View allAll Photos Tagged GoBlue
Convergent Domains by Hans Papke
To engage the national chain grocery store is to engage with the diffuse zones of non-city-space which blanket most of the North American continent. The spatial condition in which these grocery stores thrive is part of a spatial domain which Foucault has argued exists outside of the domain of Architecture. This territory, which began to emerge with the building of the railroads is defined by Speed, Territory and Communication. I have titled this the Logistical Domain.
In The Possibility of an Absolute Architecture, Aureli uses Nolli’s map of Rome to make a distinction between two other spatial domains; the space of the City and the space of the architecture. This thesis attempts to superimpose these three spatial domains.
Upon investigating the specific siting logic of national chain grocery stores, it became clear that chain grocery stores belong very much to the logistic spatial domain. They tend to site themselves along interstates, in the zone 10-30 minutes away from the center of a nearby city. In addition to grocery stores, there are a number of other types of programs which thrive in this zone for example, office parks, movie theatres, shopping malls, marshalling yards, and airports.
However, there is perhaps nothing that exemplifies the spatial logics of Logistic Space better than the landfill. The landfill is the other side of the grocery store coin. The similarities are so great in fact, that in 2002, the largest landfill redevelopment program in the history of the state of Michigan resulted in the construction of 160,000 sq ft Meijer Supercenter on top of the former Ford Motor Company Allen Park Landfill.
This thesis investigates other ways that non-active landfill sites can be redeveloped. What would this re-territorialization look like? How can architecture legitimize itself in the Logistic Spatial Domain? What is an appropriate way to build on top of a mountain of garbage? How would a new settlement change the parameters of a chain grocery store? Finally, can Architecture begin to introduce a new kind of interiority into the extremely externalized world of Logistic Space?
- - -
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
Convergent Domains by Hans Papke
To engage the national chain grocery store is to engage with the diffuse zones of non-city-space which blanket most of the North American continent. The spatial condition in which these grocery stores thrive is part of a spatial domain which Foucault has argued exists outside of the domain of Architecture. This territory, which began to emerge with the building of the railroads is defined by Speed, Territory and Communication. I have titled this the Logistical Domain.
In The Possibility of an Absolute Architecture, Aureli uses Nolli’s map of Rome to make a distinction between two other spatial domains; the space of the City and the space of the architecture. This thesis attempts to superimpose these three spatial domains.
Upon investigating the specific siting logic of national chain grocery stores, it became clear that chain grocery stores belong very much to the logistic spatial domain. They tend to site themselves along interstates, in the zone 10-30 minutes away from the center of a nearby city. In addition to grocery stores, there are a number of other types of programs which thrive in this zone for example, office parks, movie theatres, shopping malls, marshalling yards, and airports.
However, there is perhaps nothing that exemplifies the spatial logics of Logistic Space better than the landfill. The landfill is the other side of the grocery store coin. The similarities are so great in fact, that in 2002, the largest landfill redevelopment program in the history of the state of Michigan resulted in the construction of 160,000 sq ft Meijer Supercenter on top of the former Ford Motor Company Allen Park Landfill.
This thesis investigates other ways that non-active landfill sites can be redeveloped. What would this re-territorialization look like? How can architecture legitimize itself in the Logistic Spatial Domain? What is an appropriate way to build on top of a mountain of garbage? How would a new settlement change the parameters of a chain grocery store? Finally, can Architecture begin to introduce a new kind of interiority into the extremely externalized world of Logistic Space?
- - -
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
On the occasion of the Michigan Wolverines making it to the Sweet Sixteen for the second straight year, here are a few more photos from their season.
Lexi Zimmerman sets.
I have had the distinct pleasure of working at the University of Michigan these last four years while my son Chris was studying here. Chris is graduating this weekend. Over the years, I have taken him out to lunch a lot - and took a picture of him just about every time that I would share with Pam. Even had a few with his girl friend Caroline. Here are all those pictures - including a few others in my office or around campus. Congratulations Chris!
Creatures of Fierce and Ordinary Reality: a Zoo for Belle Isle by Emily Kutil
“In every case, the figures are at the same time creatures of imagined possibility and creatures of fierce and ordinary reality; the dimensions tangle and require response.”
