20
ARCHIT Ǝ C T U R Ǝ EILEEN ARCOS
15 NIAGA ,KUDJƎH
30 OG TSUM GNIHTYRƎVƎ
75 DƎHPARGOTOHP TSOM EHT ACIREMA NI NRAB
12 STNƎMTRAPA 45
oaC oahnehC ,yenhoM nageM ,lorbahC ellimaC htiw eruF madA :rotcurtsnI
marhcS dahC ,llewoH caasI ,namhaR mihfaT htiw bocaJ maS :rotcurtsnI
inaS niveK htiw oyorrañeP suryC :rotcurtsnI
ttenruB aruaL dna tuohneorG airamennA htiw eluR nahtanoJ :rotcurtsnI
95 GNIRTSWOB
13 RƎTSNÖM PÄRKS
16 ƎDACAF SUOIRILƎD
73 ,SƎLBAT ,SRIAHC DNA ,SƎHCUOC ,SEVLƎHS ,SKNIS ,SƎITAOLF SLOOP ,SRƎTNALP
sggirB iyaibI dna azdnirB ronnoC htiw eeL kraM :rotcurtsnI
miK kciN htiw yarvilligcaM semaJ dna eeL naiviV :rotcurtsnI
36 ƎCNƎIRƎPXƎ KROW
tnatsissA ngiseD /noitacirbaF dna mahgiB yelhsA ,eruF madA ,snorbA eillE :srengiseD erriugA adiaL
P O R T F OLIO
inaS niveK htiw oyorrañeP suryC :rotcurtsnI
mahgiB yelhsA :rotcurtsnI
54 ULUL UAƎTAHC tuohneorG airamennA htiw naroM mohT :rotcurtsnI
18
03 ƎVƎRYTHING MUST GO
51 HƎJDUK, AGAIN
21 54 APARTMƎNTS
57 THE MOST PHOTOGRAPHƎD BARN IN AMERICA
with Kevin Sani Instructor: Cyrus Peñarroyo
with Annemaria Groenhout and Laura Burnett Instructor: Jonathan Rule
with Camille Chabrol, Megan Mohney, Chenhao Cao Instructor: Adam Fure
with Tafhim Rahman, Isaac Howell, Chad Schram Instructor: Sam Jacob
31 SKRÄP MÖNSTƎR
59 BOWSTRING
37 AND CHAIRS, TABLƎS, SHƎLVES, COUCHƎS, FLOATIƎS, SINKS, PLANTƎRS, POOLS
61 DƎLIRIOUS FACADƎ
with Kevin Sani Instructor: Cyrus Peñarroyo
Instructor: Ashley Bigham
45 CHATƎAU LULU with Annemaria Groenhout Instructor: Thom Moran
with Connor Brindza and Ibiayi Briggs Instructor: Mark Lee
with Nick Kim Instructor: Vivian Lee and James Macgillivray
63 WORK ƎXPƎRIƎNCƎ
Fabrication/ Design Assistant Designers: Ellie Abrons, Adam Fure, Ashley Bigham and Laida Aguirre
GNIHTYRƎVƎ *OG TSUM
...sevil yadyreve ruo fo ffuts eht redisnoC
sah ffuts tub ,ffuts ruo rof yrotisoper a sa smrofrep yllacipyt erutcetihcrA eht tub gnihton sa deweiv era stcejbo fI .laitnetop lairetam dna laitaps deppatnu tnairav sti etadicule ot ytinutroppo eht ssim ew ,sevil ruo sdnuorrus taht lairetam dna laudividni ,sgniht fo snoitcelloc esehT .snoitarugifnoc egnarts dna sgninaem fo yaw enO .noitaulav laicos dna ymonotua larutluc erom niag ot deen ,elbaifitnedi nihtiw elor sti egdelwonkca ot si ,neht ,yadot tcejbo na fo egami eht gnitcurtsnocer eht nI .seitreporp citatsnu dna ynnacnu sti gniredisnoc yb noitautis larutcetihcra na ;elgna na tub roiretni na fo ecivres eht ni ton stca ffuts eht ,detcelloc eht fo secaps daetsni tca ot ylgnisaercni tub ,reyub ro renwo sti tcelfer ot pordkcab a sa ton laitaps dna lairetam ,yalpsid sti dna ffuts fo epacsdnal eht gninettalf yB .meht fo ,dnuorgkcab ,dnuorgerof fo snoitinifed eht dna ,yreppils emoceb seihcrareih eht ,yltneuqesnoC .elbaellam emoceb noitalucitra dnuorg dna ecafrus ,troppus gnidnuorrus eht espalloc osla tub elas rof smeti eht esacwohs ylno ton lliw yalpsid .noitpmusnoc lausiv rof dereffo epacsdnal dezirutainim a otni sgnidliub seliforp aidem laicos ruo ni detuot ylisae si taht ffuts eht ,rehtruf tib a ti gnihsuP emoceb yam gniht A .secneirepxe devil fo yrotsih eritne na fo snoisserpmoc era si siseht sihT .napsefil