Corie Saxman Portfolio 2017

Shift, Jiggle, Slouch.

Corie Saxman

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Table of Contents

Content The sum of qualities, notions, ideal elements given in or composing a conception1

Academic

Professional

04 A Doubling of Difference Vertical Design Studio Instructor: Andrew Zago

56 Sonos Studio Sound Affects Exhibition Firm: Patterns Architects

18 Twoness Visual Studies Seminar Instructor: Elena Manferdini

64 Temporary Space Temporary Art Gallery Firm: Patterns Architects

24 Banal as Language Vertial Design Studio Instructor: David Ruy

72 Paper Pulp Pavilion Coachella Art Pavilion Firm: Ball-Nogues Studio

24 Stealth Core Design Studio Instructor: Tom Wiscombe 32 Fuzzy Monolith Close Up Exhibition Firm: Patterns Architects 38 Confectious Content Core Design Studio Instructor: Marcelyn Gow 48 Design Development Applied Studies Seminar Instructor: Herwig Baumgartner

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A Doubling of Dierence

Academic

Vertical Design Studio. Fall 2016. Instructor Andrew Zago

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This projects is a new complex for Seoul’s Animation Center. Encompassing three major programs: The Creative factory, which includes large creative office spaces and collaboration rooms. The Market/Convention hall, used for galleries and animation conventions. The Imagery Playground, which includes interactive exhibits, libraries and theaters for museum attendees. The creative factory is housed in an elevated black band which acts as a unifying agent, allowing the separate buildings to work as one.

A Doubling of Difference

Fall 2016 fig 1

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Academic 6

Ankle wrap on basswood

Plastic 3d print

Pink erasers, super glue

Wire mesh on basswood

Stainless steel scrubber

Sand Paper on basswood, texture paper on basswood

Acrylic

Paint tray on basswood

A Doubling of Difference

Acrylic

Pink erasers, super glue

Wire mesh

Q-tips on basswood

Sand Paper on basswood

Plastic 3d print

Paint tray on basswood

Fall 2016

Texture paper on basswood

fig 2

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Academic

fig 3

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A Doubling of Difference

studio explores the possibility of difference T his in the sense of multiple irreducible and

occupiable space. A set of two eraser piles, one being a shell rather and the other a combination of parts. The doubling of bubbles, one solid and one void. These duplicates, doubles, and quotations call into question the identity and foundation of the complex. They allow for an uncertainty of the difference between this and that. And they generate a flicker between the different and the same.

This project utilizes doubling as a technique for similarities within difference. Jeffery Kipnis describes this idea of “twoness” through his close reading of Tracer by Robert Raushenberg; Calling attention to the double helicopters, the mirror reflecting the woman’s face, the two birds and even the two wire frame boxes. This idea of twoness, or doubling, generates an organization of difference, which transforms the random collection of book clippings, magazine ads and newspaper imagery into a balanced composition.

The elevated black band, which houses the creative office space, acts as a unifying agent. This agent unifies the objects in elevation as well as in program, allowing the separate buildings to work Seamlessly as one. The creative office space is two levels, with the top level (fig 8 & 9) being a catwalk which bridges from the creative offices into the interior buildings.

irreconcilable realities. The idea of difference is a convoluted one, we could say that things are different because they simply look different, we could say that they are different because their origins are not the same - or that they simply work differently. One might also say that difference is only possible with the realization of sameness.

This project forms highly meticulous relationships through this idea of doubling and quotation.

There is an intentional doubling of objects in this model: Two black bands, one a flat replication of the property line, the other an elevated transformation of that line from a void into a solid

Fall 2016

“Most of us are conceived as twins, but born single. We understand ourselves as one, when we are minusone, or two-in-one.”

- Paul Mosley, Vanishing Twins

The site on which the buildings rest is sunken one level (fig 6) to appease the site’s height restrictions while simultaneously allowing for a museum plaza, holding interactive animation characters and cartoon sculptures.

The inner buildings house common areas such as a theater, library, collaboration areas, cafes, retail and classrooms.

