Stinnett_Michael_Full_Portfolio

Michael Stinnett In Progress 2015

Michael Stinnett

Contents

9. Scripting

10. Photography

1. Canopy Barcelona

2. Floating Rock Helsinki

3. Migratory Housing Ilwaco

4. Flow Housing St. Louis

6. Data

5. Water Pause

Barcelona, St. Louis

Phoenix

8. Material Exploration

7. Technical Documentation

Helsinki, St. Louis

Helsinki, St. Louis.

312.498.2539

4466 Olive St #409 St Louis MO 63108

[email protected]

michaelstinnett.com

Mic

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Stin

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3Co

nten

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CanopyReactivating Historically Significant Public Space

Career de lAllada Vermell is a prime example of the placelessness introduced by Barcelonas aggressive clearing of open spaces in its incredibly dense, historic urban fabric. Higher speed public traffic punctures this square, while residents use the existing space as an ad-hoc sports field.

Introducing a canvas canopy over the public space creates a link that connects the corner of the square. Canvas recalls the streets softened by window-hung laundry. Softening the ground material slows the traffic. Adding a second anchor within the square as an observation area frames the ad-hoc public space and formalizes residents use.

Program supporting the uniquely Catalonian phenomenon of human towers (now acknowledged by UNESCO) defines the four levels of the rising structure. The first level is a hard concrete space with operable panels that expand lockers, restrooms, and storage into the square. Above this are observation and office levels. The large, long-span tree-like columns offer increasing amounts of deflection to the higher levels. On the top level, accessible only by wire ladder, observers experience an unstable sensation similar to being on the top of a human tower.

Approach to the square.

Aerial rendering.

Concept sketches in Rhino.

Professors Adrian Luchini, Elena Canovas, Mariona Ribelles

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Canopy

0 m+1 m+

4 m+

8.2 m+

15.6 m+

19.5 m+

Section A1:100Elevation with urban context.

Long section of enclosure and canopy-covered space.

Clockwise from top left

Main canopy-covered assembly space.

Looking up from the main stairs.

Main stairs and ground floor entrance.

Site plan.

Mic

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Michael Stinnett

6 7C

anopy Can

opy

OpaqueSource

PrivateSolid

DisintegratedPublicOutdoors

Disintegrated

Disintegrated

Disintegrated

Disintegrated

Disintegrated

Disintegrated

Disintegrated

Disintegrated

Disintegrated

Public

Public

Public Pr

ivate

Private

Public

Public

Public

Disintegrated

Disintegrated

Pole

Pole

Disintegration

Shard

Circulation.

Major steel structure, trunk.

Secondary steel structure, leaf.

Canvas canopy.

Enclosures.

Complete.

Concept sketches in Rhino depicting a subjective interpretation of the urban space and the response.

Full 1:50 model.

1:200 site model.

Concept sketches of approach and circulation. Timelapse of model construction.

Mic

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Michael Stinnett

8 9C

anopy Can

opy

0 m+1 m+

4 m+

8.2 m+

15.6 m+

19.5 m+

Section A1:50

Office space, third level. Detail of long section.

Mic

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Michael Stinnett

10 11C

anopy Can

opy

2.8 m+2.4 m

+

6.8 m+

+

+

5 m+

3.7 m

2.6 m

Top floor, instability duplicating the wavering experience of being on top of a human tower.

Office space, steel tension.

Ground floor connection.

Mic

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Michael Stinnett

12 13C

anopy Can

opy

Professors Philip Tidwell, Matti RautiolaFloating RockCorporate Identity and Urban Relationships

Artek, evolving from its origins with a single design team, has become an institution that protects and promotes good design. The Artek brand does not serve one aesthetic style or one target market, but rather encompasses that which makes the world pleasant to inhabit. The brand enables designers to experiment and innovate within their field. It is this image of Artek that is promoted in this proposal. The monolithic upper building protects the designers and teams within, insulating their creativity from the world to the degree they see fit. As an education center, however, this project also demonstrates Arteks reaching out into the community, which resonates with the transparency of the gallery at street level. Together, the monolithic feeling of shelter and the transparency of permeability define Artek and so provide the origin of this proposal.Dark copper draws the otherwise strange surface of the faade into dialogue with Helsinkis architectural past. The dimensions of the faades undulation are likewise approximated from cantilevered bay windows. As part of an intensely pedestrian-accessible part of Helsinki, the emphasis on transparency on the first floor promotes connection to nearby green spaces and boulevards. A central atrium draws this tension between closed and open upwards into the more private spaces, while floors that come short of touch the exterior walls subvert the expected visual and, in some cases, acoustic privacy of the usual office building. This openness allows more natural light to penetrate the building, even while the skin retains good insulation and solid-void ratios. The voids that are present act as a box-type double faade, reducing heat lost through glass.

