Paper Matters

UNDER CONSTRUCTION

PAPER

SPRING2012

SPRINGUVA

SCHOOLOF ARCHITECTURE

MATTERS.

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niversity of Virginia S

chool of Architecture

PAPER MATTERS

INSTALLATIONS, HOUSES, FOLLIES, OBJECTS, PROTOTYPES, DRAWINGS, ...

For decades the single family house was the space of innovation for architects. Architects used the domestic scale as a testing ground for larger ideas. In the past 20 or so years, however, the installation has assumed this role, presenting opportunities for experimentstectonic, spatial, material, and technological.

Digital technologies have compelled designers to test tectonic boundaries. Computation has made new modes of thinking and problem solving possible. New digital tools have expanded the imagination, while complementing manual techniques of fabrication. The fabrication lab at the A-school has imagined the world flat, created moving creatures, melted an unimaginable array of materials, advanced laser-cutting to a whole new level, embroidered patterns and formworks, and reconfigured samb!

This shift in scale has spawned a bottom-up approach, where a specific detail, node or component becomes a starting point. While this is not a new phenomenon, one could argue that with incorporation of computation into our work flow it has become more prevalent, and has found its way back into the larger scale and infiltrated a wide range of design and construction practices.

1. What is the feedback loop between the small intervention and the expanded field, the node and the network, the part and whole?2. What is the role of computation?3. What are the possibilities of mass customization?4. How do small interventions make big changes?

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MARA MARCU

SAMBO RECONFIGUREDARCH 5590-007

Bridging Jeffersonian architecture and Eliadean philosophy, this research full scale fabrication seminar uses Charlottesville as a laboratory, while taking advantage of UVas fabrication facilities and using Catias versatile parametric environment as a new cognitive opportunity. Computer-aided design and manufacturing methods have extensively permeated fabrication environments for the production of architecture. Symbolic representations in architecture, on the other hand, have widely become obsolete in the unanimous understanding of our globalised society, to the detriment of traditions and heritage. This seminar introduces students to the fundamentals of CAD/CAM, with a particular focus on the function of myths and subsequent applications in architecture, tectonic details, interior furnishings and the realm of products.

Who is Samb? Samb, an abbreviation for Shamballa used by the philosopher Mircea Eliade, is a metaphor for the secret room which refers to an utopian chamber essential in ones terrestrial and spiritual life, a road for the spirits to cross over; only fully experienced in its thoroughness and beauty during childhood. As the child steps into adolescence her entrance into the sacred Samb will one day be denied. The child cannot go back as she does not fit through and into the room anymore, just like clothes once growing up seem to shrink down.

In the archaic Romanian residential configuration the dining room is replaced by what is called the clean room. The clean room is generally locked, kept clean and only used to receive guests. Children are often denied access, due to maintenance considerations, and tend to manifest an avid curiosity in regards to what lies beyond the locked door. Through

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MARA MARCU

SAMBO RECONFIGUREDARCH 5590-007

extrapolation, the clean room becomes a symbol for a lost or denied paradise.

Samb is composed of a series of secret rooms, programmed with a bed [modulated from a cradle to a coffin], a window [meant to receive the bed, the cradle or the coffin] and a porch [reminding of the platforms of a train station or the side banks of a river, or of the Greek myth of Charon (the one who ferried the dead to the underworld, across the Styx River)], chained in an endless train of life travelling between two platforms: Mourning and Jubilation.

Why Reconfigured? Mircea Eliades theory that hierophanies, which are manifestations of the sacred, form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential. One of his most remarkable contributions to religious studies was his theory of Eternal Return, which holds that myths and rituals do not simply commemorate hierophanies, but, at least to the minds of the religious, actually participate in them. [Doniger, 2004]

By stating so Eliade not only defined mythical content as sacred but at the same time, delineated a self-referential, self-swallowing paradoxical environment for the propagation of symbolic content which, consequently, departs form a mere representational status and becomes entirely worthy of function.

A symbolic expression is one that is held to be the best possible formula by which an allusion may be made to a relatively unknown thing, which referent is nevertheless recognized as existing.

TAYLOR SCOTTHarter-Heighway Dragon Curve[Jurassic Park Dragon]

The invention of the piano by Bartolomeo Cristofori in the early 18th century brought about a new structure of arrangements within music. Frederick the Greats love of the soft-louds (early pianos) led to a substantial amount of new and innovative arrangements created and preformed by Bach. Bachs innovative usage of canon, round, diminution, and fugue can be parametrically correlated to form and function. In music, a canon is defined as a single theme played against itself. The most straightforward type of canon is a round. A round could easily be defined mathematically as a repeating function. The definition could be as simple as an exponential function, or a fractal equation.

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Prerequisites: ARCH 3240/6240, ARCH 3010 or ARCH 7010 or LARCH 7010 or if none of the above apply, please ask for instructors permission.

Requirements: The seminar will be divided in three parts: Research, Prototyping/ Optimization and Fabrication. The first two parts will comprise of individual assignments, culminating with the third which is a team effort. Attendance is mandatory to all sessions. Deadlines and reviews will be scheduled so that the are not in con-flict with studio reviews and work flow.

About The Instructor:

Besides the Glenn Murcutt International Master Class 2010, Mara Marcus education includes a Master of Architecture from Harvard University GSD in 2009 and a Bachelor of Architecture degree, with honors, from University of Houston in 2005, where she won the Best in Show thesis award. She is also a graduate of the Brian MacKay-Lyons design build Ghost Laboratory 2005. She has worked in a variety of environments, ranging from educational projects [New York City / Rafael Vinoly Architects] to high end residential [NYC: BKSK, Ed Mills and Associates / Romania: AMMA] to urban design [Houston: DesignLAB]. Beginning with summer 2009 Mara became a registered LEED (Leadership in Energy and Environmental Design) Accredited Professional.In addition to University of Virginia, Mara Marcu has also taught at Ion Mincu University of Architecture in Bucharest, Romania and at University of Houston, Gerald D. Hines College of Architecture.Her understanding of space is that it has an ineffable power over people due to an archaic built-in emotional intelligence. Through her work, she has explored this psychological charge by looking into the symbolism and mythology of space, filtered through an interdisci-plinary approach, situated at the intersection of industrial processes, architecture, engineering and optimizing complex geometries.

Prototyping & Optimization [30%]As a continuation of the research phase each student will proliferate the designed cell into an structural screen like armature programed with a resting place and a standing or agile definition. During this phase you will flex and test your model to make sure it is con-strained yet malleable enough to adapt to different configuration. The designed will be tested in a minimum of one 3d print prior to the fabrication phase.

Fabrication [60%]The two initial phases will culminate with all students uniting their efforts to design and fabricate a full scale version of the experiments mentioned above. The modulated design will be exhibited at the end of the semester and in a formal exhibition will be schedules in Fall 2012.

Image from Bow Tie Mock Up 1.

