This document provides information on two studio projects from architecture courses: the View-Master Factory project from the Identity Crisis studio, and the Seapunk Firehouse project from the No-Frills studio. For the View-Master Factory, the project involved designing a building to address the problem of misinformation. The building uses a complex arrangement of simple forms concealed in a shifting sand dune landscape. For the Seapunk Firehouse, the project involved designing an inexpensive fire station that reconciles its dual identity through a seapunk-inspired aesthetic using sea imagery and colors.

1. michaelene
sar tori
WORKS
S E L E C T E D

2. c o n t e n t s
table of
03 Introduction + Site Plan03
Infographics04
Form + Section Model06
VIEW-MASTER FACTORY
Identity Crisis Studio
Program + Study Model07
Disguise Tactics + Mirage08
09 Introduction + Model09
Form + Floor Plan10
Exploded Axonometric11
SEAPUNK FIREHOUSE
No-Frills Studio
Materiality + Interior Perspective12
13 Narrative + Site Plan13
Floor Plan + Foundation Plan14
Clerestory Plan + Roof Framing Plan
CASE STUDY
Construction II
Wall Sections + East Elevation15
Exploded Axonometric16
17 Projected Instruments17
Mapping Transformations
Sectioned Cores
19
TECHNICAL HAND DRAWING
Graphic Communication
18
Parallel Projection

3. view-master factory
Identity Crisis StudioARCH 442
WINT 2014 Jen Harmon
University of Michigan - Ann Arbor
course no.
date
institution
course title
instructor
course no.
date
institution
course title
instructor
Evolving from a brand analysis of the View-Master in
which image reels are propaganda and the View-Master
a propaganda machine, this project seeks to solve the
abstract problem of misinformation and the injustice it
invokes with an architectural solution that conceals and
endures.
THESIS
The Identity Crisis studio is a semester-long investigation
of industrial or commercial practices that have provided a
form of amnesty for socially persecuted groups, leading to
a greater investigation of brands that either match or are in
conflict with their true identities. How can entrepreneurial
practices or brands then be used to find relief from
oppression?
STUDIO OBJECTIVE
After identifying a crisis within the American cultural,
political, social, or economic landscape, the crisis becomes
the basis for an architectural response with an abstract
narrative that illuminates the hypocrisy or conflict. The
result of research and analysis is a highly conceptual
architectural proposal that responds to or otherwise seeks
to resolve the conflict identified.
03
Site Plan

