Anaisa Franco portfolio SCI-Arc by Anaisa Franco

SCI_Arc March_1 MASTER OF ARCHITECURE ANAISA FRANCO

ANAISA FRANCO Portfolio Master of Architecture M_arch1 // SCI-Arc

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE LOS ANGELES, CA.

COVER ILLUSTRATION, DEVELOPED DRAWING, 1GA STUDIO, 2016

// ANAISA FRANCO

// M_arch 1 MASTER OF ARCHITECTURE 1GA FALL 2016 1GB SPRING 2017

// TABLE OF CONTENTS

M_arch 1

YEAR 01 07

STATEMENT

1GB 09 27 39

DS DESIGN STUDIO II VS VISUAL STUDIES II AS ENVIRONMENTAL SYSTEMS I

1GA 49 75 85 95

DS DESIGN STUDIO I VS VISUAL STUDIES I MT MATERIALS AND TECTONICS HT INTRO TO CONTEMPORARY ARCHITECTURE

102

CURRICULUM VITAE

// STATEMENT My name is Anaisa Franco. I’ve been working as a professional artist for 10 years, since my graduation year when I received my Bachelor Diploma in Visual Arts from the Art School FAAP in Brazil and sequentially a Master of Digital Art and Technology from University of Plymouth in UK. Ever since then, I have been developing complex interactive artworks in Medialabs, Residences and commissions aronund the world that required a team of professionals working on them. My work is research-based, implying a constant experimentation process with new materials, electronics and digital fabrication to arrive at an “affective” situation where people expand their senses through the interaction with the artworks. However, at this time of my career I wanted to learn new concepts and techniques in Architecture to be able to professionally plan, develop and build interactive public experiences and permanent structures for the Public Realm. My goals are to investigate and to build advanced design and its convergence with science and technology, emphasising the key role computation plays within complex design synthesis and parametric structures. In my future studies of architecture I am looking for to have access to spaces, materials and fabrication machines in order to be able to investigate the confluences between parametric architecture and cutting edge technology using sensors, new materials, organic materials and digital fabrication techniques applied with my artistic aims to create “affectivated” and sensorial experiences to the people in the public sphere. Recently I have been fascinated by terms as Synthetic design, Biomorphic design, Neoplasmatic design, Adaptative Architecture, Bioreboot, isomorphic architecture and genetic architecture. The Architecture Studios I have been following and admiring most are : Zaha hadid, Greg Lynn, NOX, Karl Chu, Marcos Cruz, UN Studio, Francois Roche, Vicente Guallart, Coop himmelblau, Foster, Santiago Calatrava, Frank Gehry, Plasma Studio and many others. For future projects, I have been reflecting on possibilities to create

organic, synthetic, biological structural spaces that could share senses with people. By analyzing the fact that the planet we live in are all composed by biological entities and autonomous living systems and organisms, why not architecture and Public artworks can become alive and sensible organisms that can share with us humans -- intelligent beings capable of sensing with several complex senses the world around us. Moreover, if all animals and humans are protected with a layer of skin, why not architecture could be inspired by this fact and could have their own biological and autonomous technological protections? The macro and micro world are all organic, functional and regenerative, which means that we humans would feel much more comfortable in spaces that reflect our bodies and complex systems we carry inside us and outside in nature. For example, If we analyze the simulations created by the astrophysicist George Smoot showing the Universe structure, we can see formation of giant webs of dark matter and mysterious gaping voids, which are very similar to the structure the neurons forms in our brain -- the most complex organ in the known universe, able to process a hundred billion neurons and electrochemical signals connections controlling our body. We could also compare them with the computer system of complex networks and connections, which provide us with worldwide communication. In conclusion, as an artist and future architect I want to communicate, be closer to people. I am interested in reaching out for situations that escape our control, new means of perceiving and expanding our reality via artistic experimentation with technological new materials. Rethinking the role of architecture and art in our contemporary technological society, means to expanding the objects we are daily confronted with and the spaces we inhabit, in order to expand and enrich our lives with an added aesthetic and creative dimension. I am interested in the realm of the collective, beyond the private dimension of art and enhancing the channel of communication with people: this is why I am particularly fascinated by the power of architecture and public art. 7

// DESIGN STUDIO II 1GB // MARGARET GRIFFIN Spring 2017

This course is a continuation and expansion of the fundamental issues of architecture introduced in the first studio of the core sequence. The interrelationship between geometry, form, tectonics, and materiality is explored as it relates to overarching organizational systems and emergent systemic behaviors driven by programmatic content, structural logics and physical setting. Program and structure are considered to be creative components of design rather than fixed entities. Students are

given the Emerging Professionals Companion along with updated Intern Development Program (IDP) information. The working methodologies introduced in 1GA are expanded and refined to allow each student to continue to developing conceptual frameworks and productive techniques for the creation of architecture. As the first part of the Graduate Programâ&#x20AC;&#x2122;s Comprehensive Design Sequence, this course challenges students to design both site and buildings accommodating individuals with varying physical disabilities.

// THE UTERUS PROJECT The Uterus project is a Duplex house concept to be built in Frogtown, Los Angeles. The Uterus is the first house experience of all humans and mammary animals, a fluid, an organic and warm place where bodies are developed. In the history of humanity habitats, the second home humans found to inhabit was the caves, which are similar shape than the uterus. Caves were found in nature, a natural womb that protects the body from the weather and wild animals. After all housing development throughout history, Geometries

were formed and developed within time, where Modernism took its place in the last century. Recently, parametric architecture and technological advancements brought back the possibilities to return to nature plasmatic shapes, where humans are able to revive their origins by populating organic shapes, inspired by nature, being closer from their ancestors. As Zaha Hadid says â&#x20AC;&#x153;There are 360 degrees, so why to stick to one?â&#x20AC;&#x153;

1GB DESIGN STUDIO MARGARET GRIFFIN 11

THE UTERUS PROJECT: Axonometric 12

THE UTERUS PROJECT: Axonometric 13

THE UTERUS PROJECT: Elevation 14

THE UTERUS PROJECT: Elevation 16

THE UTERUS PROJECT: Section

THE UTERUS PROJECT Plan, Ground floor

THE UTERUS PROJECT Plan, Second floor

THE UTERUS PROJECT Site Plan

THE UTERUS PROJECT Diagrams 23

THE UTERUS PROJECT Photography of 3d Printed model painted and base made with stacked papers 24

THE UTERUS PROJECT Photography of final presentation 3d Printed model painted and base made with museum board 25

// VISUAL STUDIES II 1GB // MATTHEW AU AND ANNA NEIMARK spring 2017

The course forms the continuation of Techniques of Representation 1 by expanding on the conceptions of representational tools, emphasizing diagramming and spatial representations, and incorporating site analysis, topography and three-dimensional realizations. The program focuses on developing precision of intentions in the production of architectural drawings and instilling a critical sensitivity for the inherent bias and interface of each deployed medium of representation.

