Kyle Schumann
  • Kyle Schumann
  • Architecture
  • Design
  • Philosophy
  • Resume
  • Contact
  • Chapel Chapel

    Cornell University
    Fifth Year
    Arkansas Traveling Studio
    Fall 2012
    Professors G. Hascup, M. Blackwell

    Deep within Arkansas, outside the town of Brinkley and the site of the last sighting of the Ivory Billed Woodpecker, a chapel and retreat are hidden away within the swamp. An unnaturally straight levee reaches through the woods, a canal to one side and the quagmire of Bayou de View to the other. From one edge of the levee, a building rises: a wall and a roof, claiming the levee as its own.

    The fellowship hall and retreat are nested behind the wall and under the roof, with living and service spaces arranged in bars alongside the circulation. The wall is clad in copper, turned a dark grey brown with age, and the rest of the structure is light and made of wood. A wooden footbridge leads over the levee and canal. There is a brief glimpse of the canal widening in the distance before the path descends into the cypress forest. The path leads through the bulbous cypress forest, stopping to rest before turning and ending at a small structure, a wall and a tower. The wall and tower are copper and wood, much like the structure at the levee. The path slides into a gap between the two.

    The chapel is bathed in a warm glow as light slips through a slit in the roof and reflects off the copper wall. The altar is at the far end of the chapel, and next to it is a glazed slot looking out to a body of water. Separated from the copper wall is a more delicate wooden construction which wraps the chapel, widening into a wall of personal chapels. Tucked away next to the entrance is a wooden stair leading up into the tower. From the top is a commanding view out to the whole of Apple Lake, dotted with massive cypress.         2012 Architecture
  • Wall Wall

    Cornell University
    Fourth Year
    Switzerland Traveling Studio
    Spring 2012
    Professors A. Ovaska, M. Santos-Munne

    Wall consists of an elevated marketplace arcade and apartments for approximately 200 people in Bern, Switzerland. Designed on the site of the Schindler Award 2012 competition, Wall sits at the very edge of the city center, on a site surrounded by infrastructure. Wall becomes the newest addition to the medieval city, continuing Bern’s ever-expanding series of fortifications. Additionally, Wall is an elevated arcade, spilling out from the famous arcaded streets of the city.

    Wall takes the form of a kinked bar, bookended by articulated towers containing vertical circulation which connect the city of Bern with the public walkways along the river far below. Wall also acts as a gateway to the city, as all trains coming into the city pass directly next to the building, which first blocks and then frames a view of the old city center before trains enter the main station.

    Elevated above ground level to allow access to the historic Reitschule next to the site, Wall contains a series of elevated pedestrian streets. The second and third floors are the main arcaded street, lined with double height storefronts. This street can be opened to the outdoors during the summer and enclosed with glazed panels during the cold Swiss winter. The fourth floor is an exterior circulation path and terrace containing public community gardens modeled off those common in Switzerland, which span the elevated railway system bordering the site. Floors five through ten are residential apartments, with floors six and nine acting as circulation to access the apartments. Finally, the roof is a public garden and circulation path.

    Apartments consist of one, two, or three bedroom units, each with a double level plan. Entering a unit off the public circulation route, one finds a small entry space and private study spaces with accompanying balconies. Moving either up or down a level depending on the unit, one enters the main living and dining space, always with an East-facing terrace looking through the buildings screen-like facade. Bedrooms line the West-facing facade in all units to allow for a uniform treatment of the facade.

    All of the circulation within Wall occurs along the East side of the building, facing towards the city center. These circulation paths are mostly outdoors, and occur behind a facade screen system of two layers of small dimension vertical wood slats, which create a uniform facade when viewed from a distance and appear to undulate when viewed from a car driving past the site.         2012 Architecture
  • Firehouse Firehouse

    Cornell University
    Third Year
    Fall 2010
    Professor G. Hascup

    Firehouse was developed solely through analog work: several iterations of both hand drawings and physical models, as well as several site visits. It is located at the edge of Cornell’s campus in Ithaca, NY.

    The major goal of Firehouse is to maintain a division between the public and private spaces of the building. This is accomplished through a square four bay garage surrounded by three bars of program, over which four suspended volumes allow light to penetrate through to the bays as well as allowing views of the firetrucks below. These volumes contain living and gymnasium spaces for the firefighters on one side connecting to the dormitory bar, and community spaces connecting to classrooms on the opposite side. The rear bar is only one floor and creates a community entrance accross the roof from an existing pedestian pathway on the hill.

