Peter Yi – Reciprocal Archive

Building on the first series of exercises in the UG1 semester, students are tasked with designing an archive building in an infill site in Ann Arbor. The program is set up in terms of a “reciprocity” between a more private “Back of House” program servicing the archive, and a more open “Front of House” program welcoming in the public to engage with the archive contents. The archive itself is hosted on a storage armature that negotiates the relationship between these two sides. Rather than serving as a resultant of the spaces around it, the proposed archives shown here act to connect, frame, blur, orient, and organize the two sides of the program.

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Student Work

Matthew Crilley – “Chair Archive”

The chair archive is composed of chair modules that fit within the acrylic portions of the smaller model. These modules act not only as chairs, but as walls, floors, ceilings, stairs, tables and apertures. The building is divided into thirds in both plan and section. Each of these nine compartments is delineated by large curves made of chair modules; these curves are positioned and oriented in ways that serve each program at certain times of the day. Depending on the orientation of the modules, curves can be used as stairs to the lecture room, as shelves for the preservation + conservation room, or as light shafts in the roof.

Haley Mayes – “Textile Waste Archive”

A narrow lot adjacent to campus is the hypothetical infill site for this project, the program of which is meant to record and eventually reuse textile waste. The archive calls attention to sustainability issues within the fashion industry while paying homage to the gendered history of textile manufacturing. Initially inspired by Anni Albers’ woven artwork, the architecture explores the way in which expansion of space upward and outward can make a small occupiable area feel larger than it is by dissolving poche with semi-permeable, draping textiles. Acting as both a barrier and a screen, they direct views up and across spaces and light down and through spaces.

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James Sotiroff – “Implied Design”

The “notion of the implied” is a theory derived from Ellsworth Kelly’s oil painting, The Meschers. In Kelly’s piece, the human eye perceives five distinct columns. However, this composition is an illusion produced by the alignment and misalignment of shapes. This realization prompted an investigation into implied design. This study explores implied design in multiple contexts: void subtraction for perceived lines, positive forms with aligned planes, and as continuing surfaces between forms. Developing control over these rules result in a mechanism for space making, the implied as architectural language used to produce nuanced architectural conditions.

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