// THE GUN PROJECT

1GB VISUAL STUDIES MATTHEW AU AND ANNA NEIMARK 29

THE GUN PROJECT Render v-ray 32

THE GUN PROJECT 3D printed model painted in golden 33

THE GUN PROJECT Grasshooper drawing 34

THE GUN PROJECT Diagram 35

THE GUN PROJECT Diagram 36

THE GUN PROJECT Diagram 37

// ENVIRONMENTAL SYSTEMS I 1GB // JACOB CHAN AND JOHN BOHN spring 2017

This course is intended as an introduction to environmental systems in architecture. Beginning with an understanding of basic thermodynamics and climatic conditions, the course will use architectural precedents to examine the fundamental issues of passive and as an introduction to active energy systems as they apply to architectural production and performance. Students will learn the physics of the building environment, basic environmental conditions and human comfort. Particular attention will be paid to issues of sustainability. Students will undertake preliminary assessments of client and user needs, building codes and design

strategies that leverage careful site analysis in order to inform building location, orientation, massing and geometry. Integrating these issues into complex works of architecture will serve to synthesize of these ideas and demonstrate the performance of environmental systems in architecture. Significant historical, cultural and technological developments in environmental engineering will also be discussed. Finally, contemporary simulation technologies will be introduced as a tool for design and the application the concepts covered in the course.

// SIMULATING ENERGY

1GB ENVIRONMENTAL SYSTEMS I JACOB AND JOHN 41

ENERGY COMPOSITE VDL House, Amazon, Brasil. The drawing show the energy composite of sound, daylighting, wind, surface temperature and visible light. 42

ENERGY COMPOSITE VDL House, Silverlake, Los Angeles The drawing show the energy composite of sound, daylighting, wind, surface temperature and visible light. 43

Name AnaisaFranco Nascimento Energy : Day Light Date: 3/19/2017 Time/Duration: 2 PM Location: Manaus, Brazil.

North

DESCRIPTION

DAYLIGHT VDL House Anaisa Franco Nascimento

Climate Zone : The house has light in most of the areas from south to north. The walls are made of glass, which allows light all over the house. Most of the trees are located in the middle of the house. Winter is very light with ocasional rain. Summer is very light basically all day.

DATA SOURCES

240

Illuminance = 308 lx Max = 5946 lx, Min = 37 lx Average = 1309.1 lx (43 s)

Date, Time & Duration : 02/18/17 2 pm Location : Los Angeles, Silverlake

120

210

150

Sun Path

VDL HOUSE 2300 Silver Lake Boulevard, Los Angeles, California

Photo/Light Meter

Simulation

Lux

Name AnaisaFranco Nascimento Energy : Day Light Date: 02/18/17 Time/Duration: 2 PM Location: Silverlake. Los Angeles, USA

North

// DESIGN STUDIO I 1GA // MATTHEW AU Fall 2016

The March 1 curriculum begins with what we call the core. The core offers students a common platform—a shared language and value system—that unifies the class into one coherent whole. It builds in the student body a kind of “class consciousness” through a deep appreciation for contemporary technologies and the public conversations on architecture. 1GA is the first design course in a sequence of four foundation studios that constitute the MArch 1 core curriculum. One of the primary goals of the introductory studio is to develop technical rigor and fine craft in working with contemporary architectural tools. This foundational studio is, therefore, inevitably a training ground for techniques and an introduction to ideas that can be fully exercised in advanced studios

and thesis work. But the study of the tools is never merely technical. In studio, we place an emphasis on a conceptual understanding of representational techniques in the history of architectural production at large. Students, therefore, are asked to develop an intellectual framework for their formats and compositions in the design of spatial organizations and architectural form. When students develop their first building proposals, they begin by engaging a series of abstract problems already present in the discipline, and they transform them to the requirements of use, inhabitation, and site context. As a result, from the very first semester, we engage contemporary debates in architectural discourse through material and technical production.

// The Cell The Cell is a Library project located in Los Angeles. Its symetrical form was inspired by the shape of a human cell, where you can find its nuclei of the building as its main circulation space. In plan, the interior is bisected laterally against the gradient into an open floor to ceiling atrium space, occupied mostly by the reading room, and a raised book collection. In section, the shift between the two geometries translates into

the extremes of a low entry and a large interior. The scale of both spaces are amplified by the exaggerated thickness of the walls and ceiling. The red of the libraryâ&#x20AC;&#x2122;s skin and interior brings the audience to experiment a cosy, confortable space which was inspired by the biological shape of an human cell.

1GA DESIGN STUDIO MATTHEW AU 51

THE CELL PROJECT: Elevations 52

THE CELL PROJECT: Axonometric THE CELL PROJECT: Site Plan 53

THE CELL PROJECT: Developed Drawing 54

THE CELL PROJECT: Model photos

THE CELL PROJECT: Sections 56

THE CELL PROJECT: Plans 57

THE CELL PROJECT: Program 1st and 2nd floor 58

THE CELL PROJECT: Process The Cell library was designed around the intersection of a cube, distorted to read as an isometric cube in plan, and a polygonal cell extracted from the grid of Tony Smithâ&#x20AC;&#x2122;s sculpture Smoke that also reads as an isometric cube in plan. 59

THE CELL PROJECT: fat wire model 60

THE CELL PROJECT: Wireframe model

THE CELL PROJECT: Manila paper model

Hybrid wireframe of the mix of Tony Smith cell and cube on point. The form generated was the core of the creation of the Library.

Hybrid paper model of the mix of Tony Smith cell and cube on point. The model shows the insertion of ceiling grid.