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Academic

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A Doubling of Difference

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A Doubling of Difference

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Academic

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A Doubling of Difference

Fall 2016 Corie Saxman

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Academic

fig 11

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A Doubling of Difference

Fall 2016 fig 12

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Twoness

Academic

Visual Studies Seminar. Spring 2016. Instructor Elena Manferdini

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This Seminar focused on the relationship between the original and the copy. If we choose to view history as the supreme source of material to be copied rather than one-offs, this opens up a catalogue that can inform the creation of new forms and effects. By liberating the “copy” it is now possible for the copy and the original to coexist, which we have defined as the state of twoness. Taking cues from Eisenman’s World Trade Center design (rotated grid), we begin to blur the line between positive and negative space through the use of grids. “Doubling is the new-normal that subverts the one-off and glorifies multiples.”

Twoness

Spring 2017 fig 14

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Academic

fig 15

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Twoness

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Academic

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Twoness

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Banal as Language

Academic

Design Studio. Spring 2017. Instructor David Ruy

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Driving cross country in America feels oddly familiar; aside from the major cities you pass through we ultimately end up staring aimlessly at these weird in-between towns. Neither here nor there â&#x20AC;&#x201C; nondescript and featureless architecture, where the only way they can grab our attention is to throw a 50 foot tall billboard in your face. Although this might seem like a simple solution, advertisements are very meticulous. They are built around the perspective, or focused points of view.

They must be a certain height, have only a certain number of words, they have their own set of zoning regulations and loop holes that go into erecting one of these monstrosities â&#x20AC;&#x201C; fascinating! Utilizing billboard logic, this project generates new forms through the language of the banal in hopes to become a catalyst for future roadside construction.

Banal as Language

Spring 2017 fig 19

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Academic

fig 20

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Banal as Language

Spring 2017 fig 21

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Stealth

Academic

Core Design Studio. Spring 2016. Instructor Tom Wiscombe. In collaboration with Aman Sheth.

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Machado and el-Khoury’s concept of “hollow monoliths”, where the solidity of a monolith seems to be undermined by its emptiness, was the point of departure for this courthouse design. How can we produce the effect of hollowness with combinations of actual void and the illusion of void? Architecture, in this way, becomes a container for a new, nested world. The container itself may serve as a new ground replacing Land, or there may be multitudes of new grounds and unexpected possibilities for movement between them.

The interior may appear as large as a city, or as miniature as a diorama. We aim to produce a sense of mysterious, indeterminate scale, without referent to the human form.

Stealth

Spring 2016 fig 22

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Academic

fig 23

fig 24

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Stealth

“The thing’s hollow—it goes on forever—and —oh my God!—it’s full of stars!”

can a space invader infiltrate a city without Hitowbecoming an icon? At a glance, the geometry

seems to conform to the surrounding cityscape.

This conglomeration of orthogonal and non orthogonal geometry maintains this tower-esque appearance, further imbedding itself within the city fabric. But does it fit? As the viewer draws closer, the figure reveals itself. Hovering in an imbalance, it brings with it a sense of uneasiness.

In a traditional courthouse, the circulation is broken up as back of the house and front of the house. This can be translated to the public entering through the front of the building, and the judges using a more secure and unseen pathway. Although in this scenario, this typology has been flipped on its head; revealing the judges circulation and concealing all others within the poche (or in-between space, see fig 25). This stemmed from the idea of the public being a more integral part of the justice system.

The judge’s circulation manifests itself as bridges, these bridges gain articulation as they move throughout the vast space. The courthouses are divided into four independent clusters, each operating independently aka a building within a building.

The vast interior space is layered with articulation varying in scale, some being 3 stories high, able to hold program, and others being so tiny one could only crawl through. The space begins to generate its own atmosphere by allowing for multiple grounds within the interior world.

This loss of scale emphasizes the vastness of the space, making you unaware of where you stand in relation to the courthouse as a whole.

This complexity of the interior is reflected onto the exterior façade (fig 22) in combination with “contextual” imagery. The high fidelity of the articulation unifies the tower-figure into a whole, rather than two noticeably separate entities.

Spring 2016

- Arthur C. Clarke, 2001: A Space Odyssey

The gestural undercuts of the figure challenge the tower-plinth typology by producing stark ground conditions. As the tower grounds the figure, the figure in turn ungrounds the towers, creating a constant negotiation and tension. As this typology shifts, it is no longer a tower-plinth, but rather a tower-figure.