Elevations

SouthWestAcross Ratakatu Across Ratakatu & YrjonkatuEast North

A. Gallery.

B. Light well floor plate gap.

C. Concept.

D. Concept.

E. Glass under rock.

Urban relationships.

Down the street, many rocks.

Activation overlaid with window patterns.

A B C D E

Mic

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Michael Stinnett

14 15Floating Rock Fl

oatin

g Ro

ck

ASauna & studio apartments.

Office and conference space.

Classrooms.

Upper gallery.

Main gallery.

Reading room.

Archive.

Mic

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Michael Stinnett


oatin

g Ro

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ABC

5

Roof

4

3

2

-1

1

A

BC

5

Roof

4

3

2

-1

1

A

BC

5

Roof

4

3

2

-1

1

Clockwise from top-left

View down through atrium.

Upper gallery.

Bedroom.

Glass-enclosed conference room.

Main gallery stairs.

Facing the public park.

Open office and conference room.

Bedrooms and corporate sauna.

Gallery, view to reading room, exterior connection.

Southern facade.

Mic

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Michael Stinnett


oatin

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Glass Panel

Flexible attachment

Space and Bolt Connection

Finished Gypsum Board Surface

Mullion Support

Roof Truss

Spacer to create Incline

Insulation as part of STC-60-rated WallDouble Gypsum Board

Gympsum Board

Metal Attachment Plate

Rigid Thermal Insulation

Moisture Barrier

Aluminum Facade Support Bracket

Fire Stair Slab

Concrete Masonry Unit Fire-Rated Wall

Sidewalk

Metal Flashing

Drains to City Sewer

Exterior Bolt Panel AttachmentAluminum SupportAluminum Support (Orthogonal)C SteelFacade Support Connection Bolt

Finished Gypsum Board SurfaceMetal Attachment Sheet

Hanging Metal Wire Support

Aluminum Support

Thermally Isolated MullionStabilized by Column Connection

ConcreteDark Concrete TilesFireproofing Board

Metal Deck

Primary Structural W-Beam

Beam-Column Bolt Connection

Main Floor SlabReinforced Concrete

Finished Interior SurfaceConcrete Foundation Wall

Plywood

Subfloor, Bolt-Connection to Slab

Foundation Insulation

Moisture Barrier

Concrete Spread Footing

French Drain

Finished Floor

AVEC / Artek-Vitra Education CenterProposal for Yrjnkatu

Monolithic / TransparentMichael Stinnett

1

1

2

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3

3

4

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5

5

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Structural axon, relationship of skin to structure.

Mic

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Michael Stinnett


oatin

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Professor David RuyGlitchMigratory Housing Typology in Ilwaco, Washington

Ilwaco, Washington is home to a large commercial fishing fleet, employing most of the towns 2,000 residents. Together with the nearby beach towns, this coastal area is home to about 10,000 people in low-density typologies, mixed in with high-density hotels. Tourism and fishing exports together are the leading economic drivers, but the peak tourism season is short: only from midsummer to fall.

Taking advantage of the resonance between peak tourism and peak fishing, this housing project offers residents a migration from higher density units to combined units housing multiple families together and offering hotel space in vacated units. Multiple-family living situations increase the possibility for group childcare and reduce the loneliness of a family separated for months at a time. These group-housing typologies operate along a spectrum from higher density down to individual housing that shares kitchen and bath space with more distant neighbors. In the least dense condition, units are separated by 300, which is the sight distance during the frequent heavy fog in this area. In the highest density condition, private space is achieved through traditional opaque materials, but the corridors are quadruple-loaded, ensuring a variety of interactions in the community.

Fishing

Communal 1

migration

Communal 2

migration

Peak Tourism

Temperature

January February March April May June July August September October November December January



Shrimp

SalmonCrab

Section and plan cut axon.

Program resonances.

Site relationship, connection with ocean.

Migration sections.

Mic

hael

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23G

litch

Michael Stinnett

22G

litch

Third floor plan, main set of buildings.

Ground floor plan, main set of buildings. Pairs and integrated units with exterior hallways.

CMU disintegration.

Undulating corridor provides privacy and connection.

