About Amparito Martinez is a graduated from the University of Illinois at Chicago with a Bachelor’s of Science in Architecture. There, she served president of her school’s chapter of Arquitectos, a Latinobased non-profit organization committed to enriching the community by developing young architects. Amparito is enthused about finding her next challenge and continuing to grow as an architect. Amparito’s journey at SCI-Arc, has thought her a digital medium of the architectural discipline. Her challenge is to re-imagine and re-think the perception of space that transcend into a deep perceptual narrative, emotional and aesthetic dimension. She believes architecture dives into the world of storytelling, emotional illusionism, metaphoric design and poetic forms.
CONTENT
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THE FLANEUR
DS 1200 DS 2GAX COMP MORPH
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MIRCO HOUSING
DS 1200 DS 2GAX COMP MORPH
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LA ORN
DS 1200 DS 2GAX COMP MORPH
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TKA
AS 3200 AS ADV MATERIAL / TECTONICS
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SUNFLOWER
VS 4200 VS VISUAL STUDIES I
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THE REPRESENTATION OF ARCHITECTURE
HT 2200 HT THEORIES CONT ARCH I
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SUPERIMPOSED
DS 1201 DS 2GBX GENERATIVE MORPHOLOGIES
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FOOD GANG
VS 4201 VS VISUAL STUDIES II
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GEOPOLITICAL IMPACT
HT 2201 HT THEORIES CONT ARCH II
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EKPHRASIS
DS 4000 DS VERTICAL STUDIO
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LABRARY
AS 3222 AS DESIGN DOC GR
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LONG DAY’S JOURNEY INTO NIGHT
VS 2702 VR VR FILM SETS II
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pg. 32
pg. 44
pg. 54
pg. 64
pg. 68
pg. 88
pg. 102
pg. 106
pg. 140
pg. 176
THE FUTURE URBANIZATION OF CITIES
LA 8531 LA SCIENCE FICTION FILM II
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THE CUT OUT
HT 2533 HT THE OTHER SHAPE ARC AFTER IMAGE
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Amparito Martinez
THE FLANEUR WORKSHOP I BUILDING | STAIR | HOLE In this project we explore the possibility of time and space. Upon entering the Bradbury Building, the flaneur becomes trap in the atrium. The atrium acts as a vortex that inner plays time and space with the use of illusions and loss of logic. The stairs act as singular realties of the evolution of the flaneur that are parallel to one another. The atrium then provides a feel for time which allows for part and present to merge as one, with the loss of sense of space, it allows for a feel of infiniteness.
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As the flaneur evolves through each cycle of the stair to get a sense of understanding of time and how quickly things evolve. The flaneur becomes systematic robot that continues the routine of a flaneur. With this we see the never-ending evolution of time.
2GAX | DS 1200 - Comp Morph, Fall 2018 Critic : Angelica Lorenzi & Natasha Sandmeier Partner : Rad Mika
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STAIR DETAIL
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NEVER ENDING STAIR
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MIRCOHOUSING WORKSHOP II SCAN | PROCESS | AGGREGATE
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Located in a city that is desperate for housing but have minimal development opportunities, our project proposal examines sites such as parking lots, voids created by different building scales and empty street scape with existing street furniture. The sites are centrally located in Downtown LA on Broadway and 3rd St. These sites have a potential to be infilled with high density housing. This then begins to address the housing crisis in LA. With the three mainsites, we wanted to maximize them to their full potential without implementing a totallyreconfiguration of the exciting, meaning the existing city would stay intact. We begin to address the idea of growth and expansion, through these multiple sites, that infill unused spaces in Downtown LA.
2GAX | DS 1200 - Comp Morph, Fall 2018 Critic : Casey Rehm Partner: Rad Mika
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SITE Three Site Locations
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THE BRADBURY CENTER The Three SItes Will Hold Mirco-Housing in DTLA
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ANTHONY QUINN MURAL Mural From Site
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REPROCESSED IMAGE OF MURAL Texture Map Material for Components
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COMPONENT 1
COMPONENT 2
COMPONENT 3 20
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COMPONENTS IN SITE
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LA ORN WORKSHOP III SCAN | RE-MESHED | PARTI In our tower were interested in capturing most of ornamented facades of downtown LA into the tower. With the use of photo geometry scanning we samples varies options of ornamented facades. The use of stacking these faรงade pieces we begin to articulate a new type of faรงade. By breaking the faรงade, we begin to outline interior features of the station. The subtracted areas start to reveal a colorful layer that melts into the ground. The melted color merges into the Union Plaza. 2GAX SCI-Arc - FALL
Along with the experimentation of the remeshing and model layering we also begin to look at the resolution of faรงade details. With the use of resin dripping, the most emphasize details are the most prominent ornamental features. If we begin to shift the prominent ornamental features we start to loose the legibility of where one piece begins and one piece ends.
2GAX | DS 1200 - Comp Morph, Fall 2018 Critic : Marcelyn Gow & Florencia Pita Partner: Rad Mika
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COLLECTION OF FACADES IMAGES OF DTLA Collection of Facades Will Be Used to Generate A New Collective Facade
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PHOTOGEOMETRY SCANS OF FACADES Photogeometry Scans Produced a New Translation of Facade Samples That Changes the Read of Facade
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COLLECTION A. OF FORM USED TO SUBTRACT Subtractions Are Used To Create New Facade Sillouettes
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COLLECTION A. OF FORM USED TO SUBTRACT Subtractions Are Used To Create New Facade Sillouettes
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FACADE SUBTRACTION STUDY I Subtractions Create New Facade Sillouettes
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FACADE SUBTRACTION STUDY II Subtractions Create New Facade Sillouettes
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TKA MATERIAL & TECTONICS BUILDING | SYSTEM | CONSTRUCTION
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Herzog and DeMeuron sourced their inspiration for their addition to the Tai Qwun Heritage Center from the granite blocks that compose the original prisonbuildings and revetment walls of the compound. By redesigning the block with cast aluminum, the designers were able to explore the block unit as both a component of a rainscreen and as a set of apertures that control light. The resulting four standardized block shapes created a dynamic aesthetic composition on the buildings facades, elegantly marrying context, function and beauty. Keeping with the layered complexity of the facade, our team has reimagined the standardized unit as laser cut and machine folded sheets of stainless steel. The resulting implications of using flat media instead of cast blocks begged for formal shifts in the buildingʼs mass that would not have been possible with a standardized cast aluminum block. By deforming the exterior trusses of the building, and treating the exterior truss as a cage that supports interior free plans, the layered rainscreen and the buildingʼs program begin to share common themes of layering, variety in type, and functional utility.
2GBX | AS 3200- Adv Materials/Tectonics, Fall 2018 Critic : Maxi Spina & Randy Jefferson Team: Richard Mapes, Rad Mika, Jonathan Warner
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SUNFLOWER VISUAL STUDIES I SCAN | REMESH| REBUILD In this project we examine the different type of representations of a single object. In this case we took a sunflower and preformed a photo geometry scan to obtain a digitalize version of the flower. We were interested in the remeshing the geometry to a lower level of resolution to envision the abstract representation of the sunflower.
