anna fritz
2
Model Photos Renderings
Drawings Plan, Section, Elevations
Spring 2018 Arch 201: Principles of Architecture III
Michelle Chang Houston, TX
3
4
View of Roofs Florence, Italy
5
6
intro.
7
contents. intro.
7
studio. 11 house. big motel. house house. boat house. not house. tv studio. winery. book ish. after life.
13 14 32 42 57 58 72 82 96
visual arts.
build. 113 zwischenraum. 114 monarchi. 124 art&misc. 132
end.
endnotes.
8
148
111
151
By exploring housi-ness1 in unexpected settings, a building can transcend its typology.
Contents of this book are grouped in looselythemed chapters. Studio works are not organized chronologically, but in relation to one another. All work was produced by Anna Fritz while studying at Rice University.
9
Model Photos Renderings
Drawings Plan, Section, Elevations
studio.
12
hou Big Motel Arch 401
House House Arch 102
Boat House Arch 301
13
Studio, 2016 - 2020
use.
big motel.
The Long Term Motel taps into a range of vernacular typologies to contrast the surrounding fulfillment center landscape. Surrounded by isolated warehouses, where workers vary from seasonal to full-time and from college student to near-retiree2, the site calls for a space to mediate these disparate parties. Amazon and other corporations have been criticized for their monopoly over the digital marketplace and for their poor labor conditions. Long hours, poor lighting, and menial labor, are masked by a facade of benefits; which perpetuates a cycle of exploitation for which many people have no alternative. In response, this social housing project presents itself as an alternative. Its blank face acts as a backdrop for the workers to form unions, while subversivly engaging the surrounding machine landscape. The curved
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massing of the building sweeps across the northern boundary of the site, which exaggeates the perspectival effect and yet also mediates between the warehouses in front and the dense forest behind. The space generated by the building’s curve produces a plaza, open for everything from raves, to protests, to drive-in theaters. Meanwhile, the existing roads and parking infrastructures become a part of the overall landscape, transforming the motel and fulfillment centers into a neighborhood of extra-large buildings conected by a bus route system. The exterior curve of the building prevents one from seeing the massing in its entirety. However, a public corridor cuts straight through the length of the interior, making it possible to see down the entire length of the building. This interior avenue bifurcates the massing
into public and private halves, with through-connections at the plaza and forest made via cuts in the massing. The domestic units face the northern plaza between the cuts created for circulation, while the public amenities open up to the southern forest, united under the single, overarching curve of the roof. Within each unit and public space, an array of highlyprogrammed walls contain the necessary infrastructure for living. The public amenities draw from Soviet worker clubs where programs are meant to facilitate conversations, conducive to the formation of labor unions, like lounges, libraries, auditoriums, dining halls, and other informal and formal meeting spaces. Meanwhile, the domestic units range in size and shared amenities, allowing for flexibile inhabitation, shared spaces, and ranges of kinship structures.
Fall 2019 Arch 401: Principles of Architecture VII
Diagramatic Massing Model Photo
At the heart of this project rest the domestic units. Somewhere between motel and home, this housing project tries to addresses the precarious, temporary employees of the warehouse industry. Pulling from the tradition of japanese houses and the layout of shotgun homes, the shared kitchens, interior courtyards, and light-filled bedrooms of the units are arranged linearly, bridging the ambiguous line between domestic program and public life.
