AUNDRAE D. LEE
church on the water This project was a second year project to design a chapel on the water. The drawings were done on brown paper.
industrial design center This project was a second year project to design an industrial design center for the research and promotion of the profession. The program includes a gallery, a library, offices/labs and a several gathering spaces. The concept was to create a building that was a metaphor for production process for id which is standardization and mass production. Like pouring material into a model to create a product the contents of the building is "poured" into what appears to be a trombe wall that doubles as circulation.
whitehurst freeway project This project was a third year urban design project geared towards reviving the Georgetown waterfront and creating a useful and attractive destination. A part the conversation was how to deal with the inescapable presence of the Whitehurst Freeway. Whether to remove it, ignore it, or integrate it into the scope of redevelopment were options explored. The proposal that I explored was to incorporate the freeway bridge into the plan for redevelopment by creating vertical connection between the bridge level and street level. The connection explored including repurposing a vehicular lane or attaching a lane to create a greenway for recreational uses and adding circulation towers between the street/promenade levels along with viewing platforms attached at bridge level. An abstract sculpture attached to the underside of the bridge is proposed to run the span of the bridge to enhance the appearance of the underbelly giving the feel of an arcade. With the movement of the bridge the sculptural arcade would also dance adding to the experience.
t o w e r
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v i e w i n g o v e r l o o k a
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s u s p e n d e d s c u l p t u r a l a r c a d e
h o w a r d - s h a w d e v e l o p m e n t This graduate level project was site specific and geared toward creating a developer project that was attractive and harmonious with the community while being financially feasible for a developer. With this project I chose to focus on sustainability but rather than focusing on Sustainability with a capital S, my goal was to see how the term could be applied to buildings that help sustain the vibrance of a community by offering spaces that connect with the community and allow unrestricted access within it to the community at-large.
CONSTRUCTING EMOTIONS These series of charettes deal with the effects of architecture and how its qualities can provoke emotions within its users. Each charette was accompanied by a short film that dealt with loss in some sort of way. After viewing these films the studio was instructed to extract a prominent emotion or experience in which the film dealt with and construct a design language that is capable of evoke similar qualities. The following are the results of an attempt to translate these into an architectural language.
movie 1- REJECTION
The focus of this first episode seemed to be concerned with loss. The film approached loss in a provocative manner. Instead of losing one for good, the characters where lost then reintroduced to each other. From this reunion the characters emotions were awak-ened. For the main character (the older woman) the lost one‘s ar-rival triggered regret, fear, and hope. The shopkeeper’s meeting with his would-be child seemed to produce pain, disappointment, and indifference. Finally for the younger woman feelings of humili-ation, abandonment, and rejection manifested themselves through her search for answers. This charette is an attempt to reconstruct architecturally the emotion of rejection felt by the woman after be-ing turn away from safety as a girl, and upon her visit to Poland. According to Maslow’s hierarchy of needs social acceptance and belongingness plays a large part in human motivation and actual-ization. On the path of finding one’s social tribe is the reality of rejection along the way. This rejection can be based on a groups expressed or implied criteria, or in this case- fear. One is face with the choice of either accepting rejection or being pressure into conforming to a group’s box.
The logic that drives this charette is size and proportion. Passageways are constrained to a specific size to allow for cer-tain size and profile of volume to flow through. Depending on the size of a volume, it will either be granted or denied access. This play on size is a way of dividing people and things in to tribes in order to provoke the emotion or rejection.This exhibition seek only to reflect what humanity does already- filter by criteria. Proportion = x:y
C O N C E P T
tribes in-between
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movie 2- HUBRIS This episode seemed to be about faith. Each character served as a representative of a held perspective on faith. For Pavel, a child-like faith; for Pavel’s aunt, reasoned belief; and for Pavel’s dad, trust in one’s own ability. While each point of view was represented, the story seemed bias against the latter. The writer of this film seem to have fashion this story after tragic heroes who were consumed by there own pride. In a way Pavel’s father was a tragic hero. He loved and cared for his son. As a professor he impressed knowledge upon others. However, his belief that life can be calculated through his computer lead to the death of his son. This was seen when the ink saturated his papers signaling the breaking of the ice. Instead of rushing to the pond he persisted that his computer know better. Greek mythology has a few tragic heroes whose over appraisal of their might led them to ruins. This charette seek to deal with hubris as an over appraisal of oneself using the manipulation of surface to tickle ones perception using air or wind moving pass it. I invision this surface to be an art installation that uses air to create a appearing-disappearing affect. Whether installed in a musuem or subway concourse, the de-sired affect would be for one to see themself in a distorted manor.
it is often the old claiming youthfulness and the yound claiming wisdom
C O N C E P T
90
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75
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60
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45
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30
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1 L
The logic for this installation would be to divide an im-age up by pixel [tile]. After slicing the surface up each pixel [tile] will be assigned a value based on their tint. Each tile will be able to rotate in the windward direction according to their value.
