by michael lynch

ARCHITECTURE OF THE ENVIRONMENT

by Michael Lynch

A STUDY OF CRITICAL

REGIONALISM AND THE

ENVIRONMENT THROUGH THE

DESIGN OF A LUMBER SALES

FACILITY IN BOULDER, CO.

ARCHITECTURE OF THE ENVIRONMENT

A LUMBER SALES FACILITY FOR THE CITY OF

BOULDER, CO.

by Michael Lynch

A Master's Thesis in

Architecture

Submitted to the architecture Faculty of the College of Architecture of Texas Tech University in

Partial Fulfillment for the degree of

MASTERS OF ARCHITECTURE

-v Chairman opijie Conjmittee

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TABLE OF CONTENTS

I. OVERVIEW

Preface 1

Abstract 2

II. THEORETICAL BASIS

Supporting Theory and Hypothesis 3 Issues and Design Responses 8 Case Studies 12 Bibliography 14

III. FACILITY PROGRAM DESCRIPTION

Summary 15 Facility Analysis

Mission Statement 18 Possibilities 19 Issues 20

Facility Layout and Organization 30 Case Studies 32 Activity and Space Analysis 34 Space Summary 42 Bibliography 43

IV. CONTEXTUAL DESCRIPTION

Overview 45

TABLE OF CONTENTS

Aerial Photo 51 Site Analysis

Location 52 Climate Conditions 53

Issues 54 Bibliography 60 Table of Illustrations 61

PREFACE

After many years of education, I won't say how many, I will finally be set fi^ee upon society. I have achieved far more than I would ever have given myself credit for after exiting high school so many years ago. I still feel as though I have much to learn and am rather nervous about going into a field I have dreamed about entering for years. I owe tons to my parents who have supported me through all the hard times and cheered me on in the good times. Now that I approach the end I can go on to become the one thing that I have endeavored to be most of my life: myself

Fig. 2; Poppy Field in Boulder, Colorado

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ABSTRACT

Thesis Statement: Architecture which helps inform society and exhibits natural

characteristics can strengthen and reinforce the publics idea of the role of the environment in architecture.

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Facility Type: The facility type that I have chosen to support my thesis is a

lumber sales facility specializing in the sales of engineered products and manufactured doors and windows as well the teaching of environmental aspects to the general public.

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- S S ^ -Fig. 3: Pearl Street, Novatiber 14, 1997. 1p.m.

Scope of Project: Kenneth Frampton has developed ten issues of architecture dealing

with critical regionalism. It is my intent in this thesis to concentrate on three of his issues. The first is "Critical Regionalism and Vernacular Form." This states that architecture should lie beyond style and rely on concrete reasons for form. The second is "Typology/Typography." This states that typology pertains to both civilization and culture, where typography is unequivocally site specific. The third is "Information and Experience." In which the information that is read and studied on a place and the experience of actually being there are two very different things.

Context Statement: The site is located Boulder, Colorado. Boulder is a small urban

community town located 40 mUes north west of Denver. Located at the junction where the Colorado Rockies meet the Great Plains and built upon the Flat Irons of the Rockies.

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Fig. 4: Frank Ghery's Fred and Ginger building in Prague. 1997

THEORY

Fig. 6: Eric Owen Moss' electronic graphics building in Culver City, Ca. 1997

The state of architecture we now experience is in a constant flux, changing almost as fast as we can imagine the changes. Architects are continually pushing buildings to the edge and past. Architects such as Frank Gehry with his unique and stylistic buildings continue to anger, enthrall, and amaze anyone that comes in contact with his architecture. His Fred And Ginger building on the Vltava River in Prague's historic district is an extreme break from the surrounding in which he was to design. His deconstructionist style plays in great contrast to the historic Renaissance feel of the area. Another architect breaking firom the mold in another way is Eric Owen Moss who practices the use of exposed structure in an effort to show how the building is structurally held in place. His goal is to make the building appear firagmented by pulling structure through walls and using pieces of industrial materials to give an effect a building in demolition. His design of an electronic graphics building in Culver City. Ca. is an example of his use in exposed structure and fiâgmentation. He used pieces fiôm the original bow-string trusses on the outside of the building to show how the building was supported in the past. Steel columns are added and left exposed along with concrete that show the form work that went into the construction of the walls. New steel beams and columns are extended over the original wood fi-ame and not hidden fi-om view. Other architects have shown works beyond their time. Such

'Joseph Giovannini, "Fred and Ginger: Dance in Prague," Architecture. 86, No.2 1997, 52-62. Âaron Betsky, 'Urban Construct," Architecture. 86 No.7 1997, 82. Îbid., 80-89.

THEORY

Fig. 9: Duncan House in Cobdon, III. by Bruce Goff; 1974.

architects as Antonio Gaudi, Frank Lloyd Wright, and Bruce Gofif designed works that have been thought to be beyond the realm of possibilities. This is in essence a period of rapid change.

Critical Regionalism

Critical Regionalism is an approach to architecture that was first presumed by Alexander Tzonis and Liane Lefauvre, and later defined by Kenneth Frampton. According To Kenneth Frampton, Critical Regionalism "is not intended to denote the vernacular as was once produced by the combined interaction of climate, culture, myth and craft, but to identify those recent schools whose aim has been to represent the limited constituencies in which they are grounded.

As a theory, Critical Regionalism is an approach to architecture that derives its forms based on particular characteristics of the site, such as climate, topography, built context and natural resources. Critical Regionalism is not a strict principle that must be followed, but it revitalizes aesthetic and ecological sensitivity.

"We are confronted with the paradoxical situation in which, while modernization continues with unabated voracity at every conceivable technical and structural level, the romance of discovery and invention has lost its popular appeal." In Kenneth Frampton's paper entitled "Ten Points on an Architecture of Regionalism: A Provisional Polemic," he

•"Kenneth Frampton, Modem Architecture, A Critical History, 314. 'ibid., 315. 'Kenneth Frampton, "Ten Points on an Architecture of Regionalism: A Provisional Polemic,'" Center. 3

1997,20.

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THEORY

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Fig. 10: Base of Mt. Rainier, Washington.

asks the question of how we can design with the past and the ftiture in mind. How can we design architecture of the next generation that is not predetermined by forces beyond our control? How do we bring back to Earth the discipline of our architecture without blindly using a modem style, deprived of its original and internal energies, or without going into an increasing historicism devoid of relevance and sense? Is there a middle ground that can be achieved through another type of architecture, however little? This is where Kenneth Frampton introduces his Ten Points on an Architecture of Regionalism. By breaking them down into ten points there is a hope that better architecture can be produced and hopefially a marginal practice of architecture might be pursued.

1. Critical Regionalism and Vernacular Form: Frampton states where architecture should lie beyond style and rely on concrete reasons for form.

2. The Modem Movement: The solid core of the modem movement is still applicable. This can be seen in Frank Lloyd Wright's Usonian Houses where the intent was for a liberating architecture for the middle class.

3. The Myth and the Reality of the Region: The tme limits of the region and what is its institutional status.

4. Information and Experience: The clear definition of the difference

'Kenneth Frampton, "Ten Points on an Architecture of Regionalism: A Provisional Polemic,'" Center. 3 1997,21.

THEORY

between experiencing a place and just reading about it. Space/Place: He bases a cognitive model of presence in ones reality by Martin Heidegger's 1954 essay "Building, Dwelling, Thinking," as a definition of space. Typology/Typography: Typology is civilization mixed with culture and topography is the site specific nature. Architectonic/Scenographic: Architecture is the display of how an artifice interacts with nature and scenography is merely representational in nature. Artificial/Natural: The address of when artificial should be

5.

6.

7.

8.

9.

10.

Fig. 11: New growth forests in Oregon.

substituted for natural. Visual/Tactile: Senses other than the visual come into play opening up new levels of perception. Post-modernism and Regionalism: A Summation: Frampton states the neutral nature of critical regionalism, a kind of mediator between the values of the Neo-Historicists and the Neo-Avant-Gardists. Where the Neo-Historicists are anti-modem, the Neo-

Q

Avant-Gardists are Post-Modem.

Regionalism, in Frampton's view is the middle ground between the two previous views on design. It is as important in one as it is the other. This gives it a critical basis in which to create a current architecture, an architecture of place rather than space, and a way of building sensitive to

^Kenneth Frampton, "Ten Points on an Architecture of Regionalism: A Provisional Polemic," 3 Center. 20-27.

THEORY

Fig. 12: Natural Lake in Northern California.

the changes of time and climate. In all, it is the ideal that the nature of the building is seen as being a whole in itself and essential to the manner in which it is experienced.

According to George Anselevicius, (Anselevicius 1992, 2.) regional architecture is an architecture that is rather benign. It rejects different styles, as in the case of Santa Fe, New Mexico, in which it stifles the contemporary dynamic regional designs, ones which do not have the correct architectural style. He goes on to say that in Zurich, where the traditional tends to be in close contact the contemporary glass facades, that good examples of contextualism are a beautiful composition when done with sensitivity. It gives the city a fourth dimension; that of time. To be able to discern the transition of time through the architecture in a region and not have it all be just like the buildings done 100 years ago. As an architectural society we strive to fiarther the advances in technology and creativity in our designs while being true to the culture, aspirations, and climate of this point in time. Thus through the examples of architecture we experience, fi"om the Oak Park houses of Frank Lloyd Wright to the chapels of Fay Jones and the New Mexico houses of Bart Prince, all are just as they should be: regional.