—Donna Harroway
Concealed behind fences and isolated from their surroundings by freeways, golf courses, and parks, zoos make spaces in cities for humans to explore their fascinations with other animals in peculiar and fantastical ways. Zoos use architecture to help them act as spatial mediators, dealing simultaneously in the space of collective fantasy and in the particularities of contact between human and nonhuman life. Architecture shapes the images of the natural world that zoos are able to create, both as a frame for organizing relationships and as a container for the production of microcosms.
For nearly twenty years, the Belle Isle Zoo passed through a difficult period in which its spaces of contact seemed fixed, inevitable, and tremendously boring. Humans and animals were made to stare at each other across long distances, never allowed to stray from their respective enclosures. Attendance to the Zoo dwindled. Then, in a stroke of brilliance, the idea of captivity was abandoned altogether. The captive animals were sent away, and the Zoo experienced a renaissance. Visitors poured through the open gates and holes in the fences, eager to see the Zoo’s enclosures—which had become all the more enticing for their emptiness. The Zoo was suddenly able to foster a thrilling, uneasy relationship between humans and the life forms they encountered there.
Renovations to the Zoo since its reinvention have taken this unease into account, building into each exhibit degrees of ambiguity that had been previously unimaginable. A new architecture of oscillating representations has taken the place of the old, static panoramas: as soon as one illusion is staged, another undermines it or takes its place. Real and imagined spaces are allowed to coexist, to blur and conflict. The unresolved fantasies help visitors to wonder about the things they do and don’t understand about humans and other living things.
- - -
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
Constructing the Other Space Federal University of Manaus by Pooja Dalal
The Federal University of Manaus is a formative exception of the city of Manaus. The campus lies hidden, in the center of the city, within a forest reservation of 600,000 sq feet. The forest geographically disconnects the campus from the city, in the same way Manaus is disconnected from its surroundings by the Amazon rainforest. The University , even though dictinct from the city, is dependant on the city’s processes. There is always a reflection of the economic situation of the City on the University. Today, the University is expanding in its forest reservation in the same manner the city is expanding in the Amazon rainforest. The same components (industry, housing and research) are enabling this expansion.
The thesis examines this condition of 'a city within a city' and leverages this campus enclave of the Federal University of Manaus to reimagine its exterior - by using the same exact components of the city. The thesis will push the rules and regulations of the form of the city to its limit, such that the campus starts to become something ‘other’ - like a space in a heterotopic mirror, which will help re-contruct our imagination of the city. In this ‘other’ space, everything will be altered using the same rules of city building - of built and open space, of public and private space, of glass and of concrete, of justice, of religion, of everything archietctural and of everything sensory. This new other space, uncannily familiar, but completely heterotopic will reimagine the very basis of the neoliberal city.
- - -
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
Historically, research and creative practice have been constructed as "opposites." This is not an unusual struggle in architecture schools, particularly in the context of a research university. This perceived tension between design and research is indicative of age-old anxieties within the architecture field to understand its nature as an "applied art." Design can be a purely creative activity not unlike creative practices in music and art. In other cases, design can be a purely problem solving activity, not unlike research in engineering and industrial production.
In its fourth year, University of Michigan Taubman College's Research Through Making (RTM) Program provides seed funding for faculty research, worked on by faculty, students and interdisciplinary experts. The exhibition presents tangible results of their collaborative work.
Research Through Making Installations:
- Electroform(alism): Masters, substrates and the rules of attraction
Jean-Louis Farges and Anya Sirota
- Making Nothing
McLain Clutter and Kyle Reynolds
- (DE)COMPOSING TERRITORY: Enclosure as a negotiation between bioplastics + environments
Meredith Miller
- Crease, Fold, Pour: Advancing Flexible Formwork with Digital Fabrication and Origami Folding
Maciej Kaczynski
- Platform for Architecture & Makin' It, A Situation Comedy
John McMorrough and Julia McMorrough
Photo by Peter Smith / Peter Smith Photography
CARBON WOUND Lightweight Composites by Megha Chandrasekhar, Christopher Mascari, and Brandon Vieth
Lightness as described in the architectural discipline communicates different narratives. It could represent the mass of a body and its maneuverability through space, the amount of light that permeates or is reflected from a given surface defining its visual density, or reflect the economic and material flows associated with its conception. Lightness as described by Adriaan Beukers is the “trinity of material, concept and process.”