Mic

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Michael Stinnett

24 25G

litch Glit

ch

A. Interior of partially integrated unit with compressed image plane. Totally integrated unit.

Partially integrated unit / pair.

A

Conventional unit.

Mic

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Michael Stinnett

26 27G

litch Glit

ch

Flow HousingUsing Combined Live/Work/Retail/Produce Units and Circulation to find flow

The primary obstacles to adopting public transportation are long commuting distances and daily necessities. Chief among these obstacles in a world of increasingly single-parent, multiple-care-taker households is finding child care to be able to work. To solve this, this project proposes live work units that connect child care providers to a child care space as well as various levels of care for the elderly. Employment in the form of workshop spaces, tutoring spaces, and integration into the child care center enable productive use of time and contribution of value to the housing community.

Live-work will occupy an increasing amount of economic productivity, while job complexity will require more specific work-related assets at home. Can housing provide a Level-5 lab for a telecommuting pharmaceutical researcher, a still to a craft beer maker, a quiet space for an author, and a shop for a woodworker? Hyper specificity will increase supply chain complexity. Density provides an opportunity to join the supply chain as a genuine entity to supplement the inadequacies of walkable options.

As society moves toward ever greater specificity and division, we lose community. Simmel suggests that chance encounter provides one avenue. This project provides spaces for individual users, tailored to their needs, but attempts to coerce these hyper-specific individuals into a community? A quilt of subjective experiences might unify under common, essential activities like social food preparation, or

physical activity, or even communal reading spaces.

But, each connection erodes the psychological sense of private space. Can we reintroduce what the Situationists would call life into the process of circulating through these hyperspecified spaces?

Can we willfully initiate individual ontology? Can we achieve this while breaking the duality of the split Cartesian human being, and unify body and mind? What if ones commute engaged actively with both ones mind and ones own assertion of ones existence?

The circulation corridors of this project engage in a rhythm of mental challenge and restoration, mutating the walking commute into a psychologically active experience.

Some users, however, do not require a circulation that invokes the psychological construct of flow and find their psychological center in another way, on or off site.

Site connections. Circulation.

Early massing model.

Solar exposure.

From left

Circulation and zones of activity.

Circulation and street connection.

Nodal site occupation.

Environmental borders.

Commuter activity.

Professor Ersela Kripa

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Flow H

ousing

UP

UP

DN

UP

UP

DN

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UP

UP

UP

UP

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UP

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DN

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DNDN

DN

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UP

UP

UP

UP

UP

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UP

UP

DN

DN

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UP

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DNDN

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UP

UP

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UP

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UP

UP

Wind.

Ground floor, first iteration.

Ground floor, second iteration.

Occupation by time of year.

Activity during morning commute.

Regular sources of louder noise.

Overlapping phenomena.

Mic

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Michael Stinnett

30 31Flow

Housing Fl

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Introverted & total digital units. Family and live-work-produce units.

Mic

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Michael Stinnett

32 33Flow

Housing Fl

ow H

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First model. Final model.

Mic

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Michael Stinnett

34 35Flow

Housing Fl

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DN

DN

UP

DN

DN

UP

UP

DN

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UP

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UPFour-unit live-work-produce cluster.

Unit clustering.

Single occupant unit and office.

Family unit and daycare.

Live/work unit with retail/coffeeshop.

Live/work unit with private office.

Mic

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Michael Stinnett

36 37Flow

Housing Fl

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Water PauseUsing Topography to Create Naturally Cooled, Humid Space in the Desert

Parts of labs have strict HVAC requirements. However, many functions in labs, like eating, meeting, and writing papers, are less sensitive. These spaces can be kept cool and warm through lighter interventions than a traditional full-building HVAC system. In Mountain Park, Phoenix, artificial arroyos serve as the moisture for natural cooling for less technical space in a lab complex.

First, investigating site topography reveals moments of opportunity in lower grade and more vegetated spaces. These opportunities will be recreated and reinforced with the design of the intervention.

A A

B B

C C

D D

A A

B B

C C

D D

A B

C D

AA

BB

CC

DD

AA

BB

CC

DD

A

B

C

D

Professor Christine Yogiaman

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ater

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Water Pause

14:00

12:008:00 20:0018:0016:006:00

Public Space

Invidual Space

10:00

Logic Scale 1/64" = 1'N

14:00

12:008:00 20:0018:0016:006:00

Public Space

Invidual Space

10:00

Logic Scale 1/64" = 1'N

Water flow. Moments of opportunity. Time of day and solar exposure correlation.

