Site/Architecture — Thompson and Rose Architects

MICHIGAN ARCHITECTURE PAPERS 4

site/architecture

THOMPSON AND ROSE ARCHITECTS

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ISBN ' 80' IY7 C'? 9 site/architecture

THOMPSON AND ROSE ARCHITECTS

FOREWORD

CONVERSATIONS AT MICHIGAN

SIX PROJECTS

APPENDICES The academic setting is a privileged lookout from which it 1s possible to view !he world For the discipline of orch1tecture 1 i~e the other professional disciplines housed within that settmg it provides on nvoluoble opportumty to observe the field of proct1ce. It is however a place which IS also of he world and consequently con enable faculty and studenls to not only view rhot field of practice but to participate oct1vely in its cultivation.

RoTo BOOK MAP ONE FOREWORD

The practice of architecture is changing It was for these reasons that the College rapidly in response to an increasingly of Architecture + Urban Planning at globalized culture and, as a the University of Michigan sought out consequence, the procurement and Thompson and Rose. During the 1 998 design of buildings is becoming Winter Semester they served as increasingly generalized. As architecture distinguished visiting critics at the is commodified in this way so its College. As a part of this collaboration connections with a particular place, to a they helped to make an exhibition of moment in time, and with the interests of work, met with students, gave a lecture a specific client or building user tend to and, in collaboration with Michael be made all the more tenuous. Grant, directed a graduate architecture design studio. Michigan Architecture In this context, the work of Thompson Papers Four documents a series of and Rose is a significant exception in the projects designed by Thompson and field of practice in the United States of Rose and records aspects of that America. The work of this small, relatively collaboration in an effort to make new yet already accomplished practice, some of the ideas, work and debate is directed by two young designers. that it prompted more accessible to a Combining the skills of architect and wider audience. landscape architect, they are developing an approach which integrates concerns The Michigan Architecture Papers seek to of architecture and the detail of present architecture of the highest quality construction with preoccupations for the and provide a basis for the continuing characteristics of a particular place. critical review of the discipline. They are Inevitably their portfolio of work is designed by students of architecture for modest, but as the few built projects students of architecture. They seek to clearly show, this is work which record presentations and debates which demonstrates a passionate and frequently take place at the College, yet impressive commitment to an architecture are often lost in the hectic bustle of the that is specific and not general. academic year.

5 Collaborative studios that bring together educators and practitioners are at the foundation of architectural education. The program at the University of Michigan, first established by William Le Baron Jenney, subsequently developed by outstanding architects which have included Eliel Saarinen, Emil Lorch , and Robert Metcalf, and more recently advanced though collaborative studios with significant architects from practice including Clark Stevens and Michael Rotondi, has continued to foster that tradition. This publication records one such collaboration which took place during the 1997/98 academic year. It is made in an effort to assist in the careful mapping of a territory of education and to help to define a field of practice in architecture.

Bnon Corter Professor and Choir of Architecture University of Michigan

6 CONVERSATIONS AT MICHIGAN

Based on a series of discussions at the You hove worked extensively on the design College of Architecture + Urban of buildings and landscapes Does the Planning at the University of Michigan consideration of 'site' toke on particular between Maryann Thompson and significance in your work2 Charles Rose, Visiting Assistant Professor Michael Grant and architecture students CR: We are interested in creating an Joseph Berlinghieri, Christopher architecture that 'sees' its site- an Lanzisera, Carla Swickerath, Margaret architecture that stands in relationship to Tomas and Kristina Winegar. its surroundings, heightens the experience and effect of the natural conditions that are at work on the site and focuses, orients or reorients one's perception of the site. We are exploring an idea of site that is broad and inclusive.

MT: We take time to understand a site and seek to develop a poetic, even spiritual, reading of the site. By analyzing the specific conditions of a place - the apparent movement of the sun, the topography, geological conditions, water and wind, flora, fauna, natural phenomena and species diversity - we attempt to develop a poetic understanding, which in turn helps to shape our intuitive responses to the site. Such concerns tune the design process to inform the concepts we generate to create an architecture of the place.

7 How did the landscape affect your design for the Atlantic Center for the Arts2

MT: The Atlantic Center for the Arts is within CR: The idea of weaving together landscape the Florida jungle. We were inspired by and architecture was intriguing to us. A the spatial qualities of this jungle -the boardwalk threaded through the jungle labyrinthine experience, the sense of links a series of clearings, creating veiled layering both horizontally and places of public gathering. The vertically, and the dappling of light relationship to the immediate landscape through the canopy. We were interested inspired the schematic design: we did in creating an architecture that would not think of the buildings as objects. By heighten the sensory effects of this. working simultaneously with the actual We created a passage through the site conditions of the landscape and the which emphasized a sense of layering, experience of the site, a labyrinthine recalling the peripatetic nature of the plan developed. The moments of place. Throughout the design process clearing which occur on the boardwalk there was a constant dialogue between between the buildings are the objects; the ideas of layering and revealing. the buildings recede. The project is a collection of fragmentary views and experiences, of concealed objects, themselves whole but understood primarily in moments of selected recombination and integration. The scheme is only fully understood through movement and memory.