George Anselevicius. "Making One's Own Article and Some Personal Biases," MASS. 9 Spring 1992, 2. Charles Correa, "Regionalism and Architecture,"' MASS. 9 1992, 4.

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THEORETICAL ISSUES AND DESIGN RESPONSES

ISSUE: CONNECTION Architecture as a connection to nature

When one talks of going to be with nature and be with mother earth, generally one thinks about being in the middle of a wooded area surrounded by vast vegetation and animals of all types. This is a cleansing of the soul for some and just a time to be alone for others. As humans we should listen to aU that mother nature has to say as she tells her secrets and her stories. We must jeam to see and listen.

How does the architecture get us to listen? By focusing on nature.

Potential Design Response:

Framed Views Tactile Materials Nature Invades

Focusing views on specific asf)ects of nature.

The touch, feel and smell of materials.

Nature takes over elements of architecture forming its own place.

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ISSUE: EMOTIONAL IMPACT emotional response

Architecture that evokes an

When someone visits a work of architecture they should feel something firom it. An emotion of either happiness, anger, contentment or just calm would be a response. If no response is given, then the understanding is lost. This place should have a long lasting impact on the soul, invoking a realization of how important Earth is. It must accompUsh this in a dramatic and powerful way.

How does architecture get a response? Through exciting and interesting spaces.

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\ 7 R / V Awe

Create dramatic differences in spaces.


Intrigue

Use materials in such a way as to create emotional responses.


ISSUE: REASON Architecture that expresses form through reason rather than style

When some buildings are designed they are built based on a particular design style rather than any concrete reason for the form. Styles such as deconstmctionism, modernism, classicism, postmodernism, etc. all have an expressed style regardless of where they are places in society. Regionalism is an expressed style based upon the context from which the stmcture is built. It expresses the region.

How does architecture show reason for form rather than style? Through the expression of local resourses.


Iloifeoiilal Planes

florfconfal planes represent the Flat Iron rocks of the surrounding mountains.

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Long Open Spaces

Use of laminated beams to create vast spaces.

Natural Light

use natural light to enhance materials.

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ISSUE: PROGRESSION AND SEQUENCE Experience through architecture

A place should have a lasting effect on a person, opening and closing views, changes in elevation and spatial characteristics all play in the effect of a place. When a user is enticed to turn the next comer and follow the path ahead they will show an appreciation for the place.

How does architecture show sequence? Through an experience of changing spaces.

Changing Textures

Dramatic change in foot path materials.

/

Opening and Closing Views

Views change as the path turns and changes.

Open to closed

Progression fi-om open areas to closed or vise versa.

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THEORETICAL BASIS: CASE STUDIES

Fig. 13: Thomcrown Chapel, Eureka Springs, Arkansas.

"I sought some enduring qualities, something of the timeless qualities.... I certainly never sought the novel or the bizarre.... I've never been interested in shock as a means.... Fads or trends are almost always misleading.... I am trying to do work in a process that is based on time-honored principles.""

THORNCROWN CHAPEL Fay Jones, Arkansas

Thomcrown Chapel is as elemental as the woods in which it is embedded. It is embedded in the Arkansas forests on a stone foundation with wood columns amongst tree branches. Rationality and intuition integrate the building with the site, ornament with the stmcture, and stmcture with form.

Fay Jones recognized the potential to move people with his architecture. Thomcrown's strength comes from Jones's voice speaking from the discipline of wood constmction of which he is a master. It's language is of place and time. On approach, in awe of the transparency of the entire stmcture, leaving exposed the wood framing blending into the surrounding woods to obscuring the distance. It appears both man-made and natural.

Robert Adams Ivy, The Architecture of Fav Jones. FAIA. (Washington D.C.; The American Institute of Architects Press, 1992), 26.

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THEORETICAL BASIS: CASE STUDIES

Fig. 14: Taliesin North Spring Green, Wisconsin

TALIESIN NORTH: Frank Lloyd Wright, Spring Green, Wi.

Built upon family land in Wisconsin for his new family, Frank Lloyd Wright built his new home and it became his place of retum. Built upon his mother's family's land in Spring Green, Wisconsin, the house embraces a small hiU over a river, its shallow sloped roofs, horizontal window bands and flat stone piers emulate it's environment. The forms remain less abstract than his earlier works and surround a courtyard space that envelops the observer in a comfortable space with the mountains in the background, watching over them. It is an extension of topographical and geological forms of the region. Its modest tower reiterates the common stone outcroppings of the fields. It is also made of the local stone in combination with Midwestem wood framing.

'^Vincent Scully, Frank Llovd Wright. The Masters of World Architecture Series (New York: George Braziller, Inc, 1960), 21-22.

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BIBLIOGRAPHY

Anselevicius, George. "Making One's Own Article and Some Personal Biases." MASS. 9 Spring 1992.

Betsky, Aaron. "Urban Construct." Architecture. 86 No.7 1997.

Correa, Charles. "Regionalism and Architecture." MASS. 9 Spring. 1992.

DeLong, David G. Bruce Goff: Towards Absolute Architecture. Cambridge: MIT Press, 1988.

Frampton, Kenneth. Modem Architecture: A Critical History. New York: Thames and Hudson, 1992.

. "Ten Points on an Architecture of Regionalism: A Provisional Polemic." Center, 3 1997.

Giovannini, Joseph. "Fred and Ginger: Dance in Prague." Architecture. 86. No.2. 1997.

Ivy, Robert Adams. The Architecture of E. Fay Jones. FAIA. Washington D.C.: The American Institute

of Architects Press, 1992.

Landmarks Preservation Advisory Board. A Brief Historv of Boulder. Online Boulder. Intemet. 31

October, 1997. http://bcn.boulder.co.us/boulder/history/

Mead, Christopher. Houses by Bart Prince: An American Architecture For the Continuing Present.

Albuquerque: University of New Mexico Press. 1991.

Scully, Vincent. Frank Lloyd Wright. The Masters of World Architecture Series. New York. George

Braziller, Inc. 1960.

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http://bcn.boulder.co.us/boulder/history/

FACILITY PROGRAM AND DESCRIPTION: FACILITY ANALYSIS

14

Fig. IS: Logging truck on mountain road.

SUMMARY

The consumption of wood and pulp products along with the

environmental concerns of the depleting old timber stands has long been

a major topic with environmental activists and logging and lumber

businessmen alike. In an effort to utilize as much of the tree as is

physically possible, the development of engineered woods and pulp

products had to be developed as well as new ways of milling and sawing

techniques. The new engineered timber products allowed for longer

spans and more open spaces in constmction, primarily from the

invention of TJI Tmss Joists and Glu-Lam and LVL beams. With the

manufacturing of new pulp products, such as O.S.B.(oriented strand

board), P.B.U.(particle board underlayment), M.D.F.(medium density

' Michael Lynch, "An Environmentally Friendly Limiber Sales Facility For the City of Boulder, Co.' Submitted to Prof. Joseph Bilello. Arch. Programming. TTU. Spring. 1997.

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Fig. 16: Preformed Glu-lam beams in a fectory warehouse.

fiberboard), and many others has led to a leveling off in the waste of

lumber in the U.S., though we still remain one of the highest consumers

of lumber and paper products in the world, using 25% of the raw

lumber harvested. In my research for active harvest forests, I came up

with conflicting views. Depending on the source for the information, I

either got the idea that the forests were thriving and doing well(the

viewpoint of the lumber industry) or I got the impression that old

growth lumber is being mined and an aftermath of destmction is being 17

left in it's wake(the view of the environmentalists). What it really

amounts to is that the timber industry is thriving strong today and that

some old growth stands are being saved and some are still being

harvested. The lumber companies have been planting new forests in

"Linda Starke, ed., Stateofthe World 1991 (New York: W.W. Norton., !991) Reforming Forestry. Postel, Sandra and John C. Ryan, 74-92.

"Boise Cascade Corporation, Engineering Wood Products (Oregon: Boise Cascade Corporation, 1996), 2. SIM CDG 015.

"Patricia, M. Marchak, Logging the Globe (Montreal & Kingston, London, Bufifelo: McGill-Queen's University Press, 1995), 9.

' Linda Starke, ed., Stateofthe World 1994 (New York: WW. Norton., 1994) Redesigning the

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great masses, but are planting only one or two species of tree and they are

becoming susceptible to disease and insects. They also produce

poorer quality wood due to the fast growing properties. But to be

certain, the consumption of old growth timber in the U.S. has slowed

down considerably. By no means is this to say that our forests are getting

stronger, just that people are getting more environmentally conscious.

With what I know about the lumber industry, my ten years of

experience, and the input of many experts whom I have come into contact

with over my years in the field, I am proposing an environmentally

conscious lumber sales facility for the city of Boulder, Co. Therefore, I

believe that through the support of the people of Boulder and the new

materials available, a lumber yard can be designed and built that will still

have the feel of an old fashioned lumber yard and can also help to teach

and conserve the old growth stands of the forests. Fig. 17: California redwoods.

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MISSION STATEMENT

To design a facility that exhibits

environmental concerns, acts as an

example to other lumber sales

companies, and helps to teach of

the advantages of

alternative uses in lumber.

Fig. 18: Sunset.

