University of Cincinnati

UNIVERSITY OF CINCINNATI

DATE: May 16th, 2003

I, Joshua Craig Summers , hereby submit this as part of the requirements for the degree of: Master in: Architecture It is entitled: Materials and Craft in Architecture

Approved by: David Niland Barry Stedman

MATERIALS AND CRAFT IN ARCHITECTURE – A WORKSHOP FOR THE STUDY OF CRAFT

A thesis submitted to the

Division of Research and Advanced Studies of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

MASTER OF ARCHITECTURE

in the Department of Architecture of the College of Design, Architecture, Art and Planning

2003

Joshua Summers

B.S. Arch., University of Cincinnati, 2001

Committee Chair: David Niland Barry Stedman, PhD

A BSTRACT

With a loss of understanding for the use of materials and craft in the majority of buildings today,

the public has not been exposed to works that are inspiring. A workshop devoted to the study

of craftsmanship will help individuals better understand materials and connections.

The architecture of the workshop will serve as both a teaching tool and will be an object of craft

unto itself. A workshop devoted to the study of craftsmanship will help to teach individuals

about materials and craft by establishing a program that will allow individuals hands-on

experience in woodworking and furniture design.

The workshop will be located at the intersection of Sycamore and East Liberty Streets just north

of downtown Cincinnati. The workshop will be designed to be a foreground building that

will serve as a gateway into the Over-the-Rhine neighborhood.

M ATERIALS AND C RAFT IN A RCHITECTURE – A Workshop for the Study of Craft

T ABLE OF C ONTENTS 1

I NTRODUCTION 1.1 List of Illustrations/Diagrams 2-4 1.2 Introduction 5-9 T HESIS 2.1 Craft in Architecture 10-24 2.2 Precedents 2.21 Gamble House – Greene and Greene 25-29 2.22 Tjibaou Cultural Centre – Renzo Piano 30-33

P ROJECT / L OCATION 3.1 History of Project Type / Project Precedent 34-36 3.2 Site Analysis / Features 37-39 P ROGRAM 4.1 Spaces / Overall Square Footage 40 4.2 Individual Space Description and Sq. Ft. 41-52 P ROJECT D ESIGN 5.1 Thesis Exploration 53 5.2 Drawings, Diagrams, Photographs 54-58 B IBLIOGRAPHY 6.1 Bibliography 59-61

1.1 INTRODUCTION – L IST OF I LLUSTRATIONS

Figure 1 Wood Storage, Photograph by Author

2 Gustav Stickley on an Arts and Crafts Bench – The Arts and Crafts Antique Gallery [online] (24 April, 2003) (http://www.webteek.com/gustavstickley)

3 Arts and Crafts Table – Geffory Diner Gallery [online] (24 April, 2003) (http://www.dinergallery.com/)

4 William Morris’ Red House - William Morris: on Architecture. Chris Miele, Editor (Sheffield, England: Sheffield Academic Press, 1996) 158.

5 William Morris’ Red House - William Morris: on Architecture. Chris Miele, Editor (Sheffield, England: Sheffield Academic Press, 1996) 159.

6 Greene and Greene Gamble House – Images of the Gamble House: Masterwork of Greene and Greene. Jeanette A. Thomas (Los Angles: Balcony Press, 1994) 4.

7 Greene and Greene Gamble House Stair – Images of the Gamble House: Masterwork of Greene and Greene. Jeanette A. Thomas (Los Angles: Balcony Press, 1994) 30.

8 Frank Lloyd Wright Storer House – American Treasures of the Library of Congress [online] (24 April, 2003) (http://www.loc.gov/exhibits/treasures/tr33a.html)

9 Frank Lloyd Wright Storer House Detail - American Masterworks: the Twentieth Century House. Kenneth Frampton, Kenneth Frampton and David Larkin, Editors (New York: Rizzoli Press, 1995) 36.

10 Frank Lloyd Wright Storer House Interior – Frank Lloyd Wright Photographs [online] Balthazar Korab (24 April, 2003) (http://www.cmgww.com/historic/flw/photo_storer.html)

11 Chapel at Dusk – Saint Benedict Chapel Peter Zumthor [online] Katsuhisa Kida (22 April, 2003) (http://www.katsuhisakida.com/body_zumthor_chapel01.html)

12 Detail of Wooden Shingles – Saint Benedict Chapel Peter Zumthor [online] Katsuhisa Kida (22 April, 2003) (http://www.katsuhisakida.com/body_zumthor_chapel04.html)

13 Detail of Glass Shingles – Archipolis [online] (10 April, 2003) (http://www.efarout.com/archipolis/product/zumthor.html)

14 Concrete Stairwell with Glass Ceiling – Peter Zumthor. Nobuyuki Yoshida, Editor (Japan: a+u Publishing Co., Ltd., 1998) 188.

15 Gamble House Showing Original Front Elevation – Guide to the Work of Greene and Greene. Randell L. Makinson (Salt Lake City: Peregrine Smith, Inc., 1974) 3.

16 Gamble House Stairs - American Masterworks: the Twentieth Century House. Kenneth Frampton, Kenneth Frampton and David Larkin, Editors (New York: Rizzoli Press, 1995) 21.

17 Detail of Stairs - Images of the Gamble House: Masterwork of Greene and Greene. Jeanette A. Thomas (Los Angles: Balcony Press, 1994) 26.

18 Relationship Between Furniture and Beam – American Masterworks: the Twentieth Century House. Kenneth Frampton, Kenneth Frampton and David Larkin, Editors (New York: Rizzoli Press, 1995) 25.

19 Large Case - Renzo Piano Building Workshop: Complete Works – Volume Four. Peter Buchanan (London: Phaidon Press, 2000) 94.

20 Renzo Piano Sketch of Centre – Renzo Piano Building Workshop: Complete Works – Volume Four. Peter Buchanan (London: Phaidon Press, 2000) 86.

21 Detail of Joints Between the Exterior Ribs – Renzo Piano Building Workshop: Complete Works – Volume Four. Peter Buchanan (London: Phaidon Press, 2000) 106.

22 Ribs Connection to the Foundation – Renzo Piano Building Workshop: Complete Works – Volume Four. Peter Buchanan (London: Phaidon Press, 2000) 99.

23 Tightening the pin that secures the cast-steel tip of the inner rib to the cast-steel shoe – Renzo Piano Building Workshop: Complete Works – Volume Four. Peter Buchanan (London: Phaidon Press, 2000) 106.

24 Cases at Dusk with the Capital City Nouméa, in the Background Across the Bay of Magenta – Renzo Piano Building Workshop: Complete Works – Volume Four. Peter Buchanan (London: Phaidon Press, 2000) 117.