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By breaking down the different level of resolution we begin to explore the areas that best emphasize the sunflower characteristics. Through the use of stereographic imaging and augmented reality we start analyze the varies levels of resolution.
2GBX | VS4200 - Visual Studies I, Fall 2018 Critic : Caey Rehm & Andrea Cadioli Partner: Rad Mika
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PHOTO GEOMETRY OF SUNFLOWER
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DYNAMESHED SUNFLOWER
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3D STEREOGRAPHIC IMAGE OF SUNFLOWER
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3D STEREOGRAPHIC IMAGE OF SUNFLOWER
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SUNFLOWER COMPOSITION
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EXPLODED SUNFLOWER Revealing Interior Texture
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EXPLODED SUNFLOWER Revealing Interior Texture
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the Representation the Representation f of of Architecture Architecture HT 2200 - Theories of Cont Arc I Professor: Marcelyn Gow & Tim Ivison
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This brings me to the point of the Leo Steinberg essay “The Flatbed Picture Plane”3, in which Steinberg recognizes, “... Robert Rauschenberg’s painting as a process of ‘world-making’. Rauschenberg’s images accumulate on a horizontal rather than a vertical flatbed, resulting in painting’s ‘eroding plane’ and a new mode of representational legibility.“4 What Steinberg is really arguing is that in the Renaissance the way pictorial space was presented was very much about the frame was a kind of world space and the bottom of the frame was like the ground the human figure walks on. This is exemplified by the painting of Saint Jerome in His Study (1480), the whole space is delineated and everything is very orthogonal, the ground plane recedes, the architecture interior and the window align with the edges of the pictorial space. Everything is relegated into their own space, where we see the human figure centered and the universe - the world view, where everything is clearly placed and becomes an attitude of clarity. Legibility has a huge impact on how things are being understood and interpreted. For this reason, architecture is always being understood and approached differently each time. The act of representation itself changes the context of what is in that space.
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Michael Meredith and Ana Miljacki, “Under the Influence,” One Thing Leads to Another, 1st ser. (2014): 67, 2. Michael Meredith and Ana Miljacki, “Under the Influence,” One Thing Leads to Another, 1st ser. (2014): 67, 2. 3 Leo Steinberg, “The Flatbed Picture Company; in Other Criteria: Confrontations with Twentieth Century Art (Chicago: University of Chicago Press, 2007), 55-92, 2 4 Michael Meredith and Ana Miljacki, “Under the Influence,” One Thing Leads to Another, 1st ser. (2014): 68, 2. 2
(1480), the whole space is delineated and everything is very orthogonal, the ground plane recedes, the architecture interior and the window align with the edges of the pictorial space. Everything is relegated into their own space, where we see the human figure centered and the universe - the world view, where everything is clearly placed and becomes an attitude of clarity. Legibility has a huge impact on how things are being understood and interpreted. For this reason, architecture is always being understood and approached differently each time. The act of representation itself changes the context of what is in that space. In Sylvia Lavin’s text “Showing Work”5 she brings up the point that disparate ontologies are being brought together in the same space. There is a type of validity in these different forms of representation when they stand on their own. The idea of representation we are familiar with, is that to get to a building you need a level of specificity, you need a plan and section. But even with our advancements, we are still unable to go directly from render to build. Even if we were able to program a piece of technology that could possibly provide that automation, it would still in its own way need to go through a process of plan and section in order to compute the result. One of the implications in Meredith’s essay is if you now understand architecture to be participating in a mass media or popular culture, this renders more expressive drawings, which may have traditionally might have been part of a design process. Now having their own status as architectural expressions. This has to do with a number of things, not just media. Looking at the Jordan Kauffman article titled, “Architecture in the Art Market - The Max Protetch Gallery”6, Max Protetch made a concerted effort at a time when architects were not building very much in the late 80’s. It was then when he got to know a number of contemporary architects, such as Frank Gehry, and started selling their drawings, which were at the time only considered a part of the building design process. These drawings didn’t have statuses of their own as artworks but Max Protetch was taking these drawings out of their studios and framing them and putting them in an art gallery setting alongside minimalist sculptures and conceptual art pieces. He cultivated an audience that would understand architectural drawings as art and as an artistic expression. Protetch’s gallery was one of the first to do this, he promoted a whole range of contemporary architects as artists. From this stems the idea of architectural drawings being capable of having a status as an art object, however, there is also the media and medium specific debate that each stage of the design process drawing attention to its own status becomes its own form of expression. Which then brings to the attention to a building that enters social media or a book as an artist monograph, but is now being made for architectural renderings regardless of their status in the architectural process, creating a new kind of work flow. There is now an aesthetic purpose to these drawings that can extend the discourse, that could enter into an art discussion. Now we have a new layer of an architecture audience that wasn’t there before and it essentially can be everyone, thanks to the wide reach of social media, which has a rapid distribution of these images, which originally would have rendered no relevance to the general public if it was not a building they could walk into. But now we can open up the whole studio process to multiple forms of iterations and disruption, and everything in that
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Sylvia Lavin, “Showing Work,” Anyone, no. 20 (2010): 3. JORDAN KAUFFMAN, “Architecture in the Art Market The Max Protetch Gallery,” Journal of Architectural Education, no. 70:2 (September 20, 2016): 3. 6
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Social media has become a large, inherent part of our everyday life and culture. Everything from checking the news to posting our daily routine to keeping up with friends and family, social media has changed the way we perceive and interact with things in our day- to – day lives. Which makes one question, what other things has social media impacted? One of the things social media has impacted in an unexpected way is architecture. Architecture has not only expanded outside the realms of the practice, but it has become a multidisciplinary agenda. This primarily has to do with the way it is being represented to the world. Architecture is no longer an interdisciplinary practice now, but a collection of ideas and representations that push the barriers of what architecture can be. Because the field attracts people from different backgrounds and disciplines, it allows each person to draw from their own disciplinary knowledge of what architecture is and how it can represented, resulting in a unique vision of architecture every single time. Since there are so many draws of the discipline of architecture, each representation is different and the primary way we share that representation is via social media. Architecture can be presented on social media as a traditional practice through typical drawings or it can be represented in more innovative ways, as some have done, through augmented reality (AR) or virtual reality (VR). These distinct representations expand the way architecture is being communicated and practiced. This directly affects the side of architecture that focuses on design practice. Because of this, architecture representation has evolved through different mediums, like “media, painting, photography, digital modeling and technology.”1 The legibility of architecture can be interpreted differently each time it conveys and image. Looking at Michael Meredith’s essay on ‘One Thing Leads to Another’, he states, “the proliferation of images brought on by ever-changing technologies has fundamentally changed our relationship to architectural production and to architecture as a form of cultural practice.”2 Architecture has come to apply itself through the many forms of the discipline, crossing through many representations and distributions, diversifying itself.
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of their status in the architectural process, creating a new kind of work flow. There is now an aesthetic purpose to these drawings that can extend the discourse, that could enter into an art discussion. Now we have a new layer of an architecture audience that wasn’t there before and it essentially can be everyone, thanks to the wide reach of social media, which has a rapid distribution of these images, which originally would have rendered no relevance to the general public if it was not a building they could walk into. But now we can open up the whole studio process to multiple forms of iterations and disruption, and everything in that process now is thought of in terms of its ability to be distributed and consumed and discussed, not just the final result of the building.