I: Research / Design Development Environments Reading 1: Ball, Philip. Bubbles. The Self Made Tapestry - Pattern Formation in Nature. [Oxford Press, 1999]. pp.16 49For Reference: Eliade, Mircea. The Forbidden Forrest. [University of Notre Dame Press, [1978]Neagoe, Peter. The Saint Of Montparnasse. [Chilton Books, 1965]

Week 1_ Jan 24 : Introduction Lecture: Whos Sambo/ Why Reconfigured/ Tutorial: Catia Introduction and Interface

Week 2 _ Jan 31: Catia Tutorial 1Reading 1 Discussion / Tutorial: Catia: Basic Parametric Modeling Techniques

Week 3 _Feb 07: Catia Tutorial 2Pattern Progress Review / Tutorial: Catia: Parameters and Design Tables

Week 4 _Feb 14: Catia Tutorial 32D to 3D Review / Tutorial: Catia: Products and CAT Drawings

Week 5 _Feb 21: Catia Tutorial 4 Cell Development Review/ Tutorial: Catia: Power Copy and UDF

II: Prototyping and OptimizationReading 2: Hofstadter, Douglas R. Introduction: A Musico- Logical Offering. Godel, Escher, Bach: An Eternal Golden Braid. [Basic Books, 1999]. pp. 2 23 For Reference: Schodek, Daniel. Bechthold, Martin. Digital Design And Manufactur-ing. [Wiley, 2004]

Week 6 _ Feb 28 : CAD/ CAMLecture: CAD/ CAM and Historic Origins / Small-Scale Fabrication Tutorials: 3D Printing

Spring Break: March 04-09

Week 7_ Mar 13 : Rapid PrototypingLecture: Bed, Porch, Window / Reading 2 Discussion

Week 8 _ Mar 20 : Mid Review Production / PresentationProject Discussion

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TYLER WHITNEYBaravelle Tentacles _ 4th Year Undergraduate University of Virginia, School of Architecture I May 2012

Baravelle spirals are generated by connecting the midpoints of the successive sides of a regular polygon. Triangles will be formed. The process of identifying and repeatedly connecting the midpoints is called iteration.The resulting tentacle aggregation navigates on a spectrum ranging from flexibility to stability, self iterative-ness to randomness, fertility to resiliency, while manifesting no clear inclination to neither one or its positive nor negative aspects. The result becomes a strange loop organizational system, with paradoxical connections. Similar to canons and fugues of ascending and descending scales, the baravelle aggregation is self-referential, self-swallowing, in both its tectonic as well as inhabitable qualities.

`

SAMB _[RECONFIGURED Spring 2012 I T 3:30-6:00 UniversityofVirginia School of Architecture, Sponsored through the Virginia Teaching Fellowship

Taught by MARA MARCU, Room 310, [email protected]

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A fugue is similar to a canon, but where one theme is played in a either a different voice, key, speed, direction, or all of the above. Crescendos of a legato style could be recreated as the heights and changing scales of a cell within a power copied model. Quick, stac-cato articulations of an arrangement could be inferred as rapid, shortened cell manipulations.

PATRICK SCHOONOVERWhen the concept of a wall is understood, a continuous vertical surface that encloses or divides, there is structure. Labeling the Jeffersonian bed ensemble a wall is a definition, challenged by the concept of oc-cupying this division. Suddenly, there are no longer only two sides, but a third option of neither one. This can be a porch-like zone, where it is both inside and outside, or neither. If a window is inserted, suddenly the question arises of where the window looks. These are physical ques-tions which can be answer by siting such a structure. Time, light, climate, can all affect how spaces are categorized. A dark tight spot is inherently private in our culture; knowledge of this culture is essential for devis-ing such a space. A seat with a window in front of it implies a view to the outside world; whereas a window behind a seat invites the glances of the passersby. When a bed is introduced, not only are time, light, and climate involved, but a very personal world devoid of contact but intensely connective. Not only is the bed, within a wall, which implies neither here nor there, but the sleeper is both directly contacting their world and purposefully escaping.

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Pattern Research -- Pentagonal HexSolving the Spine issue

_Pentagonal Core _Hexagonal Organization _Point Extrapolation _Input Points reconnect to base geometry

ERIC KUHNBow Tie Systematization is informed by the mythically charged Sam-b, and investigates through a full-scale installation, which distinguish itself from architectural models that are usually meant to be scaled up and study predictability, the potential of capturing the behavior or DNA, if you wish, of our present society in a one to one scale representation.The installation speculates on the cross pollination between CNC fabrication and analogue layers of manufacturing techniques seen as leftovers of human behaviors that have somehow embedded traces of contemporary mythology and mark time as consumption [and consumed] . The ideas explored encompass the recreation of a col-lection of curiosities, similar to Jeffersons cabinet of curiosities at Monticello, marked by transiency and decay, while delineating an archeological site, a repository for the release, or discharge of sym-bolic content.

Assignments: All material costs are covered by the instructor as part of the re-

search fellowship.

Research [10%]Each students is to research exhaustively two dimensional patterns. Think in terms of the most beautiful prints, ornaments, 2d instal-lations etcetera you have ever seen. You are encouraged to do so while keeping a critical eye to the potential three dimetionalization of the chosen pattern. You are in a sense anticipating the properties and structural traits that the 2d pattern may generate when taken in the 3d translation. This assignment will be concomitant to the Catia tutorials and you are encouraged to start building your 3d cell derived from you pattern research as a way to learn the software. Analog studies [in this case Rhino and / or paper tests] are also en-couraged during this phase.

Methodology:

Bridging Jeffersonian architecture and Eliadean philosophy, this re-search full scale fabrication seminar uses Charlottesville as a labora-tory, while taking advantage of UVas fabrication facilities and using Catias versatile parametric environment as new cognitive opportu-nity. Computer-aided design and manufacturing methods have ex-tensively permeated fabrication environments for the production of architecture. Symbolic representations in architecture, on the other hand, have widely become obsolete in the unanimous understanding of our globalized society, to the detriment of traditions and heritage. This seminar introduces students to the fundamentals of CAD/CAM, with a particular focus on the function of myths and subsequent ap-plications in architecture, tectonic details, interior furnishings and the realm of products. As a fabrication technique students will be focus-ing on contouring, although a hybrid approach is highly encour-aged. No previous knowledge of CATIA is required. Assistance will be provided to all. Previous experience with MasterCAM is a plus.

http://samboreconfigured.tumblr.com/

ARCH 5500 I Room105# of Students Authorized to Enroll: 15

III: FabricationReading 3: Kwinter, Sanford. Wildness. Far From Equilibrium: Es-says on Technology and Design Culture. [Actar, 2008]. pp 186 191Reading 4: Schumacher, Patrick. Parametricism as Style - Parametri-cist Manifesto. at Architecture Biennale.11th [2008]For Reference: Beiswanger, William L. Monticello in measured drawings. [Thomas Jefferson Foundation, 2011]Iwamoto Lisa. Digital Fabrications: Architectural and Material Tech-niques. [Princeton Architectural Press, 2009]

Week 9 _Mar 27: Aggregation of Performative Cells Lecture: Manufacturing Processes / Large-Scale Fabrication Tutorials: CNC / Woodshop

Week 10 _Apr 03: Constructing Parametric DiagramsField Trip: Monticello / Reading 3 Discussion

Week 11 _Apr 10: Creating the 21st Century FacadeLecture: Design for Production: Parametric and 4D Applications in Architecture

Week 12 _Apr 17: CustomizationLecture: Customization / Reading 4 Discussion

New Base Geometry

_Base Geometry _Caged Geometry _Cell Wireframe and UDF [User Defined Feature] _Digital Optimization _Inter-Dependent Modulation

Making a Cell -- Base the Armature on a Cube

Splining

Solidify

Whats Going on with the power copy ?

+ How do I fix the armature/inputs so that the p.c. works right?