THE CELL PROJECT: Manila paper model drawing showing the grid 62

THE CELL PROJECT: Hybrid drawing mixing Manila paper model with fatmodel

DSDS

THE CELL PROJECT: Drawing of the fatmodel 63

THE CELL PROJECT: Unfold of Manila paper model 64

THE CELL PROJECT: Unfold of styrofoam fatmodel 65

THE CELL PROJECT: Section drawing of the Hybrid fatmodel mixed with the wireframe model. 66

THE CELL PROJECT: ADA Drawings of the library 67

THE CELL PROJECT: Drawings of Tony Smith cell expanded 68

THE CELL PROJECT: Drawings of Tony Smith cell expanded 69

THE CELL PROJECT: Color drawings of Tony Smith cell expanded model. Skin pallete tones

THE CELL PROJECT: Photos of Expanded Tony Smith cell manilla paper model 72

THE CELL PROJECT: Photos of Expanded Tony Smith cell manilla paper model 73

// VISUAL STUDIES I 1GA // MATHEW AU AND EMMETT ZEIFMAN

The course introduces Techniques of Representation of concepts of representational tools, emphasizing diagramming and spatial representations, and incorporating site analysis, topography and three-dimensional realizations. The program focuses on developing precision of intentions in the production of architectural drawings and instilling a critical sensitivity for the inherent bias and interface of each deployed medium of representation.

// CONTOURS AND THE JIG

1GA VISUAL STUDIES I MATTHEW AU AND BLABLA 77

THE JIG The drawings show the steps to build the jig 80

Pieces to build the jig

Cut off pieces 81

THE JIG Pieces of the jig 82

VS SERPENTINE DRAWINGS

// MATERIAL AND TECTONICS 1GA // PAVEL GETOV

This class introduces students to fundamental structural principles with a strong emphasis on materials, material properties and industrial processes. This course is an investigation into the anatomy of material and its potential use in architecture. The goal of the class is to provide students with a thorough understanding of materials, and of the design methods, techniques, and industrial

processes by which they acquire meaning in an architectural and building context. By means of direct testing and experimentation, the class explores technical and rational manipulations of traditional as well as novel materials, aiming to develop an expansive understanding of their physical nature, environmental impact and possible reuse.

// SWEET REFLECTIONS AND THE EMPIRE STATES RENEWED

1GA MATERIAL AND TECTONICS PAVEL GETOV 87

Sweet Reflexion A Honeycomb Pavillion A honeycomb is a mass of hexagonal wax cells built by honey bees in their nests to contain their larvae and stores of honey and pollen.

Student: Anaisa Franco Nascimento Materials and Tectonics

Hystory: Panteon in Rome. Honeycomb Rotunda Structure Honeycomb Structure and geometry

I selected Honeycomb structure as a unique construction method and building technology because itâ&#x20AC;&#x2122;s a natural complex building technique developed by animals.

Contemporary: Metropol Parasol Interlocking honeycomb wooden planels

I found very interesting looking to nature and see bees colonies build their own habitat with extreme complexity and geometric shapes. Sweet Reflexion reflects on the honeycomb structure by building a system formed with joints made out of circles and rectangles.

Joint: Made out of circles and retangles to form Honeycomb Pavillion

Sweet Reflection

HONEYCOMB PAVILLION

Pavillions references

Parameters: Circles and rectangles that forms hexagons Each cell has 6 rectangles and 12 circles

THE EMPIRE STATE BUILDING cultural context

history + architect

WHAT DOES URBANISM LOOK LIKE?

COMPETITION BETWEEN WALTER CHRYSTLER + JOKOB RASKOB FOR THE TALLEST BUILDING

COMPLETED: MAY 1, 1931 CONSTRUCTION: JANUARY 1930 - MAY 1931 ARCHITECT: WILLIAM F. LAMB, SHREVE, LAMB, AND HERMAN ASSOCIATES DEVELOPER: JOHN JAKOB RASKOB OF GENERAL MOTORS

A CATALYST TO PRODUCE EMPLOYEMENT IN THE DEPRESSION-ERA.

construction MOST UP-TO-DATE CONSTRUCTION TECHNIQUE AND MATERIALS OF THE TIME - ASSEMBLY LINE - PREFABRICATION

CONSTRUCTION OF EITHER BUILDING EMPLOYED 3,400 WORKERS IN A SINGLE DAY.

TRACKS WERE BUILT TO SHUFFLE AROUND MATERIAL AND WORKMEN.

1916 NEW ZONING CODE

Utilizing drawings from the Reynolds Building and the Carew Tower, Lamb produced the drawings in two weeks .

MASS PRODUCTION

AND THE ONLY WAY IS UP

prefabrication factory

original envelope + structure

transportation to site

distribution on site

new envelope

- The quality of light transmitted is color balanced, diffused and free of shadows and glare. - Flexible exterior form - open floor plates steel frame

- has good thermal properties

steel columns

ptfe envelope

stone outter skin

diagram detail of original envelope conveluted with many

diagram detail PTFE envelope. Latest advancements in tech-

concrete base

10 Increase in floor height displays an inverse relationship between the floor area and the width of each steel beam As Floor area increases, beam width decreases Inverse of the set-back zoning code further extrusion as height increases

THE CONSTRAINTS OF THE STEEL FRAMING AND THE LIME STONE FACADE FORCE THE DESIGN INTO A “COPY ANF PASTE” EFFECT, WHERE THE FLOORPLATES NEED TO STACK FITTINGLY ON TOP OF EACH OTHER.

OUR PROPOSAL IS TO REPLACE THE LIME STONE FACADE WITH A PTFE ENVELOPE. AS A RESULT THE BUILDING’S FORM WILL BE MUCH MORE FLEXIBLE, AND THE FLOORS NO LONGER NEED TO BE CONTAINED, THE FORM CAN BE DICTATED BY THE FLOORS PLATES. USING THE MOST UP-TO-DATE TECHNOLOGY, AS LAMB DID IN 1930, WE CAN CREATE A BUILDING WITH THE SAME ICONIC EFFECT, BUT WITH MUCH LESS MATERIAL.

AS A RESULT OF THE STEEL STRUCTURE THERE ARE NO OPEN, OR “COLUMN FREE,” SPACES ON ANY FLOOR.

materials: LOW-E STRETCH FABRIC MEMBRANE STEEL / ALUMINUM STRUCTURE materials: ETFE

STEEL LIME STONE

PTFE

structure

paneled low-e membrane

Railing - Provide Tension

Program: Office Space

Building Core

structure

one continuous low-e membrane

STRETCHED FABRIC SECTION

Main Structural Support Circulation: Elevators and Corridors Utility: Electrical, Water, Gas, Storage

Railing Provides connection points for PTFE membrane Tension system necessary on most floors

x57

THE HEAVY STEEL STRUCTURE IS NO LONGER NECESSARY AND IT ALLOWS FOR MUCH MORE FREE SPACE ON EACH FLOOR.

