c o p y r i g h t L e e
L u i s
K a r e n
S t u d i o
A l l
m a y
t h e
r i g h t s b e
r e s e r v e d .
r e p o r d u c e d
i n c l u s i o n
w i t h o u t
o f
p e r m i s s i o n
i n
C a
U n i v e r s i t y
b e a u t i f u l
t a l e n t e d
m o t h e r ,
f a t h e r ,
g r a n d p a r e n t s
D a v i d
a n d
a n d
b r i l l i a n t i n
m e m o r y
E r m a
b r o t h e r , o f
m y
F e r g u s o n .
L a n g e 4 0 0
a n y
p a r t
f o r m ,
o f
q u o t a t i o n s
w r i t i n g
p u b l i s h e r .
t h i s
e x c e p t
f r o m
e n j o y .
I S B N
m y
D e p a r t m e n t
N o
b r i e f i n
S t a t e
O b i s p o ,
A r c h i t e c t u r e
T o
R a m s e y
P o l y t e c h n i c
S a n
2 0 14
9 78- 1- 3 2 9 - 2 0 4 9 1- 1
i n
t h e
b o o k f o r
r e v i e w ,
a u t h o r /
Dedication
C a l i f o r n i a
D e r e k
Š
3
Table of Contents 1. 2 . 3 .
T r i k
-
m a t e r i a l
B i l a t e r a l
P r o j e c t i o n s
e x p e r i m e n t V e l l u m
-
m a t e r i a l
1.
S i t e
1.
E x t r a c t i o n
1.
T h e
1.
S t u d i o
2 .
2 .
e x p e r i m e n t -
p e r f o r m a n c e
e x p e r i m e n t
d i s c i p t i o n
S i t e
D i a g r a m
5
T e c h n i q u e
M a n u f a c t u r i n g
E m e r g i n g
4 0 0
Contents
07. introduction 09. issue 17. the material 44. the site 52. the method 63. the proposal 104. sex tape 132. appendix
i d e a s
O c e a n
t h e s i s
P l a s t i c
b o o k
D i g e s t e r
s h o w c a s e
e r y e n r a i o e a y e
i c a n s u s e 2 , 5 0 0 , 0 0 0 p l a s t i c b o t t l e s e v h o u r , m o s t o f w h i c h a r e t o s s e d a w a y . C u t g l o b a l M S W ( m u n i c i p a l s o l i d w a s t e ) g e t i o n l e v e l s a r e a p p r o x i m a t e l y 1. 3 b i n t o n s p e r y e a r , a n d a r e e x p e c t e d t o i n s e t o a p p r o x i m a t e l y 2 . 2 b i l l i o n t o n s p e a r b y 2 0 2 5 . T h e e a r t h ’s t r a s h i s i n c r e a s i n g w i t h p o p u l a t i o n , a n d t h e r e i s n o t m u c h w e c a n d o t o p o t e n t i a l l y p r e v e n t t h i s o r a v o i d i t i n t h e n e a r f u t u r e . S o l e t s e m b r a c e i t . W h a t c a n a r c h i t e c t u r e d o w i t h t h e t r a s h i n o r d e r t o a s i s t w i t h a d a p t a t i o n a n d o v e r c o m i n g a s h u m a n s i n t h i s w o r l d o f w a s t e ? T h e i d e a o f a filter as a porous article or mass through w h i c h a g a s o r l i q u i d i s p a s s e d t o s e p a r a t e o u t m a t t e r i n s u s p e n s i o n , i s a n i n t e r e s t i n g c a t a l y s t t o a w a y o f t h i n k i n g o f a r c h i t e c t u r e a s a t o o l f o r tidying u p t h e e n v i r o n m e n t . A t o o l f o r c h a n g i n g t h e w a y o n e l o o k s a t c o n s u m p t i o n a n d w a s t e t o d a y , h e r e a n d n o w . The Great Pacific Garbage Patch, r e c e n t l y e x p o s e d w i t h i n t h e p a s t 2 0 y e a r s , a l l o w s f o r i n t e r e s t i n g p o s i b l i t i e s a s a n e w l y d i s c o v e r e d land w i t h a s e e m i n g l y u n l i m i t e d b u i l d i n g r e s o u r c e . E s s e n t i a l l y c r e a t i n g a city t h a t i s s e l f o r g a n i z e d u s i n g b u i l d i n g b l o c k s m a d e o f t h i s t r a s h t h a t w i l l g e n e r a t e a n evolving structure, c a n c o n c e i v a b l y a n t i c i p a t e s y s t e m a t i c h u m a n e c o l o g i e s o n a m a n m a d e i s l a n d m a n u f a c t u r e d o f t h e u s e r s o w n p r o d u c e d w a s t e .
Contents
A m e r r r n e l l c r r
7
01. issue
T his order is all composed of mov ement and change, and althou gh it is life, not art, we may fancifu lly call it the art form of the city and liken it to the dance - not to a simple minded precision dance with ev eryone kicking u p at the same time, twirling in u nison and bowing of en masse, bu t to an intricate ballet in which the indiv idu al dancers and ensembles all hav e distinctiv e parts which miracu lou sly reinforce each other and compose an orderly whole.
- W a r r e n
W e a v e r ’s F o u n d a t i o n
R o c k e f e l l e r E s s a y
emergence
“
“
9
( 1)
“I think the next century will be the century of complexity" -- Stephen Hawking, 2000
k
emergence
emergence
S e l f o r g a n i z i n g s y s t e m s o r i g i n a l l y p a r t i n n a t u r e . F r o m t e r m i t e s t o d s , d o w n t o t h e m o l e c u l a r s y s t e m o f v e s , s e l f o r g a n i z i n g s y s t e m s a r e v e r y o g e n e o u s a s t h e y a r e m a d e o f i n d i v i d u a l t s t h a t t h e n f o r m i n t o a w o r k i n g m a c h i n e a c c o m p l i s h a b i g g e r , m o r e i m p o r t a n t t a s k . r e h a v e b e e n m a n y d i f f e r e n t o b s e r v a t i o n s e x p e r i m e n t s f r o m s c h o o l s l i k e H a r v a r d V i e n n a U n i v e r s i t y o f T e c h n o l o g y w h o a n d s i m u l a t e t h e s e s e l f o r g a n i z i n g d u c t i o n s t h r o u g h r o b o t i c s , s e n s o r s , a n d e n s i v e r e s e a r c h o n b i o s e m i o t i c s . W i t h o u t g e t t i n g t o o e n t a n g l e d i n the scientifically detailed realm of these s y s t e m s , t h e r e i s a b e a u t i f u l a p p l i c a t i o n o p p o r t u n i t y t o c r e a t e a s e l f o r g a n i z i n g a r c h i t e c t u r e , w h i c h i s c o m m a n d e d b y t h e a c t i o n s a n d p a t t e r n s o f i t ’s u s e r s f r o m t h e m a t e r i a l s , t o t h e m o d u l e s , t o t h e w h o l e . E s s e n t i a l l y c r e a t i n g a k i t - o f - p a r t s f u e l e d b y a c o n t i n u o u s s t r e a m o f t r a s h m o d u l e s p r o v i d e d b y t h e s e a b e l o w . T h e r e h a v e b e e n a f e w d i f f e r e n t s t u d i e s a n d e x p e r i m e n t s f r o m H a r v a r d t h a t l o o k a t d i f f e r e n t w a y s o f m i m i c k i n g t h e s e s e l f o r g a n i z i n g e l e m e n t s i n o u r w o r l d t h r o u g h a s t u d y o f t e r m i t e s . T h e s e t e r m i t e s c o n s t a n t l y w o r k a s i n d i v i d u a l s i n s t i n c t i v e l y t o c r e a t e a “ h o m e ” f o r t h e i r c o l o n y a n d e v e n t u a l l y c o n g l o m e r a t e i n t o a s i n g l e m a s s , e v e r y t i m e . T h r o u g h r e s e a r c h , t r i a l a n d e r r o r s , a g r o u p o f H a r v a r d s t u d e n t s h a v e s u c c e s s f u l l y r e p r e s e n t e d t h i s s w a r m t e c h n i q u e t h r o u g h t e r m i t e i n s p i r e d r o b o t s t h a t t a k e b u i l d i n g b l o c k s a n d a s s e m b l e t o o b i r l e a h o m p a r t o T h e a n d a n d t r y p r o e x t
11
N a g p a l ,
R a d h i k a .
“ T h e
T E R M E S
P r o j e c t . ”
S e l f - o r g a n i z i n g
S y s t e m s
R e s e a r c h
H a r v a r d
G r o u p .
U n i v e r s i t y , 14
N o v .
2 0 0 8.
2 0 14 .
W e b .
< h t t p : / /
w w w . e e c s . h a r v a r d . e d u / s s r / p r o j e c t s / c o n s / t e r m e s . h t m l > .
t h e t h e T E R O r g U n i
m
i n t o s i z e M E S P r o a n i z i n g v e r s i t y
m e g a s t r u c t o f t h e i r o w j e c t w a s a p R e s e a r c h G 1 .
I n s p i r e d
b y
a c t i v i t i e s , [ 2 ]
t o
C o r n e j o ,
A l e j a n d r o .
