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Exploring SuburbiaSecond Year Studio Fall 2008Studio Coordinators:Cari Varner & Michael Zebrowski

Studio Faculty:M.Zebrowski, C.Varner, J.Heredia, M.Battin

••exploring Suburbia**

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MISSISSIPPI STATE UNIVERSITYSCHOOL OF ARCHITECTUREARC 2536 FALL 2008BATTIN/HEREDIA/VARNER/ZEBROWSKI

Part 2: Context and Precedent Analysis

Bild Design. Lowerline Street Residence, New Orleans, LA.

Introduction: “Being process-oriented and not product-driven, is the mostimportant and difficult skill for a designer to develop”

-Matthew Frederick

“To envision information - and what bright and splendidvisions can result - is to work at the intersection of image,word, number, art. Confusion and clutter are failures ofdesign, not attributes of information.”

- Edward Tufte

“Failures are easier to repeat than successes.”- Mason Cooley

Project Statement: Others have come before you.

A dwelling is perhaps the most elemental and basic buildingtypology, yet with this also comes extreme complexity andinfinite possibilities. Laypeople, architects and designershave imagined dwelling in many forms for all of history.Through precedent analysis you will study and learn from thishistory as an essential component to your ownunderstanding of dwelling.

MISSISSIPPI STATE UNIVERSITYSCHOOL OF ARCHITECTUREARC 2536 FALL 2008ZEBROWSKI/VARNER/HEREDIA/BATTIN

Part 3: Group Context Model

Mathew Moore, Urban Plough, Moore Estates, June 2006

Project Statement: Build a context model of the project site in Starkville Ms.

Context model = Surrounding area of the project site includes:Streets, Buildings, Sidewalks, Topography, Trees and Shrubs amongother infrastructure.

Site Model = The area where the proposed building/buildings willbe built and arranged.

Objectives: to experience working and managing a large group projectto refine woodworking skills

Deliverables: 2 site models will be built:Site Model Scale – 1/8” = 1’Varner and Zebrowski’s studios will pair upHeredia and Battin’s studios will pair up

Required Details: 1. Build able site area must be made so each student can inserttheir own site model in both groups context models2. Context models must be built with legs that will support it and beinstalled on the “bridge”3. Context models must be panelized for takedown and transport4. Neighborhood buildings, streets, topography, infrastructure, andvegetation context must be included with extents being approvedby faculty


Part 1: Multiples

Introduction: “Being busy does not always mean real work. The object of allwork is production or accomplishment and to either of these endsthere must be forethought, system, planning, intelligence, andhonest purpose, as well as perspiration. Seeming to do is notdoing.” - Thomas Edison

Project Statement: Produce 20 identical models of a pattern book home from theones provided, scaled at 1/8” = 1’. A production process must beemployed and documented.

Objectives: to begin observing, analyzing and representing the constructionand spatial configuration of a single family hometo understand and develop a production processto understand the importance of documenting processto explore cutting, casting, forming, joining, assembly and otheractions in relation to the repetitive nature of production.

Documentation: 20 identical modelsAxonometric Drawings at 1/8” = 1’

Multiple views (1 including a section)Include both scaled and actual dimensionsDrawn on Velum with a cohesive layout4 line weights

Annotated photographs describing the production process fromstart to finish.

Required Materials: Materials of your choice but your decision must be informed byand described in the production process.

Reference: Ching, Francis D.K, Design Drawing, Chapters 5, 6, 7Affordable Home Plans, Creative Homeowner

ARC 2536 DESIGN STUDIO I IA – FALL 2008

Ridgeland, MS

THE SINGLE FAMILY HOME:CONT EMPORARY SUBURBIA IN MISS ISSIPP I

Introduction: “Always design a thing by considering it in its next larger context - a chairin a room, a room in a house, a house in an environment, an environmentin a city plan.” - Eliel Saarinen

Description: Mississippi is rapidly transforming from a state of small towns to one ofsprawling suburbia, as evidenced by recent development on the outskirtsof Jackson, Memphis and Meridian, leaving struggling downtowns behind.To facilitate the rapid suburbanization of the United States and now ofMississippi, building methodologies have left behind the traditional craft ofconstruction and quality of labor and materials, while simultaneouslyreplacing these with priorities of speed and the value engineered budget.These excessively large homes consume copious amounts of energythrough construction, operating costs and maintenance at both thehousehold level and through inhabitation in a sprawling landscape,challenging the assumption that the suburban home is an affordablelong-term investment in the “American Dream”. This trend has alreadytaken place throughout the United States, giving us the advantage ofunderstanding where this type of development leads and how it impactsquality of life and the built environment.

••email: « [email protected] » •• phone:ª «∑∞≥°∏∂±°∞¥≤≥»••

MISSISSIPPI STATE UNIVERSITY

SCHOOL OF ARCHITECTURE

ARC 2536 FALL 2008

ZEBROWSKI/VARNER/HEREDIA/BATTIN

Part 4: Multiple + Multiple

Introduction "The whole is more than the sum of its parts." - Aristotle

Project Statement: Using ten of your identical Multiples created earlier in the semester,

develop an arrangement that will explore the potentials in

connectivity and negative space through physical, visual, spatial

and conceptual means. In order to maintain the typology of

single-family house, each dwelling must remain physically

independent of all others. Each site must address or represent:

Yard (private) Road Property lines

Pathway Park (public) Vegetation

Parking Driveway Orientation

Using particleboard, create a 1/8” = 1’ ground plane (±0

elevation) as shown in attached. The site is approximately 2.5

acres.