New terrain and hard space. Variously conditioned spaces. Circulation and public / private spectrum.

Mic

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Michael Stinnett

40 41W

ater Pause Wat

er P

ause

Scale 1/64" = 1'Site Plan

B

C

B

C

A

A

N

Composite floor plan.Site plan.

Mic

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Michael Stinnett

42 43W

ater Pause Wat

er P

ause

Across BarcelonaOpen/closed doors at +7.5m, history, and occupation

A small book correlating subjective and objective dimensions of experiencing a city. The topography line passes from the defensive hill at Parc Mirador del Poble Sec to Jean Nouvels Torre Agbar and through the Gothic Quarter, revealing a full cross-section of Barcelonas diverse urban history.

Experiential collage

Historical annotations

Section of apertures every 50m

All street level apertures

Street geometry

Active/resting occupation

Torre AgbarJean Nouvel2005

140m38 storiessurrounded by large scale plaza

Plaa de les Glries CatalanesStreets for CarsCarrer de la Marina

Tall Buildings

Threshold of Occupation

Density and Artificial Open SpaceMethodology

Activity Plan

Section

Arc de Triomf Parc de la Ciutadella

The old city wall provides the space for this monumental axis.

Occupying the historical border between city and country, this street defined the entrance to the 1888 Worlds Fair, with the Arc de Triomf as the gate proper. This edge of the city has seen some of the greatest urban reconfigurations.

Large scale is coupled with relatively opaque facades to reinforce the monumentality of this space. The street is a park, not commercial or residential in the way that the old city is.

Passing through.

1706 1855 1878 1885 1900 1902 1930 1930 1967

North

Car Parking

Moped Parking

Car ShopsCar Shops Car Shops Car Shops

This part of Sant Mart is not for pedestrians but for cars. Gone is the crowded throng, replaced by another layer of static enclosure.

Pedestrian friendliness is further reduced by abandoned buildings. The streets have an inconsistent scale with many closed facades.

Cerda meant to relocate the center of the city away from Placa de Catalunya and La Rambla in the 1850 plan. Since then, the square has struggled to gain relevance in Barcelona. It is now being redeveloped as a park with a local-first attitude, burying the infrastruc-ture underneath the new green space. Eorts are also being made to mitigate the scale of the area.

Glorias formed in the order brought to the chaos of the countryside.

After the busy density of the old city and the park, arriving at Carrer de la Marina marks the end of highly occupied spaces. There are many fewer cafes and pedestrians and street users generally, and those that there are usually are moving to somewhere else.

The ground texture of the park supports the preferred activities of sitting and lounging. This is the first turf on the contour line.

soft

soft

soft

soft

soft

softsoft soft soft

Carrer d

e la M

arinaSouth

North

density

density

density

density

density

density

density

densitydensitydensitydensitydensitydensitydensity

open

The winding dense streets of the old city give way briefly for the new square.Creating open space has been important for more than 100 yearsthe city walls started to disappear in 1854. It remains a contemporary priority.

Barcelona is a dense city, but the Gothic Quarter is particu-larly confining. Moments of expansion are quite welcome in this area.

The walk is organized around identifiable places carved out of the anonymous city. The most striking change encoun-tered is one of compression, darkness, and density that changes to an ordered, large, brighter space with many fewer people. This feeling is reinforced at the street level by the quantity of street-facing doors and their opacity.

Further, the facades above the street work together with street geometries to produce compression and expansion. The opacity of the street section colors the street geometry and further changes the experience of the space. Activity is a symptom of the demographic distribution of the city, but, on this contour line, it also reflects history and urban form.

street w

idth

openopaque

balcony

5 stories

static vehiclesdynamic people

dynamic vehicle

static people

The monumental axis. The wide multilayered park section. Short, opaque buildings define the street here.

Transition from people-space to vehicle-space.

Large plazas and larger buildings.

glistening, gleamingpolished metal, polished glassthe fun colors of the fun timesplease come visit barcelona.

Design Museum of BarcelonaMBM 2008

street width

+7.5 mAcross BarcelonaMichael Stinnett

The streets of Barcelona exhibit a rhythm. Following the +7.5m contour line from the new, iconic Jean Nou-vel-designed Torre Agbar to Parc del Mirador del Poble Sec, this line docu-ments a subjective/objective experi-ence of the city.

We start at the midpoint: Carrer de lAllada Vermell

Our home for the first two weeks, these streets also lead to studio. Narrow, with worn cobblestones and dense with activity.