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There is a huge change in architecture with this new mode of representation. This new mode has captured the multidisciplinary capabilities of architecture, which really starts to outline more than just architecture, but it starts to take a stand of what the architecture discipline could be leading towards now that there is no one centralized, monopolized representation and each representation is not equal. Given that audience has changed and has widened outside the realms of architecture, the way present architecture has to be understood and distributed is in a way that anyone without any background knowledge can engage with it. If we take for example the way a few architecture firms are already communicating and using technology such as Virtual Reality as way for clients to understand the project and experience that space without having to build it. These firms are taking VR as way for the clients to understand the process, but by producing this small form of representation we are outlining what the public gets to see and experience. By then publishing that onto social media and starting a conversation of these new approaches in architecture, it elevates it to the confines of it being a multidisciplinary discourse in architecture. By taking the visualization in architecture to the next level, all of Virtual Reality (VR) and Augmented Reality (AR) start at the same place, as a model in 3D. VR and AR are both ways of experiencing that model outside of a screen. What comes to question is how does the designer decide what gets to be put on display? Choosing the right space to render out for the audience, can be challenging because this is essentially showcasing the progress of the project. But for instance if it is for social media, communicating something that is aesthetically pleasing to world, it will attract more followers and likes and thus, build an audience. Now this brings to question if the designer uploading, is doing it for purely to communicate something significant about the discipline of architecture and trying to bridge a greater understanding of the field or are they uploading for the vapid attention of followers and likes? Looking at an interview from the Pool Journal from UCLA titled “Family Values”, Michael Osman, the interviewee, discusses the gratification students receive from the amount of likes they garner from an Instagram post showcasing their architecture studio project. To the audience, the architecture student post is seen a forward way of thinking in architecture even though they lack an in-depth knowledge of what the disciplines in architecture are and appreciate the project more from an aesthetic perspective than a scholarly one focused on craft. But to an architecture juror the discussion can be more critical of the project,
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Aubrey Bauer and Tessa Watson, eds., “Family Value,” Pool, no. 2 (2017): 6. Amy Frearson, “Augmented Reality Will Change the Way Architects Work Says Greg Lynn,” Dezeen, November 15, 2016, 7, accessed December 19, 2018, https://www.dezeen.com/2016/08/03/microsofthololens-greg-lynn-augmented-realityarchitecture-us-pavilion-venice-architecture-biennale-2016/
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followers and likes? Looking at an interview from the Pool Journal from UCLA titled “Family Values”, Michael Osman, the interviewee, discusses the gratification students receive from the amount of likes they garner from an Instagram post showcasing their architecture studio project. To the audience, the architecture student post is seen a forward way of thinking in architecture even though they lack an in-depth knowledge of what the disciplines in architecture are and appreciate the project more from an aesthetic perspective than a scholarly one focused on craft. But to an architecture juror the discussion can be more critical of the project, where they deeply analyze the project and discuss the strengths and weakness of the project from a more informed and academic point of view. These two discussions are vastly different and even as social media boosts the public perception of architecture, this new way of affirmation doesn’t necessarily validate the architectural discipline and the way it is being represented. Osman states, “… what’s being transferred are techniques for affirmation. That, I think, is new. That’s what I’m worried about. I don’t know if it is yet solidified into anything, but the shape of the heart that you put on an Instagram post, to me, is an iconic image of an emerging economy of affirmation. The heart. Each heart is a number, which adds x number of hearts to x number of hearts that already exist. “7, this type of affirmation is being used to affect the practice of architecture through its knowledge of production to its distribution. These types of affirmations of the representation of architecture allows for emerging architects to push the boundaries of how architecture is being talked about. Aside from virtual reality , there a large push for augmented reality. Architect Greg Lynn states in the Dezeen articles titled “Augmented reality ‘will change the way architects work’ says Greg Lynn”, “Augmented reality technologies on job sites and in factories will, with absolute certainty, change the way buildings are constructed … “8. He also states,“ Therefore it will change the way architects work and will change their role.”9 Augmented reality imprints digital imagery like building designs and/or architectural elements onto realworld environments. AR will allow the user or client to be part of the earliest stages of the design process, giving further flexibility for digital information on an architectural drawing or model. Changing the way we think and approach architecture means the representation of architecture will be constantly changing. The audience will expand and consistently bring new types of audiences. That new audience that emerges from these types of discussions will bring new professionals from other areas of study to contribute to architecture, redefining architecture as a multidisciplinary field. The rapid change of the representation and distribution in architecture is bringing into question so many new aspects that are constantly evolving architecture and the process itself. Starting from sections and plans that could only be understood by architects, to producing drawings that become art pieces and using AR and VR to advance the design process in architecture to using social media as a means to distribute these new finds to the general public. Architecture’s legibility is constantly changing the representation and distribution of it. It will be a neverending cycle that will be constantly evolving as time goes on.
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Amy Frearson, “Augmented Reality Will Change the Way Architects Work Says Greg Lynn,” Dezeen, November 15, 2016, 7, accessed December 19, 2018, https://www.dezeen.com/2016/08/03/microsofthololens-greg-lynn-augmented-realityarchitecture-us-pavilion-venice-architecture-biennale-2016/
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bibliography Michael Meredith and Ana Miljacki, “Under the Influence,” One Thing Leads to Another, 1st ser. (2014) Leo Steinberg, “The Flatbed Picture Company; in Other Criteria: Confrontations with Twentieth Century Art (Chicago: University of Chicago Press, 2007) Sylvia Lavin, “Showing Work,” Anyone, no. 20 (2010). JORDAN KAUFFMAN, “Architecture in the Art Market The Max Protetch Gallery,” Journal of Architectural Education, no. 70:2 (September 20, 2016) Aubrey Bauer and Tessa Watson, eds., “Family Value,” Pool, no. 2 (2017)
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Amy Frearson, “Augmented Reality Will Change the Way Architects Work Says Greg Lynn,” Dezeen, November 15, 2016, 7, accessed December 19, 2018, https://www.dezeen.com/2016/08/03/ microsoft-hololens-greg-lynn-augmented-realityarchitecture-uspavilion-venice-architecture-biennale-2016/
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SUPER IMPOSED DESIGN STUDIO PARTI | DISPLACEMENT | TERRIAN Cities appear inside rooms, rooms move through cities, rooms are nested within rooms, here we are not just designing a library but spaces capable of undergoing a transformation of overlaying terrains and becoming mediating space from a city into a totally imaginative environment. The project takes you on a journey to this container from the city in search of knowledge jumping through spaces.