Objectives: To explore figure-ground relationships and gestalt principals

To develop approaches to circulation and site

To develop a parti through the arrangement of Multiples and site

design

To learn documentary photograph skills

To master two-dimensional perspective drawing techniques

Documentation: Ten multiples with arrangement on ground plane (firmly attached)


Part 5: Re-design Single Family Home [Manipulation]:

Splitting, Gordon Matta Clark

Introduction: “The idea and function, image and reality of the house vary fromculture to culture, locale to locale, generation to generation,demographic to demographic. Houses do much more thanprovide a roof over our heads: They are sanctuaries, havens—ourprivate kingdoms, our personalized cocoons. They are theBackdrops to our everyday lives. They are inheritances, tying us tothe past, or investments, ensuring our future. They are statussymbols. They are a neighborhood’s building blocks, with thepotential to build—or kill—a sense of community. They areeconomic indicators. They are expositions on culture, society, andtechnology…So vast and variable are the interpretations of this mostfundamental building type that is perhaps natural that it becamethe symbol of the American dream—the dream of creating one’ssafe personal place in the world.”

-Cathy Lang Ho, House: American Houses for the New Century

Project Statement: Manipulate and ultimately re-design your chosen single familyhome to respond to the specific site, climate and programmaticconditions as well as the potential relationship to one another.

Objectives: to re-design a single family home through the manipulation of anexisting single family hometo understand the program of living space and to design

MISSISSIPPI STATE UNIVERSITY

SCHOOL OF ARCHITECTURE

ARC 2536 FALL 2008

ZEBROWSKI/VARNER/HEREDIA/BATTIN

Part 6: Neighborhood

Jim Wark from A Field Guide to Sprawl

Introduction: [The] physical arrangement of life in our nation, in particular

suburban sprawl, [is] the most destructive development pattern

the world has ever seen, and perhaps the greatest misallocation

of resources the world has ever known – James Howard Kunstler

Project Statement: Develop a site plan for your re-designed single-family homes on

the site in downtown Starkville.

Details: The site plan must include at least 20 housing units at a minimum

(unlimited maximum) and parking for 1.9 vehicles per household

(2003 average for U.S.). Topography can be altered. Non-

residential buildings can be added. A distinct commentary and

perspective on the dwelling pattern of suburbia must be expressed

through the site plan.

Objectives: To give a physical form to an ideological viewpoint

To design with context and user in mind

To explore the typology of the suburban development pattern

To further refine and explore the site plan created for Multiple +

Multiple

Required Materials: Materials palette must be the same as used in the context model,

with appropriate additions as necessary.


Part 7: Pattern Book Redux[Final Documentation]:

Project Statement: At the beginning of the semester you were given a page from ahome pattern book. This page provided the necessary informationto understand your house. Renderings, plans elevations and salesand marketing language driven descriptions allowed you to fullypiece together the house and begin your investigation into thesingle-family home.

You are now in the final stages of design and representation ofyour re-designed single family home and your neighborhooddesign for the Historic Greensboro Neighborhood.

Using the given Adobe InDesign template provided on Common,design a single spread (two facing pages) home pattern bookstyle layout for your Re-Designed Single-Family Home andNeighborhood, including a written marketing description of each.Each one of you will be responsible for condensing your semesterswork into this format. Once completed all of the 38 two-pagespreads will be put together into one home pattern book alongwith other studio info and work and published on www.lulu.comand be available for purchase next semester.

Student Work: Sam Grefseng

Second Year Studio Fall 2008Student Work: Cody Millikin••exploring Suburbia**

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Second Year Studio Fall 2008Student Work: Megan Ray


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Second Year Studio Fall 2008Student Work: Raymond Huffman

Digital Tools, Systems and MakingDigital ToolsThrough my elective courses, undergraduate students have had the opportunity to learn digital craft & technical skills, but also to approach critical think-ing and problem solving from a digital mind-set. The courses are not designed to teach the capabilities of a particular piece of software, but rather to instruct a universal computational vocabulary and an environment to engage in projects that present the opportunity for potentially speculative work.

••Digital Tools**

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Digital Tools, Systems and Making



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Student Work:TOP:Jesse O’QuinnBOTTOM:Blake DanielsFinus Townsend III


Student Work:TOP:Austin Barnes Lorenzo MinterMIDDLE:Finus Townsend III Jennifer Brown BOTTOM:Cory HeadJennifer Brown

Exhibit: MakingFabrication Electives - Fall 2008Curation by M. Zebrowski M. BattinThe culmination of the ARC 4990 Digital Tools Systems and Making class was a joint gallery show of student work with the ARC 4990 Fabrication Class.


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Student Work:

Jennifer Brown Jesse O’QuinnFinus Townsend IIILorenzo MinterMark Talley BOTTOM:Adrian Massey


Student Work:TOP:Cory Head Adrian MasseyAustin Barnes Jesse O’QuinnBOTTOM:Finus Townsend IIILorenzo Minter


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Student Work:Austin BarnesCory Head


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Mississippi State UniversitySchool of ArchitectureDigital Tools, Systems and MakingARC4990 Section 2Prof. Matt BattinContact: [email protected] 2008 T, R 12:30 - 2:30

Project 2:

“Creativity is allowing yourself to make mistakes. Design is knowing which ones to keep” Scott Adams

“To whom does design address itself: to the greatest number, to the specialist of an enlightened matter, to a privileged social class? Design addresses itself to the need.” Charles Eames

Project Statement: This project will be broken into 3 phases.

Exercise 1: 2-Way Frame

Construct a 2-Way frame asymmetric tube 24” x 3” •

Your tube will connect to your neighbors, so you must coordinate your connections on each end of the tube. •

Each tube must have 2 openings•

As a group determine the path of the tube, how to support it, etc.•

Exercise 2: Material study

Design and clad your tube with a surface material.•

Each tube must use a unique cladding material or technique (this must be coordinated as a class). •

Project: Construct a lamp.

Using the digital design and fabrication skills construct a lamp. You must designate a use, select appropriate materials, light source type (bulb), and design lamp to follow those parameters.

Design and prototype your lamp, including the light source. Render the lamp, with light source as part of your •design exploration.