25 Section through Building – Renzo Piano Building Workshop: Complete Works – Volume Four. Peter Buchanan (London: Phaidon Press, 2000) 114.

26 Hand Tools in OCAS Workshop – Photo by Author

27 Bandsaw, Drillpress and Mortising Machine in OCAS Workshop – Photo by Author

28 Row of Clamps in Storage Room – Photo by Author

29 Aerial Photo with Site Highlighted – Image by Author

30 Steeple at Salem United Church of Christ – Comet Hale-Bopp Album [online] Tom Uhlman (24 April 2003) (http://www.sipe.com/halebopp/gallery/303.htm)

31 Buildings West of Site – Photo by Author

32 Liberty Hill Neighborhood – Photo by Author

33 Section Through Workshop – Drawing by Author

34 Stair Tower – Photo by Author

35 View Down Stair – Photo by Author

36 Stair Plan – Drawing by Author

37 Section Through Model – Photo by Author

1.3 INTRODUCTION

When a person creates a piece with their hands, from raw materials to a finished work, the creation becomes more than just an “object” to this person. The piece that is created becomes embedded with a history and a continuing dialogue with the person with whom the work was created. This understanding and connection with objects, their materials and craft, is being lost in today’s society. This can be seen not only in objects, but also in the works of architecture that the public is exposed to in their daily lives.

Drawing upon the attributes and methods associated with craftsmanship, such as a thorough understanding of materials and connections, a space will be produced, where the skills and understanding of craft, along with a sense of creating with one’s hands will be developed and encouraged.

Because of a loss of understanding for the critical use of materials and craft in the majority of architecture today, the public has not been exposed to works that are inspiring both visually and tactilely. A workshop devoted to craftsmanship will be established to help individuals appreciate the tactile Wood Storage - Figure 1 element of buildings. The workshop will also help people better understand materials and the connections between these materials. The workshop will function as a laboratory where the users can create and learn the process of

craft by hands-on instruction and experimentation. The architecture of the workshop will serve as both a teaching tool and as an object of craft; it will be a building that people will want to touch and experience more than just visually.

In an urban environment, it is difficult to find the space required to have a personal workshop. However, a community-based workshop that serves citizens in an urban location as a place to come to learn and work, would give people the space, and more importantly, the instruction and inspiration they could need to make their own creations. The workshop would provide a space where an individual could learn to make a table, or how to fix a hole in drywall. The building would pay particular attention to the use of materials and craftsmanship so that the built environment could be used as a learning tool, as well as, a laboratory for the users of the workshop to experiment with their ideas.

With the majority of items produced today being mass-produced in large homogenous quantities by automated machines, the average person has lost touch with the hand-made, one-of-a kind, personal items that were prevalent in the past. This is due largely to the fact that because items are now Gustav Stickley on an Arts and Crafts bench. -Figure 2 produced in “large homogenous quantities,” it is more convenient to buy what one desires than to personally design and handcraft the desired item.

However, some individuals still desire to learn the art of crafting objects; and, in all cases, the final product that was made would be more interesting and more appreciated than an item simply purchased at the local mass retailer.

A workshop, which is open to the public, will allow members of the community to produce items of personal value. They will learn the craft of turning raw materials into a final product. This workshop will provide space, tools and instruction for people to learn how to handcraft items, as well as for those who already have a background in craft; it will allow them, a community of individuals with a similar interest, support in making whatever they desire. The shop will be located in an urban area, where space for an individual to have a workspace would be unattainable, where the resources needed to fully stock a personal shop would also be more unlikely, but also, this area would likely have a high concentration of individuals who would be interested in learning the craft. As a result of this shop being built in such a community, it will not only help to continue the knowledge of craft, it will also give the people who utilize this resource a fulfilling activity.

Craft has always been a driving force in works of architecture as can be seen in the work of Greene and Greene, Frank Lloyd Wright, Peter Zumthor and countless others; however these examples are definitely an exception to the architecture that is most prevalent in society. The majority of architectural

practices do not take materials, along with the connections and joints of these materials--or the craft--into consideration when designing buildings and therefore, most people are not exposed to architectural works that could be said to display a high level of craft. A workshop devoted to craftsmanship will help to teach individuals about materials and craft by establishing a program that will allow individuals hands-on experience in woodworking and furniture design.

The workshop will be located at the intersection of Sycamore and East Liberty streets, on a figurative dividing line between the Over-the-Rhine neighborhood and the recently gentrified Liberty Hill neighborhood, just north of downtown Cincinnati. This location is the first site that most people would consider to be part of Over-the-Rhine while heading west on Liberty Street. Because of this dynamic location, a foreground building located at this site would potentially serve as a gateway into the Over-the-Rhine neighborhood.

The area surrounding the site is comprised mainly of buildings that were built during the mid to early nineteenth century. While most of the surrounding buildings are traditional in nature, they display a sense of craft in that the brickwork on some of these buildings is superb and it is clear that the craftsmen that built them understood how to get the most out of the

8 materials that were available at the time that these now historic buildings were built. This understanding appears to be lost in the few modern buildings located within this district, an example is the Crossroad Health Center located on the corner of Liberty and Vine. While the workshop will not be influenced formally by the countless historic buildings located within the Over-the-Rhine district, it will be influenced by the craft and understanding of the materials that these buildings possess.

2.1 CRAFT IN A RCHITECTURE

“The whole method of construction is summed up and accomplished in one principle: the ordered and skilful composition of various materials, be they squared stones, aggregate, timber, or whatever, to form a solid and, as far as possible, integral and unified structure.” 1 -Leon Battista Alberti, from On the Art of Building in Ten Books

Architecture is the sole creative discipline where the final object of the creative process must not only be inspiring and interesting, but also must keep the people who use the building comfortable, dry and foremost, safe. Unlike Literature or the Fine Arts, Architecture is concerned with an object that meets the needs of the users for which the work is produced. Materials and craft have an important role in Architecture; however, at times the careful consideration and use of materials in a building and the way these materials are put together is not considered as much as the form and economics of the building.

Arts and Crafts Table - Figure 3 1 Leon Battista Alberti, On the Art of Building in Ten Books Joseph Rykwert, et al., Translator (Cambridge, Massachusetts: The MIT Press, 1992) 61.

What is meant by the word “craft” as it pertains to architecture and buildings? The dictionary defines “craft” as: “skill, dexterity, or an art, trade or occupation requiring special skill.”2 The understanding of the word “craft” as it is employed here is: Architecture that is carefully considered, and one that takes materials and the connections between these materials into prime importance.