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The proposals expand beyond the typical resources of a library, providing previously inaccessible advanced technology in space desired and designed to tailored experiences. The program is divided into two Virtual and an actual library. The library is an aggregation of 7 sampled mountainous terrains stacked one above the other to form 3 shifting tectonic bodies. These bodies are supported by two towers. The towers include digital media, Mixed reality experiences, a Drone center, offices, and building core; while the stacked terrains organize the print media, reading rooms and stack areas. However, the 7th terrain creates the urban plaza which acts as event spaces for the library and the city. All that is encased within a thin container. The organization of library spaces within the terrains are reflections of the topography. At moments the organization is physically contaminated by high tech computational Rooms. These high tech violent interruptions are the soul of the library. All data processed in the library is distributed through these centers. The Library utilizes drones for circulation of data within the space and also for distribution throughout the city. The Drones are responsible for delivering books to a specific zone/terrain as requested by the user. The projections are a representation of the building interiors projected on to the city reading the building inside out. This proposal is a juxtaposition of actual and virtual, reality and speculative, humans and machines, high resolution and low resolution. However its an ecology of all these juxtapositions coexisting within the container.
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The terrians collected are sample from different areas of the world. By superimposing abstract mechanical forms to create spaces and book containers, we beginning to reinterpret the design of typical library space. With the use of drones to extract the books from the book containers for easy accessibility. This will also allow for easy distrubution of the book through the city of Atlanta.
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AFRICA TEXTURE
AUSTRALIA TEXTURE
ASIA TEXTURE
TEXTURE MAP COLLECTION I Hybrid Map of Terrians & Digital Library
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USA TEXTURE
EUROPE TEXTURE
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TEXTURE MAP COLLECTION II Hybrid Map of Terrians & Digital Library
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N Scale: 1/16”= 1’-0”
PLAN OF SUPERIMPOSED TERRIAN 75
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Drone Center
Holographic Experince room
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Media Librray
Audio Library
Coputer Lab Audio Library
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Administrative office
Sever rooms
Computer Lab
Lobby
Server room
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AR Experince rooms
Interactive experience room
Administrative offices
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Enternace Lobby
Enterance Lobby Event Space
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TERRIAN STACK LIBRARY FLOOR Drones Extracting Books From Superimposed Elements 81
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FOOD GANG VISTUAL STUDIES II FOOD| MODEL | PLAY
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“The seminar focuses on development of a custom software called Platform Sandbox, in the Unity game engine, and on sourcing a collection of 3d models that will serve as a library of parts to be deployed in Platform. After the collection is made, each student will select up to ten objects to represent a specific genre of contemporary culture, in order to produce piles and aggregations within the genre and ultimately, a genre-bash in order to model hybrid, characteristic objects. A genre object is defined as an semi-abstract 3d figure with recognizable, analogical or evocative qualities belonging to a specific genre. These objects are deployed as primary objects in Platform Sandbox, where they are mixed with high definition realistic 3d objects - rocks, twigs and stones. This new design space establishes an (un)easy coexistence between formal languages of abstraction and realism that now inhabit the collapsed visual field of simulation and real time rendering.” - Damian Jovanovic & Angelica Lorenzi
2GBX | VS4201 - Visual Studies, Spring 2019 Critic : Damjan Jovanovic & Angelica Lorenzi Student: Amparito Martinez
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GEOPOLITICAL OLITICAL IMPACT MPACT HT 2201 - Theories of Cont Arch II Professor: Erik Gihenoiu
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Since there already is a political undercurrent to informal and underdeveloped architecture, we have to wonder if architecture is capable of making a bold political impact via the urban infrastructure it chooses to commit to? Most people will not realize it, but architecture as a practice, definitely has the potential to create a beneficial political impact by problem solving via the erection of urban infrastructure. The urban infrastructure is what ultimately shapes the city and defines sectors of the city through building design.
Coast to the Gulf of Mexico that is roughly 1,954 miles. This megalomaniac wall would essentially have shopping centers and viewpoints for United States citizens to climb up and look over to the other side. The large architectural gesture can impact the practice of architecture in political that will create a urban infrastructure that address a the current political issues at hand.
Informal and underdeveloped architecture occurs in areas stricken by poverty or natural disaster. One can say that refugee camps have recently become a topic of informal and underdeveloped architecture. Refugee camps are usually settlements that use a plot of land for people that are escaping any political disaster that inhibits them to stay in their country. These camps are originally meant to serve as a temporary stay and are never fully thought out as a permanent accommodation of the people occupying that region. However, with the political uproar that they are facing in their own country and it not settling down, it then becomes more of permanent location for them. This then begins the discussion of architecture coming into play as a problem solving for permanent accommodations for the refugees.
Architecture has the capacity to make a political impact. With the fabrication of an urban infrastructure it will begin to change the practice of architecture. In hindsight architecture will begin to create projects such as the Pink Trump Wall, proposed by Studio 3.14. This pink wall would run across from the Pacific Coast to the Gulf of Mexico that is roughly 1,954 miles. This megalomaniac wall would essentially have shopping centers and viewpoints for United States citizens to climb up and look over to the other side. The large architectural gesture can impact the practice of architecture in political that will create a urban infrastructure that address a the current political issues at hand.
Cruz, Teddy, and Fonna Forman. “Unwalling Citizenship.” The Avery Review, no. 21 (January 20, 2017): 8. Howarth, Dan. “Pink Trump Wall.” Digital image. Trump’s Mexican Border Wall Envisioned as Barragán-inspired Pink Barrier. October 20, 2016. Accessed March 9, 2019. https://www.dezeen.com/2016/10/20/donald-trumpmexican-border-wall-envisioned-barragan-inspired-pink-barrier-estudio-314/. 1
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Image 1: Pink Trump Wall, civilians overlooking to other side. 2
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This then begins the discussion that architecture can be more adaptive to users over time. What we make of space begins to define architecture as a tool. Adaptive architecture proves that it can make a political impact by creating formal urban infrastructure designed to take a stance on political problem solving. With the use of redesign of the urban fabric, we begin to understand that it can redefine the shape of a city through design. One example of adaptive architecture is in San Diego and Tijuana. The conditions of both cities have been greatly been impact by President Donald Trump views on immigration. The perceptions that anti-immigration and xenophobia has taken over the great part of the Unites States. Building a wall across the Mexican border would not solve any geopolitical issues. This notion that the “Law and Order” can fix these problems that America is facing with urban violence, just show cases that we have a long way to go. Only a myopic politician would agree to this type of solution. In the instance of San Diego and Tijuana two neighboring cities that are separated by a wall and different political views, are a prime example of what a great geopolitical impact it can have. If these two cities would able to address a solution that would benefit each city and would be able to build a trust between two cities, it could be an example to other parts of the United States of a shared responsibility, practices, norms, interests and aspirations. As stated by Teddy Cruz in The Avery Review titled, ‘Teddy Cruz and Fonna Forman -- Unwalling Citizenship’, “Consider the informal development of small neighborhoods that flank the border and construct alternative urbanisms of adaptation and alteration.”1 Alterations of the informal and underdeveloped cities should begin to address a better urban infrastructure that adapts to the geopolitical situation.
Image 2: Pink Trump Wall of Mexicans looking at wall.
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However, the architectural discourse will begin to address the notion that architects can make a political impact with design. Design becomes an icon way of discussion, for instance, the Trump Dinner Table Wall, by Malaysian design office No-To-Scale Studio, begins to address the idea of a communal gather of two different cities. The dining table seeks to divert from any physical form of division. This project addresses that notion that architects can propose something the can impact at a large urban scale. That could benefit both cites.