    A large motorcade space in front of the building allows room for the firetrucks to turn around and is bordered by an extension of the retaining wall system and nearby training tower. Different brise-soleil and enclosure systems are used on the north and south facades in order to deal with its siting on the northern side of a hill in the cold climate of central New York.

    Firehouse draws inspiration from the works of Louis Kahn, as well as La Tourette by Le Corbusier and the Casa Del Fascio by Giuseppe Terragni.         2012 Architecture
  • House for Three Sisters House for Three Sisters

    Cornell University
    Third Year
    Spring 2011
    Professor J. Wells

    House for Three Sisters is located on an island in Penobscot Bay, Maine. A narrative about the three Stettheimer sisters was presented; Florine, the reclusive artist, Ettie, the extroverted socialite and writer, and Carrie, the motherly housewife and craftswoman.

    The plan of the residence was derived from the overlaid geometries of a circle, triangle, and square. The first floor level consists of a fairly open floor plan, with a large kitchen and living space, as well as a large gallery space for the artist. The second floor level is divided into three separate and distinct private living spaces for the three sisters, according to their specific needs.

    House for Three Sisters is sited on a north-facing hill overlooking Penobscot Bay. The southern facade is a solar wall screen, to generate power for the building as well as creating a balcony space for one of the sisters. As one approaches the residence an axis is formed, creating a sequence which hinges off of the driveway. This axis runs from the small garage over a bridge through the solar wall into the residence. Passing through the building, the axis continues out toward the water with a stair tower bringing the path down to sea level where it terminates with a dock extending into the bay.         2012 Architecture
  • Spine Chair Spine Chair

    Cornell University
    Fourth Year
    Spring 2012
    Professor P. Eshelman

    Spine Chair began with the prompt to design a piece of furniture for a special population, specifically people suffering from primary acute insomnia. This condition requires the furniture to be adaptable to different states of the user, depending on whether or not symptoms of insomnia are being experienced at any given time.

    The design evolved to be not only counter-anatomical to the human spine, but also counter-behavioral to accomodate the transition from sitting to sleeping. A system of vertebrate pieces was developed, with a complex joint system allowing for a controlled range of movement, and a series of ribs were mounted on the spine to create a more comfortable surface.

    Construction began with CNC milling the vertebrate pieces out of solid maple. There were two pieces milled for each vertebrate, with each vertebrate having its own unique geometry. The vertebrate were then assembled with a spacer of maple between the two milled pieces. Connections between the vertebrate consist of machined 1/8" X 1" aluminum strips, and the entire assembly was bolted together. The ribs are molded plywood, each consisting of three layers of 1/8" baltic birch plywood. The current legs* were constructed of 3/4" birch plywood and were bolted directly into two of the vertebrate, marking the two points where the spine changes from concave to convex curvature. Finally, strips of 1/4" pressed wool felt were backed with canvas for tensile strength and were stretched tight over each of the 16 ribs.

    * The current legs are placeholders while the final version is still being designed. They are not yet up to the operative and aesthetic standards of the project.         2012 Furniture Design
  • Ruin Ruin

    Cornell University
    Fourth Year
    Cornell in Rome
    Fall 2011
    Professor D. Marchetti

    Ruin revisits the project and Roman site of Giuseppe Terragni's Danteum. Situated in an excavated site, Ruin appears as a floating mass articulated from the ground. Inside, one discovers the true nature of the building, entering a choreographed sequence of three courtyards that slowly descend towards the level of the ancient city.

    The entrance is at street level off Via dei Fori Imperiali into an exterior reception space, followed by a grand staircase which descends half a level to an enclosed courtyard surrounded by the library. The path terminates at the level of the ancient Fori Imperiali, with the archaeological remains of the once great fountains of the Templum Pacis excavated and standing proudly under the Roman sun. At this point it becomes clear that Ruin is hinged off of the ancient Fori, a modern construction clinging to the past.