Narrow = light/dark

Via LaietanaOld City Typology Carrer de lAllada Vermell

Carrer de lAllada Vermell is a cleared square in the fabric of the Old City. The relatively young intervention (finished only in 2008) marks the eorts of Barcelona to reinvent itself, to create vibrant spaces for its citizens.

Via L aietana is a divide between two parts of Barrio Gotico. The high trac and infrequent crossing lights combine with large scale and high opacity.

1:1500

1:50000

Narrow street with heavy shadow line. The brightly lit half of the street exposes plants and open apertures.

Plants play a large role in defining the softness of parts of the contour line. Laundry likewise softens the otherwise hard buildings. The presence of these elements can make even relatively opaque stretches of the contour line feel more comfortable.

Expansion at Placa George Orwell

1990

Contraction on Carrer des EscudellersThe Old City is an enclosure of facades on the street.

La Ramb

laParque Mirador del Poble Sec Poble Sec Carrer dObradors

plants

plants p

lants

plants

brightbright

skyskysky

shadow

shadow

plantslaundry

laund

ry

1250: shipyard

1750: military zone

1850: disorganized

1950: organized

1997: present state

An end of the +7.5m walk is this new park. Built in 1997, this is a large forest-like space that defines an edge of the city. This is a particularly old part of the city: the defensive mountain is uphill, the city walls are only a few meters away. There were many wells here, feeding textile mills and shipyards before working class housing.

1706 1878

Cerda

Gothic

Military

Forest

Forest

Forest

Forest

Forest

Forest

Forest

Forest

Forest

Forest

Forest

City City

CityCity

City

City

City

City

City

City

City City

City

City

City

City

CityCity

300: Ro

man wal

l

1440: sta

rts beco

ming a

street

1703: tre

es plant

ed

1766: stre

et forma

lized

1778: be

comes m

ain thoro

ughfare

1850: gai

ning pro

minenc

e as a ce

nter

1924: me

tro

South

All the stores here are open, laundry and plants disappear, replaced by open balconies in grand stone buildings.

There is a constant stream of activity along the tight but commercially intense streets of the old city. Turning the corner to Rambla intensifies an already dense amount of people.

Turn the corner and the number of static inhabitants remains high but the dynamic inhabitants are gone.

Vehicles become more important to the definition of the street.

Midpoint

EndEnd

La C

anadenca

2003

Tres Xemeneies Gardens

La C

anadenca

Pass through the park of the historical site of La Canadenca. Here there was a power station and site of the strike in 1919 that brought the 8 hour work day to Catalonia.

Parks like this provide an edge to the relentless hard surface of the city. This contour line has parks outside the ancient walls on both sides, reflecting the strong desire to prioritize green space whenever space is available.

open

1855 1902 1967

dapp

led lig

ht

dappled light

stone

hardoldworndurable

treestrees

crowdcrowdcrowd crowd crowd crowd crowd crowd crowdcrowdcrowdcrowd

The jostling, loud, charged, gulf between neighbor-hoods. Grand buildings, calm trees, and ocean breeze contrast the density.

La Rambla is a dramatic example of the stone-based public space that pervades Barcelona. Soft space

becomes precious because of these large expanses of stone.

The threshold between the new grid plan and the old wandering city. Cars already take priority in the first block at the edge.

New New New OldOld

Old

1706

1878

1855

Pedestrian Crossing

cars

cars

cars

cars

cars

cars

carscarsm

oped

mop

ed

carscars

+7.5 mAcross BarcelonaMichael Stinnett

The streets of Barcelona exhibit a rhythm. Following the +7.5m contour line from the new, iconic Jean Nou-vel-designed Torre Agbar to Parc del Mirador del Poble Sec, this line docu-ments a subjective/objective experi-ence of the city.

We start at the midpoint: Carrer de lAllada Vermell

Our home for the first two weeks, these streets also lead to studio. Narrow, with worn cobblestones and dense with activity.

Narrow = light/dark

Via LaietanaOld City Typology Carrer de lAllada Vermell

Carrer de lAllada Vermell is a cleared square in the fabric of the Old City. The relatively young intervention (finished only in 2008) marks the eorts of Barcelona to reinvent itself, to create vibrant spaces for its citizens.

Via L aietana is a divide between two parts of Barrio Gotico. The high trac and infrequent crossing lights combine with large scale and high opacity.

1:1500

1:50000

Narrow street with heavy shadow line. The brightly lit half of the street exposes plants and open apertures.

