This studio is primarily concerned with Kahn’s proposition that “design is how”.

The How sees architecture as a highly choreographed interplay of building systems- material, environmental, mechanical, structural, lighting, fire safety... The How requires at a minimum a conceptual competency of these systems to develop the architectural proposal beyond the abstract implications of the diagram into the complex material organizations that ultimately produce architectural space.

This studio will seek excitement in the ability of design to invent through the direct engagement with highly specified constraints imposed by the circumstantial-- climatic conditions, material resources, skills of the available workforce, and constraints of building codes. In the long struggle to bring a building into the world, these constraints often take on a life of their own, having to address them is ofen seen as a compromise to the abstract form developed in the early design process. Yet, at its best, design folds these constraints in to a harmonious whole where these challenges offer a means to an end rather than the end itself.

Students will explore integrated approaches to environmental and structural systems, building envelope performance and building economy as catalysts for design. Projects will be explored through drawings and digital models that describe the interrelationships of these various aspects of architectural form and the various forces that differentiate its complex material organization. Projects will cover code analysis, climatic research, material availability, and sustainable building practices, toward the development of comprehensively considered building proposals that are expansive rather than reductive.

Building Anatomies

Arch 562 | Building Anatomies | Winter 2020 | Professor Craig Borum | Mondays and Thursdays: 1pm-6pm

Arch 505 | Building Anatomy Systems | Winter 2020 | Professor Lars Junghans | Mondays: 9am- noon

9GAG Office, LAAB Architects, Hong Kong, 2015

Human breathing system depicted as a factory.

Fritz Kahn, 1927

Form is what. Design is how... Design is a circumstantial act; how much money there is available; the site; the client;

the extent of knowledge. Form has nothing to do with circumstantial conditions... It characterizes a harmony of

spaces good for a certain activity of man.--Louis I. Kahn

The investigations in this studio will be supported by the work of the the Arch505 “Building Anatomy Systems” taught by Lars Junghans. The seminar meets Monday mornings from 9am- noon. Consequently, enrollment in this seminar is mandatory for students in this studio.

ARCH 562 — Architectural Design VI (2G2/3G5) — Propositions Winter 2020 — University of Michigan Taubman College of Architecture & Urban Planning Instructor: Jacob Comerci, Lecturer in Architecture, 2019-2020 Muschenheim Design Fellow Meeting Times: Monday, Thursday (1:00p – 6:00p)

 Camille Henrot, Gross Fatigue, 2013 

 

Built-in, Fit-out 

 

Built-in, Fit-out takes the building interior as point of departure for the design of a space for collective life and                                       

work. Informed by precedent, students will develop projects considering object affordances, materials,                       

finishes and tectonics, alongside the social etiquette, decorum and banal logistics of everyday living. Their                             

projects are expected to address changing conditions of life and work stimulated by the sharing economy.  

 

The studio will travel to Grand Rapids’ “Big 3” furniture companies – Haworth, Steelcase and Herman Miller –                                   

as well as Detroit’s Floyd furniture company and Gensler in Chicago, where we will meet with Todd Heiser,                                   

office principal and head of their Future of the Workplace research program. All visits will be in service of                                     

mining knowledge from industries which have a considerable impact on conceiving and shaping the future of                               

our living environments. Students should budget ~$600.00 for travel costs (car mileage, train, hotel). 

 

Working in pairs, students will produce a narrative video which incorporates design drawings, models, site                             

analysis, resident interviews, soundscapes, spreadsheets, protocols, flythroughs and text to communicate a                       

networked proposal where formal considerations are paired with logistical concerns. 

SYLLABUS - BRIEF | 1

कर्मभूमी

ARCH 562 / UD 722 | PROPOSITION STUDIO | WINTER 2020 | TAUBMAN COLLEGE UNIVERSITY OF MICHIGAN

[Karmabhumi]:the city as a field of action

Throughout this year, Mahatma Gandhi’s 150th birth anniversary commemorations extend across the Indian geography. In a time of growing national socio-political polarization, Gandhi’s legacy continues to be appropriated, celebrated and problematized, scrutinizing his views on religious pluralism, environmental stewardship, activisim, caste, and race. The city of Ahmedabad holds a special significance as Gandhiji’s karmabhumi during the formative years of his political and spiritual leadership. It was on the banks of the Sabarmati River, between the British jail and the crematorium grounds, that he settled the Sabarmati (Harijan) Ashram in 1917. Embracing Satyagraha, holding on to truth and nonviolent resistance, the Ashram served as the strategic center for the Indian freedom struggle. Gandhi lived there until 1930, when he departed for the Salt March, never to return.