eno nihtiw lla moolrieh na dna ,krowtra na ,ytidommoc a ,tub sgninaem tnereffid esol ro niag stcejbo eht woh gnilaever ni detsevni yllauqe lacisyhp rehtag ot eunitnoc taht seititne etercnoc ylbainednu era ,emit emas eht ta a – tcejorp ehT .emit revo snoitcnuf dna smrof wen emussa yeht sa mutnemom gnilffuhs dna ,noitaroced ,noitaruc senibmoc – etis nabru na ni erots tnemtraped tnelavitlum ecudorp ot ssam fo snoitcartbus dna snoitagergga htiw yalpsid fo eht ,siht gniod nI .emas eht ni eno era stcejbo dna erutcetihcra erehw snoitidnoc denigamier si eulav larutluc dna reniatnoc sti htiw selor esrever lliw deniatnoc .snaem lanoitisopmoc hguorht renniW ezirP dn2 sisehT erutcetihcrA fo retsaM*
ƎVƎRYTHING * MUST GO
Consider the stuff of our everyday lives...
Architecture typically performs as a repository for our stuff, but stuff has untapped spatial and material potential. If objects are viewed as nothing but the material that surrounds our lives, we miss the opportunity to elucidate its variant meanings and strange configurations. These collections of things, individual and identifiable, need to gain more cultural autonomy and social valuation. One way of reconstructing the image of an object today, then, is to acknowledge its role within an architectural situation by considering its uncanny and unstatic properties. In the spaces of the collected, the stuff acts not in the service of an interior but an angle; not as a backdrop to reflect its owner or buyer, but increasingly to act instead of them. By flattening the landscape of stuff and its display, material and spatial hierarchies become slippery, and the definitions of foreground, background, support, surface and ground articulation become malleable. Consequently, the display will not only showcase the items for sale but also collapse the surrounding buildings into a miniaturized landscape offered for visual consumption. Pushing it a bit further, the stuff that is easily touted in our social media profiles are compressions of an entire history of lived experiences. A thing may become a commodity, an artwork, and an heirloom all within one lifespan. This thesis is equally invested in revealing how the objects gain or lose different meanings but, at the same time, are undeniably concrete entities that continue to gather physical momentum as they assume new forms and functions over time. The project – a department store in an urban site – combines curation, decoration, and shuffling of display with aggregations and subtractions of mass to produce multivalent conditions where architecture and objects are one in the same. In doing this, the contained will reverse roles with its container and cultural value is reimagined through compositional means. *Master of Architecture Thesis 2nd Prize Winner and AIA Michigan Student Project Award
Everything Must Go
04
Everything Must Go
facade as objects reflecting urban texture
Everything Must Go
07
Everything Must Go
08
ground floor isometric [collection_01] + interior perspectives with objects
Everything Must Go
09
Everything Must Go
10
ground floor isometric [collection_02] + interior perspectives with objects