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MAPPING
OF
LO G I C
W I N D
W A L L
movie 3- SEARCHING The focus of this episode seemed to be more about the woman and her relationship to her dying husband’s doctor. Her search for an-swers and his evasive behaivor seemed to lead to an obsession. The dynamics of the communication [or lack of communication] between the woman and the doctor seemed to have tone similar to those between God and those deseperate for answers. The suggested omniscience that the author gave to the doctor seem to give him a mystical attribute. At least in the woman’s eyes. The doctor knew the answer- and was test-ing her faith in him. In the end, to the doctor’s surprise the man lived. This vignette seek to deal with searching for comfort. Us-ing the sense of touch a person can interact with a mapped sur-face. Certain areas of the surface have the ability to deform based on the embedded logic. The intent of this surface is to force a user to find their place of comfort through search it tactilely.
RUG
IN
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USE
The logic in creating this surface uses spring coupled with wooden dowels of differing lengths to create a varying degrees of deformation over a mapped surface.
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MAPPING OF LOGIC
MAPPING OF LOGIC
3D
DIAGRAM
movie 4- LEGACY The characters in the last film in Decalogue seemed to achieve what the protaganist in the other films were still searching for- signs of moving forward. The ending scene showing two brother continuing the family tradition of stamp collecting seemed to be the writer’s way of telling us, “and the saga continues.” Instead of being salty over the stolen inheritance, the two brother continued their deceased father’s legacy. The writer seemed to suggest that the brothers’ inheritance was being apart of something big apart bigger than themselves. Something that would continue with the next generation. The families appraisal of the father’s stamp colliection seemed to vary from member to mem-ber and generation to generation. It is interesting how descendants value heirlooms and family treasure passed down. Even more inter-esting is how trace of a legacy make their way through family history. The logic for this artifact is to create a field representing each family member and their behaviors. From these behaviors an architectural langauge will be created for each member. Depending on the langauge for each character the artifact will adjust ac-cordingly in the field creating an affect were an observer might be able to trace the patterns and features through out the artifact.
F I E L D
D I A G R A M
PATTERN
LANGUAGE
PATTERN
LANGUAGE
PATTERN
LANGUAGE
AIDS MEMORIAL This project was a continuation of the preceeding work dealing with architecture’s role in producing an emotional or emotionless affect in its users. This global memorial pays homage to the casualities (dead and alive) of AIDS epidemic. It is not a memorial to a cer-tain type ot victim and tries to transcend the politics of the disease.
ENGAGEMENT 2. Names on the memorial are listed in chronological
R E V E L A T I O N 3. Once the wall has engaged and captured the
order according to soilders death. By not listing soilder alphabetically, or by rank, or platoon, and so forth; I each name has a chance to be noticed and valued. This rythm engages the visitor and allows for the wall to be read both as singular and plural.
single visitor at some point gets the message as the layers of the names, material, and atmosphere are understood. The interaction between the physical and the virtual is achieved.
PROVOCATION 4. VISITOR PROJECTS EMOTIONS
OF
THE
REMEMBERED.