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MT: There are shifts between subjective and CR: The buildings only reveal themselves objective perceptual bias at the Atlantic as objects at close range, not at a Center for the Arts. The client had distance. Close examination exposes precise area requirements and the details that differentiate each pavilion - artists needed rectangular spaces. We tectonic and material changes that could not vary from that. Because of the respond to the specific program within . nature of the site plan and because the The articulation of construction at each pavilions are set within and partially pavilion, with respect to scale, hidden by the surrounding vegetation, materiality and detailing, varies in they are not presented as objects. The response to program. Our intention was volumes and planes contribute to forming to make each piece of the project exterior spaces rather than asserting particular to the activity it was designed themselves as objects. There is a sense to serve. of revelation upon entering each building, as the interior space is suddenly understood as a discrete volume. The interiors act as clearings within the omnipresent jungle. They become a peaceful light-filled domain within the thick landscape. There is an enigmatic tension between the perceptual experience from within the site as fragments along a promenade and the conceptual reading from without as sculptural objects.

Q Could you elaborate on the way the designs for each of the studios were develaped2

CR: Our client was interested in making MT: These two glazing conditions define a each building specific to its function, space between the earth and the sky rather than creating multi-purpose which the dancer occupies. The spaces. Thi s provided an opportunity development of the interior spaces at to design a series of rooms which were the Atlantic Center for the Arts are specific, both spatially and tectonically. inspired by what we interpret as the For instance, the client asked that the 'mytho-poetic' quality of early dance space be "light and airy" - modernism . We believe that arch itecture suggesting that the spatiality of dance can communicate viscerally and can be be characterized by floating and filled with meaning, not necessarily in hovering . We interpreted this reading terms of symbol-making, but rather, in by creating a strip of sandblasted glass terms of direct emotional experience. at the ceiling that encircles the room, allowing for a diffused, gentle light, and placing a band of clear glass at the finish floor, under the mirror, which offers an immediate view of the tactile, lush jungle.

10 Early Modernism is clearly on inspiration in your work Are there particular sources?

MT : We are influenced by many architects CR: Le Corbusier has been an influence as in a variety of ways: we learned from well. At La Tourette, for instance, we Aalto's use of site-found materials at Villa were interested in the way meaning Mairea, and the resulting suggestion of is established through the coincidence regionalism and site-contextualism. of structure, form and the significant The relationship between architecture relationship to the ground plane. The and site , as well as the sense of craft frame hovers above the sloping grade and tectonic invention, employed to creating an aloof home for the intellect, create added layers of meaning is while the sculptural cast concrete remarkable. At Asplund's Woodland bearing walls of the chapel engage Cemetery the balance and duality the ground and house the sacred between the crematorium and landscape spaces of religious mystery. is inspiring. The architecture forms a wall which contains the site while allowing the knoll and the open void of the site to take on the primary reading. His use of symbolism also inspired us .

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MT: Many of our attitudes are fueled by For example, you have to move through theories and work from the art world - the installation by Serra to understand from issues of sculptural form to attempts the figured void. This celebration of the to create emotional resonance. direct human experience parallels our own attitudes. CR: We are constantly looking to the world of the artist for inspiration. There are CR: In developing the program for the moments when you discover that ideas Atlantic Center for the Arts, we had you are contemplating have already many inspiring discussions with great been considered by others working in artists who were members of the another medium. Richard Serra's advisory board. The idea that dance Torqued Ellipses at the Dia Center for the occupies the space between earth and Arts in New York was a point of sky originated in a conversation with the revelation for us in its consideration of choreographer Trisha Brown. She the figured void. The sculpture addressed prompted us to find ways of giving a the concrete relationship between the mythic quality to that space. The design object in space and the experience of of the painting studio developed out of that space. conversation with painters about light and space. We designed studio spaces MT: When I was a student in Peter Walker's which were visually, sculpturally, and studio at Harvard, the studio spent time tectonically linked to the concerns and at Storm King, Pepsico and in galleries aspirations of the artists. in New York City. It was very influential. Sculpture is of specific interest to us because it requires being experienced in the round.

12 Hmt> tssu< s, t prl'll enodt. ot'ectect your orcf 1c TillE "

CR: Our commitment is to the palpable experience of space and this commitment relates directly to the issue of promenade. In our architecture the effect that the building has on the body, mind, and spirit is fundamental. The potential for mystery in the architectural experience is important too. We are interested in exploring an architecture that reveals itself through movement and memory, through an unfolding of visual and spatial experiences which involve the viewer in a process of discovery.

MT: In our work we attempt to explore that process of discovery through the promenade. We are interested in creating an architecture that reveals itself over time from different perspectives and at different scales . The comprehension of the work thus involves a dialogue between the viewer and the unfolding nature of what is being viewed.

13 Con you comment on the scalar relationships of the Bartholomew County Veterans Memoriol2

MT: For instance, at Straitsview Farm both the MT: Scalar shifts play an important role location of the barn within the site and its in the memorial's ambiguity and faceted form prevent the building from emotional power. The scale of the being read as a singular object. Moving project oscillates. The tight spaces around and through the barn yields a between the columns can be transformed perception at different scales intimate, proportioned as they are and from changing vantage points. It for a quiet yet intense relationship also creates a relationship of with the letters that are inscribed in participation between the building and the stone. Yet the very same spaces the viewer. This enigmatic and mysterious can also be terrifying and sublime, quality is experienced through movement. evoking death and the infinite.

