Fish. Brew. Minneapolis. An Argument for Integrated Industry

Fish. Brew. Minneapolis. is an inland salt-water fish farm, a micro-beer brewery,
and a locally sourced eatery on the edge of the Mississippi River in Northeast
Minneapolis. Through this speculative program, the project challenges the current
separation between production and consumption in industrial processes.

Seemingly unrelated, beer brewing and fish farming have potential synergies using
heat, waste and water in their respective production processes. Additionally, beer
and fish, as consumable products, can and are being paired together as
consumable products. At the scale of site and building, and at the scale of human
touch, the project is an exploration of how architecture mediates two distinct
industrial processes in a spatially integrated manner, a manner that both heightens
the experience of production for workers and engages the public from
production through consumption.

A Vertical Nature: Between Utopia and Reality

A Vertical Nature is an exploration of how to integrate vertical gardening into a
dense, urban living condition. The site is Cedar Riverside, a large, low-income
housing complex located southeast of downtown Minneapolis. Designed by
Ralph Rapson, and conceived of as a modernist utopia, Cedar Riverside now sits
as an incomplete version of the original vision, although it has remained almost
fully occupied and a viable housing option for more than 40 years.

This project proposes community gardens, and an education and training facility
for the site. The community garden spaces are grafted onto the towers as an
addition for hydroponic gardening and community gathering space. The design
echoes the scale of the site while providing a means for community gathering and
food production. The hydroponic education facility addresses Cedar Avenue,
providing education for the public as well as the inhabitants of Riverside Plaza.

Architecture as Catalyst: Material In/Formation

This Catalyst studio investigated the relationship between "big data" and material practice through the construction of a series of full-scale prototypes that merge aspects of computational design, graphic design, information aesthetics, and digital fabrication. The basis for the studio was an installation design for the School of Architecture's Centennial (October 25-26, 2013). The Centennial celebration will feature a built installation inspired by the history of the School and its alumni. This Catalyst served as a testing lab for (1) innovative and creative methods of material assembly, and (2) ways in which information can be used generatively in the design of a built structure. The studio specifically focussed on computational design tools as a way to harness large amounts of quantitative data and channel it strategically within a larger design process. Emphasis was placed on hybrid modes of working and exploring the transformative power of large amounts of information: both digitally and analog; both quantitatively and qualitatively.

Architecture as Catalyst: Materials as Probes

Architecture is a 'slow' weather probe. Our cognition of the relationship between architecture and environment--or between architecture the dynamic milieu of irradiance, sky cover, temperature, relative humidity, precipitation, wind speed and wind direction--requires a long feedback loop. Knowledge is acquired over time as adjustments are made here and there to actual buildings arrayed in settlement patterns, and to a building's constituent parts and materials, precisely because time affords the manifestation of invisible phenomena. One can see and comprehend a macroscopic influence of meteorological events and then make adjustments. However, the adjuster is most certainly not the architect. He or she is rarely present to collect this kind of feedback.

Yet, what if the architect were present to measure the actual rather than simulate the predicted performance of material assemblies? This Architecture as Catalyst workshop recast whole material assemblies as 'fast' weather probes. In so doing, this five day exploration with forms and sensors challenged students to align their materials and construction know-how with real-time studies of the environment. It asked the following questions:

How is knowledge of the environment acquired?

What is the potential relationship between form generation and real-time feedback?

How might design practices change when real-time feedback is incorporated into the design process?

Guest instructors Billie Faircloth and Ryan Welch brought a collection of proprietary sensor and communications technologies from KieranTimberlake, and they set up a website for students to track real-time climate data related to their work. The students were tasked with crafting a series of enclosed containers based on prescribed construction logics, and they attempted to meet a series of challenging and varied temperature targets in their iterations throughout the course of the studio.

Architecture as Catalyst: Old-School Toys, New-School Tools

The Weisman Art Museum (WAM) charged the students in this Catalyst studio to design and prototype a small, simple desktop 3D block puzzle toy of the museum to be mass-produced and sold in the WAM gift store. Students were placed into small teams to develop three different variations on the theme: a plastic injection design, a flat-pack design, and a traditional wooden design. The students followed a highly compressed version of a product design process taught in PDES 3711/5711 Toy Product Design. The project began with surveying, abstracting and sketching an existing building. The students used tools in the Digital Fabrication Lab including the laser cutters, 3D-printers, and CNC router to prototype a series of iterations. In the process, students were advised by WAM store manager, Marissa Onheiber and project manager of the WAM extension, Robert Good of HGA.