Brittany Utting Outter-Loop, Houston, Texas
Plaza Aerial View Rendering
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16
Final Model, Exposed Structure Painted Plywood, Museum Board
Urban Site Plan
17
18
Structure “Peel-Away” Cavalier
Unit#1, Unit #2, Unit #3 Iso
Unit #1, Unit #2, Unit #3 Floor Plan 1, Floor Plan 2
19
20
Model Photos Renderings
Drawings Plan, Section, Elevations
Public Corridor Rendering
Roof View Rendering
21
22
Section A Unit #3, Large
Final Model, North Elevation Painted Plywood, Corrugated Paper
Section B Lounge Bar
Final Model, South Elevation Painted Plywood, Corrugated Paper
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24
Detail Model, Upper Patio Wood, Museum Board
Floor Plan 1
25
29
30
North Elevation Rendering
North Entrance Rendering
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house house. This house celebrates fluid dichotomies, engaging the distinction between interior and exterior, surface and volume, and form versus circulation. Friction is produced between the exterior, which appears to be composed of distinct volumes, and the interior, which is actually comprised of a single, continuous, connected surface enclosing one vertical space. This juxtaposition is highlighted by the circulation, which winds around the inner spine of the building. The stairwells provide a continuous flow between levels and connection through various volumes, accentuating the variation within seemingly similar spaces. The overall form of the building is a construct of duplicate geometric shapes, aggregated with a deliberate logic of repetition. This repetition simulates squares and cubes in various stages of deconstruction, with a resulting
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variety in the 2D and 3D detail. Despite the use of repeating geometries, a significant spatial variation occurs, allowing segregation of programmtic functions based on distance from the ground plane. The two smallest volumes are configured at opposite ends of the house where one serves as the most public and the other the most private space. This ties into the overall fluidity of the the home—highly flexible given the single undivided interior— tailored to accomodate an individual’s transition from singular to social life. As conventional program dissolves, previously discrete programs can merge and coexist in a single space. These dual, fluctuating, ambiguous conditions and the illegibility of the form, establish the space for a new form of domestic life.
Spring 2017 Arch 102: Principles of Architecture II
Massing Iterations Model Photos
square
zig-zag retract
distort
intrude
rotate
compress
The home is a place for solitude and rest. Designed to accommodate a person’s transition from social life to isolation, this home contains helicaly-shaped circulation meant to slow the procession from floor to floor. The minimalist exterior and complex interior acknowledges our desire for both visual oneness and whimsical discovery.
Andrew Colopy Houston, Texas
Formal Investigations Plans, Axonometrics
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34
Northwest View Model Photo
A
B
Floor Plan 2 Floor Plan 1
Floor Plan 4 Floor Plan 3
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36
Section A
Floor Level & View Diagram Isometric
Interior Views Renderings
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38
Section B
Spring 2018 Arch 201: Principles of Architecture III
Michelle Chang Houston, TX
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40
Formal Investigations Elevation Diagrams
Sight Lines / Spatial Conditions Model Photos, Isometrics
NW / NE Isometrics
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boat house. Boat + House re-examines the traditional boathouse typology through experimentation with vernacular and innovative building technologies. The complex roof geometry of the building is constructed of double-layer, mass-timber folded plates, first developed in Lausanne’s IBOIS lab for a pavillion at the Vidy Theater. The structural system is based on an anti-prismatic origami folding logic that results in a distinct form and a rigid shell. This shell is composed of CNCrouted wooden panels that interlock through both finger and dovetail joints that allow all connections in the roof and walls to be wood-to-wood only, enabling the entire building to act as one continuous shell structure. This structure houses a series of interior rooms, sub-spaces, and hollow poche moments, radially arranged around a tripleheight courtyard. Meanwhile,
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a series of interior and exterior appertures create a range of views and lighting effects between these layers of spaces, resulting in highly unique spatial conditions in each area of the building. By weaving together more intimate and grandiose spaces, referencing cabin materiality, and playing on the traditional pitched-roof form, this building offers a vaguely domestic approach to the boathouse type. Tucked behind a thicket of trees, the building floats above the Houston bayou, its two faces acknowledging the vernacular of the surrounding residential neighborhood as well as the organic form of the bayou. The site is divided by a wide regatta that connects the residential street to a docking station on the bayou at the other end of the site. The back of the building cantilevers over this regatta, mirroring the structural system and geometry found in the
roof underneath the building, generating an ambiguous condition between roof and floor. Thus, the ‘belly’ of the boathouse shelters the regatta, while supporting the main floors of the building above. Meanwhile, the upper floors of the building, containing private offices and meeting rooms, are suspended by tensile cables from the dramatic pleats of the roof. The entire building rests on concrete columns under the flood plane, cradling the wooden structure two feet above the ground. This creates the illusion that the building is floating, while simultaneously sheltering the unconditioned kayak storage space with clerestory slit-windows beneath.
