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Scott Peltier, BME Associate Research Scientists runs a MRI scan of Kathleen Ropella, BME PhD Student, in the Functional MRI Laboratory in Ann Arbor, MI on February 26, 2015.
Photo: Joseph Xu, Michigan Engineering Communications and Marketing
Denis Foo Kune (Right) examines the artificial cadaver while Shane Clark (Left) examines results from sending experimental signals to test security and privacy of the pacemaker hooked up to the cadaver in the Beyster Building on May 8, 2013.
Kune and Clark are part of a research group, The Security and Privacy (SPQR) Lab, that tests 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
Using the Reflection app in my Olympus camera to make a single archway into two.
Photowalk Meetup in Downtown
Ann Arbor, Michigan
A teacher plays with an alginate hydrogels she developed for synthetic organs during a workshop in the NCRC on North Campus of the University of Michigan in Ann Arbor, MI on June 26, 2017.
The workshop is part of the Research Education and Activities for Classroom Teachers (REACT), providing education and resources for K-12 educators to learn and implement STEM researcher into their respective schools.
Photo: Joseph Xu/Senior Multimedia Content Producer, University of Michigan - College of Engineering
Kyeongwoon Chung, Macro MSE Student, showcases the crystal and liquid forms of a new substance that researchers in MSE Professor Jinsang Kim's research group have developed in the NCRC in Ann Arbor, MI on May 15, 2015.
Once in liquid form, the substance can stay in this state more than 200 degrees Fahrenheit bellows its expected freezing point, but can form yellow crystals that glow under ultraviolet light with light touch.
Photo: Joseph Xu, Michigan Engineering Communications and Marketing
Michigan Wolverine Football Coach Jim Harbaugh, University Regents, and Alum attended the USS Gerald R. Ford (CVN 78) aircraft carrier Commissioning on July 22, 2017 at Naval Station Norfolk. Gerald R. Ford played college football for the Wolverines and graduated from UM in 1935. (Photo by Bob Humphries 2017, also a Michigan Alum)
Greetings from Nebraska: The Form of the Territory by Dan McTavish
The United States Land Ordinance organized the land into a system of square townships and 160-acre tracts of privately owned and cultivated land with the intention of organizing social and political utility. The figure of the yeoman farmer embodied the values of agrarian Jeffersonianism, combining the right to property, individualism, and republican values. Today, high-yield mechanized agriculture is synonymous with farm consolidation, depopulating towns, and the reframing of subjectivities from farmer to farm-operator and urban dweller. In 1971, Secretary of Agriculture Earl Butz infamously urged farmers to plant commodity crops “from fencerow to fencerow.” The “Get Big or Get Out” agenda of land consolidation further equates the space of mid-America with a productive landscape, fixed in our spatial imaginaries—a homogenizing space that is simultaneously totalizing and fragmented.
Through the case of Nebraska, the state most heavily settled by the 1862 Homestead Act, the thesis proposes differential forms of imagining and settling the territory. Against hegemonic views of space as abstract—empty, quantitative, innocent, or in some way fixed—“Greetings from Nebraska” hypothesizes that the form of the United States territory is in constant reformation, whether consciously or not, whether in the public’s best interest or not, and that architecture as a representational practice, has a role, as Cedric Price affirms, in projecting “desirable conditions and opportunities hitherto thought impossible.”
The contradictions between the abstract space of Nebraska and the differential, historical, and everyday spaces in the state are hightened. New multivalent readings of the territory emerge through the juxtaposition of specific past, present, and future spatial conditions within the territory, including historical postcards, quantitative cartography, personal travel documentation, and discrete architectural projects. These projects are characterized by three discrete spatial strategies, Figure, Frame, and Form, which reference existing conditions within the state while challenging the status quo and projecting different desires.
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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
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.
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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
Students yelled out and motioned in response to the roll call for their region at the 2015 National Society of Black Engineers Leadership Conference opening session at the Chesebrough Auditorium in the Chrysler Center in Ann Arbor, MI on June 5, 2015.
Photo: Joseph Xu, Michigan Engineering Communications and Marketing
Priyan Weerappuli, Visiting Graduate Student, tests a heartbeat chip in the NCRC on May 22, 2015.
The chip uses fluid instead of electricity and can mimic the human heartbeat.
