University of Cincinnati M.Arch 2013

mary j. minerich

mary j. minerich4214 Turrill StreetCincinnati, OH 45223maryjominerich@gmail.com 513.265.5816

Master of Architecture 2013University of Cincinnati. Cincinnati, OHArchitectural Drafting and Design 2007-8Coursework at Laney College. Oakland, CA

Master of Arts*, Philosophy 2006DePaul University. Chicago, IL*non-conferred as part of PhD program

Bachelor of Arts, Philosophy 2003Creighton University, Omaha, NE

education

experience

Collaborated in a multi-firm team on schematic design translating Yale’s Residential College typology to the climate and urban form in Singapore.

Diagrams, renderings and client presentations for Dilworth Plaza (renovation of plaza surrounding historic Philadelphia City Hall), Old Quincy Test Project (Harvard University housing feasibility study) among others.

Documented site conditions, edited Revit drawings, and researched floor design constraints for the Michener Art Museum Event Pavilion.

Marilia Rodriguez and David Riz, Supervisors 215.922.6600

LEED management for 3 local school projects and OSU Chiller Plant. Architectural documentation, acoustics analysis. Designed automated reverberation calculator and STC reference for specific wall, floor, and ceiling assemblies. Revit CD’s and details with team for renovation at Children’s Hospital. Assembled cost, process guide to prefabrication near Cincinnati

Steve Karoly, Supervisor 513.241.8700

KieranTimberlake Associates [Philadelphia, PA. March-June 2010, Sept.-Dec. 2010]

GBBN Architects [Cincinnati, OH. April-August 2012]

Byrens Kim Design Works (Oakland, CA. Oct. 2007-June 2009] Oversaw Change Order processing, material library, material research and performed CAD drafting. Selected interior finishes for architect and client approval. Facade design for Peralta Community College International Distance and Educational Center, and Alameda Co. Commercial Facade Improvements Projects.

David Byrens and Dong Kim, Principals 510.452.3224

Adobe Suite AutoCADModel buildingResearchWritingPublic SpeakingDrawing

RevitMayaSketchupRhino/Grasshopper ArcGIS suiteWelding/solderingIntermediate French

honors

skills

-AIA School Medal -Thesis Design Research Award -UC Representative, Critical MASS [Research colloquium, UNC Charlotte]

-Lyceum Competition, 3rd place

-Publication, Figs. 1-15, 1-38, 2-38, 2-39 (in Language of Space and Form by James Eckler)

experience[OTHER] Collaborated with Dr. Barry Maynard and Eric

Russo of the Hillside Trust to translate technical information for identifying landslides into a user friendly pamphlet to be distributed to the public. Edited/wrote text, provided layout and diagrams.

Hillside Trust [Cincinnati, OH. April 2012-August 2013]

University of Cincinnati [Graduate Instructor 2011-2013]

Community activism

Supported skills development in design including: site analysis, diagramming, concept investigation and refinement, verbal communication and critical thinking, graphic representation, and passive design strategies.

Vincent Sansalone, Supervisor 513.556.1556

Interboro Partners North Avondale Community Workshop (6/7/2013)

“Mixed-Use Modern”, presented architectural analysis and moderated community discussion regarding the development proposed for the former Myron Johnson Lumber Yard in Northside.

Member, Northside Community Council

Extra Curricular Renovation of 1895 single family home in Northside: demolition, flooring, partition walls, lighting, plumbing, half bath design, HVAC upgrades, landscaping, roofing.

Homeward Bound Greyhound Association: 10 racing greyhounds fostered to become pets.

highly proficient increasing proficiency

2013

2012

01 OBSERVATORY

Cincinnati’s geology is apprehended in the slumping and sliding of its hillsides. The entropic sites in which slides and other ground moving phenomena emerge resist the imposition of stable form, a tendency exacerbated by the processes of construction. The geologically mobile site gives power to the image of an unstable, fugitive and destructive nature.