Everything Must Go
11
Everything Must Go
12
ground floor isometric [collection_03] + interior perspectives with objects
Everything Must Go
13
Everything Must Go
14
ground floor isometric [collection_04] + interior perspectives with objects
Everything Must Go
15
Everything Must Go
16
ground floor isometric [collection_05] + interior perspectives with objects
Everything Must Go
17
Everything Must Go
18
Everything Must Go
installation and presentation photographs
19
STNĆŽMTRAPA 45
-wol gnidnuorrus eht hctam ot seirt taht lasoporp gnisuoh a si stnemtrapA 45 esuoh dezis-egareva na naht rellams skcolb fo stol gnitresni yb ,sesuoh esir erutainim a gnitaerc yletamitlu ,etis eht tuohguorht meht gnittesffo ylthgils elihw eht fo tnorf ehT .tiorteD ,nwotnacixeM fo traeh eht ni tnemelttes nabru liater ot noitcudortni na htiw teerts eht fo niarg nabru eht sniatniam xelpmoc noitidnoc nabru eht fo noitadarg a si swollof tahW .secaps ssenisub dna eht gniretla ,ytinummoc eht dna roiretxe eht drawot sdnetxe efil etavirp erehw .cilbup dna etavirp neewteb seiradnuob eht fo noitpecrep otni dedivid sgnidliub citamsirp 31 fo noitcelloc a si xelpmoc gnisuoh ehT tnemegnarra citsiloh a gnimrof ,hcae fs 0001-004 morf gnignar ,stinu laitaps epahs sekat taht stnediser ot ytivitisnes a stibihxe xelpmoc ehT .secaps 45 fo sa llew sa seitivitca citsemod rof secalp etaerc hcihw ,nalp gnidliub eht ni hguorht delbane era snoitca laicos esehT .snoitcaretni laicos rof secaps derahs fo noitubirtsid eht dna kcolb yreve neewteb seiradnuob derrulb eht fo lortnoc luferac ehT .sdraytruoc ecnartne dna seitilicaf nehctik dna yrdnual eht elihw gnignoleb fo esnes a leef stnatibahni eht sekam tnemegnarra siht resolc leef stnatibahni eht ekam srodirroc ria nepo dna swodniw semarf egral .epacsdnal roodtuo eht ot
54 APARTMĆŽNTS
54 Apartments is a housing proposal that tries to match the surrounding lowrise houses, by inserting lots of blocks smaller than an average-sized house while slightly offsetting them throughout the site, ultimately creating a miniature urban settlement in the heart of Mexicantown, Detroit. The front of the complex maintains the urban grain of the street with an introduction to retail and business spaces. What follows is a gradation of the urban condition where private life extends toward the exterior and the community, altering the perception of the boundaries between private and public. The housing complex is a collection of 13 prismatic buildings divided into spatial units, ranging from 400-1000 sf each, forming a holistic arrangement of 54 spaces. The complex exhibits a sensitivity to residents that takes shape in the building plan, which create places for domestic activities as well as spaces for social interactions. These social actions are enabled through the blurred boundaries between every block and the distribution of shared laundry and kitchen facilities and entrance courtyards. The careful control of this arrangement makes the inhabitants feel a sense of belonging while the large frames windows and open air corridors make the inhabitants feel closer to the outdoor landscape.