4. 1919
Edwin Mayer invests in
Sawyer's Photo Finishing
Service in Portland, OR
MODEL A
MODEL B
now made from bakelite to avoid
warping, with a metal disk inside
MODEL C
the original model made from kodak
tenite, notoriously prone to warping
MODEL D
aka “the focusing viewer”, this model
allowed for the magnification
MODEL E
lighter and easier to use than past
models with a more rounded shape
MODEL E ATTACHMENT
a battery powered light attachment for the
Model E, lighter and smoother than former
attachments
MODEL F
included a built-in light source
activated by depressing the bar on
top with magnification
MODEL G
aka “the standard viewer”, material
changed from bakelite to a light thermo-
plastic and given several color variations
MODEL H LIGHTED
included a snap-on back plate that
acted as a battery-cover as well as
plastic lenses
TALKING
uses special reels to which a trans-
parent plastic record is attached,
with the needle becoming engaged
by the user pressing the sound bar,
and it was entirely unpredictable
COMPACT FOLDING
supplied folded at in the back of some
medical reference books, requiring the
user to be wary of the bending plastic
snapping in cold temperatures
MODEL J
aka “european model 10”, it is
considered the sister to Model L and
most commonly found in red
MODEL K
aka the space viewer the first to
feature metallic colors
MODEL 12
aka “the european lighted viewer”,
these models are the rarest finds
due to their short production term
MODEL L
produced by three different
companies, and the basis for later
character viewers
MODEL K EPCOT
made and sold during the opening
of walt disney world in orida
MODEL M
aka “the push-button viewer”, this
viewer was poorly designed in its
reel obstruction and noise levels
MICKEY MOUSE BIG BIRD
CASPERMODEL N
aka “new lighted viewer”, it was the
first to utili e both ambient and
artificial light
BATMAN MIGHTY MORPHIN POWER RANGERS
TWEETY BIRD BINOCULAR
manufactured by fisher price with a dual
function of stereoscope and binoculars
with focusing adjustment
VIRTUAL
sold only in gift sets it was the first
model to use transparent plastic, but
with poor optics reviews
MODEL 0
a at viewer with the reel located
on top, with a light source needed
above the viewer
VIEW-MASTER
BRAND +
PRODUCT ANALYSIS
1926
Mayer takes on partners
Harold Graces & William
Gruber as a result of
business growth, with
scenic postcards being
highest in sales
1939
The View-Master is
introduced at the New
York World’s Fair marked
“Patent Applied For”, ad-
vertised as an alternative
to the scenic postcard
1942
“View-Master” is decided
on as the product name;
The United States
Military purchases large
quantities of View-Mas-
ters and custom reels to
use in personell training
throughout World War II
1951
Sawyer’s Inc. purchases
Tru-View, their greatest
competitor, and also gain
all of their possessed
copyrights and reels
1954
Sawyer’s leases with
Western Photo Supply Co.
in order to expand reel
content
1959
Bob Brost becomes the
new president of Saw-
yer’s Inc. and replaces
Bakelite with a lighter
Thermoplastic
1966
Sawyer’s in acquired by
General Aniline & Film
Corporation (GAF) and
become a wholly owned
subsidary, which affected
the direction of reel
content (incorporating
more media and less
scenery)
1981
1984
The company is sold to
Arnold Thaler for more
than $20,000,000 and
renamed View-Master
International Group (VMI
Group)
VMI Group is acquired by
the Ideal Toy Company
and becomes known as
View-Master Ideal Group
1989
1997
1998
2001
2009
The company is sold yet
again, this time to Tyco
Toys
Tyco Toys, Mattel, Inc.,
and the View-Master
Ideal Group merge
EPA investigations begin
on the factory supply
well at the Beaverton,
OR plant, on the toxic
chemical trichloroeth-
ylene (TCE)
The Beaverton, OR
plant is shut down after
25,000 workers exhibited
negative health effects
after TCE exposure
Dreamworks SKG begins
negotiating rights to
develop View-Master into
a feature film
[1938-1944]
[1944-1948]
the square model now allows users
to insert the reel directly into the
top of the viewer
[1946-1955]
MODEL C ATTACHMENT
made to clamp onto Model C, using two c cell
batteries or transformer cord, making the model
heavier and more difficult to handle
[1950-1956]
PERSONAL STEREO CAMERA
a mm film camera designed to take stereo
photos, allowing users to create their own
view-master reels
[1952-1955]
[1955-1974]
[1956-1960]
[1956-1960]
[1958-1966] [1959-1977]
[1966-1981]
[1970-1981]
[1973-1974]
[1974-1996]
[1975-1984]
[1976-1978]
[1977-PRESENT]
[1983]
[1986-1990]
debuting during the christmas
season this was the first charac-
ter” viewer
[1989-1996]
designed to appeal to the brand’s
youngest followers
[1989-1995]
[1992-1998]
released in con unction with the film
constructed from thin,
vaccum-molded material
[1993-1994]
released with 3 reels from the movie,
it was named one of the ten worst
toys of 1995 and ended production
[1995]
released past the peak of the show’s
popularity, production was slow
[1995-1996]
designed for si ags amusement
parks
[1995-1996]
[1998-PRESENT]
[1999-PRESENT]
[2002-PRESENT]
HOW TO USE
back lighting illuminates the images
on the reel
pulling the lever down
rotates the reel to
align the next left and
right eye images with
the lenses
the reel slides into a slot at the top
of the view-master
KODACHROME
color reversal film
allows images to print in
color on a transparent
background
used since the Model B
view-master
04