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Office Space

Office Space

Office Space

Office Space

Office Space

Office Space

Office Space

Office Space

Office Space

Office Space

Court

Judges Chambers

Academic

Office Space

Judges Chambers Jurry Assembly

Court

IT Dept

IT Dept

Court Judges Chambers

Judges Chambers

Judges Chambers

Judges Chambers

Public Waiting

fig 25

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Stealth

Judges Chambers

Spring 2016

fig 26

fig 27

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Academic 34

Stealth

Spring 2016 fig 28

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Fuzzy Monolith Close Up Exhibit | Patterns Architects.

Spring 2016. In collaboration with Anthony Stoffella, Claudia Wainer, Jacky Hoang, and Keith Marks .

Close-up examines the impact of digital technologies on the architectural detail and the traditions of tectonic expression associated with it. An often overlooked condition of digital design technologies is the ability to design objects through continuous degrees of magnification. The consequences of this very basic fact are more significant than we may realize. The traditional premise that some architectural ideas only reside at standardized scales of magnification at this point is nostalgic.

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Close Up Exhibit | Fuzzy Monolith

Spring 2016 fig 29

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Academic

fig 30

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Close Up Exhibit | Fuzzy Monolith

Spring 2016 fig 31

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Academic

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Close Up Exhibit | Fuzzy Monolith

Spring 2016 fig 33

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Confectious Content

Academic

Core Design Studio. Fall 2015. Instructor Marcelyn Gow. In collaboration with Keith Marks.

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Project is the design of an Annex to the Bibliotheque Sainte-Genevieve in Paris.

The design engages in acts of architectural speculation on how images and objects may coalesce in the production of architectural form. Creating degrees of â&#x20AC;&#x2DC;weird contextualismâ&#x20AC;&#x2122; in architecture through a processing of the environment relying on representational modes that engage both various forms of abstraction as well as conventional forms of resemblance, although, fully aligning with neither.

Confectious Content

Fall 2015 fig 34

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Academic

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Confectious Content

Fall 2015 fig 36

fig 37

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fig 38

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Confectious Content

“Since the inside is different from the outside, the wall -the point of change--becomes an architectural event.”

- Robert Venturi, Complexity and Contradiction

Questioning not only what qualifies as contextual, but ultimately how we select it and deploy it within a project. The candy jar provided a great site for this exploration because it provided an environment where the dialogue begins to depart from what architecture has traditionally framed as context, to a conversation about content. Content unlike context is contained, and this attribute provides a peculiar dialogue between content and container. Especially in the instance of a candy jar, were the existence of this content is but brief and limited.

So what is content? How do we select it? How do we deploy it? And ultimately how do we discard it? Is it a candy jar placed on a corner somewhere in Paris? A jar once filled to the brim with confections, now dispensed, leaving a peculiar container in its wake. What would we fill this strange volume with next? Would this content change its transparent shell? Or would its voluptuous veil reveal hidden layers?

and discard its content somewhat frequently.

Each variation of the “container”, is influenced and rendered slightly different from the last, only retaining certain discernable qualities from its predecessor. A volume that holds no nostalgia to its past content, but only to a silhouette (fig 38).

So if the container holds no qualms about its content, then the unofficial rule could be “whatever fits, fits”1. We could fill the site with books. We could paint the building with roofscapes. We could even sprinkle a little Paris, Texas in for good measure. Each selection and combination of elements intentionally conceals its origin. As a result each piece of confection seduces, constantly borrowing qualities from its adjacencies. No matter the character, each succumbs to an environment which distorts its legibility, discards orientation, and demands performance. The only constant is a shifting volume that takes on content just as quickly as it distorts and discards it.

Fall 2015

began the semester exploring the idea of W econtext through the muse of a candy jar.

Like any container, its content is continuously in flux, interchangeable, and rearrangeable. The unique quality however is its ability to take in

Silhouettes were used as form generation. These strong figural images were abstracted from seemingly random contextual artifacts such as a church in Paris, Texas, a park bench, a stack of books, or a chimney from the Paris skyline.

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Academic

fig 39

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Confectious Content

Fall 2015 fig 40

fig 41

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Confectious Content

Fall 2015 fig 43

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Design Development

Academic

Applied Studies Seminar. Fall 2016. Instructors Herwig Baumgartner & Brian Zamora Collaboration with Enrique Agudo, Neeraj Mahajan, Keith Marks and Zach Falor.

