Tea House

Date: 8/22/16
Tea House photograph of architectural model
Student Researcher:Heidy Martinez Faculty Advisor: Annicia Streete

The tea house was created in response to the ever-growing popularity of the tea ceremony, primarily in Asian cultures. With the design of the tea house, I focused on the transitional experience and the formulation of a sacred space that creates a profound bond amongst participants and the site. I employed two primary design strategies: radial organization and interlocking connections. 
The beginning of the path is marked by an initial threshold created by progressively increasing overhead wrapping conditions that create bands of light. The initial turn reveals a small garden, with a washbasin giving the user a space for contemplation and symbolizing the purifying of the body. Following along the path, the second turn reveals the forthcoming of the tea room marked by an elongated overhead plane. Continuing along the path, the last turn seamlessly brings you up the stairs where you see the Tokonoma and are guided to the gathering area to await the host. The tea room consists of the preparation area (known as Mizuya), the hearth, and the surrounding garden to create an intimate connection between the host, the guests, and nature. 

Tea House by Heidy Martinez

Tara Donovan Museum

Date: 8/22/16
Tara Donovan Museum site rendering
Student Researcher:Ryan Helle Faculty Advisor: Will Koning 

The Tara Donovan Museum of Spatial Art is meant to transpose the visitor into a unique environment for viewing art and to challenge one’s understanding of space and context within their landscape. 
The building is set upon a unique site in the vibrant LoDo neighborhood of downtown Denver. Adjacent to the recreational corridor of Cherry Creek, the museum gives itself to the landscape as much as the interior, as a means to activate the public space and create a hub of social interaction within the neighborhood. 
The museum exists as a simple structure composed of two rectangular masses, slightly offset and rotated from each other, giving contrast and importance to the gallery space. Within the museum, the visitor experiences Donovan’s artwork within a light-filled box. The gallery box achieves its vibrant light through a double-skin facade, the outermost layer composed of white channel glass, and the interior layer composed of polycarbonate panels. 
As the visitor moves through the gallery, they are undulating in and out of galleries of various sizes while moving in between and around a mass concrete wall, anchoring the gallery box within the lower mass and the surrounding context. As the visitor moves through the galleries, the exit sequence is through a series of tight walls that allow direct access to the landscape, completing the connection between the interior and exterior.

Overland Pavilion

Date: 8/22/16
Overland Pavilion site rendering
Student Researcher:Andrew Schrag & Samantha Strang Faculty Advisor: Scott Lawrence

This pavilion was designed for a Land Art Biennale in Fort Collins, Colorado. We are manifesting the larger context in a more immediate relationship to the individual. It includes a personal journey into, around, through, and out of the pavilion to reveal an awareness of the scope and elasticity of context. This continuous conversation has no final sense of arrival or end destination, creating an understanding of the interconnectedness of the site, pavilion, art, and time.
Opposites exist on a spectrum and are not separate or mutually exclusive. Perceptions of above and below, immediate and expanse, in and out, human-made intervention and “natural” occurrences are questioned. The elasticity of context is demonstrated through narrative movement by carving.

Museum of Spatial Arts II

Date: 8/15/16
Museum of Spatial Arts site rendering
Student Researcher:Marika Davis Faculty Advisor: Barbara Ambach

Designed for downtown Denver, the Museum of Spatial Arts integrates with the context while also creating spaces of reflection. There are voids that create a system of reveals throughout the building. The reveals connect the site context to the facade, as well as connecting the gallery spaces to each other. The reveals create moments of reflection and enable fluid circulation. As one journeys through the museum, more is revealed. The facade helps to tell the gradual story of the transitioning reveals.

Museum of Object Art

Date: 8/22/16
Museum of Object Art interior space rendering
Student Researcher:Liezl Van Wyk Faculty Advisor: Rick Sommerfeld

The Museum of Object Art (MOA) is situated on a site in downtown Denver that sits adjacent to Cherry Creek, which is lined with pedestrian and bicycle pathways. This enables the location to receive a variety of visitors, as vehicles, pedestrians and cyclists circulate the site as passersby.