“ P u b l i c a t i o n s . ”
S e l f -
R e s e a r c h
C S A I L ,
o r g a n i z i n g
S y s t e m s
2 0 11.
14
2 0 14 .
G r o u p .
W e b .
N o v .
< h t t p : / / w w w .
e e c s . h a r v a r d . e d u / s s r / p u b l i c a t i o n s / i n d e x . h t m l # 2 0 14 > .
d e v e l o p
t e r m i t e s o u r
a
u r n a r r o
g o a l
s w a r m
r o b o t s
c o o p e r a t e
l a r g e r
t h a n
i n
e s m b o d i t o f u p a a n d
t h e i r
t h e
T E R M E S
c o n s t r u c t i o n t o
b u i l d
a n y t i m e s . T t h e S e l t H a r v a
3 D
e s h e f r d
s o m e h o w , w i l l a l l o w f o r a i n t e g r a l i m p l e m e n t a t i o n i n t o a n a r c h i t e c t u r a l p r o b l e m o f f e r i n g e n d l e s s p o s s i b i l i t i e s o f g r o w t h , a d a p t a t i o n , a n d a m a t r i x o f s o l i d a n d v o i d t o c r e a t e s p a c e s h a b i t a b l e b y h u m a n s . . . S e l f o r g a n i z a t i o n o r e m e r g e n c e a p p l i e d t o a n a r c h i t e c t u r e i s n o w t h e i s s u e p r e s e n t e d . H o w d o e s a s i n g l e m a t e r i a l , e l e m e n t , o r m o d u l e c o l l a b o r a t e t o c r e a t e a n a l l e m c o m p a s s i n g a r c h t i t e c t u r a l k i t - o f parts that seem to move fluidly together
b u i l d i n g p r o j e c t
s y s t e m
i n
i s
w h i c h
s t r u c t u r e s
m u c h
t h e m s e l v e s .
h t t p s : / / l h 6 . g o o g l e u s e r c o n t e n t . c o m / - 4 k P w r y x 7I Z c / U y N q y I U C y l I / A A A A A A A A L L M / b A R O C w t 3 c z w / s 80 0 / t e r m e s - l o n g s t a i r 3 - e l i z a . j p g
H a r p r o g r a m a b m i n i - r o b o d i m e n s i o n
v a r d h a s l e s e l f - a s t s t h a t a l i m a g e s b
a l s o c r e a t e d s e m b l y o f 1, 0 0 c a n c r e a t e t w a s e d o n t h e i n p u 0
a
t
( 3 )
o
( 2 )
i m a g f r o m a b l e p l a n m o r e and f o r m o f v r o b o o f f e f o r m i n a
e
p r o v i d e d . T h e s e a r e d i f f e r e t h e T E R M E S b e c a u s e t h e y a r e o n t o w o r k i n a t w o d i m e n s i o n e b u t t h e y a r e a b l e t o c r e a t e m u o r g a n i c s h a p e s b y c o l l a b o r a t i fitting together like gum-balls a w h o l e i n t e r c o n n e c t e d p r o d u c t i i b r a t i n g q u a r t e r s i z e d a u t o n o m o t s . T h e s e r e c h a r g e a b l e r o b o r u n l i m i t e d p o s s i b i l i t i e s f , o r g a n i z a t i o n , a n d a d a p t a b i l i t t w o d i m e n s i o n a l p l a n e . 2 M e r g i n g t h e s e t w o t e c h n o l o g i
n t l y a l c h n g to o n u s t s o r y , e s
( 4 )
emergence
[ 1]
t o
c o n e v o i s to s o l s o c
r e s u l t i n d u c t e d b y l v i n g , c o n n e s s e n t i a l create a u t i o n t o t h i e t y a s w e e
a t i
k
e
b e a u t i f u l p r o d u c t i o n h e u s e r / o f f e n d e r . A n c t e d , a u t o n o m o u s s y s t e m n t h i s a p p l i c a t i o n a s flexable architectural e x p o n e n t i a l l y g r o w i n g n o w i t .
13
15
emergence
( 5 )
the material
02. materials studies
17
P a r t t h e i n o r
o n e
u s e
o r d e r
a
a
w a s t e
p o t e n t i a l
t h r e e
w a s t e
t o
c r e a t e
p a r t
m i x e d
m a t e r i a l
c r e a t e
o f
a n d t o
a
t h e
t h a t
t h e
b u i l d i n g
a
b o n d i n g
o f
a
c a n
i n t o
m a t e r i a l
e s s e n t i a l l y t h a t
s o m e t h i n g
T h e
t r i k
c o n v e r s a t i o n
m o d u l e
e v a l u a t e d
b u i l d i n g
a r c h i t e c t u r e
w o r l d
b e a u t i f u l .
e n t e r
e x p l o r a t i o n
w i t h
s o m e w h a t
s u s t a i n a b l e
l i v a b l e , o n e
o f
b u i l d i n g
c r e a t e t h e
o f
o f
b l o c k
h e l p
r e h a s h e s u s a b l e ,
h a s
h o w
t h e
w o u l d
architecture architecture is is the the
the material
TRIK
19
t r i k
s t u d y
# 2
p i n k
i n s u l l a t i o n
m e d i a : w o r k â&#x20AC;? f o u n d
â&#x20AC;&#x153; f o a m -
p l a s t i c
r e s i n
T R I K
# 2
c o n s i s t e d
o f
f o r m w o r k t h e
b r i c k .
( f o a m w o r k )
p r e v i o u s
o r g i n a l l y
i n
f o a m w o r k
s u p o s e d
a f t e r
h a r d e n e d
m e l t e d
o r d e r
m o r t a r r e s i n
d o w n
f o r
g o t
t o
t h e
f o a m w o r k
y e t
w i t h
m a n a g e a b l e
a n d
t h e
w i t h
f o r m
t h e
s o
f r o m
r e s i n / t r a s h
T h e
r e m a i n i n g h a d
d i f f e r e n t
t o
w a s
b e
b r i c k
w o u l d
b e
s o r t
o f
a c e t o n e
a
b r i c k s .
T h e
i n t o
u n -
h o t
i t
o o z i n g
b e a u t i f u l
aW frozen lava flow.
m e l t e d
a n
m e s s ,
f o r m
a s
the material
( b o n d e r )
21
t r i k
s t u d y
m e d i a : p i n k
# 3
i n s u l l a t i o n
( b o n d e r ) f o u n d
p l a s t i c
a c e t o n e
T h i s c o m p o s i t i o n c o n s i s t s o f 5 0 % m e l t e d f o u n d
p i n k
i n s u l a t e d
p l a s t i c
l a y e r e d
f o a m
l i k e
a n d a
l a s a g n a , w i t h e a c h l a t e r m o r p h i n g i n t o
a f t e r a n d i t
e a c h a
f e w
o u t
o r i g i n a l l y
o f
E v e n t u a l l y
w e e k s
e v a p o r a t i n g
c r e a t e s
b l o c k
o t h e r .
a
t h e
o f
a c e t o n e ,
u s e f u l
s o m e t h i n g
m e a n t
d r y i n g
t o
b e
f o r t h e b u i l d i n g b l o c k .
b u i l d i n g
a
t h a t
w a s
m o r t a r
the material
T R I K # 3
23
b
the material
ilateral
25
projections
T h i s
e x p e r i m e n t
w a s
a n
o b s e r v a t i o n
o n
p e o p l e s
reactions to there own reflection being distorted, e x p e r i e n c e d . a t t r a c t t h e y
t h e
r e a c t e d
i n
f r o n t
o n
t h e
m o c k
o f
m o t i o n
I s a d o r a .
w a l l
c o n n e c t e d o n e f o r
a n d
w i t h
a n
f r a m e
B y
t o
s c e w e d T h e
t o
i n s t a l l a t i o n
i d e a
t h e
a n d
p r o v i d i n g t w o
s e e m e d
t h e n
t w o
T h e
t o
w a s
s e e
h o w
m e a n t
t o
p r e s e n t e d
p r o j e c t
p r o g r a m
r e c o r d i n g
w h e n
w i t h o u t ,
m u s i c a l
g r a b
m o v i n g
a s p e c t
p e o p l e s
n e v e r
e s s e n t i a l l y
a n d
p r o j e c t i o n s
o t h e r
r e a c t i o n
h a v e
m a c h i n e
c o m p u t e r
t h e
t o
d e v i c e
s e p a r a t e
a n d
o t h e r .
w a s
a n d
a
t h e y
p a s s e r s b y
T h i s
s o u n d
t h r o u g h
w a y
m o c k i n g
t h e m .
e f f e c t s t h e
a
n a r c i s i t i c
i n t e r e s t i n g
t o
i n
a n
i m a g e
c a l l e d
d i r e c t l y
d e v i c e s , a l l o w e d
f r o m o f
o n e
t h e
a t t e n t i o n
at first and brought them to the installation.
the material
c o l o r i z e d ,
27
the material
29
THE USER
THE IMAGE
v
r e s u s e
c o m m e n c e d .
t r a s h
ellum
t o a
t w o
o f
c r e a t e
s o r t
u s e d
o f
a n
s o m e t h i n g P a r t
b u i l d i n g
a
a n d
o u t
o f
u s e d
t h e
c u t
t w o
h a l v e s
t o
o f
a n d
m a k e
t h i s
o i l
t h e
b l o c k
d r u m
a n d
b a r r e l
i s
O n e
t h e n
c u t
c r e a t e
t h r o n e - l i k e
c h a i r
b a r r e l s
t h e
b e
o t h e r
s t o r a g e .