Materials and craft in Architecture have been key subjects of architectural discourse, even before there was a documented dialogue specifically related to a discipline known as Architecture. Before there were books and universities devoted solely to a discipline called Architecture, there were craftsman who practiced a particular skill related to building, in the hopes of one day being bestowed the title of Master Craftsman and then the title of architect. The title of architect was given to a highly skilled master craftsman who had traveled extensively and was well versed in many subjects.

The term “architect” comes from the Greek words arkos and tekton, meaning “chief worker”; originally, the architect was a master builder. This role has changed through the years, however, from that of the highly skilled artisan who developed a Gothic cathedral, to that of the artist or engineer who

2 Webster’s New Universal Unabridged Dictionary (New York: Random House Value Publishing, Inc., 1996) 469.

designs a project and then turns it over to a contractor for construction. 3 Alberti explains an architect as,

“Him I consider an architect, who by sure and wonderful reason and method, knows both how to devise through his own mind and energy, and to realize by construction, whatever can be most beautifully fitted out for the noble needs of man, by the movement of weights and the joining and massing of bodies. To do this he must have an understanding and knowledge of all the highest and most noble disciplines. This then is the architect.”4

On the Art of Building, written by Leon Battista Alberti in the middle of the fifteenth century, was the first known book since Vitruvius’s ten part treatise, On Architecture, to be written solely about Architecture. Alberti’s treatise, unlike Vitruvius’s was focused on the practice of architecture at the time that Alberti wrote his treatise; where as Vitruvius wrote mainly about ancient Greek temple architecture. The essential difference between Alberti and Vitruvius is, therefore, that the ancient writer (Vitruvius) tells you how the buildings that you may admire as you read him were built, while Alberti is

3 Jeanette A. Thomas, Images of the Gamble House: Masterwork of Greene and Greene (Los Angles: Balcony Press, 1994) 6 4 Alberti, 3.

prescribing how the buildings of the future should be built.5 Even the title of Alberti’s book shows that On the Art of Building, was devoted to examining the practice and craft of the built form.

Alberti writes specifically about materials and construction in two of the ten books contained within his treatise; however, this is a rare example of the subjects of materials and proper construction being specifically addressed; and even here, it is only a small portion of the entire body of the work. In most architectural works, ancient and modern day works included, craft and materials are not addressed specifically. While these topics are occasionally discussed in architectural discourse, it is difficult to find a source that speaks directly of materials or craft. However, even though it is not specifically about Architecture, the Arts and Crafts movement that arose in England in the nineteenth century was concerned directly with craft; and therefore, also the materials that comprise pieces that were produced in the Arts and Crafts style.

“Our old modes of exertion are all discredited, and thrown aside. On ever hand the living artisan is driven from his workshop, to make room for a speedier inanimate one. The shuttle drops from the fingers of the weaver, and falls into iron fingers that ply it faster. For all earthly and for some

5 Alberti, x.

unearthly purpose, we have machines and mechanic furtherance’s… We remove mountains, and make seas or smooth highway; nothing can resist us. We war with rude Nature’ and by our restless engines, come off victorious and loaded with spoils… Not the external and physical alone is now managed by machinery, but the internal and spiritual also. Here, too, nothing follows its spontaneous course; nothing is left to be accomplished by old natural methods... Men are grown mechanical in head and heart, as well as in hand. They have lost faith in individual endeavor, and in natural force of any kind.”6

The Arts and Crafts movement felt that the separation of the designer and the craftsman was a direct result of industrialization. The British Arts and Crafts

William Morris’ Red House - Figure 4 movement was the first to recognize this split and tried to rectify the division by establishing societies and schools devoted to return craft from just mass production to an art, where each object was considered for both its function and beauty. The key figure in this movement in England was the writer, lecturer, political theorist, businessman and designer, William Morris.

William Morris was an avid writer and poet; however, he never composed a book that was entirely related to Architecture. Yet, he did often write articles

William Morris’ Red House - Figure 5 6 Gillian Naylor, The Arts and Crafts Movement: A Study of Its Sources, Ideals and Influence on Design Theory. (Cambridge: The MIT Press, 1971) 12.

and give lectures about the subject of Architecture. In an article from 1891, Morris discussed the influence of building materials on Architecture:

“Now the subject of Materials is clearly the foundation of architecture, and perhaps one would not go very far wrong if one defined architecture as the art of building suitably with suitable material. There are certainly many other things which are considered architectural, and yet not nearly so intimately and essentially a part of architecture, as a consideration of material.”7

The ideas that Morris made popular with the Arts and Crafts movement influenced many of the designers throughout the world in the early twentieth century. Gustav Stickley was one of designers who was influenced by Morris. Stickley was the most influential voice in early 19th century America for the Arts and Crafts movement or the “Craftsman idea” as he called the movement’s beliefs. Stickley was a designer and builder of furniture, and also was a writer and publisher of the monthly magazine The Craftsman, which devoted its entire first issue to the life, work and influence of William Morris. Originally, Stickley adhered to the same principles that the movement proposed, as set forth by Morris- the return of the handcrafted,

7 William Morris: on Architecture Chris Miele, Editor (Sheffield, England: Sheffield Academic Press, 1996) 158.

unadorned objects of the past. However, Stickley’s thinking quickly evolved, and he began to move away from the idealization of handmade objects that had become a widely accepted Arts and Crafts belief.

Stickley recognized that he could produce wares affordable to a middle-class market only by combining skilled craftsmanship with an enlightened harnessing of the power of machines, an idea advocated by The Craftsman as early as 1902. A year earlier, Frank Lloyd Wright had argued this case in his famous lecture “The Art and Craft of the Machine,” and it seems likely that Wright’s thoughts influenced Stickley. Yet as he pragmatically accepted shifting Arts and Crafts ideologies to take advantage of improving machine technologies, the Craftsman idea remained a central theme in all that Stickley Greene and Greene Gamble House - Figure 6 produced.8

One of the most notable architecture firms influenced by the work of William Morris and Gustav Stickley was the southern California firm of Greene and Greene. The Greene brothers, Charles and Henry, were trained in the tradition of the historic European styles while they were in college at the School of Architecture at Boston Tech (later to become part of the Massachusetts Institute of Technology). However, before they went to

8 David Cathers, Stickley Style: Arts and Crafts Homes in the Craftsman Tradition (New York: Simon & Schuster, 1999) 27.

Boston for their college training, they were students at the Manual Training High School in Saint Louis, Missouri. The school was very innovative and their experiences there affected the kind of architects they would later become.

