a/g Education in the field of Architecture Teaching Assistant Positions
Andres Gandara andresgandara17@gmail.com andresgandara.com (915)-355-8440
Education
Software
2013 | El Paso Community College
Advanced| Adobe Illustrator
Advanced| Adobe Photoshop
Associate of Science in Architecture
2016 | Texas Tech University
Advanced | Adobe InDesign
Advanced | Adobe Acrobat
Bachelor of Science in Architecture
2019 | Southern California Institute of Architecture
Advanced | Adobe After Effects
Advanced | Adobe Premiere Pro
Master in Architecture
Advanced | Rhinoceros
Academic Positions 2012 | Texas Tech University
Teaching Assistant Modern History of Architecture for
Dr. Robert Gonzalez
2014 | Texas Tech University
Teaching Assistant Digital Visualization for Stephen Mueller
2015 | Texas Tech University
Teaching Assistant Design Studio for Stephen Mueller
2019 | Southern California Institute of Architecture
Teaching Assistant Introduction to Digital Design for Jeff Halstead
Advanced | Autodesk Maya Advanced | Cinema 4D Advanced | Z Brush Advanced | Arnold Render Advanced | Redshift Render Advanced | Octane Render Advanced | V-Ray Render Advanced | Keyshot Intermediate| Substance Painter Intermediate| Unity Game Engine
2019 | Southern California Institute of Architecture
Intermediate | Autodesk AutoCAD
Intermediate | Autodesk Revit
Teaching Assistant 2B Design Studio for Casey Rehm
2019 | Southern California Institute of Architecture
Assistant Teacher 3GBX Vertical Studio for Lucy Mcrae
Beginner | Grasshopper plug-in for Rhinoceros Beginner | Nuke Beginner | DaVinci Resolve
Content Lucy Mcrae Nullius Filus | Nora Fadil, Saleh Jamsheer, Grigorios Kokkotis Lucy Mcrae Nullius Filus | Cameron McCormick, Wesley Evans, Chi An Liao Lucy Mcrae Nullius Filus | Alessandro Castiglioni, Maximillian Kochinke Lucy Mcrae Nullius Filus | Henry Wang
Jeff Halstead IDD | Sofia Ospina Jeff Halstead IDD | Kumaran Parthiban Jeff Halstead IDD | Jonathan Warner
M. Casey Rehm Interface Architecture | Zane Mechem, Chengyu Zhang M. Casey Rehm Interface Architecture | Jonathan Chunchi, Bentian Wang M. Casey Rehm Interface Architecture | Pasinee Jiemcharoenying
Course Abstract When we are designed as precisely as a product, then what?
Science is performing the duties of the womb, by engineering life from scratch;
1 | Constructively Fail - “The Complex Lab”
this biotech revolution is confronting humankind with the hardest trials we’ve ever
Investigate/ ask questions that may not be unanswerable
Operate on a knife’s edge; similar to neuroscience labs were teams hypothesise
(ethics of human genetic testing and mutating), but don’t violate expectations if no
conclusions are drawn
Some students may conclude, others may not
Focus is on experimentation and curiosity
encountered.
Students work in groups (2-3). The semester is structured along two parallels:
How will human imperfection drive the future of our species to reconcile the World
Narrative
planet’s dire situation? As scientific methods evolved and developed human survival of the past climate (crisis), the perfect human was born, one with
Style Guide
Pre Production
intelligence and skill never seen before. This leap in survival lead to mass cloning and birthing of these new humans, making them the norm of what
2 | Operate like a Community - “Tribe” Story Board
Identify science, technology, research based on references
Define/ invent tribe’s mission/ narrative/ intention
Graphic Design
Style guide of tribe’s ethics, look, and context
Set Design
Graphic design/ banner
Context design/ world
Survival kit design
Setting design/ large scale content
Storyboard science/ tribe/ world
Build products/ world/ storyline
Post production
Build digital assets/ graphics, etc...
the worlds we inhabit, leading to a final exhibition. This final exhibition consists
Retouch/ detail final set
of a landscape that contains a set of objects that define and relay your tribes’
3 | Deliverables
imperfections, and solutions to the context of the world created.