I I
w a y s
o f
i n
e r a .
u s i n g
a n d
o f
o f
t h i s
b e
t o
T h e
y o u
w o u l d
t h a t
s e e m s
w o r l d
a n d
s u p p o r t
t h e m
t r a s h
a n d
c r e a t i n g
t h e
a
a r e
o t h e r
u s e
o f
c h a i r
f u n c t i o n a l ,
i d e a s
t h a t
T h e r e
h a s
c r e a t e
f u l l y
t h a t
â&#x20AC;&#x153; t r a s h â&#x20AC;?
u s e f u l
a n d
e m b o d i e s
a w a r e n e s s
p o s t - a p o c a l y p t i c o i l
o u t
P a r t
t h e
t h e s e
t a k i n g
c o m f o r t a b l e .
o n e .
t h a t
a p p e a l i n g
w a s
i n t e r i o r
g l a m o r o u s ,
f o r
I
s t r u c t u r a l l y .
c o m f o r t
h a v e
a r c h i t e c t u r a l
w o u l d
b e h i n d
r e v e a l
a n d
t o
o n l y
t h e
b a c k i n g b e
f r o m
t h e r e
m u s t
m i l l i n o s t h a n
o f
d u m p
Vellum
P a r t
5
M e d i a :
g a l l o n
R i v e t s
p a i n t
R i v e t
i n
c h i l d r e n ?
t h a t
t h e y t o o l
w o u l d
were u s e d f a m i l y
T o o l s : D r e m e l
b u c k e t
O n e
I f
a
b e c o m e ? t h a t
w i l l
w o u l d
a t
i m p a c t
t h e y
r e l i e d
P e o p l e
o n
t h a t
l i v e
l e a s t
h a v e
T h e
h a l f a n d
f o u n d a t i o n
u s e d
t h e s e
t h a t
i n
a
r e c y c l e d
p o s s i b l y ,
t h e
c o n t o u r
p o r t i o n
o n
i f
h o m e
t h e m s e l v e s
q u i t e
c h a i r s
h a d
h o m e
s m a l l
f u r n i t u r e
f r o m
o f
a
t h e
o b j e c t s
c u t
t h a t
c r e a t i n g
t h e
t o p
t h e
t h e
n e v e r W h o
b e t t e r
l o c a l
g r i d ?
m a k e
a n d
w i t h
t h a t
a
( f r e e )
c o n s t r u c t e d
t h e
c h a i r .
s e a t
t w o
c r e a t i n g T h e
P e o p l e
n e g a t i v e b u t
a p p r e c i a t i o n
m a t e r i a l s .
r e l e a v e d
h a l f
a
k n o w s ,
p o s s i b i l i t i e s
Chucket w a s
f o r
o f f
e n v i r o n m e n t ?
c o n s u m e r
b o t t o m
w e r e
A
w h a t
W h a t k i n d o f p e o p l e w o u l d t h i s f a m i l y
u n d e r s t a n d i n g
o n e
h o m e ?
m a n u f a c t u r e d
m a t e r i a l s .
p o s t
a s k ,
a n d
u s e s
b y
a n d
c h u c k e t
a n d
o f
m a k i n g
h a l v e s ,
t h e
t h e y
t h e
w i n g b a c k
f r a m e h a s
a n d
t h e
potential to be flipped back into a bucket for a p e r f e c t
b e a c h
p i c n i c
C h u c k e t .
Vellum
the chucket
33
M e d i a :
C a r d b o a r d R i v e t s
s p i c e
d r u m
T o o l s : R i v e t
S a w
t o o l
Vellum
J i g
35
LEFT ELEVATION
Vellum
TOP
37
FRONT ELEVATION
M e d i a : 5 5
g a l .
U s e d
v i n y l
F o a m
B a n s a w
W e l d e r
h a n d
o i l
d r u m
b a n n e r s
b l a d e
T o o l s : F r e e
s t e e l
p l a s t i c
p l a s m a
c o v e r
c u t t e r
Vellum
G r i n d e r
39
Vellum
41
34
s e e
s o m e
t e c h n o l o g y v e r s i o n
a s
o f
t r y i n
t o
i n
t h a t
w i l l
t h i n k
t h e
p u t
n e w
l a t t e r - d a y
n e w
a n d t h e
t h i n k
R i s n i c k
o f w h a t
t h e
a b o u t
o f
t y p e s
h a n d s
c h a n g e
g i f t s ,
s o r t s
n e w
a b o u t - a n d
- M i t c h
o u r
F r o e b e l ’s
m a t e r i a l s t o y s
o f
w a y
o f
k i d s t h e y t h e y
i t .
f r o m
S t a r L o g o
“
Vellum
“
W e
43
Site
03.THE PATCH 45
( 6 )
Site
GREAT PACIFIC GARBAGE PATCH
h a v e
Great Pacific Garbage Patch s i t e
o f
p o i n t
I s o l a t e d
10 0 0
m i l e s
f r o m
l a n d
i n
w o r l d ,
c i v i l i z a t i o n ,
a w a y
f r o m
n e a r l y
t h e
t h e
t o o .
n e a r e s t
G r e a t
b u t
h y p o t h e s i z e d
t h i s
t o
Pacific Garbage Patch was first discovered i n
19 9 7 b u t
p a t c h
b a c k
c o n s i s t s
o f
d i r e c t i o n i n
t h e
s c i e n t i s t s
i n
19 88.
a
a n d
j e t
o f
t h e
e x t r e m e l y w h e r e
h e n c e
C o n v e r g e n c e o f
g o i n g
o f
a
a l s o
k n o w n
a
i n
c u r r e n t
c r e a t i n g
w h i l e
c e n t e r ,
m i l l i o n s
v o r t e x
o c e a n ’s
w a t e r
c a l m
S u b t r o p i c
s t r e a m
t h e
o p p o s i t e
m o t i o n
T h i s
Z o n e .
p o u n d s
T h i s
o f
s i t e
a s
p l a s t i c
O b v i o u s l y a s
v i e w s ,
e n p h a s i z e
o f
a n
A s i a .
T h e
i s
w h i c h
c o u l d
m a i n l a n d
t h e b e
i s
a n d
16 , 0 0 0 f t
c u r r e n t s
o f
t h e
w o r k
i n
t h e
a n d
c r e a t i n g
S c r i p p s
t h e
s i t e
s a y s t h a t t h e p l a s t i c i s c h a n g i n g t h e o c e a n i c
a n d
o f
T e x a s
a n d
M i r i a m
R e s e a r c h
s u r f a c e
t o
t h e
c o n t e x t
p r o v i d e d
l o c a t e d
f o r m
p e a c e f u l n e s s A l t h o u g h o n e t h e
i s
w i l l
i n
i n
l e v e l .
o f
h a v e
v i s i b l e
t h e a
t o
T h e
f r o m
a
i s
t a k e s
b y
i t ’s
m i l e s
a w a y
s e n s e
n o t
l i k e
s i t e
i s
m o r e
h i g h e r ,
t o w a r d s
s u n s e t ,
h e l p f u l . i n
t h e
b e t w e e n
t h e
a
b e
t h e
w i n d
a n d
o c e a n
a
s e n s e
c o u l d
p r o d u c e r s
f o r m / s t r u c t u r .
a l l o w s
i n t e g r a t e d a t t e m p t
e n v i r o n m e n t
t o
a n d
f o r
i n t o
a t
p r o g r a m s
s p e e d s
e n e r g y
t h e
a
t h e
r e d u c e
a n i m a l
T h e
b u i l d i n g
o f
t h e
t h i s
l i f e
a n d
p o i n t
i s o l a t i o n
f a v o r . a l s o
T h e
a l l o w
i n t e g r a t e d
p l a s t i c
m a t e r i a l
s t r u c t u r e
t h e
U S
i m p a c t
a r o u n d .
a s
o n
o n
t o
w e l l
t h e
n o r m a l l y
b e c a u s e
l o c a t i o n .
T h e
a d v a n t a g e
f r o m
f r o m
t o
t h e
c r e a t u r e s
c h o s e n
f e e l i n g
w o r l d ,
o f
a n d
p r o v i d i n g
c r a b s
i n t o
d e e p .
s i t e
b e
i t
49
1
s i t e
o r d e r
c u r v i t u r e
f e e l i n g
a n d
10 0 0
c r e a t i n g
a
t h e
i s
f o r
a n d
a r e a .
