Kenneth Lowe Portfolio

Kenneth loweworks

Design comes from many different sources of ideology and processes. It has a great effect on everyone whether they consciously notice the details when they pass by or are simply walking down the street running errands. For this reason design is what draws me in. As such a small person, one can have a great impact on the world through architecture. While it may not be possible to change the world through architecture, you can change an individuals world or their view of the world through architecture and thats what is most important.

Good Architecture to me is one that may raise a question or draw one in by its simplicity. Architecture should be dynamic and should be able to be used by more then one group of people. It should implement and set examples of sustainability and thoughtfulness of site and place.

My studies both in school and independently have embraced these thoughts and helped me to understand what architecture really is all about.

We shape our buildings; thereafter they shape us. -Winston Churchill

Center for Collaboration

DT Visual Arts Center

Barrio Marketplace

Capstone Progress

Structures Laboratory

Poetry Center Pavilion

UU Desert Vista Church

The House of Writing

Focus: Systems IntegrationPrograms used: Autodesk Revit & Rhinoceros

This project serves as a new nexus for interdisciplinary research and collaboration at the University of Arizona. Its design is to demonstrate the successful integration of CALA and College of Fine Arts library collections with a variety of meeting, study and work spaces. Set against this backdrop of humanities and visual arts, it is the goal that these meeting, study and work spaces foster collaboration between the colleges of: Agriculture and Life Sciences, Eller, Engineering, Fine Arts, Humanities, CALA and the general public. The auditorium will also be provided to accommodate CALA and Fine Arts lectures as well as rehearsals and performances.

A centrally located site on campus was selected to serve this broader collaborative objective and integrate with the master plan of the University. In order to maximize public green space around the facility, underground parking is provided to serve the buildings primary occupants.

Far more than a repository for books, this new facility and its components will be an architectural statement, promoting collegial integration and the dissemination of information through collaboration.


The directing design force behind the Center of Information and Collaboration is the notion of people from all work forces entering into one common space. For this reason the site is split in half by the circulation. Through this section cut the program is divided as to have a conversation one side with the other while showcasing the inner activities of the building to the students who pass between. The main programmatic element are pushed to the inner edge of the section while other elements are pulled back determining the outline of the building. Like a Geode the cut will be smooth glazing so the interior spaces become prominent and bring interest to the flat faade of the building. The east and west walls will be pushed and pulled by the inner program to generate a decomposed feel and provide self-shaded exterior spaces for students and faculty to use.

CONCEPT

Bringing the experience of what is happening within the building to the people passing by was strongly taken into consideration. While crossing through the cut in the building one can look down into the double height gallery space or down into the sloping auditorium. The open study space takes advantage of the sloped ceiling of the auditorium to create a terraced stair for people to gather and occupy. Main programmatic spaces are pushed up to the glazed cut in order to showcase what is happening inside and the users can look across to the other side also for the purpose of integration. The faculty offices are placed on the highest level to show a hierarchy over the other users and to allow them to see what is happening within. The East and West facades are cladded in copper panels and become perforated at the ends to allow in light. The pushing and pulling of program create outdoor terraces and are self shaded by the other levels and by PV Panels.

A sunken garden creates a connection between the Underwood Garden of the CALA building and creates a tempered gathering space for the students.

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fiberglass battinsulation

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vaper barrior

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finishingboard

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metal flashing3" metal decking4" rigid insulationwater proofing1/8" copper panels

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coper panelsare stagard at2', 3', 4', & 5'incriments

angled wallsfor sun protectionand to creat falseperspective

copper panelsheld to z-channelwith copperrivits

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Basswood model of the building at 1:16 scale.

Focus: Land Ethicsa hand drawn studio

uu Desert Vista Church

This Land Ethics studio project was the re-development of The Unitarian Universalist Congregation of Northwest Tucson Church Campus that includes a large Sanctuary, large meeting room, offices, Classrooms, and a Nature Chapel. The Current site included an older house that was converted into a meeting room and a manufactured building as their sanctuary and office. The objective was to create a new space that respected the site and views and the old building would be removed. Creating the new structures on top of the existing scares would be ideal.

uu Desert Vista Church

The site had direct views to the surrounding mountains and was set on a rather aggressive topography. In order to respect the topography the walls of the building were kinked to literally follow the topography lines to create the organic shape and frame the surrounding views. An axis was created to divide the program and the spaced were pushed or pulled to follow the programmatic needs of each space. The axis divided the public side and the more private side. The public spaces included the sanctuary and the meeting hall and the other side of the axis enclosed the offices and classrooms.

The East and West walls are constructed of thick concrete to account for the heat gain and shade the enclosure while the North and South elevations were left as glazing to allow for natural lighting and ventilation. Sun angles were take into consideration with overhangs to allow the winter sun in for heat and shade the sun in the summer. Water is collected from the roof and is passed through a channel of that runs down the center of the axis to cool the spaces as the wind passed through.

A Nature Chapel was placed on axis of the campus and down the hill. A nature path leads down to the chapel and over the water channel. It is as if the water sliced through the chapel and it traveled down the hill and to the garden. The water in the chapel creates reflections on the walls of the space and works as a white noise so one can concentrate on their purpose of being there.

Basswood models were hand made.Site model: 1:16Sanctuary: 1:8Nature Chapel: 1:4

La Maison de lEcriture (Research and Proposition)Programs used: Autodesk Revit

The House for Writing was developed by the Jan Michalski Foundation by Vera Michalski in the memory of Jan. It is nestled in Montricher, at the foot of the Jura Vaudois, in the locality of Bois Dsert. Facing towards the lake and the Alps, this site was chosen for the beauty of the scenery and its tranquil setting, both of which are conducive to reflection and writing. This spot exudes its own particular charm and a unique atmosphere.

The Architects V. Mangeat and P. Wahlen designed the foundation to resemble a small city. Within the center there are spaces meant to accommodate visiting writers such as a meeting hall, vast library, kitchen, dinning spaces and flexible space suitable for exhibitions and auditorium. All these spaces are to encourage the writers to exchange ideas and cultures with each other.

The House of Writing

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The House for Writing was developed by the Jan Michalski Foundation by Vera Michalski in the memory of Jan. It is nestled in Montricher, at the foot of the Jura Vaudois, in the locality of Bois Dsert. Facing towards the lake and the Alps, this site was chosen for the beauty of the scenery and its tranquil setting, both of which are conducive to reflection and writing. This spot exudes its own particular charm and a unique atmosphere.

The Architects V. Mangeat and P. Wahlen designed the foundation to resemble a small city. Within the center there are spaces meant to accommodate visiting writers such as a meeting hall, vast library, kitchen, dinning spaces and flexible space suitable for exhibitions and auditorium. All these spaces are to encourage the writers to exchange ideas and cultures with each other.

Our project was to create a space of dwelling for the writers who have been invited to spend extended amounts of time at the foundation. These dwelling are to be hung from the large canopy that surrounds the entire foundation. Each pod is to include a public space where people can come and visit, a private space for the writer to sleep and the most important private place to write and think.

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4. Private Courtyard

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6. Shower

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I began by creating a sense of privacy and enclosure that lead to the outer wall and structure that suspends the entire project. The exterior white steel panels create a conversation with the white concrete library while interior spaces all created by beech wood warm the writer. The Dwelling is accessed from the second floor of the library and approached from behind. First the writer passes by the pod and then turns a corner and enters up. The house has its personal exterior space that leads into the public space. Once inside the writer can sit in the gathering space or go either direction into their bedroom or writing space.