LINKING OBJECT S U R F A C E N
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P H Y S I C A L P E R S O N
REMEMBERED P E R S O N
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V I S I T O R
0
1. ISOLATION
494
5. EMERGE
D E C O N S T R U C T I N G T H E V I E T N A M M E M O R I A L ( M Y A LY N N )
THE AIDS QUILT WAS STARTED BY CLEVE JONES AS A RESULT OF A MARCH COM足 MEMORATING THE LEGACY OF HARVEY MILK. JONES WAS INSPIRED BY THE AIDS足 RELATED SIGNS COVERING THE SAN FRAN足 SCICO FEDERAL BUILDING THAT SEEMED TO FORM A QUILT THE INDIVIDUAL PATCHES ARE 6' x 3' GIVING THE SENSE OF A GRAVE. LAID OUT TOGETHER THE 50,000+ PATCH QUILT GIVES THE SENSE OF THE ENORMITY OF THE DISEASE, WHILE THE INDIVIDUAL PATCHES; INCLUDING THE REMEMBERED PERSON'S INDIVIDUAL JOURNEY
I
THE
QUILTER, AND A RESPONSE TO THE JOUR足 NEY; GIVE IMPORTANCE TO EACH PERSON. ENORMITY : INDIVIDUAL
ACTIVE PARTICIPATION : PASSIVE PARTICIPATION
THE PORT CITY
VIRTUAL
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G AT E W AY I N T O A R E G I O N
PORTS ARE GATEWAYS THAT LINK A COMMUNITY TO THE REST OF THE WORLD. OFTEN PORTS ARE THE LAST LINE OF DEFENSE TO PREVENT DANGEROUS ENTITIES FROM CLANDESTINELY ENTERING OR EXITING A COMMUNITY. THIS MEMORIAL IS NOT INTENDED JUST TO COMMEMORATE THOSE SUFFERING WITH HIV/AIDS OR WHO HAVE DIES, BUT TO REMIND SOCIETY OF THE DECEPTIVENESS AND CLANDESTINE NATURE OF HIV AND AIDS AND HOW IT IS SPREAD. LIKE THE HUMAN IMMUNE SYSTEM DEFENSE THE BODY AGAINST FORIEGN AGENTS [SUCH AS HIV/AIDS] THESE SOILDER [WHETHER FALLEN OR STILL FIGHTING] SERVE TO THWART IGNORANCE AND DECEPTION THROUGH MEMORIALIZATION.
THE HIV/AIDS MEMORIAL PROJECT HONORING
+ SHOCKING
HOW DOES ONE GO ABOUT CREATING A MEMORIAL FOR PEOPLE WHO HAVE STRUGGLE WITH A DISEASE THAT IS LAYERED WITH POLITICAL, RELIGIOUS, AND CULTURAL TURBULENCE .MOREOVER, HOW DOES ONE GO ABOUT DESIGNING A MEMORIAL SURROUNDING A TIME OR EVENT THAT HAS YET TO BE RESOLVED?
A G LO B A L M E M O R I A L
A I D S
R E P O R T I N G
=
B Y
C I T Y
:
M A J O R
MAPPING ORIGINS P O R T
C I T I E S
*
= = = *= CITIES SURVEILLANCE
** BOSTON
+
**
AFFECTED APART OF REPORT BY
AIDS CDC.
**= CITIES THAT HAVE BOTH AIRPORTS AND SEAPORT MEMORIAL TO GO IN SEAPORT. RADIUS OF INFLUENCE: -AIRPORTS: 1 MILLION (PEOPLE)= 10 MILES -SEAPORTS: 1 MILLIION (CONTAINERS) = 100 MILES
M I A M I
PA R T : W H O L E
BUOY (UNIQUENESS) : GLOBAL COMPOSITION (WHOLE)
POWER
SOURCE
ELECTRICITY THRU MOTION
GENERATOR (LIFE)
COMPUTERIZED E P I T A P H SHELL
(BODY)
A
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R
WEATHER + MARINE P R O O F I N G IN T ERLO C K IN G JO IN T
BALLAST (SUBSTANCE)
FIBERGLASS SHELL
C O N C E P T
B
BUOY DESIGN
A
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P O W E R
TIME LOGIC
R E P O R T I N G O F H I V - D E AT H F R O M A I D S
2018 2019
2017
2015 2016
2012 2013 2014
2009 2010 2011
2006 2007 2008
2002 2003 2004 2005
2000 2001
1999
1997 1998
1994 1995 1996
1991 1992 1993
1988 1989 1990
1985 1986 1987
1984
1982 1983
NUMBER OF REPORTED INFECTION
1981
TO TYPES OF PEOPLE ARE REPRESENTED IN THIS GLOBAL MEMORIAL. PEOPLE WHO HAVE HIV/AIDS + PEOPLE WHO HAVE DIED FROM IT. ITS SERVES AS BOTH CELEBRATION OF LIFE + A PLACE OF WARNING.
FIELD
DISCOVERY OF AIDS + HIV ARRANGEMENT OF MEMORIAL
=
THE DEAD ARE REPRESENTED AS BUOY WHOES LIGHT CONSTANTLY SHINES AT THIS PLACE OF LIMBO.