    The interior and program spaces of the project surround the courtyards like modern Roman housing blocks. Light penetrates the building from the courtyards and from slits cut into the roof and walls, so that the façade remains a solid wall. The building is masonry with different brick patterns used to distinguish between the cuts on the exterior. This allows Ruin to be read as a single monolithic mass of Roman masonry but also as several buildings of different times joined together like the typical street block of Rome today.         2011 Architecture, Urbanism
  • Twofold Independent Competition
    Spring 2013
    Collaborator: Katie MacDonald

    Twofold is currently on display outside Boston's Children's Museum along Fort Point Channel as part of Design Museum Boston's Street Seats: Reimagining the Public Bench exhibition. Twofold placed as a Semi-Finalist in the Street Seats Design Challenge and was awarded a grant for construction. Twofold inverts the traditional use of plywood, using layered strips which expose the laminations while paint covers the typically exposed surface veneer.

    The world is made for the average consumer: his average dimensions, his average personality, his average desires. Likewise, furniture is sized for the standard, the normal, the ordinary. So if you’re 34 years old and 5’6” tall, you’ll find practically any bench in America agreeable. Sit down, and get comfortable. The seat will be exactly 18” above ground, to your liking. Of course, man is not born at full height. Maybe your waist height is closer to 18”. Don’t you still deserve a little comfort?

    Introducing a seat for all ages. Looks like a table. Behaves like a bench. Molded from bent plywood, the geometry yields maximum seating from minimal material. Spacious, flexible, sustainable.

    Take a seat, Son. Today, the little guy sits tall.

    Street Seats Design Challenge
    Semi-Finalist
    Design Museum Boston and the City of Boston
    http://designmuseumboston.org/streetseats/         2013 Furniture Design, Industrial Design
  • Structural Model Structural Model

    Cornell University
    Third Year
    Spring 2011
    Professor B. Schneider
    Collaborator: Melanie Weismiller

    Structural Model is an analysis of the Eden Project by Grimshaw Architects completed in a group of two for a Structural Systems class.

    A variety of materials and processes were used during construction of the model. First, a master copy of one of the joints for the tubular structure was crafted out of wood and used to make a silicone mold. This mold was used to cast 24 joints out of solder, a few of which were made with a second modified mold to make the bottom joints which were attached to the base. The cast joints were then used to assemble most of the structure along with aluminum tubes and soldered steel rod.

    The large curved welded steel truss helped to provide overall strength for the model, and was attached securely to the base, which was CNC milled out of laminated pine. Rockite was cast into the base to form a section of the concrete foundation ring of the structure. Finally, a few of the plastic “pillows” were constructed by vacuum-forming thin acrylic sheet over a custom made form.         2012 Architecture
  • Wavepier Wavepier

    Independent Competition
    Spring 2012
    Collaborator: Katie MacDonald

    Wavepier is an Honorable Mention winning entry for the Hernesaari Urban Furniture Competition.

    Framed by shipyards and coastline, Hernesaari is an extension of the city into the sea, an interstitial zone where land meets water. From a site that was once sea, an artificial peninsula emerges, built by man as a port to facilitate the shipping needs of a growing Helsinki.

    No longer a bustling industrial port, Hernesaari today becomes a hotbed for new development in the industries of leisure, tourism, and design. On this former seascape, a new furniture emerges from the waves, providing a seamless transition between ships and city, water and land. A grid of square timbers, resembling the piles of a pier, form an undulating wavelike surface. The surface’s crests and troughs provide a variety of seating alcoves, spaces for sitting, lying, lounging, climbing, and viewing. Together, the five waves form a linear bar, a continuous path that will lead visitors from their ships into Helsinki and from the city back out to sea.

    The grid of piles consists of square timbers measuring 6 cm by 6cm spaced 1.5 cm apart, allowing light to penetrate and soak into the seating. The seemingly disjunct members are bolted together with an interior metal structure of tension rods which allows segments of the furniture to cantilever off the ground as the wave crests, creating the illusion of piles floating in midair. The sides of the piles are painted a variety of bright colors, creating a dazzling range of colored light which appears to emerge from within the furniture, an effect that is augmented at night with a system of lights embedded within the grid. The pier is made of local pine timber, which will mature over its 10 year lifespan from a clean blonde patina to a weathered grey driftwood, transforming with age as it slowly adjusts to its site.

    On the Hernesaari waterfront, visitors lounge on the waves.