The floor plan is stepped to separate the spaces and give privacy between the spaces so that the writer does not have to pass by the bedroom to start writing. The lower profile expresses this movement while the single slopped roof connects all the spaces. Long skylights pierce the ceiling to allow more light into each space. The sleeping area is place in the space that has the most enclosure while the writing space has the best views at the front if the pod.

Natural light enters into the space via the skylights and the north and east facades. To allow for more light and ventilation opening are cut from the outer wall. Each space has one large opening that swings open while the circulation spaces have smaller opening that push open to allow air but little sight.

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Painted metalpanels

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exterior panels

Skylight


Gyp board

Beech Woood Flooring


Scale 1 : 25Section C0 1 2 4m

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Painted metalpanels

Vapor barrior


Gyp board

Wood board

.127m wide flangeframing Exterior Beech Wood

exterior panels

Skylight


Gyp board

Beech Woood Flooring


This project was crated using the Metric Scale and a bass wood model was made at 1:50m.

Questioning: La Maison de Icriture Preparing for Proposition Through Inquiry

Preface

In December of 2012, architects from around the world (25 teams in all) were invited to submit proposals for residences, to be suspended from a concrete structure, which would serve as part of a larger development devoted to writers and writing. This book was initiated to catalog the initial research inquiries.

La Maison de lcriture nestles in Montricher, at the foot of the Jura Vaudois, in the locality of BoisDsert. Facing towards the lake and the Alps, this site was chosen for the beauty of

exudes its own particular charm and a unique atmosphere.

The architecture of la Maison de lcriture has been entrusted to the architects V.Mangeat and P. Wahlen. Designed to blend in with the natural surroundings and with construction

Foundations many activities. Individual accommodation units for writers in residence, a dining

and an auditorium for performances of all types hold out the promise of numerous encounters and cultural exchanges.

The purpose of the residences in la Maison de lcriture is to promote and encourage literary creativity. They have been designed to provide ideal conditions for writing, conducive

surrounding countryside. The dwellings are generously proportioned residences in which areas for work and relaxation blend together in harmony. Other meeting places in the immediate vicinity encourage the residents to leave their dwellings: a communal dining room and lounge, a vast library, an auditorium and an exhibition area.

The initiator and patron of la Maison de lcriture is the Fondation Jan Michalski. Born in Poland in 1953, Jan Michalski met an untimely death in 2002. His wife Vera set up a foundation in his name, the aim of which is to promote literature and, in particular, to help writers in the

in residence.

Introduction Each project is a new beginning a new opportunity to learn about a place, a phenomenon, a technique, and to explore its impact on architecture. All project design is essentially the answer to a question a question of what is most appropriate to meet certain conditions and respond to place and time. By challenging that initial question, through asking even more, we look to probe the edges of the problem and direct illumination into the shadowed recesses of the architectural task. Training our eyes to be more observant is important to developing as architects, however, training our minds to be more skillful questioners is even more crucial.

Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very f o r e i g n tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer. - Rainer Maria Rilke

This book asks a sequence of questions that have the objective of understanding the context of this design challenge a place of dwelling for writers. This context includes focus upon people, places, and the history surrounding the project, in addition to tangential or peripheral information such as anecdotes and artistic or phenomenological associations. The designer often overlooks or forgets these elements shortly after the design proposition is complete and their

Judge a man by his questions rather than by his answers. -Voltaire

People judge a work of architecture when they essentially encounter it as a fabricated artifact, or, too often, only after having been artfully photographed and distilled to basic

engaging, and necessary in ensuring the depth and richness of architecture of integrity. This book collects these initial explorative exercises for reference during the design proposition itself but also as an archive of the dialog and questionings of the studio team members during this process.

Matthew Trzebiatowski, AIA, LEED AP Wha

t are

Jan

Mic

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?

Born in Poland, Jan Michalski was exposed to the harshness of Communist ruleboth from his parents who survived the

freedom in his country. From an early age, Jan Michalski had interests in classical literature and European culture, which led him to study sociology and philosophy at the Catholic University in Lublin, Poland. Soon after, he left for the London School of Economics. After a year in London, his studies led him to the College of Europe in Brussels where he was more involved in politics and the integration of Poland into the European Union.1 There he met and befriended the Rector of the college (who later became the Ambassador of Poland to France), Jerzy Lukaszewski. In a

character and patriotism to Polands success, I had my own experience of Communist dictatorship, its infatuation and perversity. But my discussions with Jan brought me something more important the feeling that I could trust in him, accompanied by a lively empathy.2 In 1978, Jan enrolls in the Graduate Institute of International and Development Studies in Geneva. Here he meets his wife, and they wed in 1983. Three years later, they begin their publishing company named Noir sur Blanc in Montricher, Switzerland just 40 miles outside of Geneva. Several years and several publishing houses later, Jan and Vera Michalski focus on publishing works by Slavic authors and documents highlighting Polish history. Even today, the Jan Michalski prize has given awards

still the energizing force behind the foundation. When she met Jan, she was working on her dissertation entitled, Phenomenon travel companions of Communism in France between 1928 and 1939.4 As they began to open the publishing house, Jan and Veras goal was to advance the cultures of Europe and ideas by facilitating mutual understanding of the people that the Cold War has separated.5 Vera

ideals and represents him on the jury of the Jan Michalski Prize.


to authors who address a countrys identity, displacement, and governmental oppression like Communism. Later, Jerzy Lukaszewski reminisced, From time to time, [Jan] used to come to the Embassy to speak to me of his work and his projects, or to seek my advice on a problem that preoccupied him. But sometimes I had the impression that he simply wanted to chatter for a moment in Polish, evoke the memories of Bruges and be reassured of my friendship.3

The themes of his life are seen through the winners of his foundation. Graphically represented are Michalskis places of education and the publishing houses. The relationship of these locations and his visions

Michalski by relating his schooling locations to his movements.

Jan Michalski was a publisher, or in other terms, a man who believed in words Frederic Pajak

What are Jan Michalskis history and legacy?

11

People Published by Michalski

Slawomir MrozekMrozeks themes of writing encompassed the war years, the Nazi occupation of Poland, the establishment of a peoples republic after the

war, and the Stalinist repression.Studied architecture in Poland.

Polish dramatist and writer.7

Blaise CendrarsThe books La Main coupe and Jai tu are accounts of Cendrars time as a French soldier

in World War I. Friend of Henry Miller.

Swiss novelist and naturalized French citizen.8

Charles BukowskiFactotum Bukowski describes his struggles

as a writer and the rejection he has faced from publishing companies.6

Capitalism has survived Communism. Now, it eats away at itself.- The Captain is Out to

Lunch and the Sailors Have Taken Over the ShipGerman born.


Previous Jan Michalski Prize Winners

Gyorgy Dragoman-2011The White King Dragoman describes the

reality of a dictatorial regime illustrated through the eyes of a child.10

Aleksandar Hemon-2010The Lazarus Project The story is set in Chicago and various Eastern European

countries while addressing the history of the siege of Sarajevo.11

Julia Lovell- 2012The Opium War: Drugs, Dreams, and the

Making of China Lovell explores the myths about and the prejudiced relations between

the West and China.9

What are Jan Michalskis history and legacy?

