Advanced Synthesis Option Studios - CMU School of Architecture
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F21/S22 Advanced Synthesis Option Studios
Following the conclusions of last year’s PEDAGOGIES discussions,
there are changes gradually occurring to the structure of the B.Arch
curriculum sequence. We are adding an early opportunity of studio
options for the students in the Spring of their Second year, starting in S22.
This will result in a new sequence for those students with three additional
coordinated studios, entitled PRAXIS; in Fall and Spring of third year and
the Fall of Fourth year. We will also be adding research based ASO studios
to the offerings in F22 and S23.
Last year’s ASOS semester themes (F20 PROPINQUITY, S21
PRIVACY) engendered great cross studio conversations. We are
continuing this thematic connection for the ASO studios with F21 CARE
and S22 WORLD BUILDING. We plan discussions within the studios and
a colloquy after final reviews to gather positions/findings/oppositions. In
addition these themes will be reflected in the Public Programs and other
workshops/lectures and symposium will support the discourse.
The descriptions for F21 ASOS studios are listed in the catalogue
below. The S22 studios will be described in detail in the next issue of the
catalogue. ASOS selection process happens before each semester (in
July for Fall and in November for Spring). At these points the expanded
and updated catalogue is published for the following semester. We send
an invitation email to each student from B.Arch 4th+5th yr and M.Arch 2nd
yr, who then complete a preference form.
F21 Studio Rosters will be published on Aug15th 2021
COVER IMAGE
March 24 2021 The roof of a structure
Mary-Lou Arscott AADip RIBA
is visible as floodwater covers
large areas northwest of Sydney, Studio Professor
Australia. Some 18,000 residents of Associate Head of Design Fundamentals
Australia’s most populous state have School of Architecture
fled their homes since March 17. Carnegie Mellon University
(ASSOCIATED PRESS 3.26.21) mlarscott@cmu.edu
ARSCOTT/TORELLO BILL BATES
City as Film Reforming Architecture
Architectural thought + Re-purposing harmful
imagination for futures architecture of the past
in a non-modern world for a healthier future.
An exploration in design
F21 Care_
for social justice.
The overarching theme for the semester is that of _CARE. Each studio will take a
different attitude to the intersection of related issues to their studio agenda. GERARD DAMIANI JEREMY FICCA
Post Occupied Cultivated
Weathering and the From Farm to
Life Cycle of Building Building
City as Film Arscott+Torello
Reforming Architecture Bill Bates
Post Occupied Gerard Damiani
Cultivated Jeremy Ficca
Commoning the City Stefan Gruber
Terminal Hal Hayes STEFAN GRUBER HAL HAYES
The Cut, the Beach + Beyond Steve Lee Commoning the City Terminal
HELIOStudio Christine Mondor Negotiating Top-Down JFK Terminal 4
and Bottom-Up concourse expansion
Urbanism
STEVE LEE CHRISTINE MONDOR
The Cut, the HELIOStudio
Beach and Designing urban
solar transition
Beyond
Design-Build
Installations for CMU
F22 theme tbd_
Further details and descriptions of the
Spring 2022 ASO studios will be added to
the catalogue in the Fall 2021
xxxx Christine Mondor
Design Build Steve Lee
S22
xxxx Hal Hayes
World Building_
Commoning the City Stefan Gruber
xxxx Jeremy Ficca
xxxx Gerard Damiani
xxx Sarosh Anklesaria xxxx Mary-Lou Arscott
xxx TBD xxxx TBD
M.Arch/ B.Arch thesis Heather Bizon Design Research Studio TBD
Design Build Steve Lee
xxx Dana Cupkova
Accupuncture Architecture Stefan Gruber
Commoning the City Jonathan Kline
S23 theme tbd_
xxx TBD
xxxx Sarosh Anklesaria
M.Arch/ B.Arch thesis Heather Bizon
xxxx Dana Cupkova
xxxx Gerard Damiani
xxxx Stefan Gruber
Commoning Thesis Jonathan Kline
Design Build Steve Lee
Global Studio TBD
Design Research Studio TBD
F21_care ARSCOTT_TORELLO ARSCOTT_TORELLO care_ F21
CITY as FILM
*In the midst of our serene new world of images, a descriptive revaluation of the
conditions of imaging...is a prerequisite for architecture to pose the question...how can we
learn to live differently? So differently that we might soon become non-modern?
John May, Signal Image Architecture p28
Architectural thought and Background
This studio will move from a critical reconsideration of Pittsburgh’s versions of modernism to
formulate novel responses by experimenting with non-linear narratives in moving image. The
imagination for futures in a idealized image of the city’s rebirth hides a complex history that includes land seizure, mineral
extraction, labor exploitation and brute force. All are poised to continue but could be diverted
with a new set of operative interventions to the current systems. This studio will propose
non-modern* world. organizational principles for a city set in a global context. Our design methodology will consider
Pittsburgh’s specific histories and ecologies in order to invent devious playbooks in response
to the contemporary condition. The studio’s speculations will collect and construct alternative
Mary-Lou Arscott + sequences of interaction and insidious influence. The film narratives produced by the studio
will evolve from a close reading of three phases of Pittsburgh’s expansion; 1910’s, 1960’s and
2020’s. Architecture has been a discipline attached to machines, modernism and orthography.
Francesca Torello This studio will experiment with potentialities of data, digital media and moving imagery to
develop a design process to challenge authoritarian problem solving mindsets.