    Hernesaari Urban Furniture Competition
    Honorable Mention
    Wastelands: XXXII European Architecture Students Assembly and the City Planning Department of the City of Helsinki
    http://www.wastelands.fi/hufc         2012 Architecture, Furniture Design
  • Memorial Memorial

    Independent Competition
    Winter 2012
    Collaborator: Katie MacDonald

    Patchwork Apertures is the result of a week’s work in a group of two to create an entry for the New York City AIDS Memorial Park Design Competition.

    AIDS is characterized by the unnerving ability to affect unsuspecting people across all spectrums of age, education, and social class, connecting a group of seemingly unrelated individuals in a struggle against both the human body and the progression of time. Despite the wide range of personalities affected by the disease, victims, supporters, and activists have come together to form a support network - a patchwork of individuals unified in a fight against the epidemic. For New York City, St. Vincent’s formed the fabric of this community. While the hospital has since closed, the quilt of individuals that came together cannot be forgotten.

    Building on the patchwork of the St. Vincent’s community, the memorial takes form as a gridded field of funnels that direct light into a below grade space. Above ground, the field becomes a commemorative area intended to both celebrate the lives of those lost and provide a space where the local community can come together. The framework distorts as the park fabric gently lifts up over the entrance at the corner of W. 12th Street and 7th Avenue, creating an irregular, occupiable grid of apertures that illuminate the basement below.

    Distorted in density, size, and position, the light wells define spaces for exhibition, education, and contemplation. The central space is populated by interactive digital display tables and framed with projection surfaces, with seating cubes on either side creating viewing areas for video art and installations. Flanking this primary exhibition space, the light funnels draw the visitor toward two quieter meditative spaces located at either corner of the triangle. Each of these areas is centered around a defining element, a tree on one side and a waterfall on the other. Both the tree and the water penetrate the funnelscape, connecting the above grade and subterranean spaces.

    The fabric of St. Vincents, re-stitched.

    New York City AIDS Memorial Park Design Competition
    New York City AIDS Memorial, Architizer, and Architectural Record
    http://aidsmemorialpark.org/information         2012 Architecture, Landscape Design
  • Museum of Jade Museum of Jade

    Independent Competition
    Spring 2012
    Collaborator: Mauricio Vieto

    Museum of Jade is the result of a week and a half long competition in a group of two to create a proposal for the New Museum of Jade in San Jose, Costa Rica, a facility to house the largest collection of Pre-Columbian Jade artifacts in the world.

    The building consists of three stepped bars which are bent to respond to the geometries at work in the adjacent plaza. These bars are elevated and create a grand atrium and entrance space below. Articulations between bars provide an abundance of natural light to the atrium at the center of the building. Exhibition space is housed within the bars, and views of both the exterior plaza and the interior atrium are created.

    Museum of Jade also consists of an exterior stepped plaza, under which the storage and service spaces of the building are concealed. This plaza terminates at a tower which houses all the curatorial and administration offices of the facility.         2012 Architecture
  • Landscape Landscape

    Cornell University
    Second Year
    Spring 2010
    Professor V. Warke

    Landscape is a multi-phase project located in a fictional town in Scotland. The ultimate goal of the project was to create an expansion plan for the town across the river and up a vacant hillside.

    In the beginning of the semester, research on existing mass housing projects was applied to an exercise in which several sets of blocks were designed and constructed. These blocks were meant to represent several different housing unit types, and were required to meet several different criteria such as size, number of exterior faces, and fitting into an overall composition.

    The first phase of Landscape is an inhabited bridge containing housing for approximately 250 people. Designed using shifting scales, the inhabited bridge takes the average size of a city block in the existing town and creates a logical extension of the city fabric. Simplifying the context of the town into a three by three grid with a central courtyard, the same organization is used to design not only the composition of units within the bridge but also the plan of each individual unit.

    The second phase consists of a branching plan of streets derived from the existing organization of the town. The plan creates a system of utilities and circulation cores, extending out of the inhabited bridge and up the hill. Larger community buildings pin the corners of these cores together at their intersections and create facades framing the new public spaces. Modular living unit blocks are then installed onto the utilities and circulation cores as needed. Parking for the entire community is built into a stepped underground parking system which runs under the streets.         2012 Architecture, Landscape Design
  • Observatory Observatory

    Independent Competition
    Summer 2012
    Collaborators: Katie Macdonald, Mauricio Vieto

    Nested within the Rovaniemi hillside, a timber cloister emerges, a silent sentinel in the serene but wild landscape. Within the dense clustersof trees, an inverted dome observes the spectacle of the Aurora Borealis. The timeless geometry of the sphere recalls ancient astronomical observatories and stellar mapping devices, and magnifies the grandeur of the cosmos.