13

How

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Le Corbusier

force in the revolution and reform of design in the early 20th century; architecture began

.slaedi tsicissalc-oeN morf yawa kaerb otHis legacy would solidify into a series of architectural publications and principles that drove the modernist movement not only in Europe but throughout the rest of the world. With regard to La Maison de lcriture, a concrete structure is hoisted to the sky as if it were the canopy of a forest. This new stone canopy both emulates the physical height of a forest and creates a dappled underbrush. This formal move described by

The Five Points

2 - Free plan, achieved through the separation of the load-bearing columns from the walls subdividing the space

3 - Free facade, the corollary of the free plan in the vertical plane

4 - Horizontal windows5 - Roof garden, restoring the area of ground

covered by the house.13


Corbusier as lifting the horizontal to the top, and it is utilized in many of Corbusiers works, most obviously in the Villa Savoye. Corbusiers architectural tenants

during his career, speaking not only to a new methodology of design, but also to a revolution in social and artistic spheres. Perhaps the most well-known assertions are the Five Points. These serve as stylisitic guidelines giving a clear

appeared in the journal LEsprit Nouveau, and then later in a publication of his own in the early 1920s, as he developed the principles.12

In the Soviet Union, where construction of communist society and the subsequent cultivation of the new man was under work, Le Corbusiers ideas of the needs of a mass society drew much attention. Thus he was invited in 1928 to Moscow, but his high hopes soon changed into struggles with Soviet authorities and left-wing criticism. For his disappointment, Le Corbusier did not win the competition for the Palace of the Soviets. The country was not ready for modern architecture; in the 1930s the Soviet Union and Nazi Germany openly rejected modernism in favor of Neo-Classicism. Le Corbusier himself was not attracted to Communism or Fascism, but in 1930 he joined the Neo-Syndicalist movement and contributed to the groups journal Prlude and its successor Plans. In uenced partly by the thought of Pierre-Joseph Proudhon, the anti-parliamentary movement attracted a number of intellectuals in the late 1920s. Some of the essays written for Plans Le Corbusier collected in La Ville Radieuse.14

We see how Le Corbusier, who appreciated governments only for the possibility of obtaining architectural commissions, was drawn to the new Soviet Union and extolled the merits of communism (he never joined the party); and in 1928, as the possible architect of a major new building, went to Moscow, where he was hailed by Trotsky and was received at the Kremlin. Le Corbusier praised the ideas of Mussolini and worked for two years under the Vichy government, hoping to oversee new construction and urbanism throughout France. Le Corbusier believed that Hitler and Vichy rule would bring about a marvelous transformation of society, then renounced the doomed regime and went to work for Charles de Gaulle and his provisional government.16

Le Corbusier believed that Hitler and Vichy rule would bring about a marvelous transformation of society, then renounced the doomed regime17

How has Le Corbusier in uenced this region?

17

Le Corbusier and Communism

Le Corbusiers association with the communist state through architecture is both

of understanding the evolution of design in Europe. Michalski published anti-communist literature through Noir sur Blanc. Le Corbusiers

de lcriture both architecturally and politically. The relationship between Le Corbusier and Communism can be found in many sources of literature:

The turn toward social engagement in the Radiant City re ected not only Le Corbusiers participation in CIAM and his disillusionment with both communism and capitalism, but also his involvement with regional syndicalism, a group inspired by the pre-World War I French labor movement and committed to social change.15

In a similar way as Le Corbusier combatted the artistic and political tendencies of the Communist statewith regard to their

made pertinent statements about the role of government.

The Palace of Soviets was conceived during the early years of Stalins Administration in the mid 1920s, shortly after the Lenins death in 1925. The Palace was to be constructed in Moscow, near the Kremlin. The intention behind the project was not only to incorporate administrative space for the government, but also a congress hall. This would serve as a symbol of the imminent triumph of the Communist philosophy; a constant reminder to the state of the principles of Marx and Lenin. In 1931, an international competition was held, which received over 160 submissions, twelve of which were from commissioned architects including Erich Mendelsohn and Walter Gropius. After the

several design requirements: the main tower

a hammer and sickle, and place monuments to Lenin, Marx, and Engels at the base. Le Corbusier also entered the competition; his modern-style submission was rejected. Instead of announcing the winners on time, however, the Council announced the three favored proposals and opened up

Corbusier called the decision of the judges a direct insult to the spirit of the RevolutionA tragic betrayal.


a third portion of the competition. All three architects moved away from the avant-garde styles and into more Neo-Classical style proposals. Le Corbusier called the decision of the judges a direct insult to the spirit of the RevolutionA tragic betrayal.18

A Neo-Classical concept won the competition. It was revised to include a 100m tall statue of Lenin atop the structuremaking the Palace of Soviets the tallest building in the

Empire State building (1362 feet tall). Occupying the site was the Cathedral of Christ; it was promptly demolished. By 1939, the foundations for the palace were complete; a year later in 1940 the steel frame for the base levels had been constructed. However, shortly after Hitler invaded the U.S.S.R. in June 1941, the steel structure was taken down and used to fortify defenses in Moscow. water seeping down from the Moscow River until 1958; the foundations were then opened as the worlds largest open pool. In 1990, the Orthodox Church received permission from the state to rebuild the Cathedral of Christ. The Cathedral was completed, and commissioned in 2000. 19


19

Le Corbusier and Jan Michalski

Shown are the major works and major movements of Le Corbusier which are superimposed on places in Michalskis life.

moments in his travels and education, as well as publishing company locations. Cities like Paris, which are illustrated with a larger circle, saw more activity from both Jan Michalski and Le Corbusier. Le Corbusier also has major works in the same area as Montricher. There is the Immeuble Clarte in Geneva, and several villas in his hometown of La Chaux-de-Fondsas well as many famous works in the south of France. Jan Michalski would have been exposed to many architectural and philosophical ideals of Le Corbusier throughout his life, which transferred into his personal and professional ideologies.

Le Corbusier left an enormous body of work, including some 30,000 architectural plans, 7,000 watercolor paintings, 500 oil paintings and 52 books. He was perhaps as famous for his philosophy of architecture as for actual works.


Le Corbusier: After Cubism

In 1918, Le Corbusier was introduced to Amde Ozenfant who was a Parisian painter and critic. Ozenfant convinced Le Corbusier to paint more often, and together they exhibited their workwhich eventually turned into a manifesto called After Cubism.20 This manifesto dealt mainly with the decorative excessiveness of Cubism, but also with revising the style itself. Le Corbusier did appreciate the Cubist idea of rational logic in composition, however, only understandable objects, like bottles, glasses, and guitars, could be manipulated. According to Le Corbusier, these objects represented the virtues of the new industrial world: its order, its anonymity, and its purityin short, its purism.21 This term, purism, also began to symbolize characteristics of modern thought.

named Still Life with Pile of Plates, was rigorously limited to warm and cool color tones and the geometry was more realistic. Over ten years later, Le Corbusier began to use more vivid colors entering a dialogue with pre-industrial folk culture.22 These are the colors that are seen in the Heidi Weber Pavilion and the Assembly Building in Chandigarh.

reintroduction to painting, Le Corbusier uses colors as a symbol and an architectural artwork.


21Questioning: La Maison de Icriture Preparing for Proposition Through Inquiry

Over the span of twenty years, Le Corbusier developed collections of colors, which he named color keyboards. The color keyboards were compiled in collaboration with the Swiss wallpaper company, Salubra. Arranged in rectangular keys, like on a piano,

dictated by the artist and the context of the

forty-three pastel hues, compiled at length in the 1930s, that were derived from fourteen key colors. This particular set of tones was meant

as to be visually appealing. Alongside these fourteen basic colors, Corbusier made the decision to include white to adjust the balance of shade.23

The second collection of colors was introduced in the 1950s and was meant to contrast with materials such as plaster, concrete, and wood. There are a total of

collection. Overall, the colors by Le Corbusier turn into an autonomous element of a great mythical-symbolic machine.24

region?23

Le Corbusiers Legacy Le Corbusiers view on new architecture, which stemmed from his use of reinforced concrete, was compiled into a collection of ideas called The Five Points of Architecture. Roughly 90 years later, Le

La Maison de lcriture. First, Le Corbusier describes the pilotis, which raises the building


pillars. Clearly, La Maison de lcriture borrows this concept by the use of the canopy on tall, reinforced concrete columns. Le Corbusier goes on to describe a use of pilotis with the idea of a town entirely built on a lattice grill work twelve to sixteen feet above ground.26

La Maison de lcriture is built and should function as its own village within Montricher.