Prototypes should include both material exploration and light sources•

Final lamp should be express a high level of craft.•

Schedule:

October 9th: Project Introduction

October 14th: 2-Way Frame Draft Due

October 16th: Material Study Due

October 21th: 2-Way Frame Exercise Due

Mississippi State UniversitySchool of ArchitectureDigital Tools, Systems and MakingARC4990 Section 2Prof. Matt BattinContact: [email protected] 2008 T, R 12:30 - 2:30

Lamp Fabrication:

Objectives: to integrate digital design and making to construct further digital craft to integrate standard systems with in digitally produced artifacts

Project Statement: Construct a lamp of your choosing. Consider production techniques, materials and use in design. Designs should make use of proto-typing and digital modeling as a means of creating the final product. Each product must be task or use oriented. You must select appropriate materials and a type of light source (bulb) and design your lamp to follow those parameters. Prototypes should include both material exploration and light

sources. Final lamp should be express a high level of craft.

Deliverables: Final Lamp with Prototype models 24” x 36” PosterPoster will include: documentation of prototypes, photographs of final lamp, “shop draw-ings” of lamp documenting dimensions, materials and systems as required. Statement of design intent, fabrication strategies, materials used, etc.

Schedule:

November 4th: Prototype 3 Due

November 6th: Work Day

November 11th: Prototype Development


November 18th: Prototype Development

November 20th: Draft Poster Due – Review of all prototypes


December 2nd: Work Day

December 4th: Project Presentation

Connector scenarioThird Year Studio Spring 2009Studio Coordinators:Matt Battin & Jane Greenwood

ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives PART I• Page 1 of 2

“All Buildings are predictions. All predictions are wrong." Stewart Brand – How Buildings Learn

“A program ought to have in it the seeds of all subsequent change. It�s jolly difficult.” - Frank Duffy

Objectives:

• to employ appropriate representational media -- including computer technology.

• to convey essential forms at each stage of the design process.

• to provide a coherent rationale for the programmatic and formal precedents employed in the

conceptualization and development of the studio project.

• to develop a better understanding of the principles of sustainability in making architecture.

• to design both building and site to accommodate individuals with varying physical disabilities.

• to develop an understanding of the basic principles that inform the design of the building

envelope, environmental building systems, and life-safety systems.

• to produce a comprehensive architectural project based on a building program and site that

includes development of programmed spaces demonstrating an understanding of structural and

environmental systems, building envelope systems, life-safety provisions, wall sections and

building assemblies and the principles of sustainability.

• to develop an understanding of the selection and integration of structural, environmental, life-

safety, building envelope, and building service systems into building design.

• to assess, select, configure, and detail an integral part of the building design showing the appropriate combinations of building materials, components, and assemblies.

PART I: BUILDING NARRATIVES - considering the plausible and the shocking

Reading: How Buildings Learn by Stewart Brand - Chapters 11 & 12

Schedule: Friday, Jan 23th Scenario Planning Discussion –

How Buildings Learn - Chapter 11

Key Player Interviews –

Monday, Jan 26th Interviews Due

Scenario Plots Assigned

(Left) Diagram, Manual of Motoring, MINIUSA.com

(Right) How Buildings Learn, S. Brand

ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives PART I• Page 2 of 2

Introduction

The first step in the Scenario Planning Process is to interview the key players and identify the focal issues. The

College of Architecture, Art and Design (CAAD) has gone through initial programming research with the faculty

and staff of the CAAD. The program you have been given represents that effort, however, it does not include

input from a major group of key players - students. To better understand how to best plan for the future of the college, this group needs to be engaged in the planning process.

Project Statement

For PART I you will be working in groups of two (2):

1. Develop a list of questions to initiate an effective interview with fellow students.

2. Your questions should facilitate a conversation and allow you to better understand issues and

expectations for the proposed connector building. These interviews will be your opportunity to identify

concerns, and also potential “driving forces” that could impact the future of the building.

3. Interview two (2) students from each of the departments in the CAAD – Architecture, Art, Interior Design,

and Building Construction Science

a. Document your interview in writing to include the following information:

i. Interviewer�s Name

ii. Interviewee�s Name (CAAD Student), Hometown

iii. Department in CAAD, year in the program,

iv. Question asked and responses in paragraph or outline form.

b. Each student interviewee should only be interviewed once. Do not duplicate interviews with a

student interviewed by another group. Architecture student interviews must be students not engaged in the Scenario Planning Process.

Submissions:

Your eight (8) interviews must be typed, and printed in 8.5 x 11 (portrait orientation). Additionally save a MSWord

file to the common drive (in folder 00_3bSpring 09). Each student should be prepared to represent his or her

interviewee�s issues/expectations in the group discussion. The studio�s collection of interviews will be

consolidated into a single document for future use. Group Interview Documents are due Monday, Jan 26th

at 1 pm.

ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives PART II• Page 1 of 1

“Always design a thing by considering it in its next larger context – a chair in a room, a room in a house, a house in an environment, an environment in a city plan.” - Eliel Saarinen

PART II: BUILDING NARRATIVES – developed plot lines

Schedule: Monday, Jan 26th Scenario Narratives Assigned

Wednesday, Jan 28th Scenario Narratives Due

Implementing the Scenario Process

It is the job of scenario planning to seek out future unexpected possibilities, analyze and define the issues that will

have the greatest impact on the future of the building. Brand describes these issues as “driving forces” which

must be identified and ranked in terms of both uncertainty and importance. The studio will participate in an in-

class work session to develop and prioritize this list. It is the responsibility of each student to participate and document this list for use in future scenario-planning work.

Once a list of driving forces has been established the studio will be subdivided into groups of three (3) responsible

for addressing a specific issue. Within the group, each student will be responsible for developing a narrative that incorporates the group�s “driving forces” and a “future outcome”.

EXAMPLE:

Student Group Issue 1:

Student 1 - Official Future

Student 2 - Optimistic Future

Student 3 - Pessimistic Future

Work as a group to outline basic narratives (plot lines) – talk about what your three futures might look like. Use

your group to feed each-others imaginations. Consider the unthinkable, “imagine terrible and delightful things that might happen”.