    Within the crater, the circular amphitheater, people rest and observe, every face pointed skyward. The Aurora Borealis is perfectly framed within a seamless circle of the heavens, shining overhead in all its sublime beauty.

    The crater becomes the epicenter of a terrestrial orrery, collecting and magnifying light as it becomes the sun and central hub of the stellar map. Below this cosmic bowl lies an intimate domed space, capturing a more subdued Aurora through a small oculus. This space branches to a series of tunnels: pathways to other cosmic monuments in the landscape, each representing a different planet orbiting the central crater.

    Aurora Borealis Arctic Observatory
    Finalist
    ArchMedium
    http://en.archmedium.com/Concursos/End_OBA/Results.php         2012 Architecture
  • Wind Tunnel Wind Tunnel

    Independent Competition
    Summer 2012
    Collaborator: Katie MacDonald

    The Wind Tunnel rejects the traditional generator--a cold, high-tech, streamlined machine for harvesting power--and instead aims to gather energy in a reverential manner that both harnesses the wind and celebrates the process. Through the manipulation of the landscape and the site’s natural materials, wind is directed, magnified, and focused into two monumental generator towers that point in the directions of the site’s dominant wind flows--Northwesterly and Southerly--creating a compass in the landscape that speaks to the dominant environmental conditions of the site.

    Sited in the northern zone of the emerging Freshkills Park, each Wind Tunnel takes form as a funnel in the landscape. As the landfill under the site cannot be disturbed, new fill is brought in and molded into earthen berms, which form a funnel that captures and concentrates the wind.

    The flat surfaces of the funnel are constructed with reclaimed railroad ties from decomissioned railways in the New York City area. The railroad tie surface both works as a steeply inclined retaining wall for the new berms and creates a smooth surface to channel the wind. Rows of trees line the berms, creating green walls that reinforce the wind flow.

    The Wind Tunnel terminates at a simple yet monumental structure, an inclined hollow concrete triangular prism. This structure cuts through the air like a blade, but is open at the bottom to collect the wind gathered and concentrated by the funnel. The concentrated wind is channeled up through the structure, culminating at the turbine.

    Part energy generator and part pedestrian promenade, the Wind Tunnel welcomes both machine and man into the landscape. The sculpted intervention becomes a monument to renewable energy, inviting the public to observe a process of generating power and marvel in its earthen beauty.

    Land Art Generator Initiative Competition
    Land Art Generator Initiative and the New York City Department of Parks and Recreation
    http://landartgenerator.org/LAGI-2012         2012 Architecture, Landscape Design
  • Footbridge Footbridge

    Cornell University
    Third Year
    Fall 2010
    Professor M. Cruvellier
    Collaborators: Andrea Onorato, Melanie Weismiller

    Footbridge was developed by a team of 3 students as part of a Bridge Design class. Focusing on Phase 3 of the Cayuga Waterfront Trail Development Project, Footbridge connects the Ithaca Farmer’s Market with Cass Park in downtown Ithaca, New York.

    In order to be an economically feasible footbridge while spanning almost 300 feet and allowing the passage of 40-50 foot tall sailboats, Footbridge utilizes a floating pontoon structure and a telescoping mechanism to open and close.

    Subtlety was the primary design concern, as it was important for Footbridge to remain a design that could be accepted by the community in Ithaca, New York. This was achieved through the unassuming pontoon structure and aesthetic derived from local docks surrounding the site. When open to allow the passage of boats, Footbridge appears to be two unconnected docks, and also functions as a spectator area for the crew racing finish line located just upstream.

    In section, Footbridge creates separate areas for walking and relaxing, and allows access along its length to the water for fishing and other waterfront activities.         2012 Architecture
  • Critspace Workspace Critspace Workspace

    Critspace Workspace is a transformable wall panel designed for Sibley Hall at Cornell University. To be installed in the underused spaces of the architecture school, Critspace Workspace serves as a pinup panel for critiques and reviews during class hours. During off hours, the panel transforms into a work surface where students can congregate to work on group projects or construct models.