Secondly, Le Corbusier outlines

the nature of the material, structural walls were no longer needed, and slender columns took their place. The canopy in La Maison de

where beneath the perforated roof is open space, not obstructed by structural walls.27 As a result, this space becomes the most important area as it will contain the suspended

...the ground is to be reserved for vegetation and moving objects-- i.e. circulation-- whereas stationary activities such as working and living belong on the upper oors.25


25

structures, thereby exemplifying Le Corbusiers

Finally, Le Corbusier explains the use of the roof garden. With the use of reinforced concrete, the roof could allow for the additional soil load and the addition of green space on the roof. In La Maison de lcriture, the canopy becomes the roof garden because of the organic shapes and the

horizontal connection with the surrounding vegetation. Similarly to Le Corbusiers use of the free faade, La Maison de lcriture uses white, reinforced concrete that is kept clean and free of ornamentation. In addition to this

points, it is highly favored by Le Corbusier due to its aesthetic nature and structural qualities. Thus, La Maison de lcriture follows the same ideology.

Wha

t do

we

know

abo

ut

the

polit

ical

hist

ory?


La Maison de LEcriture is currently being constructed in the village of Montricher, Switzerland. As suggested by the buildings name, it is devoted to the lives of writers

What do we know about the political history?

29

and providing for their needs. This program includes accommodations for writers, libraries, common living areas, an administrative space, and accommodation for the director. In order

to understand the setting of this building, we examine the historical and political context of the political region.

Montricher Timeline

7000-1000 BC The bank of lake Geneva in Morges is inhabited and is

community28

1049Castle Montricher built by Rudolph, son of Adalbert II Grandson.29

1228 Church Montricher is the Parish church30

7000BC 1228


1444 Castle is consolidated by order of the Duke of Savoy31

1536Castle is no longer held by the Duchy of Savoy; Bernese invade what is now the Canton of Vaud

1595Restoration of Castle undertaken by Guillaume de Vuillermin

1615 Fire32

1649 Castle is renovated

1770 Fire33

1798 Region of Vaud gains independence from the Duchy of Savoy; Institutes the Country of Vaud. Castle falls into disrepair34

1828Fire - Material from Castle is used to repair houses36

1803 Country of Vaud becomes the Canton of Vaud in the Swiss Confederation.35 1914

World War I Switzerland is neutral37

1939World War II Switzerland is neutral38

2009Construction of Maison de Lecriture39

1536 1595 1615 1770 1798 1803 1828 1914 1939 2009


31


Questioning: La M

aison de Icriture

Country of Switzerland

Switzerland has a diverse heritage that is expressed in many facets of the countrys present-day society. The most prominent characteristic is its current multi-linguistic culture. The four languages most commonly spoken within the country are French, German, Italian, and Romanish (Gypsy). In addition to the myriad language, Switzerland is a time capsule for the historic Feudal Houses that have occupied the area for centuries. The

Kingdom of Burgundy, the House of Savoy, and the Zhringen from Bern. While these

the last two millennia, they have been able to coexist within the Switzerland Confederation and have helped to shape the present country. Much of the countrys modern borders were not formally established until 1848. Before that time, Swiss History cannot be separated from the surrounding political entities. The

the feudal families, were the French Empire and the Holy Roman Empire.41 The Northern and Central region of Switzerland has been

Population, in the east by the Burgundian

with Italian kingdoms (including the King of Sardinia and Piedmontpart of the House of Savoye), and scattered Romanish-speaking populations.


France

French

German

Austria

Italy

Italian

RomanishGerman

German

Italian Italian

Romanish RomanishRomanish

German

Germany

MontricherVillage

Switzerland is divided into twenty-six Cantons, which are sovereign-member

these cantons have a degree of self-autonomy, they are politically tied together at the federal level. The Cantons are divided into districts, which are further divided into municipalities and

individual cities. The Canton of Vaud is divided into ten districts, one of which is Morges, where the Montricher Municipality is. Within each of these municipalities exist the cities. Therefore, Montricher Village is located in the Montricher Municipality, in the Morges District, in the Canton of Vaud, in the Swiss Confederation.42

Federal State of Switzerland

Vaud Canton withMorges District highlighted

Morges District with Montricher Municipality highlighted

Montricher Municipality

Montricher Municipality withMontricher Village noted


33


Franci

Burgundi

Tolosa

Italia

Thuringi

SaxonesIceni

Cantuaria

Baiova

Alani

Juthungi

Suebi

BructeriChatti

Alamania

500 A.D.

France

Burgundy

land MediterraSea

SmallStates

B

Bavaria

Luxemburg

Saxony

Lorraine

Naples

Bavaria

Holy RomanEmpire

Hesse

SavoyNovara

Como

Brescia

Gorizia

AstiGenoa

Este

Bar

Flanders Thuringia andMeissen

1300A.D.

France

SmallStates

Saxony

SalzburgHelveticRepublic

Parma

MediterraneSea

NassauHoly Roman

Empire

1800A.D.

Canton of Vaud

The Canton of Vaud has a rich history that spans over 5,000 years. On the

Neolithic sites in Switzerland. Historically, the Canton of Vaud was under the direct control of the Kingdom of Burgundy until the formation of the House of Savoy in the early 11th Century. At that time, the political image west of Switzerland was rapidly evolving as Burgundy lost much of its political footing. Over the next 500 years the Savoy family slowly added to their territory, but in 1536 the House of Zhringen, from Bern, occupied the northern shores of Lake Genevapresent day Vaud. Although


35

the Savoy Family was of French descent, they were part of the Holy Roman Empire with the Zhringen Family. Undeterred by the loss of the northern shore, the Savoy Family looked South and East to expand their territory

Despite the occupation by the Bernese, the Savoy Family still controlled land on the South side of Lake Geneva and maintained some land on the North side. In the early 18th Century, the Duke of Savoy granted a portion of his land to his brother, who was not heir to the Duchy. The city established grew to what is today known as the City of Morges.43 Under the rule of Berne, Vaud received a large number of

Protestant refugees, most notably the French Huguenots, which led to the development of the economy in the region. In 1798, when the Bernese no longer occupied the region, the short-lived Country of Vaud was formed. By

of Vaud was reincorporated into the Swiss Confederation. Vaud then formed its own Canton and has remained through present day. Today, the Canton of Vaud is a modern region

specialized workforce, large investments in modern technologies, cutting edge research,

to pristine natural environments.