Plants play a large role in defining the softness of parts of the contour line. Laundry likewise softens the otherwise hard buildings. The presence of these elements can make even relatively opaque stretches of the contour line feel more comfortable.

Expansion at Placa George Orwell

1990

Contraction on Carrer des EscudellersThe Old City is an enclosure of facades on the street.

La Ramb

laParque Mirador del Poble Sec Poble Sec Carrer dObradors

plants

plants p

lants

plants

brightbright

skyskysky

shadow

shadow

plantslaundry

laund

ry

1250: shipyard

1750: military zone

1850: disorganized

1950: organized

1997: present state

An end of the +7.5m walk is this new park. Built in 1997, this is a large forest-like space that defines an edge of the city. This is a particularly old part of the city: the defensive mountain is uphill, the city walls are only a few meters away. There were many wells here, feeding textile mills and shipyards before working class housing.

1706 1878

CerdaGothic

Military

Forest

Forest

Forest

Forest

Forest

Forest

Forest

Forest

Forest

Forest

Forest

City City

CityCity

City

City

City

City

City

City

City City

City

City

City

City

CityCity

300: Ro

man wal

l

1440: sta

rts beco

ming a

street

1703: tre

es plant

ed

1766: stre

et forma

lized

1778: be

comes m

ain thoro

ughfare

1850: gai

ning pro

minenc

e as a ce

nter

1924: me

tro

South

All the stores here are open, laundry and plants disappear, replaced by open balconies in grand stone buildings.

There is a constant stream of activity along the tight but commercially intense streets of the old city. Turning the corner to Rambla intensifies an already dense amount of people.

Turn the corner and the number of static inhabitants remains high but the dynamic inhabitants are gone.

Vehicles become more important to the definition of the street.

Midpoint

EndEnd

La C

anadenca

2003

Tres Xemeneies Gardens

La C

anadenca

Pass through the park of the historical site of La Canadenca. Here there was a power station and site of the strike in 1919 that brought the 8 hour work day to Catalonia.

Parks like this provide an edge to the relentless hard surface of the city. This contour line has parks outside the ancient walls on both sides, reflecting the strong desire to prioritize green space whenever space is available.

open

1855 1902 1967

dapp

led lig

ht

dappled light

stone

hardoldworndurable

treestrees

crowdcrowdcrowd crowd crowd crowd crowd crowd crowdcrowdcrowdcrowd

The jostling, loud, charged, gulf between neighbor-hoods. Grand buildings, calm trees, and ocean breeze contrast the density.

La Rambla is a dramatic example of the stone-based public space that pervades Barcelona. Soft space

becomes precious because of these large expanses of stone.

The threshold between the new grid plan and the old wandering city. Cars already take priority in the first block at the edge.

New New New OldOld

Old

1706

1878

1855

Pedestrian Crossing

cars

cars

cars

cars

cars

cars

carscarsm

oped

mop

ed

carscars

Professors Elena Canovas and Antonio Sanmartn

Mic

hael

Stin

nett

Michael Stinnett

44 45A

cross Barcelona Acr

oss

Barc

elon

a

Phenomenological MappingDiagramming View Corridors & Obstructions, and Types of Activation in St Louis. Group with Micah Stanek

Each of these diagrams corresponds to another type of phenomenological investigation. These include event activations, time of day activations (as measured by counting users of the space), prevailing winds, distance to trees, topography that exceeds a threshold, and circulation. These phenomena are fed into a Grasshopper script to create the final diagram.

The first map, made with a partner, is an Arch-D sized paper collage. Each point was measured and photographed on site, after which a sector of colored paper circle was cut out and placed to indicate the ability to view different phenomena. Emerging from this diagram are the moments of topography and large trees that define the site.

Work was equally divided throughout concept and construction. The script-generated mappings on the opposite page are entirely my own.

Frequency of ActivationIntenstiy of Activation

Scale 1 = 200 Circulation

100Density of Traffic Flow

More

Less

Winter

Summer

Scale 1 = 200

100

Data from Glenn, Vanessa, and Eric.

Prevaililng Wind

High Activation and Low Circulation

Steep Edges

Scale 1 = 200

100

Composite Edges

Professor Natalie Yeats

Mic

hael

Stin

nett

Michael Stinnett

46 47Phenom

enological Mapping Ph

enom

enol

ogic

al M

appi

ng

Punctuate/UndulateEnvironmentally Responsive Script-Generated Facade System

In Helsinki, there are few warm days every year. Those few warm days can be handled with a minimum of energy input if sun shading is carefully considered. What happens if sun shading becomes an integral focus of the design process?

