Mid Term Critique

The Spinning Mule

This is my board for the mid term critique. I was disappointed with it, because I don't think it accurately reflects the work that I put into the project. I added the beer graphics along the top of the board, as suggested by one of my classmates, and I agree that it adds to the overall graphic quality of the board. 

I received very good feedback from the guests who came to our mid term critique. Specific suggestions were:

From Barbara Lipe - She suggested that where I have a single step to an elevated level, I should put two. A rule of thumb is people trip over one step more easily than two, so never have a single step from one plane to the next. This is a great piece of general knowledge about design.

Fire Inspector - He appreciated where my proposed doors are located to the outdoor seating. His concern was that if 49 people could be out there, a secondary exit would be required. He suggested that I change the swing of one of the proposed doors or shorten the length of the outdoor space. He also informed me about some of the general fire codes such as, sprinkler system and fire alarm if occupancy of 300, kitchen fire suppression (located in commercial hood), and classified wiring in the mill room (closed wiring system that cannot contribute to spontaneous combustion).

Mitch Wilds and Tim Simmons - They suggested that I emphasize the windows on the second floor more by creating wells around them with railings. Tim really seemed to like my idea about a "steam punk" aesthetic.

Sharon Frazier - My design concept celebrates both the age of the machine and the textile workers who once worked at Revolution Mill. Sharon challenged me to also celebrate where the machine and worker come together. I believe my ideas do reflect that to a degree, but I can make that aspect more conscious in my design. 

Eddie Belk - He really seemed to like the direction of my design. He made a suggestion for the second floor that I intend to explore, which is to not let the second floor go to the walls at all, but make it cantilevered from the west side of the building.

Heather Slane - Her suggestion was that I hide the elevator and make the sculpture the focal point around which the staircase winds. I am conflicted about this suggestion, however. I really want the elevator to take center stage because of the machinery, but I like the idea of the stairs wrapping around the sculpture. I will have to explore this further.

James Priddy and Shelby McLean - They both thought my kitchen design was well thought out. James questioned the placement of my mechanical room but said its placement wasn't dispuptive to the flow of the kitchen.

Kayne Fisher - He also seemed to appreciate my design, especially the kitchen layout and beer service directly from brite tanks. He helped me to understand what storage spaces I need to add for the brewery.

Board Layout

The following is a rough layout of a potential board layout.

These items are inserted as placeholders. I am not excited about the way this looks. I would like to make it more graphically appealing. We were given specific minimum measurements for some of the elements on our boards. I found it challenging to put them on the board in a creative way based on the size requirements.

Some of the feed back I received was, include the graphics from my beer labels and change the way in which materials and furniture are displayed. The class was also informed that including the menu and haiku on the board was no longer a requirement. Hopefully removing those items will make it easier to arrange the layout.

Development of Schematic Design

The following shows development of my schematic plan:

        This is the development of my first floor. It houses the kitchen, bar, and the majority of the dining space. I added two doors on the south wall that lead to outdoor dining. 

Second floor of plan includes the brewing equipment and some dining.

West section that shows brewing equipment and kitchen.

South section that shows the two added doors.

This view is how I imagine the brew pub will look from the south east corner. The photo shows the general direction of the current view.

                   

This view is from inside the brite tank storage, looking toward the north west. The photo shows the general direction.

                

This view is from the second floor looking toward the brite tanks to the west.

           

     

This view is approximately from the entrance looking toward the south, where I added two doors that lead to outdoor seating.

The following are some of the materials I envision for the space. 

      

Revised Schematic Space Plan and Site Plan

The following are my revised schematic space plan/circulation diagram and site plan for the brew pub design. The space planning of the interior is more efficient and I was able to fit spaces in the plan that were difficult to fit in the first schematic space plan, such as employee restrooms and office. I still have not quite worked out the transition from the ground floor to the 24" raised floor.

The site plan has not changed too much from my original. The changes are: two front entrances, a second level for outdoor dining, and the pedestrian bridge has been over to the west.

Natty Green Tour

As part of the research for our brew pub design we visited and toured Natty Greene on Elm St. The tour was informative but the information about how the pub came into existence was more interesting. Kayne shared with us that Natty Greene was formed and grew very organically. They did not have a firm plan for creating and running a successful brew pub. Kayne admits that, on more than one occasion, the stars aligned just right. Before the tour I did not know that Natty started on the campus of UNCG.