Wha

t can

we

infe

r ab

out

Cas

tle M

ontri

cher

? Montricher Village The village of Montricher is situated on a hill at the foot of the Jura

1049 AD, by a reference to a castle built in the area dubbed as Monscricharius. The castle was constructed in Montricher by Rudolph, son of Adalbert II. The castle was planned on top of the highest hill in the village and was protected by moats that were designed to impede artillery machines. Prominent within the castle was the bell tower of a church that was utilized as a defense turret in the event of an attack. In 1444 AD, control of the castle was consolidated to the Duke of Savoy due to the danger of the Armarnacs. In 1615 AD,

left uninhabited until its renovation in 1649

AD, forcing its abandonment. In 1828, the stones of the castle were used by the village inhabitants to reconstruct Montricher when it

44

In present day, the Castle Monsricharius has been left to unrecognizable ruins. However, three other castles provide clues to what the castle may have looked like. These are the Castle Alt-falkenstein, the Castle Oensingen, and the Castle Balsthal.45 The most important, common features between the castles that remain today and the demolished Monsricharius Castle are: their geographical location upon the hilltops surrounded by the village; their thick masonry construction which is consistent with the time period that


The stones of the castle were used by the village inhabitants to reconstruct Montricher when it was destroyed by a re.44

What can we infer about Castle Montricher?

39

Castle Monsricharius was built; and the moats used for defensive purposes, which have been turned into housing or farmland. In 1228 the chapel of the castle was turned into a Roman Catholic Parish Church. In 1595, the church and surrounding area underwent a restoration, spearheaded by Guillame de Vuillermin. The defensive wall was demolished, the windows of the church were updated, and decorative elements were added to the interior. The most important decorative elements were the pulpit and Guillame and his wifes coats of arms.46 To this day, the chapel operates as the parish church of Montricher and the remaining evidence of the Castle Monricharius. Rather than being a thriving medieval feudal society, modern-day Montricher is largely a farming and ranching community. Much of their economy is rooted

Jura Mountains and visits to Mont Tendrethe highest peak in the Jura Mountains.

Castle Montricher

Knowing that the castle was built on the highest hill in the center of the city, it can be inferred that there were a series of concentric walls protecting the Keep. This style of defensive perimeters is still distinct from the later concentric-castle styles. Existing in the urban form of the town is an arced street called Rue des Ramparts, this was likely one of the walls that was demolished for use in the citys reconstruction following its destruction

19th centuries. It is also possible this is the wall that was removed by Guillame de Vuillermin during the church renovation, though it is more likely that the wall associated with the


bell tower was removed and not from the Rue des Ramparts. By observing the castle ruins, it becomes evident that it had several defensive rings. From aerial images, the hill where the castle was located can be observed and how the village has grown around it. Historians also mention two villages near Montricher that were controlled

was Echenoz.The only remaining evidence of Echenoz is a street that shares the name, which is believed to be the path that led to the village. The second village was called Torclens. This village was lost when the inhabitants protested the Lords of Montricher in the middle ages setting their own village ablaze.47

ruin site of

Castle Montricher

rue

dHaut

Mont

ch.

de

la

recru

e

rue de

s rem

parts

Fondation Jan Michalskipour l'ecriture et la litterature

remaining church

and bell tower

rue de l'eglise

route duMont-Tendre

rue du petit

fauborg

route deschafours

ch. de bois desert

ch. de la fort

rue du

bourg

ch. d

u cot

eau

rue

du

gr

and

fa

ubou

rg

ch. d

eche

noz

ch. dechenoz

Street Name

Montricher?41

Chemin dEchenoz____________ Path of EchenozChemin de Bois Desert__ Path of the Wood DesertChemin de la Foret ___________Path of the ForestChemin de la Recrue _________Path of the RookieChemin du Coteau______________Path of the HillRoute de Chaufours__________Route of Lime KilnsRoute du Mont-Tendre _Highway Mountain TenderRue dHaut Mont_______Street of the High MountRue De lEglise_____________Street of the ChurchRue des Remparts_____________Street of the WallRue du Bourg______________Street of the VillageRue du Grand Faubourg_Street of the Grand SuburbRue du Petit Faubourg _Street of the Small Suburb

Wha

t is

uniq

ue a

bout

the

phys

ical

env

ironm

ent?

Montricher48

Population: 84049

Elevation: 2178 ft. Mean Sea Level

Total Area: 10.02 sq. mi. (25.94 km)

Latitude: 46 36 17 North50

Longitude: 6 21 35 East51

Country: Switzerland

Canton: Vaud

District: Morges

The Swiss Jura region has played a major role in the watch-making industry and has been industrialized since the 1700s.52

1. 2.

3. 4.


Area Comparison

To begin to understand the physical size of Switzerland and Montricher village, they have been compared to other recognizable landmasses from the U.S.A. Switzerland has been compared to both Arizona and New York states while the village has been compared to the cities Tucson, Arizona, and Manhattan, New York.

Switzerland: 41,285 km2 15,940 sq mi

Montricher: 25.98 km2 (10.02 sq. mi.)

Arizona:113,990 sq mi (295,234 km2)

Tucson:227.0 sq mi (588.0 km2)

New York:54,556 sq mi (141,300 km2)

Manhattan, NY:33.77 sq mi (87.5 km2)

What is unique about the physical environment?

45

0

10

20

30

40

50

60

70

80

Jan. Feb. Mar. Apr. May June July Aug. Sept. Oct. Nov. Dec.

Tem

pera

ture

(F)

Montricher is located within an oceanic climate zone, leading to heavy cloud cover and year-round humidity. The inland sea air moderates temperature swings, and makes the weather consistently predictable.53

Annual Temperature in Morges


Summer SolsticeN

Equinox

E

Winter Solstice

W

10

20

30

40

50

60

70

80

S

30

60

90

120

150

180

210

240

270

300

330

360

Sun Path Chart for Montricher

SunriseSunset

12 A.M. - 2 A.M.3 A.M. - 5 A.M.6 A.M. - 8 A.M.9 A.M. - 11 A.M.12A.M. - 2 P.M.3 P.M. - 5 P.M.6 P.M. - 8 P.M.9 P.M. - 11 P.M.

environment?47

8:15 am4:49 pm

5:41 am9:31 pm

N

W

NNE

NE

WSW

WNW

NW

NNW

E

S

ENE

ESE

SE

SSW

SW

SSE

Wind Rose Diagram for Montricher

> 108 to 96 to 74 to 52 to 30 to 1

Each ring in the diagram represents a single egareva ylhtnom a morf nekat deeps dniw

of several wind speeds. These wind speeds occurred over a series of three years at 7 A.M., 1 P.M., and 7 P.M.

Wind Speeds (MPH)

The two primary directions of

and the southwest. This wind trend is due to the Jura Mountain Range which is located to the northwest of the town and Lake Geneva

lake, parallel to the mountain range; mountains block wind from the northwest. Though the wind speeds are relatively low, wind gusts can reach speeds of up to 22 MPH.55


Montricher Yearly Rain Information

This data depicts the yearly average of rainfall and total days per month for the Morges District. Montricher receives an average of 70.3 of rain per year, which is almost double that of Seattle, Washington (36 annually), and Portland, Oregon (37 annually).56


49

12

13

14

15

16

# o

f Day

s it

Rain

s pe

r Mon

th

5

6

7

8

1

2

3

4

Ave

rage

Rai

nfal

l per

Yea

r (in

ches

)



64%

62%

60%

54%

49%

50%53

%

54%

54%

53%57

%61%

10

20

30

40

50

60

70

80

90

100

% o

f Clo

udy

Cove

r


% o

f Clo

ud C

over

Montricher Monthly Cloud Cover This chrat shows one years data for the Morges District. Summer months have the least cloud cover, this leads to more heat gain from increased solar exposure. 57


10

20

30

40

50

60

70

80

90

100

% H

umid

ity

Jan.

7 A.M.1 P.M.7 P.M.

Feb. Mar. Apr. May June July Aug. Sept. Oct. Nov. Dec.