Readings: Ball, Philip. Bubbles. The Self Made Tapestry - Pattern Formation in Nature. [Oxford Press, 1999]. pp.16 - 49Kwinter, Sanford. Wildness. Far From Equilibrium: Essays on Technol ogy and Design Culture. [Actar, 2008]. pp 186 - 191Hofstadter, Douglas R. Introduction: A Musico- Logical Offering. Godel, Escher, Bach: An Eternal Golden Braid. [Basic Books, 1999]. pp. 2 - 23Schumacher, Patrick. Parametricism as Style - Parametricist Mani festo. at Architecture Biennale.11th [2008]

For Reference: Schodek, Daniel. Bechthold, Martin. Digital Design And Manufactur ing. [Wiley, 2004]Beiswanger, William L. Monticello in measured drawings. [Thomas Jefferson Foundation, 2011]Iwamoto Lisa. Digital Fabrications: Architectural and Material Tech niques. [Princeton Architectural Press, 2009]Eliade, Mircea. The Forbidden Forrest. [University of Notre Dame Press, 1978]Neagoe, Peter. The Saint Of Montparnasse. [Chilton Books, 1965]

Special Thanks To:

ANNIE LOCKE SCHERERfor the second round of fabrication, optimization and overall assembly, which included CNC design strategy and routing, gluing, sanding, priming, painting and a great deal of enthusiasm!

Many Thanks To:

MELISSA GOLDMANfor consulting on various design and fabrication matters, helping tremendously with work force, storage, providing encouragement and guiding us on how to best use the SHOPs facilities! .... and to

Dick Smithfor his kindness and patience in finding the time and space to squeeze us into the building and helping with setting up and storage.

Many Thanks To:

LAURA BURDENfor her role as the Air Spray Fairy and her patience in figuring out how to work the High Volume Low Pressure Spray Rig !


Isometric view

Scale: 1:10


Isometric view

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Isometric view

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Isometric view

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This project would have not been possible without the help of:

Silas HaslamWill HaynesBrad SchuckPeiwen Dengand without the ad-hoc help of many others involved in moving the structure from the shop to the work court, to the storage and

back; among them: Clint Lees, Tareq Khalaf, Luke Gates, Jeff Hines, Michael Stanley, Austin Walker, Lane Arliss Gearhart ,Will Ar-trip, Anna Rhees and Matthew Gordon.

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We are very grateful for the valuable guidance and posi-tive criticism of:

Peter WaldmanHenry WiencekSanda IliescuMichael BeamanLucia PhinneyRobin DrippsTat Bonvehi Rosich

III: Fabrication [Continuation]

Week 13 _Apr 24: CharetteFabrication

Week 14 _May 01: CharetteFabrication

Week 15 _May 08: Review WeekFinal Review [tbd]

_Final Exhibition to take place in Fall 2012.

Who is Samb?

Samb, an abbreviation for Shamballa used by the philosopher Mir-cea Eliade, is a metaphor for the secret room which refers to an utopian chamber essential in ones terrestrial and spiritual life, a road for the spirits to cross over; only fully experienced in its thoroughness and beauty during childhood. As the child steps into adolescence her entrance into the sacred Samb will one day be denied. The child cannot go back as she does not fit through and into the room anymore, just like clothes - once growing up - seem to shrink down. In the archaic Romanian residential configuration the dining room is replaced by what is called the clean room. The clean room is gen-erally locked, kept clean and only used to receive guests. Children are often denied access, due to maintenance considerations, and tend to manifest an avid curiosity in regards to what lies beyond the locked door. Through extrapolation, the clean room becomes a symbol for a lost or denied paradise. Samb is composed of a series of secret rooms, programmed with a bed [modulated from a cradle to a coffin], a window [meant to receive the bed, the cradle or the coffin] and a porch [reminding of the platforms of a train station or the side banks of a river, or of the Greek myth of Cahron (the one who ferried the dead to the underworld, across the Styx River)], chained in an endless train of life travelling between two platforms: Mourning and Jubilation.

Why Reconfigured?

Mircea Eliades theory that hierophanies, which are manifestations of the sacred, form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential. One of his most remarkable contributions to religious studies was his theory of Eternal Return, which holds that myths and rituals do not simply commemorate hierophanies, but, at least to the minds of the religious, actually participate in them.[1]By stating so Eliade not only defined mythical content as sacred but at the same time, delineated a self referential, self swallowing paradoxical environment for the propagation of symbolic content which, consequently, departs form a mere representational status and becomes entirely worthy of function.A symbolic expression is one that is held to be the best possible formula by which an allusion may be made to a relatively unknown thing, which referent is nevertheless recognized as existing.According to Eliade, a window is often associated with epiphanies and is closely linked to the Romanian tradition of using the window, not the door, as a venue for transporting both the cradle and the coffin in and out of a house. [2]The research speculates on the typology of the Jeffersonian alcove bed, triple hung window, truncated pyramid skylight and octagonal porches; all embedded in a programmatic wall, as the basis for the mythically charged, paradoxical Jef-fersonian Samb. [2]

[1]. Wendy Doniger, Foreword to the 2004 Edition, Eliade, Shamanism, p.xiii[2]. Eliade, Mircea. The Forbidden Forrest. [University of Notre Dame Press, 1978]

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Image from Stalasso by Neri Oxman Image from P_Wall by Andrew Kudless Image from Klex by Ruy Klein Image from Beast by Neri Oxman.

Image from C_Wall by Andrew Kudless.


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Image from Continua by Erwin Hauer.

Image from Klex by Ruy Klein Image from Klex by Ruy Klein Image from Raycounting by Neri Oxman.Image from Continua by Erwin Hauer.Image from Continua by Erwin Hauer.

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According to Eliade, a window is often associated with epiphanies and is closely linked to the Romanian tradition of using the window, not the door, as a venue for transporting both the cradle and the coffin in and out of a house. [Eliade, 1978]

The research speculates on the typology of the Jeffersonian alcove bed, triple hung window, truncated pyramid skylight and octagonal porches; all embedded in a programmatic wall, as the basis for the mythically charged, paradoxical Jeffersonian Samb. [Eliade, 1978]

The installation is part of a series that speculate on the cross pollination between CNC fabrication and utilitarian, landfill materials, between the old and the new, between the avant-garde and the archaic. Rather pristine synthetic tectonics will be inundated by what some would consider disposable, throw-away material insertions, seen as leftovers of human behaviors that have somehow embedded traces of contemporary mythology and mark time as consumption. The ideas explored encompass the propagation and sustainability of transiency and decay, while creating an archeological site, a repository for the release, or discharge of symbolic content.

TAYLOR SCOTTHarter-Heighway Dragon Curve[Jurassic Park Dragon]

The invention of the piano by Bartolomeo Cristofori in the early 18th century brought about a new structure of arrangements within music. Frederick the Greats love of the soft-louds (early pianos) led to a substantial amount of new and innovative arrangements created and preformed by Bach. Bachs innovative usage of canon, round, diminution, and fugue can be parametrically correlated to form and function. In music, a canon is defined as a single theme played against itself. The most straightforward type of canon is a round. A round could easily be defined mathematically as a repeating function. The definition could be as simple as an exponential function, or a fractal equation.

05/1302/A

01/B 03/B 05/B

02/13

Prerequisites: ARCH 3240/6240, ARCH 3010 or ARCH 7010 or LARCH 7010 or if none of the above apply, please ask for instructors permission.

Requirements: The seminar will be divided in three parts: Research, Prototyping/ Optimization and Fabrication. The first two parts will comprise of individual assignments, culminating with the third which is a team effort. Attendance is mandatory to all sessions. Deadlines and reviews will be scheduled so that the are not in con-flict with studio reviews and work flow.