These 'earth-bound' or 'rock-bound' spaces, at once protected and pressured, also are juxtaposed with the view upward within the piece which allows for a sense of release and relationship to the sky. The tapering of the columns, skyward, helps this reading as it draws the eye upward. Scalar shifts in this piece address the duality and the reconciliation of the infinite and the individual.

14 CR: We wanted to work within a scale that made sense urbanistically, marking the new entry to Columbus and providing a sense of relationship to the adjacent courthouse. Yet, it was important to create an intimate scale to accommodate the act of private contemplation . From the exterior, the piece addresses the scale of the city, its rock-cut limestone outer surface reads as a carved monumental block, reminiscent of local quarries. In this proJect, as with the Atlantic Center for the Arts, there seems to To further this reading there are not be a tension between the ob;ect special bases for the columns, they go and the experience. directly into the earth . Within the grid, however, the interior surfaces are smooth CR: The tension between the piece as and carefully sized to accommodate an an object and the place as an intimate relationship between the visitor experience speaks again of the and the texts. The piece operates on ambiguity inherent in the project. many scales. It is interesting to note that It can be read as both solid quarry these subtle devices were laborious to block and as perforated, inhabitable work out. When you look at the project, space. The tension between object it seems simple. Achieving such and subject is inherent in the duality simplicity can be incredibly complicated. between solid and void.

15 Does your 1\0rking process change fa, a pro1ect n an urban seflmg2

CR: In the city, our response becomes more MT: A figural courtyard became the center abstract in its relationship to nature. of the project. The scheme is woven In the Urban Residence/ Gallery project through the courtyard - the circulation the envelope becomes site sensitive . stitches back and forth , tying the A courtyard at the heart of the project scheme together and allowing for the becomes a spatially impacted distillation presence of the court to be central to of site . There are dramatic topographies the daily experience of the building. - in this case the buildings in Manhattan. Skylights at the street and party wall There are also solar concerns, it rains, further accentuate the sense of layered and we have resident populations to encounter with the sun . The attempt is consider - the artists and visitors from to make the light palpable, to give it the Dia Center for the Arts to the west. a presence, to take what is thought of There is still a natural landscape but as insubstantial void - light, air, space also a constructed landscape with -and make it visceral and solid . The which to connect. basic challenge remains the same - how can you bring site into a project and how can you create an architecture which 'sees ' its site.

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ATlANTIC CENTER FOR THE ARTS New Smyrna Beach, Florida

BUILDING USE: The artists' resource center and residency program bring together master artists to research and provide instruction in dance, drama, music, sculpture, literature and the visual arts. The program includes a black box theater, dance studio, sculpture building with an outdoor work yard, painting studio, recording studio, dark room and library.

SITE CHARACTERISTICS: The site is an indigenous jungle in a climate characterized by torrential rains, oppressive heat and bright sun . The space of the jungle is a dense environment of dappled light and a variety of shades of green. In the absence of a single visual reference point, the jungle offers a peripatetic space, the experience of which is dominated by a sense of disorientation. Existing structures on the site are wood frame pole structures. These include housing, an administrative building and gallery, workshop space, and an outdoor theater.

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1. library 6. painting studio 2. mus1c room 7. dance studio 3. audio room 8. dressing room 4 . sculpture studio 9. gallery + reception 5. outdoor work area 10. black box theater

/ 0 tO 20 30 h I 't II I I '• ' I I II I 'I I I I I I I I " 1 ;I l l I " I I •,, I I I ,, ••'' ' I ' I •lia, 0 I I -.....: '-. ...._ --- ...._ - .....__ ------DESIGN PHILOSOPHY: The design intention is to intensify, contrast and heighten the visual and sensory effects of the site . Movement and memory unify the experience, rather than an awareness of the overall structure. This pattern begins with the labyrinth ine parking which is integral to the function of the place. Like the jungle, there is a sense of visual and spatial unfolding, as only small parts of the scheme can be understood at one time. The peripatetic space of the jungle is amplified by the configuration of the new boardwalk and placement of the structures w ith respect to discrete views and overlapping spatial moments, and by the interwoven relationships of bu ilding and jungle.

Each building is designed to house a single art form -theater, dance, sculpture, painting, music, and a library. The interiors act as clearings within the jungle, offering a sense of visual clarity and relief. Within each workroom the buildings frame, articulate and mediate the ubiquitous vegetation, creating a layered sense of enclosure.

23 The design research involved an investigation of building in similar latitudes - specifically ways of adapting and tempering the existing climactic conditions through architectural invention, the study of precedent and use of readily available materials. The climactic conditions of the site - light, wind, air, rain - and their phenomenological effects are reinterpreted and tempered through the use of louvers which mottle the direct light; large glass walls which maximize the ambient northern light; light monitors; hopper windows; wind scoops; and large, linear rain scuppers.

24 25 Construction Systems : The buildings and boardwalk are elevated on wood columns resting on concrete piers. The primary structural system is a wood frame/heavy timber hybrid. The structures are clad in stained cedar which is fastened with stainless steel screws. The base of the sculpture studio is cast-in-place concrete. Roofs are lead-coated copper, both flat lock and standing seam . Doors are steel , wood, and lead-coated copper; windows are brushed aluminum . The adjustable louvers are cedar. Trellis work and suspension rods are made of painted steel.