PTFE Membrane

x15

Floors fluxuate without pattern, meaning relationship between the membrane and the floor plate differs with each connection

THE EMPIRE STATE BUILDING Model made with museum board and wood 91

THE EMPIRE STATE BUILDING RENEWED

- open floor plates

THE HEAVY STEEL STRUCTURE IS NO LONGER NECESSARY AND IT ALLOWS FOR MUCH MORE FREE SPACE ON EACH FLOOR.

- has good thermal properties

materials: LOW-E STRETCH FABRIC MEMBRANE STEEL / ALUMINUM STRUCTURE

ptfe envelope

NTO EACH

OUR PROPOSAL IS TO REPLACE THE LIME STONE FACADE WITH A PTFE ENVELOPE. AS A RESULT THE BUILDING’S FORM WILL BE MUCH ETFE MORE FLEXIBLE, AND THE FLOORS NO LONGER NEED TO BE CONTAINED, THE FORM CAN BE DICTATED BY THE FLOORS PLATES. USING THE MOST UP-TO-DATE TECHNOLOGY, AS LAMB DID IN 1930,detail WEofCAN diagram original envelope conveluted with many CREATE A BUILDING WITH THE SAME ICONIC EFFECT, BUT WITH MUCH LESS MATERIAL. structure

Increase in floor height displays an inverse relationship between the floor area and the width of each steel beam As Floor area increases, beam width decreases Inverse of the set-back zoning code further extrusion as height increases

PTFE

STRETCHED FABRIC SECTION PTFE Membrane

x15

Railing - Provide Tension

diagram detail PTFE envelope. Latest advancements in tech-

Program: Office Space

Building Core

Main Structural Support Circulation: Elevators and Corridors Utility: Electrical, Water, Gas, Storage

Railing Provides connection points for PTFE membrane Tension system necessary on most floors Floors fluxuate without pattern, meaning relationship between the membrane and the floor plate differs with each connection

x57

THE HEAVY STEEL STRUCTURE IS NO LONGER NECESSARY AND IT ALLOWS paneled low-e membrane FOR MUCH MORE FREE SPACE ON EACH FLOOR.

THE EMPIRE STATE BUILDING RENEWED

structure

one continuous low-e membrane

materials:

LOW-E STRETCH FABRIC MEMBRANE STEEL / ALUMINUM STRUCTURE

ETFE

EPLACE THE LIME STONE FACADE WITH A PTFE ENVELOPE. AS G’S FORM WILL BE MUCH MORE FLEXIBLE, AND THE FLOORS E CONTAINED, THE FORM CAN BE DICTATED BY THE FLOORS ST UP-TO-DATE TECHNOLOGY, AS LAMB DID IN 1930, WE CAN TH THE SAME ICONIC EFFECT, BUT WITH MUCH LESS

STRETCHED FABRIC SECTION

PTFE

PTFE Membrane

x15

Railing - Provide Tension

Program: Office Space

Building Core

Main Structural Support Circulation: Elevators and Corridors Utility: Electrical, Water, Gas, Storage

Railing Provides connection points for PTFE membrane Tension system necessary on most floors

x57

structure

CTURE IS NO D IT ALLOWS SPACE ON

Floors fluxuate without pattern, meaning relationship between the membrane and the floor plate differs with each connection

one continuous low-e membrane

MEMBRANE RUCTURE

PTFE

STRETCHED FABRIC SECTION

s ne

// INTRO TO CONTEMPORARY ARCHITECTURE 1GA //TODD GANNON

This course introduces and contextualize key concepts and ideas in 20th-century and contemporary architecture to provide a foundation for the study of both the discipline and practice of architecture. After introducing fundamental concepts related to architectural form and composition, lectures will focus on major 20th-century movements including modernism and postmodernism, will review major projects and polemics of the periods, and unpack salient theoretical arguments associated with them. The course

will devote significant attention to specific relationships between the organization, configuration, and articulation of buildings and the historical, conceptual, and cultural arguments with which they are associated. The course will also emphasize the use of historical precedents by architects and the cultural and social implications of design decisions, particularly those related to issues of diversity and social equity.

HEART OF THE CITY VIVID LIGHT FESTIVAL, SYDNEY. Project by Anaisa Franco, 2015

// HYBRID TRANS MATERIALITIES

1GA Intro Comtemporary Arch TODD GANN ON 97

// HYBRID TRANS MATERIALITIES by Anaisa Franco

With the development of modern industrial societies and the rapid growth of the metropolis in the beginning of 20th century, started the philosophical movement called Modernism which shaped and enormously influenced the last century in the field of arts, architecture, literature and so on. Tafuri says, “the entire cycle of modernism (he refuses any periodization of a postmodernism) as a unitary development in which the avant-garde’s vision of utopia comes to be recognized as an idealization of capitalism.” Some theorists define modernism as a mode of thinking. Todd Gannon says “the central concern was legibility, not abstraction” Modernism has passed. Nowadays we live in a world of the digital, hybrid, trans, parametricism, genetic advancements, transparency and network connection. People are not gender defined anymore, there is a hybridization of the masculine and feminine roles in society. Insemination in vitro is largely used together with a boom of sexual freedom and homosexual liberty, the world becomes more open to trans-hybridizations. The transgender effect can be watched in the fields of genetics, cybernetics, art, architecture, agriculture, politics, economics and so on. Walter Benjamin cites the advent of the new era coming “The history of every art form shows critical epochs in which a certain art form aspires to effects which could be fully obtained only with a changed technical standard, that is to say, in a new art form.” Page 12 In the Digital era, people are traversed by access, information, data, parameters and transparency. All the world is connected via the world wide web and reached in everyone’s pocket. Daily life, financial structures and all sorts of communication are made using computers and its extensions. Patrick Schumacher, the inventor of Parametricism, a term coined in 2008, a style of contemporary avant-garde architecture, and successor to postmodernism says: “Parametricism is the great new style after modernism. I consider