9 ’- 0 ”
v i s i t e d
o n t o
t h e
f r o m
p l a s t i c
l a t c h
U s u a l l y
v i e w s
h a s
b a r n a c l e s ,
d o m i c i l e i t ’s
G o l d s t e i n
T h i s
t o
m u s c l e s ,
a r e a
a p p r o x i m a t l e y
I n s t i t u t e
e c o s y s t e m .
i s
i s
a n
b e
a n d / o r
l i n e s
d e p t h
p o t e n t i a l
w i t h i n
w o u l d
t h e
h a w a i i
f o r
d i s t r i b u t e d
i d e a
w o u l d
o p e n i n g s
s u n r i s e
c a b l e
s i z e
f o u n d
t h i s
c o m p a r e
v e r t i c a l l y
h o r i z o n t a l l i k e
t o
c u r v a t u r e
t r a v e l s
C o n s i d e r i n g
c o m m u n i c a t i o n
c a n
t h e
o n e
p r o v i d i n g
c e r t a i n
g o i n g
c e n t e r
h o r i z o n t a l
middle of the pacifific ocean, there are
o n e
s p i r a l i n g
c o n s i s t i n g
s t r a i g h t
p r e v e l a n t
f a r t h e s t
t h e
t h e
a
Site
[1] http:// deepseanews. com/2012/08/ three-ways-oflooking-at-thegreat-pacificgarbage-patch/
o f
g e t
t h e
a
e a r t h
a b i l i t y
a t
a n y
e l e v a t i o n
o f
w i l l
o f
t o
T h i s
a s
o r
w h e r e
c r e a t e
e a r t h
l o n g
s e e a
h e i g h t
1, 0 0 0 ’ f r o m t h e
l a n d
s o c i e t y .
s e n s e
p l a c e .
b e
c u r v a t u r e
a l o n e n e s s ,
e v e r y d a y
t h e
G P G P
h e a r e s t
o f
t h e
l e a s t
o f
o f
a s
s e a i s
y o u
Americans consume over 80,000,000,000 aluminum cans every year. Americans use 2,500,000 plastic bottles every hour, most of which are tossed away. Current global MSW (municipal solid waste) generation levels are approximately 1.3 billion tons per year, and are expected to increase to approximately 2.2 billion tons per year by 2025. The earth’s trash is increasing with population, and there is not much we can do to potentially prevent this or avoid it in the near future. So lets embrace it. What can architecture do with the trash in order to asist with adaptation and overcoming as humans in this world of waste? The idea of a filter as a porous article or mass through which a gas or liquid is passed to separate out matter in suspension, is an interesting catalyst to a way of thinking of architecture as tool for cleaning the environment. A tool for changing the way one looks at consumption and waste today, here and now. The Great Pacific Garbage Patch has just recently been exposed within the past 20 years by a captain who sails between Hawaii and California. Using the GPGP as an architectural site not only allow for interesting ways in order to recycle but may create a sense of awareness for the user by placing them in trash. Essentially creating a “city” that is self organized using building blocks made of
Site
51
[ 7]
food food foodsource?..........no! source?..........no! source?..........no!
Program
04. method 53
[ 8]
187’
The Aquapolis Platform
35,000sqft
(As Inspiration)
O r i g i n a l l y
d e s i g n e d
attraction,
a s
this
a
J a p a n e s e
floating,
t o u r i s t
self-sustaining,
floating super-structure was used for the 1975 w o r l d
e x p o .
p a r t s , l i v i n g t a n k
c h l o r e l l a f o r
m a n u f a c t u r i n g f r e s h
w a t e r .
I n s p i r e d
A q u a p o l i s
w a s
b y
i t s
o i l r i g
d e s i g n e d
a s
o n e
c o u n t e r o f
t h e
first self-sustaining floating structures of its s i z e
( c a p a b l e
p r o g r a m
o f
w i t h i n ) .
m o b i l e ,
h o u s i n g T h e
t h e r e f o r e
10 0 , 0 0 0 s q f t
o f
u s a b l e
r e l o c a t i o n .
I t ’s
p l a t f o r m
a l l o w i n g
i s
e s s e n t i a l l y
first long voyage of 600 miles was from the ship y a r d
w h e r e i s
a
o f
H i r o s h i m a
t h e
t a n k ,
s t r u c t u r e w h i c h
i s
e x p o
t o o k
t o
g l o w i n g
h o u s i n g
c a p a b l e
o f
t h e
p l a c e .
s m a l l
g r e e n ,
b i l l i o n s
I t
i n
o f
i s l a n d
i s
t h e
s a i d
O k i n a w a
t h a t
t h e r e
h e a r t
o f
f r e s h
w a t e r .
l i v e
m a n u f a c t u r i n g
o f
t h e
c h l o r e l l a ,
Next stop, the Great Pacific Garbage Patch...
Program
1
87’
55
elie ahoviâ&#x20AC;&#x2122;s marine drone
[ 10 ]
Program
EXTRACT EXTRACT EXTRACT
E l i e
w o r k e d
A h o v i ,
m a r i n e f o r
w i t h a b l e
2
i n d u s t r i a l
c l o s e l y
d e s i g n e r s [ 9 ]
a n
t o
d r o n e
w e e k s a n
t o
a s
i t
b e
f o u n d
w i t h
t h a t
i s
i n f r a s o u n d
w a r n
m a r i n e
a p p r o a c h e s ,
p l a s t i c .
T h i s
a n d
n a v a l
d e v e l o p e
s t r a i g h t
i s
a
b r o u g h t
e n g i n e e r s
p l a s t i c o f
s y s t e m ,
t h e
n e c e s s a r y .
o r g a n i s m s t h e
b a c k
t o
a n d
E q u i p p e d
d r o n e
i s
p a t h
m a t e r i a l
w i l l
t h e
o f
o p p e r a t i n g
i t s
o n l y
r a w
h a s
e x t r a c t i o n
c a p a b l e
i f
t h e r e f o r e h o w
d e s i g n e r
e x t r a c t i n g
s t r u c t u r e .
57
MANUFACTURE MANUFACTURE MANUFACTURE 3 d
t h e
t o
i s
l e t
c o m i n g
i t
s h o w
a r c h i t e c t u r a l
l o n g
w a y
t r u e
w o r l d .
a n d
i t s
p o t e n t i a l
T h e
i n
K a m e r M a k e r ,
designed by a dutch firm, is capable of p r i n t i n g a r e
a l s o
2 . 2 m
c o n s u m e r
x
2 . 2 m
m a c h i n e s
c r e a t i n g e a c h
o t h e r
o u t
p l a s t i c s
printing filament. c o m p l e x
p h y s i c a l l y
r e c y c l a b l e .
x
3 . 5 m
a n d
m o d u l e s .
t h a t
m a k e
h a v e
t h e
d e s i g n
m e l t
t h e m
d o w n
T h e r e
i n t o
p o s t
3 d
Using this filament and
m o d u l e s
p r o g r a m a t i c a l l y ,
c o m p r e h e n s i v e
[ 11]
i t s
a
t h a t
s p a c i a l l y ,
p o t e n t i a l t h a t
i s
r e a c t
t o
w i t h
c r e a t e
a d a p t a b l e
a n d
a n d
a Program
large scale 3d printing
t i m e
p r i n t i n g
59
Program
[ 12 ]
61
The Proposal
05. the proposal
63
Rising from deep within the Great Pacific Garbage patch, rather than existing solely as a society for the elite, FANTASEA is a conglomeration of designers, scientists and students that thrive off of flexibility and unrestrained creativity. This machine incubates perpetual research and design from which revolutionary ideas emerge, constantly allowing adaptive frameworks for innovation and introductions of new and useful technologies, architecture and products.
The Proposal
The Great Pacific Garbage patch provides an abundance of raw material for the digesters, which consume the floating polymers and strategically convert them to filament. New and existing technologies like 3d printing, sensory robotics, and adaptive mega structures, make it possible for the floating plastic waste to convert into a viable building material, which is organized automatically by the project into a self-sustaining artificially conscious machine/society. Based on a series of inputs from the users, the machine anticipates systematic human ecologies on a newly created and constantly n expanding island manufactured from the users own misplaced waste.
65
This order is all composed of movement and change, and
The Proposal
67
This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance - not to a simple minded precision dance with everyone kicking up at the same time, twirling in unison and bowing of en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. -anonymous
The Proposal
site plan
69
The Proposal
71 SPIGRADISK IS MANUFACTURED ocean plastic level
The disk is packed with supplies and the capabilities for the first colonization of the Great Pacific Garbage Patch. The disk includes a factory to produce the building material for FANTASEA, small living quarters, agriculture, and the beginnings of a polyester textile mill in order to export fashion around the world.
SPIGRADISKâ&#x20AC;&#x2122;S ocean plastic level
Capable of hold Blue Marlin or a Spigradisk to its Garbage Patch.
The Proposal
73 SPIGRADISK IS MANUFACTURED ocean plastic level
The disk is packed with supplies and the capabilities for the first colonization of the Great Pacific Garbage Patch. The disk includes a factory to produce the building material for FANTASEA, small living quarters, agriculture, and the beginnings of a polyester textile mill in order to export fashion around the world.
SPIGRADISKâ&#x20AC;&#x2122;S FIRST VOYAGE ocean plastic level
Capable of holding 55 people and a load up to 600 feet long, the MV Blue Marlin or a similar semi-submersible ship will be used to haul the Spigradisk to its pre-determined destination in the Great Pacific Garbage Patch.
DEPLOYMENT ocean plastic level
The disk is pack zation of the Gre produce the bui agriculture, and export fashion a
MANUFACTURED
ed with supplies and the capabilities for the first colonieat Pacific Garbage Patch. The disk includes a factory to lding material for FANTASEA, small living quarters, the beginnings of a polyester textile mill in order to around the world.