I visited the Red Oak brewery a few weeks before school started and found that tour very helpful for this project, too.

Revolution Mill Visit

Our class had a tour of Revolution Mill from architect, Eddie Belk. The tour was very informative as Eddie discussed previous renovations were inappropriate for the period of the building. he pointed out the strategies that are being currently employed in the renovations. Planned in the mill are: apartments, artists studios, commercial/office space, and restaurants.

The work that is currently being done at Revolution Mill is pretty amazing and inspiring. One thing that I do not like about the renovation is the white-framed windows. It seems that metal, or at least darker mullions and frames would be more appropriate.

Building I (the one we are designing as a brew pub) is AMAZING!!! The ceiling details and the monitor roof are great inspiration for the brew pub design. I will highlight them in my design.

This is ceiling detail of Building I.

This gives a good idea of the volume of the space.

Landmark of Revolution Mill.

Great original stair with contrasting current design strategy (glass wall).

Brew Pub Strategies and Tactics Matrix

The following matrices explain my design strategies and tactics for important spaces located in the brew pub.

Brew Pub Site Plan and Schematic Massing Space Plan

The following diagrams show my initial planning ideas for the brew pub. The first diagram is color blocked and shows my ideas for pedestrian circulation from the parking area across Buffalo Creek and from the apartments located in one of the mill buildings. My proposal calls for a bridge that ends in a path or walkway, embedded into the soil, made out of some sort of permeable material. It also calls for a boardwalk along the creek that leads residents to the restaurant. I do not envision the boardwalk or the walkway across the creek to end as abruptly as the diagram suggests, I don't know the parking organization or size and configuration so I diagrammed an approximate location for the boardwalk. After producing this diagram I now think the bridge would be more appropriately placed further to the west (left).

This diagram show initial space planning and circulation ideas for the brew pub. I was surprised to see how much space was taken up by the brewery and kitchen and some difficulty planning the space. We had a master brewer as a guest speaker talk to us about brewery size requirements and as a result I don't think much of this original space plan will survive as part of my final project. One feature that I do intend to keep is the outdoor seating that overlooks the creek. The reservoir on the east side of the building has been suggested as an outdoor dining space, but I think the views will be more enjoyable overlooking the creek. With the deck facing south there will be indirect afternoon/evening sunlight. The south facing location will also be an indicator for people parking across the creek of where the brew pub is located.

Spinning Mule Brewery & Pub Menu

The following is the mock-up menu for the brew pub that I designed, called Spinning Mule. The menu reflects the history of the mill, its founders, Greensboro, and the "South" in general. Many of the menu items are named for positions of the mill workers and lend an air of traditional southern "blue-collar" food. Other menu items are inspired by the heritage of the founders of Revolution Mill and named after Cone family members.

I would like to add wood-fired flat breads to the menu. I have not done that yet because I need to research commercial wood-fired pizza ovens.

I would also like to add a kid's items, mixed drinks, and desserts to the menu. I'm very pleased with the overall graphics on my menu, but I'm not crazy about the Spinning Mule graphic, it needs a lot more work!

Spinning Mule concept haiku

The following is my design concept haiku for my brew pub design. My brew pub is called Spinning Mule after the machinery used in textile mills. When I presented this haiku to my classmates they nailed my concept, which is based on the machinery used in early 20th century textile mills and the people who ran the mill. The plan is to emphasize gears, pulleys, and belt mechanisms. The mill worker angle comes into play with the names of the food and beer, and the graphics on the menu. My design is intended to make patrons feel very comfortable and relaxed while engaging their interest in the variety of textures, surface, artifacts, and equipment.

Design Haiku

The following is my design haiku. This haiku describes my design approach.

Tiny House Floor Plan Progress

This is the progress I have made on the floor plan of my tiny house.

I have taken the casework and appliances out of the kitchen until I can find out from my heating source manufacturer whether the masonry heater that I intend to use can be located on an exterior wall. If it can, it will be centrally located on the short horizontal wall with the kitchen directly across from it. If it cannot, I have to reconfigure the kitchen or find a different heating source.

Tiny Houses Revisted

Tiny House Development

After work shopping my initial form ideas to my group, they suggested that I continue to develop the second form (the one that was based on Legos). I considered doing that but I felt more connected to the first form, which was a derivation of the typical style and plan of the region. But I wasn’t sure where to take the design…

Our class was given the opportunity to visit the site where our tiny house might be built. The site is beautiful! It is situated on a ridge between a river and a tributary with interesting boulder formations dispersed on the wooded property. I took photos of the lot, its surroundings, and the general property. After reviewing my photos of the trees, I started thinking about how the houses could be part of the environment without being visually intrusive. I immediately thought of two precedents that I have admired in the past and could prove to be informative to my new idea about camouflaging the house.