Each student is responsible for 400 – 1000 word narrative, typed, and printed on 8.5 x 11 bond (portrait

orientation). Additionally an MS Word document should be saved to the common drive (in folder 00_3bSpring

09). Each student should be prepared to present his or her narrative in a group discussion. The studio�s

collection of narratives will be consolidated into a single document for future use.

Due Wednesday, Jan 28th

at 1 pm


(Right) How Buildings Learn, S. Brand

ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives PART III• Page 1 of 1

PART III: BUILDING NARRATIVES – Integrating

Precedent

As a studio we are fully engaged in the scenario planning process. Basic plot lines have developed through an

understanding of “driving forces” affecting the CAAD Connector project. Each narrative should identify “potential

futures” that may arise in the design and adaptation of this building and site. During the TrimJoist Competition

you developed an in-depth understanding of a precedent building�s design and components in relationship to

both the buildings existing site and the CAAD Connector site.

Project Statement:

To inform and advance the scenario process you will reflect on the cumulative work completed this semester.

The TrimJoist Project�s adaptation of an existing building on a new site began the process of establishing a new

“predicted future” for an existing building. Reconsider your “future outcome” narrative with-in the context of

your precedent research.

1. As a group, revisit the scenario and adjust them, radically if necessary. Discuss the scenarios

that have developed, and how they impact and inform each other.

2. Name your scenario.

• Each group must develop names for the 3 scenarios now developed. Brand (How

Buildings Learn p.182) suggests, “Naming the scenarios is important. The names should

have an overstated, caricature quality – “It Came From Outer Space”; “Retailers Win”;

“Litigation Hell” – since the will be used as shorthand by the planners [group members].”

3. Each student should discuss their respective precedent building with the group.

• How does the building begin to inform the different scenario outcomes?

• What “driving forces” from the precedent are represented in the CAAD Connector

project?

4. Reconstruct each scenario narrative based on the group conversation.

• Re-write the narrative to include the “driving forces” identified in the precedent building.

• Develop graphic analysis to document and augment your written narrative. The graphic

analysis should consider both the existing building as well as the Starkville site.

Each student is responsible for:

• 400 – 1000 word narrative, typed, and printed on 8.5 x 11 bond (portrait orientation). Additionally

an MS Word document should be saved to the common drive (in folder 00_3bSpring 09).

• Graphic Analysis Documents – 11 x 17 and pdf (digital output or scanned) on common drive.

Each student should be prepared to present his or her narrative in a group discussion. The studio�s collection of

narratives will be consolidated into a single document for future use.

Due Friday, Jan 30th

at 1 pm


(Right) Diagram, Massive Change, B. Mau

This semester you will be asked to design for the plausible and the shock-ing: to consider the life of a building with a flexibility for the unex-pected. Through a series of narratives you will structure the development of a strategy, and the implementation of the strategy as a building.

Context: The U.S. produces approximately 115 Tons of Construction and Demolition (C&D) waste that ends up in landfills each year. Even as terms like “green” and “sustainability” became part of our collective vocabu-lary, our nations building waste increases each year rather than declines. Steward Brand in his 1994 text How Buildings Learn argues that much of this waste can be attributed to building designs that are overly specific, focused on the present, and lack the flexibility to change and grow over-time. Brand identifies three kinds of buildings in order of their aptitude for change, Commercial, Domestic and Institutional, of which the last will be our studio’s focus.

Method: This studio will challenge you to be forward looking as you develop a comprehensive architectural project. Based on tactics enumer-ated in Steward Brand’s How Buildings Learn as well as Peter Schwartz’s

ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives Introduction • Page 1 of 2

A complete yearlong life cycle of the Popillia japonica Newman (the Japanese Beetle) L. Hugh Newman, Man and

Insects (London, 1965), pp. 104-105. Cited by Edward R. Tufte, (1991) p.110.vv

BUILDING NARRATIVES –

Objectives: • to employ appropriate representational media -- including computer technology


• to provide a coherent rationale for the programmatic and formal precedents employed in

the conceptualization and development of the studio project.

• to develop a better understanding of the principles of sustainability in making

architecture

• to design both building and site to accommodate individuals with varying physical

disabilities.

• to develop an understanding of the basic principles that inform the design of the building envelope, environmental building systems, and life-safety systems.

• to produce a comprehensive architectural project based on a building program and site

that includes development of programmed spaces demonstrating an understanding of

structural and environmental systems, building envelope systems, life-safety provisions,

wall sections and building assemblies and the principles of sustainability.

• to develop an understanding of the selection and integration of structural,

environmental, life-safety, building envelope, and building service systems into building

design.

• to assess, select, configure, and detail an integral part of the building design showing

the appropriate combinations of building materials, components, and assemblies.

••connector Scenario**

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ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives PART III• Page 1 of 1

PART III: BUILDING NARRATIVES – Integrating

Precedent

As a studio we are fully engaged in the scenario planning process. Basic plot lines have developed through an

understanding of “driving forces” affecting the CAAD Connector project. Each narrative should identify “potential

futures” that may arise in the design and adaptation of this building and site. During the TrimJoist Competition

you developed an in-depth understanding of a precedent building�s design and components in relationship to

both the buildings existing site and the CAAD Connector site.

Project Statement:

To inform and advance the scenario process you will reflect on the cumulative work completed this semester.

The TrimJoist Project�s adaptation of an existing building on a new site began the process of establishing a new

“predicted future” for an existing building. Reconsider your “future outcome” narrative with-in the context of

your precedent research.

1. As a group, revisit the scenario and adjust them, radically if necessary. Discuss the scenarios

that have developed, and how they impact and inform each other.

2. Name your scenario.

• Each group must develop names for the 3 scenarios now developed. Brand (How

Buildings Learn p.182) suggests, “Naming the scenarios is important. The names should

have an overstated, caricature quality – “It Came From Outer Space”; “Retailers Win”;

“Litigation Hell” – since the will be used as shorthand by the planners [group members].”