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POSSIBILITIES

"It always annoys me to leave anything on the ground when we log our own land. We log to a

twelve-inch top....[or] a ten-inch... we log to infinity, because it's out there and it's ours and we

want all of it now. "

—Harry Merle, President, Louisiana-Pacific Corp. 19

Increase social awareness in environmental issues.

Increase public appreciation of the natural context.

Demonstrate an understanding of lumber alternatives and uses.

Develop an architecture of learning possibilities.

Educate the building community.

It is the hope of the fiiture of society that what is printed above wiU never have to happen. Our forests are too precious to waste and old growth is at it's lowest ever. This must stop!

"Paul Chadwick, Concrete: Think Like a Mountain. Quote on Inside Cover, Dark Horse Publications, NewYork,1996, 1.

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ISSUE: SPATIAL ORGANIZATION / CONNECTION Architecture that leads

GOAL: To create a spatial organization progressing fi-om entrance, to sales floor, to lumber yard

Performance Requirement: The size of spaces should vary in ^ ' ' ^vv height and depth. V^ >S-

Large and small spaces.

Performance Requirement: Floor materials should lead through the space.

Material patterns guide people from space to space.

Performance Requirement: Natural light should lead people through the spaces.

Increase the number of skylights progressing through the facility.

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ISSUE: REASON Architecture that lies beyond style

GOAL: To create an architecture that relies on concrete reason for form

Performance Requirement: The buildings should express the structure.

Performance Requirement: The buildings should be rational in the choice of materials.

No expensive, hard-to-find materials.

Performance Requirement: The structures should appear to be light and spacious.

Raised wall panels.

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GOAL: To create an architecture that relies on concrete reason for form

Performance Requirement: The sales floor should be open and spacious.

High ceilings.

Performance Requirement: The mill should be sheltered from the outside elements and protected against the transmission of sound.

Masonry construction.

Performance Requirement: The commercial office should be easily accessible and visible to most areas of the yard.

Spider-like entry points.

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• • • • • t



GOAL: To create an architecture that reUes on concrete reason for form

Performance Requirement: The parking lot should have natural ground covering instead of concrete or asphalt.

Recycled ground materials.

Performance Requirement: The yard should be covered for continued work in the wdnter.

Possible movable roof.

Performance Requirement: The classrooms should be small for a better learning environment.

Limited to 12 people per classroom.

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ISSUE: TYPOLOGY/TYPOGRAPHY Architecture that expresses its context

GOAL: The architecture should express a typology of the environment

Performance Requirement: Exterior structures should be expressive of nature.

Vertical elements of the natural Colorado landscape.

Performance Requirement: Horizontal elements reminiscent of the Flat Irons should be expressed.

Low sloping roofs and planes.

Performance Requirement: Pathways should be of large stone slabs representing the materials of the movmtains.

Stone on the entrance walk.

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GOAL: The architecture should express a typology of the environment Performance Requirement: The mill should be constructed of reclaimed materials.

Recycled timbers or stone.

Performance Requirement: The door manufacturing facility should be open to viewing by the public.

Demonstrate re-use process of scrap wood.

Performance Requirement: Information locations should be placed at key locations within the facility.

Environmental pamphlets.

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GOAL: The architecture should incorporate the topography of its surroundings

Performance Requirement: The landscaping of the site should be kept in it's natural state.

Natural vegetation.

Performance Requirement: The lumber yard should be contoured to effectively give a sense of naturalness.

Gently sloped.

Performance Requirement: The main facility should give a sense of being rooted to the site with the site.

Foundation details.

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ISSUE: IMAGE: Architecture that symbolizes

GOAL: The milling areas should express concern for the use and utilization of lumber waste products.

Recycling of wood scrap.

Performance Requirement: Recycling contamers must be used.

Performance Requirement: 90% of sawdust must be collected for packaging.

Bagging sawdust.

Performance Requirement: Pallets and skids should be saved and used for their hard wood.

Making of exotic doors.


ISSUE: EXPERIENCE Architecture that is memorable

GOAL: To create an architecture that should be experienced, rather than read about

Performance Requirement: The details should be finely crafted.

Local talent utilized.

Performance Requirement: The store should consist of separate areas divided by vertical and horizontal elements.

Divisions

Performance Requirement: The mill should be of the 21st century for maximum efficiency and waste utilization.

Highly organized.

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ISSUE: EXPERIENCE Architecture that is memorable

XJOAL: TO create an architecture that should be experienced, rather than read about

Performance Requirement: The lumber yard shouldteach through it's layout and design.

Use of materials in its structure.

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Performance Requirement: A metamorphosis within the architecture should take place along the path of circulation.

Changing shapes and heights.

Performance Requirement: The ceilings throughout the facility should be aesthetically linked.

transformation.

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FACILITY LAYOUT AND ORGANIZATION: Major Components

Parking Lot: When driving into the site, stacks engineered and recycled timbers will be off to one side followed by several large buildings holding a bustling array of people going about their daily routines. A landscaped entry flanked by trees and vegetation will lead up a serene path. The path, made of a crushed, porous material will lead patrons up a slight incline towards the entry.

Entry: Upon entering, the visitors will be greeted with a sense of inspiration. Long glu-lam beams will shoot across the ceiling leading the eye towards the exposed structure of the interior spaces.

Sales Floor: This is to be a place of business and education. New environmentally conscious products and materials will be displayed. An area for news and information will be available. Tall ceilings and open spaces will lead to more personal areas.

Class Rooms: These should be well lit and open to facilitate learning. They will have windows that overlook the yard so that examples can be readily pointed out thus accentuating what is being taught. These rooms will be the nurturing center of the facility. What is taught in here will help the idea of the entire facility survive.

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FACILITY LAYOUT AND ORGANIZATION: Major Components

Mill Areas: When entering the milling areas, the visitor will be greeted by a vast array of machinery. The mill area will be designed for optimum efficiency and energy conservation. AU waste product shall be used and/ or stored for industrial uses. It shall also be open to the air for proper ventilation.

Window and Door Manufacturing Facility: The sash and door area will be light and open. Windows will face the sales floor for the customers to see how the products are made. All areas of the sash and door area as well as the showroom floor will demonstrate environmental details.

Lumber Yard: The lumber yard will be open and spacious. Lumber stacks will be close at hand for maximum efficiency in the staging of orders for delivery. Sheds wUl be designed with the products from the yard. The customer wUl have a definite feel for the care and concern in the detail of the design for the yard.

Break Room: This room should be a sound and sight barrier from the workings of the facility. Windows should look out on to the mountains and open for cool breezes to come through on hot summer days. The room should be small and comfortable.

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FACILITY PROGRAM AND DESCRIPTION: CASE STUDIES

Fig. 19: Lumber Stacks Waiting to be Shipped Out

LUMBER ONE: MinneapoUs, Minn. Gary Ogle - Owner

Gary Ogle has designed the optimum lumber yard for efficiency in load preparation for delivery. The stacks are organized in such a way as to allow each type of delivery, such as a framing package for a house to be in one location. A roof package area may have some of the same things as a framing package area, but it lessens the chance of the load builder to have to drive all over the yard to get different product. This will speed up the time in which a delivery package can be put together. This also leads into the fact that the same product may be located in several different areas.

In four separate attempts to contact Mr. Ogle, I have had no success in talking to him personally. A Mr. Haskel, the commercial sales manager with the store was my source of contact. Mr. Haskel explained the intent of the yard design as an efficiency up-grade. The cost in hours for the men to pull the orders and have them ready for delivery was adding quickly. Most of their deliveries were specified packages, such as a framing package, a roof package, a finish package, etc. The goal was to make the moves in pulling such an order the easiest and quickest possible. Each package as explained earlier could be pulled from one central location, rather than having to drive to several different areas of the yard. This sped up weekly pull times by a minimum of 10 hours, adding up fast to money saved.

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FACILITY PROGRAM AND DESCRIPTION: CASE STUDIES

F. E. Wheaton Lumber: Yorkville, 111. Jeff Brown - Principle Ray Henrich - Sales Manager

In my discussions with Ray Henrich, the sales manager with F. E. Wheaton Lumber, he enlightened me to the extent of their operation. Mr. Brown did extensive research into the development in the new facility that they are currently occupying now. F. E. Wheaton until one month ago was located in two separate locations with their retail operation located across town and the wholesale and mill on the other end of town. Extensive research and development was done in the field of spatial layout and efficiency analysis. They feel that they have come up with a state of the art lumber sales facility that would rival any in the nation. Most of their research was done in the area of production efficiency. They manufacture and stain cedar siding for residential uses.

In our talks it was noted that 90% of the sales are commercial builders and contractors and the other 10% are home owners and the local do-it-yourselfer.

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FACILITY PROGRAM AND DESCRIPTION: ACTIVITY/SPACE ANALYSIS

MAIN FACILITY / YARD / SASH AND DOOR

Fig. 20: Wooden Doors

Fig. 21: Recycled Timbers in Use

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MAIN FACILITY

Activity Analysis Activity: Parking Character: Open and natural Issues: Ease of access, distance from entry, ease of maneuvering large products, comfort of walking, views Users: Customers and Employees arriving by vehicle Number of Users: 50

Design Requirements • Parking shall be of less than a 2 minute walk from the • entrance • Materials used should be of recycled materials • The approach should make the customer want to make

the walk • Separate area should be used for truck and delivery

access

Space analysis: Parking Lot Materials: Recycled materials for paving and raU road tie bumpers as well as vegetation for landscaping Equipment: Signage and railing for entry Size: Must accommodate at least 50 parking spaces including 2 handicap spaces. 400sq. ft. x 50 = 20,000sq. ft.