Care
‘Historical ontology, after all, is not only an account of how things Ethical, political and ecological concerns will be central in
the studio critique as we analyze the implications of various
came into existence but also of how possibilities of being arise in propositions. Care in response to precarity across cultures,
history.’ Zeynep Celik Alexander, Neo-Naturalism, Log31 2014 codes and regions will form the prompt for the studio
interventions. Consideration of scales of care will become
evident in the developing scenarios. The final presentations
will contain resulting insights.
Context
Reference will be built around the location of Pittsburgh Point,
with use of historic photographs, films and maps. Particular
reference will be made to the research by Grimley, Kubo and el
Samahy in the book ‘Imagining the Modern’.Monticello Press
2019.
Three polemical texts will act as a theoretical scaffold for our
analysis; Medium Design by Keller Easterling, Image Signal
Architecture by John J May, and Class Matter by bell hooks.
We will study narrative film form in the innovative early C20th
silent films by Vertov, Ruttman, and Kinugasa, the 1970’s
experimental films by Maya Deren, Agnes Varda and Chris
Marker, and the contemporary radical filmmakers John
Akomfrah, Mati Diop, Im Heung Soon. The studio will acquire a
broad vocabulary of strategies developed by artists working in
the arena of expanded cinema.
Memoir holds revelatory insights from all three eras and we will
Above Dymaxion World Map Projection make reference to Out of this Furnace Thomas Bell 1941, The
1959 Buckminster Fuller
Left Ernie Gehr dir. Portraits of Duane Michaels 1958-88, Punch Me Up to the Gods
Serene Velocity 1970 by Brian Broome 2021.
F21_care ARSCOTT_TORELLO ARSCOTT_TORELLO care_ F21
Program
An historical and theoretical positioning will be presented by Arscott + Torello in weekly
discussion format through the first half of semester. Site visits to the Point and to the relevant
archives will be organized. Each person will take part in the preparation for presentation of
different aspects of the material and the research will become a common resource. Separate
lenses of analysis will be taken by each person and then together the themes will be developed
as a set of cross currents. The element of time is embedded in the medium of film, you will
become story tellers and use both still and moving images with words and sound to build an
argument. The material is endlessly editable and you will become adept at the mnemonic,
eidetic and prophetic mode of the medium. The sequence of assignments will lead you through
skill acquisition, no previous familiarity with editing software will be necessary.
Above Left: John Akomfrah dir.
Learning Outcomes The Last Angel of History1995
On successful completion of this studio you should be able; Above Right: Teinosuke
1. to demonstrate a critical understanding of the relationships Kinugasa dir. APage of
Madness 1926
between ideology and forms of representation. Below Right: Agnes Varda dir. Studio environment.
2. to construct visual-verbal moving image narratives to describe La Pointe Court 1955
ethical argument and ideas for societal speculation. Opposite: Clyde Hare
The material that we’re covering in this class can be difficult.
3. to use ideas of system interventions to pose multiple photographer, Alcoa Building While we expect there to be rigorous class discussion and
outcomes for radical change. 1952 even disagreement, you should engage with care and empathy
4. to understand and apply theoretical positions from studio for the other members in the studio. Critically examining
readings as keys to generate discussion and new insight. and assessing our most basic assumptions and values is
5. to describe the counter positions embedded in your own INCLUSIVITY
design propositions. The studio is committed to
one of the tasks of the architect. Have the courage to face
6. to demonstrate a critical understanding of the history drawing references from at least the uncomfortable and we will work together to establish
of Pittsburgh’s versions of modernisms and its continued 50% BIPOC and female writers, a classroom environment that is supportive of taking these
impact on our understanding of the city. artists, architects and thinkers. intellectual and emotional risks.
F21_care BATES BATES care_ F21
REFORMING
Architecture
Re-purposing harmful
architecture of the past for a
healthier future. An exploration
in design for social justice.
Bill Bates “A building has
no means of Background
locomotion, it Above and below: Pennsylvania
Correctional Institute, Ohio River Pittsburgh. The events of 2020 have given our world a lot of time and
cannot hide itself, Opposite: “All Me II” (2005) by Wilfred
Rembert 1945-2021
reason to think about the value of architecture and the true
meaning of its mission to serve society while doing no harm.
it cannot get away. The architect has been commissioned to design for the most
There it is, and critical needs of society from legislative chambers, courtrooms,
prisons, hospitals to offices and homes. The challenges of that
there it will stay - work have not always allowed us to weigh in on the policies
telling more truths and implications of each building’s purpose. On rare occasions
we are afforded the opportunity to rethink the purpose of past
about him who structures.
made it….”
Louis Sullivan 1856-
1924
Context
This studio will explore such an opportunity to revisit
an abandoned state prison structure, the Pennsylvania
Correctional Institution of Pittsburgh, designed almost two
centuries ago. The class will explore the social, ethical,
F21_care BATES BATES care_ F21
cultural and humanitarian issues of the building’s
past while examining the residual impact on the
community that it has served and the broader
communities that it was meant to protect. Using
the psychological and architectural fossils of this
structure this exploratory studio will be tasked to
re-envision a new more humane and environmentally
appropriate purpose for a healthier and more
sustainable future that serves ALL demographics
while undoing the harm caused by the building in its
first incarnation. We will also discuss how jails and Above: Wilfred Rembert, prison artist
prisons have been used as a vehicle of protest and Right: artwork by Wilfred Rembert
change for causes like civil rights. Left: Dr. Martin Luther King, Jr.: civil rights
leader,
Center: movie poster for ‘John Lewis :
Good Trouble’ 2020 dir by Dawn Porter,
Right: Rosa Parkes, civil rights activist.