postmodernism and deconstructivism to be transitional styles or transitional episodes. I think that architectural innovation and history proceed by the succession of styles.” Page 74 Besides working as a New Media Artist for over 10 years, I am also part of an Architecture Master program at SCI-Arc in Los Angeles, where the students were asked to analyze the sculpture “Smoke” by the artist Tony Smith, located at LACMA Los Angeles County Museum of Art. Tony Smith, born in 1912 was a pioneering sculptor often cited as a figure in American Minimalist sculpture. He received an education in architecture and art, working as a “Clerk-of-the-Works” in the Office of Frank Lloyds Wright where he found space to expand his creativity. He built a huge body of work mostly composed by Geometrical shapes made out of steel presented in public spaces. During the Master course, we were asked to create a succession of hybridizations using Tony Smith’s Smoke cell as a starting point. The smoke cell is a complex mixture of tetrahedrons and rectangles, which enclosure in a complex geometrical unit. By hybridizing it with a cube on point I could generate unique geometries that became a building as a conclusion of the semester. During the semester, we were introduced to a series of working methodologies as generative modeling, drawing, diagramming and analytical mapping, whose techniques were applied by using several types of papers and foam which were folded and became a library as a conclusion. Greg Lynn says “A multitude of pli based words-folded, pliant, supple, flexible, plaited, pleated, plicating, complicitous, compliant, complaisant, complicated, complex and multiplicitous to name a few - can be invoked to describe this emerging urban sensibility of intensive connections.” . Page 45. Those working methodologies enabled us to built dozen different shapes using a master parameter, by doing that we could not only experiment with geometry, form, tectonics and materiality but also to be introduced to parametricism and fundamental issues of architecture.

1. Tafuri, Manfredo, “Toward a Critique of Architectural Ideology” [1969], translated by Stephen Sartarelli in K. Michael Hays, ed., Architecture/Theory since 1968 (Cambridge: MIT Press, 1998): 6-35. 2. Zago, Andrew and Todd Gannon, “Tabloid Transparency: Looking through Leg-

ibility, Abstraction, and the Discipline of Architecture,” in Mitra Kanaani and David Kopek, eds., The Routledge Handbook for Architecture and Design: Established and Emerging Trends (London: Routledge, forthcoming).

HT From a general point of view, parametricism uses organic shapes, forms which are similar to the planet we live and how our body and brain works. The planet Earth grows trees, plants and its covered 70 per cent with malleable water, even the stones are not squared. The first humans inhabiting the planet used to live in caverns whose shape resembles more parametric architecture than the modernist square boxes we use to live. The macro and micro world are all organic, functional and regenerative, which means that we humans would feel much more comfortable in spaces that reflect our bodies and complex systems we carry inside us and outside in nature. In the 90’s Greg Lynn proposed a biomorphic architecture with his project ‘Embryological House’ which was a born-digital project. Within this project, Greg was rethinking the values beyond modernist to an organic, flexible, genetic approach generated by computer aided software. He argues “In biology, complication is the act of an embryo folding in upon itself as it becomes more complex. To become complicated is to be involved in multiple complex, intricate connections.” Page 45. As the living entities grow and mature, does the knowledge and the creation of a style. By analyzing the case of Frank Gehry, whose initial forms was inspired by the shape of a fish that evolved within time and becomes an enormous body of work. The same happened in the case of Zaha Hadid born in Baghdad, Iraq, when at the age of eleven she became fascinated by photographs of the Marsh Arabs in southern Iraq, whose medieval shapes floating under water became one of her principal sources of inspiration. Concluding, the generators of new forms, the creators (artists and architects) can find their inspiration in the outside world of their field or when disciplines hybridize within other fields. Recently I have been fascinated by terms as Synthetic design, Biomorphic design, Neoplasmatic design, Adaptative Architecture, Bioreboot, isomorphic architecture and genetic architecture. Patrick Schumacker says “Radical innovation presupposes newness. Newness is first of all just otherness. The new is produced by blind mechanisms rather than creative thought. Strategic selection is required to secure communicative continuity and adaptive pertinence.” Page 68. My work as an artist and an aspiring architect will reflect in the new possibilities to create organic, synthetic, biological structural spaces that would share senses with people. Heart of the city, a piece I created for VIVID light Festival in Sydney is an example of how senses can be expanded with objects. The work is an interactive public art sculpture that pulses 3. Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction” [1936] in Illuminations (New York: Schocken Books, 1999): 217-251 4. Schumacher, Patrik, “Parametricism and the Autopoiesis of Architecture,” Log 21 (Winter 2011): 63-79 5. Lynn, Greg, “Architectural Curvilinearity: The Folded, the Pliant, and the Supple,” in Folding in

Heart of the City by Anaisa Franco, VIVID Light Festival, 2016

light according to the heart beat of the people. The piece aims to bring closer the heartbeat of the citizens by creating a heart to the city where people could hang out and experience an expansion of their own heart shared with others. By analyzing the fact that the planet we live in are all composed of biological entities and autonomous living systems and organisms, why not architecture can become alive and sensible organisms that can share with us humans -- intelligent beings capable of sensing with several complex senses the world around us. Moreover, if all animals and humans are protected with a layer of skin, why not architecture could be inspired by this fact and could have their own biological and autonomous technological protections? What will come after parametricism? In the last decade parametricism seems to be the predominat avant-garde style, which is hybridizing with the digital network of world wide web and its extensions forming smart homes. The popularization of smart homes will come mixed with genetics transformations, organic materials, cybernetics and physical computing, growing an accessible hybrid sustainable trans material world where people will be more conscious about the planet they are residing. Architecture (London: Academy Editions, 1993): 8-15 6. Lynn, Greg, “Architectural Curvilinearity: The Folded, the Pliant, and the Supple,” in Folding in Architecture (London: Academy Editions, 1993): 8-15 7. Schumacher, Patrik, “Parametricism and the Autopoiesis of Architecture,” Log 21 (Winter 2011): 63-79