Architecture as Catalyst: Almanac of Projection

This Catalyst studio explored the topic of territories and networks through the lens of the Corn Belt. Students diagrammed the processes, methods and fluvial economies related to growing, harvesting, producing and transporting corn and corn products, recognizing Minneapolis's unique role in both the history and future of the commodity. By diagramming the historic and current methods of corn production, the studio then invented new designs that challenge the current agricultural system, infrastructures and territories, speculating on a new vision for the future of the Corn Belt. The students formatted their information designs into an "Almanac of Projection," a book that formats their research of existing systems and projects how to integrate, augment or recombine them to position new futures. Information was presented at three different scales: as a book, as maps, and as an exhibition.

Architecture as Catalyst: MAXIMUM POWER DESIGN

This Catalyst studio proposes an architectural agenda for energy.

Such an agenda is distinguished from the engineering agenda for energy that dominates architecture today. Of the many architectural and ecological shortcomings of this borrowed agenda is the thermodynamically impossible notion of energy efficiency. Energy cannot be made more or less efficient. Energy is always transferred at 100% efficiency. The reductionist and mechanistic preoccupation of energy efficiency, optimization, minimization and neutrality in architecture today thus engenders inaccurate ideas, misguided means, and perplexing products that neither serves architecture nor ecology well. If fact, these concepts run counter to the behavior of energy systems and thus occlude great ecological and architectural potential.

In contrast to this errant paradigm, architecture needs a far more exacting and ambitious agenda for energy today. It needs an agenda for energy that is at once thermodynamically accurate and ecologically exuberant. Importantly, it must achieve those ends with means that amplify the purposes and potential of architecture itself. Thus this Catalyst studio tables theories, techniques, and technologies of an architectural agenda for energy: maximum power design.

I/O HABITAT: Hacking the grid

In the wake of an unprecedented recession, how can architecture help stabilize and improve the fabric of communities impacted by the recent housing crisis? This project proposes rehabilitating both vacant housing and vacant infrastructure as a means to designing an alternative future development model.
This project -- a conceit, speculation, alternative future -- explores ways of breaking traditional suburban development by hacking "virus-infected" systems which promote degradation and community instability. Hacking allows a new stream of code to supplant and ward off the virus -- an architectural antidote which can provide a framework to build community.

Frame and Matter: Six Floors of God Knows What at the California Building

CONDITION:
This is a place of production. The art and artifacts being produced behind gypsum walls are tested against all surfaces from within the corridor. Hung from ceilings, mounted on walls and positioned along the floor like furniture, this art commands little more attention than the communal piano or sofa. This is not gallery. It is overflow storage mixed with purposeful display for the one day per month in which the public is encouraged to engage the "six floors of God knows what" at the California Building in Northeast Minneapolis.

INTERVENTION:
Perhaps influenced by the ad-hoc existing conditions of the California Building's internal corridors, the programmatic strategy for a new architecture focuses on an interface of a new public circulation space with new and old programs. Circulation is cinema. An increasing trend of the production and showing of independent film in the North East Arts District calls for the introduction of cinema space into, out of and adjacent to the California Building.

Work of Urban Design Studio Students (Fall 2011)

Each year the M. Arch Graduate Urban Design Studio (Arch 8255) selects a complex, and often controversial, urban site within the Twin Cities region as a topic to analyze and redesign. The site chosen during Fall 2011 - the St. Anthony Main District - lies within the Marcy-Holmes neighborhood and is considered the birthplace of the city of Minneapolis. The site borders the Mississippi River and combines issues pertaining to development, preservation of historic buildings linking the community to the waterfront, and competing approaches for infill development - all of which makes for a perfect urban design studio topic. The work of several students participating in this Urban Design Studio appears below.