As a research studio students will work collaboratively
to understand the issues of architectural space as a tool
of criminal reform as well as their residual effects on
disenfranchised communities. We will also touch on the
influences of trapped talents and caged creativity on the
broader society’s culture of art, music, language, fashion, etc.
The class will be encouraged to develop new uses that take
advantage of the building’s physical properties to help heal the
surrounding communities and erase the stigma of its past. The This social justice studio will be based on several books
embodied carbon of its massively resilient three foot thick walls including:
and proximity to the Ohio River hint at opportunities for creative The New Jim Crow, Mass Incarceration in the Age of
reinvention that might provide environmentally jobs and other Colorblindness by Michelle Alexander
types of support for the Pittsburgh region of tomorrow. The Color of Law, A Forgotten History of How our
Government Segregated America by Richard Rothstein
F21_care DAMIANI DAMIANI care_ F21
Post Occupied
Background
In Sigfried Giedion’s Space, Time and Architecture, he made a comparison between modern
science and the concept of space-time replacing Newton’s ideas of absolute time. However,
what was missing was the subjective experience of time and its long-term effects on place,
buildings and society. This ASO will go beyond how space and time affect the role of
architectural sequence in real time to a question of how a building is understood throughout
time. This studio is not a studio about the aesthetics of ruins, as ruins strip bare a building’s
Weathering and the lifecycle of
meaning. Instead, we will speculate how can weathering engage the imagination?
In architecture, finishes and equipment are an end to a building’s original construction, however,
building.
time and weathering affect and transform buildings leading to a double meaning. A building’s
original aspirations are literally and physically transformed through time. This ASO looks toward
a work of architecture that is inextricably linked to its long-term physicality asking how it might
play a more central role in architectural theory and environmental sustainability.
GERARD DAMIANI, AIA
‘As the costs of building continue to rise at an alarming
rate and material resources become more and more
scarce, how can what you build leave no trace or last
indefinitely?’
Croft Lodge Studio
The ruin is protected from the elements
within a new high performance outer
envelope. This means that in most places
there are two walls, two windows and
two roofs, old and new. the work was
undertaken to create a functioning studio Above
with living accommodation that could be Croft Lodge Studio (interior from exterior)
easily be changed in the future into a house
with three bedrooms and two bathrooms. _Care
Kate Darby Architect and David Connor It’s the objective of this ASO to consider how societal change
Design affects the role of care at various levels of architectural
engagement. Each student will address this term through all
aspects of the studio process including how each presentation
will be positioned.
F21_care DAMIANI DAMIANI care_ F21
Methodology
Project one: Weathering of four materials of your choice that
will be documented throughout the semester.
Project two: Case studies: artistic, architectural, technological,
societal, and cultural
Project three: Speculations on site, materials, systems, and
programs
Project four: Application through architectural development
Required 1st reading: On Weathering: The Life of Buildings in
Time by Mohsen Mostafavi and David Leatherbarrow (reading
will be provided via Hunt Library)
Above
FRAC Dunkerque
“We never see the existing as a problem.
We look with positive eyes because there
is an opportunity of doing more with what
we already have,”
Anne Lacaton
“We went to places where buildings
would have been demolished and we
met people, families who were attached
to their housing, even if the situation
was not the best. They were most often
opposed to the demolition because they
wished to stay in their neighborhood. It’s Above
Context a question of kindness.”
FRAC Dunkerque (interior)
This ASO will look at how time affects our natural, societal Jean-Philippe Vassal
and built environments. This studio will study the affects of
https://www.lacatonvassal.com/
weathering through a series of case studies. These studies Learning Outcomes
will look at the variety of effects of weathering and the role of The design project will be a piece of architecture not as a
change. Each student will look at this term via art, architecture, static conclusion but as a product of physical and cultural
technology, society, and culture looking for new formations and weathering. The project will be represented not only as a
how the role of the built environment is representative of time finished project but also how it might address the long-term
and weathering. effect of cultural and physical weathering.F21_care FICCA FICCA care_ F21
CULTIVATED
Background
In their elevation to pseudo art objects, the stone walls of Mies’ Barcelona Pavilion stand as one
of modernism’s most iconic examples of material fetish. The surfaces of golden onyx, roman
travertine and green alpine are objectified and polished to reveal the inner beauty of sliced
earth. Fundamentally detached from their complicated origin story, the pavilion’s materials, like
many of its modernist brethren, are severed from human and environmental entanglements.
From farm to building Mies’ masterpiece is perhaps the ultimate referent of an architecture of hidden side effects. Or
to borrow a term from Joseph Grima, an architecture of extreme externality. For the pavilion,
the production of affect is utterly reliant upon, yet renders fully opaque, extraction, labor, and
environmental depletion. The fact that the building had such a consequential impact upon the
discipline yet was known only through images for the 50 years between its demolition and
reconstruction seems perfectly fitting for this treatise on abstraction. While it is unproductive
JEREMY FICCA, RA
to critique past work through the lens of our current climate crisis, this icon of modernism is
an enticingly clear illustration of how abstraction tends to distance and obscure the external
consequences of design decisions.
Architecture has long relied upon extraction and labor.