Fall 2018
Final Model, Floor Structure
Arch 301: Principles of Architecture V
Painted Wood 3D Print
This project uses the formal and material qualities inherent to a double layer folded CLT structure to develop a commercial and domestic atmosphere. It takes advantage of the ambiguity in semantics to consider a new form for an existing typology.
Mark Wamble Houston, Texas
View of Roof and Skylights Painted Wood 3D Print
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44
Vidy Theater Structural Study Diagrams
Structural Model Plywood
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46
Below-grade, Floor 1, Floor 2 Plan Drawings
B
A
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48
South Elevation North Elevation
East Elevation West Elevation
Section A Perspective Drawing
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50
Final Model Painted Wood 3D Print, Plywood
Massing Model / Section Model Solid Wood / 3D Print
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Building Views Renderings
Building Views Renderings
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54
Site Plan
Section B Section Elevation
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hou Tv Studio Arch 202
Winery Arch 201
Book-ish Arch 302
Studies Arch 101
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Studio, 2016 - 2020
not use.
tv studio. The television studio is a contemporary site of heterotopia, which is intrinsically tied to physical realilty and also to its parallel, virtual projection. This project engages these two conditions of the ‘mundane’ and the ‘enigmatic’ through ambiguity and juxtaposition. The building’s grandiose and austere interior is unknowable from the exterior, juxtaposing its natural and mundane surroundings with an illusory simulacra embedded within. Ultimately, this project design enhances the enigmatic, digital condition within the television studio through degrees of artificiality (windows and lighting), artifice (solidity of form), and surveillance (digital and spatial). All of the geometries contained within the building stem from a single bar. However, the overlapping exterior concrete mass, containing four oblique
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pitched roofs, an embedded bar, and poche spaces concealed within, create unique spatial conditions that work together to confuse the reading of solid, void, and wall. The various spaces of the tv studio are ambiguously separated by thresholds and dynamic interior lighting which define space through optical illusion, implied space, and absence. This can be seen in in locations where the oblique pitched roofs intersect but don’t physically separate space; areas that are defined only by changing interior lighting systems, or hidden poche spaces where the circulation around T-shaped walls reinforces the form as visually solid but physically hollow. This sequence of circulation around spaces, walls, and solids before one can enter is what reinforces the reading of distinct and concealed individual rooms, even though the interior of the building is
completely continuous with no physical barriers between rooms. A column and beam structure organized in an orthogonal grid is concealed within the poche where the pitched roofs and embedded/ exterior bar intersect, but is revealed at certain moments by the sheared angles of the roof. Thus, the building generates the ‘enigmatic’ through the breaking of expectations (of solidity, thinness, connectivity, etc.) that it sets up. Through these conditions of artificiality, artifice, surveillance, and form, the project uses optical illusion to enhance the performative and voyeuristic nature of the television studio.
Spring 2018 Arch 202: Principles of Architecture IV
Concept Model / Massing Model Plexi, Bristol / Concrete
SET OF 4
subdivision of whole, shear, overlap
EMBEDDED
the essence of a form, proportional relationship
VOLUMETRIC
4 + 1, 3d intersections, overlap=aperture
ORTHOGRAPHIC 4 + 1, 2d intersections, overlap
Like in a theater, the tv studio becomes a set as worker and performer watch one another across the interior void/ stage of the building. Through artificiality, artifice, surveillance, and form, this project takes a stance on the modern mediadriven purpose of the tv studio, highlighting the disparite, enigmatic, virtual world of tv.