1st + 1st Produce/Exchange

The 1st + 1st Produce/Exchange is a renovation of the former Jeune Lune Theater located at 1st St. and 1st Ave. in Minneapolis's historic warehouse district. Originally a produce exchange consisting of two adjacent masonry buildings, Cass Gilbert was hired in 1895 to design an additional concrete frame structure and consolidate the three independent buildings into a single warehouse facility by wrapping them in an imposing facade. In 1992 a portion of the complex was converted into a performing arts space for the now defunct Theatre de la Jeune Lune, leaving an historically rich but exceptionally introverted building without an adequate program for 21st century. My proposal relies on a strategy of vertical incisions to expose this exceedingly anti-public building to daylight, public circulation, and updated mechanical equipment which together will allow it to be resuscitated with a contemporary program appropriate to the current neighborhood revitalization. By combining its most recent performing arts program with its original market function, the new 1st+1st Produce/Exchange brings together the productive, consumptive, educational, and social components of the culinary and performing arts while simultaneously allowing for a greater understanding of the building's intrinsic volumetric, structural, and material characteristics.

1st and 1st: Weight, Space, and Light

The 1st and 1st Arts Center project is a renovation to the old Jeune Theater building in the North Loop Warehouse District in Minneapolis. The building, which originally functioned as a warehouse, grew overtime and was later wrapped in a Cass Gilbert facade which is to be preserved. The context is defined by a collection of old warehouse buildings, which are massive masonry containers with a minimal amount of ornamentation. This project takes that existing typology and heightens people's ability to perceive and appreciate it. Most of the existing floors are hollowed out and the load bearing masonry walls are kept creating large volumes of space. Visitors then begin to perceive the weight of these massive walls, the large volumes which they create, and the light which reveals these volumes. As the visitor leaves the building their perception of the neighborhood will have dramatically changed. In revealing the unique characteristics of the building the project hopes to provide a background and inspiration for the arts which is unique to this particular place.

Architecture as Catalyst: Design Systems: Identity, Information, + Environmental Graphics

Students in this workshop combined their architectural perspectives with various graphic design principles, processes, and practices employed in designing visual systems. Throughout the week, they explored aspects such as color palettes, icon design, mood boards, typography, gestalt principles, photographic mock-ups, and layout.

In teams of two or three, they applied this learning to the development of graphic components for a hypothetical farmers' market site in Minneapolis: the former train shed at The Depot (at the corner of 5th Ave S and S Washington Ave). Students were invited to realize their design solutions in any medium (or multiple media), and they were advised that a thorough conceptualization phase would entertain components both on-site (interior and exterior) and off-site (physical, virtual, or otherwise). Successful design solutions to this challenge demonstrated the following: an understanding of the multiple contexts in which a farmers' market (and, in particular, a farmers' market in this locale) operates; an understanding of the multiple systems (such as cultural, economic, and social) in which this site resides; consideration of how people might approach, view, and use this site both when the market is happening and when it is not; intentionality in the relationships between form, material, siting, and communicative function; and the potential to inform, inspire, educate, or otherwise engage the public with the site and the temporal happenings of a farmers' market.

Architecture as Catalyst: Nested Scales

This workshop proposes an approach to architecture predicated on the notion of nested scales of form, assembly, and texture. Students designed and prototyped a porous architectural surface conceived at three scales: the scale of overall building form, the scale of the building components, and the scale of the surface textures. The prototypes were fabricated from both planar frame elements and surface-milled components produced using the Digifablab's CNC router. Pattern, porosity, texture, and other attributes were tested and controlled using parametric design software. Students constructed both scale models of their proposed systems and 1:1 prototypes milled from solid hardwood. The workshop prioritized intensive use of the CNC router and developing methods of using the machine to produce unexpected material effects.

Architecture as Catalyst: Bodies In Formation

This workshop investigated the material practice of architecture through an intensive design cycle that focused on the integration of form, fabrication, and performance. Specifically, the workshop researched the design and assembly of thrust surfaces or structures in which the form of the structure is determined through a close alignment with structural vectors. During the 20th century, architects and engineers such as Guadi, Otto, and Isler have developed these types of structures through physical form-finding techniques. A number of contemporary design researchers such as Axel Kilian and Daniel Piker have continued this line of research into the digital realm through the creation of custom digital tools that simulate physical forces. Using Piker's Kangaroo Physics plugin for Grasshopper and other parametric digital tools that allow for a quick feedback loop between design and fabrication, student teams tested their designs through digital and physical prototypes and proposed a design for a larger structure to be further developed and built by the entire group. Working together, the group produced a comprehensive presentation documenting the design and fabrication of the full-scale structure.