Buildings are after all made of materials and components,
“Unless architects begin to describe buildings as terrestrial sourced directly or indirectly from the earth. For the better part
events, processes, and artifacts, architects will – to of the past century this has operated under a take-make-waste
industrial model. For decades, globalism’s long supply chains
professional and collective peril – continue to operate obscured the consequences of this model. Believing the ends
justify the means is much easier when the means are invisible
outside the key environmental and political dynamics of this or largely unknown. As Michael Pollan’s groundbreaking
book The Omnivore’s Dilemma directed attention to our most
century.” immediate form of consumption- eating, and in the process
unraveled contemporary food supply chains, so must we
confront questions related to how, what, and why we build.
Our current ecological and political crises signal the limits and
incompatibilities of a neoliberal consumption-based economy
on a planet of finite resources.
“What if architecture
were understood first
and foremost as a
form of stewardship
of the built and natural
environments?”
– Joseph Grima,
Left 1: Mies Missing Materiality, Anna and
Eugeni Bach
Left 2: Industrial hemp harvesting
Non-Extractive
Above 1: Timber Weaver’s Studio with
hempcrete infill, Practice Architecture Architecture
Above 2: Henry Ford demonstrating hempF21_care FICCA FICCA care_ F21
This studio presumes that a viable transition to a circular economy necessitates a recalibration
of how one builds and ultimately, how design can better address a broader understanding of its
processes and artifacts. The studio will explore the potential of regenerative material flows and
harvested building materials in the context of Pennsylvania agriculture. It will focus specifically
upon the ecologies of industrial hemp to consider the prospects of farming, processing, and
building with hemp in the post-industrial landscape of southwestern Pennsylvania.
Care
Building upon Grima’s repositioning of architecture as a form of
stewardship, this studio asks students to develop an expanded
set of cares, accounting for the side effects of one’s decisions
as much as the production of architectural affect.
Project
As a research studio, students will work collaboratively over
the course of the semester. Initial research will be dedicated to
developing a graphic manual of industrial hemp, from seedling
to product and building. This will be followed by an evaluation
of prospective sites for farming within the post industrial river
body panel impact test, circa 1940 landscapes of Pittsburgh and the surrounding communities.
Context
The culminating project, conducted with a partner, operates at
Though only recently legalized for industrial cultivation in the two distinct scales, that of an urban farm and hemp processing
United States, hemp has a long history in North America. With Above: Institution in the production and / education facility and at the scale of the dwelling. Teams
its origins of cultivation traced to central Asia, hemp has been analysis of material flow from FLUXOPIA:
will develop proposals for an itinerant hemp processing and
ON LIFE IN THE METABOLIC CITY, Luke
used for a remarkably wide range of products from paper and Johns education facility to support transitory farming along with a
rope to bio-resin automotive parts and hempcrete blocks. In prototypical, low density housing collective that uses hemp
addition to its numerous material properties, hemp is one of as its primary material system. Given the studio’s focus upon
the fastest CO2 to biomass conversion tools available, far material flows, projects will be developed as open systems
outperforming rates of carbon sequestration of forest land. and methods that seek to illustrate a range of architectural
Occasionally referred to as a mop crop, hemp is highly efficient permutations.
at regenerating soil, requires limited maintenance and when
compared to cotton, requires a fraction of the water. It is little
Further Reading
wonder hemp was the world’s most traded commodity until
the 1830s. https://v-a-c.org/en/non-extractive-architecture
https://www.ellenmacarthurfoundation.org/
https://strelkamag.com/en/article/fluxopia-on-life-in-the-meta-
bolic-cityF21_care GRUBER / KLINE GRUBER / KLINE care_ F21
COMMONING THE CITY
Background
Commoning the City is a yearlong research-based-design studio focused on social justice and
community-led urban transformations. Here, we explore design as an agent of change and how
to support citizens in claiming their Right to the City. The first semester, taught by Stefan Gruber
Negotiating Top-Down and
provides a theoretical framing and uses case study research as stepping stone for developing
individual thesis proposals. Building on the studio’s shared investigations and a commoning
toolkit, students define a research question and begin testing their design hypothesis in an
Bottom-Up Urbanism
urban milieu of their choice. At the end of the semester each student has framed a design
proposal and methodology that is theoretically grounded, geographically and culturally situated,
and politically informed. Working empirically, throughout the semester students go back and
forth between research and design. The second semester, taught by Jonathan Kline, then
supports students in fully developing their individual projects culminating in an exhibition. This
STEFAN GRUBER _F21 year-long studio is required for all second year Master of Urban Design students and open to
5th year BArch students and MArch students. For ASOS students the studio is an opportunity
to pursue a yearlong thesis within a structured research context exploring urban commoning.
JONATHAN KLINE _S22 Jonathan Kline’s seminar Urban Design Methods and Theories is a co-requisite.
Research
The commons are emerging as a key concept beyond the
Who or what do you care for, care about and care with? binaries of public and private space for tackling the challenges
of the contemporary city: How to build community resilience
What kind of infrastructures and spaces are necessary to in the face of systemic and growing inequity? How to design
create communities that care? with finite resources in the face of accelerating environmental
crisis? How to articulate common interests despite splintering
social ties? And how to find agency as designers given
the scope of these wicked problems? Here, commoning
is understood as a set of social practices dealing with the
production and self-governance of shared resources and
spaces beyond contemporary forms of domination, such
as class, gender or race. The studio’s research continues to
feed into the long term traveling exhibition and publication
project “An Atlas of Commoning” in collaboration with ifa
(the German Institute for Foreign Relations) and ARCH+. This
year, the studio will contribute to the development of a web
plattform making the research available to a general audience.