Our research trajectory utilizes a combination of fiber composites and robotic filament winding as a means to explore an essence of lightness. The use of carbon fiber filament and resin creates a medium with which material properties of strength and lightness can be explored. Computational analysis and scripting allow structures to be designed with locally tailored material properties capable of taking into account both the intensive and extensive forces of design. The use of filament as a base material eliminates the dependency on standardized dimensional stock and creates the opportunity for customization with no material waste. The automation process introduces a high level of precision and speed to the mass production of customizable form as an alternative to traditional methods of manufacturing and construction.
In architecture, where the performative is always in question, the role of the composite remains attuned to the "mud and straw" mentality as a standard method for achieving the ultimate material performance. While this age-old method responds to issues of the performative, advances in material and construction processes, should have architects questioning the “spatial” qualities exhibited through structural form. Concrete while strong and heavy is visually opaque, steel while strong is also heavy, however fiber wound composites are both strong and light and deliver both physically and visually. They offer the opportunity to blend attributes of lightness through material strength, formal concept and process with both structural and spatial qualities within a single material matrix providing new experiential possibilities.
- - -
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
This event featured Architecture Chair John McMorrough in conversation with Jeffrey Kipnis (Professor of Architecture, The Ohio State University Knowlton School of Architecture), and Sylvia Lavin (Director of Critical Studies, Department of Architecture and Urban Design at UCLA).
Watch the discussion: vimeo.com/61530314
About the Exhibition:
The Piranesi Variations is a project for developed by the Yale School of Architecture for the 13th International Architecture Biennale in Venice. The project, developed by Professor Peter Eisenmann and his students, provides a new dimension, literally, to a landmark work by 18th-century engraver, mapmaker, and architect Giovanni Battista Piranesi (1720–1778). Eisenman's students contributed historical analysis as a platform for three contemporary interpretations of Piranesi's drawing – one from Eisenman's own New York office, Eisenman Architects; a second from the architecture critic Jeffrey Kipnis of Ohio State University; and a third from architect Pier Vittorio Aureli of the Belgian office DOGMA. With access to Piranesi's original folio, housed in Yale's Beinecke Rare Book and Manuscript Library, Eisenman's students "re-invented" Piranesi's Rome as a detailed gold-painted 3D-printed model at the scale of the original etching – the first of its kind.
This multipart endeavor focuses on Giovanni Battista Piranesi's 1762 "Campo Marzio dell'antica Roma," a folio of six etchings that depict his fantastical vision of what ancient Rome might have looked like, derived from years of archaeological and architectural research. Each of the models created for this exhibition is 8 x 10 feet at its base — double the size of the folio. Each revisits Piranesi's etchings, proposing answers to the inherent questions they raise about the relationship of architecture to ground, following the Biennale's theme of "Common Ground."
"The Piranesi Variations" is organized by the Yale School of Architecture, New Haven: in collaboration with Eisenman Architects, New York; DOGMA Architects, Brussels; and Jeffrey Kipnis, Jose Oubrerie, and Stephen Turk of The Ohio State University Knowlton School of Architecture, Columbus. "The Project of Campo Marzio" (Yale School of Architecture) is supported in part by Marshall Ruben and Carolyn Greenspan. "A Field of Diagrams" (Eisenman Architects) is supported in part by the Graham Foundation for Advanced Studies in the Fine Arts. "The Piranesi Variations" was originally developed by Eisenman Architects as an invited participant in the 13th Architecture Biennale, Venice, Italy, 2012. The exhibition at Taubman College is generously supported by The Guido A. Binda Lecture and Exhibition Fund.
As the 2006 season gets into the mid-zone, it's time to take a good look at the most recognizable helmet in all of college football. More at my daily photoblog PHOTO.NOISE.
Creatures of Fierce and Ordinary Reality: a Zoo for Belle Isle by Emily Kutil
“In every case, the figures are at the same time creatures of imagined possibility and creatures of fierce and ordinary reality; the dimensions tangle and require response.”
—Donna Harroway
Concealed behind fences and isolated from their surroundings by freeways, golf courses, and parks, zoos make spaces in cities for humans to explore their fascinations with other animals in peculiar and fantastical ways. Zoos use architecture to help them act as spatial mediators, dealing simultaneously in the space of collective fantasy and in the particularities of contact between human and nonhuman life. Architecture shapes the images of the natural world that zoos are able to create, both as a frame for organizing relationships and as a container for the production of microcosms.