The curriculum at Manual Training High School included, along with traditional academic studies, three years of shop training, where one year was devoted to woodworking, another year to metal working, and a final year to machine tool design. The school’s goals were non-vocational. The school’s founder, Calvin Milton Woodward, found that when students developed their manual skills, they could build models that helped in understanding the formulas and principals of mechanics that he was trying to teach. Woodward wanted to educate the “whole boy;” it was his conviction that the well-educated man should work with his hands as well as his mind.9

This method of learning most certainly influenced the designs of the Greenes when they founded their own architectural practice in Pasadena, California. The Greenes detailed the houses they designed at the beginning of the twentieth century, in the spirit of the American Arts and Crafts movement, departing from the traditional adobe mission and Queen Anne styles that

9 Thomas, 6.

were most prevalent in Pasadena at the time. They were exposed to the culture of the Orient by visiting the Japanese Pavilion at the World’s Fair in Chicago on their way to California, and also through a local antiques dealer. Because of this influence, the Greenes began to strive to create a synthesis out of the Stickley crafts movement and the Japanese timber tradition.10 The Greene brothers were able to create their unique houses because they combined the skill of the craftsman with the vision of the artist. Charles Greene described the role of his profession in its original sense when he wrote, “An architect is a builder employing the process of art.”11

For Greene and Greene, the Arts and Crafts style involved an awe-inspiring use of handcrafted interiors. The soft edges of the wooden stairs and the exposed connection details in their best known and most detailed work, the Gamble

Greene and Greene Gamble House Stair - Figure 7 house, show that the Greenes were interested in craft as a strictly handcrafted approach. This was an extraordinary period, but the magic of the years “after plumbing and before taxes” was destined to come to an end.

The adherence of Greene and Greene to the use of the highly skilled craftsman and their inability to embrace the use of the machine, as Stickley and Wright

10 Kenneth Frampton, American Masterworks: the Twentieth Century House Kenneth Frampton and David Larkin, Editors (New York: Rizzoli Press, 1995) 18-19. 11 Thomas, 6.

proposed, eventually led to the downfall of the brothers’ practice. The unwillingness of Greene and Greene to meet the realities of the changing economic picture meant that they priced themselves out of the market. By 1916, most of their major work was done. Frank Lloyd Wright, in contrast, was professionally active until his death in 1959.12 One reason for Wright’s continuance of professional activity is because of his embrace of the machine to influence architecture.

“The great ethics of the Machine are yet, in the main, beyond the ken of the artist or student of sociology; but the artist mind may now approach the nature of this thing from experience, which has become the commonplace of his field, to suggest, in time, I hope, to prove, that the machine is capable of carrying to fruition high ideals in art – higher than the world has yet seen!” Frank Lloyd Wright Storer House - Figure 8 -Frank Lloyd Wright excerpt from a “Lecture at the Hull House, 1901”13

An architect, said Wright, should train himself to see that every material possesses poetry of its own, hence, each material can become its own ornamentation and even suggests the appropriate proportions for a building. As early as 1900, the understanding of the beauty in materials that Wright

12 Thomas. 7. 13 The Education of the Architect : Historiography, Urbanism, and the Growth of Architectural Knowledge : Essays presented to Stanford Anderson Martha Pollack Editor (Cambridge, Mass.: MIT Press, 1997) 4

possessed was extraordinary.14 Some of the best examples of Wright’s use of the machine to create buildings that suggest a critical use of materials and craft are the series of textile-block houses produced in California during the 1920s. In 1932 Wright wrote about the development of the textile-block houses (figure 7,8,9):

Frank Lloyd Wright Storer House Detail - Figure 9

14 Donald Hoffman, Understanding Frank Lloyd Wright’s Architecture, (New York: Dover Publications, Inc., 1995) 2-3

“The concrete block? The cheapest (and ugliest thing) in the building world. It lived mostly in the architectural gutter as an imitation of rock face stone. Why not see what could be done with that gutter rat? Steel wedded to it cast inside the joints and the block itself (figure 7) brought into some broad, practical scheme of general treatment; then why would it not be fit for a phase of modern architecture? It might be permanent, noble, beautiful. It would be cheap. I finally had found a simple mechanical means to produce a complete building that looks the way the machine made it, as much at least, as any fabric need look. Tough, light, but not thin; imperishable; plastic; no necessary lie about it anywhere and yet machine-made, mechanically perfect. Standardization as the soul of the machine here for the first time may be seen in the hand of the architect, put squarely up to the limitations of imagination, the only limitation of building.”15

Wright’s concrete block houses displayed that it was possible to use a

Frank Lloyd Wright Storer House Interior - Figure 10 commonplace everyday material that was not necessarily considered to be of high quality, such as concrete, and produce a building that displayed craft in a modern, machine oriented sense.

15 Frampton, 13.

A modern day practitioner who displays a keen understanding of craft and materials is the Swiss architect Peter Zumthor. Zumthor’s attention to craft and the connections between materials can be seen in some of his best-known works--the baths at Vals, the chapel in Sumvitg, and the Kuntsthaus Bregenz in Bregenz, Austria.

The architectural works of Peter Zumthor are among Switzerland’s major achievements. Zumthor is one of the top architects in Switzerland not only because of the beauty of the clean forms, but also because of his masterly knowledge of materials. Zumthor also expresses an exceptional control of the final spatial impression that the buildings emanate. This final effect cannot be achieved through theory only, but primarily through knowledge of practical mastership of architectural profession. Zumthor says that he wishes to create spaces with soul, which become part of everyday life and stand against the general artificiality of the world. For Zumthor, the language of the materials themselves are more important than the form, as only the simplicity and clarity of the building will attract us to the building.

In Zumthor's works, simplicity of architectural form has an elegant effect as it is achieved with precision that challenges the limits of the craftsman’s skill. His creative effort, however, is directed towards reestablishing the values that are already prevalent in everyday society. It is for this reason that Zumthor’s

buildings can surprise us with their intelligent use of features that are, in many ways, common-place and already a part of modern culture. However, the way he uses these features allows us to see them in a new light.