Throughout the semester the studio will also engage in a series
of exchanges with students from the University of Buenos
Aires who will be working on the next station of the exhibition
“An Atlas of Commoning.” Contigent on the Covid19 situation
the studio will take a four day research trip to do field work and
experience regional initiatives in person.
Above: Case study drawing on Triratna
Prerana Mandal by Sharleen Devjani and
discussion at Design for a Commons Care
Transition Symposium
In line with the Fall’s ASOS theme of care, we will investigate
Right: View of An Atlas of Commoning at notions of stewardship, mutual support and solidarity in
Miller ICA. urban transformations and the social reproduction of sharedF21_care GRUBER / KLINE GRUBER / KLINE care_ F21
resources and common space. “What would happen if we were to put care at the very center
Learning Outcomes
of life?” asks the Care Collective in ‘The Care Manifesto’ while encouraging us to recognize
and embrace our interdependencies across scales, from the interpersonal to the planetary. In this studio you will develop skills for documenting, analyzing and critically evaluating
Addressing a world in which carelessness reigns, requires us to first and foremost analyze precedents that act as catalyst for the bottom-up transformation of cities. You will learn to
and understand the forces at play that shape systemic inequities. The thriving contemporary contextualize these spatial practices, and ultimately your own design practice, within a broader
commons debate then offers an entry point for radical imaginings of other possible worlds social, political and economic discourse. As you begin to better understand the forces at play
beyond the binaries and confines of capitalist markets or the neoliberal state. Meanwhile, the in shaping the built environment and in turn how buildings shape us, you will learn to both
case studies assembled in the Atlas of Commoning render visible that these alternatives are question and sharpen the agency of architecture and reflect on alternative more collaborative
already in the making, they are all around us weaving a pluriverse of small, local but open and modes of design and radical imagination. You will further experience how what is often
connected initiatives. conceived as binary opposition between theory and practice, thinking and acting, can in fact be
intricately linked and lead to invigorating synergies. The hypothesis here is that every reading of
Program an urban milieu is also projective, every reflection on what is, entails a projection of what could
be, in short a latent design project for an alternate possible future. Utopia is typically thought of
Fall: Design-based Research
as something that lies in the future. Meanwhile in our research on practices of commoning, we
will see that everyday utopias are in fact all around us.
During the fall semester we will study selected spaces
and practices of commoning through theoretical readings,
interviews and field work, while drawing from the studio’s
repository of 50 previous case studies. The collective research
will be intertwined with the development of an individual thesis
proposal on how commoning might transform a neighborhood
community and site of student’s choosing. Throughout the
semester the articulation of a thesis will evolve through
research, verbal and visual modes of reflection and design
structured around workshops on sociocracy, futuring and
transition design amongst other methods.
Spring: Research-based Design
The spring studio will focus on developing the individual
design proposals testing the spatial, material and governance
implications of the student’s respective hypothesis on urban
commoning. For the project students will be expected to
take a personal position and formulate a thesis, expressed
and explored through design. The site, program and general
parameters of the project will be determined during the fall,
allowing students to gather data and base materials over the
winter break. Thesis projects will culminate with an exhibition
and review in the Miller ICA Platform and the creation of a final
thesis book.
Left from top to bottom:
Yashasvi Tulchiya, MUD’21
Sameedha Mahajan, MUD ‘21
Sujan Das Shrestha, MUD ‘19
Abhinavv SIngh, MUD ‘20
Right clockwise from top left:
Chi Zhang, MUD ‘19
Xioran Zhang, MUD’21
He Su, MUD’21F21 _care HAYES HAYES care_ F21
TERMINAL Background
This studio will help students develop a
strong, comprehensive, holistic design
process and learn to seek inspiration from
JFK Terminal 4
the design components and socio-cultural
issues involved in a large, complex building
project. The key semester goal is for the
concourse expansion student to create a unique individual design
that is a civic gateway celebrating New York,
is completely responsive to the needs of the
users, elegantly balances the many interrelated
and interdependent performative systems that Above, and opposite JFK Terminal Four, SOM, 2001
are critical tothe function, and is a compelling
Hal Hayes
whole that is greater than the sum of its parts.
Site
Terminal Four Concourse A, John F. Kennedy
International Airport, NY
Scope
The studio project requirements will closely
parallel the real project currently being planned
I am arguing that, this matrix space brings to our art a new for the expansion of T4, a new structure of
relevance, and even new aesthetic pleasures and political approximately 10 gates, 100ksf connected
through the existing six-gate, 75ksf Concourse
capacities. Keller Easterling Metrolpolis, April 6, 2015 A to the main terminal.
Below: JFK T4 Delta hub phase 2, 2013F21 _care HAYES HAYES care_ F21
Learning Goals
Students will test and expand their design
and technical skills in all key areas, with
particular focus in these three areas.
• Explore the rich and varied conceptual
design opportunities arising from
architectural, structural, infrastructural and
mechanical systems at very large scale and
with a high degree of complexity.
• Define and grasp the complete design
challenge through research and analysis
of the building typology; the exceptionally
dynamic functional rhythms, complex
programmatic spaces with distinct systems,
and a widely diverse user group with varying
needs and desires.
• Understand and embrace the duality of
the design paradigm, as a principal anchor
and integral component of a global transport
and communication network, yet with a
need to be responsive to local environment,
materials & methods, and cultural traditions.