FLOR IDA GULF COAST ART CENTER Pinellas County Botanical Gardens Clearwater, Florida

BUILDING USE : The Art Center provides flexible new facilities for a growing collection of modern art as well as a public arts and crafts program. The design for the 50,000 square foot art center campus creates a community of public learning set within a new sixty-acre botanical garden. The program for the interdisciplinary campus includes galleries for the center's permanent collection, and studio classrooms for instruction in painting, photography, metalsmithing, sculpture, ceramics, printmaking, fiber arts, woodworking and glass blowing. The center will offer classes for adults and children taught by professional artists.

SITE CHARACTERISTICS: Situated within the new sixty-acre Pinellas County Botanical Gardens in Tampa, the Art Center defines a boundary between the Botanical Gardens and the Pinellas waterway. Across the waterway to the west is Heritage Village, an open-air museum of cracker architecture.

29 1. lobby looding dock 2. library kitchen 3. administrative offices gallery 4. conference room studio 5. storage gihshap 0 10 20 30 h DE SIGN PHILOSO PH Y: The project is organized around two public circulation elements: a sinuous colonnade running parallel to the waterway, offering a promenade with views into the gardens; and a footbridge across the wetlands, connecting the Art Center to Heritage Village. The public center of the complex, with an auditorium, library, cafe, sculpture garden, galleries, and the museum store, is at the intersection of these two paths.

Studio and shop bu ildings are placed along the curving colonnade, which becomes an outdoor 'classroom' planned parallel to the water. It continually returns the visitor to the landscape. Gardens occur between the buildings, and are viewed from the colonnade and secondary south-facing arcades.

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CONSTRUCTION SYSTEMS: The bu ildings are simple volumes of concrete block with lightweight steel joists supporting membrane roofs. Metal clad light monitors punctuate these simple volumes and provide ambient north light to the studios and galleries. Overhanging awnings provide shade to the interiors from the intense sun from the south , west and east. Through these elements, the buildings transcend their direct, factory-like volumes, admitting controlled natural light into the interiors allowing the unique quality of the Florida sun to be revealed in an architecture of sculpted roof-lights and projecting sunshades. The colonnade, a path for pedestrians, is defined by a lightweight steel structure.

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BARN AT STRAITSVIEW FARM San juan Island, Washington

BUILDING USE: Situated on a working farm overlooking the Strait of Juan de Fuca , this new, multi-purpose barn accommodates a farm office, wood and machine shops, workspace for a veterinarian and storage for a variety of large-scale equipment and machinery. The 'L' shaped configuration of the building deflects the prevailing north-€astern winds coming off the Pacific Ocean, and shelters the adjacent work yard - a square court defined by the building's facade and a tall, slatted wood fence .

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SITE CHARACTERISTICS: The new barn is located in a natural clearing at the edge of a dense stand of fir trees . This edge condition allows for views from the work yard, through the forest edge, out across a windswept meadow and to the water below: the foreground is darkly shaded, while the distant water and mountains on the western horizon are brightly lit. This edge condition provides a view back to the barn in which the reddish color of its cedar cladding appears as a luminous highlight against the shaded green firs beyond.

37 DE SIGN PHILOSOPHY: This project employs the timber frame tradition of the region in the service of an expressive, sculptural architecture. The resulting tectonic is dominated by the elements of the timber frame, the wood nailers and cedar slats of the rolling doors. The building is sheathed entirely in wood shingles and at the scale of the site it is perceived as a monolithic, faceted object. In this way, the 'wrapped' character of the building allows for multiple readings at differing scales and from changing vantage points.

38 39 CONSTRUCTION SYSTEMS : The construction system of the barn is explicit. The structural frame of reclaimed Douglas Fir timbers is sheathed with fir nailers and clad with cedar shingles on the walls and cedar shakes on the roof. The frame rests on black pigmented concrete column bases and a polished, black concrete slab. Facing the work yard, seven slatted, 16' x 9 '-6" rolling cedar doors can be opened in fine weather to link the interior of the barn and the work yard to form one contiguous space. Copper shields the rolling door tracks and wheels from the damp environment, and three-quarter inch diameter painted steel crossbraces give the frames lateral rigidity.

OFFICE FOR A PRIVATE INVESTOR Bedminster, New jersey

BUILDING USE : The program includes a residential apartment, which is inserted into the second level of an existing house, and an office space. The office occupies both the first floor of the existing house and a 2,500 square foot addition along the garden edge. This addition includes a conference screening room, an office, and spaces for two assistants, as well as a kitchen and dining area.

SITE CHARACTERISTICS: The 0.68 acre site is bisected by an existing dry-joint masonry retaining wall I ~t' .· that extends perpendicularly from the l}. _, access road, south to a stand of mature I I I maple and ash trees . An existing 1930's L._---e \---- '""--~~ ::" .... ~- .I two-story gambrel roofed house and a I simple garage structure occupy the plinth formed by the retaining wall. The remaining half of the site is currently unoccupied.

