W O R K Kyle Huninghake

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URBAN FARMING par t 1 : A STRATEGY FOR ST. LOUIS

ORGANIC FARMING par t 2 : DIGGING AND BUILDING IN ARGENTINA

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NEW ORLEANS DESIGN-BUILD: A REAL LIVE URBAN FARM HUT

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DRAWINGS

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PARK POOLFA

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ART-O-MOBILESU

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DIRT Y RENDERWARESP

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URBAN FARMING par t 1 : A STRATEGY FOR ST. LOUIS

Under the premise that city land and farmland might co-exist in a more sustainable and socially-just way, this project was an attempt to re-envision the city of St. Louis as a place where food might be grown and eaten locally.

My strategy took an old bridge spanning the Mississippi River as a connector between the main city and East St. Louis, where train cars could haul fresh produce grown along the riverfront to population centers on both sides of the river, like a farmer’s market on wheels. The vacant land from abandoned industrial sites along the river would be converted into crop land and irrigated by naturally filtered water from the Mississippi. In the wintertime, the unused barges that park along the banks would become greenhouses - producers and transporters of food to be sold on the moveable train car markets along the bridge.

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(A) (B)(A) I

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1: train car farmer’s market

2: greenhouse barges

3: wetland remediation

4: pivot + drip irrigation

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MacArthur Bridge and connecting railways in red.

2,000 ft

adjacent unused buildings become places for to store and clean produce

ORGANIC FARMINGpar t 2 : DIGGING AND BUILDING

Where nature and culture intersect are born farming and architecture. The urban farming studio of my junior year made clear the mutual information of both disciplines and my embarassing ignorance of how to live close to the land in a sustainable way. I spent half of my senior year trying to fix that.

In an effort to deepen my understanding of a word as big as “sustainability,” I spent three months living and working on three organic farms in Patagonian Argentina - one an apple orchard, another a sheep farm, and one that grew everything. The dean of the architecture school agreed to sponsor the trip as an independent study; in return I journaled, sketched, and produced a short film, which I titled “Notes From The South.”

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IN ARGENTINA

“piggy”

stir together dirt + water + poop + hay. let sit for two weeks. add sand and more hay. mix together to make mortar for immediate use.

adobe bricks are wetted and stacked with mortar. a window is positioned as the wall rises.

NEW ORLEANS DESIGN-BUILD:A REAL LIVE URBAN FARM HUT

God’s Vineyard is a small urban farm behind a church in the Garden District of New Orleans. In addition to keeping chicken and geese, the land is a producer of peppers for making hot sauce to be sold around town, the proceeds from which go toward after-school programs in the neighborhood.

A small group of architecture students, of which I was a part, asked if we might build the owner something he’d have use for in the garden; he told us he needed a place to store tools, sit with friends, and grill out in the summer. We raised some money and built what we reluctantly settled on calling the “Urban Farm Hut”.

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notching the beams

bike wheel trellis

DRAWINGS

2009

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charcoal acrylic

charcoal / colored pencil pen

pastel / watercolor

charcoal and eraser

“Box Field” pencil and eraser

“Home Brew” screen print

PARK POOLOn the southeastern side of St. Louis city, just west of Interstate 55, there is an old park, which acts as a focal point for the community surrounding it. The park has as its own focal point a small man-made lake, to be the site for a public pool.

The pool would be nested into the northwestern hillside with directed views toward the lake, the old boathouse, and out into the park. Conceived of as a complex of interlocking arched spaces, (some as big as airplane hangers) each corridor creates an opening by its orientation to the surrounding ones. The interior of the concrete arches have a reflective finish; light bouncing off the surface of the water or originating below it becomes the texture of the walls and ceiling.

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One enters from the northwest - upslope from the lake shore.

Each level in the complex descends slightly: from the entry and offices down to the changing rooms and gym; further below, the main pool and spa area are flush with the surface of the lake.

A tanning deck projects out over the water.

kiddie pool viewed from lakeside sun deck.

ART-O-MOBILEI spent the last two weeks of my summer vacation repainting my once-silver 1997 Honda Civic.

Rather than fixing the air conditionioning or window cranks, I felt more compelled to stencil onto all surfaces of the car’s exterior a handful of images that I find particularly affecting - paintings, patterns, cutaways of steamer ships.

I am still without AC.

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Section Analysis

1” 2” 5”

1” 2” 5”

DIRT Y RENDERWAREModeling a bottle of Tide detergent through section drawings, 3D surface mapping, and computer rendering.

Once physically deconstructed and then re-represented in the computer, the task was to cut sections of the Rhino model from which to assemble a physical model of the bottle made from laser-cut Styrene pieces.

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section analysis

For those lonely nights - Tide will keep the light on.

Rhino render

laser cut drawing

styrene model

KINDERGARTENStudying a five year old William at play yielded an awareness of the child’s physical contact with his built surroundings (in this case a Jungle Gym).

Mapping this contact yielded an idea for a new piece of classroom furniture - a beehive-like contraption suspended from the ceiling. Entering from the bottom, a child may climb up through it to reach the next floor of a building.

Using the beehive as a central tool for building circulation, the design for a multi-classroom Kindergarten complex was hatched. The building is a series of stacked spaces, each enclosed classroom having an outdoor play space adjacent to it. Above each room is a green roof, which serves as the open play space for the classroom attached to it.

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motion study

beehive elevator

LIVE WORK SHOWThis project is a home for two artists - a painter and a sculptor - and it sits on a narrow plot of downtown real estate. The program calls for two studios, a gallery, and living spaces for the couple.

The early design inspirations for this place of art came from the work of a single artist - the Belgian surrealist René Magritte (a favorite of mine, evidenced by the driver’s side door of my car). Translating his ideas into built form was challenging and at times weird. What became most pertinent to the building’s design was Magritte’s fascination with mystery - taking a familiar object and strangely displacing it or obscuring it with a second object. The living spaces, then, were designed as a familiar shotgun-style shack, but placed up above the gallery space, flanked by the two studios.

From the gallery on the ground floor, one would walk underneath this floating shotgun house and its studios; one could admire the art that came from them, but these places would remain mysteries to the viewer (and private for the artists).

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living

painting

sculpture

gallery

materials

ramp and ele

vated walkway

Ground Floor 2nd Story 3rd Story

voids

A B C

Section A Section B Section CNorth Elevation

West Elevation

Longitudinal Elevation

gallery from the street

spiral entry ramp

painting studio

[thank you.]

double exposure 35 mm film print.