Howarth, Dan. “Pink Trump Wall.” Digital image. Trump’s Mexican Border Wall Envisioned as Barragán-inspired Pink Barrier. October 20, 2016. Accessed March 9, 2019. https://www.dezeen.com/2016/10/20/donald-trumpmexican-border-wall-envisioned-barragan-inspired-pink-barrier-estudio-314/.
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impact the architecture discourse on large impact architecture can make politically. Appleyard and Lynch imagined that both cities would benefit from using Tijuana’s airport and placing the parking garage in San Diego soil. The proposal essentially designs an infrastructure that connected both cities for an economical benefit. But it is doing more than just that, it is showing that architecture can have political impact of via urban infrastructure. The future of architecture will begin to change the practice and discourse. Times like these are pushing architecture to take a stand and problem solve issues that are impacting political views and ideals.
Image 3: Trump Dinner Table Wall. 4
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Another example is by design architects David Appleyard and Kevin Lynch, whom proposed a vision plan for San Diego, called Temporary Paradise. In this case San Diego would depend on future of Tijuana. Cruz and Forman state, “… the destiny of each border city was intertwined.”6 Both cities are relatively close to each other and both would benefit from each other from an economic stand point. Cruz and Forman also state, “They urged collaboration in order to anticipate responsible crossborder urban growth and to reimagine the border wall as a shared infrastructure with binational civic projects along its trajectory.”7 By situating architecture to bring two cities together that are driven by different political views can impact the architecture discourse on large impact architecture can 4 Fison, Lizzie. “Trump Dinner Table Wall.” Digital image. No-To-Scale Imagines Trump’s Wall as a 1,954-mile-long Dinner Table. March 21, 2017. Accessed March 9, 2019. https://www.dezeen.com/2017/03/21/no-to-scaledonald-trump-wall-us-mexico-border-1954-mile-long-dinner-table/. 5 Fison, Lizzie. “Trump Dinner Table Wall.” Digital image. No-To-Scale Imagines Trump’s Wall as a 1,954-mile-long Dinner Table. March 21, 2017. Accessed March 9, 2019. https://www.dezeen.com/2017/03/21/no-to-scaledonald-trump-wall-us-mexico-border-1954-mile-long-dinner-table/.
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Cruz, Teddy, and Fonna Forman. “Unwalling Citizenship.” The Avery Review, no. 21 (January 20, 2017): 8 Cruz, Teddy, and Fonna Forman. “Unwalling Citizenship.” The Avery Review, no. 21 (January 20, 2017): 8
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Fison, Lizzie. “Trump Dinner Table Wall.” Digital image. No-To-Scale Imagines Trump’s Wall as a 1,954-mile-long Dinner Table. March 21, 2017. Accessed March 9, 2019. https://www.dezeen.com/2017/03/21/no-to-scaledonald-trump-wall-us-mexico-border-1954-mile-long-dinner-table/.
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Howarth, Dan. “Pink Trump Wall.” Digital image. Trump’s Mexican Border Wall Envisioned as Barragán-inspired Pink Barrier. October 20, 2016. Accessed March 9, 2019. https://www. d e z e e n . c o m / 2016 / 10 / 20 / d o n a l d - t r u m p - m e x i c a n - b o rd e r wall-envisioned-barragan-inspired-pink-barrier-estudio-314/.
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EKPHRASIS VERTICAL DESIGN STUDIO GENETIC| MODIFICATION | ART In a world where perfection can easily be achieved through genetic modiďŹ cation. The need to keep human agencies are essential to the development and preservation of humanity. the concept of self-indulgence and artistic expression allows genetically modiďŹ ed humans to express their individuality. Art is a way to change, it is a way to respond to these internal and psychological forces. If these internal psychological forces are superior and strong, how will that change the way we selfexpress? How will that change the way we experience art? CRISPR very likely will happen. Where we will be able to deliberately design the human body. If that is the case, this act was considered an act against humanity 2GAX SCI-Arc - FALL
We are human, which means we are emotional, vulnerable that equal to an expression of our own individuality. Art is an expression of what makes us human and what allows us to create things that illustrate a way of thinking and feeling. Art it is an expression of what feel, and in this case, it is fear. Whatever, this art piece might be, it is a creation of our own expression. It is a construct of our own emotions, imperfections and vulnerabilities. By taking these human agencies and qualities we formulate a way of creating and see what things could be. It also means that not all things will be equal, because everyone has different human traits, some more than others. This is the only direct contact you can have before the physical form is created or illustrated. It is through these human qualities that create that contact. It is only after that contact has been made where you can create or form something out of it.
3GBX | DS 4000 -Vertical Studio, Fall 2019 Critic : Lucy McRae Team: Amparito Martinez, Jiaoyue Zhao & Xingsheng Xiong
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EKPHRASIS
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INT. WHITE ROOM- DAY Mom and Dad are putting PVC pipes into connections and are also rotating the frame they have built. All movements are of building the wax machine #1.Parents are also pulling the strings that are placed in the water to pull wax down. INT. BEDROOM - MORNING [CLOUDY] Mimi-C is laying on her bed on her side with her eyes closed, she then opens eyes as shes hears the alarm. Mimi-C is staring blankly at the wall with no facial expression,she rotates her body forward and begins to sit up. She gets out of bed and walks to the bathroom. INT. BATHROOM - MORNING [CLOUDY]
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Mimi-C walks up to the bathroom mirror and stairs blankly at her reflection. She touches the mirror and AI interface activates. The AI interface shows her vital signs and indicating she is Genetically modified. On AI Mirror interface she receives notification message. Mimi-C opens the message and in the message she reads that her parents are deceased. She begins to open files that show death report. (Simultaneously, her intercom/speaker also activates and makes greeting sound.)
Intercom begins to ring. Mimi-C pushes the button to accept call. MIMI-C Hello.. ASSIGNED MALE HUMAN COMPANION Mimi, we need to talk. (stern voice) MIMI-C I'm listening (monotone voice) ASSIGNED MALE HUMAN COMPANION I never thought you would be so cold, when they assigned you to me. I know you're different, but how can you express no emotions and affection towards me? (upset voice) MIMI-C I am not sure I understand what you 109
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2. mean? Emotions? Affection? (monotone voice) ASSIGNED MALE HUMAN COMPANION I can't be with you anymore. I'm sorry... (He ends the call abruptly before she could answer) Mimi-C stares blankly at the intercom/speaker box and looks back up at the mirror. She closes interface and turns around and walks away. INT. KITCHEN - DAWN Mimi-C is wearing her swimsuit Mimi-C walks over to counter and picks up glass/water bottle that indicates how much water she is suppose to drink. She drinks the indicated amount and puts water bottle down. Intercom/Speaker turns on.
