumnSteel Angle with Copper Flashing (See Drawing 8)20 Gage 10” Steel Wall Studs

Kawneer 451 Extruded Aluminum WindowsGlass CanopyRain GutterC Channel (See Drawing 9)1”x1” Steel Canopy Supports with Rubber GasketTapered I Beam

HSS Tubular Steel Support for Canopy

Center Line

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a facade study that explored standing seam metal roofing, cedar siding, and steel cross bracing as potential facade composition elements. it also determined the appropriate level of height for

roof lines and floor decking.

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spirituality + ecological restorationbig roof for buddha

location portland, oregon |fender’s blue, buddhist community |

media rhino 3d + vrayautocadadobe illustrator + photoshopchalk pastelred ink

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intent this proposal addresses sustainability through multiple lenses (environmental, fiscal, social, personal) to marry them with the programmatic needs of a spiritual client while considering an architecture of infill.

the big roof creates flexibility within a space so that it suits the immediate needs of the existing client, the future needs of the same client, and the potential needs of a new inhabitant. it determines a framework that supports a variety of activity without being overly prescriptive, generating a variety of complexity based on the elegance of simplicity.

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modeling museum boardwoodplastergelatin

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through collaboration with students in the department of landscape architecture, i developed the endangered species web above to identify which endangered species could benefit most from wetland restoration on site while also benefiting the client financially. the fender’s blue butterfly became the ideal stakeholder ecologically and financially as the site could generate fender’s blue restoration while also generating funding through tourism of a fender’s blue monastery.

plaster and gelatin models identified programmatic configurations. the gelatin molds explored the role of diffusion and

blurred thresholds in a buddhist space.

the meandering path set out through the site to highlight day-lit streams that were once buried throughout. simultaneously it solidified locations in the built form that completely dissolved the threshold between the built form and the landscape by varying decking height.

developing a module that varied sufficiently in section allowed for small, medium, and large spaces that accommodated the needs of the buddhist client for congregating, private meditation, and a blurred edge that continuously connected the interior and exterior.

right | the model casts identified the ideal conceptual section, highlighting a need to lift the building off of the ground to allow a permeability underneath for low-lighting biology to thrive and through the center of the building for communal activities. to flourish.

by focusing on incorporating the restoration of the fender’s blue butterfly as part of the core design criteria, it was possible to consider ecotourism as part of the additional revenue stream that the buddhist client could recognize in order to maintain its regular operations and continue serving the community.

= $

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left | the final ascent from domitian’s circus, a shift from a large outdoor room to a small indoor room, frames the final view, a glimpse of the colosseum that connects the final view with the initial sight of the colosseum from the bus stop at the san gregorio gate.

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landscape urbanismintervention at the palatine

location rome, italy |city and citizens of rome

media rhino 3d + maxwellautocadgoogle sketchuparcgisadobe illustrator + photoshopchalk pastelgraphite

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intent this design proposal for intervention at the san gregorio, the south-east entry sequence to the palatine hill, balances a socially sustainable design ethic within an ancient roman palimpsest. the existing above-grade design displays little of the site’s rich history. sparsely posted signage serves as the only indicator of important historic features devoid of a greater urban connection.

through layering excavation maps, i devised a path that, excavated, shows variegated layers of buried roman history using a sequence of compression and expansion. a copper line turned wall turned ceiling turned floor highlights the history, offering a new celebration of public space.

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modeling museum boardgraphite

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center (top to bottom) | a section model through a core of the sequence demonstrates how the copper (black) serves as the datum against which a roman can read the palimpsest of the excavated hill (white). the copper weaves from the landscape above (top), down through an opening that sheds light into the compressed passage below (middle), unfolding into expanse of finish flooring in the following room (bottom).

right | the sliver of copper that continues from the model on the left shows the material embedded in the street, rising up to form a wall and then an overhead covering before it wraps back down to begin weaving through the palatine hill itself, alternating services as a floor, wall, ceiling, line, and frame, compressing the individual and then releasing her onto the climactic view of the colosseum.

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a compression into darkness before the penultimate release of the journey into domitian’s circus

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an eruption of light into domitian’s circus (center) precedes a compression into a darkness for the final ascent towards the colosseum (right)

arakawa hanging systems | picture frame hanging systems

fiction| brand strategy

nutcase helmets| athletic equipment

architecture studio | architectural services

32ohm| highh-end audio equipment

moonbrine pickles| artisan food manufacture

4400 sf

5031 sf

4000 sf

1322 sf

400 sf

$1100

sample program (one parcel)

$1258

mame| restaurant 2000 sf $500

$1000

3000 sf $750

advocacy group| non-profit 1600 sf $400

artist’s studio | studio 800 sf $250

$330

$100

construction cost in 1000’s @ $250/sf

cultural valuesize

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conceptual design + feasibility study

location eugene, or |client, eweb, city of eugene |

details speranza architecturewinter 2013-2014mixed-use light industrial60,000 sf

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intent as part of a riverfront redevelopment master plan, the SEED project was a conceptual design and feasibility study for a mixed-use light industrial building in downtown eugene, or. as part of the design team, my work involved pro-forma analysis, demographic and socio-economic research, and conceptual architectural design work. i assisted with presenting work and findings to the client, members of city planning, and the Eugene City Manager. i also provided regular feedback and critiques to a team of four model builders and assisted with conceptual renderings, cost of construction estimates, and programming analysis.