The MOA acts as a connection between the two city streets, Wynkoop and Wazee. As Wynkoop is a dead end for vehicular traffic, it lends itself well to a main entryway into the museum. The main approach occurs instinctively from all sides — the Creek, walkways and sidewalks — and the museum’s protruding over the street invites visitors in.

Along the procession throughout the museum, the visitor experiences a succession of moments that are guided by a series of lighting qualities and materiality. These spaces have similar qualities that tie these experiences together.

The main gallery (MOA Box) becomes the central communal/exhibition space, and the specified circulation denies instantaneous arrival, although the translucency of the box emits a diffuse light quality that makes the box the primary space to visit.

The three main spatial moments become distinctive entities as materiality and textures are used in order to connect these experiences together. A variation of concrete for the exterior, Venetian plaster for interior galleries, a translucent material for the central gallery, and wood for other places of gathering become characteristic of interior and exterior spaces.

A Museum

Date: 8/22/16
A museum interior rendering
Student Researcher:Rebekka Thy Faculty Advisor: Tyler Michieli

This design for a museum in downtown Denver responds to the surrounding context of the site at 1400 Wynkoop, as well as to the needs and philosophies of the artist Olafur Eliasson. The design reflects the tension inherent in the context, as the urban grid pushes up against the naturalness of Cherry Creek and vice versa (by bringing in organic forms juxtaposed against square blocks). The museum’s continuous, figure-eight circulation gently draws visitors in and carries them through compressed “dark” galleries on the ground floor to “light” galleries on the second, where they experience Eliasson’s range of work, from visual to installation art.

A museum program analysis
A museum section view
A museum site plan
A museum interior rendering
A museum site rendering
A museum interior section drawing 

Ranger Station

Date: 1/16/17
Exterior rendering of ranger station
Student Researcher:Francis C. Mougne Faculty Advisor: Scott Lawrence

The intent is to develop a domestic space that serves to redefine the relationship between park ranger and visitor. It is a departure from the ubiquitous ranger station, where kiosks and placards only separate ranger and visitor from each other, and also disengage one another from context of the site. Via this study, the domestic form persuades circulation, where moments of anticipation and reflection serve as a catalyst to strengthen the bond between self, other and context of the site.

Jefferson Park Slot House

Date: 1/16/17
Site sketch
Student Researcher:Majed Albaiz & Ahmaz Alnaim Faculty Advisor: Keith Loftin

Envisioned for an urban site in Denver, this multifamily development responds to the scale and character of neighboring buildings. Eight duplexes are arranged around a central open space that controls vehicular circulation. The push and pull effect allows for extra car parking, while permeable paving and small grassy lawns soften the look and feel of the central court. 
The units are oriented toward the street, with each offering easy access and a sense of privacy. Skylights bring natural light into each residence. Gabled forms and the use of materials such as wood and brick enable the development to be respectful of its historic context.

Framed Nature

Date: 1/16/17
Photograph of architectural model
Student Researcher:Fredy Albarran Faculty Advisor: Julee Herdt 

Even a static object changes with time and offers a sense of movement when exposed to the natural environment. These structures – small, eco-homes made of shipping containers – act as objects that allow elements to fluidly pass through, thus allowing an experience that is unified. They are a medium to re-evaluate how we look at nature and our relationship with it.