Set design aesthetics influenced by tribe’s context/ survival kit as a still life
Exhibition of tribe and products
makes a human, human. Tribes of different scientific and technological ancestry
Design Parameters
developed these “wild-cards” failed experiments that were isolated and unique
Production
to specific research. The failed experiments, humans, plants, comestibles, and animals now reside on Nullius Filus, an island created as a haven for imperfect results. The exiled, formed tribal communities based on what failure they were
Object Design
categorized by. What really makes a human? Is it reaching perfection in every
Edit Composite
sense of the word, or, is it mistakes and emotional instability? Our imperfections, mistakes, and emotions make us unique and single entities in this world. These imperfect humans are not bothered by their imperfections, but, empowered. We won’t be referencing existing science fiction tropes.
Research
Post Production
Lucy Mcrae lucy@lucymcrae.net SCI_Arc Fall 2019 DS Vertical Studio DS4000
Install
The students are required to push the biological edges of the body and redefine Studio Review
Grigorios Kokkotis Nora Fadil Saleh Jamsheer
Extensa Extensa is a short film following the time line of three characters. How they choose to lead their lives, given present technologies, and policies. Extensa is the name of a life extending procedure. The result of this procedure is at the molecular level. A reversal of aging, by hitting rewind on the cell, our date of birth does not match our biological age. What does this mean for society, How does this change our perception of suicide/euthanasia and death. The three characters are ND, Ark and Res. ND is the last natural death on planet Earth, Ark is seeking ways of becoming one with nature through death, and Res is a human seeking Extensa for the fifth time. The film is situated in 2069, when genetic modifications are normal and impose a new necessity of survival. What happens to humanity as a whole when economic situations empower or hinder individuals and the social construct permits unprecedented life spans.
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CONCEPT MODEL: One model, One Material MATERIAL Daiso 24 Gallon, Black Star Seal Garbage Bags LOCATION: Keck Hall SCI-Arc, Los Angeles, CA DESCRIPTION: The second week of studio we were tasked with creating a model out of only one material ( preferably cheap.) Our first concept model involved a little dance to trap air, then attach 60 garbage bags together.
Design by intuition. At this point we had researched emergent medical technologies, and mapped out an evolution of eugenics, and ethical cases from the 1600’s to present. Setting aside what we researched the physical model manifested itself as the image pictured, we were still very unclear as to what direction we were taking this project.
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Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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CONCEPT MODEL: Now make it ...bounce? MATERIAL Daiso 24 Gallon, Black Star Seal Garbage Bags Spray painted, covered in Green Moss, and Columbia Fine Ground Coffee LOCATION: That nice spot where everyone takes their model photos SCI-Arc, Los Angeles, CA DESCRIPTION: After making our GGB ( giant garbage bag) sculpture, we were told to make it move, breath, bounce...How do you mechanize a garbage bag? This was the first attempt. Scene model- Gregory Kokkotis
We wanted to ‘transcend the garbage bag,’ but were unsure of what it should become. Our first iteration was to make them look like earth. Mossy bags, garbage flowers?
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Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
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SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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CONCEPT MODEL: A New Death Machine MATERIAL 6 PVC pipes, drilled and connected with PVC sealant, bags attached to all open airways with zip-ties. Some ductape was used to ensure integrity. LOCATION: Wood Shop SCI-Arc, Los Angeles, CA DESCRIPTION: The Anti-Respi, here we’ve decided our machine was to inflate and deflate the garbage bags, like a synthetic lung. We decided on our final output being a film first day of the semester so we decided to film it. The process of filming is what led us to our final concept, Extensa a New machine for Death.
At the start of filming we thought we were only going to capture the ‘respiring bags,’ in the last 4 seconds of the clip, Greg decided to lay on the bags, which immediately inspired a concept related to death. What if technology was used to extend our lives, indefinitely, how would that change our perception of death, suicide, and euthanasia? EXTENSA
Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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CONCEPT MODEL: Midterm Model MATERIAL Spray painted Garbage bags, PVC, and a leaf blower LOCATION: Cedar Grove Griffith Park, Los Angeles, CA DESCRIPTION: Our midterm film was a test run of our opening scene. We woke up at 4:30 AM to finish filming before the park opened at 7am, when we would get kicked out for not having a filming permit. We managed, aside from a crashed drone ( Sorry Dex,) the shots showcased the respiring bags, and bit of LA nature.
The vision for this scene was a lush forest, which we later traveled to another location for the final. The midterm served as a test run for filming off-site, what it takes to film a prop off site. We barely finished shooting before the park ranger asked us to leave. We also decided we preferred the star seal bags from our first explorations.