This October, speaking in Ahmedabad on the occasion of the anniversary, the Indian Prime Minister Narendra Modi unveiled the plans for remaking the Sabarmati Ashram into a 32-acre “world-class memorial.” Calling it a land grab, activists warn the redevelopment will alter the spirit of the institution and involve the demolition of 200 houses and the eviction of 2,500 residents, whose ancestors joined Gandhi’s mission and have lived there ever since. With this transformation, many fear the ideals of simplicity and austerity that once defined the Ashram will be forever lost and the site of pilgrimage will turn into yet another tourist resort.

In a time of global unrest, with citizens across the world turning cities into fields of action to exercise dissent and assert their rights, this studio section proposes to learn from the Gandhian legacy in the city of Ahmedabad to inspire more just and inclusive development practices. As protesters develop increasingly sophisticated spatial tactics and appropriate symbolic locatins to render their claims visible, the studio will instigate urban strategies that negotiate a plurality of ideas and interests in the making of new collectivities and civic institutions.

Over the course of the semester, students will formulate compelling research design strategies and urban proposals that integrate architecture, landscape, and urbanistic concepts across multiple temporal and physical scales. Through readings, discussions, and the development of mappings and other visual narratives, the first phase of the semester will examine the city in a larger socio-spatial and geopolitical context. We will then turn to the Sabarmati Ashram to document its current condition and project alternatives to the redevelopment plans, considering a multiplicity of modes of urban intervention.

This studio section is open to MArch and MUD students interested in interdisciplinary design and highly collaborative studio environments. The research and design proposals will be developed through incremental assignments and collected into an e-book. Students will contribute to the collective studio goals while also developing specific areas of individual disciplinary interest.

Students in this studio section will travel to Ahmedabad between February 28 and March 14. During these two weeks, students will participate in the Vastu-Shilpa Foundation’s International Habitat Design Studio (VS-IHDS) 2020. Activities include working sessions with Professor Balkrishna Doshi, Rajeev Kathpalia and other distinguished faculty, a lecture series from distinguished academics and practitioners, visits to important urban and architectural sites, directed field work, and intensive studio sessions focusing on the Sabarmati Ashram site.

The activities will take place at the Mill Owners’ Association Building by Le Corbusier and the Sabarmati Ashram premises. Studio costs per student include a $1,350 VS-IHDS 2020 workshop fee, plus visa, flight, and accommodation costs (roughly an additional $1,300). Each participant will receive the $1,000 International Taubman College Travel Fund, which combined with the $600 lab fee will help cover some of the travel expenses. The instructor has requested additional funding support from the DEI Fund.

COURSE OVERVIEW

SEMESTER LOGISTICS

María Arquero de Alarcónmarquero@umich.edu

Class time: Monday and Thursday, 1 pm - 6 pm. Office

hours, previous appointment.

Attendance and intense work during full class meetings times is required.

“The right to the city is not merely a right of access to what already exists, but a right to change it. We need to be sure we can live with our own creations.” David Harvey, “The right to the city,” in IJURR 27 (2003).

Image sources:1. Aerial image showcasing the Sabarmati Ashram

and the larger area of investigation (2019)2. More than a hundred thousand Hindus and

Muslims gathered on the of the Sabarmati Riverbed in Ahmedabad, India to hear Gandhi speak on independence for India (Associated Press Photo, 1931)

3. Mahatma Gandhi delivering a speech to the crowd in the dry Sabarmati riverbed of Ahmedabad Gujrat India (Dinodia Photos RM, 1930) 1 32