Michelle Chang Richmond Avenue, Houston, Texas
Formal Diagram Plan, Axo Drawing
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60
Richmond Avenue Site Analysis Plan Oblique
N
Section B North Elevation
Section C South Elevation
0
10
20
50’
61
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Section A
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A
C
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Floor Plan 2 Floor Plan 1
B
Floor Plan 4 Floor Plan 3
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66
Plan Oblique Perspectival RCP
TV Studio Surveilance Control Room
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East Elevation Drawing
Concept Model Plexi, Bristol
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70
Model Photos Renderings
Drawings Plan, Section, Elevations
Final Section Model, Front Entrance Painted Bristol, Wood, & Chipboard
Final Seciton Model Painted Bristol, Wood, & Chipboard
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winery. Fences saturate the neighborhoods surrounding South Central Houston. These barriers, commonplace in Houston, allow views to what lies behind but deny the viewer access. This winery, situated within this unusual urban context, acknowledges the barrier conditions around the site, and attempts to bridge the gap between private interior and public space through the program of an urban winery. The site and campus incorporate a network of transparent site walls, fences, trellises, and reflective glass organized along the geometry of a maze. This maze extends across plan and section, where the barriers cut vertically to define walls, lift and sink to form circulation, and extend horizontally across the site to provide a monolithic structure. These semi-transparent fences also obscure orientation and
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conceal a matrix of centers. Each main program element is located within one of these spaces, and within each center is a uniquely expressed void. The visitor must traverse these centers, through the landscape of rotating grape vines, to reach each building, witnessing the steps of winemaking in the process. Conversely, the workers navigate a parallel network of private underground corridors, which interweave and interconnect the different buildings of the campus. Though the site is based on the maze, surveillance, and voyeurism, the ultimate ambience of the winery is one of openness and tranquility
Fall 2017 Arch 201: Principles of Architecture III
Structural Elements Exploded Isometric
This project plays with the gated, “see-but-don’t-touch” condition of Houston. It questions the way we perceive and the purpose and public role that a winery might take on within an urban context.
John Casbarian Houston, Texas
Wine Barrel Storage Rendering
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74
Section B1 Section A1
Section A2 Section A3
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Vine Maze Rendering
Central Courtyard Rendering
Spring 2018 Arch 201: Principles of Architecture III
Front Entrance Rendering
77
A3
A2
B1
A1
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Basement Plan
Site Plan
79
80
81
book-ish. [The Portugese] poetic world is, accordingly, something more than a mere imaginary world; and what they only wrote to please themselves and their contemporaries, must increase in value with every succeeding century; because the circumstances under which such a style of poetry could arise, are gradually becoming more and more rare.” -Frederick Bouterwek3
This description of Portuguese poetry perfectly encapsulates the quiet but momentous lyricism that underlies Portugal’s cultural identity. Saudade, a deep emotional state of nostalgia or profound melancholic longing for something lost, is an undeniable feeling that underlies the Portuguese psyche. This sentiment, and Portugal’s vast and rich history of lyric poetry, has left a significant mark on its national memory. The idiosyncratic history of writing in the Portuguese language parallels the broader role of literature and books in
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preserving national memory. Physical images, writing, and books were essential to passing on knowledge until today’s contemporary age of digital storage, calling into question the value and existence of physical records themselves. But books, much like artworks, retain a deep cultural significance not only for the knowledge that they contain, but for their very material qualities. Despite the modern maxim that “books are dead,” they are still being printed. In fact, printed books have again increased in popularity, despite the premonition of many architects that the storage of printed books would become obsolete. While many designers have transformed the modern library into a technological hub for data, this project expands the library into a cultural center for the preservation of books, poetry, and written culture. This Portugese public center for
preservation will conserve and forefront the physical reality of the book as objects of cultural memory. The building, inspired by the original wall and long, winding, pathway surrounding the site, is designed as a long procession of experiential effects. The building’s public exhibition space begins on top of the original wall, designed as a lightweight, folding metal plate structure to hover above the stones. At the edges of the site, the folded plate structure turns off of the wall, and onto a series of skinny, polygonal buildings made of composite, concrete. The project’s folds and wraps produce a series of exterior courtyards and rooms to seperate space without physical partition, allowing for a continuous, linear procession through Portugal’s written past.