Activity Analysis Activity: Entering Character: spacious and warm Issues: Character of space, comfort, ease of maneuverability, location of points of interest Users: Customers and employees Number of Users: 6

Design Requirements • Must accommodate people leaving and entering • Should easily direct people • Should demonstrate product usage • Must shelter from the outside elements • Must evoke excitement and anticipation

Space Analysis: Entry Materials: Glass, Glu-lam beams, Steel frames Equipment: Self opening security doors, display cases for prominent sales Size: Approx. 100-200sq. ft. in floor area.

•35-


MAIN FACILITY

Activity Analysis Activity: Circulation and moving throughout the facility Character: Spacious and easy to maneuver, progressive Issues: Sequence, variety Users: Customers and employees

Design Requirements • Aisles should be open and easily moved through • Signage should be visible and easy to understand • Floors should be of durable surface material • Handicap accessibility throughout • Should create a progression of space

Space analysis: Circulation Space Materials: Wood, glass, steel, concrete, varying textures Equipment: Carts(varying sizes and uses), lighting, shelving, display tables and cases Size: Varies

Activity Analysis Activity: Shopping Character: Helpfiil, educational, fiiendly Issues: Environmental, recycling, conservation Users: Customers and employees Number of Users: 333 @ 30sq. ft. per person

Design Requirements • Well lit... .both natural and artificial • Handicap accessibility throughout • Most materials should be of an environmental component • Should be friendly and welcoming

Space Analysis: Sales Floor Materials: Wood, steel, concrete, and various materials Equipment: Counters, shelves, lighting, registers Size: 5,000-10,000sq. ft.

-36-


MAIN FACILITY

Activity Analysis Activity: Running the business Character: Light, cozy and warm Issues: Ways to get maximum work done, environmental example Users: Employees and a few customers Number of Users: 15 @ 60 sq. ft. per person

Design Requirements • Should be well lit and comfortable • Should set an example for the rest of the building • Should be small and efficient

Space analysis: Business Offices Materials: Wood, steel, glass, drywall Equipment: Natural and artificial lighting, desk(s), file cabinets, computer, shelving Size: 4-6 offices @ 150sq. ft. each

Activity Analysis Activity: Learning Character: Light, airy, comfortable, conductive to learning Issues: Environmental education, placement of desks/tables for best learning, sound Users: Educators and those learning new issues Number of Users: 33 @ 60sq. ft. per person

Design Requirements • Should induce learning • Should educate in its design • well lit • good acoustics • Should encourage communication

Space Analysis: Classrooms Materials: Wood, glass, concrete, acoustic materials Equipment: Desks, chairs, tables, dry erase boards, display area Size: 2-4 classes @ 400-500sq. ft each

-37-


SASH AND DOOR

Activity Analysis Activity: Manufacturing of doors and windows Character: Open, bright, airy, spacious, efficient Issues: Efficiency, conservation of materials, energy savings Users: Employees Number of Users: 50 @ 200sq. ft. per person

Design Requirements • Should be open and well lit for safe use of machinery • Should express and environmental conservation stance • Should make the employees enjoy being there • Should conserve all waste products

Space analysis: Door and Window Manufacturing Facility

Materials: Concrete, wood, steel, glass, acoustical materials Equipment: Machinery, forklifts, large work tables, display area, separate controllers office Size: 10,000sq. ft.

YARD

Activity Analysis Activity: HandUng of lumber Character: Spacious, efficient, open, well organized Issues: Should be open and Users: Employees and customers Number of Users: 250 @ 200sq. ft. per person

Design Requirements • Should be efficiently laid out • Should be open and spacious • Should have definite separation of areas • Should make use of all waste products • Should demonstrate environmental uses

Space Analysis: Lumber Yard Materials: Wood, concrete, steel Equipment: Wood, sheds, forkUfts, trucks Size: Approx. 50,000sq. ft.

-38-


YARD

Activity Analysis Activity: Resting during work day Character: Open, bright, rejuvenating Issues: Regenerating of the body and mind, resting, eating Users: Employees Number of Users: 6 @ 30sq. ft. per person

Design Requirements • Should be open and bright • Should get the person to feeling rested and rejuvenated • Should encourage communication

Space analysis: Break Room Materials: Glass, wood, steel, acoustic materials Equipment: Tables, chairs, vending machines, recycle containers, comfortable fiimiture Size: 200sq. ft.

Activity Analysis Activity: Restrooms Character: light and quiet Issues: Handicap accessibility, location, environment Users: Employees and customers Number of Users: 15 @ 30sq. ft. per person

Design Requirements • Should be quiet and clean • Should be bright and airy • Should utilize environmental controls for waste management • Should be handicap accessible • Should be located in both the main store and the lumber yard

Space Analysis: Restrooms for Store and Yard Materials: Tile, glass, steel, wood Equipment: Urinals, toilets, sinks, cleaning closet, mirrors Size: 450sq. ft.

-39-


YARD

Activity Analysis Activity: Milling of lumber Character: Open, bright, spacious, efficient Issues: Safety, efficiency, accuracy Users: Employees Number of Users: 10 @ 200sq. ft. per person

Design Requirements • Should be open and clear of obstructions • Should be large enough for maneuvering large pieces • Should be outside and partially under cover • Should have dust collecting systems • Should have energy efficient machines

Space analysis: Mill Area Materials: Wood, steel, concrete Equipment: Saws, milling equipment, forklifts, lumber racks, dust collecting equipment, safety equipment Size: 2,000 sq. ft.

Activity Analysis Activity: Storage of trucks and forkUfts Character: open, spacious, clean, safe Issues: Safety of yard handUng equipment Users: Employees Number of Users: 7 @ 200sq. ft. per person

Design Requirements • Should be dry and lockable • Should be large enough for big trucks and several forklifts • Should be of such materials that clean-up will not be difificuh

Space Analysis: Storage Area For Trucks And Forklifts Materials: Steel, wood, concrete, glass Equipment: Tools, trucks, forklifts, maintenance equipment Size: 1,500 sq. ft.

-40-


YARD

Activity Analysis Activity: Storage of materials Character: Open, clean, dry, covered, safe Issues: Lighting, ease of storage, efficiency of space, safety of products, employees and customers Users: Employees and customers Number of Users: 125 @ 200sq. ft. per person

Design Requirements • Should be open and well fit • Should have well designed storage spaces for safe keep

ing of product • Should have natural lighting through skyUghts for lower

energy costs • Should have tall ceihngs for stacked storage • Should exhibit environmental issues

Space analysis: Storage Warehouse(s) Materials: Steel, concrete, wood Equipment: Storage racks, signage, forklifts, ladders, safety equipment Size: Approx. 25,000 sq. ft.

Activity Analysis Activity: Loading of customers from yard Character: Open, spacious, fiiendly Issues: Customer service, efficiency, accuracy, fiiendliness, knowledge Users: Customers and employees Number of Users: 10 @ 200sq. ft. per person

Design Requirements • Shouldbe well defined and plenty of room • Should designated area for returns • Should have area for tying down loads • Should have area for inspection of products leaving yard

Space Analysis: Loading Zone Materials: Concrete, wood Equipment: Parking bimipers, signage, small guard shack Size: 2,000 sq. ft.

-41-

FACILITY PROGRAM AND DESCRIPTION: SPACE SUMMARY

Section

Main Facility:

Space

Parking Entry Sales Floor Business Offices Classrooms Break Room Restrooms

Square Feet

20,000 200 10,000 150x6 400x4 200 450x2

Sash and Door: Sash and Door Facility 10,000

Lumber Yard: Main Yard Mill Area Truck and Lift Storage Warehouse Loading Zone

Gross Square Footage: (Usable Sq. Ft. x 1.2) Square Footage Available On Site

50,000 2,000 1,500 25,000 2,000

Net Square Footage

Mechanical Space: (Net Sq. Ft. x 15%) Circulation: (Net Sq. Ft. x 20%)

Usable Square Footage:

124,300sf

18,645 24,860

167,8G5sf

201,366sf Approx. 375,000sf

-42-

BIBLIOGRAPHY

Brooks, Greg. "Vital Signs: Proceed With Caution," Pro Sales Magazine, October 1997, 18.

., editor of Pro Sales Magazine, interview by author, 17, October 1997, phone interview.

Chadwick, Paul. Concrete: Think Like a Mountain. Dark Horse PubUcations. New York. 1996.

City of Boulder, Colorado. Zoning Ordinances for the Citv of Boulder. Colorado. June, 1997.

Evan Terry Associates. Pocket Guide to the ADA: Americans With Disabilities Act Accessibility Guidelines For Buildings And Facilities. New York: John Wiley and Sons, 1993.

Haskel, Frank, lumber sales manager of Lumber One, interview by author, 22 October 1997, phone interview, Minneapolis, Minn.

Henrich, Ray, lumber sales manager of F. E. Wheaton Lumber, interview by author, 17, October 1997, phone interview, Yorkville, 111.

International Conference of Building Officials. Uniform Building Codes. Whitier, California. International Conference of Building Officials, 1994.

Lynch, Michael. "An Environmentally Friendly Lumber Sales Facility For the City of Boulder, Co." Submitted to Prof Joseph Bilello. Arch. Programming. TTU. Spring. 1997.