About The Instructor:

Besides the Glenn Murcutt International Master Class 2010, Mara Marcus education includes a Master of Architecture from Harvard University GSD in 2009 and a Bachelor of Architecture degree, with honors, from University of Houston in 2005, where she won the Best in Show thesis award. She is also a graduate of the Brian MacKay-Lyons design build Ghost Laboratory 2005. She has worked in a variety of environments, ranging from educational projects [New York City / Rafael Vinoly Architects] to high end residential [NYC: BKSK, Ed Mills and Associates / Romania: AMMA] to urban design [Houston: DesignLAB]. Beginning with summer 2009 Mara became a registered LEED (Leadership in Energy and Environmental Design) Accredited Professional.In addition to University of Virginia, Mara Marcu has also taught at Ion Mincu University of Architecture in Bucharest, Romania and at University of Houston, Gerald D. Hines College of Architecture.Her understanding of space is that it has an ineffable power over people due to an archaic built-in emotional intelligence. Through her work, she has explored this psychological charge by looking into the symbolism and mythology of space, filtered through an interdisci-plinary approach, situated at the intersection of industrial processes, architecture, engineering and optimizing complex geometries.


Fabrication [60%]The two initial phases will culminate with all students uniting their efforts to design and fabricate a full scale version of the experiments mentioned above. The modulated design will be exhibited at the end of the semester and in a formal exhibition will be schedules in Fall 2012.

Image from Bow Tie Mock Up 1.

I: Research / Design Development Environments Reading 1: Ball, Philip. Bubbles. The Self Made Tapestry - Pattern Formation in Nature. [Oxford Press, 1999]. pp.16 49For Reference: Eliade, Mircea. The Forbidden Forrest. [University of Notre Dame Press, [1978]Neagoe, Peter. The Saint Of Montparnasse. [Chilton Books, 1965]

Week 1_ Jan 24 : Introduction Lecture: Whos Sambo/ Why Reconfigured/ Tutorial: Catia Introduction and Interface

Week 2 _ Jan 31: Catia Tutorial 1Reading 1 Discussion / Tutorial: Catia: Basic Parametric Modeling Techniques

Week 3 _Feb 07: Catia Tutorial 2Pattern Progress Review / Tutorial: Catia: Parameters and Design Tables

Week 4 _Feb 14: Catia Tutorial 32D to 3D Review / Tutorial: Catia: Products and CAT Drawings

Week 5 _Feb 21: Catia Tutorial 4 Cell Development Review/ Tutorial: Catia: Power Copy and UDF

II: Prototyping and OptimizationReading 2: Hofstadter, Douglas R. Introduction: A Musico- Logical Offering. Godel, Escher, Bach: An Eternal Golden Braid. [Basic Books, 1999]. pp. 2 23 For Reference: Schodek, Daniel. Bechthold, Martin. Digital Design And Manufactur-ing. [Wiley, 2004]

Week 6 _ Feb 28 : CAD/ CAMLecture: CAD/ CAM and Historic Origins / Small-Scale Fabrication Tutorials: 3D Printing

Spring Break: March 04-09

Week 7_ Mar 13 : Rapid PrototypingLecture: Bed, Porch, Window / Reading 2 Discussion

Week 8 _ Mar 20 : Mid Review Production / PresentationProject Discussion

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TYLER WHITNEYBaravelle Tentacles _ 4th Year Undergraduate University of Virginia, School of Architecture I May 2012

Baravelle spirals are generated by connecting the midpoints of the successive sides of a regular polygon. Triangles will be formed. The process of identifying and repeatedly connecting the midpoints is called iteration.The resulting tentacle aggregation navigates on a spectrum ranging from flexibility to stability, self iterative-ness to randomness, fertility to resiliency, while manifesting no clear inclination to neither one or its positive nor negative aspects. The result becomes a strange loop organizational system, with paradoxical connections. Similar to canons and fugues of ascending and descending scales, the baravelle aggregation is self-referential, self-swallowing, in both its tectonic as well as inhabitable qualities.

`

SAMB _[RECONFIGURED Spring 2012 I T 3:30-6:00 UniversityofVirginia School of Architecture, Sponsored through the Virginia Teaching Fellowship

Taught by MARA MARCU, Room 310, [email protected]

general

the one

the one

general

eric

pat

taylor

tyler

_1st iteration: R_2nd iteration: R R L_3rd iteration: R R L R R L L_4th iteration: R R L R R L L R R R L L R L L.

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A fugue is similar to a canon, but where one theme is played in a either a different voice, key, speed, direction, or all of the above. Crescendos of a legato style could be recreated as the heights and changing scales of a cell within a power copied model. Quick, stac-cato articulations of an arrangement could be inferred as rapid, shortened cell manipulations.

PATRICK SCHOONOVERWhen the concept of a wall is understood, a continuous vertical surface that encloses or divides, there is structure. Labeling the Jeffersonian bed ensemble a wall is a definition, challenged by the concept of oc-cupying this division. Suddenly, there are no longer only two sides, but a third option of neither one. This can be a porch-like zone, where it is both inside and outside, or neither. If a window is inserted, suddenly the question arises of where the window looks. These are physical ques-tions which can be answer by siting such a structure. Time, light, climate, can all affect how spaces are categorized. A dark tight spot is inherently private in our culture; knowledge of this culture is essential for devis-ing such a space. A seat with a window in front of it implies a view to the outside world; whereas a window behind a seat invites the glances of the passersby. When a bed is introduced, not only are time, light, and climate involved, but a very personal world devoid of contact but intensely connective. Not only is the bed, within a wall, which implies neither here nor there, but the sleeper is both directly contacting their world and purposefully escaping.

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Pattern Research -- Pentagonal HexSolving the Spine issue

_Pentagonal Core _Hexagonal Organization _Point Extrapolation _Input Points reconnect to base geometry

ERIC KUHNBow Tie Systematization is informed by the mythically charged Sam-b, and investigates through a full-scale installation, which distinguish itself from architectural models that are usually meant to be scaled up and study predictability, the potential of capturing the behavior or DNA, if you wish, of our present society in a one to one scale representation.The installation speculates on the cross pollination between CNC fabrication and analogue layers of manufacturing techniques seen as leftovers of human behaviors that have somehow embedded traces of contemporary mythology and mark time as consumption [and consumed] . The ideas explored encompass the recreation of a col-lection of curiosities, similar to Jeffersons cabinet of curiosities at Monticello, marked by transiency and decay, while delineating an archeological site, a repository for the release, or discharge of sym-bolic content.

Assignments: All material costs are covered by the instructor as part of the re-

search fellowship.

Research [10%]Each students is to research exhaustively two dimensional patterns. Think in terms of the most beautiful prints, ornaments, 2d instal-lations etcetera you have ever seen. You are encouraged to do so while keeping a critical eye to the potential three dimetionalization of the chosen pattern. You are in a sense anticipating the properties and structural traits that the 2d pattern may generate when taken in the 3d translation. This assignment will be concomitant to the Catia tutorials and you are encouraged to start building your 3d cell derived from you pattern research as a way to learn the software. Analog studies [in this case Rhino and / or paper tests] are also en-couraged during this phase.