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SEED maker space

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acoustically responsive installation + furnitureacoustabooth (built)

location eugene, oregon |student body, faculty advisor |

media rhino 3d + grasshopperautocadadobe illustrator + photoshop

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intent every architecture school has an acoustics problem. studios are wide open. no privacy. hallways are noisy. there’s nowhere for a student to take a phone call.

the digital media collaborative of the university of oregon decided to make a place. we called it the parametrically designed acoustically responsive phone booth (PDARPB). the curved ribs take on a human form while the external skin both responds to the rib curvature and offers a medium against which LEDs flickering in response to the human voice notify passersby that a phone call is in progress.

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modeling maple plysteelacoustically controlled LEDs

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roles project managementdigital designfabrication

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we instituted a workflow that moved quickly between digital and analog design. numbering and routing all components in order to minimize construction time with over 600 unique parts.

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d27

d2

d31

d73

d76

d30

d28

d1

d64

d35

d29

L44

L12

L35

L24

L34

L33

L36

L32

L31

L30

L48

L29

L28

L27

L60

L26

L25

L23

L72

L22

L21

L20

L84

L19

L18

L17

L16

L15

L14

L13

L83

L11

L10

L9

L82

L8

L7

L6

L81

L5

L4

L3

L80

L2

L1 L38

L79

L39

L40

L41

L78

L42

L43

L45

L77

L46

L37

L47

L76

L49

L50

L51

L75

L52

L53

L54

L74

L55

L56

L57

L73

L58

L59

L61

L71

L62

L63

L64

L70

L65

L66

L67

L69

L68

project cost (hard + soft)

router bitsmaterials (dollars)

threaded rods, nuts, washersstain, eye bolts, cable tiescable clamps, cable1/8” maple ply3/4 maple ply

materials total

72.5217.0112.19

53.48103.60522.30

Tygon tubingLED strip lighting

25.20207.76

$1,014.06

schematic design (8 weeks)labor (hours)

132.5design development (12 weeks) 383.5construction documents (4 weeks) 32.5

the human spine served as the starting point for form generation of the seating structure. it also served as the catalyst for the waffle connection that ultimately created sufficient corner stiffness to make the whole structure free standing.

manufacturing + assembly (6 weeks) 1092.0

labor totalgeneral + administrative 80.0

1720.5

the problemthere’s nowhere to take a phone call in lawrence hall. studio spaces are too public and phone conversations held inside studio disrupt the flow and energy of design students.

users wanted a place to sit that was both comfortable enough to sit in for a brief call and long enough to accommodate a quick nap. the school also required that the structure be free standing so as to not damage the existing walls and floor.

users also wanted to feel as if they would not be seen or heard while holding a conversation in order to have a sense of perceived privacy, regardless of whether the privacy was real.

phone conversation begins

sound sensor measures dB

lights illuminate panels to indicate conversation is ongoing. passersby quite down.

the solution

56

1/16” ply sprayed black

1/2” stainless steel washer

1/8” stainless steel threaded rod1/8” stainless steel wingnut

3mm black wire ties

1/16” steel wire rope

.1067”

.132”

.0966”

.4293”

.743”

1.245”

1.17”

.20”

2.34”

1/16” ply sprayed black

1/2” stainless steel washer

1/8” stainless steel threaded rod1/8” stainless steel wingnut

3mm black wire ties

1/16” steel wire rope

.1067”

.132”

.0966”

.4293”

.743”

1.245”

1.17”

.20”

2.34”

(1)

1”=1” happy connection detailnote that the connection detail does not connect one panel at every meeting of 4 panels. this allows sufficient flexibility to allow the panels that form the skin to bend to structural spine curvature.

(1) early sketch models define the skin connector schematic (2) various shape , size, and material tests for strength and aesthetic quality. (3) different slot and fastener type trials for identification of sufficient tolerances to allow the skin to flex dynamically. (4) finish color tests created clear branding identity for the acoustabooth. (5) the final connector, a matte black spray painted 1/8” plywood.

(2)

(3)

(4)

(5)

human factors were the primary concern in the design. rib sections were derived from the actual curvature of a spine in order to accommodate the human body. the corner of the booth was directed at an angle so that an individual looking to make a phone call in comfort, perhaps with a pillow and blanket, could do so in the fetal position, frequently claimed to be the most comfortable.

not everyone can see it.everything has value.