The first precedent is an old farmhouse in France that has been converted into a luxury rental property. It is in a historic district with similar, un-renovated structures surrounding it. This precedent is interesting to me because the architect sticks to vernacular architecture while modernizing it. The converted has a modern aesthetic AND fits with the historic fabric of the area.

The second precedent is Thorncrown Chapel. This chapel uses linear structure to mimic the trees that surround it. This precedent was especially interesting to be as I questioned whether to use straight elements to represent trees or more organic, natural forms.

I decided to move forward with the idea of camouflaging the houses on the site. I used my original form, which is a variation on the vernacular central-hall, two-room plan of the mill houses that are common in the town. I chose to orient the house on the lot at an angle to expose the majority of the house to sunlight throughout the day. The new form and orientation does not indicate a definite front or back to the house. I not only considered the orientation of the house on the single lot but how, when clustered, the group of houses would help foster the social and cooperative dimensions that are so important in the co-housing model.

Based on my own observations and the feedback I received, I now have to more closely consider energy efficiency, green energy, and cost of materials. Additionally, I am still unsure if the vertical elements on the façade of my design should be linear or organic in form.

Trash Model Concepts for Tiny House

The following models are my initial ideas about tiny house designs:

The first idea looks very similar to the small homes dotted throughout countryside in North Carolina and the southeast. I would like to reinvent the basic form into a contemporary tiny house. The design separates the space into two distinct parts that allows for maximum privacy in the bedroom.

The second idea is based on stacking Legos. It takes advantage of the site by allowing or blocking sun and wind in its orientation and using louvers on the west patio for control of the amounts of sunlight and wind that enter the space.

The third idea came from my children. They suggested that my concept should be based on the Tardis from Dr. Who. This idea is based on the interior space appearing and feeling unexpectedly larger than the exterior appears. One way this can be achieved is with a substructure that offers unexpected volume to the interior.

After workshopping these ideas with a small group, I have decided to continue working on the first two ideas.

Vernacular Architecture Research

Vernacular Architecture

Vernacular architecture as a means of promoting sustainable design and building practices is a topic in which I am very interested. Historically, non-colloquial architecture communicated the wealth and power of the occupant because of the expense and difficulty importing foreign materials, methods, and craftspeople. As architecture moved to promote international design and prove that any type of structure could be built, using any type of materials in any location, regional architectural traditions and identities were considered less valuable, or in some cases, lost completely. Now as architects and designers are more aware of and concerned with resource conservation and sustainability, there is a trend toward reinvestigating colloquial methods and materials and that, somehow, these are inherently sustainable. While it is true that many of these methods are more environmentally sustainable, it is a mistake to assume that vernacular architecture is wholly sustainable.

When deciding on vernacular architecture’s level of sustainability it is as important to consider social conditions as it is building traditions. The built environment needs to respond to the things that make us human and not become limited by an architect’s or designer’s inability to consider those needs. Therefore, social sustainability is an important consideration when discussing the overall sustainability of a built environment. And social considerations can often be evident in vernacular architecture, however, in some cases, may need updating. That being said, vernacular architecture can offer solutions for sustainable building practices while preserving, or in some cases, reinventing regional identities.

Vernacular architecture is dependent on regional/local materials that are built in response to specific geographical, climatic, geological, and social conditions. By studying vernacular architecture, designers and architects can make informed design decisions about orientation, siting, and plantings that will help to create more sustainable methods of building, as well as employ methods or aesthetics that are reminiscent to the region.

References

Cromley, E. (2008). Cultural Embeddedness in Vernacular Architecture. Building Research &

            Information. 36:3, 301-304.

Ford, M., El Kadi, H., & Watson, L. (1999). The Relevance of GIS in the Elevation of Vernacular

            Architecture. Journal of Architectural Conservation. 5:3, 64-75. doi: 10.1080/13556207

            .1999.10785252

Foruzanmehr, A. & Vellinga, M. (2011). Vernacular Architecture:Questions of Comfort and

            Practability. Building Research & Information. 39:3, 274-285. doi: 10.1080/09613218

            .2011.562368

Heal, A., Paradise, C., Forster, W. (2006). The Vernacular as a Model for Sustainable Design.