Methodology:

Bridging Jeffersonian architecture and Eliadean philosophy, this re-search full scale fabrication seminar uses Charlottesville as a labora-tory, while taking advantage of UVas fabrication facilities and using Catias versatile parametric environment as new cognitive opportu-nity. Computer-aided design and manufacturing methods have ex-tensively permeated fabrication environments for the production of architecture. Symbolic representations in architecture, on the other hand, have widely become obsolete in the unanimous understanding of our globalized society, to the detriment of traditions and heritage. This seminar introduces students to the fundamentals of CAD/CAM, with a particular focus on the function of myths and subsequent ap-plications in architecture, tectonic details, interior furnishings and the realm of products. As a fabrication technique students will be focus-ing on contouring, although a hybrid approach is highly encour-aged. No previous knowledge of CATIA is required. Assistance will be provided to all. Previous experience with MasterCAM is a plus.

http://samboreconfigured.tumblr.com/

ARCH 5500 I Room105# of Students Authorized to Enroll: 15

III: FabricationReading 3: Kwinter, Sanford. Wildness. Far From Equilibrium: Es-says on Technology and Design Culture. [Actar, 2008]. pp 186 191Reading 4: Schumacher, Patrick. Parametricism as Style - Parametri-cist Manifesto. at Architecture Biennale.11th [2008]For Reference: Beiswanger, William L. Monticello in measured drawings. [Thomas Jefferson Foundation, 2011]Iwamoto Lisa. Digital Fabrications: Architectural and Material Tech-niques. [Princeton Architectural Press, 2009]

Week 9 _Mar 27: Aggregation of Performative Cells Lecture: Manufacturing Processes / Large-Scale Fabrication Tutorials: CNC / Woodshop

Week 10 _Apr 03: Constructing Parametric DiagramsField Trip: Monticello / Reading 3 Discussion

Week 11 _Apr 10: Creating the 21st Century FacadeLecture: Design for Production: Parametric and 4D Applications in Architecture

Week 12 _Apr 17: CustomizationLecture: Customization / Reading 4 Discussion

New Base Geometry

_Base Geometry _Caged Geometry _Cell Wireframe and UDF [User Defined Feature] _Digital Optimization _Inter-Dependent Modulation

Making a Cell -- Base the Armature on a Cube

Splining

Solidify

Whats Going on with the power copy ?

+ How do I fix the armature/inputs so that the p.c. works right?

Readings: Ball, Philip. Bubbles. The Self Made Tapestry - Pattern Formation in Nature. [Oxford Press, 1999]. pp.16 - 49Kwinter, Sanford. Wildness. Far From Equilibrium: Essays on Technol ogy and Design Culture. [Actar, 2008]. pp 186 - 191Hofstadter, Douglas R. Introduction: A Musico- Logical Offering. Godel, Escher, Bach: An Eternal Golden Braid. [Basic Books, 1999]. pp. 2 - 23Schumacher, Patrick. Parametricism as Style - Parametricist Mani festo. at Architecture Biennale.11th [2008]

For Reference: Schodek, Daniel. Bechthold, Martin. Digital Design And Manufactur ing. [Wiley, 2004]Beiswanger, William L. Monticello in measured drawings. [Thomas Jefferson Foundation, 2011]Iwamoto Lisa. Digital Fabrications: Architectural and Material Tech niques. [Princeton Architectural Press, 2009]Eliade, Mircea. The Forbidden Forrest. [University of Notre Dame Press, 1978]Neagoe, Peter. The Saint Of Montparnasse. [Chilton Books, 1965]

Special Thanks To:

ANNIE LOCKE SCHERERfor the second round of fabrication, optimization and overall assembly, which included CNC design strategy and routing, gluing, sanding, priming, painting and a great deal of enthusiasm!

Many Thanks To:

MELISSA GOLDMANfor consulting on various design and fabrication matters, helping tremendously with work force, storage, providing encouragement and guiding us on how to best use the SHOPs facilities! .... and to

Dick Smithfor his kindness and patience in finding the time and space to squeeze us into the building and helping with setting up and storage.

Many Thanks To:

LAURA BURDENfor her role as the Air Spray Fairy and her patience in figuring out how to work the High Volume Low Pressure Spray Rig !


Isometric view

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Isometric view

Scale: 1:10


Isometric view

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Isometric view

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This project would have not been possible without the help of:

Silas HaslamWill HaynesBrad SchuckPeiwen Dengand without the ad-hoc help of many others involved in moving the structure from the shop to the work court, to the storage and

back; among them: Clint Lees, Tareq Khalaf, Luke Gates, Jeff Hines, Michael Stanley, Austin Walker, Lane Arliss Gearhart ,Will Ar-trip, Anna Rhees and Matthew Gordon.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

We are very grateful for the valuable guidance and posi-tive criticism of:

Peter WaldmanHenry WiencekSanda IliescuMichael BeamanLucia PhinneyRobin DrippsTat Bonvehi Rosich

III: Fabrication [Continuation]

Week 13 _Apr 24: CharetteFabrication

Week 14 _May 01: CharetteFabrication

Week 15 _May 08: Review WeekFinal Review [tbd]

_Final Exhibition to take place in Fall 2012.

Who is Samb?

Samb, an abbreviation for Shamballa used by the philosopher Mir-cea Eliade, is a metaphor for the secret room which refers to an utopian chamber essential in ones terrestrial and spiritual life, a road for the spirits to cross over; only fully experienced in its thoroughness and beauty during childhood. As the child steps into adolescence her entrance into the sacred Samb will one day be denied. The child cannot go back as she does not fit through and into the room anymore, just like clothes - once growing up - seem to shrink down. In the archaic Romanian residential configuration the dining room is replaced by what is called the clean room. The clean room is gen-erally locked, kept clean and only used to receive guests. Children are often denied access, due to maintenance considerations, and tend to manifest an avid curiosity in regards to what lies beyond the locked door. Through extrapolation, the clean room becomes a symbol for a lost or denied paradise. Samb is composed of a series of secret rooms, programmed with a bed [modulated from a cradle to a coffin], a window [meant to receive the bed, the cradle or the coffin] and a porch [reminding of the platforms of a train station or the side banks of a river, or of the Greek myth of Cahron (the one who ferried the dead to the underworld, across the Styx River)], chained in an endless train of life travelling between two platforms: Mourning and Jubilation.

Why Reconfigured?

Mircea Eliades theory that hierophanies, which are manifestations of the sacred, form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential. One of his most remarkable contributions to religious studies was his theory of Eternal Return, which holds that myths and rituals do not simply commemorate hierophanies, but, at least to the minds of the religious, actually participate in them.[1]By stating so Eliade not only defined mythical content as sacred but at the same time, delineated a self referential, self swallowing paradoxical environment for the propagation of symbolic content which, consequently, departs form a mere representational status and becomes entirely worthy of function.A symbolic expression is one that is held to be the best possible formula by which an allusion may be made to a relatively unknown thing, which referent is nevertheless recognized as existing.According to Eliade, a window is often associated with epiphanies and is closely linked to the Romanian tradition of using the window, not the door, as a venue for transporting both the cradle and the coffin in and out of a house. [2]The research speculates on the typology of the Jeffersonian alcove bed, triple hung window, truncated pyramid skylight and octagonal porches; all embedded in a programmatic wall, as the basis for the mythically charged, paradoxical Jef-fersonian Samb. [2]

[1]. Wendy Doniger, Foreword to the 2004 Edition, Eliade, Shamanism, p.xiii[2]. Eliade, Mircea. The Forbidden Forrest. [University of Notre Dame Press, 1978]

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Image from Stalasso by Neri Oxman Image from P_Wall by Andrew Kudless Image from Klex by Ruy Klein Image from Beast by Neri Oxman.



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Image from Klex by Ruy Klein Image from Klex by Ruy Klein Image from Raycounting by Neri Oxman.Image from Continua by Erwin Hauer.Image from Continua by Erwin Hauer.

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The installation is CNC routed out of 3 thick Precision Board Plus High Density Urethane (PBHT), which is a closed cell rigid urethane foam board using a combination of 18 lbs density [donated to us by Harbour Sales] for the base and 8 lbs density for the upper cells.

The high density foam we used is made with certified Green eco-friendly urethane components and recyclable, according to a latest study at Yale University conducted in 2012, which operates a Rainforest Expedition and conducts laboratory courses on samples collected in the Amazon - in which a newly discovered Amazon fungus, Pestalotiopsis microspore, will digest the plastic material, polyurethane, even without oxygen.

