ERIC EAKEN
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PROJECT 07 | 2014
PROJECT 01 | 2015
PROJECT 04 | 2015
Class Contributors
Project Partner(s)
Class Contributors
Joachim Doer, Instructor Gabriella Rouff, Instructor Patrick Gilmore Peter Bourque
Connor Coleman
Susana Perreira, AIA Instructor
PROJECT 02 | 2015 Project Partner(s) Natalia Pavlova Norah Bin Showaish Class Contributors Biyana Bogosian, Instructor Jason King, Critic
Class Contributors Jason Rebillot, Instructor Dina Krunic, Instructor Jack Akstioglou Abdulkarim Al Barrak Husam Al-Suliman Rabi Aldaylami Afnan Ajarbou Edan Ben-Moshe Norah Bin Showaish Joann Chan Omar Fida Hsiang Jui Hong Austin Hutcherson Joanna Jankowska Fabian Jelinewski Natalia Pavlova Shayer Rahman Rodrigo Velasquez
PROJECT 03 | 2015
PROJECT 05 | 2016
Class Contributors
Team
Mahdi Alibakhshian, Instructor Eric Eaken Eryanne Edgerley Enrique Genovez Mohamed Noamani Jennifer Partlow
Breeanna Garcia Nicholas Rados
Consultants Marc J. Neveu, Ph.D. Ingalill Wahlroos-Ritter, AIA Matthew Corbitt Oscar Corletto Yasushi Ishida Hooman Nastarin - Nast Enterprises Sponsors Bobco Metals, Los Angeles IMS - Industrial Metal Supply Co.
Competition Judges Bob Hale, FIAIA Rios Clemente Hale Studios Shelly Kappe SCI-ARC Mia Lehrer, FALSA Mia Lehrer + Associates Lee Pasteris, NCIDQ Gensler Robin Perkins, ASGA Shelbert Perkins Design
Special Thanks Emily Adler Luz Auyon David Huerta Fabian Jelinewski Lina Sembish Rodrigo Velasquez Gonzalez
PROJECT 06 | 2013 Class Contributors Aaron Weinert, AIA Instructor
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PROJECT 08 | 2013 Class Contributors James P. Allen, Instructor
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DEUTSCHE SPORT HALLE BERLIN, GERMANY
The gymnasium or “sport halle� is composed of prescribed and infinite formal opportunities. While the conventional service spaces such as locker rooms, showers, equpment storage and more find organization through typology, the gym hall offers the possibility of infinite form. The interaction between these program driven spaces define the user experience in the sport halle; to prepare for sport and to take part in sport is the total function of the sport halle. The project proposes to sink all gymnasium service programs below ground. Accessible below ground is the sport halle, defining the total ground plane relationship between sport and site. First level spaces above the sport halle such as spectator spaces, cafe seating and public restrooms reside in an elevated bar. The bar wraps three sides of the sport halle form. It appears to float above the ground plane. The bar is intended to both hang from and laterally support the flying sport halle volume. The sport halle volume begins as an elipse which is deformed in the y and z directions changing shape, over the length of the gymnasiums. The resultant form is a light and porous blob with a gradual formal protrusion from the school side to the park side. Along its length, it grows in height from the school to neighbood residences. The final form is the illuminated engagement between sport and leisure.
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PARAMETRIC CATALOGUE BURBANK, CALIFORNIA
The catelogue is used to explore single ideas though multiple iterations as well as multiple ideas though a sequence of individual iterations. As seen in Peter Eisenman’s drawings, the architectural concepts of the late 20th and early 21st century are revealed though iterative process and rationalized discovery. Digital parametric design or “scripted” design has equpiped architects with the flexibility to explore architectural catelogues with astounding speed, complexity and flexibility. Catelogues contribute to the organization of 21st century capabilities. The following catelogue begins with the conceptual construction of the gothic vault as projected lines from plan to elevation and the use of nurbs surfaces to achiteve digital “solidarity.” The vault is mirrored and becomes a symmetrical volume which is distributed unto a surface. The surface achiteves its form through a series of parametric steps including the multipliicity of, scaling and rotation of its surface contours. The final artifactw is composed of a parametric surface and the distribution of two gothic vault volumes along its quadrants. In the first catelogue, the volumes are distributed through the conditional testing of their location in space to a random domain achieving varying degrees of probabiliy and a thus, a desintigrated quality. In the second catelogue, simple binary code is used to define the sequential order of volumes along the surface.