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Design Development predominantly focused on the constructability of complex geometries existing within group memberâ&#x20AC;&#x2122;s previous works within their design studios. The details are derived from a design for a united states federal courthouse in downtown Los Angeles.

Two aspects of the design that remained key to the way in which the project developed over the course of the semester included both the façade and formal language of the structure. Transitioning between perforated, solid, and opaque conditions, the façade required a system with enough flexibility to accommodate a flush and seamless movement between steel and glass. Formally, the design is distinguished by sharp and abrupt cuts on the facade that compose the figural gesture of the mass. This language is carried through the internal subsequent layers allowing the form to remain open and unobstructed, experiencing the stratification of the original form within the space.

Design Development

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1 A-401

Fall 2016

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Design Development

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fig 47. Joint between spandrel panel and insulated flashing

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fig 48. Joint between spandrel panel and glazing

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fig 49. Joint between glass and rainscreen panel

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fig 50. Floor Detail

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fig 52. Joint between spandrel panel and glazing

fig 53. Joint between panelling

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fig 54. Joint between glazing

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fig 55. Floor Detail

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Design Development

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fig 57. Joint between glazing

fig 58. Joint between panelling

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fig 59. Floor joint

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Sound AďŹ&#x20AC;ects Sonos Studio

Professional

Patterns Architects. 2,100 ft2 Temporary Exhibition, Los Angeles, CA. November 2014 - February 2015

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The Sonos exhibition was intended as an immersive series of environments employing strategies of metamorphic architecture. An emotional connection between music, space and pattern is experienced by the audience as their bodies move throughout Sonos Studio. The exhibition filled the 2,100 ft2 of Sonoâ&#x20AC;&#x2122;s Studio off of la brea in Los Angeles.

The temporary exhibit was on display from January to March of 2015.

Sound Affects | Sonos Studio

January 2015 fig 60

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Professional fig 61

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Sound Affects | Sonos Studio

January 2015 fig 62

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Professional fig 63

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Sound Affects | Sonos Studio

Sounds Affects is an audio-visual journey through distinct spaces that translates emotions into multidimensional experiences of abstract shapes and textures, movements and sound.

Sonos Studio, Music and Mood

collaborations.1 Projections and materials distort and misrepresent form, creating three somewhat indeterminate environments: serene (fig 61), playful, (fig 62) and explosive (fig 63).

forms. While maintaining a sense of whole, these forms delineate an open gathering zone while enclosing an informal lounge, a workshop area, and an event zone.

The explosive atmosphere is constantly fragmenting through patterning and the inversion of form and shadow. Paired with aggressive hard-bass-driven sounds creates a feeling of unsettlement. The playful space’s pink reflective interior is energized by projection creating vivacious and unpredictable surroundings.

Overlaid with fun house and upbeat music, the space turns into a carnival of life. The “serene” space remains comfortable, soft and stable. The sounds of the ocean ripple across the furry walls creating a space for relaxation and rest.

January 2015

exibit explores the intersection of T hemusic, art and technology through creative

These material and spatial effects manifest sound as pattern, light, shadow and color, simultaneously dematerializing the crystalline

Architecture by Patterns Architects, Projections by Jem the Misfit, Music by tUnE-yArDs & Jon Bernson, each team worked closely with one another in order to create the most cohesive design across multiple mediums.

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Professional

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Sound Affects | Sonos Studio

January 2015 fig 65

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Temporary Space LA Professional

Patterns Architects. 4,400 ft2 Art Gallery, Los Angeles, CA. December 2014 - March 2015

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Located at 5522 Wilshire Boulevard, Temporary Space is an entirely new artviewing and buying platform, incorporating a physical and digital experience. The Temporary art gallery opened its doors in March 2015, and hosted three different artists, seeing upwards of 6,000 visitors.

Temporary Space LA

March 2015 fig 66

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Professional fig 67

3 1/2" 6'-1 1/4" 6'-7 1/2"

6 1/4"

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Temporary Space LA

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1'-10"

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Temporary Space LA

“Expanding upon the idea of what an exhibition can be” Temporary Space LA

art gallery. Upon entering the space, visitors will be confronted with a user-friendly feel, akin to a public realm, as apposed to a traditional art gallery.