// A QUESTION AFTER A QUESTION by Anaisa Franco Question: Are technological advancements, economical and political power prescribing the language of architecture style that shaped our past and will shape our future of form? What are people digesting today? Each generation developed their own style which became possible by the popularization of what one day used to be the newest technology, the most Avant-garde form and the untouchable concepts. All this happen in the complex Metropolis, where you can find not only an accumulation of knowledge of artistic, scientific and intellectual production, but also lies the arena where politics, economics, consumption and industries play the game of capitalism. In one hand, Tafuri exemplifies the Metropolis using the artwork by Munch “The Scream” which portraits a typical urban experience, of living in a city which functions as a machine whose purpose is to extract value from its citizens and to provide a place for crowds to gather and to consume in mass scale. Tafuri concludes “the city is an instrument for coordinating the cycle of production-distributionconsumption.” page 17. [1] On the other hand, the controlled system we live can also be visualized in Foucault’s theory about the Panopticon, where he proposes a laboratory of power in which experiments are carried out on prisoners and staff. It can be seen as a diagram of power reduced to its ideal form, showing operations of power by increasing the number of people who can be controlled, and decreasing the number needed to operate it. It gives power over people’s minds through architecture. As it can be inspected from outside, there will be no danger of tyranny. In contrast, Koolhaas thinks the metropolis as a flow of humanist desire. He says “Since its instrumentarium of true modernity creates states and situations that have never existed before, it can never

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[1] Tafuri, Manfredo, “Toward a Critique of Architectural Ideology” [1969], translated by Stephen Sartarelli in K. Michael Hays, ed., Architecture/Theory since 1968 (Cambridge: MIT Press, 1998): 6-35. [2] Koolhaas, Rem, “‘Life in the Metropolis,’ or ‘The Culture of Congestion,’” Architectural Design 47, no. 5 (1977), reprinted in K. Michael Hays, ed., Architecture Theory

escape its aspect of fabrication - of being the result of human fantasy. ” [2] The core role of capitalism is to create desire in the mass by planting superficial necessities that are spread using mediums of mass communication systems provided at each time. Once it was journal, radio, tv or internet, all mediums that shapes the mind of the masses controlled by the economical power, political and financial interests. The masses receive, accumulates and digest those subliminal messages. Koolhaas says “ The true ambition of the Metropolis is to create a world totally fabricated by man, i.e., to live inside fantasy.” [3] The technology substitutes the natural reality that is been exhausted by the density of human consumers. The new forms are shaped with the sweat of the controlled mass and the old can not wait to die, giving space to the rise of the unknown.Which flavor does the political and economical language have when digestion comes? What form does it have? How does the creative people digest all those messages created by the system?

since 1968 (Cambridge: MIT Press, 1998): 322-30 [3] Koolhaas, Rem, “‘Life in the Metropolis,’ or ‘The Culture of Congestion,’” Architectural Design 47, no. 5 (1977), reprinted in K. Michael Hays, ed., Architecture Theory since 1968 (Cambridge: MIT Press, 1998): 322-30

// NEWNESS by Anaisa Franco Its interesting to see how each time and generation in the History of the World happens to have similar artistic production regarding of its epoque, political and technological circumstances. Art is the expression of politics, time and technology, it reflects how people of certain generation are affected by what happened in the world. It’s a complex tool to immortalize history and reinterpret the world of aesthetics, form and concepts. By artistic expression, we can see how people were emotionally affected by History and Politics. There will be always someone fighting to open the doors for the new possibilities and showing tradition is over. As Walter Benjamin say “The conventional is uncritically enjoyed, and the truly new is criticized with aversion.” p. 43 [1] The artists and architects of Modernism were producing almost the same but with a small change. A unique person or a certain group of people start a movement and it seems that all other creators follows that movement style reproducing what is trend of that time. We can perceive that in Minimalist art or Land Art. Rosalind Kraus specifies “I have been insisting that the expanded field of postmodernism occurs at a specific moment in the recent history of art. It is a historical event with a determinant structure. It seems to me extremely important to map that structure and that is what I have begun to do here. ” p. 44. [2] Those similarities in art production in that certain generation is totally related with the scientific technological advancements and availability of that time. We also have to consider the social and political movements of that certain generation and try to analyze why those artists were creating in certain form, shape and concepts. As Walter Benjamin says in this text The work of Art in the Age of Mechanical Reproduction “The manner in which human sense percep[1] Benjamin, Walter, and J. A. Underwood. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print. [2] Krauss, Rosalind. Sculpture in the Expanded Field. The MIT Press. 1979. Print.

tion is organized, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well.” [3] Page 4. If we analyze the Futurism Artistic movement that originated in Italy in the early 20th Century, which production had an emphasis in speed, violence and technology. Its time in History totally demystifying their type of production and the reason they were creating certain images, concepts and manifestos. The Futurist Manifesto had declared, “We will glorify war —the world’s only hygiene —militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.” [4] As they were living in time of war, development of belic industry and fascism, Futurism was a registration of that time in form of artistic expression that didn’t last for a long time since several artists died in the war. After the war, people had other concerns that was meaningful to start other movements of renovation since everything was destroyed and people had to basically rebuild the countries and recover from traumatic war experiences. Futurism influenced many other art movements, including Art Deco, Vorticism, Constructivism, Surrealism and Dada. As says Walter Benjamin “The history of every art form shows critical epochs in which a certain art form aspires to effects which could be fully obtained only with a changed technical standard, that is to say, in a new art form.” P 12 The forms of art evolute with time, passing through various shapes, aesthetics. But always new art created has the references of old art, as when a new human was born, it bring the dna from its ancestors. As Deleuze says “A copy truly resembles something only to the extent that it resembles the Idea of the thing.” P48

[3] Benjamin, Walter, and J. A. Underwood. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print [4] Futurist Manifesto, reproduced in Futurist Aristocracy, New York, April 1923 101

// CURRICULUM Anaisa Franco anaisafranco@gmail.com +1 213 9009871 // BIO

// SOLO EXHIBITIONS

Anaisa Franco has a Master in Digital Art and technology at University of Plymouth in England, UK and graduated in Visual Arts at FAAP in Sao Paulo. Recently she is doing a Master of Architecture at SCI_Arc. In the last years she has been developing New media Artworks in Medialabs, residencies and commissions such as Medialab Prado, VIVID SYDNEY, URBE, Mecad, MIS, Hangar, Taipei Artist Village, China Academy of Public Art Research Center, Mediaestruch, Cite des Arts, ZKU, SP_Urban, MAC Fenosa, among others.

2013- Onirical Reflections. Anaisa Franco. Individual at Charlot Gallery, Paris. France. From Nov 27th until Dec 27th. 2013- Onirical Fluctuations. Anaisa Franco. Individual at Galeria Central, São Paulo. Brazil. From Nov 6th until Dec 6th. 2011-ThoughtOut Breathing, Anaisa Franco. Individual at Adora Calvo gallery, Salamanca, Spain. From May 6th until June 6th.