Below: Terminal Four SOM, completed 2001
Studio Framing
Students will engage as teams in a robust pre-design exercise;
• Analyze the existing building and site conditions
• Engage with the professional AE design team
members working on the actual project
• Develop programmatic and performative goals and objectives.
Students will then individually pursue a concept design for
Top and Above: Jacob Douenias the project based on these complex design parameters;
JFK T4 concourse A proposal S12
• Learn design and planning methodologies to
effectively address complex projects
• Balance the needs of these parameters as an
interdependent network of autonomous systems
• Emphasize the use of hand sketching, physical models
and iteration of design, research and analytical work
will at varying scales and degrees of resolutionF21_care S.LEE S.LEE care_ F21
THE CUT,
Background
The C,B & B will be a year-long, interdisciplinary, design-build
THE BEACH
studio working with Campus Design & Facility Development,
the Department of Civil and Environmental Engineering and
campus constituents to improve the quality of life through design
intervention(s) on campus.
& BEYOND
The fall semester will be focused on design - the spring semester
will be focused on build.
During the fall, we will study the history of campus plans from
the days of Hornbostel to the current days of the current Ayers
Design-Build Installations for St. Gross and Urban Design Associates plans, identify sites and
opportunities for design interventions, develop a catalog of design
proposals, review and select proposals with clients and develop
your Campus design development drawing packages.
In the spring we will on-board Jon Holmes (SoA Shop Director),
Brian Bellowich (CEE Shop Director), Sarah Christian (CEE
STEVE LEE 1'-234"
Professor) and CEE students to complete construction documents,
develop project management plans, build full scale prototypes,
procure materials and construct/ install the object(s) on their site(s).
8 CENTRAL PLATE ELEVATION
4 CENTRAL PLATE PLAN
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
The project is fully funded and the expectation is that the objects
“But if you consider the present to be The SoA has a long and complex
6 1/2"
history of design-build as an will be turned over to the campus by the last day of classes in the
241"
221" 3"
1
2" EQ 321" 321" EQ
important component of the
734"
spring semester.
merely an instant between the past and
EQ 22" EQ
221" 21" 221"
3'-121"
521"
1
1'-234"
pedagogy for our 1st professional
8 CENTRAL PLATE ELEVATION
4 CENTRAL PLATE PLAN
241" 221" 221" 221" 241" 21" 421"
741"
5"
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
421"
degree programs.
234"
234"
6 1/2"
the future, just a passing moment, then to
621"
621"
241"
221" 3"
1
2" EQ 3211" 31" EQ1
22" 2212" 22" 221"
734"
The previous M. Arch program
EQ 22" EQ
221" 21" 221"
3'-121"
521"
1
This page Community Forge projects, 2019
241" 221" 221" 221" 241" 21" 421"
741"
5"
(1990’s) relied on a year long
421"
1'-3"
neglect the past and future for the present
234"
234"
Top: The Red Ribbon: Yashwitha Reddy (M.Arch),Jacob Moskowitz +Alyssa Mayorga (B.Arch)
134" 21" 134"
introduction to the 3-year
621"
621"
221" 221" 221" 221"
curriculum through the lens of Middle+below: Woodhenge: Kyle Bancroft (M.Arch),Jordan Takumi Davis (B.Arch)
Left: Component drawing, Gullwing Porch
3 SIDE PLATE PLAN
7 SIDE PLATE ELEVATION
1'-3"
design-build, with completed
541"
is bad quality indeed.”
134" 21" 134" 2" 2" 2" 3" 2"
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
2"
4"
projects in Pittsburgh, western
4"
8"
3 SIDE PLATE PLAN
7 SIDE PLATE ELEVATION
Pennsylvania and West Virginia.
6"
2" 541" 2" 2" 3" 2"
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
2"
2"
234" 234"
4"
4"
Robert Pirsig, Zen and the Art of Motorcycle Maintenance
8"
6"
2"
Steve Lee lead the Solar
234" 234"
221" 21" 221"
Decathlon teams in 2002 (with
221" 21" 221"
Liza Cruze), 2005 & 2007 that
also included the Schools of Art
134" 21" 134"
134" 21" 134"
2 FRONT PLATE PLAN
6 FRONT PLATE ELEVATION
2 FRONT PLATE PLAN
6 FRONT PLATE ELEVATION
and Design, U.Pitt Engineering
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
Eduard Sekler defined the tectonic as and the Art Institute of Pittsburgh.
