#superjury

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SUPERjury

Sponsored by RINKA

www.rinka.com

SUPERjury, hosted by The American Institute of Architecture Students (AIAS) and The School of Architecture and Urban Planning (SARUP), is a final celebration of the year’s most innovative and contemporary work at SARUP. Throughout the year, SARUP produces incredible work from all levels of students that often goes unrecognized. In addition to celebrating that student work, this event provides an opportunity for all students and faculty to get involved and learn about each studio’s curriculum. This year's nominated projects will be presented online through a the new online sarupgallery. Voting will take place digitally and winners will be announced during SARUP’s virtual Tea and Bikkies event on Friday, May 15th.

Distinction is the highest level a project can be awarded. The second level is Merit. The third level is Honorable Mention.

For context, Arch 310 and Arch 320 are sophomore undergraduate (BSAS) studios. These are the first studios in their undergraduate education. Arch 410 and 420 are the junior year undergraduate studios. Arch 810 and Arch 820 are the first two studios for the 3 year MArch (non-architecture background) program. Arch 825 is the graduate (MArch) comprehensive studio. Lastly, all elective studios, Arch 650/850, are a mix of undergraduate (BSAS) and graduate (MArch) students.

SUPERjury Winners

Distinction

Bella Biwer, Armand Gamboa, + Clair Hitchcock Tilton, Unidad, Critic: Jose Ibarra

David Katz, Apartment Structure, Critic: Michael Jefferson 

Caroline Schlosser, Lucas Dedrick, DJ Curley, SIGLUAQ, Critic: Jose Ibarra

Jansen Van Grinsven, Museum of Hip Hop, Critic: Chris Cornelius 

Merit

Lisa Sun, Steel Gardens, Critic: Kyle Talbott

Edward Fang, Deep Learning House, Critic: Michael Jefferson

Natalie Kuehl, A Dwelling with Character, Critic: Nikole Bouchard

Edward Fang, Milwaukee Inflatable Museum, Critic: Filip Tejchman

Kim Workman, The Estuary, Critic: Alex Timmer

Lexie Peterson, Tectonic Fragment, Critic: Karl Wallick    

Bailey Abbott & Jack Glavin, 19/1, Critic: Alex Timmer

Kim Workman, Museum of Hip Hop, Critic: Chris Cornelius

Honorable Mention    

Seth Calmes, Scholar’s Residency, Critic: Marc Roerhle   

Connor Howard, Moonrock Boathouse + Spa, Critic: Monika Thadhani

Rachel Bergelin, Thermal Cascade, Critic: Bill Noelck 

Claire Hitchcock Tilton, Seed Bank, Critic: Kyle Talbot

Amanda Golemba, Gridded, Critic: Jim Wasley

Max Driftmier, Sea Lion Zoo, Critic: Lucille Sells

Will Bowman, UWM Student Dorm, Critic: Brian Schermer

Conor Howard, UWM Eco-Residence Hall, Critic: Tim Wolosz

Thesis Prize

Gabrielle Fishbaine, A Tale of Water, Waste, and Human Trace, Chair: Kyle Reynolds

Jacob Kleveland, Conventional Parts, Novel Spaces, Chair: Alex Timmer

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Parfum de Milwaukee is an alternative to the mass production of generic fragrance. A combination of independent perfuming and local history, the final fragrance demonstrates the ability of olfaction to generate emotion without full understanding. Navigate through the field of raw material to discover new times and places with your nose. Step into the dimly lit Bryant’s Lounge (c. 1946), feel the plush velvet walls, and see for yourself whether the Blue Tail Fly is as good as they say. Find your seat for the first Brewer game at Milwaukee County Stadium (1970), grab a beer from the concessions, sit on the cold, metallic bleachers, and feel the spring breeze as you root for your new home team. The retail space reduces sight, touch, taste, and sound for an immersive experience with scent. Explore the different notes that define the final fragrance. Watch as the perfume is made right in front of you—transitioning from raw material to hydrosol, mixed in oils and alcohol, then packaged as a perfume. Take the experience home with you, layered in a fragrance you cannot forget. 

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Link to PDF of Drawings: LINK

Project Description 

The town of Nuiqsut occupies the fastest warming region of planet Earth. Located on the northernmost coast of Alaska, the landscape surrounding the town is drastically changing due to rising global temperatures. The town is financially reliant on the oil production in the region; however, it is the oil extraction practices which have expedited local warming trends, melting the permafrost, and threatening the Inupiat peoples’ traditional methods of subsistence hunting and storing meat in underground ice cellars, or sigluaq.