Mostly of the works were developed by grants and prizes and has been exhibiting in America, Asia and Europe as the as EXIT Festival in Paris; ARCO Madrid in Spain; Europalia in Brussels; Live Ammo at MOCA Museum of Contemporary Art in Taipei, Taiwan; TÉKHNE at MAB Museum of Brazilian Art in São Paulo, Brazil; Sonarmática at CCCB Centre de Cultura Contemporània de Barcelona, Spain; the 5th Seoul International Media Art Bienalle, Seoul, Korea; Vision Play at Medialab PRADO among many others.

// EDUCATION 2016-19 Master of Architecture M_ARCH1 at SCI_ARC, Los Angeles, CA. 2006-7 MA Master in Digital Art and Technology at Univeristy of Plymouth, UK. 2000-4 Visual Arts at FAAP Fundação Armando Álvares Penteado, São Paulo, Brazil.

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// COLLECTIVE EXHIBITIONS 2016- Mostra URBE Public Art. From Nov 12 -26. Commission Sweet Reflection project. São Paulo, Bom Retiro, Parque da Luz. 2016- Experimenta Recharge National Tour at Anne & Gordon Samstag Museum of Art , SA. From 19 Aug until 23 Sept. 2016- Experimenta Recharge National Tour at La Trobe Regional Gallery, VIC. From 14 May until 3 July. 2016- FILE International Festival of Electronic Language, São Paulo, Brazil. From July 11 until 21 August. 2016- SP ARTE FAIR, Brazil. From 7-10 April. 2016- Experimenta Recharge National Tour at Albury LibraryMuseum, NSW. From 27 Feb until April 27. 2016- Psicossomáticos. Temporada de Projetos, Paço das Artes, São Paulo, Brazil. From 28 Jan until 28 March. 2015- Experimenta Recharge National Tour at The Lock Up Cultural Centre, Newcastle, Australia. From July 11th until August 9th. 2015- Vivid Light Festival, Sydney, Australia. From May 22nd until June 8th. 2015 – FRIDGE Exhibition at Entretempo Kitchen Gallery curated by Paz Ponce. Berlin. From April 24th until May 25th.

2015- Bouillants>>>Art numérique, multimédia & citoyenneté, France. From April 4th until May 31st . 2015- Experimenta. Recharge. The 6th International Biennial of Media Art. National Tour in Mildura. From 5th of March until 12th of April, 2015. 2015- JUSTMAD06. Emergent Art Fair. From Feb 25th until March 1st. Madrid, Spain. 2015- ARCO Madrid 2015. From Feb 25th until March 1st. 2015- Excusa Argumental, MAC La Coruña, From January 22th until March 15th. 2014- The IT Show, Kuntquartier Bethanien, Berlin. December 5th. 2014- Datastravaganza, 401 Contemporary Gallery, Berlin. From December 6th until 29 of February. 2014- THE ART OF LIVING TOGETHER. Galerie Wedding. Berlin. From 14th of dec until 24st of January, 2015. 2014- Experimenta. Recharge. The 6th International Biennial of Media Art. Sydney, Australia. From 28th of November until 21st of February, 2015. 2014- Exhibition at Edith-Russ-Haus in Odenbourg, Germany. From 10th October until January 11th. 2014- 13 Mostra Internacional. MAC Museum of Contemporary Art Fenosa, La Coruña, Spain. From 28 July until 28 September. 2014- A Window in Berlin. From 20th of June until 2nd of August. 2014- Interactivos: Responsive and immersive future technologies at MAC Birmingham. From 16-30th of June. 2014- GenderBlender Exhibition at MU in Eindhoven, The Netherlands. From June 6th until 17th August. 2014- O Artista e a Bola na OCA em São Paulo. De 5 a 29 de Junho. 2014- “Desde la mimesis a la ficcíon y viceversa” at Adora Calvo Gallery, from March 1st until Feb 1st. Curated by Araceli Corbo.   2014. ARCO Madrid. From 19 – 23 feb, 2014, Spain. 2013- Commission of new work at SP Urban Digital Festival, São Paulo, Brazil. From Nov 4th until Dec 4th. 2013- Invited artist at MAB Museum of Brazilian Art, São Paulo, SP, Brazil. Opening November 11th. 2013- Gare St Sauveur. Lille, France. From May 2nd until September 7th . 2013- EXIT festival. Paris, France. From April 4-14th . 2013- VIA festival. Maubeuge, France. From March 14-24th . 2013- ARCOmadrid 2013. Adora Calvo Gallery. Madrid, Spain. From February13-17th. 2013- Elas Fan Tech. La Coruña, Spain. From January 21st until March 3rd.

2012- The Fourth Westlake International Invitational Sculpture Exhibition. Hangzhou, China. 23 nov (permanent piece). 2012- JUST MAD MIA art Fair. 6-9 December. Adora Calvo Gallery. Miami. USA. 2012- Estampa, Feria de Arte Múltipla. Matadero, Madrid. From 25 to 28 October. 2012- FAD Festival de Arte Digital. From 5th October until 16th November. Funarte, Belo Horizonte, Brasil. 2012- SP Arte, São Paulo. From 10 – 13 May, 2012. Central Gallery. 2012- ARCO Madrid, Spain. From 15-19 February. 2012- Europalia. Brussel, Bélgica. Curator Sonia Salcedo. From October 12th until January 15th. 2011- Moscow Art Fair. Adora Calvo Gallery. Moscow, Rússia. From 21-25th September, 2011 2011- SP-Arte/Foto 2011. São Paulo. Galeria Central. 15,16 e 17 de Setembro. 2011- Eletropixel Festival. Nantes, France. From May 12th until 18th. 2011- LOOP Festival. Mobile Art at Fundacion Francisco Godia, Barcelona, Spain. From May 12th until June 18th. 2011-ThoughtOut Breathing, Aniasa Franco. Individual at Adora Calvo gallery, Salamanca, Spain. From May 6th until June 6th. 2011- Lille, Gare St Sauveur, França. From April 13th until August 14th. 2011- VIA Festival. Maubeuge, França. From March 24th until April 3th. 2011- Exit Festival. Maison des Arts de Creteil, França. From March 10th until 20th. 2011- Live Ammo, MOCA Museum of Contemporary Art. Taipei, Taiwan. Curated by HongJohn Lin. From February 25th until April 13th. 2011- ARCO Fair, Madrid, Spain. From February 16th until 20th. Received BEEP ARCOmadrid Prize. 2011- Mostra LABMIS. MIS Museum of Image and Sound, São Paulo, Brazil. From November 16th until January 9th. 2010- PhotoTaipei. Taiwan. From December 16th until 20th. 2010- Mostra LabMIS at MIS, São Paulo, Brasil. From November 16th until January 16th. 2010- TÉKHNE. at MAB Museum of Brazilian Art. São Paulo, Brazil. From September 12th until November 12th. 2010- “Dream Machines” at Veredas Space, São Paulo, Brasil. From September 10th until 1st October. 103