Rather than attempting to “solve the problem” of geologic instability or entropy, this project asks what it might mean for architecture to serve as an instrument that mediates human perception of the unstable environment. Inserted into the human/nature boundary as an active mediator of the encounter with “natural” phenomena, the instrument makes possible a new orientation or perspective. The instrument re-frames and shifts scales, it overlays and blurs, to make manifest the inhuman slowness of changes in the hillside. In this sense, architectural instruments “recalibrate” the user with their unpredictable environment in a renewed process of observation.

The design engages the slide prone soils and bedrock formations of the slope separating the Cincinnati Observatory from a burgeoning entertainment district below. A precariously positioned “sports bar” for viewing footage from the Mars Rover invites observation of the site’s geological processes and undermines assumptions about how we use instruments to navigate and inhabit our environments.

On the geologically unstable site, the potential of the architectural instrument to reorient perception from static buildings and their outward forms to the to the delicate movements above and below inducts a new kind of stability founded in forms of change.01 OBSERVATORY

instruments for entropy on a cincinnat i h i l ls ide[Thesis 2013]

KOPE FORMATION465 Million Years Ago

BED

ROCK

BED

ROCK

0-4 ft

10-0 FT UP TO 20 FT

CINCINNATI OBSERVATORYOBSERVATORY BARSPORTS BARS

Shale-dominant bedrock and clay-rich, bedrock-derived colluvium, prone to landsliding, Ordovician-age. Fossiliferous. Shale ranges from 50% to 85% of the unit. Unit associated with the shale-rich Kope Formation, on steep slopes near Cincinnati and north of Cincinnati. Colluvium has low shear strength and is the source of numerous landslides. Landslides commonly form at the colluvium-bedrock interface.

FAIRVIEW FORMATION

460 Million Years Ago

Limestone-dominant bedrock and bedrock-derived colluvium, Ordovician-age. Interbedded limestone, fossiliferous, and shale.

L-S

S-L

EDEN SOIL (weathered bedrock)130,000 Years Ago - PRESENT

ILLINOIAN LOAM TILL (glacial deposits)300,000 Years Ago

URBAN LAND (unknown source)100 Years Ago

4 FT0 FT20-10 FT

erie ave. the “slipping slope” observatory ave.

680 ft elevation

IN SEARCH OF SLIPPAGE

When it rains, exposed shale from the Kope Formation “slakes” or rapidly disintegrates.

site

It is clay-rich,dense and sticky...

...but lacks cohesion under lateral force, allowing slippage planes to form.

The site is located in a vein of unstable shale and limestone, L-S and S-L. The geologic boundary of unstable material is invisible at the surface. [USGS Surficial Map]

Slide prone Eden soil covers the slope. [Hamilton Co.Soil Survey]

Landslide Hazard zoned as “Hillside District” to regulate areas where construction processes increase slide potential. Landslide hazard area dark grey[CAGIS]

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PARKING

STAIR

CUT

OBSERVATORY BAR

STAIR

OBSERVATORY

EARTH

MARS

ARRIVING AT DISCONTINUITY

The initial move on the site is a simple cut that begins as a small parking area at the base of the slope and extends to the edge of the treeline near the top. From this clearing the buildings of the Cincinnati Observatory are visible.

Almost immediately, the cut changes dimension as it has exacerbated the variable responses of the geologic formations (the Fairview and the Kope, at varying slopes) to water moving through the site.

One side of the cut has been shielded from the elements with a moderately reflective wall that is marked with the layers of deposition and time scales.

Fossil Hunters descend into the cut, the temporal and material scale of the “present” collides with that of geologic changes millions of years in the making.

+0 years +10 years +20 years +30 years

“A crack in the wall if viewed in terms of scale, not size, could be called the Grand Canyon. A room could be made to take on the immensity of the solar system. Scale depends on one’s capacity to be conscious of the actualities of perception. When one refuses to release scale from size, one is left with an object or language that appears to be certain. For me scale operates by uncertainty.“ (Robert Smithson, The Spiral Jetty 1970)15-

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It has been suggested that if all of the fossils could be removed from the Ordovician rock of the Cincinnati area, Cincinnati would be below sea level..[Ohio Department of Natural Resources Bulletin]

+40 years

SITE INSTRUMENT, STAIR

OBSERVING FLUID TOPOGRAPHY CASE STUDY: THE USGS DEBRIS FLOW FLUME

The stair engages a fluid topography. Welded like box beams, they are supported just above the ground on a single pile at the top and bottom of the run.