The installation is composed of two sections: one where we attempted to be true to the geometry, yet following the constraints of fabricating a double curvature undevelopable surface assembly on a 3 axis router with a 1/8 step over, and the second where we surrendered to the limitations of the fabrication tool and embraced the unexpected waves resulting in the structure, this time using a more accurate 1/32 stopover and a stratified slicing strategy.

E. KUHN, P. SCHOONOVER, T. SCOTT, T. WHITNEY, A. LOCKE SCHERER

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MELISSA GOLDMAN

ARCH 5590-09THE WORLD IS FLAT

From sheets of plywood to sheet metal, most of our building materials come flat. We cut, mill, fold, weld, cook, and sew to make habitable spaces, whether a roof or a chair, a circus tent or a hoop skirt. This class will explore material and craft, tectonics and composites through digital and analog fabrication. We will learn various pop-up methods to investigate and exploit flat materials to fabricate a portable, collapsible product.

Magellan circumnavigated the Earth proving once and for all that the world is roundhowever, in our world, as designers dealing with the creation of space and structure, much of the material we use is initially flat. From sheets of plywood to sheet metal, yards of fabric to planes of glass, our media in which we work has to be manipulated, cut, milled, folded, welded, bolted, sewn, and glued to make habitable space, whether it is a roof structure or a chair, a circus tent or a hoop skirt.

This class intimately explored the relationship between material and technique though digital and analog fabrication. We first learned about the methods of pop-up, the cut, score, and fold, and then choose one material to study and to produce either a portable structure to hold weight or a kind of covering that can shelter from the elements.

Students were free tooo use whatever modeling programs they wished, but had to get down and dirty in the Shops. The goal of the class is to fully realize a conceptual design idea through material exploration and fabrication experimentation to a final, tangible product.

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B.BAILEY, C. BROADDUS, H. FENAUX, B. OLIVARI, A. POLINER, M. MCGEE, A. WHALEN

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SETH DENIZENADVISOR: ROBIN DRIPPS

ARCH 5500PARAMETRIC THEORY: FOAM DOME HOME

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SETH DENIZENADVISOR: ROBIN DRIPPS

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PAM BLACK

ARCH 5760 DRAWING AND SKETCHING

This course covers the fundamental of drawing with a focus on the human figure. The various assignments address the composition of line, tone, volume, space, scale and proportion. The analysis of the human form is applied to the rendering of still-life, architecture and landscape. Various media are used to convey the drawing objectives with an emphasis on process.

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J. THOMAS

J. THOMAS

A. BROWN

N. KNODT

In the absence of institutions and education by which the environment is so successfully reported that the realities of public life stand out sharply against self-centered opinion, the common interests very largely elude public opinion entirely, and can be managed only by a specialized class whose personal interests reach beyond the locality. Walter Lippmann

By providing an alternative, Automated Agrarianism seeks to question the value judgments latent within current market economic models of synthetic allocation of resources, sustenance, wealth, and the establishment of community amongst groups of individuals. It begins with an idea that a mobile machine shop with skilled technical managers can harness an open-source, do-it-yourself platform for farming, fabrication, and maintenance industries. From there, the mission is to provide training for a variety of needs; from simple maintenance of existing technologies such as bicycles and cars, to more complex fabrication of robotic tools and automated tractors to effortlessly tend farming plots within your own backyard. Learn how to fix a car. Fix or make a bike. Build a house or plant some food. Eat or sell your harvest at your own will. Learn socio-economic maintenance. Through re-imagining the practices of farming and manufacturing, Automated Agrarianism seeks to provide instruments of training to create a bastion of repatriating regional micro-economies.

OSCAR OBANDO, M.ARCH 2012

AUTOMATED AGRARIANISM

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AUTOMATED AGRARIANISM

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ecoMOD / ecoREMOD

The ecoMOD project at the University of Virginia is a research and design / build / evaluate initiative that works closely with affordable housing organizations to create housing units using rigorous standards for energy efficiency and sustainable design. Since 2004, ecoMOD has been a collaborative effort between the UVA School of Architecture and the School of Engineering and Applied Science. In 2008, a sister project was formed: ecoREMOD, focused on energy efficient and quality of life improvements to low income housing. ecoMOD and ecoREMOD combined have created a total of nine occupied housing units on six sites for Piedmont Housing Alliance, Habitat for Humanity, the City of Charlottesville, Falmouth Heritage Renewal, and most recently, Albemarle Housing Improvement Program. Since 2004, more than 400 architecture, engineering, landscape architecture, planning, architectural history / historic preservation, environmental science and commerce students have participated in at least one phase of an ecoMOD or ecoREMOD project. The designs have targeted LEED for Homes certification, Passive House Standard, Energy Star and net-zero energy. One of the projects, ecoMOD3, certified at the Platinum level, is the smallest LEED certified building in the world.

EcoMOD and ecoREMOD are grounded in the realities of clients, budgets and materials, while the project teams strive to address the two most important challenges facing the next generation of designers: the significant environmental impact of the buildings, and the growing economic divide between high-income and low-income individuals.

JOHN QUALE

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JOHN QUALE

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The ecoMOD designs and curriculum have been recognized nationally and internationally as a model for sustainable architectural and engineering building and building design education. ecoMOD received the first Excellence in Green Building Curriculum Award from the U.S. Green Building Council. In 2009, ecoMOD was a finalist for the UN World Habitat Award -- the only finalist from the U.S. that year. It has been recognized by the AIA Committee on the Environment as one of a few exemplary sustainable design curriculum initiatives in the country. In 2007 the ecoMOD project received the NCARB Grand Prize For Creative Integration Of Practice And Education In The Academy, the AIA Education Honor Award and the ACSA Collaborative Practice Award the first time an initiative received all three in the same year. The initiative has also won the ACSA Creative Achievement Award and the AIA / ACSA Housing Curriculum Award. The project has appeared on CNNs Global Challenges show, Virginia Public Radio, and in various publications including Metropolis Magazine, Architectural Record, Dwell, The Washington Post, Environmental Building News, Sustain OSC Magazine (UK), and Hors Serie: Science et Vie (France). Project Director John Quale is the author of Sustainable, Affordable, Prefab: the ecoMOD Project, published by the University of Virginia Press.

MICHAEL BRITT, M.ARCH 2012

ecoMOD South Project

In 2011, ecoMOD was awarded a generous grant from the Virginia Tobacco Indemnification and Community Revitalization Commission to build three prefabricated, affordable housing units in southern Virginia. In early 2013, three prefabricated homes will be completed two for Southside Outreach in South Boston, VA and one for People Incorporated in Abingdon, VA. All three homes will look exactly the same, but two will be built to the exacting Passive House U.S. standard, and the other one will simply meet the energy requirements of the standard building code. Adapted from the ecoMOD4 home completed in 2009 for Habitat for Humanity of Greater Charlottesville, the ecoMOD SOUTH design converts what was a two-bedroom design to a four bedroom 1,800 square foot home. As part of the grant, the new homes are being commercialized by a modular homebuilder in Southside Virginia, Cardinal Homes of Wylliesburg. Once occupied, the homes will be monitored and evaluated, with the results made available to all community and industry partners, as well as the general public.

The objective of this project is to develop the manufacturing base in Virginia to produce highly energy- efficient, comfortable housing systems for 20% less than stick-built home construction, and with a minimum 50% reduction in energy usage as compared to conventional housing.The work represented here is that of ecoMOD SOUTH Project Manager, Michael Britt, a 2012 graduate of the Master of Architecture program.