For nearly twenty years, the Belle Isle Zoo passed through a difficult period in which its spaces of contact seemed fixed, inevitable, and tremendously boring. Humans and animals were made to stare at each other across long distances, never allowed to stray from their respective enclosures. Attendance to the Zoo dwindled. Then, in a stroke of brilliance, the idea of captivity was abandoned altogether. The captive animals were sent away, and the Zoo experienced a renaissance. Visitors poured through the open gates and holes in the fences, eager to see the Zoo’s enclosures—which had become all the more enticing for their emptiness. The Zoo was suddenly able to foster a thrilling, uneasy relationship between humans and the life forms they encountered there.
Renovations to the Zoo since its reinvention have taken this unease into account, building into each exhibit degrees of ambiguity that had been previously unimaginable. A new architecture of oscillating representations has taken the place of the old, static panoramas: as soon as one illusion is staged, another undermines it or takes its place. Real and imagined spaces are allowed to coexist, to blur and conflict. The unresolved fantasies help visitors to wonder about the things they do and don’t understand about humans and other living things.
- - -
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
On the occasion of the Michigan Wolverines making it to the Sweet Sixteen for the second straight year, here are a few more photos from their season.
Juliana Paz serves.
Jeremy Young, MSE BSE Student, runs a cylinder combustion simulation in the Michigan Immersive Digital Experience Nexus (MIDEN) in the UM3D Lab Digital Media Commons in the Duderstadt Center on June 10, 2015.
The simulation allows for Young to visualize and measure velocity of fluids of different volume points of a cylinder combustion engine.
Photo: Joseph Xu, Michigan Engineering Communications and Marketing
CARBON WOUND Lightweight Composites by Megha Chandrasekhar, Christopher Mascari, and Brandon Vieth
Lightness as described in the architectural discipline communicates different narratives. It could represent the mass of a body and its maneuverability through space, the amount of light that permeates or is reflected from a given surface defining its visual density, or reflect the economic and material flows associated with its conception. Lightness as described by Adriaan Beukers is the “trinity of material, concept and process.”
Our research trajectory utilizes a combination of fiber composites and robotic filament winding as a means to explore an essence of lightness. The use of carbon fiber filament and resin creates a medium with which material properties of strength and lightness can be explored. Computational analysis and scripting allow structures to be designed with locally tailored material properties capable of taking into account both the intensive and extensive forces of design. The use of filament as a base material eliminates the dependency on standardized dimensional stock and creates the opportunity for customization with no material waste. The automation process introduces a high level of precision and speed to the mass production of customizable form as an alternative to traditional methods of manufacturing and construction.
In architecture, where the performative is always in question, the role of the composite remains attuned to the "mud and straw" mentality as a standard method for achieving the ultimate material performance. While this age-old method responds to issues of the performative, advances in material and construction processes, should have architects questioning the “spatial” qualities exhibited through structural form. Concrete while strong and heavy is visually opaque, steel while strong is also heavy, however fiber wound composites are both strong and light and deliver both physically and visually. They offer the opportunity to blend attributes of lightness through material strength, formal concept and process with both structural and spatial qualities within a single material matrix providing new experiential possibilities.
- - -
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
With final exams ending and the days prior shrouded in clouds and temperatures reminiscent of the onset of fall, the sun came out and the temperature finally rose as students took breaks from their studies to enjoy the weather on April 28, 2105.
Photo: Joseph Xu, Michigan Engineering Communications & Marketing
A tree that holds pollen grains that Allison Steiner, an associate professor of atmospheric, oceanic and space sciences; and her team of researchers at the University of Michigan believe can seed clouds.
When the pollen gets wet from these trees, it breaks down into smaller particles that can hold condensation for cloud formation.
Photo: Joseph Xu, Michigan Engineering Communications & Marketing
Straight out of the camera - no adjustments. Today was a good day to take a selfie... not something I normally do. Being a former player, I was able to hang out on the field before the game for over an hour. Big thanks to Jim Hackett and Jim Harbaugh for setting this up! Despite the final score, one of the best days I've had in a long time!!!
If you would like to see me score a touchdown, watch the following link at the 3:10 mark, AND... If you want to see Charles Woodson make a RIDICULOUS play, watch at the 11 minute mark.