% H

umid

ity

Montricher has the highest humidity in the mornings and the evenings when the temperatures are the coolest. In the afternoons, the humidity drops in correlation with an increase in temperature.58

Average Monthly Humidity*

* Average humidity based on averaged data collected from 2010, 2011, and 2012


51

MONTRICHER

SITE

JURA MOUNTAINS

JURA MOUNTAINS

SECTION A

Geology of the Landscape The most common feature of the Jura geology are nappes. These are layers of rocks, which were moved for hundreds of kilometers. The Jura nappes are rigid layers of limestone gliding on softer layers of sandstone and marl. As the sedimentary cover moved to the north from the south, the center became uncovered. It was continually uplifted leaving no gap. The rocks are formed deeper in the crust, containing metamorphites which are granite and other crystallines. They are permeable which is a result of the limestone alternating with softer layers of marl.59

The top two sedimentary layers of the Jura Mountains are permian and granite. The granite is comprised of a crystalline

of an old forest. The sea that once covered these mountains is apparent by the presence of echinodermic limestones and Ferrruginous dolites, which are found in white coral of shallow sea waters.60

The Jura Mountains are a small mountain range located north of the Alps, separating the Rhine and Rhne rivers and forming part of the watershed of each. The word Jura means Forest in a Celtic tongue.


RISOUXHAUT JOUXMONT TENDREMONTRICHER

SECTION A

PORTLANDIAN

KIMMERIDGAN

OXFORDIAN

VELLERAT FM.

REUCHENETTE FM.

TWANNBACH FM.

RAURACIEN

0 METERS

100 METERS

200 METERS

300 METERS

400 METERS

Tertiary Cretaceous Middle/Upper Malm Lower Malm Augorvani Upper Dogger Lower Dogger Middle/Upper Trasse Basemente

The Juras rounded crests and summits are covered with dense pine forests and pasture lands. The region is drained by the Doubs, the Ain, the Lou, and smaller streams. Hydroelectric plants in the Jura supply power to paper, textile, and woodworking industries. Important watch industries, are in the Swiss towns Le Locle, La Chaux-de-


53

Fonds, and Grenchen. Export products from the French Jura include brierwood (for pipes), plastics, and cheese. The Jura Mountains are a popular year-round resort destination. Composed of sandstone and limestone, and rich in fossils. The Jurassic Period has the same root word as the Jura Mountains.61

Oak Groves

Beech Forests

The region is dominated by forest vegetaion with oak and beech in the lower

sycamore maple. The crests above the tree line 5,300 feet tall (1,600 m) and are covered with Alpine grasses.62

Vegetation


View of Montricher of Lake Geneva

MONTRICHER

MONTRICHER

SITE

LAKE GENEVA & RHONE RIVER

LAKE GENEVA

LAKE DE JOUX

LAKE DE JOUX

LAKE DE BRET

Lake De Joux Characterised by its great geographical diversity, Lake Geneva lives up to its reputation of being a miniature Switzerland.

snow-capped peaks of the Alps. Lake Geneva is the largest lake in Central Europe. It takes 15 years to completely replenish its 89,000 million liters of water. The River Rhne enters the lake near Villeneuve and leaves through Geneva to continue its long journey to Marseilles and the Mediterranean. The lake has a surface area of 582.40 square km, is 72.30 km long, nearly 13.80 km wide and over 0.31 km deep. The Rhine is one of the longest and most important Rivers in Europe at 1320 km long (820 mi). It is the watershed line that separates neighboring drainage basins.63

Lakes and Rivers


55

MONTRICHER

MONTRICHER Autobahn is the German word

motor vehicles and having full control of access, similar to a motorway or freeway in English-speaking countries. In English, the word Autobahn is used to refer only to these roads in German-speaking countries (including Switzerland) and usually refers to the German

no general speed limit (though about 50% of the total length is subject to local speed limits. Swiss motorways and motor roads may be driven on by motor vehicles, which reach a minimum speed of 80 km/h (until 2005 of 60 km/h). The general speed limit on motorways is with 120 km/h, with urban motorways lies it in the range between 60 and 100 km/h. In motorway tunnels likewise a reduced maximum speed of 80 or 100 km/h applies. On the motor roads used with motorways the maximum speed amounts to 100 km/h. The signalling boards consist of white writing on green reason.The numbering consists of white numbers on red boards with the edge form as with German federal motorways.64

Road


MONTRICHER

MONTRICHER Switzerland is known for its environmentally conscious attitude. This is evident in the public transportaion system, especially the rail system. Many trains run on electricity generated by hydroelectric power stations. Every Swiss town is connected to the train system; the system also coordinates with an extensive bus network it is easy to travel to the most out-of-the-way destinations. Trains can take someone from Zurich airport to the top of the Jungfraujoch and its stunning views to the German Black Forest and the French Vosges. The most popular Swiss routes include the famous scenic trains: the GoldenPass, the William Tell Express, the Bernina or Glacier Express smoothly snake in

on spectacular bridges, all while train travelers enjoy breathtaking panoramic views of the snowy Swiss Alps.65

Rail

environment?57

How

doe

s on

e co

mpl

y w

ith

ener

gy s

tand

ards

?


GLASS-X

Space cavity with inert gas

Tempered interior glass

Space cavity with prism plate

Tempered Exterior Glass

Tempered Low-E Glass

U-Va

l

ue: 0.48 W/m^2

K

R-Va

l

ue: R1

2

Lig

h

t Transmission: 54

%M

ax Hei

g

ht: 3000 m

mMa

x Wi

dth:

2

000

m

m41

%

PAVATEX

Steel stud

Plasterboard

Service Void9 mm OSB

Baumit Bayosan

PAVOTEX insulation 80 mm: R value of 5

PAVO

TEX insu

lat

ion 1

00 mm

: R v

al

ue of 2

.94

Macrocsopic View:

Montricher is located in Western Switzerland and has over 800 inhabitants; latitude 46.60o N and longitude 6.36o E; altitude of 2,467 feetnearly one mile. There are several environmental forces on site. In January the average temperature is 32o F (0o ;)C Augusts average temperature is 61o F (16o C).

Building Envelope:

By understanding the environmental forces of Montricher, the buildings envelope can respond accordingly. Using the U-value as a guide, materials can be selected based on their environmental performance. Below, Glass-X is shown. This

environment because of the triple panes, two cavities, and the prism plate. This assembly helps to isolate interior and exterior environments.66

Building Standards:

transfea measure of the transmission of energy through a material. In North America, the R-value is used; the two are related but

U-values scale, a lower number is sought. Minimum requirements to reduce heat loss are: (0.3W/m2k) for framed areas and (1W/m2k) for glazed areas.68

How does one comply with energy standards?