Date: 1/16/17
Architectural rendering
Student Researcher:Leigh Bryant Faculty Advisor: Osman Attmann

CRUX is a 1.5-million-square-foot community that engages the public/passerby/traveler on the lower floors, the daily visitor on the middle floors, and the permanent occupants on the upper floors. The mixed-use complex features restaurants surrounding a public plaza, a produce market with fresh food being sourced from the building itself, 150 hotel rooms with balconies overlooking the plaza, rentable rooftop garden space, office space, parking, 200 condos, and amenities for tenants (a pool, gym, indoor and outdoor game areas, two bar/cafes, and a meditation room). 
All of these user groups love being in the mix of a vibrant urban culture, while the Rockies are only a quick trip or westward gaze away. CRUX pulls the distant fresh air, change in elevation, and vegetation straight into the city, connecting inhabitants to extroverted and introverted spaces to enjoy nature in the middle of a thriving metropolis. 


Date: 1/16/17
rendering of exterior space
Student Researcher:Lindsay Mcbride & Greg Yearsle Faculty Advisor:  Amir Ameri 

Throughout history the cinema has been associated with a building typology that provided a threshold between fiction and reality. The long, eventful procession from the ticket counter to the theater allowed viewers to unconsciously separate themselves from reality. Due to the contingency between the original and the copy, the cinema provided a container to house fiction so that it was not to threaten what we understand as reality.
Our goal in designing the Screening Room for the College of Arts and Media was to perpetuate this typology by blurring the line that separates fiction from our reality beginning the moment the viewer engages the site. The space moves across the site and through the cinema in such a way that the boundary of the site also becomes blurred and unclear. The screening room is located at the end of the procession, providing one last look down 14th Street before you shift axis into the screening room. 

Castlewood Canyon State Park Ranger Station

Date: 1/16/17
rendering of exterior space
Student Researcher:Austin S. Gohl Faculty Advisor: Ken Renaud

The spatial manipulations in these three graphics are the primary architectural elements driving the design of the Castlewood Canyon State Park Ranger Station. The Division-Union Axis, which is the main corridor, separates while simultaneously linking the domestic space and the public functions. The secondary Cross Axis directs visitors from the primary corridor to the ranger’s desk, where they will encounter park information and public restrooms beyond. The tertiary Poché Axis, developed through a continuous poured-concrete retaining wall, visually links the two distinct zones of the design
Composite layout of sketches and study models
Program analysis drawings
Site plan drawing
Elevation drawing
Program analysis graphic

BB Theatre Reveal

Date: 1/16/17
Rendering of exterior design
Student Researcher:Kyle Hoehnen & Andrea Kelchlin Faculty Advisor: Ranko Ruzic

BB Theatre Reveal flips the notion of “behind the scenes” on its head. Unlike traditional black box theaters, BB Theatre Reveal is designed to engage the public in all the inner workings of a space that is normally relegated behind dark walls.
Everything revolves around the multi-story fly tower at the center of the building. Divided in two by a glass floor, the stacked fly tower services both the upper-level black box and workshop space, as well as the lower-level public forum. 
The open floor cafe, retractable exterior walls, and open connection to the public forum on the ground level creates an eddy on the 16th Street Mall. As the public is pulled into the space, the building expands upwards to the mechanisms of the black box trap and then downwards to the public forum stage.
As the public climbs the grand stairs to the black box, they encounter the costumes and props on full display. Before finding their seats in the elevated performance space, the public must cross the threshold of the glass fly tower and stage.
Throughout the building, the multitude of layers of the theatre are revealed.
Photograph of architectural model
Plan view drawings
Program analysis graphic
Floor plan drawings
Program analysis graphic
Rendering of interior space

A Basin

Date: 1/16/17
Rendering of section drawing
Student Researcher:Wesley Kay & Amie Mcdermott Faculty Advisor: Matt Shea 