Historically, research and creative practice have been constructed as "opposites." This is not an unusual struggle in architecture schools, particularly in the context of a research university. This perceived tension between design and research is indicative of age-old anxieties within the architecture field to understand its nature as an "applied art." Design can be a purely creative activity not unlike creative practices in music and art. In other cases, design can be a purely problem solving activity, not unlike research in engineering and industrial production.
In its fourth year, University of Michigan Taubman College's Research Through Making (RTM) Program provides seed funding for faculty research, worked on by faculty, students and interdisciplinary experts. The exhibition presents tangible results of their collaborative work.
Research Through Making Installations:
- Electroform(alism): Masters, substrates and the rules of attraction
Jean-Louis Farges and Anya Sirota
- Making Nothing
McLain Clutter and Kyle Reynolds
- (DE)COMPOSING TERRITORY: Enclosure as a negotiation between bioplastics + environments
Meredith Miller
- Crease, Fold, Pour: Advancing Flexible Formwork with Digital Fabrication and Origami Folding
Maciej Kaczynski
- Platform for Architecture & Makin' It, A Situation Comedy
John McMorrough and Julia McMorrough
Photo by Peter Smith / Peter Smith Photography
Historically, research and creative practice have been constructed as "opposites." This is not an unusual struggle in architecture schools, particularly in the context of a research university. This perceived tension between design and research is indicative of age-old anxieties within the architecture field to understand its nature as an "applied art." Design can be a purely creative activity not unlike creative practices in music and art. In other cases, design can be a purely problem solving activity, not unlike research in engineering and industrial production.
In its fourth year, University of Michigan Taubman College's Research Through Making (RTM) Program provides seed funding for faculty research, worked on by faculty, students and interdisciplinary experts. The exhibition presents tangible results of their collaborative work.
Research Through Making Installations:
- Electroform(alism): Masters, substrates and the rules of attraction
Jean-Louis Farges and Anya Sirota
- Making Nothing
McLain Clutter and Kyle Reynolds
- (DE)COMPOSING TERRITORY: Enclosure as a negotiation between bioplastics + environments
Meredith Miller
- Crease, Fold, Pour: Advancing Flexible Formwork with Digital Fabrication and Origami Folding
Maciej Kaczynski
- Platform for Architecture & Makin' It, A Situation Comedy
John McMorrough and Julia McMorrough
Photo by Peter Smith / Peter Smith Photography
Approaching the Big House Michigan Stadium from the North West. Note the old screens/scoreboards pre 2011
NEW PICS 8/31/11 - Showing the stadium finished just before 2011 opening game against Western Michigan (See last 7 Pics - FULL SET)
Students test the Lacrosse Ball Feeding Device at the biannual Multidisciplinary Design Showcase on North Campus on April 16, 2015.
The device is a collaboration with the U-M Athletic Department, offering automatic training for lacrosse players.
Photo: Joseph Xu, Michigan Engineering Communications & Marketing
Okay so we totally got "Quacked" on Saturday, but it is always a good time in the Big House.
On Sunday, we got to take an Alumni tour of the stadium and locker room. Here is Mike Massey's locker and practice equipment.
© All Rights Reserved
UNICEF #GoBlue - Weltkannerdag - Hôtel de Ville Pétange - Pétange - - 19/11/2021 - photo: claude piscitelli
Historically, research and creative practice have been constructed as "opposites." This is not an unusual struggle in architecture schools, particularly in the context of a research university. This perceived tension between design and research is indicative of age-old anxieties within the architecture field to understand its nature as an "applied art." Design can be a purely creative activity not unlike creative practices in music and art. In other cases, design can be a purely problem solving activity, not unlike research in engineering and industrial production.
In its fourth year, University of Michigan Taubman College's Research Through Making (RTM) Program provides seed funding for faculty research, worked on by faculty, students and interdisciplinary experts. The exhibition presents tangible results of their collaborative work.