ADVISOR: JOHN QUALE

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EMEN

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MICHAEL BRITT, M.ARCH 2012

ecoMOD South Project

ADVISOR: JOHN QUALE

INVESTIG

ATE

SITUATE

FABR

ICATE

RE G

ENER

ATE

REP

RE S

ENTA

TIO

N+

MAT

ERIA

L P

RAC

TIC

ES

GLO

BAL

CU

LTU

RES

+C

ON

STR

UC

TED

EN

VIR

ON

MEN

TS

AESTHETIC

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL

Architectural Appeal: Should the design contribute to the aesthetic appeal?Natural Daylighting: Should access to natural daylighting be a driving design factor?

FIRST FLOOR PLAN

SECOND FLOOR PLAN

MASSING STUDY

1 2 3 4 5

Green Building Certified: Should the project be certified by a green building standard?

Low Initial Cost: Should the project have a low initial cost?

Low Energy Consumption: Should the building strive for low energy consumption?

Modular Commercialization: Should the design be compatible to modular construction?Research and Development: Sould the project encourage research in technology?Universal Desgin: Should the design be applicable to other regions and climates?

FINANCIAL

SOCIAL

ENVIRON

MENTAL

ENER

GY

AESTHETIC

ARCH

ITECT

URAL

APP

EAL

NATURAL

DAYLIGHT

ING

MODULAR COMMERCIALIZATION

RESEARCH AND DEVELOPMENT

UNIV

ERSA

L DE

SIGN

LOW INIT

IAL COST

LOW ENERGY CONSUMPTION

GREEN BUILDING CERTIFIED

AESTHETIC

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL


FIRST FLOOR PLAN

SECOND FLOOR PLAN

MASSING STUDY





1 2 3 4 5

FINANCIAL

SOCIAL

ENVIRON

MENTAL

ENER

GY

AESTHETIC

ARCH

ITECT

URAL

APP

EAL

NATURAL

DAYLIGHT

ING



UNIV

ERSA

L DE

SIGN

LOW INIT

IAL COST


GREEN BUILDING CERTIFIEDAESTHETIC

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL


FIRST FLOOR PLAN

SECOND FLOOR PLAN

MASSING STUDY





1 2 3 4 5

FINANCIAL

SOCIAL

ENVIRON

MENTAL

ENER

GY

AESTHETIC

ARCH

ITECT

URAL

APP

EAL

NATURAL

DAYLIGHT

ING



UNIV

ERSA

L DE

SIGN

LOW INIT

IAL COST



AESTHETIC

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL


FIRST FLOOR PLAN

SECOND FLOOR PLAN

MASSING STUDY





1 2 3 4 5

FINANCIAL

SOCIAL

ENVIRON

MENTAL

ENER

GY

AESTHETIC

ARCH

ITECT

URAL

APP

EAL

NATURAL

DAYLIGHT

ING



UNIV

ERSA

L DE

SIGN

LOW INIT

IAL COST



AESTHETIC

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL


FIRST FLOOR PLAN

SECOND FLOOR PLAN

MASSING STUDY

1 2 3 4 5





FINANCIAL

SOCIAL

ENVIRON

MENTAL

ENER

GY

AESTHETIC

ARCH

ITECT

URAL

APP

EAL

NATURAL

DAYLIGHT

ING



UNIV

ERSA

L DE

SIGN

LOW INIT

IAL COST



AESTHETIC

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL


FIRST FLOOR PLAN

SECOND FLOOR PLAN

MASSING STUDY





1 2 3 4 5

FINANCIAL

SOCIAL

ENVIRON

MENTAL

ENER

GY

AESTHETIC

ARCH

ITECT

URAL

APP

EAL

NATURAL

DAYLIGHT

ING



UNIV

ERSA

L DE

SIGN

LOW INIT

IAL COST



AESTHETIC

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL


FIRST FLOOR PLAN

SECOND FLOOR PLAN

MASSING STUDY





1 2 3 4 5

FINANCIAL

SOCIAL

ENVIRON

MENTAL

ENER

GY

AESTHETIC

ARCH

ITECT

URAL

APP

EAL

NATURAL

DAYLIGHT

ING



UNIV

ERSA

L DE

SIGN

LOW INIT

IAL COST



AESTHETIC

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL


FIRST FLOOR PLAN

SECOND FLOOR PLAN

MASSING STUDY





1 2 3 4 5

FINANCIAL

SOCIAL

ENVIRON

MENTAL

ENER

GY

AESTHETIC

ARCH

ITECT

URAL

APP

EAL

NATURAL

DAYLIGHT

ING



UNIV

ERSA

L DE

SIGN

LOW INIT

IAL COST



AESTHETIC

TECHNICAL

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL

Established & Tested: Should the construction method be well-establised and tested?Labor Force Compatibility: Is the labor force prepared to install this material?

Local Prevelance: Should the architectural style be prevelant in the region?Architectural Appeal: Should the design contribute to the aesthetic appeal?Natural Daylighting: Should access to natural daylighting be a driving design factor?

Reused Products: Should the project specify resued materials?Recycled Products: Should the project specify recycled materilas?Stormwater Impacts: Should the design reduce potential stormwater impacts?Reduced Water Use: Should the design reduce occupant water use?Sustainable Manufacturing: Should the project use sustainable manufacturing techniques?Indoor Air Quality-Occupants: Should the VOC potential be limited for the occupants?Indoor Air Quality-Construction: Should the VOC potential be limited for the builders?Air Quality-Commuinty: Should the VOC potential be limited for the community?Green Building Certified: Should the project be certified by a green building standard?

design development

Low Cost: Should the project have a low initial cost?Low Maintenance Cost: What is the maintenance/replacement cost?Utility Cost: Should the building provide occupants with lower utility bills?

Low Emodied Energy: Should the design use products with low embodied energies?Locally Sourced Products: Should the project specity locally sourced materials?

Modular Commercialization: Should the design be compatible to modular construction?Local Development: Will the use of the material contribute to local economies?Research and Development: Should the project encourage research in technology?Building Maintenance: Should the project use products that are easily maintained?Ethically Produced: Should the material be produced ethically in regards to people?Universal Desgin: Should the design be applicable to other regions and climates?Education - Community: Should the project be an educational tool for the community?Education - Occupants: Should the project be an educational tool for the occupants?

FINANCIAL

SOCIAL

ENVIRONMENTAL

TECHNICAL

ENERGY

AESTHETIC

LOCA

L PR

EVE

LAN

CE

ARCH

ITEC

TURA

L AP

PEAL

NATU

RAL D

AYLIG

HIIN

GMO

DULA

R COM

MERC

IALIZA

TION

LOCAL

DEVEL

OPME

NT

RESEAR

CH AND

DEVELO

PMENT

BUILDING M

AINTENANC

E

ETHICALLY PRODUCED

UNIVERSAL DESIGN

EDUCATION - COMMUNITYEDUCATION - OCCUPANTSEDUCATION - BUILDERS

OCCUPANT HEALTH - PHYSICAL

OCCUPANT HEALTH - PSYCHOLOGICAL

LOW INITIAL COST

LOW M

AINTENANCE COST

BUILDING LIFESPAN

LABOR FORCE COMPATIBLE

ESTABLISHED AND TESTED


AIR QUALITY - COMMUNITY

INDOOR AIR QUALITY - CONSTRUCTION INDOOR AIR QUALITY - OCCUPANTS

SUSTAINABLE MANUFACTURING

REDUCED WATER USE

LOW STORM

WATER IMP

ACTS

RECYCL

ED PROD

UCTS

REUS

ED PR

ODUC

TS

LOCA

LLY SO

URCE

D PR

ODUC

TSLO

W E

MBO

DIED

ENE

RGY

RETU

RN O

N IN

VEST

MEN

T

UTIL

ITY

COST

cementitious fiber board plank siding - nichiproducts

NichiProducts contain over 50% fly ash, a recycled content material generated at coal-burning electric generating facilities. additionally the manufacturing process uses 100% of pre-cured fiber cement Scrap.The Nichiha manufacturing facility in Macon, GA, includes an on-site water treatment plant, which not only recycles 95% of the water used in the manufacturing process, but also treats the 5% water discharged back into the system.90% of the materials used in the manufacturing process are acquired less than 200 miles from the factory, and the Macon plant releases odorless emissions totaling less than 90 tons of VOCs per year, within all state, federal , and local regula-tions for outdoor air quality.Due to their durability, NichiProducts carry a lifetime replacement warranty.