Montage is the coupling of two or more experiences into something greater than just the parts. It is the thesis plus the antithesis equals a synthesis of the two. For this project, we used the 1926 movie Battleship Potemkin, a masterpiece of montage, as a launching point to re-envision the entire skiing experience at Arapahoe Basin Ski Area high in the Colorado Rockies. 
A Basin is a culture of many different types of people; however, the end goal of every type of user is oriented towards skiing on the mountain. Eighty percent of A Basin is expert level terrain, yet all ability levels ski on the mountain. Arapahoe Basin is considered a home mountain to many locals who learn how to make their first turns as a kid and take their first chute as an expert. The existing conditions of the mountain and the base allow for all of this to happen, but it does not allow for a mixing of users and user experiences consistent with the different type of people who ski there while providing an efficient means of access to the mountain. Programs are bifurcated just like the lifts. 
So the question is: How do we allow for what the multiplicity of users want, which is an efficient means of access to the mountain after they access what they need (skis, ski pass, or nothing), while asking the users to engage with each other. The use of montage gives the user, no matter who they are, a multiplicity of unexpected experiences while at Arapahoe Basin, constantly perpetuating and reiterating the differences that people bring to the mountain. 
Montage is used in three distinctive ways: visual, experiential, and temporal. Programs are placed near each other for the experience of montage. To be in the rental shop while watching the lift line pass by gives the user a sense of expectation. Drinking on the deck while watching skiers get on the lift is an experiential coupling of two very different programs, linked through their culture yet very different in their speed. The use of scripting allowed for the creation of program adjacencies and efficiencies, giving access to the mountain to the programs that desired that access, while placing adjacent programs near at hand to force the sense of montage into that adjacency. The use of scripting also allowed for each program within the buildings to have their own facade treatment, giving differing levels of privacy, light filtration and views. 

Photograph of architectural model
Drawing of facade connections
Photograph of architectural model
Photograph of architectural model
Rendering of exterior of a ski lodge design
Site plan graphic
Photograph of concrete molds for concept casts
Rendering of interior space of a ski lodge design

Spatial Vignettes

Date: 8/21/17
Photograph of architectural model
Student Researcher:Michael K. Hackett Faculty Advisor: Jordan Gravely

In this project, I explored inhabitable spatial relationships between three major moments: entry, transition, and arrival. These moments were discovered through previous investigations of architectural techniques such as stereotomic and tectonic building. By investigating spatial sequences and how they are related, the term “threshold” became apparent. By using detailed and intentful thresholds, this project gained a cohesive experience for the viewer.
Main drivers behind this spatial vignette were sight lines, repetition, and compression and release. Sight lines are represented through voided space and material changes. Repetition is represented through aesthetic features such as the overhead condition, as well as orientation in each moment. Compression and release is represented throughout the experience within each moment as well.

Photograph of architectural model
Photograph of detail architectural model
Program analysis model
Photograph of architectural model
Photograph of architectural model made with wood and concrete

Slipping Pavilion

Date: 8/21/17
Photograph of concrete and wood model
Student Researcher:Shane Krenn Faculty Advisor: Ken Renaud

The intention of the project was to create a series of three spaces (entry, transition and arrival) that would begin to nest into one another through application of threshold. The spatial sequence involves an initial establishment of an axis from the entry, which becomes distorted from the manipulation of the ground plane along the transitional space, creating a set of striations that the user is guided through. The solution to this slipping axis is found within the arrival space, where the heaviness and solidity of the concrete walls permanently reorients the individual outwards onto a clear, unhindered view of the context. 
Coding of the material provides further emphasis to relationship between these three spaces, where the ambiguity of the transition space uses basswood to bind together the concrete of the entry and arrival spaces. The heaviness of the concrete mass above the entry signifies an occupation beneath a volume, where progression into the arrival space displays a change ground plane materiality from the white MDF to concrete, creating the sensation of now physically occupying the space inside of a volume.
Section drawing
Photograph of architectural model
Program analysis drawing
Photograph of architectural model
corner detail of wood and concrete model

Museum of Spatial Arts

Date: 8/21/17
Site plan collage
Student Researcher:Robby Cuthbert Faculty Advisor: Helen Jones