In response to these conditions, Sigluaq is constructed in the center of town. Using repurposed materials from the now decommissioned TransAlaska Oil Pipeline, a vertical structural slab with an accessible interior is built that burrows deep into the permafrost and bedrock and hosts a series of new ice cellars built off it. As the permafrost continues to thaw over time, the ice cellars are converted for different uses and a new, deeper ice cellar is built off the slab. Over time, the system expands, and due to the unstable ground above, the village moves completely underground in what is now a self-sustaining, subterranean city. When a human extinction event occurs in the year 2250, the city saves the residents and allows for the eventual return of human civilization

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Link to PDF of Drawings: LINK

Project Description

HIPHOP is ESOTERIC. It is intended to be understood by a group of people with specialized knowledge or interest. This knowledge can be understood the study of HIPHOP’s HIDDEN STRUCTURE, LAYERING and state of PERPETUAL POTENTIAL.

The HIDDEN STRUCTURE can be understood more fully when comparing two different songs side by side. Each group follows its own structure, beats permeasure, syllables rapped, and rhyme count.

HIPHOP looks at the world through the lens of PERPETUAL POTENTIAL. Regardless,if something is seen as a “finished product”, it still has the capacity to do more.By taking apart a sewing machine and typewriter, a drawing machine was constructed. This machine was then powered by an electric board that converted the frequencies of various HIPHOP songs to generate power which turned the motor. 100 songs were played through the machine ‘s different configurations

Songs are innately understood through hearing. I choose to visually understand Public Enemy’s song “Don’t Believe the Hype”. I matched sampled drawings from classmates to the beats, lyrics, samples, and musical structure of the full song.

The SNAFU (Situation Normal All F***** Up) drawing process follows a layering logic. By digging through Henry Calfant’s historic photos and my own images, shapes were created, manipulated, sampled and LAYERED on top of one another to create a new fresh composition. The Museum of HIPHOP is designed following an esoteric understanding that seeks to embed the innate qualities of HIPHOP’s HIDDEN STRUCTURE, LAYERING and PERPETUAL POTENTIAL.

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For Unit 4 we were asked to design a zoo and we focused on using one animal. The animal that I was focusing on was a grizzly bear. For my zoo I wanted to use two shapes and intersect them so I used squares and triangles. To get the main shape of the zoo I rotated the squares and intersected them to create the rooms and different angles. Then after that I took the triangles or envelopes and put it over the squares. Every time the triangles impose on the squares it creates a threshold, which is where the animals are located. Once you go through the threshold created by the envelopes you are completely surrounded by the animals.

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Fall SUPERJury 2020 Natalie Kuehl Project Description

The Zoo Pavilion Project was an extension of a previous project form Arch 320, were we developed a mass through following specific rules that required various types of spaces including double heights, interior but still exterior, and exterior while still interior among other types of spaces. We explored how these types of spaces interact with each other and the entire volume. My initial design was formed by a series of stacked volumes that frames a central exterior volume that focuses on views through the volume itself. The design is also enclosed in an envelope of transparent ribbons that wraps and crosses around the entire volume, creating apertures throughout. This design was then provided a program, a zoo pavilion for the Nubian Ibex. The zoo pavilion is located at Back Bay Park on Milwaukee’s Lincoln Memorial Drive. The position of the building features views of the animals in the park on to the northeast and views of Lake Michigan to the southwest. My design was transformed to accommodate spaces for visitors to observe and learn about the Nubian Ibex through both indoor and outdoor spaces with the opportunity to see the animals up close. The pavilion includes a cafeteria, auditorium/classroom, exhibition areas, bathrooms, offices, and service areas for workers and the animals, and administrative personal.

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BEST Laboratory (Built Environment for Sustainable Technology)ARCH 650/850 Milwaukee’s BestProfessor Kyle ReynoldsElise Osweiler. With big box stores around the country closing, leaving behind millions of square feet, the topic of this studio was to understand the evolution of big box stores, and specifically the BEST Showrooms that were designed by James Wines. He was known for how playful he was with something as simple as the box store, but also other things such as his firm SITE, meaning Sculpture In The Environment, who were known for their environmental and sustainable design as well. Taking all of this into consideration for design, I found inspiration in the process, of creating a sculptural approach to adaptive reuse. Proposing to demolish the entire existing site, and reusing asphalt and concrete to create new and unique forms led to the design of a laboratory. Starting with collected forms of Rockite, I began to experiment with their placement, in various forms representing plan, elevation, and section. From here, I took note of forms that I believed were creating an architectural composition, and innovative spaces. After deciding form and plan, I practiced different types of Rockite formulas; testing out durability, texture, Rockite to water ratio, and more. The BEST Laboratory’s result is a flex space designed for high tech design and prototyping that is focused on sustainable technologies and a place where designers, fabricators, educational institutions, or surrounding communities can collaborate and gather for innovation and education.  

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So grateful that I had the opportunity to participate in this years SuperJury. My Urban Cemetery design was one of four selected from the sophomore studio along with work from other core studios and graduate studios to be showed as part of the Spring semester studios tomorrow for SuperJury #sarup #urbancemetary #superjury #crit #sarupmilwaukee #corneliusstudent #imadethis #arch #architecture #art #archilovers #archdaily #archgrind #instarch (at UWM School of Architecture and Urban Planning (SARUP))