Photo: Joseph Xu, Michigan Engineering Communications & Marketing
Caution…spring is here on North Campus. A student walked by one of the many puddles caused by the mountains of snow melting all over North Campus on March 10, 2015.
Photo: Joseph Xu, Michigan Engineering, Communications & Marketing
A scene from the 2012-2013 Winter semester Master of Architecture end-of-term reviews at the University of Michigan's Taubman College of Architecture and Urban Planning in Ann Arbor, Michigan.
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
Students hang out at a "Fuck It, Ship It" event at Shift House in Ann Arbor, MI on March 12, 2015.
"Fuck It, Ship It" is an event held regularly at Shift House that allows students to work on various coding-related projects together.
Photo: Joseph Xu, Michigan Engineering Communications and Marketing
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.
North Campus Fall 2012
A student walks to class through the Peter S. Fuss Pavilion on North Campus in Ann Arbor, MI on October 10, 2012.
Photo: Joseph Xu, Michigan Engineering Communications and Marketing
A scene from the college wide graduation reception held at the University of Michigan Museum of Art to celebrate the graduation of our students with all Taubman College graduates, their families, and guests.
Photo by Peter Smith, Peter Smith Photography
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.
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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.
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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
Figural Gambits by Ariel Poliner
A simple space can be made by leaning three walls into each other. To get inside this space, an opening would need to be inscribed into the walls—in this case, an arch. Also imagine that each of these three walls is constructed from a different material. The first is heavy and rigid, the second, light and rigid, and the third, heavy and flexible. The three walls are identical in form but dissimilar in behavior. When these walls lean into each other, they react and adjust position. Their reactions can be further exaggerated: the walls are given rounded feet to promote sliding, heavy tops to promote leaning, and slender “waists” to promote bending. They appear as figures; somewhere between walls and arches, their exaggerated tops and feet, and slender waists engender anthropomorphic associations. The whole—the architectural form created in combination—is now especially unpredictable. The walls slump, or relax, into a self-organized state of equilibrium—an awkward and tenuous entropic state. The conditions for their relaxation are defined by manipulations made earlier, but the resulting form is a product of chance.
The above describes a method of design with loose authorial ambitions. It combines seemingly contradictory compositional logics in unexpected or non-ideal ways to produce an aesthetic that enfolds legibility with experience, or thought and feeling into, over, and around each other. Its products are ambiguous in form yet discrete in their primitive particulate makeup. Gravity is proposed as a creative ally, and its contribution of instability elicits a visceral response. Such an architecture purports to mean something through its systematic use of vaguely familiar forms, but resists comprehension as these forms are misused and the systems defy normative logics. At best, this project employs all of our sensibilities simultaneously while challenging us to reimagine both our understanding and use of the spaces it produces.
- - -
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 round goby is propped and setup to be photographed in the USGS Building on North Campus of the University of Michigan in Ann Arbor, MI on July 24, 2017.
Matthew Johnson-Roberson, NAME Assistant Professor, and his researchers in the Deep Robot Optical Perception (DROP) Lab are using these fish as subjects for development of a neural network camera. The neural network camera is able to teach itself to identify round goby via a database of imagery and visual that DROP researchers provide. By producing these visuals of round goby in a variety of environment, the neural network camera is able to adjust to a variety of conditions in nature (such as murky or unclear water) and help users identify round goby. Being able to identify these round goby via such a camera will help reduce the amount of resources and time allotted to eliminating this invasive species. Round goby were first accidentally introduced to the Great Lakes in 1990 and have resulted in substantial reduction of snails and mussels, and eggs of native fish, which are important to the angling industry.
Photo: Joseph Xu/Senior Multimedia Content Producer, University of Michigan - College of Engineering
Michigan Wolverine Football Coach Jim Harbaugh, University Regents, and Alum attended the USS Gerald R. Ford (CVN 78) aircraft carrier Commissioning on July 22, 2017 at Naval Station Norfolk. Gerald R. Ford played college football for the Wolverines and graduated from UM in 1935. (Photo by Bob Humphries 2017, also a Michigan Alum)
Ford School alumni and friends enjoyed a pre-game party with 1,000 Michigan fans. Featuring the Ford School's Centennial, the tailgate offered food and fun, activities for kids, the Michigan Marching Band, and special guests including Mark Schlissel and Mike Ford.