LEX LEXLEXLEXLEXLEXLEXLEX CAPI -TA

01.09 - 04.30.20

On October 10th 2019 the global real estate services company Cushman & Wakefield published its annual report. The document examined global commercial real estate investment activity, ranking the most profit-able markets and predicting which would be the key themes for property development in 2020. As in previous years, it showcased the predictable growth of major capitals world-wide, and it would have gone unnoticed if it hadn’t been for one anomaly: foreign real estate investment in the city of Madrid had increased 202% in one year, the highest rise ever registered in this classification, from a 19th place in 2018 to now 4th, just behind global financial capitals like New York, Lon-don and Paris. While investors and public administrations are arguing that such exponential growth is derived from Madrid’s attractive cultural offer and financial stability, the reality is much more complex. Liberal tax incentives and property laws resulted from economic measures taken during the 2008 crisis have turned the city of Madrid into a sealed heav-en for real estate speculation, uncontrollably rising market prices and skyrocketing the mortgage per capita ratio to pre-recession numbers. In a land where the belief in private own-

ership is an inalienable national right and property laws bolt personal gain over public interest, Madrid’s unforeseen hyperaccu-mulation should not be a shock. While its unprecedented scale kicked off with the rise of neoliberalism in the 1980s, and the sub-sequent deregulated privatization of capital markets, Spain’s reliance on private property and profit goes back as far as several millen-nia to the establishment of Roman Civil Law. Therefore, if we follow the precept in that the origin of private property is in fact the origin of owning the means of work and production and the claiming of its profitability, could we imagine an architecture that cannot be exploited, an architecture without value, without ownership?Through the careful study of civil laws and economic models, students will develop during the first weeks of the semester pro-totypes that offer alternative property rights and financial structures to Madrid’s specula-tive derail, later to be collectively applied in the development of architectural proposals implemented across the city. The studio will travel to Madrid from the 3rd to the 10th of February. Travel, lodging and main activities will be covered by the Taubman Fund.LEX CAPITAARCH 562 Eduardo Mediero Mon Thu 1 6 pm

THEOWN

FOUND-ATION

Arch 562 Proposition Studio Winter 2020Taubman College of Architecture and Urban PlanningUniversity of Michigan

Mondays and Thursdays 1:00 - 6:00 (14 weeks)

An investigation of innovative and widely applicable urban and architectural design propositions in response to environmental challenges in coastal cities.

Prof. Dipl.-Ing. Christina Hansenhansench@umich.edu

innovation,purification,

flow,trade,

securityeducation,

production,recycling,hydrology

management,wetlands,drainage,

synergies,landscape,

health,inspiration.

AQUATECTURE studio is a response to the global quest for adequate urban living solutions under current threats and challenges through flooding caused by climate change. Rising seawater levels and severe storm water occurrences cause infrastructure failures, social and economic disruptions, environmental disturbances and create safety and health risks. Entire coastal regions are endangered, and potable water for their inhabitants are at risk.

AQUATECTURE is a studio to investigate of how societies deal with this current threat and how planners and architects, together with engineers, scientists and politicians develop different measures of mitigating this situation.

As one of the most involved societies in dealing with hydrological challenges since several hundred years, the Dutch became adapt to dealing with water in all it’s forms and found solutions to turn threats into assets. Architects in The Netherlands developed new ways of construction, planners developed innovative solutions and landscape architects react with inspiring environments.

The studio will have the opportunity to travel to The Netherlands to learn about challenges, innovations, and technologies in storm water management, their environmental impact, and it’s relation to architecture and urbanism. We will have the chance to meet local professionals and participate in the ongoing discourse about the necessity of water management worldwide.

The Great Lakes Region faces similar conditions and especially Detroit is in need of adequate storm water and planning solutions. Through learning form the Dutch, students will propose a thesis utilizing water management as a key tool for the creation of innovative strategies and new exploratory urbanism for Detroit.

AQUATECTURE is promoting innovation in strategic planning, urban design, architecture and landscape architecture and will ultimately seek a discourse with local and regional entities in discussions and presentations. This is an accredited studio for MUD students who are invited to participate.

Total travel cost for students will be approximately $1,000. Travel to The Netherlands is planned from January 23 to February 1 (subject to change)

Participation in organized visits to Detroit and The Netherlands is mandatory.IMAG

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in residence

Domesticity and the experimentally habit-able space of the exhibition have long been highly compatible. From the Pavillon de l’Es-prit Nouveau of 1925, to the New Domestic Landscapes of 1972, the temporary timeli-ness of the expo or gallery show have been instrumental in providing the forum for both reflection and projection of the possible with-in daily life.

Alison and Peter Smithson’s 1956 House of the Future represents the ne plus ultra of such possibility, through a tightly formed narrative involving not only their proposed spaces of living (for a distant future of 1981), but full commitment to include future furni-ture (designed by them), hired actors shown ‘living’ in the house while clad in future fash-ions by designer Teddy Tinling, and specially designed typography by Edward Wright.