5. VIEW-MASTER
PRODUCT STREAMS
+ PEOPLE
1
2
key
BEAVERTON, OREGON
CHICAGO, ILLINOIS
ASSEMBLY
IMAGE CONSTRUCTION
BEAVERTON PLANT - GOLLUB PLANNING & DESIGN IMAGES
RELOCATION
all Sawyer’s Inc. employees were locals who lives in
the suburbs just outside of the Beaverton Factory
before after
1
all employees of the Mabamex plant in Tijuana are
Mexican citizens
the plant closes after more than 25,000 workers
have shown symptoms of illness resulting from
exposure to TCE
INJECTION MOLDING
plastic material is melted in these heating
cylinders and then (in liquid form) injected
into forming guides
2
CONTAMINATION
COMPRESSION MOLDING
plastic in powder form is compressed at
350 degrees; the heat + pressure combi-
nation change the form of the plastic from
powder to solid
FLUSHING
rough edges are knocked off with water
pressure
ASSEMBLY
finished parts are put together by workers
in an assembly-line fashion
SEALING
assembled parts are sealed together in
this smaller compression machine
FINAL PRODUCT
TRANSPARENCY INSPECTION
the film of the diorama captures are then
inspected
STORY BOARDS
story boards are created outlining the
intended images for each reel
SETS
dioramas are then built with ceramic fig-
ures and props to create the scenes in the
story boards; they are photographed twice
to capture the left and right eye image
DUPLICATION
approved film is then duplicated and
processed by employees
FINAL PRODUCT
MOUNTING
the 16mm images are then mounted onto
blank reels
3
4
6
5
7
8
9
3
4
TIJUANA, BAJA CALIFORNIA, MEXICO
BRUSSELS , BELGIUM
5
6
DURGAPUR, INDIA
BAODE, KINZHOU, SHANXI, CHINA
7
8
BANGKOK, THAILAND
PENANG, MALAYSIA
9 CIKARANG KOTA, JAWA BARAT, INDONESIA
ORIGINAL MANUFACTURING PLANT
FORMER MANUFACTURING PLANT
CURRENT MANUFACTURING PLANT
DISPOSAL
drums of degreaser waste, including
the chemical trichloroethylene [TCE],
were routinely dumped on factory
grounds from 1951 to 1980
CONSUMPTION
workers at the plant drank well wa-
ter contaminated with TCE at levels
320x the allowable federal standard
CLOSURE
the presence of such high levels
of the toxic chemical TCE on the
grounds results in the closure of the
factory and subsequent demolition
CLEAN-UP
clean-up efforts began in 2001 via
wells pumping groundwater to the
surface where it is treated and
released; it’s estimated that it will be
30 years before the grounds are no
longer contaminated
INVESTIGATION
the United States Environmental Pro-
tection Agency [EPA] assesses soil
samples as ordered by a prospective
site developer in 1998
05

6. 06
While the series of orthogonal forms that compromise the
architecture are simple, their relationships to one another
are complex and inconsistent as an additional measure of
concealment, implying a privileged knowledge in the overall
form.
FORM
The primary means of circulation is a single vertical core
glass structure with entrances at multiple elevations to
accommodate the variance in the landscape conditions.
The structure and spatial relationships of the vaults
stemming from the main form are inspired by bunker
typology.

7. 07
The series of simple subterranean forms with complex
relationships allow the programs of living, manufacturing,
and curating to take place.
Essentially, the architecture is intended to operate like a
subterranean Smithsonian, distinguishing truth from fiction
and protecting truth from corruption by concealing it within
a landscape.
PROGRAM
living
manufacturing
repository
Residential space is to be inhabited by an
alternative society ideally comprised of both
believers and skeptics ostracized by society
for challenging and questioning mainstream
information.
A series of vaults organized chronologically
and categorically based on the artifacts they
house are created through underground
tunneling systems stemming from the core
architecture, and are expanded upon as
artifacts accumulate.
Mimicking the manufacturing process of the
original View-Master image reel, exhibits and
artifacts are translated to stereoscopic images
to be distributed above ground, so as to
spread true information without compromising
the security of the proof below ground.

8. 08
LANDSCAPE: A consistently shifting landscape of blinding
white sand dunes presents consistent opportunities for
concealment. As the landscape isn’t static, certain parts
of the architecture may be exposed or hidden at different
moments, bringing about questions of access and security.
FORM: The lack of distinct pattern in the arrangement of
space strategically makes the form challenging to navigate
in hopes that the architecture would only be competently
navigated by those in the proposed alternative society that
have invested time within it. The necessity of a map for
outsiders can easily act as a foil.
DISGUISE TACTICS
MIRAGE: A visually deceptive skin is another measure of
concealment. A series of painted wire meshes and glass in
various densities encasing the portions of the architecture
exposed above ground create the illusion of a mirage in the
desert.
The negative space in the structure allows the sand to flow
through and the inconsistency of density and transparency
of material allows the structure to blur into the landscape,
helping the architecture become something one would not
discover unless intentionally seeking.
White Sands, New Mexico
Acrylic Mirage Model