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INTERCOM Mimi-C this is Dr. Perfectus, Can you find a photo of your parents to give to the funeral home? MIMI-C Yes (monotone voice) INTERCOM Thank You, have a good swim. (intercom call ends)
Mimi-C turns around and walks out of frame. EXT. POOL - NIGHT Mimi-C jumps into pool and begins to swim across the pool. At the end of the pool she comes up and places arms on pool edge. Looks blankly at candle on table. Continuously stares at candle and suddenly has a flashback to wax sculpture that her parents made. Some confused facial expressions start to reveal. Mimi-C turns around begins to swim back to other side of pool. INT. STORAGE ROOM Mimi-C opens door to storage room and walks in. In the storage are old wax machine with broken wax sculptures. MimiC walks up to machine and stares blankly and begins to pull string that is attached to ball inside empty fish tank. Then
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3. looks down and we see photo album on top of black box and next to the black box is a clear bag with aluminum t-slots. Mimi-C picks up photo album and begins to look through it and starts to have flashbacks and more confused/upset facial expressions begin to appear on her face. Mimi-C puts photo album on top of black box and see her grab the box and bag together and walks out of frame. INT. KITCHEN - NIGHT Mimi-C pulls top part of box and sets it in between fish tank and clear bag on top of counter. She begins to pull items from box shelves and begins to align them evenly on counter top. She then unzips clear plastic bag and pulls aluminum tslotted frames and places them on counter top. Mimi-C places open photo album below aligned items. Mimi-C grabs aluminum t-slot and begins to connect pieces and assemble machine. In parallel she is also heating up wax and adding color dye. She also begins to rig fish tank with yarn and ball scaffold. She also begins to fill fish tank with water. 2GAX SCI-Arc - FALL
WHILE MAKING ALL THESE MOVEMENTS SHE IS ALSO FLIPPING THROUGH PHOTO ALBUM. HER FACIAL EXPRESSIONS BEGIN TO REVEAL AND CHANGE THROUGHOUT THE WHOLE TIME. (TWITCHING FACIAL EXPRESSIONS) Mimi-C then begins to pour hot liquid wax into funnel, Mimi-C looks at wax pouring into ball scaffold and has shift in facial expressions. She then begins to pull the string and wax sculpture begins to form. Her facial expressions begin to shift dramatically as she pours more wax and builds up the wax, while also pulling the string in different directions. Mimi-C has now made a collection of wax sculptures, that are placed on the top of the counter. Mimi-C faces are shifting and twitching through different facial expressions, we finally see a portray sign of an exhaustion. INTERCOM (Stern Voice) Mimi-C what are you doing? You need to stop. MIMI-C (shaking exhausted voice, looking up at ceiling) I' cant't... I'm I'm sorry. One tear comes down Mimi-C's face.
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WAX MAKING STATION Mimi-C’s parents wax making equipement
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A WORLD DRIVEN BY PERFECTION
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PUSHES SCIENCE ON THIS MISSION
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WILL HUMAN WEAKNESS
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HUMANS
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TO FEEL
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LABRARY DESIGN DEVELOPMENT TECTONTIC| ANIMATION| DEVELOPMENT This Atlanta public library proposal investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. In the library called the LABrary design we see a construction methods, analysis of building codes, the design of Structural and Mechanical systems, Environmental systems, Buildings service systems, the development of building materials and the integration of building components and systems.
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LABrary will be shown in-depth with construction photographs, 3D renderings, and technical drawings and details. With a focus on the evolution of building design from concept to build form. Overlaying of digital information onto the built environment to both facilitate the construction and have everything derived from a single database. The primary part of our work will be an animated drawing set in form of a multi segment video. Each chapter will address one of the core topics of the seminar and offer different views, components, sizes, descriptions, energies, systems, vantage points, transparencies, materials, colors, scales, and so on.
3GBX | AS 3222 - Design Development, Fall 2019 Critic : Herwig Baumgartner Team: Amparito Martinez, Bowen Liu, Gregory Kokkotis, Jonathan Warner, Kaiying Lin, Manying Wang, Phoemphol Phoemphoolsinchai, Yixin Zhang, Zepeng Gao
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Long Day’s Journey Into Night VISUAL STUDIES FILM | STORYTELLING | VIRTUAL REALITY
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The seminar focuses on development of a custom virtual reality atmosphere experience of a recreating of a film scene. The chosen film is Long Day’s Journey Into Night, where it is taken into 3ds Max and Cinema4D to recreate the film set. This film set is then recreated to represent a different aspect of the film. This experience is seen through visuals of the film scene with sound to help recreate the scene but to show another level of detail that is not shown in the film. With VR the user can experience the film at a different level that might not be seen on screen.
3GBX | VS 2702 - VR VR Film Sets II, Fall 2019 Critic : Alexey Marfin Team: Amparito Martinez, Xin Liu, Zihan Gao, Richard Cottrell, Kidus Hailesilassie
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LONG DAY’S JOURNEY INTO NIGHT EXIBITION
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THE FUTURE URBANIZATION OF CITIES 2GAX SCI-Arc - FALL
3GBX | LA 8531 - LA Science Fiction Film II, Fall 2019 Critic : Michael Stock
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If we closely look at Blade Runner and its prediction of the future of Los Angeles in 2019, we realize that this prediction is not totally accurate. Even know having fly cars and humanlike androids would be amazing, we are just not that far advanced enough. But if we look at the cityscape, the tall dark building with multiple glowing windows and attached LED advertisement screens are one of the few things that is illuminating the city as seen in image 1. Compared to Los Angeles now, there is still a need for more tall skyscrapers, larger LED screens and maybe less beach like. But with the large of population that has occurred in recent years in Los Angeles, this something that we might begin to see. Poor air quality isn’t stopping the people from moving to LA nor is large amounts of traffic and lack of parking. Given these circumstances it would not that be far off the LA would begin to build more up because of population increase and parking demand. LA will possibly become this dark dystopian like city, because of the air population increase. All because of large of amounts of vehicles that are in constant use in LA, since it is one of most reliable mods of travel due to poor design of the infostructure. It really is one of the only few ways to get around LA. But let’s also not forget the tremendous amounts of homeless people that is forcing the city of LA to really find a solution to place all these people. Some of the proposed solutions are tall like affordable housing units, similar qualities that you might see in Le Corbusier’s Ville Radieuse design proposal as seen in image 2. Which is not really a solution, but it will change the cityscape and urbanization and we might see a Blade Runner city in the near future starting from 2019.
1 “Gallery of Films & Architecture: ‘Blade Runner’ - 2.” ArchDaily. Accessed December 19, 2019. https://www. archdaily.com/233625/films-architecture-blade-runner/blade-runner2?next_project=no.
units, similar qualities that you might see in Le Corbusier’s Ville Radieuse design proposal as seen in image 2. Which is not really a solution, but it will change the cityscape and urbanization and we might see a Blade Runner city in the near future starting from 2019.