The In Residence studio will pick up the Smithsons’ mantle of immersion and consis-tency of dedication to the full spectrum of a proposition. We’ll look back (at these and other domestic exhibitions), and forward to other forms of exhibiting, by forecasting through broadcasting: we’ll propose plausi-ble fictional scenarios, or ‘shows’ (animated, acted, performed, designed) that test novel designs for living. We’ll be influenced as much by the Bradys, Bluths, Sopranos, and Roys, as Le Corbusier, Colombo and van der Rohe.

They live a life of say a week or four weeks in reality, but then they go on and on forever.Peter Smithson

The most extreme and influential proposals in the history of modern architecture were made in the context of temporary exhibitions.Beatriz Colomina“Unbreathed Air 1956”

ARCH562 | W20Monday + Thursday 1-6 pmPropositions StudioJulia McMorrough - juliamcm@umich.edu

As a further PROPOSITION, this studio will test the formats and timeframes of semester modularity, and will be offered as two “seasons” of 7 weeks each (with a hiatus between). Students will enroll in one of the two seasons, with the other spent in a different modular studio.

House of the Future (actors in the exhibition)Alison + Peter Smithson, 1956

LONE LIGHT is a research se�ng that collapses inves�ga�ons of material, site, and illumina�on (or lack thereof) under the premise that light and ma�er together have the ability to make, alter, and obscure space. The work will be deeply �ed to its environments and all materials that are added, manipulated, and observed in that se�ng.

Anchored in visi�ng and designing for the UofM Biological Center in Pellston, MI, the studio will create specula�ve designs and material prototypes for self-sufficient solitary research residencies. The research residency will be set deep in the woods as a small standalone architectural volume that serves living and studying, and minimal environmental impact. Strict standards of material use, life, and service will be implemented and assessed. Site placement, material logics, project dura�on, and swings of day and night, are all cri�cal components of this design prac�ce.

The studio will begin with photography studies to introduce students to a keen way of seeing, capturing, and studying light, darkness and materials. The work will quickly move to site sensi�ve design inten�ons, processes and details. Early in the semester we will travel as a group for a weekend workshop at the UofM Biological center that will focus on site studies and material/immaterial experiments.

This Proposi�on Studio is run in collabora�on with the DMT ARCH 709 Advanced Prototyping course. The joint effort will permit both thorough material research and design inves�ga�on. To fulfill a strong paired course set, the students in ARCH 562 must be available for course mee�ngs and reviews during the Friday 8:30-11:30 �meslot as a possible swap-out to normal assigned studio hours on either Monday or Thursday.

* This course will travel to the UofM Biological Center over a weekend, with forthcoming announcement of dates. A�endance during weekend workshops is mandatory. The likely weekends of travel are 02/07-02/09 and 04/03-04/05.

ARCH 562 | W20 | NewellM, Th 1:00-6:00pm with switch outs for Fri 8:30-11:30

PROPOSITIONS STUDIO

Public space has always been a product of a certain authority… a condition under which control is being imparted, and conditions under which forms and habits are being explored… Whereas commons space is a challenge to dominant enclaves through processes and practices

- Savros Stavrides

something in common taubman college of architecture & urban planningwinter 2020

anya sirota, associate professor

Section 01: Jan 9 - Feb 27 / Section 02: Mar 9 - A

pr 20

INTRODUCTIONThe studio is concerned with the concept of “urban commons” as a political framework and speculative design methodology. Over the course of an intensive seven-week exploration, we will address the rising contemporary affinity for participatory and resistant forms of process-based urban and architectural design by offering a critical alternative to the conventional dichotomy between private and public space. Collectively owned land and services will serve as the situational backdrop for the spatial investigation, testing how commoning may be extended to influence the workings of experimental institutions and neighborhood-scaled projects. BACKGROUNDWith ongoing battles raging over neoliberal development and its impact on cities, a growing cadre of architects, activists, and urban designers are championing the emancipatory potentials of commoning as a paradigm for greater social inclusivity. Building on the theoretical work of Silke Helfrich, David Bollier, Gibson-Graham, David Harvey, Elinor Ostrom, and Stavros Sravrides, among others, the approach asks designers to consider the commons not only as a resource and management strategy, but as a set of rules capable of producing novel spatial outcomes. In this scenario, the designer occupies the role of negotiator and tactician, carving out accessibility and scenarios of inclusion in cities with increasing enclosures and endless zones of enterprise. SITE & RATIONALETo explore how alternate forms of land ownership and collective management can yield new urban morphologies, we will focus our study on the Cuauhtemoc borough of Mexico City. Our site will be located at the Conjunto Urbano Nonoalco Tlatelolco, a storied housing complex realized in 1965 by architect Mario Pani. The project, an ambitious expression of functionalist ideals, will serve as a critical framework to counter the conventional paradigms of Modernism’s heroicist mega-visions.