43 DESIGN PHILOSOPHY: CONSTRUCTION SYSTEMS: Trad itional office spaces tend to reinforce The addition employs a pigmented entrenched modes of thought and concrete base and occasional pigmented behavior. This 'home-office' proposes an walls. The wood frame is punctuated environment that resists the expectations with heavy timber and steel elements. implied by the existing context and by The roof and several walls are clad in conventional typological notions of house lead-coated copper. Interiors are finished and office . The existing house is treated · with inexpensive plywood, stone and as a foil to the addition . The architectural wood floors. order of the addition contrasts with the existing house. The 'L' shaped plan of the addition is developed around a procession between the flat, rectangular and introverted space of the entry court, and the theater-like, extroverted space of the lawn and the garden. The conference room and office spaces form an irregular edge of shifting, nested volumes.

Elements such as the pivoting leaves of the presentation wall and the stepped bench engage the visitor and provide opportunities to move out from the office into the garden. The design seeks to create a playful environment and facilitate spontaneous, informal interaction within a typology traditionally L characterized by formality and constraint. 1!:1===~=~

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URBAN RESIDENCE/GALLERY West 22"d Street, New York, New York

BUILDING USE: The program calls for a complex loft renovation and the expansion of an existing three-story industrial building to create a new gallery, workspace and a residence. The ground floor houses a retail showroom for the fashion house Comme des Garc;:ons . There is a studio apartment/atelier on the second floor. The third, fourth and open-air fifth floor constitute the primary focus of the project -a 5,500 square foot residential loft built around an open courtyard garden.

SITE CHARACTERI STICS: The site is in Chelsea in the heart of New York's emerging gallery district. The design uses the built context of the West 22nd Street city as its site . The project establishes a framework for a natural precinct in response to the urban landscape.

47 Fourth Floor 1. bedroom 2. garden 3. upper gallery 4. playroom

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Third Floor 1. mudroom 2. kitchen 3. dining room 4. foyer 5. study 6. gallery 7. living room 8. family room 9. courtyard

48 DESIGN PHILOSOPHY: CONSTRUCTION SYSTEMS : The residence weaves sculptural form The design introduces both natural and and multi-leveled courtyards with a residential materials, including stucco, latticework of steel and wooden trellises. plants and grass, to the industrial urban Interior rooms are arranged en filade. landscape in order to create a human Each interior space relates to this interior scale within the existing footprint of the progression, as well as to the landscape building. The exterior palette extends of the courtyard and sky. into and connects with that of the interior. The public spaces occupy the lower level; private rooms are situated above. Views onto and through the garden from various vantage points create a series of layered spaces that fuse interior and exterior, urban and natural, sculptural and organic. Upper-story balconies adjacent to the bedrooms and rooftop terraces heighten the sense of liminal space between interior and exterior.

BARTHOLOMEW COUNTY VETERANS MEMORIAL Columbus, Indiana

BUILDING USE: The program of the invited competition for this memorial called for design proposals for a monument to honor the one hundred and fifty six veterans from the county who gave their lives in twentieth century wars. The winning design included a request for the community to submit personal letters and journals written by veterans and their families which were incorporated into the monument.

SITE CHARACTERI STICS: Located on a public lawn alongside the existing Bartholomew County Courthouse - a late nineteenth century empire style building of brick and stone- the site is flat and expansive. Scattered deciduous trees form a high canopy which extends diagonally across the site from southeast to northwest. The Courthouse terminates a new vehicular entrance into the town of Columbus.

5 1 DE SIGN PHILOSOPH Y: The design for the memorial originated in a spatial idea which seeks a deep emotional resonance with the community. The space w ithin the field of the grid of twenty-five limestone pillars creates an intense separate world which viscerally engages the viewer. The dense solitude of this interior space contrasts with the open, tranquil landscape of the public lawn and the grid of flowering trees .

The grid of pillars creates a profound and meditative space - a place of solemnity which engenders a powerful sense of communal gratitude to those who have made the ultimate sacrifice. The upward visual movement of the columns, silhouetted by the sky, evokes a sense of awe in response to the deeds of others, as well as a sense of participation in events which transcend the individual and everyday experience.

CONSTRUC TION SYSTEMS: The outer surfaces of the sixteen outer most pillars are rough-cut limestone, unmarked by text. The inner surfaces of the outer layer of the pillars are smooth and hold the names of the veterans and the dates of their births and deaths. The smooth surfaces of the nine inner pillars carry texts which describe the experiences of veterans from each of the wars. They include letters sent to fam ilies in the county, journal entries, telegrams and articles from newspapers. This sanctuary solidifies past deeds within the everyday contemporary culture of the county and allows future generations to understand the histories of their families, county and country.

PROJECT CREDITS

Design Principals: Maryann Thompson and Charles Rose

ATLANTIC CENTER FOR THE ARTS Project Team: Tim Downing, Michael Grant, Joe MacDonald, Francisco Theboud, Warren Van Wees, Michael Breau, Frank Dill, Lisa Iwamoto, David Martin, Patrick Maguire, Carrie Johnson Construction Manager: Epoch Properties (Winter Park, FL) , Dean Sondroni, Superintendent Structural Engineer: Ocmulgee Associates Inc. (Ipswich, MA), Wayne King, Principal Civil Engineer: Jerry K. Finley, P.E. (Port Orange, Fl) Mechanical/Electrical Engineer: MEngineering (Columbus, OH), Shige Moroi, Brad Shaffer Geotechnical Engineer: PSI-Jammal Associates Uacksonville, Fl) , Don Stites, Don Budnovich Acoustical Engineer: Cambridge Acoustical (Cambridge, MA) Client: Suzanne Fetscher, Executive Director Ted PoHer, former Executive Director