Spring 2019 Arch 302: Principles of Architecture VI
Formal Study Section Drawing
This cultural center in Porto is dedicated to the dissemination, display, and preservation of physical books as valuable objects of the past. Pulling from a deep historical link between art, books, and their material representation of wealth, religion, and knowledge; this project offers a contemporary interpretation of the traditional library.
Wataru Shinji Porto, Portugal
Pathway View Rendering
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84
Site Plan
View from Public Courtyard Rendering
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86
Section Model 1 Museum Board, Concrete, Plexi
Section Model 2 Museum Board, Concrete, Plexi
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88
Floor 1 Plan
E1
Floor 2 Plan
89
90
Entrance View Ancient-Medieval Corridor
Ancient-Medieval Corridor, Corner Hall of Renaissance Lyric
Hall of Contemporary Literature, View Renderings
Room of Contemporary Literature Rendering
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92
Section A2 Section C1
Section A3 Section C2
Section B1 Section D1
Section B2 Section D2
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94
Central Library Interior Rendering
Section E1 Central Library
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after life. After Life speculates on how we can reestablished our storage of the dead within the heart of the city. Past burial typologies, practices and logistics have pushed cemeteries to the outskirts, dislocating them from everyday life. Potter’s fields tend to be relegated to the periphery, while inner-city tombs are reserved for the few. Re-centralizing spaces of death allows an emotional weight and poignancy to be brought back to high-density urban life. A vertical approach addresses the spatial limits of horizontal burial, the environmental footprint of gravesites, and the unaffordable and ever-changing real estate developments of Manhattan. After Life imagines a new form and spatial organization for urban mourning and reflection. At the same time, this urban idea represents ecological and urban change, reinforces the past, and celebrates the permanence of human life.
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Chronologically clad in greenery, this urban tower re-designs the relationship between the living and the dead by offering non-hierarchical interment along the High Line. It references, yet departs from the traditional funeral home, columbarium, and Victorian park cemetery typologies, toward a new form of vertical cemetery infrastructure within the city. At its core, the building provides private spaces for interment of loved ones. Meanwhile, the steelframe crust of the building, frames an exterior, elevated public park space, engaging the Hudson Yards differently through long-term necroresidential tenancy. From the scale of the interred artifact to the urban monument, After Life grapples with the inevitable longevity of death within an urban fabric being continually developed. and opens up new spaces for contemplation and representation in Manhattan.
Spring 2020 Arch 402: Advanced Topics Architecture, Amelyn Ng
Site Plan, High Line Plan Oblique
“On this side of the grave we are exiles, on that citizens.”4. -Henry Ward Beecher
Urban Green Columbarium New York, New York
10th Avenue Street View Model Photo, Collage
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98
View from Catwalk Rendering
10th Avenue Street View Elevation
99
A
100
Basement Plan
2nd Floor Plan
5th Floor Plan
6th Floor Plan
101
102
Chapel Rendering
Front Lobby Rendering
103
104
Section A Render Perspective
Secular Chapel, Front Lobby, Offices
Ceremonial Interrment Atrium, High-Line, Public Circulation Core
Visitation Ramps, Urban Park
105
106
Green Ash-Brick Details
Interrment & Visitation Niches Section Detail
Visitation Niches Elevation Detail
Niche Wall Section Detail
107 Necropolis, <14 Cemeteries
108
Front Lobby, Elevator & Stair Rendering
109
110
Model Photos Renderings
Drawings Plan, Section, Elevations
visual arts.
Spring 2018 Arch 201: Principles of Architecture III
Michelle Chang Houston, TX
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112
bu Zwischenraum Mavis C. Pitman Exhibition
Monarchi Spring 2018 Mini Charrette
Art & Misc. VADA 2016-2018
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Visual Arts, 2016 - 2020
uild.
zwischenraum.