This is the case with the chapel in Sogn Benedegt, where Zumthor drew attention to the underestimated poetics of a chapel made entirely of wood, a material as common-place and easily understood as any. The Thermal Baths in Vals are composed of stone that has been quarried from the same location where the building is positioned. The dark cavernous pools allow users to rediscover the pleasure of bathing known in Roman or Turkish baths, but the architectural form is not reminiscent of the baths at Caracalla, or any other historic model. But it does have the same feeling of light and shadow that the classical baths possessed. In this sense, Zumthor represents a guilty

Detail of Glass consciousness of the civilization that strives for new discoveries while Shingles. forgetting the eternal values forged by thousands of years of experience. It is - Figure 13 this enlightenment that hides the avant-gardism of his work.16 Detail of wooden shingles - Figure 12 Zumthor is an architect whose understanding of craft is highly developed, with a broad palette of more than one material. The Art Museum Bergenz, in Bergenz, Austria, is another great example of Zumthor’s beautiful

16 Andrej Hrausky, Galleria Dessa -Peter Zumthor, 1996 http://www2.arnes.si/~ljdessa1/zumthor/ April 2003

understanding of materials and their connections. The composition of the skin on the museum is shingled, the same as the wooden siding at the Chapel in Sogn Benedegt; however, in the museum the exterior wrapper is composed of an unconventional material. The outer skin of the building consists of finely etched glass. The glass panels, which are all the same size, are neither perforated nor cut. They rest on metal consoles, held in place by large clamps. The edges of the glass are exposed.

Zumthor believes that the artworks will benefit from the sensuous presence of the materials that define the space. This belief in materials and craft are elements that are always present in the works of Zumthor, and in many aspects, this is the important feature in his work. The plan and even section of most of his buildings are quite mundane; it is the treatment of the materials

Concrete and their connections that make his buildings the objects of beauty that they Stairwell with Glass Ceiling are so widely acclaimed to be. - Figure 14 These elements that Zumthor explores, the belief in materials and their craft are important aspects to consider in any work of architecture. By exploring various ways to utilize the machine, modern construction techniques, and an understanding of the composition of materials, architects can create buildings that display a better understanding of craft. This would also demonstrate that

this can be an important feature to the people who come into contact with these buildings.

Concrete Stairwell with Glass Ceiling. - Figure 14

2.2 THESIS – P RECEDENTS Gamble House – Greene and Greene Pasadena, California 1908

The Gamble House, the masterwork of Greene and Greene, is the quintessential example of the Arts and Crafts style in architecture. The attention to detail that the Greenes instilled in every aspect the house’s design, from the furniture to the garage door, is astounding. The Gamble House is also a prime example of the skilled craftsman’s influence on a work of architecture. Gamble House Showing Original Front Elevation. The influence of the highly skilled craftsman is evident in the incredible - Figure 15 amount of detail in every aspect of the design.

Much of the beauty in the Gamble House derives from the hundreds of details that appear both inside and out. From the chevron pattern in the circular driveway to the ceramic planters on the terrace, from the hand-shaped rafter tails to the unique window screens, every aspect of the exterior contributes to the overall scheme. Inside the house, the furniture, picture frames, light fixtures, stained glass windows, and fireplace tiles are a part of the total design. Separate elements are coordinated by the use of patterns and motifs that reappear in varied forms and materials.17

17 Thomas, 11.

Frank Lloyd Wright once asked Charles Greene how he achieved the rare quality of workmanship in his houses. Greene gave a response to this question in the October 1922 issue of Architectural Record:

“Here is the difference; prevailing custom is a system of administration by recorded instruction; mine is not any system, but personal direction on the job. The first is fixed, the second is elastic, yielding to contingencies, open to inspiration.”18

A comparison of the blue prints with the finished house shows this to be true. The blueprints often seem to be more of a point of departure rather than a static set of instructions. The Greene brothers worked closely with the craftsman who created their designs. The brothers’ relationship with their principle workers was such that they both influenced each other, leading to a Gamble House Stairs. - Figure 16 better overall design. Even though their contractor, Peter Hall, was a master craftsman with a well-trained crew of carpenters, Henry Greene or his brother were at the building site on a regular basis. Charles Greene was also involved daily at Hall’s carpentry shop where he worked with the cabinetmakers that were under the supervision of John Hall, Peter’s equally talented brother.

18 Thomas, 6.

John Hall’s skill and knowledge as a master craftsman had an important influence on the designs of Charles Greene’s furniture.

The Greene’s detailed the Gamble House as if it were a large piece of furniture, using expressed joints and connections in the structure of the house that also appears in the furniture of the house. This is a house of wood, where articulated joinery becomes a decorative feature both inside and out. Rounded edges create sculpted forms wherever two pieces of wood are joined. In fact, every post and lintel, rail and beam has been softened by hand

Detail of Stairs. - Figure 17 sanding; not a single member is left as it came from the mill. Edges of fireplace bricks are also rounded to continue the effect. Mundane details like foundation vents, drain pipes, chimneys, garage doors, and light switch plates have been designed to combine utility and beauty in each object.19

The Gamble House displays the Greenes’ deep respect for wood. Seventeen different varieties with varying colors and grains appear in the house and its furnishings. The materials were carefully selected and the special attributes of each piece considered in its use.

19 Thomas, 8.

The beauty of the wood was enhanced, as joinery became an essential element of design. The architects were sensitive to the textures and patterns inherent in an open mortise and tenon joint at the corner of a drawer, a mantle piece, a baseboard, or a step. Repeatedly, the dark end-grain of a projecting tenon appears in contrast with the smooth grain of the member containing an open mortise. The rounded corners create a sculptural quality; shapes are emphasized when sanded edges produce a shadow line between adjacent pieces.

This use of detail and hand crafting that is apparent in every aspect of the house shows how the brothers were influenced by the furniture that they designed and vice versa. In many ways, it seems as if the design of the furniture that was used throughout the house was a prototype for the forms and ideas that were used throughout the house itself. It is impossible, in a house designed Relationship Between Furniture and Beam. with such detail at all levels, to tell were the design of one object stops and - Figure 18 another starts. This is also enhanced by the amount of built-in elements that Greene and Greene designed. Everywhere within the house are beautifully constructed built-in benches, closets, lights and other items that blend seamlessly with the character of the house.