Allows Ventilation: Can the product be ventilated?Emerging Technology: Is the material using emerging sustainable technologies?Mold Inhibitor Warranty: Does a mold inhibitor have a warranty?Warranty Policy: What is the materials warranty?Lifespan: What is the materials average lifespan?Labor Force Compatibility: Is the labor force prepared to install this material?Low Maintenance: How often does the material require maintenance?

Selection Variety: Is the material available in a variety of colors/styles?Local Prevelance: Is the material used in the local building vernacular?Architectural Appeal: Does the material contribute to the aesthetic appeal?

Low VOC-Waterproofing: What is the VOC content of the waterproofing layer?Low VOC-Shellac: What is the VOC content of the shellac?Low VOC-Stain: What is the VOC content of the stain?Ethically Harvested: Was the product ethically harvested?Low Toxins-Mold Inhibitor: Does the mold inhibitor contain toxins?Low Toxins-Pest Treatment: Does the pest treatment involove toxic chemicals?Recycled Content: Was the material made from recycled content?Reuse Applications: Can the product be reused, recycled, or biodegraded?Low Impact Does the extraction process harm natural habitats?

Low Cost: What is the scale based price of the product?Low Maintenance Cost: What is the maintenance/replacement cost?

Low Emodied Energy: What is the embodied energy of the material?Locally Extracted: How far away is the material extracted?Locally Produced: How far away is the material produced?Locally Processed: How far away is the material processed?Locally Manufactured: How far away is the material manufactured?

Ethically Produced: Was the material produced ethically in regards to people?Local Development: Will the use of the material contribute to local economies?Educational Opportunities: Will the use of this material provide educational opportunities?Low Occupant Maintenance: Does the material require constant maintenance?

CITEHTSEA

LACINHCET

LAICOS

LATNEMNORIVNE

YGRENE

LAICNANIF

1 2 34 5

FIN

ANCI

AL

SOCIAL

ENVIRONMENTAL

TECH

NIC

AL

ENER

GY

AESTHETIC

SELE

CTIO

N VA

RIET

Y

LOCA

L PR

EVEL

ANCE

ARCH

ITECT

URAL

APP

EAL

ETHIC

ALLY

PROD

UCED

LOCAL

DEVELO

PMENT

EDUCAT

IONAL OP

PORTUN

ITIES

LOW OCCUPANT

MAINTENANCE

LOW UP FRONT COST

LOW MAINTENANCE COST

LOW EMBODIED ENERGYLOCALLY EXTRACTED

LOCALLY PRODUCED

LOCALLY PROCESSED

LOCALLY MANUFACTURED

LOW VOC-W

ATERPROOFING

LOW

VOC

-SHE

LLAC

LOW

VOC

-STA

IN

ETHI

CALL

Y HA

RVES

TED

LOW

TOXIN

S-MO

LD IN

HIBITO

R

LOW TO

XINS-P

EST TR

EATME

NTREC

YCLED CO

NTENT

REUSE APPLICAT

IONS

LOW IMPACT

ALLOWS VENTILATION

EMERGING TECHNOLOGIES

MOLD INHIBITOR WARRANTY

WARRANTY POLICY

LIFESPANLABOR FORCE COM

PATIBILITY

LOW M

AINTENANCE

cementitious wood fiber board siding - geoboard

GeoBoard is a decorative cement board used in both interior and exterior applications, such as exterior rain-screens, ceilings, soffits, trims, countertops, planters, and many specialty applications.the panel has outstanding durability and acoustic properties due to the high density of Portland cement. it installs and fabricates easily using carpentry tools, does not support mold/fungus growth, is resistant to weather, freeze/thaw, and standing water, and provides no food value to insects/vermin. additionally, the panel contains 28% post-industrial wood content.



Low VOC-Waterproofing: What is the VOC content of the waterproofing layer?Low VOC-Shellac: What is the VOC content of the shellac?Low VOC-Stain: What is the VOC content of the stain?Ethically Harvested: Was the product ethically harvested?Low Toxins-Mold Inhibitor: Does the mold inhibitor contain toxins?Low Toxins-Pest Treatment: Does the pest treatment involove toxic chemicals?Recycled Content: Was the material made from recycled content?Reuse Applications: Can the product be reused, recycled, or biodegraded?Low Impact Does the extraction process harm natural habitats?

Low Cost: What is the scale based price of the product?Low Maintenance Cost: What is the maintenance/replacement cost?

Low Emodied Energy: What is the embodied energy of the material?Locally Extracted: How far away is the material extracted?Locally Produced: How far away is the material produced?Locally Processed: How far away is the material processed?Locally Manufactured: How far away is the material manufactured?

Ethically Produced: Was the material produced ethically in regards to people?Local Development: Will the use of the material contribute to local economies?Educational Opportunities: Will the use of this material provide educational opportunities?Low Occupant Maintenance: Does the material require constant maintenance?

AESTHETIC

TECHNICAL

SOCIAL

ENVIRONMENTAL

ENERGY

FINANCIAL

1 2 34 5

FIN

ANCI

AL

SOCIAL

ENVIRONMENTAL

TECH

NIC

AL

ENER

GY

AESTHETIC

SELE

CTIO

N VA

RIET

Y

LOCA

L PR

EVEL

ANCE

ARCH

ITECT

URAL

APP

EAL

ETHIC

ALLY

PROD

UCED

LOCAL

DEVELO

PMENT

EDUCAT

IONAL OP

PORTUN

ITIES

LOW OCCUPANT

MAINTENANCE

LOW UP FRONT COST

LOW MAINTENANCE COST

LOW EMBODIED ENERGYLOCALLY EXTRACTED

LOCALLY PRODUCED

LOCALLY PROCESSED

LOCALLY MANUFACTURED

LOW VOC-W

ATERPROOFING

LOW

VOC

-SHE

LLAC

LOW

VOC

-STA

IN

ETHI

CALL

Y HA

RVES

TED

LOW

TOXIN

S-MO

LD IN

HIBITO

R

LOW TO

XINS-P

EST TR

EATME

NTREC

YCLED CO

NTENT

REUSE APPLICAT

IONS

LOW IMPACT

ALLOWS VENTILATION

EMERGING TECHNOLOGIES

MOLD INHIBITOR WARRANTY

WARRANTY POLICY

LIFESPANLABOR FORCE COM

PATIBILITY

LOW M

AINTENANCE

poplar bark siding - highland craftsmen

when properly installed, bark siding can last over 75 years without significant deterioration. for wear-testing purposes, Highland Craftsmen monitors homes that were built with Poplar Bark Siding in the 1930s. in some areas, the patina of the bark is weathered, but still functional.to manufacture the product, cylinders of bark are flattened and cut by hand into standard shingle length. after damaged or cracked sections are removed, the shingles are carefully stacked, and then placed under pressure to prevent curling.the stacks are kiln dried to the proper moisture content, sterilized and then stored in a climate-controlled warehouse until they are ready for use.



Low VOC-Waterproofing: What is the VOC content of the waterproofing layer?Low VOC-Shellac: What is the VOC content of the shellac?Low VOC-Stain: What is the VOC content of the stain?Ethically Har

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