            The 23^rd Conference on Passive and Low Energy Architecture.

Tiny Houses

Tiny House Studio Project

I am excited about the first studio assignment for this semester. The assignment is to design a 500 sq. ft. house that is easily replicable for a co-housing community in Franklinville, NC. The design must incorporate sustainable technologies and building practices to ensure that the project has a minimal lifetime footprint; from its inception to the structure’s end-life. The entire project will be a challenge, as there is a great deal of research that must occur in order to make appropriate design decisions. Perhaps most challenging, however, will be to be mindful of waste during the design process. As designers who need to design in an age of decreasing resources and increasing environmental concerns, it is imperative that we think about sustainability in the physical work that we do and not only in the structures and interiors that we create. This is an idea that I have not thought about before but, as challenging as it may be, it will be a priority for this project.

I am a firm believer that reviving or developing vernacular architecture is a major component of the green building movement and a key ingredient in sustainable design and building practices. For this project I intend to research the colloquial architecture of the past in the Piedmont of North Carolina, in which Franklinville is located. I also plan to pay special attention to the site, its orientation, climatic patterns, elevation, and its indigenous flora and fauna. I will also be interested in any gardening/planting traditions that may have been common to Franklinville and/or Randolph County that could be incorporated into the site’s design.

My goal is for my 500 sq. ft. design to easily accommodate two adults and possibly one child. Ideally, I want my design to be easily modified into a (slightly) larger space (700-1000 sq. ft.) to more easily accommodate a larger family.

I am currently in the “information-gathering” phase of my research and am a little overwhelmed by how much there is to learn. I would like to utilize a new skill that I learned last semester, developing a programming document, to sift through my research and help to inform my design decisions. I am enthusiastic and eager (if overwhelmed) to learn as much as I can. There is a lot to do!

Sound Sketch

 

 

 

sound effects + gatewood studio arts building

 

Hearing Architecture

Hearing Architecture

 

In the chapter, Hearing Architecture, the question was asked, “Can architecture be heard?” The answer is most definitely, YES. The chapter discussed arched and domed ceilings and the effect of those architectural details on the way in which we experience sound. Also discussed are materials and architectural details that provide sound absorption. The general synopsis of the chapter is that certain materials and architectural details that create poor acoustics in some instances can produce phenomenal acoustics in others. The job of a designer is to understand how materials and architectural details affect the way in which a space is experienced and design for the desired effect.

 

I think I am sensitive to sound and, for me, there is a fine line between sound and noise. I have experienced a variety of occasions in which sound played a significant role in my overall enjoyment of the space or activity.

 

For instance, many years ago I attended an International Festival in one of the permanent buildings at the fairgrounds in Raleigh. I was very excited to go because I was looking forward to sampling food from different countries. The building was long and open, individual spaces were delineated by food stalls; there were no permanent walls in the space. I am unsure of what the building was constructed, but my guess is that it was a pre-fabricated metal building. The floors were commercial tile. Because there were so many people crammed into the space there was a constant din of sound. Because there were few permanent sound absorptive materials, the din grew. The constant hum of people was tolerable for me at first, but the longer I was there, the more intolerable it became. There were not any specific loud noises, just that din. My anxiety level grew so much because of the noise that I had to leave the festival. When I exited the building I felt instant relief in the relative quiet of outside. I was disappointed to leave the festival early but the noise level in the space became intolerable to me.

 

On the other hand, I have experienced music performances that were an acoustical delight. As discussed in the chapter, some sound reverberation is critical to create an acoustic environment in which music sounds are at their richest. When I was young I went to music camp at Lake Junaluska in western North Carolina every summer. Most of the music performances that I attended there were held in an austere, casual (camp-like) auditorium. The auditorium was a huge octagonal building with concrete floors, wooden theater seats, and was surrounded by windows. The sound in that auditorium was great, although the seats were not too comfortable. The materials used in the space and the shape of the building allowed for reverberation that made human voices and instruments sound fantastic.

 

As a designer it is important for us to design for all of the senses, not just the visual. Sound in an interior plays a huge role in the comfort and enjoyment of the people in the space. Most people do not think about how architecture sounds until the sound in a space is uncomfortable/annoying or magnificently beautiful.

Light Box

Shadows of Light

An Exploration of Shadow Cast by Colored Light