Charles and Henry Greene were unsurpassed in developing beautiful designs through joinery. They were true representatives of the Craftsman Movement,

bringing further integrity to their work because the appearance of an object was inspired by its function.20

20 Thomas, 25.

2.2 THESIS – P RECEDENTS Tjibaou Cultural Centre – Renzo Piano Nouméa, New Caledonia 1991-98

Stretched along the top of a promontory between the Bay of Magenta and a mangrove-edged lagoon on the South Pacific island of New Caledonia is a row of excitingly exotic structures. Intermittently-spaced among the trees they emerge from and exhibit such affinity with, they are as enigmatic as they are evocative. The buildings evoke simultaneously the traditional huts (‘cases’ in French) of the indigenous Kanak people and also, aspects of contemporary civilization. The cases, as these structures are called, are the most notable parts of the Tjibaou Cultural Centre which has been built to conserve Kanak culture and help it evolve to face our times with replenished

Large Case. roots.21 - Figure 19 The site chosen for the cultural center was the Tina Peninsula, just east of Nouméa, New Caledonia’s capital of 70,000. The location accords with Tjibaou’s only recorded wish for any such centre: that it should be near Nouméa, so that urban Kanaks might rediscover their roots, and non-Kanaks

21 Renzo Piano Peter Buchanan, Renzo Piano Building Workshop: Complete Works – Volume Four. Sketch of (London: Phaidon Press, 2000) 86. Centre. - Figure 20

might discover what is universal in Kanak culture. The spectacular site, between sea and sheltered lagoon, has a dramatic backdrop of mountains and further headlands jutting into the Bay of Magenta.22

The wood chosen for the ribs and slats, and used throughout the building is iroko, a stable, termite resistant, native wood. At the tops of the glue laminated ribs are stainless steel caps that prevent the penetration of water into the end grain of the ribs. The bottoms of the ribs are spliced to cast-steel Detail of Joints Between the Exterior elements, pinjointed to cast-steel shoes, bolted to the concrete foundations. Ribs. The laminated wooden ribs are also stabilized and braced by steel elements in - Figure 21 the horizontal plane.23

The cases are three different sizes, yet the spacing of the vertical ribs is consistent on all the cases, even if the number of ribs varies. By utilizing this technique, Piano was able to have the steel elements that brace between the ribs and all the infill elements consistent throughout the project. This allows the mechanics and machine to influence the design of the structures. Piano’s understanding of the materials and the connections that influence the design

Ribs Connection to 22 the Foundation. Ibid. 89.

- Figure 22 23 Ibid. 96.

came by a rigorous study of the structure with full scale details being produced, wind tunnel testing, and two full-size mock-ups.

Tightening the pin that secures The level of craft in this building is evident; it is clear that Piano took materials the cast-steel tip of the inner rib to and connections into careful consideration in the design of the cases. The cast-steel shoe.. juxtaposition of the obviously machine made parts, like the large steel joints - Figure 23 that anchor the structure to the foundation, with the more tactile, seemingly hand-crafted wooden ribs and wooden shutters of the building are the aspects of the structure that, on closer examination, and after one gets past the beautiful, lyrical form of the cases, give interest to the building.

The building differs from the Gamble house on two important points. The Tjibaou Cultural Centre, like the Gamble house, is definitely a prime example of craft in architecture; however, the Centre differs in that it embraces the juxtaposition of the

Cases at Dusk with the Capital City Nouméa, in the Background Across the Bay of Magenta. - Figure 24

machine with the hand. Also, these structures are foreground buildings for the city of Nouméa.

The Tjibaou Cultural Centre is definitely a foreground building. Foreground buildings are those structures that stand out and are noticed; they are the type of buildings that define an area and become a reference to an individual’s cognitive map of an area. The city of Nouméa is not a place that has any architectural significance; this is partly due to the Kanak culture. The Kanak culture does not have many buildings that are built to last for long periods of time. The cases, to which the Centre is loosely related, are made to deteriorate back to the earth after the life cycle of the building is exhausted. The stable nature of the building, its location in the bay with the city all around the Centre, and most importantly, the form and craft of the building are the reasons that the Centre is a foreground structure.

Section Through Building. - Figure 25

3.1 PROJECT / L OCATION – H ISTORY OF P ROJECT

T YPE / P ROJECT P RECEDENCE

The University of Cincinnati’s College of Applied Science offers a cabinet and furniture making class that is available to any student attending the University. The classes are broken up into several levels, from a beginner’s class--Furniture Construction I--to the most advanced class-- Furniture Construction IV. After completing all the classes, a student can receive a certificate of Advanced Study in Wood Technology.

The beginner’s class offers an introduction to basic construction techniques and woodworking tools, applying this knowledge to construct a Shaker side stand table measuring 18"x18"x27". The student then constructs another Hand Tools in OCAS Workshop. - Figure 26 table project from the Pembroke, coffee, or of the occasional category-- learning leg and frame construction and edging techniques. The student also must construct a lap joint solely using hand tools. This must be accomplished using his or her understanding of crafting wood.

At the next level of the class, the student constructs two projects from the following furniture categories: bookcases, display and corner cabinets, and sideboard cabinets; while learning joint and door construction

techniques. Students must repeat this course for a total of 12 credit hours before they are able to register for Cabinet/Furniture Construction III.

In the Cabinet/Furniture Construction III course the student constructs two projects from the following furniture categories: chest of drawers and desk, office, writing and lectern; while learning drawer construction and hardware installation. This series must be repeated for a total of 18 credit hours before registering for Cabinet/Furniture Construction IV.

In the final level of the Cabinet / Furniture Construction courses, the student has Bandsaw, Drillpress and Mortising Machine in OCAS Workshop. - Figure 27 mastered many skills. For the final class, the student constructs two projects from the following furniture categories: blanket chest, pedestal and lathe turning. This series must be repeated for a total of 18 credit hours. Upon completion of this course, the student will have had a total of 54 credit hours of instruction or at least 1500 hours of instruction in the woodshop.24

The woodshop for this class is, in many aspects, a model of what not to design in a workshop space. There is no natural light in the room, all the lighting

24 “College of Applied Science - Cabinet and Furniture Making,” UC Learning Opportunities – Course Descriptions, Winter 2003, (10 May 2003).

comes from harsh fluorescent downlighting. The reason for this is that the shop is located in the basement of a building that was built in the late 50’s. Besides the lack of natural lighting, the space is surrounded by the mechanical systems of the building. This creates an environment where the air is not turned over regularly; it is noisy (even without the power tools running;) the space is claustrophobic in some places because of a lack of visual release; and the pipes sometimes leak on projects. This, along with the occasional flooding, is a problem in the small storage room where projects that are in progress are stored.

There are some nice features to the space. The layout of the tools in the space is actually quite efficient, even though space in the workshop is quite limited. The many workbenches located in the room are of a high quality and provide an ideal surface on which to work. The machines that are available in the room are of a high quality and there is an abundance of hand tools.