Originally composed of a sprawling network of 102 apartment buildings, parks, schools, hospitals, stores, and cultural centers, today Tlatelolco has deteriorated considerably. A casualty of political strife[1] and seismic disaster[2], this notorious site of frustrated utopia is challenged by extended vacancy, public disinvestment, and real estate depreciation. At the same time, Tlatelolco’s residents and partners have generated a

network of cultural spaces and efforts, energizing a renewed sense of possibility in the neighborhood. Rigorous spatial and historical analysis, coupled with an inventory of emergent programs on site, will serve as a framework for our speculative, interventionist exploration. PROCESSIn the spirit of commoning, students will work in teams to understand the potentials of the urban commons not only as a method of collective resource management, but equally as a connected system of particular spatial practices, social relationships, and forms of governance. The first two weeks will be devoted to theoretical and historical research along with a four-day site visit to Mexico City. Analytical drawings will be used to explore available resources for designing new urban imaginaries, and precedent studies with Mexican interventionist art practices will offer a catalogue of techniques as springboards for conceptual thinking. The remainder of the semester will be devoted to the development of projects that address the economic, ecological, and cultural opportunities available through alternate methods of resource management. While commoning is most often associated with the self-organized pooling of assets and the bottom-up transformation of cities, this course will require designers to assume a position of agency by contributing to new architectural and urban forms. Embracing contextually-rooted modes of artistic expression, we will bridge the commonly perceived divide between social and aesthetic practice. PARTNERSHIPThe course is developed in collaboration with Graciela Kasep, director of the CENTRO Investigación de Economía Creativa, the HUB de Diseño Social at CENTRO Universitario Mexico, and in coordination with CENTRO’s Maestria en Ciudad. Each Taubman College design team with consult with graduate students from Mexico City in order to expedite contextually-rooted design understanding.

***

[1] The 1968 Mexico City Olympics sparked a summer of demonstrations, which culminated in the Massacre of Tlatelolco on October 2, 1968. The Mexican army opened fire on crowds of unarmed civilians at the Plaza de las Tres Culturas in Tlatelcolco. An undetermined number of people, likely in the hundreds, where killed on site. [2] Earthquakes in 1985 and 1993 caused significant infrastructural damage and loss of life leading to the demolition of a number of housing units at the Tlatelcolco site.

ARC562 / UD722proposition studio, short format

mondays & thursdays 1-6PM

UNIVERSITY OF MICHIGAN :: TAUBMAN COLLEGE OF ARCHITECTURE AND URBAN PLANNING

ARCH 562: Architectural Design Studio7 week design studio / 3 credits

*MUST be paired with:ARCH509: Preservation Now

7 week seminar / 3 credits

MEETING:F 9-12 (seminar)

MTh 1-6pm (studio)

PROFESSORS:Steven Lauritano (stevelau)Anca Trandafirescu (ancat)

It’s About Time: Preservation’s New Prioritiesarch562

Over the past half century historic preservation has become a stable profession. What was once a grass-roots impassioned investment in preserving the heritage held in our buildings has developed into a state-sanctioned practice with laws, trusts, and administrating bodies. This has produced a system of much-needed standards that have protected segments of the built environment which might have otherwise disappeared. Today, preservation efforts find widespread support across diverse constituents from community organizers, to developers, and city governments. The professionalization of the field has necessarily led to a targeting of sites where its regulations and funding mechanisms can have the greatest impact. But with its growing mastery, the creative possibilities of the profession have been deemphasized.1

Most architects today do not actively engage in preservation questions due to the perception that the field is solely retrospective. But this is changing. Within the last decade groups of small architectural practices have repositioned preservation as an expansive and creative endeavor. Under the heading Experimental Preservation these designers have broadened the spectrum of conservation to now include temporary installations, digital technologies, innovative material techniques, and even performance.2 They have opened up opportunities for designing architects to participate creatively. Within the academy, these changes remain the interest of the small group of schools that have established preservation programs. What would happen if a school of architecture turned its interests to preservation practice? Might the creative capacities of a design school be harnessed to further open preservation to a new generation’s priorities?