Architecture as Catalyst: Third Nature

We have been conditioned over time to view 'nature' as something pure and immutable, distinct from and therefore somehow 'exterior' to architecture and urbanism. With industrialization, infrastructure became so ubiquitous and so seemingly 'natural' to the city that its presence was taken for granted constituting a kind of second nature that is set against the utopian construct of a 'pure' nature.

The work of the THIRD NATURE Catalyst Course challenges this position, by exploring instead the uncanny cross-overs and hybrid conditions that characterize a third nature, where computationally generated form and technology in architecture are integrated by design with ecological materials and natural processes. Here, nature is not 'pure', easy or predictable--it always retains the provocative primal aspects of wild beauty, unpredictability, and strangeness and cannot be easily domesticated.

The Workshop considers the industrialized north edges of the Upper Mississippi River, between the BNSF Railway Bridge and Lowry Bridges, one of the key focus areas of the RiverFIRST initiative where a set of pedestrian bridges and trails are designed to provide public access to--and along--the Mississippi river. This extensive area has been widely de-treed and most of the ground is covered in non-asphalt and other non-pervious materials.

As David Gissen has argued, certain environmental forces such as dust, mud, gas, smoke, debris, weeds, and insects have been historically seen as inimical to architecture. Much of today's discussion about 'sustainable ' and 'green' design revolves around efforts to clean or filter 'out' these elements, as if architecture could be bounded from impurities that surround it in the larger urban territory. It is clearly impossible to try to re-create a 'purely' natural world, free of the untidy elements that actually constitute nature.

Taking this a-biotic industrialized riverfront territory as a site, students in the Catalyst Workshop worked in teams to explore, design and construct full-scale third nature cladding systems for selected sections of the pedestrian bridges. Unlike conventional cladding, these systems are designed as 'hosts' that invite and sustain the presence of insects, volunteer vegetation (weeds) and insectivore birds species to boost the bio-diversity and future carrying capacity of this stretch of the Upper Mississippi River.

Performative Space

This project explores how a movies works as a perceptual construct and can be used as a conceptual basis for architecture. Blade Runner is set in a futuristic hyper-urban city. The dynamic environment is constructed through an interplay of shifting light conditions and the varied velocities of characters, objects, and the camera. I chose the Washington Avenue Bridge due to the rough physical character of the infrastructure in contrast with the multi-speed, multi-leveled traffic. My intervention intends to heighten awareness of these dynamic relationships through light as a means of tracking motion, revealing the eroding structure, and defining programmatic zones.

Performative Space Exploration

This scene in Atonement uses montage to create an intimate, emotional connection between two characters. Cutting between two places at the same moment in time, the camera makes use of soft daylight, foreground interference (dust, smoke, and reflections), and close ups, inviting the audience into a private moment. The Cowles Center's sidewalk is not exactly analogous to this scene, but rather it subverts the idea of intimacy by looking for it on a city sidewalk. Photographed using devices from the scene, light, reflections/transparencies, and depicting intimacy were explored. The result is a moment between to strangers; uncomfortable, but cinematic.

Performative Space

This project was designed to explore cinema as a conceptual construct and apply our discoveries onto a public space. One Hour Photo is based on an emotionally isolated photo clerk who intervenes in the lives of his customers. The movie uses symmetrical, slow, rhythmic montage and a bright, low-contrast lighting scheme and color palette to dehumanize the central character. I chose the 35W bridge because its palette, lighting, symmetry and calculated nature mirror the movie well. My exploration and intervention revealed that the introduction of active people heightened the awareness of the dehumanizing qualities of the space.

Social Media as Disaster Relief

The earthquake that struck Haiti in January 2010 dealt a catastrophic blow to an already beleaguered nation.  Almost immediately after the devastating quake mobile phone technology became a critical means of registering and routing requests for specific types of relief aid via text messaging.
 
Social media have begun to develop into powerful tools in areas experiencing natural disasters, civic violence, and other emergency situations.  Using Haiti as the site for exploring the use of interactive telecommunications as a component of response efforts, students were asked to speculate on the possible architectural implications of this emerging technology. 
Responses included establishing a network of communication relay structures that would serve to both virtually and visually link key points in the city, an interactive website to aid people in locating friends and families in times of emergency, and a system that would allow community members the opportunity to voice their thoughts on post-disaster community needs.