    Cornell University
    Fifth Year
    Fall 2012
    Professor I. Carnicero         2012 Architecture, Furniture Design, Industrial Design
  • Kunsthal Kunsthal

    Cornell University
    Second Year
    Fall 2009
    Professor J. Wells

    Kunsthal is a museum for traveling exhibitions located in Buffalo, New York which was developed through a series of 5 iterations of hand drawing sets. Kunsthal consists of a cruciform of circulation and utilities spaces which service the galleries and public spaces.

    After a visit to the oddly shaped side and a study of the organization of the city of Buffalo through figure ground drawings, the building was raised upon a plinth which filled the site and was designed at a scale to fit into the fabric of the city.
    Entry is through a glazed tower on the corner of the site. A ramp brings the visitor up onto the plinth and into the main monumental exhibition space, which has a secondary exhibition space suspended within it. In addition to the cruciform of circulation, there is an alternate circulation route consisting of ramps which weave in and out of the building through layers of the facade.

    Both the cruciform in plan and the glazed entry tower create a dialogue with the Saint Louis Church of Buffalo, which is located adjacent to the site. Additional programs include smaller and linear galleries including galleries devoted to projection and video display, offices and conference rooms for curatorial staff, extensive archive storage space, and a large auditorium.         2012 Architecture
  • Facade Facade

    Cornell University
    Second Year
    Spring 2010
    Baird Prize Competition

    Facade is the result of a week long competition to design a membrane / barrier / cladding system. The aim of the design is to create a universal facade system which acts as an adaptable boundary between a private living space and a communal street. The system is configurable even after construction in order to control privacy levels and accessibility. By shifting panels mounted on a rigid framework, it is possible to restrict or enable the flow of persons, light, air, and space through the facade.

    Additionally, Facade is intended to be implemented on a larger scale in community housing projects so that systems installed opposite sides of a street will align and begin to generate linkages of space to connect one dwelling to another. This could result in a stronger sense of community and a possibility of blurring the boundary between private and public spaces while creating a dynamic streetscape.

    Facade was developed without professor input and is proportioned according to Le Corbusier’s Modulor.         2012 Architecture
  • First Year First Year

    Cornell University
    First Year
    Fall 2008 - Spring 2009
    Professors V. Mulcahy, A. Mergold

    First Year is a collection of selected works from my first year of study within the Cornell Architecture program. This first year of architecture school is a wholly unique experience, teaching one not so much how to create architecture as how to look at the world and think about design, abilities which prove invaluable when creating architecture.

    Projects ranged from documenting and analyzing found objects through drawings and models, to the creation of wearable devices and objects capable of flight, as well as full scale site-specific installations and finally a few attempts at designing small pavilions.

    The energy and freedom of First Year provided me with fundamental design abilities and taught me how to think critically about the world and how one interacts with it.         2012 Architecture
  • Topography Topography

    Cornell University
    Second Year
    Spring 2010
    Professor A. Ovaska
    Collaborators: Andrew Gorzkowski, Andrea Onorato, Melanie Weismiller

    Topography is a study of the Italian hill town of Assisi. After learning about countless examples of urban development in relation to site design and topography, we were asked to choose a building or urban condition which existed according a strict relationship to its site, and explore the condition through the construction of a physical model. A short series of drawings and diagrams of Assisi were completed as a supplement to the physical model.         2012 Architecture, Landscape Design
  • Object for Printmaking Object for Printmaking

    Cornell University
    Second Year
    Fall 2009
    Professor G. Page

    Object for Printmaking is a new approach to the traditional field of woodblock printing.

    Originally developed as a series of shapes derived from the angles and proportions of the font Helvetica, the project developed further into a mechanical system to allow for an almost infinite combination of forms and patterns.

    A four by four grid of blocks with a total of sixty four rough hand-cut printing faces is bolted together with machined parts, enabling it to be inked and passed through a printing press.

    The entire Object as well as the collection of prints it creates is kept neatly packed away within a simple wooden box.         2012 Fine Arts, Pattern Design, Product Design
  • Sketch Sketch

    On site travel sketches.
    Fall 2011 - Spring 2012         2012 Architecture, Drawing
FOLLOW ON Bēhance
All works © Kyle Schumann 2012. Please do not reproduce without the expressed written consent of Kyle Schumann.