It’s About Time: Preservation’s New Priorities is a hybrid course with a research seminar and design studio component. The studio seeks to leverage new preservation practices to extend the life of a significant regional building. The site of student experimentation will be the Burroughs Adding Machine Company building located in Plymouth, Michigan, designed by Albert Kahn in 1938 as a factory and headquarters. Studio methodology will include precedent research, site visit and documentation, material investigation and design proposal.

Notes:

1 Antoinette J. Lee, “From Tennis Shoes to Sensible Pumps: How Historic Preservation went from a Passion to a Profession,” in History News, Vol. 57, No. 3 (Summer 2002), p. 18-21.

2 Jorge Otero-Pailos, Erik Langdalen, and Thordis Arrhenius. Experimental Preservation. Zürich, Switzerland: Lars Müller Publishers, 2016.

T A U B M A N C O L L E G E OF A R C H I T E C T U R E & U R B A N P L AN N I N G | U N I V E R S I T Y O F M I C H I G A N

Arch 562 Propositions Studio W20 | Mo +Thu 1:00-6:00pm | Assoc. Professor Kathy Velikov | kvelikov@umich.edu

Mark Dion, Neukom Vivarium, 2006

climate SF* \\ Kathy Velikov

*SF: science fiction, speculative fabulation, string figures, speculative feminism, science fact, so far (Donna Haraway)

This past September, the world witnessed the mobilization of hundreds of thousands of people, mostly young, protesting the political, corporate, and institutional inaction regarding climate change. The UN Climate Change summit concluded with little significant action pledged. Yet climate change and environmental violence are not merely technical problems in search of “action” or a “fix”. They are also problems of the imagination and require realignments of thinking humankind’s relationship to the planet and to other species; different attunements to the matters we are entangled with, and the need for new narratives and imaginaries we tell to ourselves. It behooves architects and urban designers to offer much more to the transformation of culture than technical solutions. In particular to use our specific media—drawings, models, videos, material constructs—to make climate change, so often represented in the incomprehensible abstraction of big data graphs and charts, feel instead visceral, intimate, and present as a cultural condition and matter of design.

It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories. (Haraway)

We will start with stories that make worlds: climate SF novels by authors such as Ursula K Le Guin, JG Ballard, Octavia E Butler, Kim Stanley Robinson, Margaret Atwood, Bruce Sterling, Barbara Kingslover. We will consider these texts not as futurisms but as “the realism of our time” (Robinson). They critically explore not only the possibilities of technology but the political, social, ideological, and ecological systems within which it is enmeshed. We will immerse ourselves in the space of these narratives as a design site and milieu. We will work tendril-like in multiple directions to develop “diegetic prototypes” for architectures, objects, and urbanisms in the condition of climate SF. This studio will be taught in two 7-week modules, beginning January 9 and March 9 respectively. Both modules will be similarly structured and will start with the same texts and frameworks; the variation will come from the conversation and initiatives of the participants. Students will work in pairs, and the studio as a whole will workshop ideas for how to experiment incrementally and develop new fragments of the possible.

The FloorOlafur Eliasson, Riverbed, 20.8.2014 - 4.1.2015, Louisiana Museum of Modern Art, Denmark.

Since ancient times the hardened or paved ground, in cultures all around the world, was a place of work but also a place of gathering, dancing, ritual and worship. Not only in myths and ancient palaces but also in domestic, religious and court architecture, the floor as an elevated platform has been a universal technology for separating the clean from the dirty, the sacred from the profane, and the ruling from the ruled.1 Advances in building materials and structural systems freed the floor from it’s relationships to the ground and offered the opportunity to house several programs in one building. The stacking of floors and infrastructures defined the sectional metropolis of the industrial revolution and has played a significant role in the conceptualization of urban life.

With the rise of populations living in closer proximity and tight quarters, the floor evolved as a critical means to legislate urban politics, map systemic control above and below ground and express market ambitions.2 With the creation of maximum marketable area on a given area of land as well as the horizontal growth of site coverage in sub-urban settlements, the floor represents some of our most pressing urban problems- rampant gentrification, ruinous carbon pollution, acute housing shortages and absurd commuting times.3

The Floor is equally interested in “ground” as an essential element of architectural space making as in it’s potential to represent cultural practices, market ambitions and our consumption of earth’s natural resources. How can the ‘floor’ serve as a starting point to investigate architectural and urban design strategies that use natural and financial resources more wisely? How can the ‘floor’ operate on the relationships of the needs of the individual and the values of a larger collective? How can the ‘floor’ rethink the idea of architecture as a means of restraint, division, and exclusion and become a tool for allowing the emergence of unprecedented events and social life?