This museum, located in the LoDo area of Denver along Cherry Creek, is dedicated to the artist Richard Serra. All aspects of Serra’s works are exhibited, from his lesser known sketches and drawings, to his famous large-scale steel sculptures. The museum serves as a portal between the historic built environment of the LoDo neighborhood and a natural area of reclaimed creekside habitat. 
Progression through the museum is sequential. The first galleries are small, dark, and intimate spaces dedicated to Serra’s conceptual drawings. As visitors move onward, spaces become larger and are flooded with natural light. Correspondingly, the artwork on display becomes incrementally larger. 
Solid walls and ceilings progressively fall away, revealing an ethereal, light-filtering screen. The screen is comprised of three layers that independently slide back and forth and allow varying levels of daylight to pass through depending on their arrangement. As such, light levels can be tailored for different exhibits. The sequence of indoor galleries eventually dissolves and deposits visitors into an outdoor courtyard along Cherry Creek, where Serra’s largest work is displayed.

House in Pursuit of Reverie

Date: 8/21/17
Photograph of study model made with wood, wire and foam
Student Researcher:Danielle Jones Faculty Advisor: Julee Herdt

This urban home in pursuit of reverie is located along the eastern edge of Denver’s Cheesman Park and was designed to repurpose the traditional shipping container structure for an elevated vertical form. Divided into four levels, the rectangular container form hosts traditional programmatic space while the stairs become sunlit appendages leading circulation through each floor. Its highest point, the removed studio, is a space looking upward, designed for isolated thought and introspection.
Photograph of wood and wire model
Program analysis diagram
Study model with pink foam and pins

Living in Serenity‚Äč

Date: 1/22/18
Rendering of exterior at night
Student Researcher:Liezl Pacult & Kurt Hartmann Faculty Advisor: Osman Attmann 

The studio project was to complete the 2017-2018 ACSA/AISC Steel Design Student Competition. We were to enter the Affordable Housing Category where we were to design a mixed-use building in an urban context. Along with completing the given program for the competition we were to promote the use of steel through inventive and unique building methods and showcase its abilities over other types of construction. The following are excerpts from a short essay we wrote to guide our design decisions: 
Somewhere amidst the jumble, the site reflects and contributes a sense of tranquility. Somewhere among the noise, serenity becomes the site’s desire. To take a moment, a breath, and look up. 
The ultimate goal of design is to create a place of stillness, that is surrounded by the bustle of the city. Spaces should provide a sense of connection between resident, onlooker, and passerby and evoke quietness, functionality, and a sense of community within all. 
Simultaneously the residents require and deserve privacy, a sense of ownership and place. They should feel elevated above their current situation and able to feel a part of the city rather than crushed by it. 

Diagrams of exterior features
Rendering of interior courtyard
Section drawing

Industry Marketplace

Date: 1/22/18
Rendering of section view
Student Researcher:Robert Chesnovar & Kelsey Wotila Faculty Advisor: Fred Andreas

Industry Marketplace was inspired by its surrounding site and neighborhoods, a special development district in the City of Aurora.  The neighborhood is currently industrial in nature, with car shops, trades, and a significant and successful history of industrial business.  While development relies on commerce, Industry Marketplace seeks to combine the goals of the future with the community’s past. With Westerly Creek being a neighborhood of change, currently separating Stapleton from Aurora, we sought to develop a building that will invigorate the neighborhoods, mix and empower their residents, and draw visitors to and through the area.
On the site, educational facilities through apprenticeship and mentorship combine with professional offices, studio space, public retail markets, and varied sizes of private workshops.  This program creates a life cycle fostering the transition from novice to master, cultivating community and kinship. With open workshops on display, the connection from maker to buyer is understood.  An educational mock-up facility is the heart of the building, with a multi-height space open to the Atrium Marketplace, where student work is constantly in process and displayed. Privately operated workshops and retail on the main street share common wood shop, metal shop, and digital fabrication facilities, creating community and interaction among users. 
Rendering of interior space
Rendering of exterior space
Rendering of interior spaceDiagrams showing circulation through the building
Rendering of exterior at night