The Proposal
75 SPIGRADISKâ&#x20AC;&#x2122;S FIRST VOYAGE ocean plastic level
Capable of holding 55 people and a load up to 600 feet long, the MV Blue Marlin or a similar semi-submersible ship will be used to haul the Spigradisk to its pre-determined destination in the Great Pacific Garbage Patch.
DEPLOYMENT OF SPIGRADISK ocean plastic level
The disk is packed with supplies and the capabilities for the first colonization of the Great Pacific Garbage Patch. The disk includes a factory to produce the building material for FANTASEA, small living quarters, agriculture, and the beginnings of a polyester textile mill in order to export fashion around the world.
BOT DEPLOYM ocean plastic level
The disk is packe zation of the Gre produce the buil agriculture, and export fashion ar
FIRST VOYAGE
ng 55 people and a load up to 600 feet long, the MV imilar semi-submersible ship will be used to haul the pre-determined destination in the Great Pacific
The Proposal
77 DEPLOYMENT OF SPIGRADISK ocean plastic level
The disk is packed with supplies and the capabilities for the first colonization of the Great Pacific Garbage Patch. The disk includes a factory to produce the building material for FANTASEA, small living quarters, agriculture, and the beginnings of a polyester textile mill in order to export fashion around the world.
BOT DEPLOYMENT ocean plastic level
The disk is packed with supplies and the capabilities for the first colonization of the Great Pacific Garbage Patch. The disk includes a factory to produce the building material for FANTASEA, small living quarters, agriculture, and the beginnings of a polyester textile mill in order to export fashion around the world.
EXTRACTION ocean plastic level
Bots extract the processed into fi growth processâ&#x20AC;Ś Polymers are ex spiradisk where quite simple. Th polyester where that be exported preparing for th
The Proposal
79 OF SPIGRADISK
ed with supplies and the capabilities for the first colonieat Pacific Garbage Patch. The disk includes a factory to lding material for FANTASEA, small living quarters, the beginnings of a polyester textile mill in order to round the world.
BOT DEPLOYMENT ocean plastic level
The disk is packed with supplies and the capabilities for the first colonization of the Great Pacific Garbage Patch. The disk includes a factory to produce the building material for FANTASEA, small living quarters, agriculture, and the beginnings of a polyester textile mill in order to export fashion around the world.
EXTRACTION BEGINS ocean plastic level
Bots extract the plastic and bring it back to the Spigrodisk whereit is processed into filament in the heart. This is then used to initiate the growth process…. Polymers are extracted from the Pacific Ocean and brought back to the spiradisk where it is then sorted and turned into a building material. quite simple. The unusable scraps are then formed into polyester where the fashion team will go to work and develop styles that be exported from “Fantasea” ergo establishing awareness and preparing for the events to come.
INITIATE STRETC n ocean plastic level
Predicted intersit Spaces are printe Probblob bots are
MENT
ed with supplies and the capabilities for the first colonieat Pacific Garbage Patch. The disk includes a factory to lding material for FANTASEA, small living quarters, the beginnings of a polyester textile mill in order to around the world.
The Proposal
81 EXTRACTION BEGINS ocean plastic level
Bots extract the plastic and bring it back to the Spigrodisk whereit is processed into filament in the heart. This is then used to initiate the growth process…. Polymers are extracted from the Pacific Ocean and brought back to the spiradisk where it is then sorted and turned into a building material. quite simple. The unusable scraps are then formed into polyester where the fashion team will go to work and develop styles that be exported from “Fantasea” ergo establishing awareness and preparing for the events to come.
INITIATE STRETCH SEQUENCE n ocean plastic level
Predicted intersitial Spaces are printed with vertical circulation integrated. Probblob bots are launched
PROGRAM BO ocean plastic level
Once the plastic done and the ne once and for all. becomes its own to various ship b this inevitable d everlasting spiri over the world in remains of Fanta reincarnation of forgotten waste
N BEGINS
he plastic and bring it back to the Spigrodisk whereit is o filament in the heart. This is then used to initiate the ss…. extracted from the Pacific Ocean and brought back to the re it is then sorted and turned into a building material. The unusable scraps are then formed into ere the fashion team will go to work and develop styles ted from “Fantasea” ergo establishing awareness and the events to come.
The Proposal
83 INITIATE STRETCH SEQUENCE n ocean plastic level
Predicted intersitial Spaces are printed with vertical circulation integrated. Probblob bots are launched
PROGRAM BOTS DEPLOYMENT ocean plastic level
Once the plastic has been fully extracted the Digester’s job is done and the next step is to rid the ocean of the polymer mass once and for all. The Network becomes severed and each disk becomes its own entity once again. These disks are then towed to various ship breakers throughout the world which are awaiting this inevitable death sentence. Fantasea now creates an everlasting spirit of innovative ideas that can be distributed all over the world in the form of a series of objects created by the remains of Fantasea that are being recycled. “Architecture is the reincarnation of trash” now makes a full circle and puts the once forgotten waste back into the hands of the consumer.
CONSENSUAL SEX SOCIAL ACTIVITIES
NETWORK OF PATHS LINED WITH PARK SPACE LINK THE LINEAGE OF ISLANDSTOGETHER TO CREATE A MORE DIVERSE SET OF COMMUNITIES BY ALLOWING MIGRATION BETWEEN PADS.
The Proposal
EACH DISK ALLOWS SPACE FOR AGRICULTURE AND ANY TYPE OF ORGANIC GROWTH.
85
1. Design a. Design studios b. Computer programming c. University d. Fashion e. Science 2. Culture/Social Disk a. Runway (fashion) b. Night Club c. Political Gathering (Live stream of political events on land) d. Bathhouse (consens ual sex) e. Park (outdoor) 3. Resort/Temporary Living a. Rooms (small) b. Edible garden c. Underwater beach – pool d. Restaurant e. Interstitial lobbies on different levels f. Communal kitchen g. Observatory 4. Transportation Hub/Gateway a. Personal transportation cycle-‐capsules – station b. Helicopter landing – Helipad c. Ship acceptance - deck 5. Housing Disk a. Small apartments – all the same size b. Communal spaces c. Groceries d. Longhead turtle rehab facility 6. Services a. Miners b. Back of house c. Food – agriculture, fresh water, etc. d. Power – wind, solar, ocean current, bio reactors.
The Proposal
PROGRAM PROGRESSION
87
SPIGRADISK ANATOMY
LILY PAD PLATFORMS FOR AGRICULTURE GROWTH AND HELIPADS
RAW MATERIAL SORTING, HEATING, EXTRUDING, AND STORING EXTRACTOR/EXTRUDER MODULE MANUFACTURING
SPIROGRAPH INSPIRED MEGASTRUCTURE 3D PRINTER
POWER SOURCE - BIOLUMESENT ALGAE BIO-REACTORS
HYDROLIC LIFTS
BOUYANCY RING
The Proposal
SECONDARY STRUCTURE
89
LIVE CHLORELLA TANKS GENERATE FRESH WATER PRIMARY STRUCTURE DOUBLES AS SERVICE CORES FOR POWER, WATER, AND BUILDING MATERIAL PATHWAYS. VERTICAL CIRCULATION RAW MATERIAL DEPOSITORY
INITIAL DISK IS PLACED AND RAW MATERIAL IS DEPOSITED
AS SECONDARY STRUCTURE IS PRINTED PROGRAM IS INSERTED AND STRUCTURE STARTS TO EMERGE FROM THE OCEAN SURFACE
CONTINUAL EMERGENCE
The Proposal
MATERIAL IS PROCESSED AND PRIMARY STRUCTURE IS PRINTED
91 SECONDARY EXTRACTOR / EXTRUDER MODULES ARE CREATED IN THE DISK AND DEPLOYED
EXTRUDER/EXTRACTOR MODULE
MOBILE FILAMENT CREATER INITIAL DISK IS PLACED AND RAW MATERIAL IS DEPOSITED
BIOLUMINESCENT ALGAE BIOREACTOR
The Proposal
EXTRACTED POLYMER STORAGE
93
FIVE 3 AXIS 3D PRINTING ARM AR FULLY PROGRAMABLE TO ALLOW ANY DIAMETER WITHIN ITS CONSTRAINTS MATERIAL IS PROCESSED AND PRIMARY STRUCTURE IS PRINTED
EXTRACTED POLYMER STORAGE MOBILE FILAMENT CREATER SECONDARY EXTRACTOR / EXTRUDER MODULES ARE CREATED IN THE DISK AND DEPLOYED
BIOLUMINESCENT ALGAE BIOREACTOR FIVE 3 AXIS 3D PRINTING ARM AR FULLY PROGRAMABLE TO ALLOW ANY DIAMETER WITHIN ITS CONSTRAINTS
93
The Proposal
95
The Proposal
97
The Proposal
99
ARCHITECTURE ARCHITECTURE ARCHITECTURE IS IS THE THE THE REINCARNATION REINCARNATION REINCARNATION OF OF OF TRASH... TRASH... TRASH...
The Proposal
101
The Proposal
103
EMERGING EMERGING EMERGING OCEAN OCEAN OCEAN PLASTIC PLASTIC PLASTIC DIGESTER... DIGESTER... DIGESTER... EXTRUDING EXTRUDING EXTRUDING THE THE THE NEW NEW NEW OCEAN OCEAN OCEAN FRONTIER. FRONTIER. FRONTIER.