The Go Blue Homecoming Tailgate was held Saturday, November 1, 2014 at Oosterbaan Field House as part of the Ford School’s Centennial Reunion celebrations. One hundred years ago, we offered the nation's first advanced degree for aspiring public administrators. This year, our centennial year, we're celebrating 100 years of impact with a reunion to remember.
Please feel free to download and share! Tweet or re-post your favorites with #fordschool100!
For more information on the Ford School Centennial, visit fordschool.umich.edu/ford100.
A scene from the 2012-2013 Winter semester Master of Architecture end-of-term reviews at the University of Michigan's Taubman College of Architecture and Urban Planning in Ann Arbor, Michigan.
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
A scene from the 2012-2013 Winter semester Master of Architecture end-of-term reviews at the University of Michigan's Taubman College of Architecture and Urban Planning in Ann Arbor, Michigan.
Photo by Alex Jacque, Taubman College of Architecture and Urban Planning
Figural Gambits by Ariel Poliner
A simple space can be made by leaning three walls into each other. To get inside this space, an opening would need to be inscribed into the walls—in this case, an arch. Also imagine that each of these three walls is constructed from a different material. The first is heavy and rigid, the second, light and rigid, and the third, heavy and flexible. The three walls are identical in form but dissimilar in behavior. When these walls lean into each other, they react and adjust position. Their reactions can be further exaggerated: the walls are given rounded feet to promote sliding, heavy tops to promote leaning, and slender “waists” to promote bending. They appear as figures; somewhere between walls and arches, their exaggerated tops and feet, and slender waists engender anthropomorphic associations. The whole—the architectural form created in combination—is now especially unpredictable. The walls slump, or relax, into a self-organized state of equilibrium—an awkward and tenuous entropic state. The conditions for their relaxation are defined by manipulations made earlier, but the resulting form is a product of chance.
The above describes a method of design with loose authorial ambitions. It combines seemingly contradictory compositional logics in unexpected or non-ideal ways to produce an aesthetic that enfolds legibility with experience, or thought and feeling into, over, and around each other. Its products are ambiguous in form yet discrete in their primitive particulate makeup. Gravity is proposed as a creative ally, and its contribution of instability elicits a visceral response. Such an architecture purports to mean something through its systematic use of vaguely familiar forms, but resists comprehension as these forms are misused and the systems defy normative logics. At best, this project employs all of our sensibilities simultaneously while challenging us to reimagine both our understanding and use of the spaces it produces.
- - -
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
Jordan Morgan, CoE Alumnus and starting center for for the 2014 University of Michigan Basketball Team, visits the Michigan Engineering Zone in Detroit, MI to speak with high school students on June 17, 2015.
Photo: Joseph Xu, Michigan Engineering Communications and Marketing
The AOSS Department participates in the annual Bike to Work Day nation-wide event for a third year in a row, providing bagels, juice, coffee, and swag to riders to promote commuting to work via bicycle on the rainy morning of May 15, 2015.
Photo: Joseph Xu, Michigan Engineering Communications and Marketing
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.
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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.
Gina McCarthy, Administrator of the U.S. Environmental Protection Agency, visits the Graham Sustainability Institute to speak with students, staff, faculty, and researchers at the University of Michigan in Ann Arbor, MI on June 18, 2015.
Photo: Joseph Xu, Michigan Engineering Communications and 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.
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.
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
20/11/2018 Les escoles bressol d'Andorra la Vella s'uneixen a la campanya d'unicef durant el Dia Mundial del Drets dels Infants #goblue .
Foto: Comú d'Andorra la Vella / Tony Lara
A microfluidic device known as a "lab on a chip" originally developed in 1998 by Mark Burns, T C Chang Professor of Engineering and Department Chair of Chemical Engineering; David Burke, Interim Chair of Department of Human Genetics and Professor of Human Genetics, and Brian Johnson, Senior Research Engineer of Chemical Engineering.
The chip is used to detect tuberculosis and was one of the first integrated microfluidic devices designed at the University of Michigan.
Photo: Joseph Xu/Senior Multimedia Content Producer, University of Michigan - College of Engineering
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
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.
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.