The studio will conduct research into the historic,cultural, economic and political contexts of territory, site, floors, ceilings and roofs and will work on the design of The Floor in various scales from the material scale to urban interventions. Students will individually develop their own body of research in relation to the studio topic that will inform the scope and scale of their final project. Curiosity, open mindedness and the active engagement in studio discussions are prerequisites for this section.

1 Keller Easterling in: Rem Koolhaas. Elements of Architecture, by Harvard Graduate School of Design, Stephan Trüby, James Westcott, Irma Boom 2018 2 The manual of section, Paul Lewis, Marc Tsurumaki, David J. Lewis, 20163 Albert Pope in: Atlas of another America by Keith Krumwiede, 2016

ARCH 562 | Architectural Design 2G2/3G5 | Winter 2020 | Claudia Wigger | Mo/Thu 1:00PM- 6:00PM

“But for eons, the floor was simply the surface of the earth or a technical, architectural response to make that surface more habitable or useful. It has also sometimes been a muted registration of cultural practices and construction technologies. From prayer rugs to tatami grids to basketball courts, the floor has established a few presumed, if unspoken, rules of the game.”Keller Easterling, Rem Koolhaas. Elements of Architecture, by Harvard Graduate School of Design, Stephan Trüby, James Westcott, Irma Boom 2018

Ta ub ma n C o l le ge o f A rch i te ctu re an d Urb an P lan n in g | A rch i te ct u re 562. 012 | Win te r 2020

_ p rop os i t ions studi o | Wi l co x | g wi l@u m ich .e du | M,TH 1:00 - 6 :0 0p m | 3100 A &AB

_GFRCfurnitureprototyping

More akin to composite (fiberglass) construction than typical concrete, Glass Fiber Reinforced Concrete or GFRC has been revolutionizing the production of concrete architectural components over the last few decades. The high density of glass fibers in the GFRC mix create increased flexure strength in the concrete composition, allowing for thinner and thus lighter constructions, particularly when combined with carbon fiber reinforcement grids. This thinning and lightening of concrete makes it feasible to use in applications where weight may have previously made it prohibitive, such as in furniture design.

The history of architecture and design is marked by moments when designers investigated the use of new materials and/or technologies through the development of furniture prototypes. From Thonet’s refinement of steam bent wood and jigs in the 19th century , to Marcel Breuer and Mart Stam’s steel tube bent chairs of the early 20th, Charles and Ray Eames use of plywood and fiberglass composites in the 50s, Verner Panton’s ground breaking injection molded chairs of the 60s to Marcel Wanders use of carbon fiber and aramid tows in his contemporary chair designs. We will both learn from and understand our work in continuity with this history.

What are we working on when we are making something out of GFRC? A large percentage of our time will be spent developing molds for our designs that the GFRC is sprayed and/or cast into. Mold development requires an understanding and full engagement of digital workflows from modeling in Rhino, form testing through 3D printing to CNC mold milling, and mold prep for casting. In this studio you will learn how to setup 2D and 3D milling processes in Mastercam and run them on the 3 axis Onstrud Router. In addition, we will cover 3D rod bending with SuperMatterTools and the Kuka Robot – developing hybrid structural frameworks as both support and reinforcement for GFRC surface forms. A workshop in MIG welding will round out the skill development in the studio.

We will follow a precise sequence of projects/skill development:

GFRC Wall Tile – The development and fabrication of an aggregate wall tile design. Introducing digital workflows, 3D Printing, 2D and 3D mold milling, mold preparation, and the GFRC spraying/casting process.

GFRC and Rod Bent Stool – The development and fabrication of a hybrid stool design combining welded rod bent structures with GFRC fabrication. Introducing SuperMatterTools, Robotic Rod Bending, and MIG Welding.

GFRC Furniture Prototype – The development and fabrication of a final furniture piece. Scope, methods and materials determined in consultation with the instructor.

This studio is funded with a teaching grant from the PCI Foundation (Precast/Prestressed Institute.) All materials, machine time, fabrication tools and costs associated with the studio are fully covered under the grant.