The window is a medium. “I can feel myself under the gaze of someone whose eyes I do not even see, not even discern. All that is necessary is for something to signify to me that there may be others there. This window … is straightaway a gaze. From the moment this gaze exists, I am already something other, in that I feel myself becoming an object for the gaze of others. But in this position, which is a reciprocal one, others also know that I am an object who knows himself to be seen”5. Jacques Lacan discusses the power of the gaze in relation to the window, capable of producing the discomforting feeling that one is on display, whether or not a viewer actually exists. Such concepts of voyeurism, visual agency, and power stem from a longstanding discourse in architectural theory, reflected in the work of Adolf Loos and his theories of Raumplan. In Loos’s Villa Muller, he carefully stages views, placing inhabitants on display
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so that visual control is linked to social dominance within a domestic setting. With this psychological and architectural theory in mind, Zwischenraum is an installation of abstract spaces that look on to other spaces. ‘Poking holes’ in walls that resemble the walls of a gallery, and superimposing these holes or windows on top of each other, creates an uncanny effect as observers fleetingly see other people or parts of people framed through the gaps or windows as they walk by. By using windows as a medium for art, art is quite literally dematerialized. It is not a physical object to be admired from afar, but an interactive, varied stage that is filled by people who wander into and through the piece. Ultimately, this is an investigation into the ideas of viewership in both art and architecture, and the way in which people experience objects and space.
Spring 2018 Mavis C. Pitman Exhibition Fellowship
2x4” Stud Structure Isometric
Dan Graham, on his Time Delay Room installation: “You as the viewer [might] experience yourself as part of a social group of observed observers [instead of, as in the traditional view of art, standing arrested in individual contemplation before an auratic object]”6.
View through Main Apertures Installation Photo
Sheathed Structure Isometric
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116
Exhibition, Front Entrance Installation Photo
Plywood, Paint Stud Construction
Aperture Logic Plan Obliques
117
118
Wall Diagram Exploded Isometric
6’6” wall, 8’ wall, 10’ wall, 12’ wall
Front Elevation, Side Detail Window in Window, Window Sequence 2
Window through Window, Window Sequence 3 & 2 Installation Photos
119
120
Layer 3 Installation Photo
Plywood, Paint Stud Construction
Combined Layer Diagram Isometric
Pull-Away Front Isometric
121
122
Entrance Exhibition Photo
Plywood, Paint, Stud Construction
Rice Media Center, Main Gallery Houston, TX
Spring 2018 Mavis C. Pitman Exhibition Fellowship
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monarchi. Sheer Grandeur, the installation and winning proposal of the Rice University School of Architecture Spring 2018 Mini Charrette, is a one-night installation that was built in the jury room of Anderson Hall. A maze of translucent dividers, the installation acts as a backdrop for the artwork and performances in Rice’s annual Archi-Arts show, titled “Monarchi,” in 2018. The design was based on the traditional hedge maze landscapes of European monarchies, reinterpreted for an interior setting with new materials, and functions. Sheer Grandeur is a new type of immersive exhibition space that displays a variety of artwork from artists across campus. In addition, it incorporates an element of surveillance, through the recording and projection of people moving in and out of the installation. A camera at the entrance of the maze
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records peoples’ movements, and projects them onto a strip of fabric above the center of the maze in a delayed time loop. Thus, viewers can watch themselves enter and traverse the maze as they stand at its center, simultaneously being watched by those around and outside the installation through the sheer fabric of the maze.
Spring 2018 RSA Mini-Charrette
Versailles Illustrated Image from a Book7
This winning charette was a competition project with Phoebe Cox, Marlena Fleck, Melisa Pekiyi, Esther Tang, and Gabriella Feuillet. Photos from the installation during the day and during the evening event can be seen on the following pages.