54 Apartments
22
54 Apartments N ew ar
k
23
17th St
St N ew ar
k
St
17th St
N ew ar
k
St
17th St
N ew ar
k
16th St
17th St
16th St
17th St
Bagley Ave
Bagley Ave
N
Bagley Ave
16th St
17th St
Bagley Ave
St
Bagley Ave
Bagley Ave
Bagley Ave
16th St
17th St
Units
Share
16th St
17th St
Site Grid
16th St
17th St
16th St
17th St
Store fronts along Bagley
Building heights: Residential to Central Station
Commercial Space Residential Density / La Rosa Density
site plan diagrams
massing and unit diagram
Residential Units
ed Units
54 Apartments
Combinations
Aggregation
Mat Units Three Studio Units
Three Studio Units
24
Underground Parking
Tower Units Two Family Units
Two Studio Units
model interiors
54 Apartments
25
dwgmodels.com
second floor plan
N
floor plans 1-6
N
N
first floor plan
third floor plan
54 Apartments
fifth floor plan
N
N
N
fourth floor plan
26
sixth floor plan
east elevation
edge strip of sealing membrane bonded to vibrated concrete board brick coping, laid to fall in stretcher bond offset 65 mm + plasticized mortar + sealing membrane +4 mm fibrated concrete board
50 mm colored concrete slab + PVC stand + 150 mm EPS rigid foam + 2x 12 m layer of asphalt sealing membrane +18 mm plywood + 50 mm battens + 225/ 44 mm timber girders every 300 mm + 13mm gypsum plasterboard
sealing membrane every 6th perpend open 200/ 10 mm steel plate
steel I-section 200 mm deep
aluminum frame with double glazing 12 mm float glass + 16 mm cavity +14 mm laminated safety glass
bedroom 30 mm laminated timber window sill
2x 18 mm plywood with birch veneer + 5 mm walkabout resilient layer + 50 mm underfloor heating + 200/ 44 mm timber beams 150 mm mineral-wool impact sound insulation 12.5 mm plasterboard, white skim-coat finish
100 mm brickwork with stainless-steel wall ties + 40 mm cavity + 60 mm PS foam insulation +100 mm concrete blockwork +13 mm gypsum plaster every 6th perpend open 200 mm steel channel
reinforcement connection with 80 mm insulation steel I-section 200 mm deep
200/ 10 mm steel plate
12.5 mm plasterboard, white skim-coat finish
kitchen
50/130/117/2 mm sheet-steel drainage channel
35 mm larch strip decking + 1 mm sheet polytene separating layer + 10 mm insulation + 1 mm bituminous sealing layer + 310-340 mm reinforced concrete slab
50'-0"
reinforcement connection with 80 mm insulation 100 mm brickwork with stainless-steel wall ties + 40 mm cavity + 60 mm PS foam insulation + 100 mm concrete blockwork + 13 mm gypsum plaster
edge strip of sealing membrane bonded to vibrated concrete board
kitchen
50/130/117/2 mm sheet-steel drainage channel
50 mm colored concrete slab + PVC stand + 150 mm EPS rigid foam + 2x 12 m layer of asphalt sealing membrane +18 mm plywood + 50 mm battens + 225/ 44 mm timber girders every 300 mm + 13mm gypsum plasterboard
35 mm larch strip decking + 1 mm sheet polytene separating layer + 10 mm insulation + 1 mm bituminous sealing layer + 310-340 mm reinforced concrete slab
20'-0" 15'-0"
8'-0"
brick coping, laid to fall in stretcher bond offset 65 mm + plasticized mortar + sealing membrane +4 mm fibrated concrete board
12.5 mm plasterboard, white skim-coat finish
5'-0"
4'-0"
painted MDF board edged with 15 mm hardwood
sealing membrane bonded sealing membrane + 2 mm aluminum-sheet cover, coated
bonded sealing membrane + 2 mm aluminum-sheet cover, coated
bonded sealing membrane edges sealed, laid to fall for drainage
bonded sealing membrane edges sealed, laid to fall for drainage
reinforcement connection with 80 mm insulation steel I-section 200 mm deep
bonded sealing membrane + 2 mm aluminum-sheet cover, coated 100/100/12 mm galvanized steel angle
kitchen
aluminum frame with double glazing 12 mm float glass + 16 mm cavity +14 mm laminated safety glass
100 mm brickwork with stainless-steel wall ties + 40 mm cavity + 2x 12 wood framing + 120 mm PU thermal insulation +13 mm gypsum plaster
30 mm laminated timber window sill
bedroom
double-glazed aluminum sliding door with permanent elastic seal to brickwork