3. Each student should discuss their respective precedent building with the group.

• How does the building begin to inform the different scenario outcomes?

• What “driving forces” from the precedent are represented in the CAAD Connector

project?

4. Reconstruct each scenario narrative based on the group conversation.

• Re-write the narrative to include the “driving forces” identified in the precedent building.

• Develop graphic analysis to document and augment your written narrative. The graphic

analysis should consider both the existing building as well as the Starkville site.

Each student is responsible for:

• 400 – 1000 word narrative, typed, and printed on 8.5 x 11 bond (portrait orientation). Additionally

an MS Word document should be saved to the common drive (in folder 00_3bSpring 09).

• Graphic Analysis Documents – 11 x 17 and pdf (digital output or scanned) on common drive.

Each student should be prepared to present his or her narrative in a group discussion. The studio�s collection of

narratives will be consolidated into a single document for future use.

Due Friday, Jan 30th

at 1 pm



ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives PART IV• Page 1 of 1

PART IV: BUILDING NARRATIVES – Transitioning a Scenario to Strategy

Schedule: Friday, Jan 30st Revised Scenario Plots Due

Graphic Narrative of Scenario begins

Monday, Feb 2nd

Graphic Narratives Due

Project Statement:

In a group setting return to the group�s focusing issues. The group�s goal is to develop a strategy that is viable in

the variety of futures. Talk this through as a group to develop a set of scenarios that make sense to the group; however, because each project will develop independently it is necessary to define an individual strategy.

Consider how subsets of the strategy can be devised at different levels and components of the building and site.

Graphic Narratives –

Construct a visual narrative of the integrated scenario strategy developed by the group. The artifacts created will

privilege two-dimensional (2D) visual communication while conveying the scenario�s temporal nature. In

Envisioning Information, Edward Tufte expresses that “Escaping this flatland [the 2D page] is the essential task of

envisioning information”. The artifacts created should demonstrate visual explanations of the scenario strategy in the four dimensions of the site as explored in the previous studio exercises.

• Illustrate both spatial and temporal conditions.

• Consider multiple layers of information built up through drawings, images and diagrams.

• Choice of analog and digital technique and media as well as final output media should further the

representational intent of each narrative.

Provide a minimum of 4 - 11 x 17 sheets documenting your visual narrative.

Due Monday, Feb 2th

at 1 pm

Examples of Visual Narratives

Design Drawing, Chapter 10 Diagraming by Francis Ching

Envisioning Information, Chapter 6 Edward Tufte

Royksopp - "Remind Me" YouTube

Understanding Comics, Scott McCloud particularly Chapter 2

A complete yearlong life cycle of the Popillia japonica Newman (the Japanese Beetle) L. Hugh Newman, Man and Insects (London, 1965), pp. 104-105. Cited by Edward R. Tufte, (1991) p.110.vv

�


ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives PART V• Page 1 of 1

PART V: BUILDING NARRATIVES – Transitioning a Scenario to a “Robust” Strategy

Schedule: Monday, Feb 2nd

Graphic Narrative Due

Robust Strategies Assigned

Wednesday, Feb 4th Work Day/Process Critique

TrimJoist Lecture

Friday, Feb 6th Work Day/Process Critique

Monday, Feb 9th Presentation of “Robust Strategies”

Project Statement:

In Part IV the scenarios have become broader, through consideration and entwining multiple futures in the scenarios

constructed by each student. During the precedent analysis and scenario process many “driving forces” have been

identified that may impact the proposed building. Reconsider each scenario taking a wider view of the driving forces identified but not included in the individual scenario plans.

• [re]group – discuss your scenario with [8 to 9] members of other “driving forces” groups.

• [re]prioritize – evaluate the importance and impact of “driving forces” on the scenario narrative.

• [re]consider – identify “driving forces” that impact each individual�s scenario – flesh-out a broader

narrative. • [re]work – construct a new visual narrative of an integrated scenario strategy

In a group setting reconsider the “driving forces” discussed during the studio planning sessions. The goal is to develop

a strategy that is both “plausible” in the variety of futures and also encompasses a full range of “driving forces”. Use the

group discussion as an opportunity to both revisit “driving forces” and to get multiple perspectives on the outcome of

each narrative. Each narrative has begun to develop individually; the goal is to develop a narrative documenting a “robust” strategy.

Graphic Narratives –

[Re]work the visual narrative as a “robust” scenario strategy. The artifacts created will privilege two-dimensional (2D)

visual communication while conveying the scenario�s temporal nature. Illustrate both spatial and temporal conditions. Present your “robust” strategy through a self-explanatory visual narrative.

• Engaged in “Escaping flatland”.

• Consider multiple layers of information built-up through drawings, images and diagrams.

• Consider macro/micro concepts both as graphic tools, as well as narrative concepts.

• Use text, illustration, diagrams, collage and images as graphic tools. Avoid redundant labels & captions.

• Choice of analog and digital technique and media as well as final output media should further the

representational intent of each narrative.

• Graphically transition the narrative from panel to panel clearly and thoughtfully.

• Consider the multiple implications of color and imagery; avoid potential misinterpretation. � (� = money or � = sustainable)

Provide a minimum of (6) - 11 x 17 sheets documenting your visual narrative.

Due Monday, Feb 9th

at 1 pm

A complete yearlong life cycle of the Popillia japonica Newman (the Japanese Beetle) L. Hugh Newman, Man and Insects (London, 1965), pp. 104-105. Cited by Edward R. Tufte, (1991) p.110.vv


(Center) A Tactical Guide to Social Hacking, M. Battin

ARC 3546 Architectural Design III-B • Battin/Greenwood • SP09 • Building Narratives PART VI• Page 1 of 1

PART VI: BUILDING NARRATIVES –Strategy Implementation – Site, Program & Circulation Schedule: Monday, Feb 9

nd Part V Due

Site - Strategy Implementation Assigned

Wednesday, Feb 11th Work Day/Process Critique

Friday, Feb 13th Work Day/Process Critique

Monday, Feb 16thth Part I – VI Review

Project Statement:

Going forward we will use the robust strategy developed in Part V to guide decisions needed to complete the design of

the proposed CAAD building. This strategy will provide a broad foundation that can be used as a guide when questions

arise during the schematic design phase of the project. Each design proposal should employ strategies from a range of

driving forces developed as a part of the scenario planning process. It may be necessary to amend, adapt and reconsider your robust strategy to meet the level of specificity required to proceed:

- Consider previous analysis from TrimJoist and the scenario planning process.