Image 1: Blade Runner City
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There has been much speculation of what the future city will look like and how it will be governed. Most cities of the future are either portrayed as a dystopian like city with dark toxic atmospheres and running possibly on limited resource except for the upper class. Cities of the future are also portrayed as a utopian city like, where it is imagined as a city with nearly perfect or desirable qualities in society and where the citizens all live a clean calm world. We’ve seen this portrayal of cities in films such as Logan’s Run, Blade Runner and The Fifth Element. With each three films we get a sense of what the future cities will be in the near future or far future, however, taking into account that these films were written and screened in mid-70’s, early 80’s and late 90’s, these possible speculations were ideas of what cities could be. If we were to place these city predictions on a timeline, we would have future city speculation of 2019 (Blade Runner), 2263 (The Fifth Element), 2274 (Logan’s Run). Blade Runner was screened in 1982, The Fifth Element screen in 1997, and Logan’s Run was screen in 1976. Given the year that these films were screen it really brought an idea of what cities of the future would be. However, we know that Blade Runner speculation isn’t as accurate as we would like it to be, since are living in it now. But there could still be hope for possible future city predictions that we see in The Fifth Element and Logan’s Run, however, certain societal predictions we can live without from these two films. However, if we start to look at these cities architecturally and the types of building typology, really tune into the urban landscape that are predictions that current architects are trying to design. If we look at work such as Superstudio’s Continuous Monument, Archigram’s Walking City, and Le Corbusier’s Ville Radieuse we begin to see similar future city qualities and speculations. But none the less, whether they are predicted through design or portrayed through film by architects or filmmakers, the future urbanization will change cityscapes, will address population increase and climate changes that will be happening in the world that we are even beginning to see now.
Image 2: Le Corbusier’s Ville Radieuse design proposal
The Fifth Element future city speculation of New York is slightly different in comparison to Blade Runner’s Los Angeles future city prediction. In “The Fifth Element” in image 3 the cityscape is slightly more advanced. Even though there are flying cars and large LED advertisement signs, the buildings are much taller, becoming a megapolis. The building typology has tremendously increased in height to the point where there are different levels of the city. The ground being the darkest, foggiest and most polluted. The city ground level is too polluted to support any life and if there is any life it most
2 “Gallery of AD Classics: Ville Radieuse / Le Corbusier - 9.” ArchDaily. Accessed December 19, 2019. https://www. archdaily.com/411878/ad-classics-ville-radieuse-le-corbusier/52001cc3e8e44e6db0000007-ad-classics-villeradieuse-le-corbusier-image?next_project=no.
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level is too polluted to support any life and if there is any life it most likely a mutated life form. But because the ground level is polluted the city of New York has built incredibly tall buildings that house the increasingly large population of New York. Some of the building typologies still maintain the gothic revival, art deco, and Italianate style mixed a modern contemporary style, as well as, containing futuristic qualities. Some of these qualities are promotes the use of steel, glass, and concrete, LED glass panels, with sharp cut clean lines or mixed with some ornamentation. But because New York is becoming this megapolis we have seen proposals from current architecture studios that have proposed possibly design options for the increasingly growing city of New York. Such work can be seen in Superstudio’s Continuous Monument. If you look at image 4, we see the large superimposed glass megastructure that cuts through the city of New York. This megastructure is more of discussion of how to change the New York architectural style, whether it is steel, glass, and concrete, and ornamentation or this large monumental structure, it will change the way we approach future design proposals. While the design proposal by Superstudio is more a near future possibility it still changes the city scape and urbanization. We might see this design proposals in New York city in the near future and far future.
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In Logan’s Run the world has suffered some type of postapocalyptic event that has destroyed the Earth, and the survivors have sealed themselves away in dome near Washington, D.C, as seen in image 5. The city of Logan’s Run proposal a utopian way of living, where it is well kept clean environment and no pollution within the dome wall confines. It is a self-sustaining city that also governs the amount of resources that are used at a daily basis and this has a large impact on the people that inhabit this city. Most of the architectural styles that we see are a modern design, with the use of curved concrete walls and metal panels, that give it the appearance of a futuristic style. Given that this design prediction was predicted in 1976 for a future that lies in 2274, which is 11 years later from “The Fifth Element” New York city prediction. It is possible that the city suffered some sort of catastrophic event that forced people to seal themselves away. It also appears that there are multiple domes that connect to one another or are slightly against one another. This Logan’s Run city dome proposal is similar to Archigram’s Walking City design proposal as seen in image 6. It is not just a static sealed city but a metal enclosed mobile city. The walking city has multiple modular structures that are connected through a series of metal tubes that create multiple modular systems. Both Logan’s Run dome city and Archigram’s Walking City propose enclosed city that are interconnected but each city used a different building material that either gives it a more modern architecture style or gives it a industrial city design. This really begins to address what a future city might look like and how does it effect future urbanization if it means that earth is inhabitable in sense people need to be in a controlled environment. It might be that we might see polluted landscapes with enclosed cityscapes, which is an option that is not often explored.
Image 3: Fifth Element City
Image 4: Superstudio’s Continuous Monument
“Gallery of Films & Architecture: ‘The Fifth Element’ - 5.” ArchDaily. Accessed December 19, 2019. https://www. archdaily.com/336452/films-architecture-the-fifth-element/728_fifth-element. 4 “THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION.” THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION, January 1, 1970. http://arch122superstudio.blogspot.com/2012/06/continuous-monument-architectural-model_15.html.
Image 5: Logan’s Run Domed City
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5 “Warner Bros.” WarnerBros.com | Logan’s Run | Movies. Accessed December 19, 2019. https://www.warnerbros. com/movies/logans-run/.
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“THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION.” THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION, January 1, 1970. http://arch122superstudio.blogspot. com/2012/06/continuous-monument-architectural-model_15.html. “Gallery of AD Classics: Ville Radieuse / Le Corbusier - 9.” ArchDaily. Accessed December 19, 2019. https://www.archdaily.com/411878/ ad-classics-ville-radieuse-le-corbusier/52001cc3e8e44e6db0000007ad-classics-ville -radieuse -le -corbusier-image?next_project=no. “Gallery of Films & Architecture: ‘Blade Runner’ - 2.” ArchDaily. Accessed December 19, 2019. https://www.archdaily.com/233625/ films-architecture -blade -runner/blade -runner2?next_project=no. Image 6: Archigram’s Walking City
“Gallery of Films & Architecture: ‘The Fifth Element’ - 5.” ArchDaily. Accessed December 19, 2019. https://www.archdaily. com/336452/films-architecture-the-fifth-element/728_fifth-element. Herron, Ron. “Ron Herron. Walking City on the Ocean, Project (Exterior Perspective). 1966: MoMA.” The Museum of Modern Art. Accessed December 19, 2019. https://www.moma.org/collection/works/814. “Warner Bros.” WarnerBros.com | Logan’s Run | Movies. Accessed December 19, 2019. https://www.warnerbros.com/movies/logans-run/.
Herron, Ron. “Ron Herron. Walking City on the Ocean, Project (Exterior Perspective). 1966: MoMA.” The Museum of Modern Art. Accessed December 19, 2019. https://www.moma.org/collection/works/814.
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Each city design prediction that we see in Blade Runner, The Fifth Element and Logan’s Run touches on future urbanization. Whether it is more in the near future or far future and addressing environmental conditions that are shaping city designs. These types of speculations are what is addressing new building typologies to address conditions that effect ways of living. Is it not just a mere of creating something beautiful but something that is inhabitable. It doesn’t matter whether it is a utopian or dystopian kind of world they both address future urbanization’s way of living. Architecture becomes more of a tool to maintain life form forcing a new type of cityscape design.