Š hilary arndt
06. sextape
studio 400 thesis book showcase
Installation video: https://vimeo.com/118506169
sextape
// Design Creating an ethereal book show experience STUCK was designed to embrace its visitors as they read Studio400â&#x20AC;&#x2122;s thesis research books. Professor Karen Langeâ&#x20AC;&#x2122;s fifth year studio (less commonly known as Studio400) at California Polytechnic State University produced STUCK over four days in order to create an idealistic environment for the digestion of their thesis research from the fall 2014 quarter. The structure constructed out of thirty five miles of tape has two main atriums holding the books in popular book holders and multiple inhabitable tendrils and tunnels for readers to sit in. The design and structural integrity of the packing tape was tested though a series of mock ups in the studio prior to installation weekend. The tendrils, able to hold up to five people at at time, provided cozy spaces for reading and lounging. // Experience Visitors to the book show after removing their shoes entered the installation through a main entry tunnel. Visitors were able to gather and browse the books in the atriums before climbing up into the tendrils for more intimate reading. As nighttime came, STUCK transformed into a alternate experience filled with thought provoking videos, music, and laughter.
107
sextape
35 MILES OF SELF A D H E S I V E PAC K I N G TA P E
sextape
500
MAN HOURS
sextape
113
Studio 400photo Participants: by: hilary arndtDerek Ramsey, Kyle Landau, Makai Johnson, Caleb Couch, Alex Buckthal, Parham Hakimi, Emily Saunders, Stephanie Thompson, Cameron Darr, Patrick Cordelle, Natalie Riccomini, Hilary Arndt, Billy Schreiber, Alexa Dack, Lauren Schultz, Meganne DeRosier, Adam Kogan, Kyle Murray. Professor: Karen Lange
PUBLICATIONS “Stuck” Thesis Book Show Installation
theCreater’sProject <http://thecreatorsproject.vice.com/ blog/get-stuck-in-a-giant-web-made-ofpackaging-tape>
TrendHunter
< http://www.trendhunter.com/trends/ studio-400>
sextape
DesignTaxi
<http://designtaxi.com/news/373007/ Hang-Out-In-This-Cool-SpiderWeb-Like-Installation-Made-FromPackaging-Tape/?interstital_shown=1>
117
[LINE] Chat history with スススス400 Saved on: 04/06/2015, 14:58
Sun, 02/01/2015 22:31 Derek [] Dexter Rd San Luis Obispo, CA 93405スhttp://maps.google. com/?q=35.300828,-120.664318
15:12
Derek invited Pepe Sanchez to the group.
15:12
Pepe Sanchez joined the group.
22:29
Derek invited Alexa Dack, K-money to the group.
22:30
K-money joined the group.
Fri, 03/13/2015 19:24
Alexa Dack joined the group.
19:44
Alexa Dack invited Cameron Dar to the group.
19:45
Cameron Dar joined the group.
Sat, 03/14/2015 21:41
Parham joined the group.
22:38
Alex Buckthal
[Sticker]
22:38
Alex Buckthal
[Sticker]
Sun, 03/15/2015
22:38
Alex Buckthal
[Sticker]
00:44
K-money (ouch)
22:48
Derek
00:47
Derek invited Hilary to the group.
22:48
Alex Buckthal
00:47
Hilary joined the group.
00:47
Derek invited Natalie Riccomini to the group.
Mon, 02/02/2015
00:49
Natalie Riccomini joined the group.
10:25
Steph joined the group.
20:54
Alex Buckthal
13:29
Billy Schreiber joined the group.
23:43
Natalie Riccomini Did you guys make it yet?
19:47
Derek invited Meghan Derosier to the group.
23:47
Hilary Arndt
19:52
Meghan Derosier joined the group.
23:53
K-money We here
20:13
Elsa Brown joined the group.
23:53
Cameron Dar
[Sticker] [Sticker]
[Sticker]
[Sticker]
We are also here. The girls and me
Wed, 02/04/2015
Mon, 03/16/2015
13:31
00:11
Alex Buckthal
I am alive
00:11
Alex Buckthal
And watching japanese television programming
00:12
Derek
00:12
Natalie Riccomini How's the apartment?
00:12
Natalie Riccomini Minus the toilet
00:13
Natalie Riccomini invited LaurenSchultz to the group.
Derek changed the group's image.
Mon, 02/23/2015 20:32
Derek invited Kyle Landau
20:32
Kyle Landau
to the group.
joined the group.
Mon, 03/09/2015
And admiring our Panasonic toilet! (happy)
00:13
Derek
21:56
Alex Buckthal
[Sticker]
00:15
Natalie Riccomini [Sticker]
21:57
Kyle Landau
[Sticker]
00:15
Natalie Riccomini Good lol
22:35
Derek
00:16
Natalie Riccomini What's the plan?
00:16
K-money Everyone happy
[Sticker]
It's sweet, really small but perfect (perfect)
TOKYO
STUDIO 400 TRAVELS & TRIUMPHS
Wed, 03/11/2015
119
00:16
Natalie Riccomini (yes)
16:45
K-money 10
00:18
Hilary Arndt
16:46
Alex Buckthal
I thought it was last night at 10
00:18
Derek
16:46
Alex Buckthal
I was there all alone
00:19
K-money I thought that was the plan
16:47
K-money [Sticker]
00:23
Makai Johnson joined the group.
16:58
Patrick Cordelle [Photo]
00:24
K-money invited John to the group.
00:25
John joined the group.
16:58 Patrick Cordelle Just to make sure, is that where you are talking about meeting?
00:29
Alex Buckthal
00:31
K-money Did someone invite Patrick? I don't have his number.
00:34
K-money Raining
00:39
Kyle Landau
Caleb and I are in Japan.
00:39
Alex Buckthal
No we're in Japan you aren't here
00:55
John
01:01
John invited Patrick Cordelle to the group.
01:02
K-money Sounds like I am in (trouble)
01:03
Natalie Riccomini Are we trying to meet up?
01:04
John
01:12
Cameron Dar
01:39
Patrick Cordelle joined the group.
02:39
Alex Buckthal
02:40
Patrick Cordelle Where are you guys
16:25 Patrick Cordelle So we are meeting at the west central exit for the shibuya train station?
02:40
Alex Buckthal
16:26
Cameron Dar
(yes)
02:40
Patrick Cordelle Can I get the name? We are currently getting ribs
16:27
Kyle Landau
[Sticker]
02:40
Patrick Cordelle Yum (yum)
16:27
Patrick Cordelle [Sticker]
03:13
Kyle Landau
16:29
Derek
03:13
Derek
16:29
Alex Buckthal
03:14
Patrick Cordelle See you there
03:14
Derek
03:22
Kyle Landau
Real life
We are ready to hit Harajuku
No idea Where are we meeting at harajuku
Oh man subway station wifi is really good if you need it
We are going to a bar in shibuya which advertises beer faucets
Caleb and I made it to the apartment just now
Goodbeer Faucets
Gooooood :) We are on our way too
04:48 Alexa Dack Is there a particular meeting place or entrance for the sports center tomorrow? It looks very big.. 04:52
K-money Between the two stadiums
04:55
Alex Buckthal
On our way there
04:57 K-money If you want to pick an entrance we can say the smaller stadium entrance. It is just wide open out there. http://m.youtube.com/watch?v=lVlgMEFu1PI
16:58
K-money Good enough
16:59
Elsa Brown invited Billy to the group.
16:59
Billy joined the group.
21:57
Patrick Cordelle Where's the group, we are at the stop that says 1b
Tue, 03/17/2015 04:30
Makai Johnson
Where is the group?
06:16
Cameron Dar
The queen wants to shit her pants
06:17
Natalie Riccomini Huh...
06:26
Hilary Arndt
06:34
Derek
06:34
Cameron Dar
06:34
Natalie Riccomini In da apartment
Anyone tryna celebrate st. Pattys
Where are you guys? At our place
(^_^)/
16:57 Cameron Dar station from day one?
121
[Sticker] Are we meeting at the shibuya station from last night or the
17:15 K-money Am trying to work out something on the map. Hachiko? Where the dog waited? 17:26
K-money Did anyone see this post?
17:26
Pepe Sanchez
Yes
17:27
Pepe Sanchez
But we don't remember where it was at.
17:27
K-money Maybe we should do the train to Kyoto tickets after ueno. Bring stuff.
17:28
Pepe Sanchez
17:28
K-money Ok.tomorrow then
Bring our train tickets? We all didn't bring them with us
05:54
Alex Buckthal
16:32
Derek invited Caleb Couch to the group.
17:29
Pepe Sanchez
16:33
Caleb Couch joined the group.
17:29
Patrick Cordelle I am a bit lost as to what is happening...
16:38
Patrick Cordelle Are we meeting at 9 or 10?
17:29
K-money Not a ticket. Just a voucher
But doesn't our ticket have the date on them already?
TOKYO
[Sticker]
Yep! Probably going to Harajuku later on for dinner and shopping
Pepe Sanchez
Oh, not go to Kyoto just get our voucher
06:27
Derek
Lol
17:32 17:32
K-money Yeah but we can do it tomorrow
06:28
Steph
U wanna? Lezz go homes
K-money We have a voucher,
06:36
Pepe Sanchez
Derek, you there?