- Consider macro and micro forces on the site, the proposed building, and programmatic relationships within the building.

Working from the robust strategy created in Part V, identify and document key programmatic relationships.

- Document the programmatic relationships in plan & section drawings as well as diagrams.

o Drawing scale - from 1/16”=1� to

1/4”=1�.

- Construct a minimum of 3 interior and 3 exterior perspective drawings to document key relationships. Perspective drawings must be keyed on the plans and sections.

Working from the robust strategy created in Part V, document circulation in and around the proposed building. Define

circulation strategies through drawings/diagrams. Document the following areas:

- Circulation connecting Howell Hall to the proposed building.

- Circulation connecting Giles Hall to the proposed building.

- Circulation connecting the site to the Campus.

- Circulation connecting required program within the building. - Circulation connecting interior program to exterior circulation and program.

Working from the robust strategy created in Part V, develop a site plan and site section at 1/32”=1� that documents

environmental, topographic and circulation requirements of the site.

Due Monday, Feb 16th

at 1 pm – Review of Parts I - Part VI in the Jury Room with guest critics. Students will be

provided with the order of presentation posted in the 3rd

year crit area by noon Feb 16th

. The first group review will begin at 1:10pm.

(Right) How Buildings Learn, S. Brand (above) Diagram, How Buildings Learn, S.Brand

The Art of the Longview the studio will approach design as creating a “strat-egy, rather than just a plan”. The process of scenario planning will be your guide as written and visual narratives emerge, are reconsidered and consoli-dated. Together and individually you will create a scenario buffered building - a building designed for both the [expectably] plausible, and the [seemingly] shocking.


A complete yearlong life cycle of the Popillia japonica Newman (the Japanese Beetle) L. Hugh Newman, Man and

Insects (London, 1965), pp. 104-105. Cited by Edward R. Tufte, (1991) p.110.vv

BUILDING NARRATIVES –

Objectives: • to employ appropriate representational media -- including computer technology


• to provide a coherent rationale for the programmatic and formal precedents employed in

the conceptualization and development of the studio project.

• to develop a better understanding of the principles of sustainability in making

architecture

• to design both building and site to accommodate individuals with varying physical

disabilities.

• to develop an understanding of the basic principles that inform the design of the building envelope, environmental building systems, and life-safety systems.

• to produce a comprehensive architectural project based on a building program and site

that includes development of programmed spaces demonstrating an understanding of

structural and environmental systems, building envelope systems, life-safety provisions,

wall sections and building assemblies and the principles of sustainability.

• to develop an understanding of the selection and integration of structural,

environmental, life-safety, building envelope, and building service systems into building

design.

• to assess, select, configure, and detail an integral part of the building design showing

the appropriate combinations of building materials, components, and assemblies.


Methodology: This studio will challenge you to be forward looking as you develop a comprehensive architectural

project. Based on tactics enumerated in Steward Brand�s How Buildings Learn as well as Peter Schwartz�s The

Art of the Long View the studio will approach design as creating a “strategy, rather than just a [building] plan”.

Beginning with strategies developed through scenario planning each student will design a proposal for a new

building for the College of Architecture, Art and Design. The development of written narratives will translate to

constructed visual narratives of space and time. These preliminary planning tools will provide the framework for

making thoughtful decisions for locating the building on the site and the building systems employed in your design.

Scenario Planning Process in 8 steps:

1. Interview the major players in the design

2. Identify the focal issue

3. Explore driving forces shaping the future environment and identify “predetermined

elements”

4. Identify scenario logics – basic plot lines

• Spell out the “official future” – What everyone thinks will happen

• Then “think the unthinkable” – imagine terrible and delightful thoughts

5. Revisit the preliminary scenarios

• Adjust them – often radically

• Flesh out the scenarios as vivid stories

• Name your scenarios with descriptive names.

6. Return to the Focusing Issue – devise a strategy that will accommodate all of the

strategies

7. Work through the scenarios to get a series of scenarios and a strategy that makes sense

with each other. 8. Implement the strategy/scenarios through each level of the design.

CLIENT

The College of Architecture, Art and Design (CAAD) is a newly established college at Mississippi State University;

this new college connects a series of departments under one figurative roof. Scattered across the campus, CAAD

would like to expand and connect the college with a building between Giles Hall and Howell Hall. In 2007 the

newly formed college hired an architect to develop a programming document to determine the current program

and potential future space required. Based on that document, the college has decided to proceed with the construction of a building.

Mississippi State University

For general information and history on the university:

http://www.msstate.edu/web/gen_info.htm

College of Architecture, Art, and Design

For general information and history on the College:

http://www.caad.msstate.edu/about/


PROGRAM

• Site – Locate the proposed building to provide a link between Giles and Howell Hall.

• Social Connection – Consider the opportunity for the proposed structure to do more than physically

connect two buildings. Consideration should include:

o Inter-department relationships

� Faculty, Students, Administration

o Planning of spaces to foster interaction between all users.

o Future use of building

• Organization: The proposed building area program is provided below. Through the process of initial

scenario planning and implementation of the scenarios as designs you will develop a comprehensive building design.