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Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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CONCEPT MODEL: The Story Lines MATERIAL Sketch Exercise, representation of the films character time-lines, and how they connect. LOCATION: SCI-Arc, Los Angeles, CA DESCRIPTION: The film follows three characters, ND, Ark, and Res. How their time-lines intersect occur twice in the film, with a clear dichotomy at points, but also an attempt at communicating opposite ends of the spectrum when a technology like life extension is deemed ethical.
What better way to understand the possibilities than to portray both extremes. The Blue lineark, Red-Res, and Green- ND, show how the characters will develop through out the film EXTENSA
Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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THE LOCATIONS Left Column: Big Basin National Park Middle Column: Death Valley Right Column: (top to bottom)Peer space Hill 2, Hill 8, and SCI-Arc ( Keck Hall/ Equipment room) EXTENSA
Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
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EXTENSA
Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
43
EXTENSA
Saleh Jamsheer, Gregory Kokkotis, and Nora Fadil
SCI-Arc Vertical Studio, FA 19
Instructor : Lucy McRae
45
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Cameron McCormick Chi An Liao Wesley Evans
They In the face of escalating global climate change, and its ecological repercussions, a multi-disciplinary collective of thinkers and practitioners, motivated by both scientific and spiritual aspirations, attempt to realize what they consider to be our only solution. The goal was to shift the human species out of the ecological role of consumer and into that of primary producer; remaking ourselves into substrates for the living world. After advancements in our understanding of the ecology and genomics of microbial life, coupled with the precision of human gene-editing technology, they begin the project of realigning the human condition within the global ecology. Modified before conception, children would be born with entirely synthetic immune systems, weaker and yet more enduring, and with metabolic cycles unlike any organism on earth. With these bodies they play host to trillions of microbial colonies which live and multiply on and in every bit of tissue, fluid, and organ; thus inducing a state of endosymbiosis. In this way, the entire resource cycle, of consumption and waste, across trillions of distinct beings is all contained within a single body; erasing the singularity of any one of them.
Alessandro Castiglioni Maximillian Kochinke
Homo Postgenus ‘Homo Postgenus’ frames a future reality where genetic engineering and
machine in isolation.
post-gender theories are coupled to create a new species of humans unconstrained by sex and gender.
Designed an constructed by the Homo Postgenus over time, the machine allows a series of identity building rituals to be performed. A
The patriarchal systems embedded within information technology
choreography of movements activates different parts of the machine
and biotechnology allow a grim speculation on the future of gender
and reveals its purpose. Intimacy and empathy between the body
equality. The gendering of technologies such as artificial intelligence
and the object create a relationship of reliance. The Homo Postgenus
will inevitably lead to a development of masculine behaviors in social
depends on the machine to define their identity and the machine
and political relationships, a virilization that could cause geopolitical
depends on their body to be understood.
instability. ‘Homo Postgenus’ sheds light on the gender issue of artificial intelligence and advocates for an unbiased design of the codes that we will rely on for the decision making in the near future. How can we advocate for the impartiality of machines to replace human decision making when machines are in fact mostly engineered by men? Could gene editing be employed to design prescribed gender roles and inequality out of the human experience? In the speculative world of ‘Homo Postgenus’ these propositions unfold as a “failed” experiment, where the impartiality of the post-gender guardians of artificial intelligence causes a collapse of capitalism. The Homo Postgenus are dismissed, imprisoned and left with their unusual
Henry Wang
Reverie This speculative film examines the concept of expressing intimacy in a post-privacy future. Taking contemporary issues of mass surveillance, facial recognition, and data mining as a starting point and extrapolating those technologies to the nth degree, the film is told through the experience of an individual yearning to feel a human connection. Told in two acts, the film uses the fictional technology of an emotional Faraday cage as a means to explore the separation between experiential and physical reality. Interpreted in the same way a Faraday cage blocks electromagnetic fields to preserve a sensitive environment, there could exist a vessel for the containerization of intimacy: the last safe space. As a critique of technology’s potential to undermine our base human instincts, there could exist a moment where simulacra is not only preferred, but the only means we become capable of self-expression.
Jeff Halstead Andres Gandara Raquel Bitar SCI_Arc Fall 2018 Introduction Order: Sofia Ospina Kumaran Parthiban Jonathan Warner
Introduction to Digital Design This is a preliminary seminar that future graduate and postgraduate students are required to take. The goal of the seminar is to teach incoming students a basic introduction to the software used at SCI_Arc. This includes Maya, Unity, Photogrammetry, animating and rendering in Arnold for Maya.