Marchak, Patricia, M.. Logging the Globe. Montreal & Kingston, London, Buffalo: McGill-Queen's University Press, 1995

-43-

BIBLIOGRAPHY

Starke, Linda, ed. State of the World 1991., Reforming Forestry, by Sandra Postel, and John C. Ryan. New York: W.W. Norton., 1991.

Starke, Linda ed. State of the World 1994., Redesigning the Forest Economy, by Alan Thein Duming. New York: W.W. Norton., 1994.

-44-

CONTEXTUAL DESCRIPTION: OVERVIEW

PHYSICAL / BUILT / SOCIAL

Fig. 22: Flat Irons of Boulder, Colorado.

Location Located in the north-central part of Colorado, slightly to the north and west of

Denver, Boulder sits at the edge of the Colorado Rockies and the Great Plains. On the comer of 30th. and Pearl St., the lumber facihty will take advantage of views of the mountains to the west and south. With access to Pearl St., Vahnont Rd.. Foothill Pkwy., and the Denver-Boulder Turnpike all major roads into and out of the city of Boulder. The comer in which the facility wiU be built is flanked by small shops to one side and across the street. Behind it nms the Colorado and Southem Rail Road hne in a gradual arc from north-east back to south-east. Below to the south runs a Une of small shops and restaraunts.

Topography The slope of the site is currently only an 8 foot drop over a distance of 750

feet. This gives the site an approximate drop of 1 foot for every 93 feet. A drainage canal runs along the north side of the site and can be used in the design. Natural runoff moves to the northeast from the front of the site towards the back comer where it can run into the drainage canal.

The topography of the area is mostly of low sloped hills until they meet the Rockies where they turn abmptly skyward. Natural creeks are formed by runoff from the mountains and good camping and hiking trails for visitors and residents.

Texture The textures found in the area include rough rock outcroppmgs, gentle flowing

streams close to the hills, plush gene vegetation that lead into dense tree lines close to

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Fig. 23: Boulder Mountain Lodge.

Fig. 24: Sunset Over Mountain.

PHYSICAL / BUILT / SOCL\L

the mountains. Hard concrete and asphalt grid the city forming lines of organization in an otherwise urban context. The textures are also used in the buildings of the city. Uses of materials such as wood, stone, masonry and clay are evident in most of the stmctures.

Color The colors most visible in Boulder and the area are deep greens of the vegeta

tion during the summer and spring months and the dark grays and blues of the cold winter months. The sunrises over the plains to the east create a red/orange hue as they sun shines through the clouds. Setting over the mountains to the west, the hills become dark objects highlighted and stenciled into the sky as the sun sets behind them.

Light The play of light on materials and objects is especially fascinating during the

morning and evening hours when shadows are the most dramatic. As the sun passes overhead during the daytime hours shadows through the trees create dramatic patterns and shadows on the ground.

Built Context The site is located in an urban dovmtown setting with shops and housing mixed

together. It is at the edge of three points. The industrial/business section ends at the railroad tracks behind to site to the east. The downtovm shopping and local busmess area mns up 30th and Pearl to the site and the housing area to the north runs down 30th and ends one street up from the site. Most of the buildings in the surrounding

-46-


Fig. 25: Mountain Lodg^

Fig. 26: Chautauqua Auditorium Today.


area consist of commercial built products consisting of sheet metal, stucco, masonite siding, wood, brick and masonry. The buildings in the mountain regions are con-structed on stone, wood and masonry.

Natural Context The natural state of the area becomes more and more evident as one passes

through the urban context and progresses into nature. Thick heavy bmsh and small trees begin to act as buffers for homes and lodges that have been built in the lower lying areas of the hiUs. Higher up into the hills past Boulder are the ski resorts and hiking trails used alternately throughout the winter and summer months of the year. Progressing away from the mountains one finds Uttle left of the natural context that has not been paved over or transformed in some way.

Natural Resources/Historical Context Originally the home of the Southem Arapaho Indians as well as common area

to the Utes, Cheyennes, Comanches and the Sioux Indians. Boulder was later used for gold mining back as early as the 1850's. Settlers estabUshed a settlement in 1858 near the entrance to Boulder Canyon and less than a year later the Boulder City Town Company was formed.

Boulder: A picturesque Region," http://www.onpages.com/escalante/boulder^history.html, 1.12-3-97. 'A Brief History of Boulder," http://www.bcn.boulder.co.us/boulder/history/, 1. 12-3-97

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http://www.onpages.com/escalante/boulder%5ehistory.html

http://www.bcn.boulder.co.us/boulder/history/

Fig. 27: Groups in Boulder are Devoting Their Lives to Prevent Further Destruction Such as This Clearcut.

Fig. 28: Flat Irons of Boulder



In 1861 Colorado became its own territory and Boulder slowly grew. Primarily a mining supply tovm, economic stability was essential. The railroad, in 1873 was introduced, and later a hospital, a school house and a stable town government. By 1874, Boulder won the designation to have the Colorado University located in Boulder.

By 1905, the economy was faltering due to the slack in the mining industry. Boulder quickly became heavily reliant on tourism. The Chautauqua Park was estabUshed in 1898 and each year residents awaited the arrival of new visitors.

Following W.W.II many of the students from the University retumed as 22

residents and the population fast approached 20,000. It was through the 60's that Boulder did it most dramatic growth. It was

during this time that people started to see the advantage of revitalizing the old downtovm that had been left many years ago. They proceeded to buy open space and limit growth. It had taken a century, but appreciation for the past had come about.

After the development of the tumpike in 1952, the population increased over the years from 20,000 to over 72,000 in 1972. Currently Boulder currently has a population of over 87,900 residents, which includes 20,000 students from the University campus.

In the early 70's, Historic Boulder, Inc. was formed and began to recognize and

""A Brief History of Boulder," http://bcn.boulder.co.us/boulder/history/, 2. 12-3-97. "Silvia Pettem, Boulder: Evolution of a Citv (Niwot, Colorado: University Press of Colorado, 1994), 197. 2V "Colorado City Populations, Rand McNallv 1997 Commercial Atlas & Marketing Guide: 128th Edition. (United States of

America: Rand McNally & Company, 1997), 358.

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. 29: Cross-Country Skier.

preserve historic buildings. Pearl Street pedestrian mall had revitalized the downtown business district. Business ovmers removed the unsightly coverings that had been long since placed on the store fronts. Once again, pride and interest in the City of Boulder was a priority. Today, Boulder's problems are not aU solved. Bigger challenges still prevail. They would include transportation, the economy, housing, and the environment.

In 1972, with the height restriction ordinance and 1977, with the growth management ordinance; Boulder set about to create what it once had. Now people were interested in cleaner living and healthy attitudes prevailed. New environmental organizations came about to help Boulder clean up. Organizations such as Eco-Cycle, Boulder Earth First, CSF(Community for a Sustainable Future), and many more have come up to help create a focal point of environmental concem.

Social Context The Boulder Green Alliance, which is headed by Mark Ruzzin and Karen Kos

have devoted their time and efforts into ensuring that Boulder remains one of the most prolific "Green" supporters. Stances in such issues as ecological wisdom, respect for diversity, and personal and global responsibility, have moved the Boulder Green

27

AUiance into one of the foremnners in community efforts for sustainability.

"Silvia Pettem, Boulder: Evolution of a Citv (Niwot, Colorado: University Press of Colorado, 1994), 196. ^'"City of Boulder," http://www.bcn.boulder.co.us/boulder/org/, Intemet Explorer, 10-12-97. "Mark Ruzzin, The Green Alliance Home Page, http://www.greens.org,com, Intemet Explorer, 11-5-97.

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http://www.bcn.boulder.co.us/boulder/org/

http://www.greens.org,com



An effort to conserve resources is a high priority. According to the National Association of Home Builders, the average single family home uses more than 15,000 board feet of lumber. This would require 88 trees, or 3.2 acres of forest. For this reason the recycling of lumber and wood products has become a viable alternative. It is about three or four times more eflScient than regular lumber and wiU last about four times as long making the ultimate cost less.

According to Steve Token, president of the Center for Resourcefiil Building Technology in Missoula, Montana, the building industry is in need of reform. "We're going to see a change in how we build houses." "The traditional materials that we've used in the past—large, old growth trees that we've used for lumber—just aren't around anymore." It was with this in mind that Steve Lokin built an award wiiming home that looks from the outside to be a conventional home, but only uses one-sixth of the normal amount of lumber. Most of the materials used were reclaimed framing and recycled products. It is Also noted that 20% of the framing lumber used in constmction is wasted on the job site. This means that for every five boards brought out to the site, one is wasted. It is possible that recycling of used and scrap lumber can be initiated with some kind of payback incentive for contractors to conserve and recycle cutoffs and excess wood.

Fig. 30: Interior shot of house by Steve Loken. Brian Lavendel, "Currents: Against the Grain: Recycling Wood is Showing Up in the Best Houses," E/The Environmental

Magazine. March-April 1997: n. pag. Online. Microsoft Network. 5 November, 1997.

-50-

Fig. 31: Aerial shot of boulder taken from an airplane. In the foreground in the University of Colorado at Boulder In the background is Boulder Mountain To the right about where the "X" is is the site. •51-

CONTEXTUAL DESCRIPTION: SITE ANALYSIS

LOCATION

Fig. 32: City street map

Fig. 33: Contour map of the continental United States.