ALIVE
=
THOSE LIVING WITH HIV + AIDS ARE REPRESENTED AS BUOY WITH A DIM FLICKERING SIGNIFYING THEIR CONCRETE PRESENCE IN THE WORLD.
RANDOMNESS
EFFECTS OF SURROUNDING ENVIRONMENT
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FROM
FLIGHT
PATTERNS
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E C O LO G Y
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PART ABLE OF AND
OF THE DESIGN GOAL IS TO BE TO SEE AND EXPERIENCE THE FIELD BUOYS BOTH FROM ABOVE BELOW.
UPON ARRIVAL + DEPARTURE TO A REGION ONE IS FACED WITH THE VASTNESS OF THE PANDEMIC [THOSE WHO HAVE LOST THEIR FIGHT AND THOSE WHO ARE STILL FIGHTING. LIKE A TRAVELER HIV/AIDS INTRODUCES ITSELF TO SOCIETIES WITH LITTLE TO NO SIGNS OF WHERE IT HAS COME FROM AND WHERE IT IS HEADED.
THE DIGITIZED EPITAPH ALLOWS FOR THE USER TO BE ENGAGED ON AN INDIVIDUAL LEVEL IF HE/SHE HAS ACCESS TO THE AIR FIELD.
RAPID PROTOTYPING These next series of projects are from 2 semesters of course dealing with technology and techniques that are being used in the profession to creation complex geometries and to and variation to unitized systems.
CNC ROUTER (DIPPING) For this project I used the CNC router to explore the effects that can be achieved through using tooling that is limited in it abilities. the final product is a language that uses dipping to create to effect of controlled scratching.
varied: standardized This project was done in conjunction with three other students. The pur-pose was to explore the concept of emergence. Two concept that were explored were emergent design and emergent behavior. With emphasize on design and production, as a team we had to translate our ideas into methods of production. Issues of tolerance, materials (concrete), and testing become major issues in moving from ideas to the final product.
AN
EMERGENT
LANGUAGE
Mold Assembly
Dependant on 12”/6”
Tall Form Work. 1"
Insert Part A
1/2” Through Bolts spaced at 3 1/2” O.C.
Circle (R:3.00)
1"
N.T.S 1 41 "
Insert Part A 3 21 "
Varies
Poured Concrete Unit.
Tall Form Work #1
Tall Form Height Variable
1 21 "
Tall Form Work #2
Insert Part B 3/4” Plywood Base
3"
2”x4” Blocking Assembly Table
1/2” Bolt Through Insert A and Insert B
Insert Part B
Insert Parts
B 7 78 "
NOTES
5 78 "
Insert Part A is made of 3/4” _____ Plywood to be fabricated according to Shop Drawing ______. Insert Part B is milled Douglas Fir with a 3/4” Ball End bit cut in a radial pattern. Together Insert A and Insert B are known as the Insert Assembly. The Insert Assembly is to be finished with ______ Polyurethane, lightly sanded with #400 sand paper and wiped clean with a damp rag three (3) times before use.
MIXING PROPORTIONS The Concrete Unit is poured into the mold at a ratio of 1:2:1; Water, Sand, Portland Cement
Insert B Section
A
CASTING CONDITIONS
G F E D C B A
Tall Form Work Plan
All Concrete Units are to be cast and allowed to cure for no less than twelve (12) hours at room temperature before being released from the Mold Assembly
CASTING TECHNIQUES Concrete is to be mixed at room temperature and stirred at a high rate for 5-7 minutes before pouring. Once cast into the mold, concrete is to be vibrated with ________ for a 3-4 minutes.