Using Takashi Murakami as the model for the final rendering, each student chooses a Murakami figure, begins modeling and finalizes the week by preparing a scene. Each student has access to everyone’s models for the final scene.
Casey Rehm Jennifer Chen Karel Klein Zeina Koreitem Andres Gandara Alayna Davidson SCI_Arc Spring 2019 Design Studio 2B DS1021
Interface Architecture The 2B studio will focus on the relationship between a building’s interior program and complex contextual constraints. Projects will be designed around the mediating spaces and interfaces between urban exterior, public and private programmatic spaces. Projects will engage excessively detailed surveys of their site, and define methods of operation for interface between designer and data. The contemporary architect has access to massive and rich quantities of data through lidar scans, GIS, and crowd sourced content through the Internet. The studio questions the ability of the designer o intelligently leverage this data as information. Each section will propose alternative models for design to exploit contextual information to rethink models of public engagement of architecture.
The program will be an E-Sports arena located within downtown Los Angeles. All studio sections will begin with a detailed survey and analysis including a 3D scanned model of the site. Additionally, students will conduct a precedent analysis of cultural, infrastructural and commercial projects which have a high rate of occupant exchange with their context. The development of the Arena shall include a comprehensive schematic design through cinematic and AR means. This project will focus on detailed explorations of the occupation of the project and the project’s relationship of the context
Zane Mechem Chengyu Zhang
Interface Architecture A clear distinction exists between the ‘threshold’ and the ‘threshold condition’.
itself. Although this idea of a building made of parts is counterintuitive to the realist
Whereas the threshold condition assumes a relationship among parts that is human
objective of contemporary discourse, thresholds as objects has an interesting reversal,
and Cartesian through void and mass, the threshold itself is strange and quantum in
where materiality becomes an effect rather than a cause.
nature where one moment becomes another, cemented into memory with unbridled conviction. This project explores the threshold’s perspective and how giving it its own agency might benefit and create new material effects.
This is achieved through thresholds which work programmatically and semantically yet subvert and fail when viewed as a result of the conditions which create them. Perspective as a medium is used in these against its original representational function, instead of creating the subject and ‘the other’, it shows how a threshold can fail in Cartesian space while maintaining relationships of thresholds. This manifests itself in aggregation parts — wherever the pieces touch, they cut each other leaving a mark in the memory of all of the parts. The parts can be seen as abstract compared to the thresholds in the project which are real in plan and in the original plan video game, this plays out on how the pieces have their own agency cutting into each other.
The strategy used to create the plan of this building is a result of this ambivalence to space and privileges the threshold as a way to expose program as independent from organization. Even off of the street, the building immediately forces the grid of the street through thresholds which create their own conditions. Failure among the spatial systems which would usually govern the project and these new conditions characterized by angles and triangles are glimpses into the perspective of the threshold
Jonathan Chunchi Bentian Wang
Interface Architecture The building is articulated through one system that transforms into another. Rather than being subjected to a systematic purity, the building undergoes a series of intermediate steps to intertwine program within the building. It conceives of a diverse field of structural types operating locally within the structure while maintaining systemic coherence throughout. Spatial environments are defined by narrative direction. Programmatic components are connected through pipes that maintain an enclosed system of interior qualities.
The students main focus is an interactive public space on the first floor that connects the market and the training arena, as the main public program in the building. Connection from street level and visibility reinforces this idea. The second floor is focused on private program, isolated and away from typical design choices that invite the user. This methodology enables the emergence of new organizations between similar programmatic functions and enables new architectural effects from morphing program.
Suites
Common space
Offices Common space
Offices Training stage Market area
Bentian Wang Jonathan Chunchi Scale: 1/32�=1’
Suites
Offices
Offices
Tournament stage
Retail concessions
Bentian Wang Jonathan Chunchi Scale: 1/32�=1’
Arena seating
Tournament stage
Market area Main entrance Parking lot
Sky garden
Common space Training area Drop off
Bentian Wang Jonathan Chunchi
Pasinee Jiemchroenying
Interface Architecture The Arena is a collection of threshold components derived from figural qualities. These components act as an assemblage of frames and inverted poche components. The building shares data from programmatic activation to the streets, giving back data that was used to inform the design. The building is characterized by the manipulation of material and the subversion of figural quality in the poche. The relationship between frame elements and the inflation become an intervention in reevaluating spatial and formal quality of the interior thresholds. The frame elements create vertical linearity, inflation of space and distortion of color and texture.