Amparito Martinez
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The Cut Out 3GBX | HT 2533 - HT The Other Shape Arc after Image, Fall 2019 Critic : Marrika Trotter
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Looking at Lozy’s pharmaceutical factory by Vaillo + Irigaray Architects, in Spain, we notice that it is this large black factory that sits nicely on rural area of Spain that is surrounded by beautiful mountains. In image 1 we see that the pitched roof line that continues to go up and down and runs across the building reflects the mountainous surrounding. The black angular building from afar appears to look flat, however, in closer inspection we notice that it composed multiple massing that make the roofline appear as a singular
black cut out now begins to frame the environment and we begin to see the architecture serve as a negative space. Allowing the negative space to serve as tool to frame out the environment. But would this effect to be applicable if it was placed in a city environment? To place this angular black massing in front of city backdrop, the effect is still the same. It would also appear as cut out within the cityscape. In this case it might even serve as a block out barrier within the city. Where the building will serve as a negative space, where it allows it to frame out its surrounding context. In this instance it begins to serve as tool to understand the context compositionally. Leaving some negative space around your subject has the opposite effect: with a strong focus on building features. The black cut out effect is persistent as you move around. There will be different compositions of the black cut out but it will carry the same result, because it is volumetric. It will also maintain it seeming flatness with some degree of coherence. But what makes this black cut out interesting it because it is a building you can use. The ambiguity of not being quite sure what you are looking at, also the difficulty of being able to tell how you enter it this big black building and purpose it is serving. Or whether you are really seeing it as a building. These are more of its provocative qualities. It is this dark mysterious extracted thing that massively impact their environment conceptions of our environments. Another example of the architectural cut out is the Dune House by JVA, located in the United Kingdom. In image 2 we see that this house also carries similar qualities that are seen in the pharmaceutical factory, the house does not only carrier the angular roofline and black walls. But it holds rectilinear windows that are placed all over the faces of the wall at different scales and locations. Making the top half of the house look eerie, because the bottom half of the house is built off glass walls that it makes the top half appear to be floating, thus creating a hole within the context. This house is more a hole cut out within the environment. It is a hole cut out because it is floating in space, making the negative space to be more centralized and much more visible.
Image 1: Lozy’s pharmaceutical factory by Vaillo + Irigaray Architects
At different elevational views of the building it continuous to appear as flat. The flatness comes from the use of the black that gives it the illusion that it is flat. The blackness of it is what also gives it this eerie effect. The effect that there is this big black angular massing that sits on this beautiful serene landscape. Compositionally as a whole it appears as cut out of this environment and now there is a black hole that interrupts the environment. This interruption of the black cut out changes the way we perceive the environment. The Image 2: Dune House by JVA
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The positive versus negative concept within architecture is one of the simplest concepts applied to architecture, that its application to building design and landscape are instant and evident. If we look at architecture as a photograph, there are two types of way a building can be laid out. One option is where it is filling the whole frame and the other options is leaving some space around the building. The space around the building is often referred to as the negative space. But if the architecture became the negative space. The building becomes a hole or cut out and becomes a barrier within time to establish context. There are three types of cut out, there is the original cut out, the hole cut out and the carve out. Each cut out is changing the way we look at the environmental and the composition of it. Each addresses a different type of negative space and how we frame the building. units, similar qualities that you might see in Le Corbusier’s Ville Radieuse design proposal as seen in image 2. Which is not really a solution, but it will change the cityscape and urbanization and we might see a Blade Runner city in the near future starting from 2019.
Amparito Martinez
However, in this house we see more of the roof surface, that then starts to create seam. Once we begin to see the seam it changes the language of the cut out and we only then realize that it is a volumetric object. Once we start to recognize it is a volumetric object, we lose a sense of ambiguity that comes with complete blackness. Part of the ambiguity that comes with the blackness changes the environment compositionally. If we were to closely look at the photograph, we would notice that the darkness brings this alluring eeriness that draws you into the black cut out. If we are only seeing the tophalf of this house look at it as a pure negative space within the sky, it creates a language between our conception of the environment. The environment now holds a black shape in the sky that make the environment appear mysterious. During the night, the roof surfaces is concealed but the seam is still recognizable because it is not just a black surface but a metal surface. In order for the cut out to work successfully, the massing needs to be entirely black and not have a shift in materials. Only then do we see more successful cut out and have a clear understanding of negative space. The clearer the negative space it the easier it is to understand our conception of the environment.
We come to understand that there are three types of cut outs. One is a plain cut out, then we have a hole cut out and finally we have a carve out. Each type of cut out is changing our concept of the environment. What’s being erased is not the differentiation with the environment, it’s being heighten, but what’s being erased is the internal differentiation and the way you look at it. By understanding architecture in this aspect, we see that it starts to server as tool to understand the concept of the built environment. The blackness of the cut out, gives the architecture a type of ambiguity that is changing the environmental condition. If we look at Abbot H. Thayer that states, “Two main oversights have caused the whole misconception as to the concealing effect of pattern on animals: one, the failing to study an animal’s markings from the viewpoint, always, as a matter of course, of the animal whose sight was to be deceived; the other, the perfectly fatal confounding of detection with identification after detection.” , while Thayer claims that concealing is way to understand a type of see a composition differently. The black cut out is doing something similar to that, where it might seem like it is concealing something, but it is actually heightening the whole composition and environment, through the types of cut outs.
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If we look at Life House by John Pawson located in the Llanbister in the United Kingdom, the house also carries eerie characteristics that change the conception of the environmental condition, as seen in Image 3. Combination of the pharmaceutical factory and the Dune House, this house is also black with an angular roofline and large windows that make the house to look eerie. However, this house is much shorter than the first two examples. The house in this context it appears to be part of the landscape and environment when it is dark. Only the large windows almost make it appear that it is a window that looks into the landscape. The cut out in this instance serves more as a compositional frame for the environment where it creates an ambiguity of what is the landscape and what is not the landscape. During the day it will show more clearly as a negative space within the environment, framing the environment differently. This type of cutout is more of carve out of the landscape during the day. But during the night it serves more as silhouette change of the landscape and redesigning what the environment is into the mysterious ambiguous landscape.
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Jett, Megan. “Dune House / JVA.” ArchDaily. ArchDaily, October 17, 2011. https://www.archdaily.com/175734/dune-house-jva. Rojas, Cristobal. “Life House / John Pawson.” ArchDaily. ArchDaily, May 10, 2016. https://www.archdaily.com/787046/lifes-house-john-pawson. Sagredo, Rayen. “Lozy’s Pharmaceuticals Factory / Vaillo Irigaray Architects, Galar, Vélaz.” ArchDaily. ArchDaily, June 6, 2017. https://www.archdaily.com/872891/lozysp h a r m a c e u t i c a l s - f a c t o r y - g v g - e s t u d i o - p l u s - v a i l l o - i r i g a r a y. Thayer, Monthly Image 3: Life House by John Pawson
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Thayer, Abbot H. “Camouflage.” The Scientific Monthly 7, no. 6 (December 1918): 1–15.
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