Insert A Elevation
G
F
E
D
C
B
A Tall Form Work Section B
Tall Form Work Section A
Insert B Plan
Insert A Cut Sheet
THE AND PROCESS OF MAKING MOLD ASSEMBLY CASTING
GROUP
AGGREGATION
FIELD
AGGREGATION
SCALE
UNIT
ORIENTATION
SURFACE
SHAPE
HEXAGON TRIANGLE
SQUARE
PENTAGON
HEXAGON
OCTAGON
PLANAR
PLANAR
FACETED
UNDULATED
SMOOTH
TEXTURED
TEXTURED
XY-PLANE
XY-PLANE
TOPOGRAPHY
XZ-PLANE
YZ-PLANE
TOPOGRAPHY
WALL
VARIABLE POROSITIES PUNCTUATED
VARIABLE POROSITIES
SOLIDITY
SOLID
BOUNDARY
HARD- EDGE
GRADIENT
GRADIENT
THE
PROCESS
OF
MAKING
THE
PROCESS
OF
MAKING
sectioning (+& lofting) This project show how complex forms can be simplified for constructibility and maintain its apparent complexity
THESIS WORK Adaptabotics:
a
cultural
machine
Thesis Statement As humans, we are drawn to flexible architecture [systems of architecture that have the proclivity to conform to indeterminate and alternating circumstances] because of its ability to provide us with more control over our environments. Ironically our environment[s] have a cultrual impact on us. With my thesis I seek to deepen my understanding flexible architecture and its value in exposing, engaging, & generating culture.
product
remkoolhaasdeliriousnewyork
the
30rock:themachine
rockettes:
to plot culture.�
the
“. . . indeterminacy means that a par ticular site can no longer be matched with any single predetermined purpose. From now on each metropolitan lot accommodates in theor y at least an unforeseeable and unstable combination of simultaneous activities, which makes architecture less an act of foresight than before and planning an act of only limited prediction. It has become impossible
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cultural center the signs
ar ts of
of ten a
give changing
car park the
first
the automobile, like the elevator has had
culture:
a big impact on mobility, as a product
-music
the car park has become an integral par t
-art
of the built environment. As technology
-literature
and invention fur ther changes the notion
-religion
of mobility it will be interesting to see
-sports
what impact it will have on the carpark.
E X P E R I M E N T
Why the cultural center? Society hardly sees culture in the making, but of ten sees its residual affects and influences. Coupling the cultural center with programs that are seen as the antithesis of culture could make society more aware of where and when culture is being made. Why the car park? car parks are one-trick ponies. They are enormous yet their only role is to warehouse automobiles. The automobile is ubiquitous in many industrialized societies making the car park and its spatial requirements necessar y. However most of them are mundane, austere, and can not accomodate other programs outside of parking, and the ocassional tailgate par ty. Coupling the car park with other programs could add value and interest to them. T H E
A L I B I
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P A R T S
A N D
P I E C E S
PUBLIC PARKING
B I K E TRAIL
5 4
PUBLIC PARKING
266 SPACES
1
3 PUBLIC PARKING 2
T H E
C O N T E X T
air
major wheels
wheels
foot
T H E
C O N T E X T
Lot 31 zoning requirements: -corner of building should setback 25’ from curb. -retail frontage along bethesda avenue. -5 story height limit with varying roof lines. D -greatest bulk should be on bethesda avenue. O -building should setback 50’ from property line of sacks neighborhood. O H -building should express a residential character compatible with the neighborhood. R O -provide landscape screen along sacks neighborhood. B H -ensure pedestrian and bike access to CCT.
S IL
50’ H
C
14’ TA
S
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N
19’
CORNER SETBACK
0 50’
T H E
C O N T E X T
RELATIO
SACRED THEATER
STREET VISIBILITY
(BETHESDA AND WOOMONT)
NATURAL LIGHT PLAYS SMALL ROLE IN RETAIL SPACE AS RETAILER DEPEND ON ARTIFICIAL WINDOW LIGHTING TO DRAW PATRONAGE.
FILTERED NATURAL LIGHT IS GOOD FOR VIEWING AND PROTECTING ARTWORK.
THEATERS NEED OPTIMUM CONTROL OVER LIGHTING IN ORDER TO ACHEIVE VISIBILITY OF PERFORMANCE.
PARKING RETAIL MUSEUM THEATER
NATURAL LIGHT
VIEWS FOR SACRED SPACE ARE USUALLY FOCUSED ON NATURE AS A WAY OF DRAWING USERS AWAY FROM THE WORLD.
VIEWS TO WHATS GOING ON OUTSIDE OF A MUSEUM CAN BE NICE AND EVEN PROVIDE CONTEXT FOR THE ARTWORK BEING DISPLAYED, HOWEVER IF NOT PROPERLY SITED VIEWS CAN BE DISTRACTING OR CAUSE DAMAGE TO ARTWORK.
FOR THE MOST PART PARKING STRUCTURES ARE INDIFFERENT TO WHAT GOING ON AROUND THEM.