17:38 now?
Patrick Cordelle So as far as where we are meeting, is it an exit called Hachiko,
06:36
Pepe Sanchez
Come over. Ring 501
06:37
Alex Buckthal
17:39
K-money That is a plaza. West side of big station. Yes.
They all went to hookah
17:40
Patrick Cordelle (ok)
06:38
Alex Buckthal
Baby
06:42
Cameron Dar
I'm drunk
17:56
Cameron Dar
17:56
Patrick Cordelle Hachiko is where I'm goin
06:43
Alex Buckthal
Where are you
06:43
Cameron Dar
Drunk
17:57
K-money Me too
17:57
Cameron Dar
Us too now
06:45
Hilary Arndt
On the waaaay
06:45
Steph
20:29
Cameron Dar
Natalie get off at ueno we are waiting for you
20:35
Alex Buckthal
Arigato gozaaiiiiiiimaaaaaas
07:42
Hilary Arndt
09:07
Derek
21:18
John
09:20
Natalie Riccomini When? Cuz we were too
09:40
Derek
09:43
Pepe Sanchez
[Sticker]
09:43
Pepe Sanchez
Apparently
09:45
Derek
09:50
Kyle Landau
[Sticker]
09:56
Alex Buckthal
[Sticker]
need ticket
Are we meeting at hachiko or the west exit?
Did I day 1.20? Never make it. 1.30?
Wed, 03/18/2015
[Sticker] U guys coming?
We were at north village
We were at another North Village apparently!
04:15
Cameron Dar
Hey steph and. Meganne we are on our way back to the apartment now
04:48
Cameron Dar
Now the queen wants to pee her pants
04:51
Hilary Arndt
Who's getting turnt tonight homeeeez. Let's do theeees(scream)
04:51
Hilary Arndt
[Sticker]
04:51
Natalie Riccomini [Sticker]
04:52
Natalie Riccomini [Sticker]
04:52
Natalie Riccomini [Sticker]
04:52
Hilary Arndt
04:53
Natalie Riccomini [Sticker]
16:32 K-money The one person doing a pier project that doesn't want to go see the most famous pier project...
05:06
Steph
16:49
Cameron Dar
05:07
Cameron Dar
[Sticker]
16:50
Derek
05:26
Patrick Cordelle [Sticker]
16:50
Cameron Dar
05:38
K-money [Sticker]
16:50
Billy
TouchĂŠ, see you at the station
06:02
Alex Buckthal
16:51
Derek
It's going to (rain)
06:03
Derek
17:27
Cameron Dar
06:03
Alex Buckthal
19:28
Patrick Cordelle Derek billy and Elsa where yall at
06:03
Patrick Cordelle Wut
23:35
Cameron Dar
06:04
Alex Buckthal
23:36
John
06:04
Derek
[Sticker]
[Sticker]
[Sticker]
[Sticker] [Sticker]
[Sticker]
[Sticker]
16:07 Billy Elsa and I are going to stay in Tokyo today, we feel like we need more time in the city. Just a heads up so you guys don't wait around for at the station! 16:10
Billy
[Sticker]
[Sticker]
Cameron don't bring Caleb's camera Why?
Alright I left it at home
Ginza
Gina line to ginza, change to red line, one stop to Tokyo station.
Hilary we need information! We just finished dinner
06:12 Hilary Arndt Alriiiight well if u wanna hookah there's a place close to shibuya station it's called north village 06:25
Derek
What is it called?
06:26
Steph
North village!!
Thu, 03/19/2015 00:35
Hilary Arndt
[Sticker]
02:43
Alex Buckthal
[Sticker]
02:45
K-money [Sticker]
TOKYO
17:30
123
02:46
Alex Buckthal
03:51
Patrick Cordelle Anyone getting dinner in Tokyo?
02:47
K-money [Sticker]
08:11
Cameron Dar
[Sticker]
03:08
K-money [Sticker]
08:11
Cameron Dar
Just had bomb sushi
03:08
K-money
08:12
Natalie Riccomini (sushi)
06:27
Cameron Dar
I'm sober
08:12
Natalie Riccomini [Sticker]
06:28
Hilary Arndt
[Sticker]
08:15
Elsa Brown
What're you guys doing now???
06:33
Parham
Where are you guys???
08:17
Hilary Arndt
[Sticker]
06:33
Parham
[Voice Message]
08:18
Natalie Riccomini [Sticker]
06:34
Derek
We're at Good Beer Faucets, get over here now
08:18
Hilary Arndt
[Sticker]
06:41
Parham
Hi Larry?
08:18
Hilary Arndt
[Sticker]
07:07
Hilary Arndt
[Sticker]
08:19
Cameron Dar
[Sticker]
07:08
Cameron Dar
Let's get drunk. Invite. Karen
08:19
Natalie Riccomini [Sticker]
07:08
Hilary Arndt
[Sticker]
08:19
Natalie Riccomini [Sticker]
07:09
Cameron Dar
That's a dumb sticker
08:20
Cameron Dar
[Sticker]
07:11
Hilary Arndt
[Sticker]
08:20
Cameron Dar
[Sticker]
07:11
Cameron Dar
[Sticker]
08:21
Hilary Arndt
[Sticker]
07:14
Natalie Riccomini [Sticker]
08:21
Natalie Riccomini [Sticker]
07:14
Cameron Dar
[Sticker]
08:21
Cameron Dar
07:14
Natalie Riccomini [Sticker]
08:22
Pepe Sanchez
[Sticker]
07:15
Cameron Dar
Riccomini has the fiery butt hold
08:22
Cameron Dar
[Sticker]
07:15
Cameron Dar
Hole
08:22
Cameron Dar
This is Pepe right now
07:16
Natalie Riccomini [Sticker]
08:23
Hilary Arndt
[Sticker]
07:16
Cameron Dar
08:23
Hilary Arndt
[Sticker]
07:16
Natalie Riccomini Cameron has a fiery (butt)
09:25
Parham
07:17
Cameron Dar
Yes :)
22:45
LaurenSchultz joined the group.
07:17
Hilary Arndt
[Sticker]
22:58 Steph We've (lost) Meggane ... Is she with Anyone?
07:17
Cameron Dar
[Sticker]
22:59
Kyle Landau
07:18
Hilary Arndt
[Sticker]
23:13
Patrick Cordelle Not wit us
07:18
Cameron Dar
[Sticker]
23:42
WCameron Dar
07:18
Cameron Dar
Yesterday's
23:45
John
Where were you?
07:19
Cameron Dar
Yes
23:46
John
And is Meganne found yet?
07:19
Natalie Riccomini Cameron is (drunk)
23:53
Pepe Sanchez
07:20
Hilary Arndt
[Sticker]
23:53
John
07:20
Cameron Dar
Yessir
23:54
Pepe Sanchez
07:21
Cameron Dar
Karen!!! Ginza station!!!!
23:54
Parham
18:55
John
23:55
Pepe Sanchez
Fri, 03/20/2015
Cameron?
[Sticker]
Pepe, get on a train and. Sleep it off.
Sat, 03/21/2015
[Sticker]
Pepe? Where are you brother?
She's not with us
Nope
I found her!!! Is there a reward for her?
You have redeemed yourself. [Sticker]
We lost pepe! [Sticker]
TOKYO
[Sticker]
125
Cameron Dar
[Sticker]
00:46
Alex Buckthal
[Sticker]
00:53
Billy
[Photo]
00:55
Billy
(burrito)(burrito)(burrito)
00:56
Natalie Riccomini Hey guys
00:56
Natalie Riccomini How's everyone?
01:18
Caleb Couch
01:28
John
[Sticker]
01:43
Steph
[Sticker]
01:50
Cameron Dar
Terrible
[Sticker]
02:21 Makai Johnson Did anyone put pepe's charger anywhere? It was for an iPhone next to Larry's side of the bed with a plastic sleeve on it?
06:15
Cameron Dar
[Sticker]
06:16
Hilary Arndt
[Sticker]
06:16
Cameron Dar
[Sticker]
06:17
Hilary Arndt
You already used that sticker
06:17
Cameron Dar
[Sticker]
06:17
Derek
06:17
Cameron Dar
[Sticker]
06:18
Cameron Dar
[Sticker]
06:24
Natalie Riccomini I'm at a bar in ahi pity
06:24
Natalie Riccomini Shibuya
06:24
Cameron Dar
Hilary wants to meet up
[Sticker]
06:24
Hilary Arndt
GET SOME
02:43
Natalie Riccomini What are you guys up to?
06:25
Hilary Arndt
JK sorry Karen
02:45
Makai Johnson
Nm.
16:56
John
03:26
Cameron Dar
Let's go get weird and miss our flight
18:05
Cameron Dar
Alex parham and Derek we left. Shinagawa
03:28
Alex Buckthal
I played pachinko and lost
18:05
Cameron Dar
We out
03:28
Hilary Arndt
[Sticker]
18:05
Cameron Dar
Meet us there
03:28
Cameron Dar
[Sticker]
18:07
John
03:29
Hilary Arndt
[Sticker]
18:26
Eimi Tagore-Erwin Where are you?
03:35
John
[Sticker]
18:26
Eimi Tagore-Erwin We are going to haneda
03:35
John
10 am at the dog wall as always. Save some yen for train fair. About 600.