Colorado, the 38th state in the nation, is located in the west-central United States, where the Rocky Mountains meet the Great Plains. Boulder itself is in the north-central part of Colorado, to the north and a little west of Denver. The site chosen is as described earlier.

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CONTEXTUAL DESCRIPTION: SITE ANALYSIS

CLIMATE CONDITIONS

Precipitation for Boulder ranges from 16 to 21 inches with an average yearly rainfall of 18.36 inches. The highest record rainfall was 29.8 mches in 1995. The majority of the rain falls in the spring months of April and May. Other heavy rainfall months include March, and June through October. Rain is fairly Ught in the winter months averaging less than an inch per month. ^

Snowfall in Boulder ranges form 66.9 to 93.6 inches with an average yearly snowfall of 84.4 inches. The highest recorded snowfall in any one year was 138 inches in 1979. The majority of the snowfall is during the months of October through April. With minor amounts in May and Sept. And there is recorded snowfall in the month of June. March receives the highest amount of snowfall at 17 inches on average.

Temperatures in Boulder vary from a low of 30 degrees in January to a high of 74 in July. These temperatures are mean averages and temperatures regularly go far above or below these numbers. The highest temperature in the last 30 years was 104 degrees and the lowest was -30 degrees.

Boulder has an average of 130 clear days out of the year, the rest are either cloudy, rain or snow.

Robert Faminghetti, ed.. The World Almanac and Book of Facts 1996 (New Jersey: Funk and Wagnalls Corporation,

"ibid, 182. 1996), 180.

-53-

CONTEXTUAL DESCRIPTION: ISSUES AND GOALS

ISSUE: CONNECTION Architecture that belongs to the Earth.

GOAL: To establish a physical and visible connection to the environment

Performance Requirement: Allow nature to penetrate at least 10% of main facility.

Overgrowth.

Performance Requirement: Hide part of exterior wall with natural landforms.

Bring fill to mid-wail.

Performance Requirement: Rock should be used in at least 30% of the landscaping.

Landforms.

.^

I • - . — 3 r 1

-54-

_ v • r ^ T «



GOAL: To accentuate parts of the natural and built context through experimentation.

Performance Requirement: Where building meets ground, transformations should take place to accommodate the traffic.

Ground for foot paths should be flat.

Performance Requirement: As much of the existing vegetation as possible should be saved in the development of the facility.

Work aroimd nature.

Performance Requirement: Where building meets rock, the rock should be used in the interior design.

Design elements.

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GOAL: Allow nothing to go to waste.

Performance Requirement: 80% of waste products should be recycled.

Separate recycling containers.

Performance Requirement: Displays should be set up demonstrating the possibilities of recycled products.

Doors from recycled hardwoods.

Performance Requirement: Any non-recyclable materials capable of being mulched up should be for landscaping.

Soil enhancing materials from waste.

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ISSUE: NATURAL SURROUNDINGS Architecture that resembles it's natural surroundings

GOAL: To create architecture that respectfully draws from its surroundings.

Performance Requirement: Reflective surfaces should be used in areas where they will reflect the mountains.

Glass on mountain side of buildings.

Performance Requirement: Elements of the neighboring structures should be thoughtfully carried through.

Repeat details from existing buildings.

Performance Requirement: Path to entry should resemble a walk through the woods.

Meandering path.

n -1 -7 -7

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•57-


ISSUE: NATURAL SURROUNDINGS Architecture that resembles it's natural surroundings

GOAL: To create details that resemble natures design and growth.

Performance Requirement: All hardware on major entry's and exits should have designs based on nature.

Textured handles.

Performance Requirement: Exterior footpaths should have natural texture.

Wood chips used on front sidewalks.

Performance Requirement: All handrails should be of a natural material.

Fallen tree limbs.

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ISSUE: UNITY Architecture that shows concem for social values and concerns

GOAL: To demonstrate the environmental concem of the people of Boulder.

Performance Requirement: Recycling should be heavily stressed.

Serve as local recycling collection center.

Performance Requirement: Spaces symbolize unity through the interlocking of spaces.

Stack applicable spaces. w

1

H^ _

t

1

1 ^r •

in/ V Performance Requirement: At least 10% of floor space should be available for forums.

Major announcements.

•59-

BIBLIOGRAPHY

Boulder Area Environmental Topics, http://bcn.boulder.co.us/boulder/environment/, Intemet Explorer. 5 November, 1997.

City of Boulder, http://bcn.boulder.co.us/boulder/org/, Intemet Explorer, 10-12-97.

Colorado City Populations, Rand McNallv 1997 Commercial Atlas & Marketing Guide; 128th Edition, (United States of America: Rand McNally & Company, 1997), 358.

Fammghetti, Robert, ed. The World AJmanac and Book of Facts 1996. New Jersey: Funk and Wagnalls Corporation, 1996.

Landmarks Preservation Advisory Board. A Brief History of Boulder. http://bcn.boulder.co.us/boulder/history/, Intemet Explorer. 31 October, 1997.

Lavendel, Brian. "Currents: Against the Grain: RecycUng Wood is Showing Up in the Best Houses," E/The Environmental Magazine. March-April 1997: n. pag. Onhne. Microsoft Network. 5 November. 1997.

Pettem, Silvia. Boulder: Evolution of a Citv Niwot, Colorado: University Press of Colorado, 1994.

Ruzzin, Mark. The Boulder Green AUiance Home Page, http://www.greens.org.com, Intemet Explorer, 15 October, 1997.

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http://bcn.boulder.co.us/boulder/environment/

http://bcn.boulder.co.us/boulder/org/


http://www.greens.org.com

TABLE OF ILLUSTRATIONS

Fig. 1: Sun Through the Trees in Oregon Front Cover Fig. 2: Poppy Fields in Boulder, Colorado 1 Fig. 3: Pearl Street, November 14, 1997, 1p.m. 2 Fig. 4: Frank Gehry's Fred and Ginger Building in Prague, 1997 3 Fig. 5: Frank Gehry's Guggenheim Museum in BUbao, Spain, 1997 3 Fig. 6: Eric Owen Moss' Electronic Graphics BuUding in Culver City, Ca. 1997 3 Fig. 7: Casa Mila in Barcelona Spain by Antonio Gaudi, 1905-10 4 Fig. 8: Falling Water in Bear Run, Pennsylvania by Frank Lloyd Wright, 1936 4 Fig. 9: Duncan House in Cobdon, 111. by Bmce Goff 4

Fig. 10: Base of Mt. Rainier, Washington 5 Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig

11: New Growth Forests in Oregon 6 12: Natural Lake in Northern Cahfomia 7 13: Thomcrown Chapel, Eureka Springs, Arkansas, 1981 12 14: TaUesin North, Spring Green, Wisconsin 13 15: Logging Tmck on Mountain Road 15 16: Preformed Glu-Lam Beams in a Factory Warehouse 16 17: California Redwoods 17 18: Sunset 18 19: Lumber Stacks Waiting to be Shipped 32 20: Wooden Doors 34 21: Recycled Timber in Use 34 22: Flat Irons of Boulder, Colorado 45 23: Boulder Mountain Lodge 46 24: Sunset Over Mountain 46 25: Mountain Lodge 47 26: Chautauqua Auditorium Today 47

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TABLE OF ILLUSTRATIONS

Fig. 27: Clear Cut Fig. 28: Flat Irons of Boulder Fig. 29: Cross-Country Skier Fig. 30: Interior Shot of House by Steve Loken Fig. 31: Aerial Shot of Boulder Taken From an Airplane Fig. 32: City Street Map of Boulder. Colorado Fig. 33: Contour Map of the Continental United States

48 48 49 50 51 52 53

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FIRST SCHEMATIC REVIEW

In prepearation for the first schematic review, a visit to the site was conducted and pictures were taken of the sorrounding buildings and roads as well as the site itself Notes were taken as to the best views in and out of the site and the traffic patterns were observed.

z^-i'Ar--

fe ——. A

< ^ - < - - . i; Then initial site drawings were done and beginning

sketches and layouts were tried on the site map. Thoughts on how to integrate the "Theory" of Critial RegionaUsm and Frampton's three points that I have eluded to earUer were on my mind as well as the concept I had chosen.

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F I R S T S C H E M A T I C R E V I E W

The concept became self evident after a few initial studies and some meetings with my advisor.

The forest was to be my concept and vehicle for the proving or disproving of my theory. And with that a concept diagram was developed based on the density and changing depths of the forest. In the diagram above the grid was used as an organizational element within the estabhshed points of the forest.

-64-


— r" .^

A beginning study model of how ! the forest idea would be incorporated into \ the design was built. The vertical j elements were staggered to create different heights in the facihty. thus giving

I the effect of a forest canopy.

-65-

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Next a basic plan was developed and used in conjunction with the grid layout of the above diagram. A 50' grid was used at the rear of the site progressing to the fi"ont with ever decreasing spacing where the buildings needed more stmcture.

-66-

F I R S T S C H E M A T I C R E V I E W

An interior perspective showing what one would see as they entered the fecihty was sketched out. This shows the view into the door manufecturmg fecihty as you walk into the entrance and towards the sales floor.

This exterior perspective shows what is seen from an elevated view at the entrance to the site. The initial idea of having the building stepped to mimic the tier shape of a tree in section. And the second floor placed on top and sUghtly out.

-67-


T 'Tri TiniAciLijinjifr

'»~—• 1 - •

Sections and elevations were developed and parts blown up to a larger size so that they could be seen in better detail. The scope of this project being as large as it is requires that several drawings of the same thing be drawn in increasing scale to show more detail in

the subsequent images.