Research Through Making Installations:
- Electroform(alism): Masters, substrates and the rules of attraction
Jean-Louis Farges and Anya Sirota
- Making Nothing
McLain Clutter and Kyle Reynolds
- (DE)COMPOSING TERRITORY: Enclosure as a negotiation between bioplastics + environments
Meredith Miller
- Crease, Fold, Pour: Advancing Flexible Formwork with Digital Fabrication and Origami Folding
Maciej Kaczynski
- Platform for Architecture & Makin' It, A Situation Comedy
John McMorrough and Julia McMorrough
Photo by Peter Smith / Peter Smith Photography
So proud of whoever at UM came up with the idea for this, and then did it. This quote is an excerpt:
“Knowledge was more powerful than fear. Love was stronger than hate.” Lauren Myracle, SHINE. www.goodreads.com/work/quotes/13804537-shine
Raoul Wallenberg (B.S. Arch '35), rescuer of tens of thousands of Jews from the Holocaust, is among the University of Michigan's most illustrious alumni. On the centenary of his birth, the University of Michigan, the Swedish Ministry of Foreign Affairs and the Swedish Consulate General of Detroit are presenting an exhibition that tells the story of a young Swede and U-M alumnus whose choices in life made him an immortal hero. In January 1945 Soviet authorities detained Wallenberg in Budapest; his fate remains unknown.
Created by the Swedish Institute for the Swedish Ministry of Foreign Affairs, the exhibition tells the story of Wallenberg's life, including his time in Budapest during the final months of the Holocaust and the years he spent in Ann Arbor and traveling in America. The exhibition has been augmented with additional information about his time on campus in Ann Arbor. During the past year, the exhibition has traveled to Budapest, Berlin, Moscow, Tel Aviv, New York, Washington, DC, Ottawa, and Toronto.
On Thursday, January 30, the exhibition opened with a reception from 4-6 p.m. in the Michigan Union Ballroom. Remarks provided by University of Michigan president Mary Sue Coleman, Swedish ambassador to the U.S. Jonas Hafström, dean of the University of Michigan A. Alfred Taubman College of Architecture and Urban Planning Monica Ponce de Leon, University of Michigan Wallenberg Executive Committee co-founder and Holocaust survivor Irene Butter, and Swedish journalist Ingrid Carlberg, author of the award-winning book There is a Room Waiting for you Here: The Story of Raoul Wallenberg.
Also on January 30, in connection with the opening of the exhibition, Ingrid Carlberg gave the A. Alfred Taubman College of Architecture and Urban Planning's annual Wallenberg Lecture from 2-3:45 p.m. in Room 100 of the Harlan Hatcher Graduate Library, which is located on the Diag of the University of Michigan's central campus. Carlberg's biography of Raoul Wallenberg won the 2012 August Prize for the best Swedish nonfiction book. It is being translated into English for publication in the U.S.
What is it? This is Sarah's acceptance letter to the University of Michigan.
I was beyond proud and happy when I learned Sarah go into Michigan; I even cried! Now, Sarah has to decide where she wants to go to college. It's a big decision, and I pray she makes the right choice.
Congratulations, Sarah :)
Historically, research and creative practice have been constructed as "opposites." This is not an unusual struggle in architecture schools, particularly in the context of a research university. This perceived tension between design and research is indicative of age-old anxieties within the architecture field to understand its nature as an "applied art." Design can be a purely creative activity not unlike creative practices in music and art. In other cases, design can be a purely problem solving activity, not unlike research in engineering and industrial production.
In its fourth year, University of Michigan Taubman College's Research Through Making (RTM) Program provides seed funding for faculty research, worked on by faculty, students and interdisciplinary experts. The exhibition presents tangible results of their collaborative work.
Research Through Making Installations:
- Electroform(alism): Masters, substrates and the rules of attraction
Jean-Louis Farges and Anya Sirota
- Making Nothing
McLain Clutter and Kyle Reynolds
- (DE)COMPOSING TERRITORY: Enclosure as a negotiation between bioplastics + environments
Meredith Miller
- Crease, Fold, Pour: Advancing Flexible Formwork with Digital Fabrication and Origami Folding
Maciej Kaczynski
- Platform for Architecture & Makin' It, A Situation Comedy
John McMorrough and Julia McMorrough
Photo by Peter Smith / Peter Smith Photography
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
A Pan Chang knot hangs in BME Professor Peter Ma's lab in the Dental School Building in Ann Arbor, MI on May 22, 2015.
The knot is part of traditional Chinese folk art known as knotting, with this specific one being one of eight Buddhist treaters (or auspicious symbols).
A large portion of Ma's group are Chinese Graduate students who completed their undergrad degrees at Chinese universities previously.
Photo: Joseph Xu, Michigan Engineering Communications & Marketing
Animal House by Nick Safley
What is the core of architecture today, where there is no unifying discourse, and instead a diffuse proliferation of architectures?