These shades are made of undulations of the load-bearing concrete facade. Apertures of three sizes set the overhang distance required by Helsinkis summer sun angle. Grasshopper provides the new surface matched to the windows (which are also generated in Grasshopper with a circle packing algorithm).

The first iteration provides more dramatic undulation due to the larger difference betwen the smallest and largest apertures, but the resulting wall is too material intensive. Using smaller apertures with less difference between them, the second iteration achieves adequate sun shading with relatively efficient use of material.

01/16 = 1-0

16

01/16 = 1-0

16

PUNCTUATE - UNDULATEKeri Mate . Michael Stinnett . Joanie WalbertARCH 439H . Environmental Systems II . Chandler Ahrens

Section Cooling Mode

Section Heating Mode

Generic Building

DAYLIGHTING ANALYSES

Facade Iteration 01 Facade Iteration 02

West Elevation 1 = 1/16 South Elevation 1 = 1/1601/16 = 1-0

16

Plan 1 = 1/16

finish floor

fan coil return air vent

hanging bar lights

floor supports

fan coil water supply


radiant slabs

bar lights

cooling tower

refrigerant loop

pump

heating/cooling mode valve


water for building use

fan coil units

hot and cold water mixingadjustable valve

pendant lights

fan coil water return


fan coils pre-heating air

recessed lights

ducts

city hot and cold water supply

drain to city

pan and joist concrete slab

radiant heating tubes

insulation

facade-supported slab

Responding to the over-illumination of

the generic office space, the proposed

facade system uses thickness calibrated

to block summer sun from hitting

windows of various size.

Starting with a set of openings that vary

in size based on the program behind

them, the facade undulates in front of

the punctuated openings. The shade

allow minimal air conditioning use when

supplemented with natural ventilation.