balcony every 6th perpend open 100 mm brickwork with stainless-steel wall ties + 40 mm cavity + 60 mm PS foam insulation + 100 mm concrete blockwork + 13 mm gypsum plaster
22'-0"
50/130/117/2 mm sheet-steel drainage channel
200 mm steel channel bonded sealing membrane edges sealed, laid to fall for drainage
aluminum frame with double glazing 12 mm float glass + 16 mm cavity +14 mm laminated safety glass
steel I-section 200 mm deep
30 mm laminated timber window sill
bedroom
double-glazed aluminum sliding door with permanent elastic seal to brickwork
laundry room 7'-2"
100 mm brickwork with stainless-steel wall ties + 40 mm cavity + 2x 12 wood framing + 120 mm PU thermal insulation +13 mm gypsum plaster
every 6th perpend open 100 mm brickwork with stainless-steel wall ties + 40 mm cavity + 60 mm PS foam insulation + 100 mm concrete blockwork + 13 mm gypsum plaster
50/130/117/2 mm sheet-steel drainage channel
4'-0"
9'-0"
reinforcement connection with 80 mm insulation
bonded sealing membrane + 2 mm aluminum-sheet cover, coated
4'-0"
bonded sealing membrane edges sealed, laid to fall for drainage
2x 18 mm plywood with birch veneer + 5 mm walkabout resilient layer + 50 mm underfloor heating + 200/ 44 mm timber beams 150 mm mineral-wool impact sound insulation 12.5 mm plasterboard, white skim-coat finish
200 mm steel channel bonded sealing membrane edges sealed, laid to fall for drainage
bonded sealing membrane edges sealed, laid to fall for drainage
100-120 mm terrazzo tiles + 1 mm sheet polytene separating layer + 10 mm impact-sound insulation +1 mm bituminous sealing layer 310-340 mm reinforced concrete slab
100 mm drainpipe
12'-0"
100 mm drainpipe
underground parking 50 mm gravel + 2 ply waterproof bituminous membrane + 75 mm thermal insulation + 100 mm impact sound insulation + vapor barrier +150 mm reinforced concrete slab
100 mm drainpipe
wall section 1/2� = 1’-0�
south eleva
ation
54 Apartments
28
view from laundry room to outside
54 Apartments
view into a unit’s living space
29
unit model photographs
RƎTSNÖM PÄRKS
-mrof ni ygolodohtem a etaerc ot si yduts tnednepedni eht fo evitcejbo ehT tcerid taht seulav gniyfingis sa snrettap lacisyhp dna latigid gnisu gnikam eht ni segnih tcejorp ehT .erutcetihcra denigami eht fo noitcnuf dna mrof eht scihpargrepuS fo ygolodohtem eht neewteb sdnuorg nommoc rof hcraes erehw ,ytiunitnoc a tibihxe saedi htob ees ot trats nac enO .ecapsknuJ dna dna ,sepahs fo noititeper dna redro suorogir hguorht ti stibihxe remrof eht smargorp detalernu fo noitanibmoc gnitnelernu hguorht ti stibihxe rettal eht dna gninoitidnoc-ria fo esuaceb )evres-fles dna ,ecalptekram ,moorwohs( railimaf a no ygolodohtem wen siht detset eW .PCR /dirg larutcurts eht eht eveileb ew sa esuoheraw erutinruf a si hcihw ygolopyt erutcetihcra trats ot elacs thgir eht dna ,strap ,ytilibixelf hguone su dedivorp esuoheraw nac yllautneve taht spihsnoitaler wen gnidnif dna seitilibissop wen gnirolpxe .ygolopyt erutcetihcra fo sdnik yna otni elbacilppa eb
SKRĂ„P MĂ–NSTĆŽR
The objective of the independent study is to create a methodology in formmaking using digital and physical patterns as signifying values that direct the form and function of the imagined architecture. The project hinges in the search for common grounds between the methodology of Supergraphics and Junkspace. One can start to see both ideas exhibit a continuity, where the former exhibits it through rigorous order and repetition of shapes, and the latter exhibits it through unrelenting combination of unrelated programs (showroom, marketplace, and self-serve) because of air-conditioning and the structural grid/ RCP. We tested this new methodology on a familiar architecture typology which is a furniture warehouse as we believe the warehouse provided us enough flexibility, parts, and the right scale to start exploring new possibilities and finding new relationships that eventually can be applicable into any kinds of architecture typology.