FLORIDA GULF COAST ART CENTER Project Team : David Martin, Christopher Hoxie, Heidi Beebe, Brian Bell, Samantha Pearson, Franco Ghilardi, Erin Cowhey, Lori Sang, David Whitney, Nancy Staab Construction Manager: Peter Brown Construction Co. (largo, FL) , Tito Vargas, Project Manager Structural Engineer: Ocmulgee Associates Inc. (Ipswich, MA), Wayne King, Principal MEP Eng ineer: Babes Associates (Moirland, Fl), Gus Babes, Jr., Principal Geotechnical Engineer: BTL Engineering Services, Inc. (Tampa, Fl), David Faulkner, Engineer Site Engineer: DSA Group, Inc . (Tampa, Fl), Jim Bryce, Engineer Client: Florida Gull Coast Art Center, Ken Rollins, Director

BARN AT STRAITSVIEW FARM Project Team : David Martin Building Contractor: S.B. Inc . (Friday Harbor, WA), Steve Bobb, Contractor Craksman: Giovanni Guistina (Friday Harbor, WA) Structural Engineer: B&B Engineered Timber (Keene, NH), Ben Brungrober, Engineer landscape Designer Michael Van Valkenburgh Associates (Cambridge, MA), Michael Van Valkenburgh, Principal Client: Witheld

56 OFFICE FOR A PRIVATE INVESTOR Project Teom : Michael Grant, Lori Song, Faith Rose, Dono Weeder, Kotorino Edlund.Siorsky, Samontho Pearson, Nicholas Popaelthimiou, Julie Kline, Catherine Kuhnle Landscape Architect: Wolter S. Corell, Jr. {Millington, NJ) Civil Engineer: Gladstone Design, Inc. {Gladstone, NJ). Ron Kennedy Lighting Consultant: Fisher Morontz Renfro Stone {New York, NY], Hank Forest, Project Monoger Graphic Designer: Chermoyeff ond Geismar Assoc ., {New York, NY], Tom Geismar, Principal Client: David Teiger

URBAN RESIDENCE/GALLERY Project Teom : Lori Sang, Christopher Hoxie, Franco Ghilordi, Heidi Beebe, Nancy Stoob Contractor: Higgins Construction {New York, NY], Terry Higgins Mechanical Engineer: Reynaldo C. Prego Consulting Engineers {New York, NY) , Reynaldo Prego, Principal Structural Engineer: Voiromides Georgeopalis Engineers {New York, NY). Angelo Georgeopalis, Principal Code Consultant: Code Inc. , {New York, NY], Beth Lochtefeld Client: Michael Weinstein

BARTHOLOMEW COUNTY VETERANS MEMORIAL Project Teom : Michael Grant, Aileen Hsu, David Whitney, Julie Kline, Dono Weeder Contractor: Dunlop and Company, {Columbus, IN), Chris Mulloy, Project Monoger Landscape Architects: Michael Van Volkenburgh Associates {Cambridge, MA). Michael Van Volkenburgh, Principal Lighting : Schweppe Lighting Design, Inc . {Concord, MA), D. Schweppe, Principal Structural Engineer: Ocmulgee Associates Inc. {Ipswich, MA), Wayne King, Principal Consulting Engineer: Erdman Anthony Associates {Boston, MA) Client: Bartholomew County Memorial for Veterans Committee

APPENDICES

MARYANN THOMPSON + CHARLES B. ROSE

HONORS + AWARDS

BIBLIOGRAPHY

SELECTED COMPETITIONS +EXHIBITIONS

GRADUATE DESIGN STUDIO

ACKNOWLEDGMENTS MARYANN THOMPSON

Education Selected Lectures

Harvard University, Graduate School of Design, 1997 The Figured Void: The Recent Work of Master of Architecture, Degree with Distinction and Thompson and Rose Architects, Roger Williams with the AlA Certificate of Merit School of Architecture Lecture Series

Harvard University, Graduate School of Design, 1997 Recent Work, Northeastern University Master of Landscape Architecture, Department of Architecture Lecture Series Degree with LeHer of Commendation 1997 Five Recent Projects, The School of Art and Princeton University, B.A. Architecture, Architecture, The University of MossachuseHs, Magna cum Laude Amherst

1997 Five Recent Projects, Architectural League of Teach ing New York 'Emerging Voices' Lecture Series

1998 Visiting Critic, Department of Architecture, 1992 Recent Work, Boston Society of Architects Graduate School of Design, Harvard University 1991 A Fresh Look at the Structural Theories of 1998 Distinguished Visiting Critic from Practice, Le Corbusier, Department of Architecture, College of Architecture and Urban Planning, University of California, Berkeley University of Michigan

1997 Visiting Critic, Department of Architecture, Rhode Island School of Design

1993-95 Visiting Critic, Department of Landscape Architecture, Graduate School of Design, Harvard University