This thesis proposes to remake architecture from the inside through the revival of the notion of character. Character has historically been defined as a quality that a building possesses (or lacks) and referred to an expression of an inner subject within the material and form of the architectural object. The practitioners of architectural modernism willfully suppressed this quality of the subject in an effort to solidify the architectural object evacuated of all vitality. Once willingly objectified architecture easily became commodified and this led to a continued condition of placelessness and alienation in the built environment. This condition exists today in proliferating suburbs, office parks, the willfully generic, and a strong belief in architecture as a money-making investment, without consideration for the durability of this system. As a model, this belief system is inherently weak and reliant upon a market of violent volatility; it calls again for a durable disciplinary core.
Animal House proposes a series of tornado shelters placed within suburban homes and figured as architectural characters, possessing extreme material durability to resist the entropy of the exterior world. Taking the suburban single- family house as site these hyper-durable character/cores disrupt, reorganize, and enrich the interior with implied subjectivity and vitality. Through their various postures they reorient the existing object framework of their containers while also containing a protected interior of their own, one only large enough to protect that which is most precious during a storm. The durable core characters affect the existing fragile framework of the architecture without destroying it entirely from within.
- - -
During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.
2013 Thesis Honors Projects by:
Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
Heath Ahlers, ME BSE Student, playfully lifts Lindsay Podsiadlik, ME BSE Student, into the air as they horse around during a house party celebrating Pi Day on the evening of March 14, 2015.
Photo: Joseph Xu, Michigan Engineering Communications & Marketing
This event featured Architecture Chair John McMorrough in conversation with Jeffrey Kipnis (Professor of Architecture, The Ohio State University Knowlton School of Architecture), and Sylvia Lavin (Director of Critical Studies, Department of Architecture and Urban Design at UCLA).
Watch the discussion: vimeo.com/61530314
About the Exhibition:
The Piranesi Variations is a project for developed by the Yale School of Architecture for the 13th International Architecture Biennale in Venice. The project, developed by Professor Peter Eisenmann and his students, provides a new dimension, literally, to a landmark work by 18th-century engraver, mapmaker, and architect Giovanni Battista Piranesi (1720–1778). Eisenman's students contributed historical analysis as a platform for three contemporary interpretations of Piranesi's drawing – one from Eisenman's own New York office, Eisenman Architects; a second from the architecture critic Jeffrey Kipnis of Ohio State University; and a third from architect Pier Vittorio Aureli of the Belgian office DOGMA. With access to Piranesi's original folio, housed in Yale's Beinecke Rare Book and Manuscript Library, Eisenman's students "re-invented" Piranesi's Rome as a detailed gold-painted 3D-printed model at the scale of the original etching – the first of its kind.
This multipart endeavor focuses on Giovanni Battista Piranesi's 1762 "Campo Marzio dell'antica Roma," a folio of six etchings that depict his fantastical vision of what ancient Rome might have looked like, derived from years of archaeological and architectural research. Each of the models created for this exhibition is 8 x 10 feet at its base — double the size of the folio. Each revisits Piranesi's etchings, proposing answers to the inherent questions they raise about the relationship of architecture to ground, following the Biennale's theme of "Common Ground."
"The Piranesi Variations" is organized by the Yale School of Architecture, New Haven: in collaboration with Eisenman Architects, New York; DOGMA Architects, Brussels; and Jeffrey Kipnis, Jose Oubrerie, and Stephen Turk of The Ohio State University Knowlton School of Architecture, Columbus. "The Project of Campo Marzio" (Yale School of Architecture) is supported in part by Marshall Ruben and Carolyn Greenspan. "A Field of Diagrams" (Eisenman Architects) is supported in part by the Graham Foundation for Advanced Studies in the Fine Arts. "The Piranesi Variations" was originally developed by Eisenman Architects as an invited participant in the 13th Architecture Biennale, Venice, Italy, 2012. The exhibition at Taubman College is generously supported by The Guido A. Binda Lecture and Exhibition Fund.
An artificial cadaver that is used by the Security and Privacy Research (SPQR) Lab headed by EECS Professor Kevin Fu.
Researchers in SPQR use the artificial cadaver to test the security and privacy of various medical devices, including heart rate sensors, pacemakers, defibrillators, drug delivery systems, and neurostimulators.
Photo: Joseph Xu, Michigan Engineering Communications & Marketing