6"
6"
John Folan created and lead
“…a certain expressivity arising from
2" 334" 334" 2" 2" 3" 4" 2"
1
2"
the Urban Design/ Build Studio 1
2"
2" 334" 334" 2" 2" 3" 4" 2"
(2008) and Project Re_(2014)
the statical resistance of constructional
and Liza Cruze and Steve Lee
1
3" 2" 3"
1 REAR PLATE PLAN
5 REAR PLATE ELEVATION
8"
4"
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
lead design-build studios from
2"
1
2"
1
4" 241"
5"
5"
1
3" 2" 3"
1 REAR PLATE PLAN
5 REAR PLATE ELEVATION
F19 through S21 in Wilkinsburg,
8" 1'-021"
241"
4"
SCALE: 1 1/2" = 1'-0"
SCALE: 1 1/2" = 1'-0"
form in such a way that the resultant form
2"
Uptown, Hazelwood and Eden
2"
1
6 1/2"
2"
1
4" 241"
5"
5"
EQ 221" 221" 221" EQ
Hall. 1'-021"
241"
2"
could not be accounted for in terms of Steve Lee is re-introducing the
year long design-build studio
134" 134"
6 1/2"
EQ 221" 221" 221" EQ
19. 1/4" THREADED ROD
18. TIE DOWN BAR
17. 3/4" GRADE 8 STEEL NUT
16. 3/4" ZINC WASHER
15. 3/4" STEEL BOLT
14. 1" GRADE 8 STEEL NUT
13. 1" ZINC WASHER
12. 1" X 3" STEEL BOLT
11. CUSTOM 1/2" STEEL PLATE ASSEMBLY
10. 1 X 6 DECKING
1. PTFE MEMBRANE
KEY NOTES:
37. CISTERN
36. POURED CONCRETE FOOTER
35. WEBNET MODULAR RAILING SYSTEM
34. 1 1/2" STEEL HANDRAIL
33. GALVANIZED STEEL TUBE
32. FIBERGLASS STAIR TREAD PANEL
31. CUSTOM MEMBRANE TENSIONER
30. 1/4" GALVANIZED STEEL ROPE
9. DOWNSPOUT
8. 2 X 10
7. NOT USED
29. D SHACKLE
28. 1/4" ZINC THIMBLE & ROPE CLIPS
27. STEEL QUICKLINK
26. 1/2" X 6" GALV. TURNBUCKLE
25. 3/4" X 3/8" ALUMINUM SPACER
24. 1/4" X 2" LAG SCREW
23. 1/4" STEEL NUT
22. 1/4" ZINC WASHER
21. 1/4" X 4" EYE BOLT
20. 1/4" COUPLING NUT
6. 2 X 6
5. NOT USED
3. 6 X 6
2. TAPERED LVL BEAM
4. LVL BEAM
structure and construction alone.” for F21-S22 in collaboration
with the Department of Civil and
*8//:,1* 325&+
COMMUNITY FORGE
A5.01
D E S I G N B U I L D S T U D I O
1
DECEMBER
R E V I E W
F
2 0 1 9
1
Environmental Engineering.
CARNEGIE MELLON UNIVERISTY
1256 FRANKLIN AVE. SCHOOL OF ARCHITECTURE
O
OF
134" 134" 5 0 0 0 F O R B E S A V E N U E
DETAIL DRAWINGS
WILKINSBURG, PA 15221 P I T T S B U R G H , P A 1 5 2 1 3
12. 1" X 3" STEEL BOLT
R
0
19. 1/4" THREADED ROD
18. TIE DOWN BAR
17. 3/4" GRADE 8 STEEL NUT
16. 3/4" ZINC WASHER
15. 3/4" STEEL BOLT
14. 1" GRADE 8 STEEL NUT
13. 1" ZINC WASHER
11. CUSTOM 1/2" STEEL PLATE ASSEMBLY
10. 1 X 6 DECKING
1. PTFE MEMBRANE
KEY NOTES:
7. NOT USED
37. CISTERN
36. POURED CONCRETE FOOTER
35. WEBNET MODULAR RAILING SYSTEM
34. 1 1/2" STEEL HANDRAIL
33. GALVANIZED STEEL TUBE
32. FIBERGLASS STAIR TREAD PANEL
31. CUSTOM MEMBRANE TENSIONER
30. 1/4" GALVANIZED STEEL ROPE
9. DOWNSPOUT
8. 2 X 10
6. 2 X 6
5. NOT USED
3. 6 X 6
29. D SHACKLE
28. 1/4" ZINC THIMBLE & ROPE CLIPS
27. STEEL QUICKLINK
26. 1/2" X 6" GALV. TURNBUCKLE
25. 3/4" X 3/8" ALUMINUM SPACER
24. 1/4" X 2" LAG SCREW
23. 1/4" STEEL NUT
22. 1/4" ZINC WASHER
21. 1/4" X 4" EYE BOLT
20. 1/4" COUPLING NUT
2. TAPERED LVL BEAM
4. LVL BEAM
D E S I G N B U I L D S T U D I O
1
DE
F
R E
2
1F21_care S.LEE S.LEE care_ F21
Fall Studio Scope:
• Study the evolution of campus plans from Hornbostel’s plan for
Carnegie Institute of Technology to today’s current efforts to be led
by Librarian Emeritus Martin Aurand
• Meet regularly with Campus Design & Facility Development and
constituent campus entities.
• Competition, yes or competition, no?? We have been invited to
participate in Timber Fever 2021 on 23-26 September 2021 (https://
www.timberfever.com/). The studio will openly debate the merits of
participation.
• Working individually, develop a catalog of design proposals
following a design process of Design – Evaluate – Iterate
• Present and refine design proposals with clients.
• Select design(s) to be built
• Create design teams by project and system
• Construct quarter-size prototypes on campus e.g. column-beam
connections, eave details, rainwater system details, railing and stair
details
• Critically analyze aesthetics and constructability of prototypes
• Develop design development drawing packages based on lessons
learned from protype analysis
• Present project proposals the prospective engineering student
collaborators at Pre-Final and Final fall semester reiews.
• Prepare for the spring build component.
Above: 2005 Solar Decathlon,
built in Donner Ditch, D. Chia, S. Way, X. Huay.