2010- Dorkbot Barcelona. Hangar, Barcelona, Spain. 28 Abril. 2010-10 Miradas, Palacio Garci Grande, Salamanca, Spain. From March 8th until April 8th. 2010- Anaisa Franco & Olga Diego at Adora Calvo Gallery., Salamanca Spain. From March 6th until April 6th. 2009- Mostra LabMIS, MIS Museu da Imagem e do Som, São Paulo, Brasil. From Nov 11th until Jan 11th. 2009- Fusion Folks, Taipei, Taiwan. From August 28th until November 1st. 2009- FAD- Festival de Arte Digital. Belo Horizonte, Brazil. From March 12th until 15th. 2008- Piksel08. How does code dream?. From December 12th until January 15th. Bergen, Norway. 2008- Move Digital. From november 13th until 16th. A Coruna, Spain. 2008- 5th Seoul International Media Art Biennale. From 12th September until November. Seoul, Korea. 2008- Medialab Prado, Interactivos?. From 30th may to 23th september. Madrid, Spain. 2008- FILE (International Festival of electronic language). From 4th August until 31th. São Paulo, Brazil. 2008- Exhibition Continuum Electronica at l’Estruch Gallery. From 4th until 27th of April. Barcelona, Spain. 2008- Netmage Festival. From 24th until 28th January. Bologna, Italy.

2005- Mostra do Audio Visual Paulista, São Paulo, Brazil. 2005- 1° Festival de Vídeo Macadamia, Buenos Aires, Argentina. 2004- FILE (International Festival of electronic language). São Paulo, Brazil. 2004- SRV 2004- Participation at Symposium on Virtual Reality at Senac University, São Paulo, Brazil. 2003- 35º Anual de arte FAAP, São Paulo, Brazil. 2002- 34º Anual de arte FAAP. Prize 1° place. One year scholarship at FAAP, São Paulo, Brazil. // AWARDS AND GRANTS

2017- RUMOS, ITAU CULTURAL. Commission for Circulatory System project. 2015-Premios OA Foundation de arte electrónico experimental y seleccionados JUSTECH 15 2014- EMARE prize to do a residence in “Creative and Cognition Studios” in Sydney, Australia. 2014-Award the Edith-Russ-Haus Award for Emerging Media Artists in Germany with Devenir: An Interface of Gender fluctuation.  2014-2 months residence commission at MAC Contemporary Art Museum in La Coruña. Spain. May and June 2014. 2012- Residence at Cite des Arts in Paris, grant from FAAP. 2007- 9th Annual Backup_festival. From 18th until 21st October. Weimar, 2011- VI Edition of ARCOmadrid/BEEP Electronic Art Award. Germany. 2010- 3 months Residence at Hangar in Barcelona. Financed by MIS. 2007- CologneOFF Film Festival and NewMediaFest 2007 Cologne OFF III. 2009- 2 months Residence in Tapei Artist Village, Taipei, Taiwan. Toon! Toon! art cartoons and animated narratives. November. Cologne, Ger- 2009- 3 months Residence at MIS, Museu de Imagem e do Som, São Paulo, man. Brazil. Start March 2009. Grant from the Museum MIS. 2007- Media Lab Madrid, Interactivos?, From 25th may until 30th june. Ma2007- Scholarship from Mecad-ESDi, Barcelona to develop the project CONdrid, Spain. NECTED MEMORIES on the Proyecto Expansion Digital during a residence 2007- SLOW exhibition, Plymouth Art Centre. From 19th of January until 18th of 4 months. of March 2007. Plymouth, England. 2007- Alban Scholarship to do MA Digital Art and Technology at University of Plymouth, UK. 2006-19th Edition of MIX NYC, 3LD Art & Technology Center. From 8th to 2005- Received award “honorable mention” of the project of research “Spi13th November. New York, USA. derrrbot” at 6° Prêmio Sergio Motta de Arte e Tecnologia in São Paulo, Brazil. 2006- Art Concept Festival. From 24th august 27th. Saint Petesburgh, Rús- 2002- 34º Anual de arte FAAP. Prize 1° place. One year scholarship at FAAP, sia. São Paulo, Brazil. 2006- Media Art Festival. From 13th September until 1st October. Friesland. 2006- Ways of looking Places and Landscapes, Fundacion Telefonica. Peru, Lima. 2005- 15° Vídeo Brasil, Sesc Pompéia, São Paulo, Brazil.

// CONFERENCES 2016- TECHNARTE Los Angeles. 2015- Bouillants>>>Art numérique, multimédia & citoyenneté. Rennes, France. 2014- Experimenta Recharge. The 6th International Biennial of Media Art. Melbourne, Australia. 2014- Creativity and Cognition Studios at UTS. Sydney, Australia. 2014- Keynote at ICEC International Conference on Entertainment Computing in Sydney. Sydney, Australia. 2014- Retune.14 Creative and Technology Conference. Berlin, Germany. 2014 - Interactivos: Responsive and immersive future technologies at MAC Birmingham, UK. 2014- MAC Museum of Contemporary Art Fenosa, La Coruña, Spain. 2013- Fotograma 13. Montevideo, Uruguay. 2010- UFRJ, Universidade Federal do Rio de Janeiro. Rio de janeiro, Brazil. 2010- Dorkbot Barcelona. Hangar, Barcelona, Spain. 2010- MIS, Museum of Image and Sound. São Paulo, Brasil. 2010- Taipei Photo Art Fair. Taipei, Taiwan. 2009- Fusion Folks. Taipei, Taiwan. 2008- FILE (International Festival of electronic language). São Paulo, Brazil. 2007-Magic and Technology. Media Lab Madrid, Interactivos?, Spain.

SCI_Arc March_1 Anaisa Franco www.anaisafranco.com

MASTER OF ARCHITECURE

Anaisa Franco www.anaisafranco.com

ANAISA FRANCO

Thank you for reading.