RETAIL IS OFTEN DEPENDENT UPON BUSY STREET LIFE TO DRAW PATRONAGE.
EXTERIOR VIEWS ARE USUALLY DISTRACTING TO A PERFORMANCE. THEATER WORK BEST INSOLATED FROM VIEWS.
SACRED
NOISE HAS LITTLE EFFECT ON ACTIVITIES HAPPENING IN THIS PROGRAM.
MUSEUM
NOISE HAS LITTLE EFFECT ON ACTIVITIES HAPPENING IN THIS PROGRAM.
PARKING
NOISE HAS LITTLE EFFECT ON ACTIVITIES HAPPENING IN THIS PROGRAM.
RETAIL
INSULATION FROM NOISE IS IMPORTANT FOR FOCUS IN A SACRED SPACE.
THEATER
PERFORMANCE SPACES SHOULD BE ISOLATED FROM THE DISTRACTION OF NOISE.
VIEWS
RETAIL
SECURITY AND SURVIELLANCE ARE IMPORTANT TO THIS PROGRAM.
PARKING
SECURITY AND SURVIELLANCE ARE IMPORTANT TO THIS PROGRAM.
MUSEUM
SECURITY AND SURVIELLANCE ARE IMPORTANT TO THIS PROGRAM.
SACRED
SECURITY AND SURVIELLANCE ARE LESS IMPORTANT TO THIS PROGRAM.
THEATER
SECURITY AND SURVIELLANCE ARE LESS IMPORTANT TO THIS PROGRAM.
NOISE
LITTLESURVIELLANCE
THEATER TEND TO BE ISOLATED FROM IT CONTEXT.
PARKING
NATURAL LIGHT IS USUALLY NOT CONSIDER IN PARKING GARAGES. FLOOR TO CEILING HEIGHTS AND LARGE FLOOR AREAS PREVENT NATURAL LIGHT FROM ENTERING.
SACRED
ISOLATIONEXPOSURE
SACRED SPACE TENDS TO WANT TO BE INSULATED. THEY SEEK TO WELCOME YET PULL ITS USERS WAY FROM THE COMMONPLACE OF LIFE.
MUSEUM
NATURAL LIGHT PLACE AN IMPORTANT ROLE IN SACRED SPACE. THE DIRECTION AND THE AMOUNT OF LIGHT THAT ENTER CREATES A SACRED ATMOSPHERE.
N O N E L I F E
PARKING NEEDS NEITHER EXPOSURE TO OR ISOLATIION FROM THE STREET.
RETAIL
F I LT E R E D D I R E C T
AN EXPRESSED ENTRANCE IS GOOD FOR MUSEUMS THOUGHT IT CONTENT IS NOT ALWAYS EXPRESSED ON THE STREET.
ISOLATIONEXPOSURE
IN ORDER FOR RETAILERS TO BRING IN SHOPPERS THEY MUST HAVE A STREET PRESENCE.
RETAIL MUSEUM PARKING THEATER SACRED
SECURITY
P R O G R A M M A T I C
NSHIPS
P A R T S
P R O G R A M M A T I C
P A R T S
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What if a space can be used as a car park during peak hours in downtown Bethesda, then be transformed into a skate park?
The northwest facade is designed to allow north light penetration while transferring structural loads.
What if a gallery can be transformed into a car show once or twice a year? What if the gallery can be closed and used as parking for major regoinal events?
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How are the adaptable spaces used, particularly the in-between spaces? Are there clue that give revelation to the potential uses? Does the user have to think about how to appropriate the space?
aptabotic
the large openings in the facades of the courtyard are for exposing the changing activities in the building to make users and passer-bys aware of the culture taking place.
adaptabotic
Breathing wall is an invention to replace flyhouses and scene shops in this space. This attempts to increase perspectival effect without increased spatial requirements.
What if below grade parking could be transformed into a performance space during non-peak hours.
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What if the car access above gallery loft could be used for a sculture garden occasionally.
Viewing distance and indirect natural light.
What if parking could be transformed into an Aquatics center a couple days of the year?
daptabotics
View dow green alley. This space is an adaptable landscape.
adaptabotics
Transformable element within this gallery loft makes it more accomodating in facilitating different modes of program. a horizontal door allows for cars to flow within the space. Kind of how a drawbridge works.
Like Herzog&DeMueron’s Allianz Arena garage doors also serve as digital billboard expose which program istaken place behind them.
other work