Left: Component, Gullwing Porch with Owen Haft,,
Community Forge 2019
Top: Gamble House,Pasadena,
Greene and Greene 1908
Above center: Richard Neutra
Chuey House, Palm Springs, 1956
Bottom: Timberfever Competition,
2021
Left: Solar Decathlon ToolMaster
TrailerF21_care MONDOR MONDOR care_ F21
HELIOStudio
Background
After two centuries of dependence on fossil fuels and “solidified sunshine,” there is broad
convergence that we are on the cusp of an energy transition to carbon-free fuels. Energy
transition and the adoption of new technologies will require new spatial patterns and practices,
all of which are design opportunities. Carbon-free transition needs to occur globally to shift
designing urban solar transition the trajectory of climate change. It will start at the scale of the site and the city where technical
challenges and cultural practices will create alternative landscapes of energy generation.
HELIOStudio will examine how the pivot between energy technologies will reshape our use
space and will test how our landscape and urban form determine how we deploy technologies.
HELIOStudio will examine the neighborhoods of Pittsburgh through the lens of solar power
generation to find new spatial qualities, ways of using space, and ways we can use energy
Christine Mondor technologies to experience familiar spaces in new ways. The studio will explore the experiential
and cultural connections to energy technologies to uncover the meanings behind what we make
and how it shapes our understanding of the world.
Context
Western Pennsylvania is a place of energy firsts. Some of the
nation’s earliest coal mines were found in Pittsburgh’s hillsides
‘Massive change is not about the world of design but the and the black rock heated homes, powered steamships, and
anchored early industries, enabling the city to grow. Western
design of the world.’ Bruce Mau PA was also home to the first commercial oil wells, the
nation’s first nuclear power plant, and now the nation’s newest
methane cracker plant that will process natural gas from the
Marcellus Shale gas fields. This studio will speculate how
Pittsburgh might continue the energy innovation and acquire
the mantle of the first equitably integrated solar city.
Care In the broadest sense, the transition to
Left. Solar Hourglass, 1st Place Winner carbon-free energies is an act of planetary
LAGI 2014 Copenhagen
Santiago Muros Cortés self-care that attempts to heal the tragedy
Energy Technologies: concentrated solar of the commons. As a studio we will
power (thermal beam-down tower with
heliostats). Annual Capacity: 7,500 MWh explore how designers can integrate
new infrastructure and technologies into
Above. The Westinghouse Atom Smasher,
nuclear accelerator was instrumental in
communities and the daily experience of
the development in practical applications individuals. We will explore direct benefits,
of nuclear science for energy production such as energy performance, and we will
and was developed only a few miles from
CMU’s campus. identify issues of equity and how people
may gain or lose in the transition to a new
energy regime.F21_care MONDOR MONDOR care_ F21
Program
Each successive energy technology has reshaped our culture and sense of place and has
resonated with design opportunity. HELIOStudio will use design to explore the next transition
through two reciprocal scales—a site scale design problem to introduce us to carbon-free
technologies in an urban context and a city-wide examination of the potential for energy
generation and exploration of public realm design. Our work will hybridize architecture and
infrastructure through critical engagement of technology, culture, and urban systems, with a
goal of identification of 30MW of generation.
Our studio will collaborate with Elizabeth
Mononian (Art ‘00) and Robert Ferry (Arch
‘98), who founded the nonprofit Land Art
Generator Initiative to create art installations
that could inspire others to collective action
on issues of climate change. Through a
series of international competitions, LAGI has
proposed “land art generators” that showcase
renewable technologies. We will learn from
them and add a new dimension by exploring
how such projects can be implemented at
a city-wide scale using Pittsburgh as a test
case. We will explore energy performance
and place while examining the cultural and
economic systems that will enable or inhibit
solarization. Our work will inform their next
round of competitions that is aimed at
actual implementation and we will develop Resources: Our studio will be structured as a semester-long query that
on-the-ground strategies for working with Sijmons, Dirk. Landscape and Energy: results in documents that summarize our findings. We will
neighborhoods. Designing Transition (cameo)
explore through early individual projects and later group
LAGI, Regenerative Infrastructures:
Above. Beyond the Wave, Fresh Kills Park, NYC (cameo)
projects. Students will be expected to produce architectural
a submission to LAGI 2014 LAGI, A Field Guide to Renewable
and spatial designs, to write and create narrative arcs, and to
Copenhagen, illustrate key concepts and data.
Energy Technologies (online)
Learning Outcomes Jaesik Lim, Ahyoung Lee, Sunpil Choi,
Dohyoung Kim, Hoeyoung Jung, Kim and Carver, The Underdome Guide We will have visiting experts in to contribute to our
During this studio, students will gain technical, procedural, Jaeyeol Kim, Hansaem Kim (Heerim to Energy Reform. (cameo)
spatial, and experiential design skills, and will be able to: Architects & Planners) understanding of concepts such as:
Mau, Massive Change (cameo)
Energy Technologies: organic thin film. • energy systems and technologies
>create provocative designs that integrate energy infrastructure Annual Capacity: 4,229 MWh
• infrastructure and history of the city
and urban places Opposite. Spatializing electricity, • urban computational analysis
Sijnmons.
>identify and speculate on key drivers of urban energy design, • community dynamics and engagement
including experience, materials, context, economy, and policy • competitions and design as a change agents
>analyze and represent qualitative and quantitative data related I will be traveling to Rotterdam, NL the week of 26 September
to urban patterns, cultural practices, and energy infrastructure to present at the EcoCities conference. The Dutch have been
>understand social models of change and how design and leaders in designing energy transition and I would welcome
engagement can catalyze or contribute to cultural transitions any fellow travelers. Please contact me if you might be
interested.You can also read