Individual steps are designed to slowly clear themselves of debris with slumps at the front center of the tread and riser that allow material to pass through.

metal box stair, top view

drainage diagram

metal box stair, side view

SITE INSTRUMENT, LIGHTS

ILLUMINATING SUBSURFACE DISPLACEMENTCASE STUDY: SLOPE INCLINOMETER

Slope Inclinometers measure the onset and continuing deformation within a bore hole by passing a probe along the length of its flexible casing. The depth at which horizontal deformation occurs is the slippage plane or failure surface of the landslide.

As an architectural instrument, the slope inclinometer orients the observer to the movements occurring deep underfoot at imperceptibly slow speeds. This inclinometer provides wayfinding lights for the slope, communicating unstable subsurface movements to the observer as a means to navigate the site. Pole fixtures whose height corresponds to the depth of the bore hole illuminate most intensely at the location reflecting the most intense movements below the surface. Visitors are guided through portions of the site likely to be different with every visit.

EQ

EQ

Light

Movement

SITE INSTRUMENT, “MUSIC”

THE SLOW SOUNDS OF LIqUIFACTION: CASE STUDY: VIBRATING WIRE PIEzOMETER

Elevated water content increases the pore pressure between sediment grains and reduces soil cohesion, a strong indicators of landslide risks. More specifically, there is a precise moisture content for each type of soil at which it ceases to act as a solid and instead takes on liquid properties.

The vibrating wire piezometer documents water levels in the soil. A small wire within the piezometer tip vibrates when “plucked” with an electromagnetic field. The frequency the wire produces when plucked is a function of the tension caused by pore pressure.

This least visual of the landslide instruments, attunes the visitor to the ‘music’ of the soil’s cohesion. The vibrating wire piezometer as becomes a musical instrument documenting spatial changes — requiring no human musician, but a community of listeners to maintain the instrument.

Ryan Knighton’s observation of a single note change in John Cage’s “As Slow as Possible”, being performeed over the duration of the organ’s nearly 500 year lifespan embodies an encounter with the sounds of slowness.

“Perhaps ten minutes have passed, and I’m

becoming aware of the chord’s impurities.

The faintest blemishes in tone pop and

burn away like sparks. The sound heaves and

exhales slightly, like the sigh or groan of

a weary traveller...I’m standing in front

of the organ now, and what began as noise

has become a familiar hum. As I think of

the generations who will take care of a song

that assumed they would be there to keep it

going...”

“One thing giving away to another— the basis

of all drama. It seemed monumental to me.”1

1 http://longnow.org/

Development of thin fresnel lens from thick convex lens. This decreases weight of the lens but increases the potential for slight bending in the lens.

Distortions increase with distance from the focal plane

Lens model experiments

Fresnel lens typically used in lighthouses to diffuse light.

light source

focal plane

reflecting prisms

refracting prisms

refracting prisms

reflecting prisms

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The bar explores the capacity of the

architectural “window” as an active

mediator of perception, rather than a

transparent opening onto “nature” as it

is generally conceived.

Instead of minimizing the “interference”

caused by ordinary glass, it is augmented

by fresnel lenses that magnify the small

movements of the surrounding environment,

but also distort. These lenses blur and

overlap the practices of astronomical and

terrestrial observation, and complicate

the boundaries of inside and outside,

human/nature, and earth and mars.

THE OBSERVATORYTHE INSTRUMENT AS ARCHITECTURE

View from outide of bar looking in [model photo]

Reviewer looking into model

Glass stair at bar entry magnifies and intensifies color of soil particles below [model photo]

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Model Photograph[bar]

Niche with lens floor over ground cutEntering the bar [model photographs]

Bar interior, north wall ramp to niche1

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model photographs

growing gardens

Drills smoking, rock blasting, engines growling, derricks creaking, wires straining. Then...dead silence. The quarry remains, but it livesonly through the accumulated traces of activity.High and low.