61

Converting given u-value into imperial R-value units:

1/U-value: 1/(.3 W/m2K) = 3.33 for framed areas (minimum R-value in international units)

1/U-value: 1/(1 W/m2K) = 1 for glazed areas (minimum r-value in international units)

R-value x 5.678: 3.33 x 5.678 = 18.9 for framed areas(minimum r-value in imperial units)

R-value x 5.678: 1 x 5.678 = 5.678 for glazed areas (minimum r-value in imperial units)


69


berglass batt

material (per inch) U-value material material

berglass blown (wall)

rock wool batt

rock wool batt (wall)

air entrained concrete

urea terpolymer foam

rigid berglass expanded polystyrene

polyurethane

polyisocyanurate

concrete block 4 in.



brick 4 in. common

brick 4 in. face

poured concrete

soft wood lumber

(bead board)

expanded polystyrene

(foamed in place)

swl 2x4

swl 2x6

cedar lumber

plywood

plywood 1/4

plywood 3/8

plywood 1/2

plywood 5/8

plywood 3/4

berboard 1/2

berboard 25/32

berglass 3/4

berglass 1

berglass 1.5

extruded polystyrene

foil faced

berboard

3/4extruded polystyrene 1extruded polystyrene 1.5

polyisocyanurate 3/4 foil facedpolyisocyanurate 1

foil facedpolyisocyanurate 1.5

aluminum

steel

vinyl

brick 4

gypsum board 1/2

gypsum board 5/8

carpet

double insulated glass 3/4 air space double insulated glassw/ suspended lm & low-E

PAVATEX

Glass-X

weather board

ber cement cladding

air lm

cellulose blown (wall)

vermiculite

wood hollow coredoor

metal insulating door

0.145

0.752

0.800

3.220

2.130

2.000

1.300

1.060

0.379

0.757

0.485

0.333

0.250

0.167

0.267

0.200

0.130

0.185

0.139

6.900

1.330

1.250

0.310

0.470

0.500

0.770

0.940

2.640

1.320

2.060

3.030

4.000

5.990

3.750

5.000

7.690

5.410

7.190

R-value U-value R-value U-value R-value

18

0.318

0.313

0.318

0.330

0.256

0.223

0.250

0.250

0.200

0.160

0.139

1.160

0.901

0.780

1.250

2.270

12.500

0.800

0.228

3.140

3.190

3.140

3.030

3.190

4.480

4.000

4.000

5.000

6.250

7.190

0.860

1.110

1.280

0.800

0.440

0.080

1.250

4.390

0.560

0.670

1.470

0.386

0.469

0.460

0.067

0.090

1.640

1.640

1.640

2.270

2.220

1.790

0.480

0.420

0.247

0.083

0.050

11.110

0.610

0.610

0.610

0.440

0.450

0.560

2.080

2.380

4.050

20.000

12.050

1.790

1.490

0.680

2.590

2.130

2.170

14.930

70 71


63

CMU and Brick Veneer(interior insulation)

Brick Veneer& Air Space

CMU

Board Insulation

Drainage Cavity

Interior Finish

Thickness (inches)4 + 2 + 4

0.19Thickness (inches)4 + 2 + 8

0.18

CMU and Brick Veneer(cavity insulation)

Brick Veneer& 2 Air Space

Insulation over vapor retarder

CMUInterior Finish

Wood Stud Exterior Wall Finish

Sheathing w/weather barrier

Wood Stud

InsulationInterior Finish

Brick Veneer on Wood Stud Brick Veneer &AirspaceSheathing w/weather barrierWood Stud

InsulationInterior Finish

Drainage Cavity

Internal Drainage Plane

Drainage Cavity



Thickness (inches)4

Thickness (inches)6

Thickness (inches)4 + 4

0.07

0.11

0.06

0.04

0.07


Exterior Wall Assembly Wall Assembly Type Heat Transmission Coecient(U - Factor) (BTU/HR - SF F)72


Poor control of air, water andtransmission. Adding vapor retarder on cavity face of CMU improves performance to high precipitation.

Coating or insulation

None

Coating orinsulation

facing

Mixed or hot; low to moderate precipitation.


Cold; low to moderate precipitation.

Excellent control of heat, air and moisture.

Average control of heat, moisture, and air. Upgrading weather barrier to air barrier increases control of driving rain.

Average control of heat, moisture, and air. Upgrading weather barrier to air barrier increases control of driving rain.

None

None

As noted All climates; extreme precipitation.

Weather barrier or vapor retarder

Sheet or insulation

facingWeather barrier

or vapor retarder

Sheet or insulation

facing

Hot; low to moderate precipitation.

Mixed; low to moderate precipitation.


Hot; moderate precipitation.


Cold; moderate precipitation.

Performance Vapor Retarder Location and Type Exterior None Interior

Recommended Climate and Precipitation Zones

20

73


65


Thickness (inches)5

0.10Thickness (inches)7

0.08Brick Veneer on Metal Stud Brick Veneer

& Air Space

Interior Finish

Concrete(insulated)

Concrete and Brick Veneer(insulated) Brick Veneer &

Airspace

Concrete

Board InsulationInterior Finish

Drainage Cavity

Mass Barrier Wall

Drainage Cavity


Thickness (inches)8


Metal Stud Exterior Wall Finish

Sheathing w/weather barrier

Metal Stud

Interior Finish Insulation

Sheathing w/weather barrierMetal StudInsulation

0.10

Concrete

BoardInsulation

Interior Finish 0.13

0.13


Exterior Wall Assembly Wall Assembly Type Heat Transmission Coecient(U - Factor) (BTU/HR - SF F)74


Average control of air and moisture. Add insulation over sheathing to increase thermal performance. Upgrading weather barrier to air barrier to increase control of rain.


None

Sheet or insulation

facing

Hot; low to moderate precipitation.



Poor control of moisture. Average control of heat and air.

Average control of moisture. Average control of heat and air. Adding weather barrier on cavity face of concrete improves performance for high precipitation.

None

None


facing

Coating or insulation facing


facing





Mixed or hot; moderate precipitation.

Mixed; moderate precipitation.


Average control of air and moisture. Add insulation over sheathing to increase thermal performance. Upgrading weather barrier to air barrier to increase control of rain.

None


Sheet or insulation

facing

Hot; moderate precipitation.

Mixed; moderate precipitation.


Performance Vapor Retarder Location and Type Exterior None InteriorRecommended Climate and

Precipitation Zones

22

75

standards?67

Precast Concrete

Mass Barrier Wall

Thickness (inches)2

0.99Thickness (inches)4

0.85Precast Concrete Sandwich

Concrete

Board Insulation

Rainscreen on Metal Studs

EIFS on Metal Stud

Interior Finish

Mass Barrier Wall

Drainage Cavity


Thickness (inches)5

Thickness (inches)12

Thickness (inches)8

Precast Concrete (reinforced)

Board Insulation

Interior Finish

0.14

RainscreenAir SpaceBoard Insulation over Weather Barrier

Metal StudInterior Finish 0.05

EIFSWeather Barrier

Sheathing

Metal Studs

0.05


Exterior Wall Assembly Wall Assembly Type Heat Transmission Coecient(U - Factor) (BTU/HR - SF F)

76


Poor control of moisture. Average control of heat and air.


None


facing




Excellent control of heat, air, and moisture. Upgrade to pressure-equalized rainscreen system for even higher performance.

Poor control of moisture. Average control of air. Good control of heat.

None

As Noted

Poor control of heat, air, and moisture.

None All climates; low to moderate precipitation.

All climates; extreme precipitation.

All climates; low to moderate precipitation.

Performance Vapor Retarder Location and Type Exterior None Interior

Recommended Climate and Precipitation Zones

24

77


69

Wha

t is t

he w

ritin

g pr

oces

s?

In other theories, the writing process is described as a series of tasks characterized by the growth of the written product. Called Stage-models, these theories lack a particular emphasis on the pre-writing phase that is necessary to the process. The issue that surfaces with such theories is that

as the reference point. From here one gets an idea of how that product was manufactured, with no insight into the internal creative processes of the writer. Conventional studies suggest that all of the stages of a Stage-model are constantly happening simultaneously as opposed to acting in a chronological order. In contrast, the Cognitive Process Theory itself represents the major units of writing and the literary pursuit as elementary mental processes that conform to a hierarchical structure amongst themselves by nature. What this allows is for any process to act at any time through the composition process from

act of writing appears. With this in mind, the challenge evolves into identifying these mental processes and exploring their relationships. The rhetorical problem is a common issue that the Cognitive Process Theory endeavors to reconcile. Who is the audience; what are the goals; these are some of the rhetorical questions an author must confront. This means that writers only solve the problems that they are able to set out for themselves; which is to say that a poor understanding of the problem yields poorly focused writing. By compartmentalizing and

1.The process of writing is best understood as a set of distinctive thinking processes, which writers orchestrate or organize during the act of composing.