Skräp Mönster
32
Skräp Mönster
34
Marketplace
Bedrooms Dining
Kitchens
Self Serve
Rugs & Flooring
Textiles
Home Decorations
Wall units & Media Storage
Work Spaces
Shortcut
Wall Decorations & Mirrors
Home & Organization
Shortcut
Bathroom
Shortcut
Children’s IKEA
Shortcut
Bed Textiles
Sofa Beds
Lighting
IKEA Family
As-is
Shortcut
Check - outs
Shortcut
Restaurant & Cafe
Marketplace
Tableware Shortcut
Living Rooms
Smaland
Cookshop
Returns & Exchanges
Furniture pick-up
SHOWROOM
MARKETPLACE
Second Floor
Ground Floor
pattern diagram
Entrance
Home Delivery Exit
Bistro
Swedish food market
SELF-SERVE Ground Floor
IKEA Canton floor plans
Smaland
Skräp MÜnster
models showing the flattening of patterns and furniture objects
35
]...[ SRIAHC DNA SLOOP
yb ecapsknuJ fo gnidnatsrednu wen a evired ot smia tcejorp ehT nac ,seerged dna slevel tnereffid ni desu ,ti fo aedi eht woh gnitartsnomed .noitutitsni loohcs elddim a ni yllacigogadep dna yllaitaps flesti tsefinam ssenizzuf eht tneserper ot sepahs tnereffid owt syolpme tcejorp eht ,yllamroF dna senoc neewteb secaps eht fo gnirekcilf eht hguorht si tI .ecapsknuj fo laitaps dna snoitidnoc ynam eht setalucitra gnidliub eht taht xob deddirg a setairporppa osla tcejorp eht ,eromrehtruF .ecapsknuj fo sretcarahc eht edivorp dirg eht seod ylno toN .etis eht gnidulcni sroolf lla no dirg gniyfinu elddim eht tuohguorht tnemnorivne lahcrareih-non eht thgilhgih ot stnemele taht eno sa loohcs eht etautis ot etis evitceffe na sedivorp osla tub ,loohcs sihT .seitilibissop fo dleif evisnetxe na ni sseletis dna etis deniatnoc a htob si ,sonisac sa hcus secapsknuj rehto ot denekil eb nac taht ecaps a si loohcs ytivitca fo lluf secaps esned era yehT .sllam gnippohs dna ,slanimret tropria htiw sneewt fo puorg suoenegoreteh a tsoh ot tpeda ylbakramer si taht .snoitavitom dna slaog tnereffid
AND CHAIRS [...] POOLS
The project aims to derive a new understanding of Junkspace by demonstrating how the idea of it, used in different levels and degrees, can manifest itself spatially and pedagogically in a middle school institution. Formally, the project employs two different shapes to represent the fuzziness of junkspace. It is through the flickering of the spaces between cones and gridded box that the building articulates the many conditions and spatial characters of junkspace. Furthermore, the project also appropriates a unifying grid on all floors including the site. Not only does the grid provide the elements to highlight the non-hierarchal environment throughout the middle school, but also provides an effective site to situate the school as one that is both a contained site and siteless in an extensive field of possibilities. This school is a space that can be likened to other junkspaces such as casinos, airport terminals, and shopping malls. They are dense spaces full of activity that is remarkably adept to host a heterogeneous group of tweens with different goals and motivations.
