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 by 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 1.1 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) 2 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. 3 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 4 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 5 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. 6 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.

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