2.The processes have a hierarchical, highly embedded organization in which any given process can be embedded into any other.

3.The act of composing itself is a goal-directed thinking process, guided by the writers own growing network of goals.

4.Writers create their own goals and supporting sub-goals that embody the writers developing sense of purpose, and then, at times, by changing major goals or even establishing entirely new ones based on what has been learned through the act of writing.81


The Cognitive Process Theory of writing is a theoretical construct hypothesized and proposed in the early 1980s by Linda Flowers and John R. Hayes. The theory itself seeks to explain the writing process from a creative standpointan attempt to understand the structure of formulating ideas and translating them to prose. The main assertion of the Cognitive Process Theory states that the composing process with relation to writing is a series of decisions and choices. It is the position of the authors that such an assertion is no longer appropriate, nor is it easy to defend. For example, one might ask: What is it that guides the writers choices? This line of reasoning begs the question: How do writers go about the process of selecting diction, content, and the organization of these features? Others who have investigated similar questions have proposed their own answersthough Flower and Hayes tend to disagree. Some purport that the purpose of the writer is what guides their literary decisionsexpression, information, persuasion, and the manipulation of language.78 Others claim that the choices are determined by the relationship of the author to his audience and the subject material.79 The problem with such theories is that they make no attempt to reconcile the nuances of the drafting process with the theory. Another pertinent question is this: Should we assume that writing is merely the structure of organizing information from ones linguistic knowledge? This perspective

supports the idea that the writer has an idea in mind; then chooses from the lexical information available how best to verbalize and present that informative meaning. Does this really happen in the drafting process? Finally, it might be asked what is the relationship between purpose and language within the task environment? The Cognitive Process Theory endeavors to explain how good writers organize their rhetorical decisions. The Cognitive Process is, simply put, the theory of the cognitive processes

groundwork for a more detailed study of thinking processes in writing.80

The theory consists of four key points:

TEXTPRODUCED

SO FAR

WRITING PROGRESS

PLANNING TRANSLATING REVIEWING

MONITOR

THE WRITERS LONG-TERMMEMORY

Knowledge of Topic,Audience

and WritingPlan

TASK ENVIRONMENT

THE RHETORICALPROBLEM

ORGANIZING

GOAL SETTING

GEN

ERA

TIN

G EVALUATING

REVISING

TOPICAUDIANCEEXIGENCY

Theory of the cognitive processes involved in composing in an effort to lay groundwork for more detailed study of thinking processes in writing83

What is the writing process? 73

relating the mental processes that make up the act of creating, the theory attempts to

.smelborp fo gnidnatsrednu sretirw eht enoh The Cognitive Process theory can be explained through three channels: planning, translating, and reviewing.82 Planning is, in essence, the formation of an internal understanding of the philosophy that the writer is attempting to put to rhetoric. Planning itself involves a number of sub-processes all of which are drawn from the writers Long Term Memory; the generation of ideas, organization of those ideas, and the setting of internal goals within the story to achieve.Translating is the process of putting a raw idea to tangible language; implying a mode of communication from idea to page as opposed

.gnibircs ro ksat elpmis a nwod gnitirw otTranslation embodies the more ethereal nature of the creative process. Reviewing is the act of polishing the product until the manuscripts themes are clearly or adequately readable, as is determined by the goals of the writer.

The habits of writers tend to vary greatly form person to person. It is important, then, to gain an understanding of the general process of writing up-front. By understanding this process we gain insight into the development of habits that help writers produce literary content. While understanding writers habits can provide useful information,


what we need is the understanding of how

From this relationship, we can hope to draw architectural conclusions appropriate for all writers. Formalizing the process of writing seems the tangible goal. We cannot hope to design a space that adapts to each and every quirk of the literary minds that occupy it. We

can, however, take advantage of the base-processes by which writers work. From this,

accommodating habits, the formal solution could embody the process in a poetic sensea constant, subtle reminder of literature.

What gets you in the mood to write? -The desire to be paid. I dont have the luxury of being in the mood. Seriously?-Being inspired by something; music, a book, a location, a movie, anything.

What interrupts you when youre writing?-Not a damn thing if I dont allow it.-My kid or my wife getting home, phone calls, mess/clutter.

Describe your writing process in as much detail as necessary; what personal nuances exist in your environment?-I dont know that I understand this question. Writers write. Hopefully there is art at the end of it - but it is work all the rest of the time.-I usually make a cup of tea before I start, look out of the window onto the street, smoke, and maybe listen to some music. I usually start at around 1 oclock in the afternoon, and stop around 3. When stuck with a sentence I take

on what Im writing. My living room is an large, open, bright space.

During this project we are creating a space for writers, what elements make you most creative?-This is suspiciously similar to the previous question. The space should be quiet, even soundproof if possible. I can introduce sound as desired, often none, sometimes music. Good speakers are nice. Depending on the circumstances, good wireless headphones are nice also. Shelves for books. Shelves for books

area for hard copy reference materials. I like to print a lot of things for reading / reference. Though I write on the computer, I tend to

when things come together. I have a large dry-erase whiteboard on one wall. Wish that I could

space as well as the ability to tack notes and other items onto the board with magnets. (The good, rare earth magnets, not the cheapo junk

-I like to work at a table/desk and prefer to get dressed before I write so as to get in a working state of mind. I usually prefer lots of natural light, and if working at night time, prefer to have the whole room lit by lamps, as opposed to just my work space. Accessibility to notebooks etc it helpful to be able to write down ideas when necessary.

Survey

In order to better understand the process of writing as it develops from person to person, a survey was created and distributed to a pool of writers. The intention was to gain a broad understanding of how people involved in the writing craft work. This large sum can be

Listed below are the questions posed, and a select few of the more pertinent responses. In regards to the responses, it is important to note the physical descriptions of spaces and the writing utensils present.

Where do you write?

running feet of desk space, with two monitors. Also a TV and printer on one end.-At home, at the dining table in my living

apartment building.

What tools do you use to write? -Desktop computer exclusively for actual writing. Pen and legal pads handy for miscellaneous notes (Also 4 x 6 index cards and Post-its.)-Pen and notebook, laptop

What is the writing process? 75

Wha

t are

the

envi

ronm

ents

of

som

e cr

eativ

e pe

ople

?

Literature is made with words, but also with rhythm and with silences. Architecture is about light and about rhythm between spaces

structure. And in architecture you also have a structure: you have columns, you have beams...As an architect I think not about windows or walls but about creating a space. Each of these elements (windows, columns) are like words in a poem. Individually they are not so important; but they bring music, color and light to the whole. In the end, with a poem or a building, you are happy or you are not. The individual elements, be they words or windows, are not so important.- Cengiz Bektas84

Creative Retreats

Poetry is not only dream and vision; it is the skeleton architecture of our lives.- Audre Lord85

Every great architect is - necessarily - a great poet.- Frank Lloyd Wright86


Nature is my manifestation of God. I go to nature every day for inspiration in the days work. I follow in building the principles which nature has used in its domain.88

Wright (Architect)

Even though I build buildings and I pursue my architecture, I pursue it as an a

Kenneth Lowe Portfolio

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