samuel tanis
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PortfolioTRANSCRIPT
Samuel Tanis
Index
In The Fold Adaptive Reuse Housing
updn The Block Multi Unit Housing
Pee IS For Plants Urine Fertilizer Pissoir
#Chicatecture Kiosk Competition Entry
In The FoldAdaptive Reuse Housing
UndergraduateOtis College of Art and Design. Spring 2010, Junior Housing Studio. Professor Richard Cutts Lundquist
The challenge of this project was the creation of six residential live/work units within an existing cast concrete commercial building roughly 50’ by 132’. It is located in downtown Los Angeles’ Fashion District in front of the shopping destination of Santee Alley. The six units occupy only the lower two floors with access to the upper two floors, designated as commercial offices, to be maintained.
The design began with the desire for each live/work unit to have access to both Santee Street in the front and Santee Alley in rear. This meant that each unit runs the building’s 132’ length and all six would fit within its 50’ width. The organization developed out of an investigation of the pleating technique of Smocking, which was developed to give fabric stretch or give, and reduces the fabric’s width by 2/3. This is echoed in the floor plan. Each column, being 24” in diameter (a typical of counter depth) with a 4’ capital, led to the creation of a modular furniture system acting as a party wall.
Due to a transient, social lifestyle and the nature of work, the occupant desired a private, 2nd level work space and public, highly visible 1st level live space.
Live/Work Unit 1 George Peaslee:Freelance Writer
Live space taking precedent over work space.
Perspective 4 6am
View of Unit one’s mezzanine looking down to live space, up to work space, and out to Santee Alley.
Morning RitualIt’s pretty quite in the morning before the alley really opens up and all the shoppers come in. I wake up early with the [Los Angeles] Times and eat breakfast. The alley is empty except for some sellers setting up and a deliveries. I’m usually sequestered up on the second floor when it really starts jumping. But that why I chose to live here. I can be alone and work in peace, or I can be part of the ‘castrophany’ bellow.
George Peaslee
Live/Work Unit 2 Samantha Gregg: Performance Artist
Work space taking precedent over live space.
Due to the nature of the work and the desire for an exhibition space for props not in use, the occupant chose a very visible and open 1st level work space and private, 2nd level live space.
View of Unit two’s work space entry and stairs.
StairsStairs are a metaphor, but not just a written metaphor a real one that we use everyday. They have become very important in my work since moving in. You can ascend and descend on them. The space has been very inspirational too. The long cavernous rooms mean you can quickly move from light to dark and back again - life, death, fear, and rebirth can all be played with here.
Samantha Gregg
Perspective 1 1pm
10’ 20’ 30’
1
3 2
4
5
A
A
A
A
A
AGround Floor Plan
Mezzanine/Kitchen Plan
Mezzanine/Kitchen Plan
Perspective 3 10pm | Entries to Unit one’s live space and Unit two‘s work space.
3
Perspective 4 3pm | View of Unit ones’s work space balcony looking out towards Santee Street.
Perspective 2 8pm | View of Unit one’s live space and mezzanine looking out at Santee Alley.
Perspective Section A - Unit 1 Rendered
4
2
Section Open Section Closed Elevation Open Elevation Closed
Section Open Section Closed Elevation Open Elevation Closed
1’ 2’ 3’
The ANNEX Additional Furniture system is designed to take advantage of the standard modular dimension of cast in place concrete columns used in the In The Fold project as well as in industrial buildings across the US. This means that the ANNEX modular units can be installed in a building’s refurbishment as either a storage or party-wall division. These units can then be filled with any or all the components occupants desire with some restriction placed on where kitchen and bath units can be installed based on available hookups.
Bed Detail
Desk Detail
Bed Plywood, Aspen Wood VeneerStorage Bench Plywood, Aspen Wood Veneer
Dining Nook Plywood, Aspen Wood Veneer, Primed Steel
Sink/Dishwasher Plywood, Aspen Wood Veneer, Stainless Steel
Toilet Plywood, Aspen Wood Veneer, Stainless Steel, Mirror, Polypropylene Plastic
Desk Plywood, Aspen Wood Veneer
updn The BlockMulti Unit Housing
GraduateUniversity of Illinois at Chicago. Spring 2012 Housing Studio. Professor Lluis Ortega.
updn The Block is the creation of a housing development near the Division St. Blue Line Stop in Chicago IL. It consists of commercial work/live spaces on the ground level and live only spaces on the upper level. There was a desire to have a fully integrated circulation system which takes the form of the 32 infrastructural units that wrap the block housing elevators, two circulation cores, as well as communal space, and retail space on the ground level.