And Chairs [...] Pools
38
And Chairs [...] Pools
39
And Chairs [...] Pools
second floor plan
40
first floor plan
And Chairs [...] Pools
41
And Chairs [...] Pools
42
And Chairs [...] Pools
section swimming pool model
43
ULUL UAƎTAHC
ruo enifer dna erolpxe ot deksa era ew ,tnemirepxe cihpargonecs siht nI .seuqinhcet lanoitatneserper dna stnemele cirehpsomta fo tes gnivlove ,rolrap oottat a fo margorp citarcnysoidi eht htiw letoh eht gnizidirbyh yB hguorhT .retnuocne fo secaps dna snoitautis ,snoitidnoc wen detaerc ew evitceles dna tes delledom eht no stcejbo fo noitaruc suolucitem dna ydoom si taht erehpsomta fo esnes a seveihca tcejorp eht ,yhpargotohp .cilohcnalem cihpargohtro otni noitalsnart yb dewollof era shpargotohp ledom fo tes ehT ,stceffe ni reweiv eht esremmi segami cihpargonoecs erehW .sgniward dna tnemecalpsid evitcejbo na sedivorp gniward cirtemonoxa na erutcetihcra ,weiv degelivirp a sah tes a erehW .elohw eht fo noisneherpmoc a erofereht si ”noxa cihpargonecs“ A .sedis lla morf decneirepxe si woh fo scinahcem eht ward ylevitcejbo ot eno sksa ti ;smret ni noitcidartnoc ?roloc ehT ?thgil eht secudorp tahW .decudorp si ecneirepxe evitcejbus sgniward fo tes esehT ?dnuos eht secudorp tahW ?evom llaw eht seod woH eunitnoc osla tub mlif eht ni nees stceffe eht fo scinahcem eht laever ylno ton hcuoc( stcejbo fo gniriap eht ni tnedive erehpsomta gnilttesnu na ekove ot fo tceffe gnitrecnocsid eht dna )kni dellips dna elbat ,gur deniats-ddolb dna lellarap euqilbo na no snoitcelfer sti dna ybbol eht fo weiv lavitcepsrep eht .noitcejorp
CHATƎAU LULU
In this scenographic experiment, we are asked to explore and refine our evolving set of atmospheric elements and representational techniques. By hybridizing the hotel with the idiosyncratic program of a tattoo parlor, we created new conditions, situations and spaces of encounter. Through meticulous curation of objects on the modelled set and selective photography, the project achieves a sense of atmosphere that is moody and melancholic. The set of model photographs are followed by translation into orthographic drawings. Where sceonographic images immerse the viewer in effects, an axonometric drawing provides an objective displacement and comprehension of the whole. Where a set has a privileged view, architecture is experienced from all sides. A “scenographic axon” is therefore a contradiction in terms; it asks one to objectively draw the mechanics of how subjective experience is produced. What produces the light? The color? How does the wall move? What produces the sound? These set of drawings not only reveal the mechanics of the effects seen in the film but also continue to evoke an unsettling atmosphere evident in the pairing of objects (couch and blodd-stained rug, table and spilled ink) and the disconcerting effect of the perspectival view of the lobby and its reflections on an oblique parallel projection.
Chateau Lulu
46
Chateau Lulu
scenographic model photographs
47
Chateau Lulu
48
Chateau Lulu
scenographic orthographic drawing
49
NIAGA ,KUDJƎH
hguorht sgnidnif gnitartsnomed sgniward fo tes a etaerc ot smia tcejorp ehT nhoJ - erutcetihcra fo eceip tnacifingis a fo noitagitsevni lacitylana peed a eht gniwarder fo ssecorp eht hguorhT .)7691( A esuoH dnomaiD s’kudjeH taht snoisiced s’tcetihcra eht dna selur eht htiw railimaf emaceb ew ,esuoh ot detcele ew ,puorg a sa ,yhw si tahT .esuoh eht fo ngised eht denrevog ,tsriF .lanigiro eht morf yltnereffid sgniward euqilbo nalp dna nalp eht ward-er sihT .sixa sti no detator si euqilbo nalp gnidnopserroc sti dna nalp hcae .roolf hcae fo ytilaudividni eht sa llew sa esuoh eht fo sweiv ruof lla detneserp eht ot noitcaer a erew dezilitu swodahs dna senot ,sthgiewenil eht ,dnoceS tnesba saw hcihw ,noitatneserper lanigiro eht ni tnerappa saw taht ytiugibma .snoitnevnoc sgniward eseht fo
HƎJDUK, AGAIN
The project aims to create a set of drawings demonstrating findings through a deep analytical investigation of a significant piece of architecture - John Hejduk’s Diamond House A (1967). Through the process of redrawing the house, we became familiar with the rules and the architect’s decisions that governed the design of the house. We elected to redraw the drawings differently from the original. First, each plan and its corresponding plan oblique is rotated on its axis. This presented all four views of the house as well as the individuality of each floor. Second, the lineweights, tones and shadows utilized were a reaction to the ambiguity that was apparent in the original representation, which was absent of these drawings conventions. These investigations led into a design of a house that identifies the relationship between shape and figure as a potential point of origin for architecture. The transformation of the shapes through changes in scale, allow for flexibility in the development of spatial relationship between domestic activities. Meanwhile, the elevation becomes the platform where the transition from shape to figure is made. It is in the building envelop, where the house engages this idea of a set of ambiguous figures, where at times could imagine faces with eyes and mouths wide open.