Team: Phoebe Cox, Marlena Fleck, Melisa Pekiyi, Esther Tang, Gabriella Feuillet
View of Installtion from Anderson Window Installation Photo
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126
Front Elevation Rendering
Curtain, Wall Hooks, Curtain Hooks
Fishing Line, Gold Mirror
Section through Anderson Hall Collage
127
128
Opening Night, Entrance Installation Photo
View from the Bridge, Above Installation Photo
Opening Night, Front Elevation Installation Photo
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130
Curtain to Wire Detail Curtain Plan Diagram
View from the Bridge, Night Installation Photo
View from the Bridge, Day Installation Photo
Hook to Wire Detail Wire Plan Diagram
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art&misc. “Objects and sculpture are of the world and yet speak beyond the material everyday.”-Imogen Racz8.
This in-progress-series of artworks engages unique materials, settings, and construction processes, estranging items from their everyday use and reframing their meaning and relation to the human body. By manipulating material, color, and scale, banal items are transformed into foreign objects, becoming inscrutable sources for curiosity and confusion. The following 2D and 3D works share this conceptual premise, but explore different media, ranging from sculpture, to collage, to painting. Each piece is constantly susceptible to change, being morphed, elaborated upon, or translated into another medium. As this process repeats over time, external and internal references become blurred, distancing
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the artwork from its original reference. Through incremental alteration, each piece builds upon itself; developing its own logic and vernacular, painting elaborate embedded histories within each object. Through this process, each object escapes its own banality.
2016-2020 Studio Art
Blue Brick Study Dyed Plaster, Duct Tape
The following pages show artworks and sculptures that are based on found objects of everyday life. Each begin with an external reference, i.e. a brick or an element of a gothic painting, and build off of this reference until the work becomes something that is neither strange nor familiar.
Cast Carton Series, 01 Dyed Plaster
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134
Untitled (Skin Study #1) Latex, Jump Rings, Nails
Studio Photograph
135
136
Project Row Houses Exhibition Sculpture Installation 2019
Architecture Massing Model Wood on Rebar Pedestal
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138
Table of Nails Roofing Nails, Found Object
Detail Roofing Nails, Found Object
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140
Metal Jacket Aluminum Wire, Plastic Sheeting
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142
Detail Dyed Plaster
Blue Column *In Progress Dyed Plaster
Spring 2018 Arch 201: Principles of Architecture III
Michelle Chang Houston, TX
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144
Model Photos Renderings
Drawings Plan, Section, Elevations
Cast Carton Series, 01 Dyed Plaster
145
146
Untitled (Foam Study #2) Foam, Concrete, Paint, Found Objects
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endnotes. 1 Chang, Michelle. Arch 450: Something Vague. Seminar, 2018. 2 Geißler, Heike. Seasonal Associate. Translated by Katy Derbyshire. South Pasadena, CA: Semiotexte(e), 2018. 3 Bouterwek, Friedrich. History of Spanish and Portuguese Literature. Translated by Thomasina Ross. London, 1823. 4 Beecher, Henry Ward. Morning and Evening Exercises: Selected from the Published and Unpublished Writings. 1871, p. 309. 5 Jacques Lacan, The Seminar of Jacques Lacan: Book I, Freud’s Papers on Technique 1953-1954, edited by JacquesAlain Miller, translated by John Forrester. Cambridge, 1988, p. 215. In this passage Lacan is referring to Sartre’s Being and Nothingness. 6 Gregor Stemmrich, “Dan Graham,’ in Thomas Y. Levin, Ursula Frohne, Peter Weibel (eds.). Rhetorics of Surveillance from Bentham to Big Brother, ZKM | Center for Art and Media, Karlsruhe, 2001, The MIT Press, Cambridge, MA, London, 2002, p. 68. 7 Bowles, John. “Versailles Illustrated,” 18th Century. 2011. Bloomsbury Auctions. 8 Racz, Imogen. Art and the Home : Comfort, Alienation and the Everyday / Imogen Racz. London ;: I.B. Tauris, 2015, pg. 10.
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Notes on Books, Precedents
Images, & Terminology
Summer 2019 Frank Freed VADA Traveling Fellowship
Buildings Next to Road Zurich, Switzerland
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150
Model Photos Renderings
Drawings Plan, Section, Elevations
end.
Spring 2018 Arch 201: Principles of Architecture III
Michelle Chang Houston, TX
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