With things picking up in the Studio entering fall semester, convocation, and neckdowns, we were working with a tight deadline for when the boom truck was booked to raise trusses before the chaos started.
While building the trusses, we did a series of physical and sketch studies to test column composition and location and hardware for the splices. Once the trusses were finished, we moved into column construction focusing on how to make the three plys as tight as possible and create a structural and aesthetically pleasing screw pattern.
Moving between the woodshop building columns and site, we began to place and steel feet on the column footings and drill holes for anchor bolts. We located each footing focusing on centering them along truss lines so that the truss can slide into the column. We then set the threaded rod using apoxy and set leveling nuts to ensure the steel plates were all sitting at the same height.
Truss raising day finally came (after weeks of stress dreams and some long days). With the generous help from West Alabama Mechanical and United Rentals for a scissor lift and man lift, we were able to get all of the trusses up in a day! Seeing the structure raised and beginning to understand some of the spatial aspects of the pavilion in real life has been a big boost in the project for us.
Birmingham, AL native, Emily McGlohn, currently runs the 3rd-Year Studio in Newbern. She has quite a long history with Rural Studio participating as a student in both the 2nd-year and 5th-year studios, and after graduation spent three years as “Clerk of Works.” Before bringing her expertise on building performance and hands-on education back to Newbern, Emily spent several years working in Virginia and teaching at Mississippi State.
The Contemporary Enclosures workshop, taught by Rural Studio 3rd-Year professor Emily McGlohn, primarily focused on learning from past Rural Studio projects by studying them through wall sections. This allowed students to identify the reasons why Rural Studio has gone from the inventive use of simple materials in projects to using common commercial materials while building an understanding of performance, specifically through thermal-, air-, and moisture-barriers, as well as learning about detailed construction. By examining the progression of Rural Studio projects and comparing R-values, students saw the greater attention paid to building performance that has occurred over the years and the variety of building types that have been tested.
It’s important that students confidently design for our subtropical humid climate, to know things such as when to use a vapor barrier versus a vapor retarder. After having looked at so many Rural Studio projects at a surface-level, students had the opportunity to study them in-depth through drawings, archived documents, photos, and in person. The drawings that students produced ended up being more accurate and detailed than the construction documents. Through this process, students gained both a more intimate knowledge of how buildings come together piece by piece and a familiarity with a myriad of different construction types and building materials. It became clear to students that while earlier Studio projects may appear more creative and unique, more recent projects have the ability to be easily maintained by its owners and replicated outside of Rural Studio.
Students gained the tools to design for the mixed-humid climate that they live and work in, making these performance strategies a priority in their designs.
The Drawing and Seeing workshop, by Frank Harmon and Dan Wheeler, taught the importance of drawing in the architectural process. They did not teach an ideal way of drawing, but rather to pay attention to what one looks at and how to use drawing as a way to see. The goal from the workshop was not to become more technical or precise sketchers by drawing what one thinks something ought to look like, but to become better at capturing and communicating the essence and context of the beautiful things and places that surround each of us.
Frank Harmon is a professor at NC State and, for years, has been coming to Newbern to help teach a new generation of architects how to see the world and recognize the common beauty around us through sketching. Before beginning his own firm, Frank Harmon Architect, in Raleigh, North Carolina, he worked in New York and London. Follow his beautiful blog of thoughts and drawings called Native Places here.
Dan Wheeler has been bringing his infectious enthusiasm to Rural Studio since 2001. Since then, he has been teaching students the process of drawing and to appreciate the wonderful differences in how each person draws. Dan co-founded Wheeler Kearns Architects in Chicago and also teaches at UIC School of Architecture.
Going into the workshop, many students considered themselves poor sketchers and were shy about showing their “bad” work to others. This workshop gave students confidence in their abilities to depict their surroundings and visually describe their ideas to others using a variety of mediums. It was a thoroughly enjoyable process of making drawings without focusing so much on making them “perfect.” Nobody sees the world the same, so nobody sketches the same. Throughout the workshop, each student noticed something different in the same thing, be it light, shadow, color, nature, or the context. These differences allowed students to gain valuable insight into how each person sees the world slightly differently.
The intended outcome was to learn how to use hand-drawing as a larger part of the design process, especially while working toward thesis projects at Rural Studio.
This week the Horseshoe Hub Courtyard team has been in Birmingham at Turnipseed International working on fabricating the eight-foot screens that will be on the north end of the site. Huge thanks to Jim Turnipseed for his continued generosity and his crew Flo and Luis! They’ve learned so much in a short amount of time.
They’ve cut all of the angles (2″x3″x1/4″) and plates (6’x2″x1/4″), mitered, beveled, perforated, and started to weld the corner of the frames. They began fabricating the shorter screens first to get accustomed to working with the material and tools, and understand what jigs they will need.