Hejduk, Again
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Hejduk, Again
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plan oblique drawings
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Hejduk, Again
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plan drawings
Hejduk, Again
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form iterations after analysis of Diamond House A
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TSOM ƎHT DƎHPARGOTOHP ACIRƎMA NI NRAB
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THƎ MOST PHOTOGRAPHƎD BARN IN AMƎRICA
This weekend workshop with Sam Jacob is invested in simultaneously addressesing conceptual issues that has to do with looking, recording, documenting and representation and how all these are architectural issues. Using photographic data from the internet, we are tasked to make a model of the most photographed barn in america. Our team decided to use traditional methods of constructing perspective that pieces together several images of the barn into one composition. Through this process, we are questioning what was the barn like before it was photographed. Does representation, in other words, alter the architecture of the barn? This approach allows the viewer to tackle these issues themselves by providing them a model of a barn to be photographed. Through texture mapping, we are able to reconstruct a model that allows one to take a photograph of the barn as if they were in location. In this manner, we are giving agency to the act of recreating.
The Most Photographed Barn in America
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planometric diagram
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HED BARN MOST PHOTOGRAP IN AMERICA
the model of the barn to be photographed
BOWSTRING
The primary mode of investigation for this weekend workshop with Johnston Marklee was through physical models. Subsequently, we worked on designing alternative structural roof systems for the UCLA Graduate Art Studios, an ongoing project in the design development phase in the office. The models were considering scale, light modulation and the relationship between the condition and unconditioned space. The proposal utilizes stock trusses of different sizes, type and sensibility. This process of begins to hint on the extended design possibilities of curation as a motivational practice.
Bowstring
truss structural roof system close-ups
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representation + model displayed in the gallery
DƎLIRIOUS FACADƎ
This weekend charette with LAMAS continues on the firm’s current design investigation on image processing artificial intelligence as a generator for architectural form and ornament. We were tasked to choose two facades (Carlo Maderno’s St. Peter’s Basilica Facade and Bureau Betak’s Dior Spring 2014 Fashion Show) and import their visual signatures and patterns as the material for the generation of hybrid facades using Google’s Deep Dream software. The process can be understood as the architectural equivalent of the popular “Face Swap” smart phone application, although more sophisticated in practice. The resulting facade proposals are inherently contextual, and related to historical precedent but do so in ways that are not tied down to formal narratives. The outcome is not a modernist facade but it is equally at odds with postmodernism. In LAMAS’s own words, “they are altermodern, they are made in the heterochrony of the present, formed ‘in media res’ and emobody the present moment in all its delirium.
Delirious Facade
combined facade clay render
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combined facade texture render
WORK ƎXPƎRIƎNCƎ
Ellie Abrons, Inside Things
Ellie Abrons + Adam Fure, The Secret Life of Buidlings
Work Experience
T+E+A+M, Santa Cruz , Bolivia
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Laida Aguirre, Careful Crates
TIHCRA Ǝ C T U R Ǝ
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P O R T OILO F