Program Area Total FT2 #of Rooms Comments

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Net SF 38,064

Gross SF 47, 580 Efficiency Ratio of 75%


Buildable Area:

The attached graphic identifies the boundaries the proposed building may occupy. Placement of the building should take into consideration environmental, physical, and social conditions of the site.


architecture

art

interior design

building construction

CAADCAAD adds building construc-tion science to the college

CAAD recognizes need for new building for building construc-tion and begins design

CAAD

CAAD rejects first iteration because of a lack of flexibil-ity within the design

CAAD approves design of modular building that is highly adaptable

CAAD moves classes from all majors into new building

CAAD grows in size

CAAD

alumni support

CAAD

starkville support

community support

donations

CAAD

period of economic downturn

period of MS growth

CAAD addition of more majors and departments

“Green” auto factory added in MS

national economic recovery

CAAD

period of economic downturn

CAAD drops some classes and discontin-ues field trips

CAAD deconstructs and sells old projects

CAAD student popula-tion declines and fac-ulty number drops

CAAD becomes college over more majors

CAAD assumes engi-neering, fashion etc

slow economic recovery

CAAD student popula-tion increases steadily MSU student popula-

tion increases drasti-cally CAAD resumes

field trips and study abroad programs New electric auto line

added by Nissan to Canton plant

“Green” auto factory added in MS

National attention to design education and reformation of studio culture

MSU gets a new president

New MSU president disagrees with CAAD teaching methods

CAAD students subtly rebel

CAAD students find ways to carry out instal-lations and increase vis-ibility of their work de-spite the new president

CAAD

14’

40’

MECH ROOM

MECH ROOM

BCS STUDIO

BCS STUDIOBCS OFFICE

EXTERIOR CLASSROOM

MENS

MENS

DEANS SUITE LARGE LECTURE HALL

LECTURE HALL 3BCS CLASSROOM

CAFE/VENDDIGITAL FABRICATION LABPRINT PLOT COPYCOMPUTER LABWOMENSGALLERIES

LIBRARY

SECTION 1/4th

SITE PLAN 1/32nd

SECTIONS 1/32nd

DNDN

MENS

WOMENSBCS STUDIO

BCS OFFICE

40’

46’

50’

GALLERY

MECH ROOM

CHASE

WOMEN

MEN

COMPUTER LAB PRINT/PLOT/COPY DIGITAL FABRICATION LAB CAFE/VEND

EXTERIOR CLASSROOM AREA

40’

40’

60’

7’6”


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EXTERIOR CLASSROOM

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LIBRARY

SECTION 1/4th

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SECTIONS 1/32nd


DN

Giles Hall

HOWELL HALL

Site Plan

1/16"=1'

DN

UP

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UP

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Second Floor Plan

1/16"=1'

West Elevation1/16"=1'


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C A A

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1st Floor 1/16”=1’

2nd Floor 1/16”=1’

1/16”=1’Basement

L I B R A R Y

L I B R A R Y

G A L L E R Y

G A L L E R Y

D E A N ‘ S O F F I C E

L E C T U R E L E C T U R E L E C T U R E

D I G F A B L A B

L O U N G E

C O M P U T E R L A B

P . P . C .

B C S S U I T E

A U D I T O R I U M

CAAD

Starkville

AlumniAdaptable DesignAdaptable Design

+

Growth

Reuse

CAADCAADCAADCAADCAADCAAD

P u b l i c S c h m u b l i c

Interaction With Town

Gathering Spaces

Sustainability

Life CycleCompleting the Circle 360

Design Construction

Intended Use

Actual UseAdaptation

Deconstruction

Programming

Schematic Design

Design Development

Construction Documents

The materials that made up the building are broken down into their original form and reused, restarting the chain of use.

The building adapts to what the needs are.

Intended to be used as a connector building for the College of Architecture, Art, and Design.

BCS + ID?

+

Furniture Design

Industrial Design

Fashion Design

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A U D I T O R I U M


STructures I - labARC/BCS 3904 - Fall 2009M. Battin - Lecturer / M. Wise - Lab InstructorThis course involves both lecture and hands on com-ponents. Students are asked to engage the lecture material by applying it to two major lab projects during the semester. Fall 09 Semester was the first semester that the course merged the Building Con-struction students with the architecture students which added additional demands with increased stu-dent numbers but also students who were engaged in the material from two separate backgrounds.

••ARC/bcs 3904 Structures I**

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.0 '

4.0 '

Maximum Base Size 4.0‘ x 4.0’

10.0 ' 10.0 '

2.0

'

Load

Fixed End

Tower

T

A

The Tower: Overturning MomentLab 1 ARC 3904 - Structures

Problem StatementEach team will build a tower that fits within a volume 10 feet high with a base no bigger than 4‘-0“ x 4’-0” .

The tower must weigh less than 40 pounds and must be mostly of wood. (Connectors and weights may

be of other materials.) The tower will be loaded as shown below. The tower must stand up by itself when

not loaded. Each tower must include a ring at 10 feet to attach the rope.

The load supported by the tower before it tips over or breaks will be divided by the weight of the tower.

The highest load/weight tower “wins”.

ScheduleDay 1

Materials: basswood or wood sticks, glue, string

Start with a design load of 10 lbs .

1) Calculate the angle of cable “T”

2) Calculate the magnitude of the force on the cable labeled “T”.

3) Calculate the horizontal and vertical forces on ring “A”

4) Use this information to begin your tower design. Design thinking about where the axis of rotation

for your tower is, where the moment arms are, and where the forces are. Hint: by increasing the

moment arm from your weight to the axis of rotation, you increase the overturning capability of

the tower. Sketch out several designs and calculate the moment, determining the amount of

weight needed to balance the forces.

5) Produce a 1/4 full scale ( 1‘-0“ x 1’-0” x 2‘-6“) model for a possible tower design. We will discuss

as a class the various approaches.

Day 2Working day

Day 3Working day

Day 4Testing day. Have your tower ready to go!

Lab ReportThe lab report should be organized in accordance with the lecture on writing a lab report and

include the following:

Introduction:

A statement of the problem in your own words.