Row of Clamps in Storage Room - Figure 28

3.2 PROJECT / L OCATION – S ITE A NALYSIS / F EATURES

Location –

The site for the workshop is located on six adjacent parcels of land on the northwest corner of the intersection of East Liberty and Sycamore Streets. This site is on the figurative dividing line between Over-the-Rhine and Liberty Hill Neighborhoods. It is also on a dividing line between the flat downtown area and the beginning of the steep hill that leads to Christ Hospital and continues until McMillan Street. Liberty is the largest and most heavily traveled east-west corridor located within Over-the-Rhine. It provides easy access to both I-75 and I-71. Since this is a major street, it is much larger than all the other streets around the site. When approaching the Over-the-Rhine neighborhood by traveling west on Liberty, this site is located at the first intersection. Since there is a large church to the south of the site, a foreground building positioned on this Aerial Photo with Site Highlighted. - Figure 29 site would serve as a gateway into the Over-the-Rhine neighborhood.

Description –

The site is rectangular with the dominant axis running north/south. There is an elevation change of eight feet sloping upward toward the northern edge

of the site. The site is just less than 12,000 square feet in area, or about a quarter of an acre. Two buildings currently occupy the site. A small convenience store lies on the southern side of the site, with an abandoned building on the northern portion of the site. The rest of the site is occupied by a gravel parking lot that serviced the convenience store.

Site Context –

The buildings surrounding the site are quite varied programmatically and stylistically. On the southwest corner lies the Salem United Church of Christ. The church is very traditional in form; it was built in 1867 with a large boxy classroom addition that was added in the late 1950s. On the southeast corner of the intersection is a historic auto garage, the Car Barn, which has been converted into several businesses. This building is occupied by a branch of US Bank, a photography studio and Nicolas Ristorante. On the northeast corner of the intersection is the design firm Siebert Design Associates. This firm is located in a residence that was built in 1885.

The buildings that front Liberty to the west of the site are a mixture of some private residences and mainly abandoned buildings. To the northeast of the site is the Liberty Hill neighborhood, composed of older buildings Steeple at Salem United Church of Christ. - Figure 30

that are being bought and restored for use as private homes. This gentrification and restoration of older homes is also prevalent along Orchard Street to the south and along the streets that face the Cincinnati School of the Performing Arts, two blocks south of the site on Sycamore.

Climatological Factors –

The temperature range of Cincinnati ranges from -15° to 106° Fahrenheit. Approximately 80 days of the year are below freezing, while about 25 days of the year are above 90°. Average precipitation per year is 44 inches with 20 Buildings West of Site. - Figure 31 inches of snowfall. Prevailing winds are from the northwest at 10 MPH.25

Utilities –

The electrical and telephone wires are currently located in the southeast corner of the site. These will be relocated so they access the building from underground or the northwest corner of the site. The gas line that services the site is located in the northwest corner of the site.

25 The Weather Channel – Monthly Averages for Cincinnati, OH Liberty Hill Neighborhood. - Figure 32 http://www.weather.com/weather/climatology/monthly/45219 May 2003

4.1 P ROGRAM – S PACES, O VERALL S QUARE F OOTAGE

The focus of the building programmatically is the woodworking shop--this is the portion of the building where the majority of the activity will take place and also the portion of the building that the public will utilize most of the time. Also included on the main level will be a small gallery space that will function as a showcase for exemplary work produced within the workshop. This space will be open to the public and will be the first space that is seen upon entering the building. The mezzanine level of the building will contain offices for the instructors and administrative staff and a small library for the staff and public use.

The spaces within the building will be open from one area to the next, containing large expanses of glass to visually allow the building to flow from one space to the next. The heart of the building will be the woodworking workshop, as each space will have visual access into this area. The building will also have an abundance of natural light, with a minimum of artificial light to supplement the lighting needs.

Wood Workshop 2000 sq. ft.

Materials Storage Room 300 sq. ft.

Project Storage Room 300 sq. ft.

Gallery 400 sq. ft.

Offices (2) 300 sq. ft.

Library 300 sq. ft.

Restrooms (2) 150 sq. ft.

Circulation 20% 1200 sq. ft.

Mechanical 10% 600 sq. ft.

Total 6000 sq. ft.

4.2 PROGRAM – I NDIVIDUAL S PACE D ESCRIPTION AND

S Q . F T .

Wood Workshop – 2000 sq. ft.

Occupants - Approximately 10-14 students, including instructors, will use the workshop at any given time. - The age range for users in this space would be quite broad from about 18 to 85. Activities - Will consist of the production of pieces and detailed instruction from the faculty. - Will be equipped for both machine production and the use of hand tools. Health/Safety & Security - Main shut-off switch for all the electrical machinery - Easy access to emergency eye-wash basin and sinks. - Easy access to fire extinguishers and sprinklers. - The door to this room should be lockable. - Cabinet stocked with safety equipment; first aid kit, safety goggles, dust mask/respirators, gloves, face shields, ear plugs, etc. Functional Requirements - Wood top workbenches will provide a stable area to work.

- The racks on the walls will store the majority of the hand tools, while lockable cabinets will contain the powered hand tools. Ambient Environment - Room temperature should remain between 68° and 72° F. - The workshop should be kept dry, with low humidity to prevent problems with the wood warping and checking. Ventilation - 45 CFM outside air per occupant. - Dust produced from table saw, band saw, planers, jointers, disc sanders and other powered tools will be filtered and removed by a central dust collection system that is attached to any machine that needs dust exhaust. Lighting - 80 to 100 foot candles. - Workshop would have ample access to natural lighting with supplemental lighting provided by ambient fluorescent lights and task lighting on the workbenches and certain power tools. - All the lights should be easily controllable so users can adjust the lighting to the task at hand. Acoustics - Doors entering the workshop should have sound proofing gaskets to prevent aural disruption to the rest of the building. Location / Adjacencies - Should be located adjacent to the materials storage room and equipment storage room. The wood workshop should also be near the finishing room.

Equipment Requirements - Workbenches located throughout the shop will provide a steady surface for the assembly and production of the user’s pieces. The workbenches will be equipped with a tail vise, shoulder vise, a row of dogholes and task lighting. - Heavy woodworking machinery including: compound miter saw, radial arm saw, joiner, planer, panel saw, band saw, table saw, lathe, mortising machine, drill press, router table, spindle sander, belt sander, drum sander and spray/finishing room. - Outlets for each tool should be located as near as possible to the tool to prevent any cables that might be a hazard. - 220 volt outlets for larger machines. Code Requirements - ADA, Boca. - City of Cincinnati and Hamilton County Area - 2000 square feet

Materials Storage Room – 300 sq. ft.

Occupants - Approximately 1-3 students/instructors will be sorting and choosing from various materials at any given time.

