chad kruse portfolio

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  • SCIENCE FICTION/SCIENCE FACT design thesis [ 2008 - 2009 ]

    Science fiction and science fact are typically perceived as two competing perspectives: reality and

    fantasy lie in two separate planes. In actuality, science fact has much to gain from studying science

    fiction as technological advancement and possibility of the past century allows yesterday's science

    fiction to become today's science fact; the impossible becomes possible.

    This thesis studied architectural design in outer space from the perspectives of both fact and fiction in

    order to design a private space hotel in orbit about the Earth. If we are to inhabit outer space, the

    method of design of our space habitats must first respond to the following questions in order for the

    most satisfactory design solutions to develop: How do the constraints of designing in outer space

    differ from those on Earth? In what ways should one design in space?

    Beyond this, the uninhibited freedom of designers in the fictional realm begs the question of whether

    these solutions have merit and application in science fact, to which I would argue they do. Architects

    should design in space through the study and provision of equal weight and value for not only science

    fact, but beyond into the realm of science fiction, thus allowing a solution with the greatest

    architectural possibility to arise. To that end, it is not just a matter of in what ways should one design

    in space, but if science fiction is to influence design, then architects must also answer: How should

    science fiction influence design? Following the first semester's research for the project and in

    conjunction with the schematic design, my answer to this question is that:

    Science fiction should influence design through the translation of the visual aesthetic effects produced

    by science fiction to the experiential aesthetic effects of design, thereby expanding the realm of

    factual architectural possibility.

    Thus, it is up to the designers of today to expand upon current technology and ideals, which rely so

    heavily on science fact, through the application of both science fact and science fiction in order to

    provide designs which exhibit the greatest potential for the structures in space which humanity will

    undoubtedly progressively inhabit.

  • entry main body

  • primary core tomorrow's science fact

  • main body: construction axonometric diagram

    [ trusses ]

    [ exterior skin ]

    [ steel ribs ]

    [ mechanical ]

    [ steel rings ][ led strip lighting ]

    [ primary structure ]

    [ mechanical ]

    [ exterior aluminum panels ]

    [ primary structure ]

    [ algae wall ]

    (oxygen recycling)

    [ electrical ]

    [ railing ]

    primary core: construction axonometric diagram

  • JUDD FOUNDATION art storage facility [marfa, tx_fall 2007]

    The works of minimalist artist Donald Judd are kept by two foundations, one

    of which is the Judd Foundation, who are in need of a new collection storage,

    exhibition and research space. The design is derived from the sliding art

    storage racks which organize the interior. This idea then expresses itself

    externally through the forms of the west facade. Users' typical perception of

    the interaction between building interior and natural exterior are reversed

    through the layering of porosity. Minimalism itself is also reversed in the

    design in that the clean, sterile interior sliding racks become flush with the

    wall in the closed state, contrasted with the dynamic nature of the exterior

    elements of the west facade.

    Second Floor Plan

    Southwest Perspective

    "Closed" Position A

    Collection Research:

    "Transformed" Position A

    Longitudinal SectionSoutheast Perspective

  • Parking

    Marine

    One

    Landing

    Site Plan

    0'

    Re

    flectin

    g P

    oo

    l

    Mulched Beds

    Turf

    512'

    WHITE HOUSE redux [washington dc_spring 2008]

    Using The Machine as a generative metaphor for architectural design, it is my position that architecture should be designed to

    embody the essence of the machine. The brief for the White House Redux international competition stated, "The original

    White House design was the result of a competition held in 1792. What if, instead of in 1792, that competition were to be held

    today? What would a White House designed in 2008, year of election of the 44th President of the United States, look like?"

    For my White House design, then, this means architecture should be designed to embody the essence of the democracy

    machine - the machine which runs the United States.

    Democracy is the institutionalization of freedom. Historically, the United States has been perceived as a place of opportunity,

    where the individual is allowed to act independently and freely as they see fit, and a place where for centuries persons from

    around the world have sought the freedom which the United States' democracy offers them.

    Employing the ideas of INDEPENDENCE and FREEDOM into architecture design, the White House is realized architecturally

    through a modular system wherein each module has the ability to act both independently and free. Together, the individual

    modules form a complete system which serves the White House's programmatic, environmental and security requirements,

    allowing the White House to be personalized to suit each individual user.

    Aerial Northeast Perspective

    Aerial Southwest Perspective

  • WHITE HOUSE redux [washington dc_spring 2008]The single module is a 30 x 30 x 15 structure. Each module possesses several characteristics which allow the user to customize their environment. The

    most prominent feature is a wheel and drive system attached to each corner of the floor and ceiling slabs which allows the modules to move up or down

    along a set of tracks, altering views, access, daylighting and environmental conditions.

    2

    1

    3

    4

    5

    Module Transformation

    Progression

    Module Exploded Axonometric

    [a]Northeast Perspective...one possible transformation for daily use

    Southwest Perspective...view to culmination of Great Hall axis and projecting landscape elements

  • WHITE HOUSE redux [washington dc_spring 2008]

    Northeast Perspectives...

    transformation progression [b] [c] [d] [e]

    [f] [g] [h] [i]...modules below grade

    ...modules 'blocked' on grade