The informal and almost uneasy relation between the new spaces and the existing structure emphasizes the temporal dimension of the space and its strong cultural mission.

Our design produces attractive and intricate spaces out of existing anomalies: columns placed in weird positions were purposely eaten away by walls and masses, so as to clean the interior as much as to give it spatial meaning. As a result, we imagine the large abstract and figurative paintings

by Richard Shelton will not only be viewed as autonomous objects, but as possible and everchanging articulations to larger architectural constructs.

March 2015

design of Temporary Space LA aims to T heemulate a form of micro urbanity inside the

The projection “houses”1 (fig 67-70) along with an array of medium and small-scale “objects” such as a reception desk (fig 71), coffee kiosk, and exhibitors, organize and friendly interruption that helps drive circulation around the space. (fig 73)

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enclosed areas for digital projection. Please see figures 67 and 69

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Temporary Space LA

March 2015 fig 73

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Paper Pulp Pavilion

Professional

Ball Nogues Design Studio, 1,300 ft2 Pavilion, Coachella Music and Art Festival, Architect R&D Award winner. Summer 2015

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For the annual Coachella valley music festival in Indio, California, we designed the pulp pavilion as an architectural installation composed of reclaimed materials. The treelike form uses a mix of the blended paper with water and pigment which is then sprayed onto the lattices of organic rope, resulting in the rigid and self-supporting structure. The 20-foot-tall, 1,300 square feet pavilion could withstand 85-miles-per-hour gusts of wind and was the first known self supporting paper structure. This project has received the first award given by architects magazine for 2015 research and design achievements.

Paper Pulp Pavilion

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Paper Pulp Pavilion

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Paper Pulp Pavilion

“Ball-Nogues Studio put years of exploration on the line by debuting its experimental construction material and method at one of the world’s largest music festivals.”

Architect Magazine, R&D awards: First award1

using reclaimed paper. The result was a gathering space that was a refuge from the sun and frenetic energy of the Coachella Valley Music and Arts Festival in the California desert. It was an ideal place to view performances on two stages.

Historically inapplicable to architectural structure and considered disposable, paper exhibits unique sculptural capabilities when recycled into pulp.

We designed a production process where a blend of pulp, water and pigment was sprayed onto a three dimensionally woven lattice of natural rope (fig 80, 81), hardening into a rigid, self-supporting matrix that is much lighter than materials of comparable strength. We employed no additional materials except for minimal “tree to tree” connections and seating. The paper we used in the Pavilion was diverted from the waste stream and is cheaply available almost anywhere in the world. Unlike fiberglass or carbon fiber composites that are polymer based, the Pavilion contained no toxic materials; it could be recycled or composted after the two-week run of the festival.

The Pavilion was an ideal shelter for the dry air,

heat, and intense sunlight of the desert but these climatic factors also provided the ideal conditions for producing the structure enabling the pulp to dry very quickly and saving a significant amount of time compared to cooler, more humid climates.

The pulp mixture was infused with colored pigment (fig 82). In the evening, colored lighting illuminated the surface of the “trees” and a contrasting color emitted from within the columns (fig 77) . A custom program controlled the 28 integrated fixtures. The program slowly cycled through the spectrum and varied the saturation. Because this construction system has no known precedent, to engineer it meant performing substantial material testing. We gathered empirical results from small-scale experiments and extrapolated them into design criteria for the final form and from this were able to predict the behavior of the structure under anticipated loads.

April 2015

Pavilion represents the culmination of five P ulp years of experiments with material composites

To our knowledge this is the first architectural application of this material and process. As a construction system it holds tremendous potential for temporary buildings in terms of lifecycle, costs, availability of materials, structural efficiency and aesthetics.

Archinect magazine first award for R+D. Jurors included Marc Fornes, Joyce Hwang, AIA, and Steven Rainville, AIA. A total of 120 submissions, they identified nine projects—one first award, two awards, and six citations.

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Paper Pulp Pavilion

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Paper Pulp Pavilion

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409 267 1061 corie.saxman@gmail.com 2200 Toberman St, Unit 7, Los Angeles, CA 90007

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