slab-supported facade

return air

window assembly

metal angle clips

fan coil intake covercnc-formwork concrete facade

plaster board

operable inner window

assembly shell

insulation

cnc-cut insulation cap

operable ventilation

plaster surface

fan coil intake cover

exterior operable window

01/16 = 1-0

16

01/16 = 1-0

16




Generic Building




16

Plan 1 = 1/16

finish floor


hanging bar lights

floor supports



radiant slabs

bar lights

cooling tower

refrigerant loop

pump




fan coil units


pendant lights




recessed lights

ducts


drain to city



insulation














return air

window assembly

metal angle clips


plaster board


assembly shell

insulation



plaster surface



01/16 = 1-0

16

01/16 = 1-0

16




Generic Building




16

Plan 1 = 1/16

finish floor


hanging bar lights

floor supports



radiant slabs

bar lights

cooling tower

refrigerant loop

pump




fan coil units


pendant lights




recessed lights

ducts


drain to city



insulation














return air

window assembly

metal angle clips


plaster board


assembly shell

insulation



plaster surface



Group with Keri Mate and Joan WalbertProfessor Chandler Ahrens

Mic

hael

Stin

nett

Michael Stinnett

48 49Punctuate/U

ndulate Punc

tuat

e/U

ndul

ate

508

524

FIRST FLOOR

SECOND FLOOR

THIRD FLOOR534

545-4FOURTH FLOOR

ROOF555-4

TOP OF PARAPET557-4

STUD @ 2' OC

SOLID SURFACE SILL

SLAB REINFORCING WOVEN WIRE MESH

SPACER STUD

CONTINUOUS VERTICAL CURTAIN WALL MULLION

VAPOR BARRIER

GYPSUM BOARD

BENT PLATEW9

ALUMINUM COATED BRACING

GYPSUM BOARD

MULLIONS

BENT PLATETUBE STEELROOF DECK

ROOFING MEMBRANE

SUBSTRATE BOARD

PRECAST CONCRETE BASE

C HANGER

FIRESAFING ANNODIZED ALUMINUM PERFORATED BLADES

GYPSUM BOARD

RIGID INSULATION

VAPOR BARRIER

METAL DECK

BRICK

ANODIZED ALUMINUM SUNSHADE OUTRIGGER

VAPOR BARRIER

W9L BEAM

SPACERS

RIGID INSULATION

FORMED ALUMINUM COPING

SHEATHINGSPANDREL GLASS

ALUMINUM CLIP ATTACHMENT

VAPOR BARRIERINSULATION

C HANGERPAINTED STEEL OUTRIGGER

INSULATION

ALUMINUM PLATE

ZINC COATED COPPER DOWNSPOUTZINC COATED COPPER GUTTER

ALUMINUM PANEL GLAZED

TEMPERED GLASSSTEEL ANGLE

#5 CONTINUOUS

BATTED INSULATION

CONCRETE MASONRY UNIT FULLY GROUTED

FILTER FABRIC

EXPANSION JOINT

Lexi White & Michael StinnettPatrick Brown

Delmar Housing Wall Section & Digital Model 5 December 2013

Scale 3/4 = 1

Lexi White & Michael StinnettPatrick BrownDelmar Housing Wall Section & Digital Model5 December 2013

Building StudyDocumenting Loop Lofts in St Louis Group with Lexi White

This model reconstructs the structural and facade systems of a new building in St Louis.

Work was completed together simultaneously, alternating between 2D and 3D.

Professor Eric Hoffman

Mic

hael

Stin

nett

Michael Stinnett

50 51Building Study Bu

ildin

g St

udy

Plywood Chair Professor Julie Tolvanen

Starting with a precedent analysis of an existing chair, this project developed a new take on the now quite old tradition of plywood chairs. Inspired by the comfortable curves of the Clash chair, this chair is comfortable, with soft curves inviting users to try it out. Hidden connection hardware gives an illusion of lightness, reinforcing the approachability of the chair.

445m

m

407m

m

820m

m

394mm

503mm

179m

m

203mm

Connection:4x #6 T-Nut with M6 Screws

510mm

543mm

102

93

438mm

353mm

445m

m

407m

m

820m

m

394mm

503mm

179m

m

203mm


510mm

543mm

102

93

438mm

353mm

445m

m

407m

m

820m

m

394mm

503mm

179m

m

203mm


510mm

543mm

102

93

438mm

353mm

Mic

hael

Stin

nett

53Pl

ywoo

d C

hair

Michael Stinnett

52Plyw

ood Chair

Material ExplorationMaterial Studies Assembling Steam-bent Basswood

Hand drawing of connection types.

Final bent form.Completed assembly.

Early explorations.

Professor Natalie Yeats

Mic

hael

Stin

nett

55M

ater

ial E

xplo

ratio

nM

ichael Stinnett54

Material Exploration

Scripting GeometriesPieces of Projects and Experiments

Arrays an arbitrary geometry along an arbitrary curve and orients the top to face another arbitrary curve.

Uses a graph to bias the division of a curve and then constructs an algorithmically generated rectangular prism on this points.

Computes an extrusion distance based on arbitrarily sized circles and fits a new surface to that minimum distance.

Working under Lavender Tessmer, I was responsible for extracting computed geometry and creating the curves the CNC would follow, including connections.

Mic

hael

Stin

nett

57Sc

riptin

g G

eom

etrie

sM

ichael Stinnett56

Scripting Geom

etries

I believe in controlling the tools of practice. Computer based design process has opened complexity many orders of magnitude beyond the variables that tools provided in the pen and vellum era, but with it has come a profusion of design possibilities. While software is never a design driver, knowing which tool can help achieve a design goal requires broad knowledge of the available tools at all scales. Python and VB scripts bring the potential to implement new algorithms without the associated cost and time of commercial software release. Programming is the new literacy and understanding the computer as the tool of design is one of my primary career goals.

Digital design and fabrication enables iteration, collaboration, and computation that is changing the industry. Workflow tools are beginning to handle the complexity of multi-firm, multi-role architecture projects and the results are already

compelling. At this stage in my process I use macros, scripts, and Grasshopper definitions to compute precise but dynamic geometries, make progressive changes, and iterate parts of designs closer to deadlines. Algorithmically driven design using Python is my next area of interest, with workflows involving Excel and custom software. Distributed workflow and multi-user files are the most exciting developments on the horizon for me, especially leveraging existing collaboration tools like Git and its ability to handle the text-as-geometry of the IFC file.

In school, it has become clear that true collaboration offers speed, accuracy, and creativity well beyond that available to individual designers. The cost of this collaboration is in the clarity of the concept at all scales and the tools to implement dependent parts of the design simultaneously. The first problem is solved in practice and the second is solved in software.

Photography

SerengetiGullfossPorto

St. LouisThingvelir

Paris

Mic

hael

Stin

nett

Michael Stinnett

58 59Photography Ph

otog

raph

y

Date post:	17-Jul-2015
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