1993 Visiting Critic, School of Architecture, Northeastern University

1992 Visiting Adjunct Professor, School of Architecture, Rice University

60 CHARLE S B. ROSE

Education Selected lectures Harvard University, Graduate School of Design, Moster of Architecture, Degree with Distinction 1998 Six Projects, College of Architecture and Urban Planning, University of Michigan Princeton University, B.A. Architecture, Summa cum laude 1997 Process: Arlontic Center for the Arts, University of Florida Deportment of Arch itecture, H. Dean Rowe Memorial lecture Series Teaching 1997 William Owen Jones Endowed Lecture, 1998 Visiting Critic, Deportment of Arch itecture, Un iversity of Virg inia School of Architecture Graduate School of Design, Harvard University 1997 Five Recent Projects, School of Architecture, 1998 Distinguished Visiting Critic from Practice, Renssolear Polytechnic Institute College of Architecture and Urban Planning, University of Michigan 1992 Recent Work, School of Architecture, Rice University 1997 Mabie P. Marsh Visiting Professor, School of Arch itecture, Renssolear Polytechnic Institute 1992 Recent Work, Deportment of Architecture and landscape Architecture, 1997 Visiting Critic, Deportment of Architecture, North Dakota State University Rhode Island School of Design 1990 Recent Work, School of Architecture, 1996 Visiting Associate Professor, Deportment of Rice University Architecture, MossochuseHs Institute of Technology

1993 lecturer, 19th and 20th Century Architecture, Deportment of Architecture, Northeastern University

1992 Visiting Adjunct Professor, School of Architecture, Rice University

1991 Visiting Assistant Professor, School of Architecture, Rice University

6 1 HONORS + AWARDS

1998 American lnstiMe of Architects, National 1996 Baston Society of Architects, Unbuilt Young Architects Citation Architecture Award, Bartholomew County Veterans Memorial 1998 Building Stone lnstiMe, Tucker Award of Excellence, Bartholomew County Veterans 1996 Boston Society of Architects, Design Honor Memorial Award, Witchbrook Meadow House

1997 American lnstii\Jte of Architects, National, 1996 Building Stone lnstiMe, Tucker Award of Honor Award for Design Excellence, A~antic Excellence, Dormitories at Kenyon College Center lor the Arts 1995 American Wood Council, Honor Award, 1997 American Wood Council, National Honor A~antic Center lor the Arts Award, Barn at Straitsview Farm 1995 American lnstii\Jte of Architects, New England 1997 American lnstii\Jte of Architects, New England Honor Award for Design Excellence, Honor Award for Design Excellence, Dormitories at Kenyon College Atlantic Center lor the Arts 1995 Progressive Architecture Award: Citation, 1997 American Institute of Architects: Business Atlantic Center lor the Arts Week/ Architectural Record Business Design Award, Offices of Gemini Consulting 1994 Boston Society of Architects, Design Honor Award, Dormitories at Kenyon College 1997 Boston Society of Architects, Design Honor Award, Bartholomew County Veterans 1993 Boston Society of Architects, Unbuilt Memorial Architecture Award, A~antic Center lor the Arts 1997 I. D. Magazine Annual Design Review, Design Distinction Award, A~antic Center 1990 American Wood Council, Honor Award, lor the Arts Horsbrook School

1997 Architectural league of New York, 1988 Frederick Sheldon Traveling Fellowship, "Emerging Voices " lecture Series Harvard University !Maryann Thompson)

1996 Boston Society of Architects, Design Honor 1987 Ago Khan Travel Grant, MassachuseHs Award, A~antic Center lor the Arts lnstii\Jte of Technology and Harvard University !Maryann Thompson) 1996 Boston Society of Architects, Unbuilt Architecture Award, Florida Gulf Coast 1987 Fulbright Scholarship !Charles Rose) Arts Center

62 BIBLI OGRAPHY

Jodidio, Philip, Contemporary American Architects: Volume IV, londecker, Heidi, "Husbands ond Wives: Thompson and [Toschen : New York, 1998(. Rose Architects," Architecture, June 1996.

Stungo, Naomi, Architecture in Wood, (Collman & King , Padjen, Elizabeth S., "The Design Process," Art New 1998(. England, February 1996.

Stein, Koren, "Thompson and Rose's Equipment Building Rodriguez, Alicia, ed., "Reinventing the Square: A New in Rural Washington Stole Demonstrates thot there con be Focal Point for Columbus, Indiana," Landscape Architecture, Elegance in Utility," Architectural Record, June 1998. February 1996.

Curtis, W illiam J.R., "American Institute of Architects 1998 "Architects Pay Tribute to Veterans with a Field of Pillars," Honors ond Awards," Architectural Record, May 1998. Architectural Record, November 1995.

Darrow, Carl, "Borns East ond West: Straitsview Barn" "42nd Annual P/A Awards. Citation : The A~antic Center Wood Design and Building, Autumn 1997. for the Arts," Progressive Architecture, January 1995.

Nussbaum, Bruce, "Blueprints for Business: Business Week "Modern-Gothic Dorms for a 19th Century Campus," Architectural Record Awards," Business Week, Progressive Architecture, December 1994. November 1997. "Culture Comes to Smyrna Beach," Architectural Record, Stein, Karen, "Good Design is Good Business: Business November 1994. Week/ Arch itectural Record Awards," Architectural Record, October 1997. Hoyt, Charles K., "Dorms and Traditions: The Woodland Dormitories, Kenyon College," Architectural Record, Kroloff, Reed, "Columns of Memory, • Architecture, November 1994. September 1997. Boyes, Ke nneth, Living Architecture, (Anthrosophic Press: "Design Distinction: A~antic Center far the Arts, leeper New York, 1994(. Studio Complex," ID Magazine Annual Design Review Edition, July 1997. Rose, Charles and Thompson, Maryann, "Designer's Diary: Imagining Art in the Florida Jungle," IN SITE, March 1994. Kliment, Stephen A. ,"Vineyard Variations: Contemporary Shingle Style on Martha's Vineyard," Architectural Digest, "Arts Center in the Florida Jungle," Progressive Architecture, August 1997. February 1994.