Preservation would be another form of death. So the artist pieces together the tangled remains of its infrastructure and commences work at the Quarry.

disembarking with direction

memorializing bells, disturbed by movements of the wire, reverberate against the excavated walls of the

quarry.

navigating the depths submerging anchors

floating studios

growing gardens

sculpting ruins

2012 Lyceum Competition EntryJury chair Peter Bohlin

3rd Place Winner

exhibiting underwater 02 liVE wiRES

VOYAGING

[Spring 2012]

INTENSIFYING

QUARRY ARTS

Anchoring CanoesDancing ExperimentsGuiding and Guarding VisitorsDisplaying ArtHoisting Crucibles from Furnace

Lifting People and SuppliesDying and Drying LinesSupporting Rubble and Fabric Ceiling Living Quarters

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Activity concentrates along the wire intensifying the effects.

The elements of the site are raw material for transformation alongside manufactured cast-offs.

Charred excavations foreground graceful aerial movements against their counterpoint, the terrible glow and roar of the blast furnace kilns.

Pigment dyed fabric, fluttering in the breeze to dry, stains large swaths of granite deep indigo.

ImprovisingResidences and CaretakerShared Kitchen and BathingStudiosVisitors Center and GalleryFoundryBoat DockTheaterWater Viewing AreaViewing Area

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The art of living in the quarry requires the improvisational skills of a jazz musician.

Its productions are at times beautiful and unexpected or so chaotic as to invite in their own destruction. Such a life depends on an architecture that does not concern itself with elegant monuments to a precious past. Instead it mines the past for materials, to provide what is needed for new productions by the hand, the eye, and the machine.

03 CRANBROOK wEllNESS CENTER

SUMMER

03 CRANBROOK wEllNESS CENTER

At Cranbrook Academy Eero Saarinen’s historic architecture by has been supplemented in recent years with buildings by Tod Williams and Billie Tsien, Steven Holl, and Rafael Moneo— designers whose work continues the tradition of bringing together art, craftsmanship and engaged use that grounds the school’s pedagogy.

This studio aimed to translate Cranbrook’s design values and maintain continuity with the existing campus through the integration of environment, construction, and detail.

Environment refers to both the outside ecosystem of temperate deciduous forest of Bloomfield Hills, Michigan and the inside variations in temperature and humidity associated with a wellness center.

Construction points to both the systems used to fabricate the building, but also to the formal arrangement of built elements on the campus that structure the experience of moving through the site.

Details then are the artful moments that create pause, bring down scale or express specifically, and sometimes beautifully, the qualities of a material or relationships between materials.

swimming at Lake Jonah, 1955

evironmentconstruct ion & detai l[Fall 2010 + Spring 2011]

o r p h e u s f o u n t a i n

e x i s t i n g s i t e

b e c o m e s i m p l i e d g a t e

c o n n e c t s t o l a k e j o n a h

s a a r i n e n g a t e

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f l o o r 2f l o o r 1

f l o o r- 1 / 2

Lake Swimming DeckStudioKitchenHealthy Grocery CafeMeeting/Class spaceLibraryAdmin. and AdmissionEntryReflecting pool with sculpturesShort Grass GardenOrpheus Fountain

MechanicalVegetated RoofGuest RoomGreenhouseMassage area

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P U B L I C

P R I V A T E

Steam RoomSaunaWarm Pool with meditation slotsCold PoolHot Pool with cold plunge poolsChanging Room (individual)

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environment: Building, surrounding landscape and topography protect the sunny southern plaza from harsh winter winds.

wellness: Public “spine” integrates wellness activities into everyday cross campus movements. Topography, landscape and CMU wall assemblies target light and views while maintaining privacy for bathing activities.