,-*<:•

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-68-

AFTER THESIS SUMMATION AND ANALYSIS

OVERVIEW OF THESIS AND ITS INTENT

My love for nature and the forests as they exist today is something that has grown for more than a decade now. The trees that make up the forests of and what we have callously in the past taken for granted are a resource to nurture. It was for this reason that this thesis was developed. In Ught of this, I needed something to test. With the help of Professor Bilello, we came up with Kenneth Frampton's polemic of Critical RegionaUsm. It was through this polemic that I was to develop a faciUty that would incorporate my love for the forests and the environment as weU as using the building industry which I have been involved in for many years to test three of the ten points in Frampton's paper. These points, discussed later were the driving forces in my design. This design is an envu-onmental lumber yard for the city of Boulder, Colorado and deals primarily with the use of engineered materials and the conservation of the forests while using them.

THE ENVIRONMENT AND THE FORESTS

The forests are composed of many elements of nature and comprise an ever decreasing percentage of the worlds land mass. These forests are also very similar to architectural concepts. It was through these comparisons that the forest was developed as my main concept in my design. The forest is composed of a sea of vertical elements similar to that of columns in a building or just the stmcture. These vertical elements are surrounded by lower more dense foUage that makes up the forest base and underbmsh, supplying the nutrients to the taller more dominant trees that tower over head. This is the mechanics of the buildings that we design. The workings that we seldom notice unless something goes wrong. The tree canopies that make up the upper Umits of the forest and keep the hot sun fi-om beating down on the tender foUage below and keeps the rain fi-om washing away the deUcate soUs. It acts as Uving spaces for the animals and birds that Uve in the upper reaches of the trees. It is these canopies that are tumed into the roofs and overhead structures on aU faciUties to keep the hot sun fi-om people,

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to keep the driving rains out and to house some of the mechanics of the building. The paths that lead throughout the underbmsh of the trees that are developed though years of passage by animals and people are the circulation paths that are maintained in a stmcture. Often, breezes are carried though the lower reaches of the trunks and circulate throughout carrying fi-esh air for the Ufe down below. This is the same as the air that's circulated through a building giving fresh air to the tenants. In this way the forest is very much Uke any space in which we design to Uve, work, and play.

These forests are a precious commodity to have and are in danger. The consiraiption of wood and pulp products along with the environmental concerns of the depleting old timber stands has long been a major topic with environmental activists and loggmg and lumber businessmen aUke. Depending on the source for the information, either the forests were thriving and doing well(the viewpoint of the lumber mdustry) or the old growth lumber is being mined and an aftermath of destmction is being left in its wake(the view of the environmentaUsts). What it reaUy amounts to is that the timber industry is thriving strong today and that some old growth stands are being saved and some are stiU being harvested. The lumber companies have been planting new forests in great masses, but are planting only one or two species of tree and they are becoming susceptible to disease and insects. They also produce poorer quaUty wood due to the fast growing properties. However, the consumption of old growth timber in the U.S. has slowed down considerably. By no means is this to say that our forests are getting stronger, just that people are getting more environmentaUy conscious.

ENGINEERED LUMBER

In an effort to utilize as much of the tree as is physicaUy possible, the development of engineered woods and pulp products had to be developed as weU as new ways of milling and sawing techniques. The new engineered timber products aUowed for longer spans and more open spaces in constmction, primarily from the invention of TJI Tmss Joists and Glu-Lam and LVL beams. With the manufacturing of new pulp products, such as O.S.B.(oriented strand board), P.B.U.(particle board underlayment), M.D.F.(medium density fiberboard), and many others led to a leveUng off in the waste of

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lumber in the U.S.has occurred. However, we still remain one of the highest consumers of lumber and paper products in the world, using 25% of the raw lumber harvested. The framing lumber that is conventionaUy produced, uses 40% of the tree. Now, engineered lumber can use from 52% to as much as 72% of the tree that is harvested. Also, second growth trees that are generaUy weaker and of poorer quaUty can be used in these new processes due to the manufacturing techniques involved in makmg each piece. This is the beUef and thought that was taken and put into a theory to test. That theory is Critical RegionaUsm.

FRAMPTON'S CRITICAL REGIONALISM

As a theory. Critical RegionaUsm is an approach to architecture that proposes forms based on particular characteristics of the site, such as cUmate, topography, built context and natural resources. Critical Regionalism is not a strict principle that must be foUowed, but it revitalizes aesthetic and ecological sensitivity.

In Kenneth Frampton's paper entitled "Ten Points on an Architecture of RegionaUsm: A Provisional Polemic," he asks the question of how we can design with the past and the fiiture in mind. How can we design architecture of the next generation that is not predetermined by forces beyond our control? How do we bring back to Earth the discipUne of our architecture without bUndly using a modem style, deprived of its original and intemal energies, or without going into an increasing historicism devoid of relevance and sense? Is there a middle ground that can be achieved through another type of architecture, however Uttle? This is where Kenneth Frampton introduces his Ten Points on an Architecture of RegionaUsm. By breaking them down into ten points there is a hope that better architecture can be produced and hopefiiUy a marginal practice of architecture might be pursued. These ten points are abbreviated as foUows:

1. Critical RegionaUsm and Vernacular Form

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2. The Modem Movement 3. The Myth and the ReaUty of the Region 4. Information and Experience 5. Space/Place 6. Tvpologv/Tvpographv 7. Architectonic/Scenographic 8. Artificial/Natural 9. Visual/Tactile 10. Post-modernism and RegionaUsm: A Summation

From these ten titles I selected three to be my tests in this thesis. Three have been highUghted and are: Critical RegionaUsm and Vernacular Form or in simpler words, "The Concrete Reason For

Form." Information and experience or simply "Experience of the Place." Typology/Typography

With these three, I set out to design my faciUty and try to prove that these can incorporated in a weU thought out design and hopefiiUy prove that this type of new faciUty can be built and succeed.

BOULDER, COLORADO

The site is located in Boulder, Colorado. Boulder is an urban community town located 40 miles north west of Denver. Located at the junction where the Colorado Rockies meet the Great Plains and built upon the Flat Irons of the Rockies. This site was chosen because of the people of Boulder's strong beUefs on environmental issues and their constant efforts to support the ecology. With my plans for a faciUty that uses primarily engineered wood products and reclaimed lumber in its design it is my hope that the people of this city wiU back the ideas of making this a reaUty and reaUze

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that they are helping to conserve the old-growth stands of the forests and stiU getting the look and feel of real wood. In this way I beUeve that with the effort of the citizens of the city that this faciUty can

•become a reaUty.

SECOND SCHEMATIC REVIEW

The second schematic review conducted after the Christmas break, enabled a massive turning point in my design strategy. Through this design review I began developing the tensile fabric for the roofs in a more energetic way, but primarily over the lumber yard. My main focus was on the concept of the design and not the thesis. I was constantly reminded of the principles I was supposed to be testing, but was failing to get hold of in a cohesive design. AU my thoughts kept going back to the concept of the forest and trying to figure out how I could make the design better. It was almost foreign to me as to how to make the faciUty incorporate the three principles I had set out to test.

After presenting this second cohesive design and being taken back to reaUty with the words that pretty much told me that I reaUy had to rethink the whole thing, I went away totaUy depressed and ready to quit.

Only minor things were successfiil in the design and they were able to transfer over to the final. These were the finishes that I had set out to use and the column design and spacing as weU as the general concept and parti. All else was discarded and a whole new design was about to be done.

LUNCH WITH PROFESSOR GIACCARDO

A few days after my presentation and a Uttle sulking, I happened to run across Professor Giac-cardo during lunch. With him as my advisor, I figured it would be okay to talk to him about the what I

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had assumed to be an attack on my design. He helped me to see that it was only criticism that had been taken wrong by me. I confided m bun that I had been lost in my effort to connect the design to the thesis and that I was starting to feel panicked in the thought that I may not graduate. It was his idea that I concentrate on what I know in my head and stop trying to thmk too much about what I do not know. He asked if I knew how windows were built and if they could be done in a Unear path shni-lar to a path of ckculation. I assumed that they could because you would need both a beginnmg and an end, thus an entrance and an exit. With just this Uttle spark of thought I changed it to be the manufacturing of doors and thought about the spaces needed to house each of the machines as weU as the space needed to work and ckculate. This one idea helped me to completely redesign and come up with a much unproved scheme.

Wjiri :i;iSf^£Ss^S^

These were my second attempts at designing the floor plan and utilizing the site to its fuUest potential. On the left is the site plan with the layout of the yard and the facility with the spUt center to divide the uses within. This tumed out to be a poor idea. On the right is the floor plan showmg the door manufacturing area and the store behind.

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After getting an initial floor plan set, the next step for me was to put together some elevations showing how I was to use the materials that would best demonstrate the principles of Critical RegionaUsiiL Each Une drawn must show these pomts. The tensile stmcture was still being developed and was searching for a form that would compliment its use weU. Trees were picked that grew naturaUy m the area and best demonstrated the idea of the vertical elements in the mountains.

The layout of the yard was estabUshed and the materials for the faciUty were set. OSB for the mterior waUs and 1X12 reclahned boards for the exteriors. Telephone poles were to be the primary stmctural elements and engineered lumber to be the constmction materials. At this time the exact nature of the materials for the constmction were not yet known. The tensile febric was stiU set only over the yard area and the faciUty had a flat roof as of this time.