18:26
Eimi Tagore-Erwin This is asked
03:40
Cameron Dar
18:26
Eimi Tagore-Erwin Alex
03:42
Natalie Riccomini Down. We're heading to the apartment soon
03:43
Hilary Arndt
[Sticker]
04:16
Cameron Dar
Last call
04:25
Parham
04:25
Cameron Dar
04:25
Derek
04:25
Cameron Dar
Come here and we will leave
04:25
Hilary Arndt
[Sticker]
04:35
Parham
04:35
Cameron Dar
I'm down
04:45
Alexa Dack
See you there!! ă&#x201A;š
05:03
Alex Buckthal
Where you guys at????
05:03
Alex Buckthal invited Eimi Tagore-Erwin to the group.
05:03
Eimi Tagore-Erwin joined the group.
05:04
Alex Buckthal
[Sticker]
06:15
Hilary Arndt
Were probably going back to shibooty to drank
We found it
Going to a bar in a bit. Anybody want to go?
Where are you beautiful ppl? At our apartment ready to rage
When and where?
Lets meet at the station in 20 minutes.
[Sticker]
[Sticker]
18:56 Pepe Sanchez adv entu res.
Made it home safely, thanks for the this past week of
19:52
Cameron Dar
[Sticker]
20:29
Makai Johnson
[Sticker]
20:38
John
21:34
Cameron Dar
Everyone should come to the gate we are boarding soon
21:43
Caleb Couch
Sorry I am in Oregon I don't think I can make it
[Sticker]
Sun, 03/22/2015 05:06
John
18:19
Alex Buckthal
[Sticker] [Sticker]
18:19
Elsa Brown
(america)
18:20
Cameron Dar
ă&#x201A;š
18:30
Natalie Riccomini [Sticker]
18:30
Eimi Tagore-Erwin left the group.
21:12
Parham
21:15
Makai Johnson
Thank you everyone it was an amazing trip! [Sticker]
TOKYO
00:07
127
21:15
John
[Sticker]
21:15
John
Yeah it was. Thank you! Just at in n out now!
21:15
Patrick Cordelle Yes thank you as well, good times!
21:16
Makai Johnson
Thank you everyone!
21:16
Makai Johnson
And thank you Karen!
21:17 John
Someone needs to put this in their winter.book.
21:22
Derek
Yes!!
21:23
Cameron Dar
Studio 400 #tokyodaydrunk
21:24
Makai Johnson
T-Shirts!!!
21:25
Derek
21:57
Hilary Arndt
[Sticker]
22:07
Cameron Dar
Ginza!!!!!!
22:08
John
Studio 400 #GINZASTATION
Station!
16:26
Billy
[Photo]
16:26
Billy
Famima!!
16:27
John
[Sticker]
16:28
Cameron Dar
Wifi and bitters?
16:29
Elsa Brown
[Photo]
18:07
Derek
18:53
Hilary Arndt
[Sticker] Where is dis magic at
TOKYO
Tue, 03/24/2015
129
thank thank you you
Appendix
08. appendix 133
photos ( 1)
B o i d A r c h .
D i g i t a l
i m a g e .
H t t p : / / m e d i u m l i t e .
c o m / p r o c e d u r a l / i m a g e s / w e e k 11/ b o i d A r c h . j p g . P r a t t
U n i v e r s i t y ,
D e c .
2 0 14 .
S p r i n g
2 0 11.
W e b .
3
< h t t p : / / m e d i u m l i t e . c o m /
p r o c e d u r a l / i n d e x . h t m l > ( 2 )
C o r n e j o ,
A l e j a n d r o .
S e l f - o r g a n i z i n g G r o u p . 2 0 14 .
“ P u b l i c a t i o n s . ”
C S A I L ,
S y s t e m s 2 0 11.
W e b .
R e s e a r c h 14
N o v .
< h t t p : / / w w w . e e c s . h a r v a r d . e d u /
( 3 )
C o r n e j o ,
A l e j a n d r o .
S e l f - o r g a n i z i n g G r o u p . 2 0 14 .
“ P u b l i c a t i o n s . ”
C S A I L ,
S y s t e m s 2 0 11.
W e b .
R e s e a r c h 14
N o v .
< h t t p : / / w w w . e e c s . h a r v a r d . e d u /
s s r / p u b l i c a t i o n s / i n d e x . h t m l # 2 0 14 > . ( 4 )
C o r n e j o ,
A l e j a n d r o .
S e l f - o r g a n i z i n g G r o u p . 2 0 14 .
C S A I L ,
“ P u b l i c a t i o n s . ”
S y s t e m s 2 0 11.
W e b .
R e s e a r c h 14
N o v .
< h t t p : / / w w w . e e c s . h a r v a r d . e d u /
s s r / p u b l i c a t i o n s / i n d e x . h t m l # 2 0 14 > .
Appendix
s s r / p u b l i c a t i o n s / i n d e x . h t m l # 2 0 14 > .
135
photos continued... ( 5 )
R o s s i ,
A n d r e a .
T e m p o r a r y
A n o n y m o u s .
D i g i t a l
i m a g e .
T e m p o r a r y
A u t o n o m o u s
A r c h i t e c t u r e . S p r i n g
D e s s a u
2 0 12 .
W e b .
I n s t i t u t e
3
D e c .
o f
A r c h .
2 0 14 .
< h t t p : / / t e m p o r a r y a u t o n o m o u s a r c h i t e c t u r e . b l o g s p o t . c o m / 2 0 12 / 0 3 / c i t c - i i - s l i m e - m o l d team-final-review.html>. ( 6 )
B o i d A r c h .
D i g i t a l
i m a g e .
H t t p : / / m e d i u m l i t e .
c o m / p r o c e d u r a l / i m a g e s / w e e k 11/ b o i d A r c h . j p g . U n i v e r s i t y ,
D e c .
2 0 14 .
S p r i n g
2 0 11.
W e b .
3
< h t t p : / / m e d i u m l i t e . c o m /
p r o c e d u r a l / i n d e x . h t m l > (7)
House, Taylor. The Great Pacific Garbage P a t c h . a n d
D i g i t a l
D e c .
N a t u r a l . 2 0 14 .
i m a g e . N . p . ,
2 6
T a y l o r â&#x20AC;&#x2122;s J u l y
P u r e
2 0 14 .
W e b .
3
< h t t p : / / w w w . t a y l o r s p u r e a n d n a t u r a l .
com/bloglove/2014/07/26/the-great-pacificg a r b a g e - p a t c h / > . ( 8)
A r c h i t o u r i s m : f o r
T o u r i s m .
N . p . ,
2 6
J u l y
A r c h i t e c t u r e D i g i t a l 2 0 14 .
i m a g e . W e b .
3
a s
a
D e s t i n a t i o n
B u e l l D e c .
C e n t e r . 2 0 14 .
< h t t p : / / b u e l l c e n t e r . o r g / c o n f e r e n c e s / b u e l l l e c t u r e - s e r i e s - 19 9 5 - 2 0 0 5 / a r c h i t o u r i s m a r c h i t e c t u r e - d e s t i n a t i o n - t o u r i s m > .
Appendix
P r a t t
137
photos continued... ( 9 )
J a c k s o n , M a r i n e
E d w a r d o .
D r o n e s
U p w o r t h y . 2 0 14 .
A r e
M i l i t a r y
N . p . ,
H O T .
D r o n e s
D i g i t a l
S p r i n g
2 0 11.
A r e
L a m e .
i m a g e .
W e b .
3
D e c .
< h t t p : / / w w w . u p w o r t h y . c o m / m i l i t a r y -
d r o n e s - a r e - l a m e - m a r i n e - d r o n e s - a r e - h o t > . ( 10 )
J a c k s o n , M a r i n e
E d w a r d o .
D r o n e s
U p w o r t h y . 2 0 14 .
A r e
M i l i t a r y
N . p . ,
H O T .
D r o n e s
D i g i t a l
S p r i n g
2 0 11.
A r e
L a m e .
i m a g e .
W e b .
3
D e c .
< h t t p : / / w w w . u p w o r t h y . c o m / m i l i t a r y -
( 11)
O b j e c t
L e s s o n s .
A r t I n f o . 2 0 14 .
N . p . ,
D i g i t a l W i n t e r
i m a g e .
2 0 14 .
B l o u i n
W e b .
3
D e c .
< h t t p : / / b l o g s . a r t i n f o . c o m /
o b j e c t l e s s o n s / 2 0 12 / 0 9 / 17/ d u t c h - a r c h i t e c t u r e firm-unveils-large-scale-mobile-3d-printert o - p r i n t - a r c h i t e c t u r e - o n - d e m a n d / > . ( 12 )
3 D
P R I N T
C A N A L
I n t e r n a t i o n a l 2 0 14 .
W e b .
3
H O U S E . F a c a d e .
D e c .
D i g i t a l N . p . ,
2 0 14 .
i m a g e . S p r i n g
< h t t p : / /
i n t e r n a t i o n a l f a c a d e . c o m / files/9914/0385/1724/DUSarchitects_16_ KAMERMAKER_NIGHT.jpg>.
Appendix
d r o n e s - a r e - l a m e - m a r i n e - d r o n e s - a r e - h o t > .
139