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 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 new website titled The SARUP Gallery. Voting will take place digitally and winners will be announced during SARUP’s virtual Tea and Bikkies event.
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.
Scroll to the bottom of the page to see the winning projects.
Gabrielle Fishbaine, A Tale of Water, Waste, and Human Trace, Chair: Kyle Reynolds
Jacob Kleveland, Conventional Parts, Novel Spaces, Chair: Alex Timmer
Bella Biwer, Armand Gamboa, + Claire 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
Lisa Sun, Steel Gardens, Critic: Kyle Talbott
Edward Fang, Deep Learning House, Critic: Michael Jefferson
Claire Hitchcock Tilton, Seed Bank, Critic: Kyle Talbot
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
Seth Calmes, Scholar’s Residency, Critic: Marc Roerhle
Connor Howard, Moonrock Boathouse + Spa, Critic: Monika Thadhani
Rachel Bergelin, Thermal Cascade, Critic: Bill Noelck
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
Speckled in the Pacific Ocean lay the 9 small atolls of Tuvalu. With the lagoon to the west and the ocean to the east, the thinnest slice of land on the main island of Funafuti is less than 30 feet wide. The lagoon, ocean, and rain splash and settle into pools of water on the land, sand lightly coats the street, and waste has nowhere to go but upward as it becomes intertwined with the ground. As sea level continues to rise by an average of 3.9 mm per year, the blur between land, water, and its relationship to living species is strikingly apparent.
A Tale of Water, Waste, and Human Trace is a collection of artifacts that explore ways in which natural processes and human trace interact. It questions how architecture can reveal and respond to already existing phenomena instead of preventing opposing conditions from meeting. It calls to attention processes that are already occurring all around us, and conveys ways in which we interact and can adapt with them.
Models were created from found objects and materials that documented and explored the existing conditions that I observed in Funafuti, Tuvalu. They became the basis for the creation of 5 fantastical interventions that respond to these existing conditions. The interventions are entitled Eroding Matter, Floating Gardens, This Way Around, Garbage No More, and Illuminating Sprouts. Each intervention reveals, anticipates or adapts to various processes of reclamation of the “natural” world and anthropogenic impact.
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This thesis seeks to create a new type of single family home, the form of which has many possible solutions and variations, all using one modular, unitized CLT box.The orientation dictates the movement, size and quality of space, and openings for access and views. The aggregation of multiple units further demonstrates this: continuous open space, a series of smaller spaces, grouped programming, and horizontal and vertical movement between them.
These units accept a number of modules, with numerous locations and configurations. The selection and placement of these prescribed service modules further defines the uniqueness of each unit box’s arrangement and configuration. The selection and placement of each module further defines the uniqueness of each unit box’s arrangement and configuration. These modules are all additive to the unit box, and the unit box itself cannot be altered.
Even with the same number of unit boxes between two projects, vastly different combinations can be reached. Though there are strict rules and implications, the configurability of the single unit and its additive modules creates seemingly limitless options.