AUTUMN

i n v i t a t i o n t o i n f o r m a l p a t h s

f o r m a l a x i s t o i n f o r m a l p a t h [ l a n d s c a p e + w a t e r + a r t + g a t e }

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L a k e J o n a h

SPRING

Pool

North

Sauna

Studio entry and CourtyardSteam room [model +photoshop]

S U M M E R

SUMMER

WINTER

CMU WALL

+ p l a n t i n g

i r r i g a t i o n

s l o p e f l o o rd i f f u s e r

m e t a l g u t t e r d u c t

p e x t u b e si n s u l a t i o n

r e m o v a b l e p l a n t s l e e v e s

d r a i n a g e p i p e

s t r u c t u r e & e n c l o s u r e + d r a i n a g e

+ i n t e r i o rt h e r m a l & v e n t i l a t i o n

s t o n e

i n s u l a t i o n

w a t e r p r o o f i n g

C M U

i n t e r i o rf i n i s h

CMU walls constitute the dominant structure and enclosure system for the wellness center. They are economical, allow a more flexible construction schedule than poured concrete in a cold wet climate, and maintain the heavy institutional character of the formal and academic campus axes.

This system produces a layered wall, capable of incorporating new functions or aesthetic elements as additional layers are added or peeled away. In general, the metal fastening system becomes more prominent as the space between the loadbearing wall and cladding material or mechanical elements increases.

CONSTRUCTION & DETAIL

Warm pool section[autocad+photoshop]

04 TRANSpARENT CANOE

04 TRANSpARENT CANOE

Sectioning and lofting techniques recently adopted by architects in the realm of digital design and fabrication have been used by small boat builders for centuries.

Beginning from vernacular designs of “skin on light frame” boats, this project explores the potential of digital design tools to facilitate more complex ornamental structures and their fabrication. Seen through the transparent skins of these lightweight boats, the structural members form a sketch animated by lines of light and shadow.

ornamental structure

sectioning

lofting

rational structure ornamental structure

[Summer 2011]

28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54

Grasshopper Script [Grasshopper, Rhino]Model Fabrication [Chipboard, Shrink Wrap]

05 UC fiEld STATiON

greenhouseclassrooms lab

faculty residence

FARMHOUSE

MEADOW

This studio required analysis and documentation of tectonic elements found on an historic Shaker farm, and the deployment of classic tectonic elements in the design of an archaeological and horticultural field research station.

The resulting design combines tectonic elements found on the site with programmatic elements according to a quasi “archival” logic of selective demolition and reassembly. This architectural violence points to the uneasy coupling of past and present — the literal upheaval of one set of relations (Shaker farm) for another (university research station).

tectonics

BARNadministrationarchiveslecture hall

[Fall 2009]

frame overlapping a void axis with add-on carved line bordered by messy frame

void with border of messy frame elements

extruded massinterlocking with vertical layers

SITE CATALOG / TECTONIC INTERPRETATION

“light” mass = volumeof vertical planar layersaccumulated

FACULTY RESIDENCEmudroomfoyer/laundrykitchenbathroomstoragebedroomsunroomliving roomgarden entry

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study/librarybedroombathdeck

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GREENHOUSE / CLASSROOM / LAB

protected walkclassroomlabgreenhouselocker rooms/bathroomsbike trail pass throughbike storage

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event spacebathroomelevatorpatio (lecture hall below)

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open to below

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ADMINISTRATION / SEMINAR / LECTURE / EVENT SPACE

private officekitchensemi private officeseminar/conference spacelounge/library/gallery

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1 BarnconvertedtoReceptionHall[Wood,FoamCore] 2 DetailsofBarn,ResidenceandLabs/Classrooms 3 PassiveStrategiesstudyforBarn[Drawing,Photoshop]06 ThREE gORgES fARm ShElTER

The Three Gorges Dam elevates water levels and increases soil saturation

Landslides bacome prevalent in farmlamd along the river.

Homes made with brick and mortar are torn apart, becoming uninhabitable.

Farmers must relocate to new mass housing far from the land they work.

a permanent problem

06 ThREE gORgES fARm ShElTER

Shelters can be cheaply fabricated in cities, then shipped down the river to farming families during the growing season. Slotted pieces with friction fit joints are assembled by hand or with simple tools. A few final connections require simple hardware. A thickened wall allows for interior storage. Fold down beds and a pop-up table allow maximum flexibility for the interior space. When slow moving slides threaten the shelter, it can be pulled to a safer location by two oxen or a small vehicle.(With Alec Gardner and Joseph Southard)

a temporary solut ion[Fall 2012]

Collage implies a way of working— tinkering with recycled materials and concepts to “make something work”— in which values of originality and precision are left to the artist and engineer. This studio proposed collage as the method best suited to the problem of how to work a montessori school, community arts center and museum open storage into an abandoned Kroger grocery store using only recycled materials.

