Eileen Arcos|Design Portfolio

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

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Everything Must Go

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ground floor isometric [collection_01] + interior perspectives with objects

Everything Must Go

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Everything Must Go

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ground floor isometric [collection_02] + interior perspectives with objects

Everything Must Go

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Everything Must Go

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ground floor isometric [collection_03] + interior perspectives with objects

Everything Must Go

13

Everything Must Go

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ground floor isometric [collection_04] + interior perspectives with objects

Everything Must Go

15

Everything Must Go

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ground floor isometric [collection_05] + interior perspectives with objects

Everything Must Go

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Everything Must Go

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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

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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

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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

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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

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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

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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

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]...[ 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

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And Chairs [...] Pools

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And Chairs [...] Pools

second floor plan

40

first floor plan

And Chairs [...] Pools

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And Chairs [...] Pools

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And Chairs [...] Pools

section swimming pool model

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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

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Chateau Lulu

scenographic model photographs

47

Chateau Lulu

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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