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SYNTHESIS REVIEW

In this review I set out to test the new knowledge that I had acquired through the taUc with Professor Giaccardo. In so doing. I created a few schemes that did now work due to the fact that I had tried to submerge the manufacturing process and the ground was bedrock. Not a good idea to blast for that. Then I thought to elevate the process and that was immediately rejected. This was aU done because I was trying to find a way to get the people to see every step of the process without having to cncumvent the other elements in the design.

Most of the major design changes occurred during this design phase also. The tensile fabric is now being used throughout the faciUty to cover the entire thing. Double fabric over the store and manufacturing and single fabric over the yard. Materials are researched and manufacturer's brochures are gathered for mformation on new materials and their strengths and weaknesses.

Also the tests for the thesis and how they are appUed to the design are resolved. In the case of the "Concrete Reason for Form," the path that the manufacturing process takes is such that the spaces for each piece of machinery and the space needed to mn wood through them, the space for each man and the carts that have to be moved as weU as storage needs. Each of these was in place before the walls that wrap them were put into place. With the tensile fabric the reason for that is mostly to keep the weather off the lumber, since the sun plays a major role in the warpage of wood in yards. It wUl also aUow the workers to work in the winter during times of snow or rain. The shape of the parking lot in its unusual layout is just for that reason, it is set up so that the people do not come into this place thinking that they are coming into a standard buUding supply place. They are coming into a place that is setting a new standard in the way that constmction is to be done and they need to have a new mindset that wiU aUow them to experience the changes that they wiU see or be informed of

With the test of Experiencing the space/place. It is the path that one takes as they pass around the assembly area seeing the entire process. Also the closeness of the columns and the trees as people pass beneath the canopies of the tensUe fabric and the paths that they take as they move to park the

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cars they drive wiU be something that they wiU not soon forget. It may not be awe inspiring, but is something that are not used to in everyday proceedings.

The test of typology/typography is simple and not as imbedded as the others. The nature of the faciUty itself is the typology. The fact that it is a lumber yard in the basic sense and that lumber encompasses the entire faciUty is enough to satisfy that piece. As far as the typography is concemed, that takes place throughout the faciUty with the ever present columns and trees and the open spaces of the rear end in the design as weU as the more densely packed areas of the front end. These both representing the wooded areas of the hiUs and the plains beyond.

FINAL PRESENTATION

For my final presentation there were only minor changes that needed to be made before the final drawings could be completed. These consisted of makmg the 1% slope on the elevations and sections visible in the drawings. They were not noticeable when drawn. The stau- count for the first to second floor stairs needed to be rechecked and changed if necessary. They were checked and determined that they were only a couple of risers off when taking into account the floor to floor height and the riser height. And then only minor things that were fixed while inking.

The actual presentation was done by inking onto mylar, using white prisma to color certain areas of the backs of each drawing and placmg the individual drawings onto a backing of 7/16" OSB. This combination succeeded in making the drawings reaUy pop out showing the detaU and design better as weU as incorporating the thesis in the presentation of the design.

The model was buUt using OSB for both the base and the primary model. It was done in such a way as to test different types of detaUs possible the the material, such as: mitering on comers, gluing and stacking in layers, cutting reUefs to show appUed joints, and using pin cormections through the OSB. This along with the massing and abstractness of the model for the faciUty and the vertical

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elements representmg the trees and columns, helped to create a model that I beUeve was a tum from the normal convention of model buildmg in this university.

This is the floor plan that was developed through the use of space as a driving force in the design layout. It is the ultimate in letting the form follow the fimction. Each space was set up by the amount of space reqmred to move a cart, work a saw, work on a table, or assemble something. Circulation paths were mapped out and the most efficient paths were set up for best viewuig of the assembly process as weU as ease and quickness in gettmg mto the faciUty. The stmcture was second to the layout of the assembly process. Walls were pushed and puUed when necessary, but kept to the columns whenever possible.

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On the left is a framing axon showing the basic constmction of the faciUty walls in conjimction with the telephone pole columns. A detail is shown in the comer showing the connection of the walls to the poles. LSL(laminated strand lumber) engineered wood members were used for the framing studs and PSL's(parallel strand lumber) were used for the headers and the stair stringers. The colimins were also used to hold up the tensile fabric since it is now used to cover the entire faciUty instead of just the yard as was previously assumed.

To the right is an interior perspective showing the entrance to the viewing area as well as the main faciUty. Shown are the columns that support the tensile fabric as weU as the wuidows for the viewmg of the assembly process. The floors are end cuts from old tunbers that had been cut off and thrown out. The walls are 48X96 OSB(oriented strand board) panels that are set up with smaU reUefs to show the materials better.

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To the left is a section showmg the interior of the faciUty. Also shown is how the tensile fabric stmcture works works with the rest of the building. A double membrane is used or the feciUty and a smgle membrane over the yard. The double one is needed to keep in the heat in the wmter tune.

To the right is an exterior perspective of the lumber yard showing the single membrane febric. Also shown are the columns that had to have base protectors placed on them to keep any careless forklift operators or tmck drivers from accidentaUy bumping and destroymg a much needed colunm. Stacks of engineered lumber as weU as some new lumber are laid out for easy loading for deUveries. In the background is the warehouse and a Uttle to the left is the edge of the main faciUty.

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A F T E R T H E S I S S U M M A T I O N AND ANALYSIS

S U M M A T I O N

On the overaU design I would have to say that it could have been developed much further, but in the time frame aUotted and considering the earUer design changes, it was developed as far as to be expected. I would have Uked to know what kind of costs are involved in the constmction of a tensUe fabric roof stmcture. I do know that the constmction type and the method of constmction would have been cost effective and in the long run would have saved money as compared to conventional framing or steel constmction. The aspect of using aU reclaimed materials or engineered wood products in the design was a major element in the design and I feel that it worked weU. This design, I feel if actuaUy implemented in the city of Boulder would prove to be an asset to the commimity and would, with the help of others, prove to be an element m the advancement in the movement towards environmental design.

As far as what was leamed and what could have been changed, added, or taken out....weU that is not as easUy determined. What was leamed is a Uttle easier to answer. I have leamed that I don't know by far what there is to leam about engineered lumber and it's uses. I leamed so much through taUdng with experts in the field and doing research. I leamed that I have a big problem digesting so many elements at one time. Trying to incorporate the theory, concept, parti, and building type in to the thought process of what must be done throughout the entire design was a major chaUenge for me. What could have been changed, added, or taken out is hard. I would have Uked to redesign the towers that help the cables for the tensUe fabric. They never reaUy connected with the typology in my opinion. They did have a reason for the form, but were too utiUtarian for me. I would have Uked to develop the drainage canal that ran down the north side of the site and could have been used weU in the development of the conceptual part of the design. I also would have Uked to develop the holding area for the dust-coUection system and the sawdust placement area. That was a big part of the program that was put aside and never brought back into the design. In addition I would have Uked to develop the

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warehouse as I had done in the earUer schematics. This also was lost in the final design. I should have developed the classrooms flirther as they were also part of the design that I wanted to test.

The entire semester as a whole was one big roUer coaster ride of emotions. Never knowing if I was going to faU the semester and be here for the summer or knowing if I was going to do fine.

Programming phase - this part had to be the hardest of any of the design processes. Due to the fact that I had not taken the Research Methods class that is required for this class I was at an immediate disadvantage to the rest of the class. I stmggled to get a grasp of how to do the research, but only met up with faUure after faUure. It was only with shear determination and the help of Professor BUeUo that I was able to make it through this part of the design.

First Schematic Review - This review was a real setback and let me know that I reaUy had no clue as to what I was trying to do with Critical RegionaUsm. I had been concentrating more on the design of Uttle things and not on the overaU picture. I was not able to explain design decisions that I had made and thus proved that I was only floundering.

Second Schematic Review - This was the review that reaUy set me in motion. I was heart broken by the bad review I had gotten, but I realized that I was stiU concentrating on the concept and not the thesis of the design. I had set myself in a mt and was seriously stuck. I was terrified of being here another semester, or one day longer than I needed to. This was also when I had the taUc whh professor Giaccardo and everything began to change. I was recharged and ready to begin anew.

Synthesis Review - Up to this point it had been questionable about whether I was going to finish the semester and get to graduate. After the second schematic review I started over with a whole new design and a new game plan. I was happy about that I was getting done and was getting constant feedback from both professors. I worked my but off and succeeded in doing a good design that incorporated aU aU elements of the design that I had been stmggUng with since the beginning, it finaUy

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came together and aU parties were happy.

Thesis Presentation -1 had used my time weU and completed the project having never puUed an aU-nighter and never staying up past 2am. This for me was a first. Not since my first semester in Tech have I done this. It was a great accompUshment for me. It showed me that I had used my time weU and finaUy managed to leam something about time management. The presentation went very weU and I feel I covered aU aspects of the design that I set out to cover. I supported aU my design decisions had answers or inteUigently debate any question that came up. I only wish there had been more students or other professors present during the presentation so that other points that were missed could have been brought forward.

FmaUy I would like to say that this has been an incredible semester and an even more rewarding here at Texas Tech University. I am not off to Sacramento, CaUfomia to practice and leam to be the best that I can be. I have leamed much from the professors here and I wiU apply that knowledge in practice.

Thank You 8-)

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by michael lynch

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