With this strong emphasis on circulation, it became important not to limit the flow. This was accomplished with buffer walls in the units which direct and limit access through adjacency and not through doors, and with the use of Programmatic-Poche consisting of bathrooms and kitchens clustering around wet columns providing water, waste removal, and structure. Each unit is provided with ample outdoor space on the roof of its neighbor - this creates a greater sense of community that is not normally present in a high density housing cluster.
W D
ivis
ion
St.
Marshfield Ave
15’ 30’ 45’
Service Columns
Programmatic Poche
Ground floor Plan
AA
10’
Section A
20’ 30’ 40’
9’
1’
Floor Above
Floor Bellow
Buffer Wall & Programmatic Poche: Full Bath
5’ 10’
Exploded Isometric ViewsProgrammatic Poche: Half Bath + Kitchen
Service ColumnsFloor Plate
10’ 20’ 30’ 50’ 100’
Isometric Section - Zoom 1
5’ 10’
Isometric Section 2
Isometric Section - Zoom 2
.5’ 1’ 2’ Isometric Section - Zoom 3
Pee is for PlantsUrine Fertilizer Pissoir
GraduateUniversity of Illinois at Chicago. Studio Berlin 2012. Professor John Manaves
Pee is for Plants was designed as a urine-as-fertilizer collector for the Urban Pioneers’ garden at Tempelhof Airfield in Berlin, Germany. Tempelhof Airfield, home of the Berlin Airlift following WWII, ceased as an operating airport in 2008 and reopened as a public park in 2010.
The parameters of the assignment was to create an element to be located in the Urban Pioneers’ garden, no taller than 5 meters, with no parts that will be walked on taller than 1.5 meters, and it must be entirely above ground due to the possibility of unexploded bombs remaining on the site from WWII.
The design was inspired by the given site being equal distance from both restrooms. It is meant to act as an icon within the garden which would collect urine from the visitors it attracts that the urban pioneers could then use as fertilizer within their garden plots.
1’ 2’
Plan3’ 4’
1’ 2’ 3’ 4’
Diagramitic Section
Elevation
Tempelhof flights - 20yrs retrograde to the day
Tempelhof Terminal
Pee-bubble as multi-scale
furniture
Urine fertilizer ready for plants
5M
1M
#ChicatectureKiosk Competition Entry
Personal2015
On June 24 2014 a press release announced a partnership between the City of Chicago, the Graham Foundation, and the Chicago Architecture Biennial. On this same day, 19 Instagram users posted 20 photographs with the hashtag #ChicagoArchitecture. From these 20 images (pg.2), it is clear what people think of when they think of Chicago architecture. Marina Towers, Trump Tower, John Handcock Center, the Carbon And Carbide building, the Jewelers Building, the Boeing Building, the Palladian windows of the Chicago Cultural Center, bridges, and Anish Kapoor’s Cloud Gate. From these 20 Instagram images the kiosk known as #Chicatecture developed. The inherent abstraction and lack of gestalt and context that exists in Instagram photos informed the form which is both new and at home with the other iconic Instagram-opportunities of Chicago. The 20 Instagram photos combined to create the #Chicatecture kiosk through form, punch, and pattern. Simulacrum of spires and antenna towers are represented, along with parapets, balconies, structures/infrastructure, fenestration, and ornament. What this creates is a kiosk whose silhouette, and patterns, belong to Chicago. The windows of the Chicago Cultural Center and the balconies of Marina Towers punch-in to create seating and resting spaces, with the ornament of Louis Sullivan adorning the interiors. The John Handcock Center’s super-frame of expressed structure scale the tower, while Trump Tower’s curtain wall wraps just above the concrete hatch patterned Brutalist base. Marina Towers’ undulating corncob is the interstitial. It is form and structure and it’s pattern wraps both John Handcock and Trump (pg.4). For nine month out the year - September-April - #Chicatecture will stand as an icon on the lakefront with architectural elements soaring to 28’. For the three months - May-August - the kiosk transforms during business hours taking its queue from the Chicago River’s many drawbridges when it lies down and allows itself to be used. When recumbent and split open, #Chicatecture is self-shading for the given vendor and provides another shaded area for patrons and visitors to the lakeshore (pg.9). This transformation takes place with the same mechanism of one of the Bascule Bridge it references, employing a tension spring and counterweight (pg.7). The structure of the kiosk is 2” tubular steel paneled in CNC cut/milled and stained marine plywood (pg.8). The inspiration for this transformation and construction comes directly from Instragram’s perversion of perspective and the way in which the common becomes the uncommon and vice versa. The #Chicatecture kiosk is what people think of when they think of Chicago architecture. It is a sibling to what has come, and sometimes gone, before.