9. seapunk firehouse
No-Frills StudioARCH 432
FALL 2013 Thom Moran
University of Michigan - Ann Arbor
course no.
date
institution
course title
instructor
Cheapness is a cultural condition. The No-Frills studio
explores how architecture relates to broader ideas about
economy of means, seeking out optimum value without
sacrificing aesthetic.
The firehouse is both a piece of public safety
infrastructure and an intimate piece of neighborhood life.
As a part of municipal infrastructure, firehouses must be
realized on limited budgets.
STUDIO OBJECTIVE
09
This project seeks to reconcile the dual identity of
the firehouse as public infrastructure and a piece of
neighborhood life with design that is cost effective
without sacrificing function or aesthetic.
The seapunk aesthetic, loosely defined by aquatic
imagery and bright colors, challenges the theme of fire
presented by the program with a theme of the sea in the
form and materiality.
THESIS

10. W 31st
ST
SHALSTEDST
10
SHALSTEDST
Closed Open

11. The firehouse is a single-story structure using a space
frame as the primary roofing structure, an inexpensive way
to cover a large span with the least amount of supporting
columns.
The underside of the space frame is exposed to the interior,
sealed with weatherproof transparent cladding on the
cantilevered sections exposed to the exterior.
FORM
Within the main structure is a series of independently
operating pre-fabricated spaces, each distinctly different
from one another to cater to the variety of needs and
values of inhabitants. Some spaces are fully enclosed,
semi-enclosed, or open, offering more privacy or more
space. Some partitions meet the space frame above
and others are partial height partitions that operate
with independent roofing systems. Most spaces with
independent roofs are intended to be occupiable and
accessible by designated, fixed ladders.
11
plastic w/ steel frame
Bubble Skylights
Roof Slab
reinforced concrete, 4”
Insulation
13” uncompressed + vapor retarder
Corrugated Steel Decking
+ acoustic decking
Interior Wall
poured concrete, 6”
Glass
three ply panels, 2” total
Steel Space Frame
mero system, 1:15 span-depth
Transparent Cladding
weatherproof

12. 12
The primary building materials are concrete and glass,
the rigidity and starkness of which are offset by the
whimsicality of a colorfully painted space frame and
strategically placed iridescent tiling in vertical and
horizontal sections of the concrete.
MATERIALITY

13. 13
case study
Construction IIARCH 427
WINT 2014 Liz Skrisson
University of Michigan - Ann Arbor
course no.
date
institution
course title
instructor
Atlantic Center for the Arts:
Sculpture Studio
New Smyrna Beach, FL
Thompson & Rose Architects 1997
Set within 350 acres of dense Florida jungle, the 1,233 sq ft
Jim & Alexis Pugh Sculpture Studio gives artists-in-residence
the space required to undertake ambitious projects.
The space is the only concrete studio in the complex,
symbolic of the enduring materials of sculptors. The roof
is designed with a long overhang that shelters an outdoor
patio. With its three roll-up doors opened, the space flows
easily from interior to exterior. Large glass windows and
wooden louvers maximize working light, while wind scoops
provide ventilation for an active studio.
Preliminary Code Review
Applicable Building Code: Maximum building height 40’
Occupancy Type: A-1(Assembly)
Construction Type: Type III-A (Protected Combustible)
Height: 20’-6” (north) sloping to 10’-0” (south)
Number of Stories: 1
Total Area: Studio - 540 sq ft
Shed - 160 sq ft
Patio - 936 sq ft
Structural Overview
Foundation Type: Wall Footings (3’ deep, 2’ wide)
Reinforced Slab on Grade
Structural System: Concrete + Light-Frame Timber
Exterior Finishes Schedule
Concrete: Boardmarked, tapering (12” to 6”, vertical)
Timber: Mahogany, 6” thick window frames
Glass: 4’ width x 8’ height panels
Copper: Roof Span + 1” ridges every 12”
Site Plan
Analyzing basic design principles through reverse
engineering and measured hand drawing.
COURSE OBJECTIVE

14. 14
Floor Plan Foundation Plan
Clerestory Plan Roof Framing Plan

15. 15
East Wall Section
East Elevation
North Wall Section

16. 16
Exploded Axonometric

17. 17
technicalhanddrawing
Graphic CommunicationARCH 202
WINT 2012 Jen Harmon
University of Michigan - Ann Arbor
course no.
date
institution
course title
instructor
Projected Instruments

18. 18
Sectioned Cores
Mapping Transformations

19. 19
Parallel Projection