B.Arch. Advanced Studios 3

Eric Cheng won the 2011 Schiff Foundation Fellowship for his work in Associate Professor John Ronan’s Fall 2010 advanced studio, “Cemetery for the Unclaimed.” The studio project explored issues of memory and ritual through the creation of a cemetery for Chicago’s unclaimed dead—the ten to twenty people who die every month in Chicago and remain unclaimed and alone in death. Cheng’s project, “Nesting,” used fallen sticks and saplings woven around individual steel pipes to create a cluster of rings that form a community and restore the value and identity of the unclaimed. 1 of 3.

Eric Cheng won the 2011 Schiff Foundation Fellowship for his work in Associate Professor John Ronan’s Fall 2010 advanced studio, “Cemetery for the Unclaimed.” The studio project explored issues of memory and ritual through the creation of a cemetery for Chicago’s unclaimed dead—the ten to twenty people who die every month in Chicago and remain unclaimed and alone in death. Cheng’s project, “Nesting,” used fallen sticks and saplings woven around individual steel pipes to create a cluster of rings that form a community and restore the value and identity of the unclaimed. 2 of 3.

Eric Cheng won the 2011 Schiff Foundation Fellowship for his work in Associate Professor John Ronan’s Fall 2010 advanced studio, “Cemetery for the Unclaimed.” The studio project explored issues of memory and ritual through the creation of a cemetery for Chicago’s unclaimed dead—the ten to twenty people who die every month in Chicago and remain unclaimed and alone in death. Cheng’s project, “Nesting,” used fallen sticks and saplings woven around individual steel pipes to create a cluster of rings that form a community and restore the value and identity of the unclaimed. 3 of 3.

Albert Cuesta Reig, "Material Investigations: A Cemetery for the Unclaimed," ARCH 418 (studio VIII) with Associate Professor John Ronan. This studio was constructed to foreground the issue of materiality in architecture. Students will select a material (or materials) at the beginning of the semester, and explore the spatial, experiential and constructional possibilities of that material in the design of a small funeral chapel and cemetery on a site in Chicago. 1 of 2.

Albert Cuesta Reig, "Material Investigations: A Cemetery for the Unclaimed," ARCH 418 (studio VIII) with Associate Professor John Ronan. This studio was constructed to foreground the issue of materiality in architecture. Students will select a material (or materials) at the beginning of the semester, and explore the spatial, experiential and constructional possibilities of that material in the design of a small funeral chapel and cemetery on a site in Chicago. 2 of 2.

Victor Molina Alegre, ARCH 419 (studio IX) with Professor Werner Sobek. The project was to design a pavilion along the Chicago River inspired by a historical city event. This particular design is based on Chicago's Great Fire of Oct. 8-10, 1871, and tries to evoke the feelings of the survivors. The building becomes more an experience than a mere exhibition center, as visitors follow a path through four distinct areas that are designed to elicit feelings of 1) acclimatization, 2) oppression, 3) emptiness, and finally 4) reanimation.

Stephanie Fumanelli and Eric Mendoza, “Pruitt-Igoe: Now competition.” This design, developed in Professor Terry Surjan’s studio, presents a new vision for the 33-acre site of the former Pruitt-Igoe public housing project. Fumanelli and Mendoza’s proposal is an art colony focused on the production of music and the craft of guitars, referencing St. Louis’ rock-n-roll past. 1 of 2.

Stephanie Fumanelli and Eric Mendoza, “Pruitt-Igoe: Now competition.” The artist dwellings disappear into the nature, forming hills around the site. The colony is designed to create harmony between the urban forest and human interaction, but at the same time attract people through music related events. 2 of 2.

Samantha Spencer, ARCH 418 (studio VIII) taught by Adjunct Associate Professor Matthew Pickner. The studio project is an extension to the Hirshhorn Museum and Sculpture Garden in Washington, DC. Spencer’s proposal is an open stack of floor plates which respond to the pull of specific National Mall orientations (Washington Monument, U.S. Capitol Building, etc.). An open-air zone with a sculpture garden and cafe is created between new and existing building. Each new floor is punctured with irregular-shaped doughnut holes and glass “pod” stair penetrations to create a sense of a larger unified multi-floor gallery precinct. The extension’s “wobbly” section and its fully transparent spatial organization create new types of exhibition spaces for Special Exhibits, Contemporary Art, and New Media; spaces responsive to the speculative nature of Art yet to be made. 1 of 2.

Samantha Spencer, ARCH 418 (studio VIII) taught by Adjunct Associate Professor Matthew Pickner. The studio project is an extension to the Hirshhorn Museum and Sculpture Garden in Washington, DC. Spencer’s proposal is an open stack of floor plates which respond to the pull of specific National Mall orientations (Washington Monument, U.S. Capitol Building, etc.). An open-air zone with a sculpture garden and cafe is created between new and existing building. Each new floor is punctured with irregular-shaped doughnut holes and glass “pod” stair penetrations to create a sense of a larger unified multi-floor gallery precinct. The extension’s “wobbly” section and its fully transparent spatial organization create new types of exhibition spaces for Special Exhibits, Contemporary Art, and New Media; spaces responsive to the speculative nature of Art yet to be made. 2 of 2.

Tomasz Gacek, ARCH 418 (studio VIII) taught by Adjunct Associate Professor Matthew Pickner. The studio project is an extension to the Hirshhorn Museum and Sculpture Garden in Washington, DC. Gacek’s project embraces the Hirshhorn’s circular theme with a scheme of opposing spiraling ramps containing seamless gallery space which peel up from the existing doughnut. The museum “unravels” at the top of the building as the wider gallery ramp emerges from its enclosure to offer 360 degree views of the Mall and city. This soaring ramp extends the museum spatially to include rooftop zones for sculpture and various performance and mixed-media events, intermixed with patches of green roof. The entire building is wrapped with a skin of stone panels and banding in subtle relief that merge with new “stretched” window openings. 1 of 2.

Tomasz Gacek, ARCH 418 (studio VIII) taught by Adjunct Associate Professor Matthew Pickner. The studio project is an extension to the Hirshhorn Museum and Sculpture Garden in Washington, DC. Gacek’s project embraces the Hirshhorn’s circular theme with a scheme of opposing spiraling ramps containing seamless gallery space which peel up from the existing doughnut. The museum “unravels” at the top of the building as the wider gallery ramp emerges from its enclosure to offer 360 degree views of the Mall and city. This soaring ramp extends the museum spatially to include rooftop zones for sculpture and various performance and mixed-media events, intermixed with patches of green roof. The entire building is wrapped with a skin of stone panels and banding in subtle relief that merge with new “stretched” window openings. 2 of 2.