This project takes the position that the recycling yard pile functions as an extreme example of collage. Piles, heaps and mounds provide spatial structure and organizational schema for the accumulation of the seemingly endless supply of waste materials created by a consumer culture.

col lage The model for this is not new, but has been adapted from geological processes. Deposited by dump trucks and sculpted by cranes, this landscape differs in that it is accumulated of pieces that retain their individual character. Because elements are not neatly subsumed into an integrated whole, but rather exist in a state of uneasy association, the pile challenges the representative capacity of perspective drawing.

Collaging with chinese landscape painting promotes the simultaneous reading of depth and detail through layering and sequence. Because collage fragments carry with them cultural uses and associations, the mythic image of China that currently looms large in discussions of culture, manufacturing and education is also brought into play.

[Fall 2011]

07 KENNEdY hEighTS CUlTURAl CENTER

pile stability

2x4

Maya Lin 2x4 landscape with cut-offs from nearby suburban developments

retaining structure replaces blocks with used tires from garage on Kennedy Avenue

gabion mattress structure filled with the existing Kroger parking lot

glue screw coat

asphaltmulchmosswire

newspaper

dirt

rebar

tires

THE DIFFERENCE BETWEEN ARCHITECTURE & DEBRIS

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montessori classrooms art classroom outdoor spaceentrance parkingoverflow studio/gallery spacesmuseum loading docks

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inside the pile

loose materialfill

add mesh

add posts

existing kroger

ARCHITECTURE IN REVERSE: CONSTRUCTING VOIDS AND DEPOSITING ENCLOSURE

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extended care conference roomlibraryfloor 2 studio

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DEPOSITING ENCLOSURE

CONSTRUCTING VOIDS

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lobbyextended careart classroomheavy equipmenttoiletselevatorgalleryfloor 1 studioloungekitchenette

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museum open storagequarantineloadingcurationconservation

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barmusic stagepublic roomsnacks/night cafe

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In a stratovolcano conduits of material force their way up through internal ruptures in the pile and then solidify. This network of different materials strengthens the integrity of the mound. Similarly, sights, sounds and activity from some program elements well up through layers of the others, creating unexpected connections and opportunities for creativity and learning.

For example, the fencing structures allow visitors to the bar, lobby, and conference rooms visual access to “buried” artwork suggesting the ways that the archive of museum collections retains the quality of an archaeological site, inviting further digging into little seen corners of the collection.

Because all items are numbered and their location is tracked in a database, the physical location of the items as found in the storage facility can become mobile and associative, to resonate with the surrounding program elements, whatever they may be.

inside the pilePROGRAMMATIC ERRUPTIONS

artist spaces

childcare

entertainment

museum storage

STRATOVOLCANO ANALYSIS [USGS]

museum storage (2,1,-1)

programmatic eruptions:

lobby (1,2)play space (-1/2, 1, 2)dance party (-1, -1/2)music venue (2,1,-1) bar (-1, 1)

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projection/small video studio

Cincinnati Art Museum open storage

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pub

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lobby

montessori classroom

extended care indoor play area

dance club/blanket fort space

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08 wORK, KTA

2 Café structure iterations to test visibility of viability with structural engineer [Rhino]

3 Completed additional diagrams and assembled all into presentation for client and to the general public.[Revit, Rhino, Autocad, Photoshop, Indesign, Illustrator, Powerpoint]

1 Tower to match existing drawing of City Hall. Worked from multiple photos to acquire high level of detail and correct perpectival distorition. [Autocad, Photoshop]

1 Wood flooring research for demanding indoor/outdoor radiant heat application. Issues included cost, plank width, durability, dimensional stability.color availability, and resistance to a mysterious insect infestation at the museum.

2 Fire and life safety drawings in Revit.

3 Photography, inventory and site measurements of existing sculpture garden.(not shown)

Michener Museum Event Pavl l ion

Di lworth P laza

[Spring 2010+ Winter 2010 ]