Stein, Karen,"Project Diary: leeper Studio Complex, A~ant i c Sanoff, Henry, School Design, (Von Nostrand Reinhold: Center for the Arts," Architectural Record, June 1997. New York, 1994(.

Podjen, Elizabeth S., "Thompson and Rose Arch itects," Freiman, Zivo, "Young Architects" Progressive Architecture, Art New England, May/ June 1997. July 1990.

63 SELECTED COMPETITIONS

1995 Winner, Monument lor the Town of Addison, Texas. Thompson and Rose Architects with M ichael Von Volkenburgh Associates, Landscape Architects, and Mel Chin, artist.

1995 Winner, Bartholomew County Veterans Memorial, Columbus, Indiana .

SELECTED EXHIBITIONS

"Equal Partners: Men and Women Principals in Contemporary Architectural Practice, • Smith College, Helen Searing and Suzonnoh Fobing, curators, Smith College Museum of Art, September 1998.

"site/ architecture: recent work by Thompson and Rose Architects, • University of Michigan, College of Architecture +Urban Planning, January/ February 1998.

64 GRADUATE DE SIGN STUDIO

Maryann Thompson and Charles Rose worked with a This studio oHempted to explore strategies resistant to recent, graduate architecture design studio tn collaboration and essentially reductive, conceptions of architecture which with Vtsiting Assistant Professor Michael Grant during devalue the phenomenal experience of built form in favor of the 1998 winter semester ot the University of Michigan. a largely conceptual, languag&

M ichael Grant Visiting Assistant Professor 1997-98 Studio Critic collogroph punl Rondo11 Whmnery Ill

65 ACKNOWLEDGMENTS

As the design and making of architecture is only mode Special thanks are due to Assistant Professor Michael possible by the energy and time that is contributed by Grant and graduate student Simone GheHi for many different people over time so the preparation of developing some initial ideas for the book. However, this document has been realized with the help and it is Caleb Clause! and Carla Swickeroth, students co-operation of numerous individuals. from the undergraduate and graduate programs in architecture at Michigan, who have been central Ia The Dean, faculty and staff of the College of Architecture the conception and real ization of th is publication. + Urban Planning hove contributed in many ways Both hove worked tirelessly, yet with inspiration and through their patience, hard work and reliable support. patience, to make it elegant, legible and coherent. Without the students however linle would hove been possible. Many students worked to prepare the Maryann Thompson and Charles Rose have given their exhibition site/architecture, Recent work by Thompson time and resources to this collaboration with the College and Rose, in the College Gallery in January, 1998. with extraordinary generosity. The photographer Chuck Thanks go to them all and especially to John Comozzi, Choi generously made his images available for th is Brion Rebo in, Stacy Cohill, Betsy George ond to Ph ilip publication. However it is the commitment Ia excellence lee who rebuilt models which were reduced to in the practice of architecture which the whale office of matchwood in transit. Others have worked hard in both Thompson and Rose has made through their outstanding the studio and the seminar room to probe the details of work over the last six years that has provided the the architectural directions that Maryann Thompson and inspiration for this publication - without that work there Charlie Rose set out. Michael Grant, a former member would have been no basis for our collaboration. of the Thompson and Rose office who was appointed Visiting Assistant Professor in Architecture at the University of Michigan for the 1997/98 academic year, helped to direct the graduate design studio with inspiration and tenacity. Without his splendid efforts it is also quite possible that this document would not exist. The members of the design studio are listed separately, as are those students who worked with extraordinary care to develop and distill o series of long conversations with Thompson and Rose into an important and informative port of thi s publication.

66 PUBLICATIONS

The Mich1gon Arch1tecture Papers

MAP 4 · Thompson and Rose Architects

MAP 3 · TEN Arquitectos

MAP 2 · Allies and Morrison

MAP 1 · Roll! Book

The john D1nkeloo i\1\emonollectures

Studio Granda Dreams and Other Realities

Rafael Vii\oly The Making of Public Space

Richard Horden Light Architecture

Patkau Architects lnve5tigotions into the Particular

The Raoul Wollenberg lectures

Richard Sennett The Spaces of Democracy

Michael Sorkin TroHic in Democracy

Vincent Scully The Architecture of Community

Daniel Libeskind Traces of the Unborn We are especially gratelulta Chuck Chai lor allowing the College to use his photographs in this publication and to Christopher Campbell lor his invaluable help and line photographs.

Chuck Choi : pages 8, 9, 13, 14, 15, 19, 20, 22 , 24, 34 , 35 , 36, 37, 38 , 39, 40 n, 50, 51 . 52 , 54 , 55, 58. Ivory Serra : page 12 . R1chard Serra, Torqued Ellipses, 1996/ 97; lnstallallon View, D1a Center lor the Arts, New York, 09/ 25/ 97-06/ 14/ 98. Thompson and Rose : pages 10, 26, 40 BR, 46, 47. Christopher Campbell: pages 43 , 45.