- The age range for users in this space would be quite broad from about 18 to 85. Activities - Will consist of sorting and choosing from various materials. Health/Safety & Security - The door to this room should be lockable. - Easy access to fire extinguishers and sprinklers Functional / Equipment Requirements - Racks for drying and storing wood. - Bins for small pieces of wood. - Floor space and racks for large sheet goods. Ambient Environment - Room temperature should remain between 68° and 72° F. - The materials storage room should be kept dry, with low humidity to prevent problems with the wood warping and checking. Ventilation - 30 - 35 CFM outside air per occupant. Lighting - 60 foot candles. - Lighting provided by ambient fluorescent lights. Location / Adjacencies - Should be located adjacent to the wood workshop. Code Requirements - ADA, Boca.

- City of Cincinnati and Hamilton County Area - 300 square feet

Project Storage Room – 300 sq. ft.

Occupants - Approximately 1-5 students/instructors in the room at any given time. - The age range for users in this space would be quite broad from about 18 to 85. Activities - Will consist of storing and retrieving projects. Health/Safety & Security - The door to this room should be lockable. - Easy access to fire extinguishers and sprinklers Functional / Equipment Requirements - Large racks for storing projects. - Floor space for large projects. Ambient Environment - Room temperature should remain between 68° and 72° F. - The project storage room should be kept dry, with low humidity to prevent problems with the wood warping and checking. Ventilation

- 30 - 35 CFM outside air per occupant. Lighting - 60 foot candles. - Lighting provided by ambient fluorescent/incandescent lights. Location / Adjacencies - Should be located adjacent to the workshop and materials storage room. Code Requirements - ADA, Boca. - City of Cincinnati and Hamilton County Area - 300 square feet

Gallery – 400 sq. ft.

Occupants - The gallery will be used by the students, instructors and the public. - Individuals of any age would be able to utilize this space. Activities - Will consist of viewing and discussing exemplary projects produced in the workshop. Health/Safety & Security - This area will be accessible yet monitored. - Easy access to fire extinguishers and sprinklers

Functional / Equipment Requirements - Stands for the display of small items, turnings, etc. - Floor space for large projects. Ambient Environment - Room temperature should remain between 68° and 72° F. - The project storage room should be kept dry, with low humidity to prevent problems with the wood warping and checking. Ventilation - 30 - 35 CFM outside air per occupant. Lighting - 50 - 60 foot candles. - Gallery should have ample access to natural lighting with supplemental lighting provided by incandescent lights. Location / Adjacencies - Should be located adjacent to the main entry and stairs Code Requirements - ADA, Boca. - City of Cincinnati and Hamilton County Area - 400 square feet

Offices – (2) 300 sq. ft.

Occupants - The offices will be for the use of the administrative staff of the Workshop. - 2 – 3 instructor/staff per office. Activities - Will consist of office related duties, paperwork and whatnot. Health/Safety & Security - Easy access to fire extinguishers and sprinklers Functional / Equipment Requirements - Storage for papers/books and desk with office equipment. Ambient Environment - Room temperature should remain between 68° and 72° F. Ventilation - 30 CFM per occupant. Lighting - 50 - 60 foot candles. - Natural lighting with supplemental lighting provided by incandescent lights. Location / Adjacencies - Will be located on a mezzanine level with views into the workshop. Code Requirements - ADA, Boca, City of Cincinnati and Hamilton County Area - 600 square feet

Library – 300 sq. ft.

Occupants - The library will be used by 2-3 students, instructors and the public at a time. - Individuals of any age would be able to utilize this space. Activities - Locating and reading books pertaining to woodworking and craft. Health/Safety & Security - Easy access to fire extinguishers and sprinklers Functional / Equipment Requirements - Storage for books and small comfortable reading area. - Should be a quiet area that allows users to read and study the volumes. Ambient Environment - Room temperature should remain between 68° and 72° F. - Humidity should be low to avoid problems such as mildew. Ventilation - 35 CFM per occupant. Lighting - 50 - 60 foot candles. - Natural lighting with supplemental lighting provided by incandescent lights. - Task lighting by bookshelves and in reading area. Location / Adjacencies - Will be located on a mezzanine level with views into the workshop. - Located adjacent to the main stairs.

Code Requirements - ADA, Boca. - City of Cincinnati and Hamilton County Area - 300 square feet

Restrooms – (2) 150 sq. ft.

Occupants - The restrooms will be used by the students, instructors and the public. - Individuals of any age would be able to utilize this space. Health/Safety & Security - Grab bars. - Easy access to fire extinguishers and sprinklers Functional / Equipment Requirements - All necessary plumbing. - GFI outlets and Mirror. Ambient Environment - Room temperature should remain between 68° and 72° F. Ventilation - 150 CFM fan with vent to exterior. Lighting - 50 - 60 foot candles.

- Ambient light provided by incandescent lights. Location / Adjacencies - Should be located adjacent to the main entry and stairs Code Requirements - ADA, Boca, City of Cincinnati and Hamilton County Area - 300 square feet

5.1 PROJECT D ESIGN – T HESIS E XPLORATION

The project examines craft in the design of the building on many levels, however, two stand out more so than the others. The first exploration is the connections between the columns and joists. The other is displayed in the stand-alone stair element.

The connections between the columns and joist are detailed with wooden columns and joists that are connected with metal bolts and plates. At the base of each column, there is again a metal connection that is interwoven with the glue-laminated layers of the column that anchors it to the concrete foundations. The arrangement of the bolts and plates with the joists and beams illustrate the way the forces are resolved within the building.

The structure of the stair tower is separate from the structure of the main building , allowing the stair to be read as an independent element. The form of the stair is also elliptical so that it relates to the arch of the roof, yet the engagement with the floor plan is minimal. The stair is composed of a glass tower wrapped in stainless steel mesh, with cantilevered metal stair treads.

5.2 PROJECT D ESIGN – D RAWINGS, D IAGRAMS,

P HOTOGRAPHS

Section Through Workshop. - Figure 33

Stair Tower. - Figure 34

View Down Stair. - Figure 35

Stair Plan. - Figure 36

Section Through Model. - Figure 37

6.1 BIBLIOGRAPHY

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Stankus, Bill. Setting Up Your Own Woodworking Shop. New York: Sterling Publishing Co, 1993.

Stein, Laurie A. and Mary Ann Steiner, editors. Abstractions in Space: Tadao Ando, Ellsworth Kelly, Richard Serra. St. Louis: The Pulitzer Foundation for the Arts, 2001

Thomas, Jeanette A. Images of the Gamble House: Masterwork of Greene & Greene. Los Angles: Balcony Press, 1994.

Tolpin, Jim. The Toolbox Book: A Craftsman’s Guide to Tool Chests, Cabinents and Storage Systems. Newton, CT: The Taunton Press Inc., 1995.

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