Materials and Methods

An illustration and description of the preliminary design(s) done. Describe why this design will

work the best to resist the overturning force using both calculations and words as well.

Description and illustration of your final design. Why is the final design better than the original?

Calculate how much overturning force the tower can theoretically take. This calculation should

not only demonstrate the overturning force, but also how much force the members of your tower

can take.

Results

Results from the testing. Include the weight of your tower, the overturning load and the the ratio

of the overturning load divided by the weight.

Discussion

Make a post-mortem analysis of your design. What worked well? What failed? How would you

improve the design. Include any calculations necessary to show why the tower failed or how you

would improve the tower.


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••ARC/bcs 3904 Structures I**

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MARKET[space]MARKET[place][urban]MARKET[mini]MARKET[super]MARKET[neighborhood]MARKET[street]MARKET[farmers]MARKET[community]MARKET[co-op]MARKET

In the summer of 2009 a group of Mississippi State University - School of Architecture students crowded into a van. Their goal: to suggest interventions that examine how a building’s impact can reaches beyond its foundations.A corner store community “Generative Site”Post-Katrina New Orleans was confronted with a substantial dilemma; residents were reluctant to return to neighborhoods lacking essential urban program and infrastructure. A stalemate existed, business owners wouldn’t invest without

customers, and residents couldn’t imagine: returning to a desolate neighborhoods. In an attempt to focus recovery the City of New Orleans identified “target areas” as generative recovery nodes, to bring together private business, FEMA recovery, and non-profit initiatives. St. Roch Market (SRM), a city owned, high profile historic property was identified as one “target area”. The market would anchor the neighborhood, but also serve as a social and cultural hub for the community. The impact of the neighborhood market could extend beyond the isles into the community. The role of the market in a neighborhood is not unique to the SRM neighborhood, or even New Orleans. Perhaps generative strategies developed for one site could translate to alternate sites in a city struggling to recover, or even in suburban sprawl seeking to find community?

Local Markets

The Cresent City Farmer’s Market serves as an outlet for local producers to market their goods to local citizens. This serves to bolster the economy by feeding money back into the local markets and allows the citizens to purchase food products that are locally grown at economical prices because the ex-pense of shipping is removed. One day a week at select locations in the city, local producers bring their produce, seafood, baked goods, and ornamental plants in the early morning hours to transform a parking lot into a one stop shop for all things local. The food products are the freshest possible, many times reaching the purchaser within hours of being harvested or prepared.

NEW

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••urban Market**

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It’s not the Colt 45 or the yuppie junk food“Generative program”

The neighborhood market is a dynamic element of urban program that serves the community well beyond the opportunity to grab soy milk or buy a “40” steps from home. A versatile typology, it exists in varying forms across the country as bodega, corner store, or gentrified market; peddling a variety of goods from malt liquor to tofu burgers. These markets are self-selecting to engage in community building on various scales, however generally their primary focus is conceived as a local retailer. Considering this typology of urban infrastructure in the context of SRM, what opportunities would develop if the neighborhood market were rooted in a generative program focused on community?

Studio ResearchIntrigued by the potential to reach beyond its functional program, a summer travel studio was developed to investigate these possibilities. The studio would utilize an established neighborhood as an operative context; generative elements could be identified, and leveraged to develop a generative market program.

Local Markets

The Cresent City Farmer’s Market serves as an outlet for local producers to market their goods to local citizens. This serves to bolster the economy by feeding money back into the local markets and allows the citizens to purchase food products that are locally grown at economical prices because the ex-pense of shipping is removed. One day a week at select locations in the city, local producers bring their produce, seafood, baked goods, and ornamental plants in the early morning hours to transform a parking lot into a one stop shop for all things local. The food products are the freshest possible, many times reaching the purchaser within hours of being harvested or prepared.

NEW

OR

LEAN

S, LA


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Students traveled to New Orleans’ Lower Garden District (LGD) as part of the studio investigation. The LGD was chosen because even post Katrina, it has remained a vibrant New Orleans neighborhood, but lacks a neighborhood market. Working in the LGD proved a rich context, prompting the development of a series of proposals whose social and physical impacts operate at a series of scales. Student proposals challenged the typology of market, establishing connections to existing public space, providing gathering spaces, as well as several sustainable and socially focused agendas.


Nourish

Bringing food from the field to the consumer is the role of Nourish. The structure is based on a shotgun style house and gives off a farmer’s market vibe. Crops from around the city are brought here to be sorted, stored, and sold. The building also houses a small juice bar to expand the customer base. A 6000 gallon cistern at the rear of the building collects rainwater from the roof and can be used for floor cleaning and other activities that do not require treated water. On the South facing roof, 1500 square feet of solar panels genreate 27 kilowatts of electricty an hour in full sun to offset electrical needs through net metering. The building is pushed to the street corner to provide more presence on the street and hold the site. This allows for an alley way on the side of the building so that delivery trucks and customers who drive may pull all the way around the building without having to back into the street.

NEW

OR

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NS,

LA

NEW

OR

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NS,

LA

Memory Mapping

To document the area surrounding the site of the proposed groceery store, a series of memory maps are drawn as one wanders the neighborhood guided by intuition. Choices about where to turn were not calculated so as the whole of the neighborhood was explored, but rather when a turn appeared to be the correct path. A series of drawings and notes were taken while on these jour-neys and then compiled to form a map of the area as it was percieved. This map skews scale and importance but gives a better ‘feel’ for the neighbor-hood than a measured drawing could.


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A427 Construction 2

Winter 2004Instructors: Robert Adam [Coordinator]Kevin BenhamLars GrabnerMick Kennedy

Graduate Instructors:Matt BattinAmanda ChristiansonKarl KowalskeTom Peebles

••Constructiom II**

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Construction 2 explores critical design intel-ligence as it intersects multiple conditions of assembly, fabrication, and building construction. Construction2 surveys a range of media and tools used to understand diverse methods of construction through investigation both standardized and explor-atory materials, build-ing systems, and detailed assemblies.