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A B C D E F G H I J K L M 0 1 0 0 0 0 0 1 0 1 0 0 0 0 1 0 0 1 0 0 0 0 1 1 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 1 0 1 0 0 0 1 1 0 0 1 0 0 0 1 1 1 0 1 0 0 1 0 0 0 0 1 0 0 1 0 0 1 0 1 0 0 1 0 1 0 0 1 0 0 1 0 1 1 0 1 0 0 1 1 0 0 0 1 0 0 1 1 0 1
1 0 1 1 1 1 1 0 1 0 1 1 1 1 0 1 1 0 1 1 1 1 0 0 1 0 1 1 1 0 1 1 1 0 1 1 1 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 0 1 0 1 1 0 1 1 1 1 0 1 1 0 1 1 0 1 0 1 1 0 1 0 1 1 0 1 1 0 1 0 0 1 0 1 1 0 0 1 1 1 0 1 1 0 0 1 0
A B C D E F G H I J K L M 1 0 1 1 1 1 1 0 1 0 1 1 1 1 0 1 1 0 1 1 1 1 0 0 1 0 1 1 1 0 1 1 1 0 1 1 1 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 0 1 0 1 1 0 1 1 1 1 0 1 1 0 1 1 0 1 0 1 1 0 1 0 1 1 0 1 1 0 1 0 0 1 0 1 1 0 0 1 1 1 0 1 1 0 0 1 0
1 0 1 1 1 1 1 0 1 0 1 1 1 1 0 1 1 0 1 1 1 1 0 0 1 0 1 1 1 0 1 1 1 0 1 1 1 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 0 1 0 1 1 0 1 1 1 1 0 1 1 0 1 1 0 1 0 1 1 0 1 0 1 1 0 1 1 0 1 0 0 1 0 1 1 0 0 1 1 1 0 1 1 0 0 1 0
A B C D E F G H I J K L M 1 0 1 1 1 1 1 0 1 0 1 1 1 1 0 1 1 0 1 1 1 1 0 0 1 0 1 1 1 0 1 1 1 0 1 1 1 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 0 1 0 1 1 0 1 1 1 1 0 1 1 0 1 1 0 1 0 1 1 0 1 0 1 1 0 1 1 0 1 0 0 1 0 1 1 0 0 1 1 1 0 1 1 0 0 1 0
0 1 0 0 0 0 0 1 0 1 0 0 0 0 1 0 0 1 0 0 0 0 1 1 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 1 0 1 0 0 0 1 1 0 0 1 0 0 0 1 1 1 0 1 0 0 1 0 0 0 0 1 0 0 1 0 0 1 0 1 0 0 1 0 1 0 0 1 0 0 1 0 1 1 0 1 0 0 1 1 0 0 0 1 0 0 1 1 0 1
AB BC 0 1 0 0 0 0 0 0 0 1 0 0 0 0 1 0 0 1 0 0 0 0 1 1 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 1 0 1 0 0 0 1 1 0 0 1 0 0 0 1 1 1 0 1 0 0 1 0 0 0 0 1 0 0 1 0 0 1 0 1 0 0 1 0 1 0 0 1 0 0 1 0 1 1 0 1 0 0 1 1 0 0 0 1 0 0 1 1 0 1
0 1 0 0 0 0 1 0 0 1 0 0 0 0 1 1 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 1 0 1 0 0 0 1 1 0 0 1 0 0 0 1 1 1 0 1 0 0 1 0 0 0 0 1 0 0 1 0 0 1 0 1 0 0 1 0 1 0 0 1 0 0 1 0 1 1 0 1 0 0 1 1 0 0 0 1 0 0 1 1 0 1 0 1 0 0 1 1 1 0
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N O P Q R S T U V W X Y Z 0 1 0 0 1 1 1 0 0 1 0 0 1 1 1 1 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 1 0 1 0 0 1 0 0 1 0 1 0 0 1 1 0 1 0 1 0 1 0 0 0 1 0 1 0 1 0 1 0 1 0 1 0 1 1 0 0 1 0 1 0 1 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 1 0 1 0 1 1 0 1 0
1 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 1 0 1 1 1 1 1 0 1 0 1 1 1 0 1 0 1 0 1 1 0 1 1 0 1 0 1 1 0 0 1 0 1 0 1 0 1 1 1 0 1 0 1 0 1 0 1 0 1 0 1 0 0 1 1 0 1 0 1 0 0 0 1 0 1 0 0 1 1 1 1 0 1 0 0 1 1 0 1 0 1 0 0 1 0 1
N O P Q R S T U V W X Y Z 1 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 1 0 1 1 1 1 1 0 1 0 1 1 1 0 1 0 1 0 1 1 0 1 1 0 1 0 1 1 0 0 1 0 1 0 1 0 1 1 1 0 1 0 1 0 1 0 1 0 1 0 1 0 0 1 1 0 1 0 1 0 0 0 1 0 1 0 0 1 1 1 1 0 1 0 0 1 1 0 1 0 1 0 0 1 0 1
1 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 1 0 1 1 1 1 1 0 1 0 1 1 1 0 1 0 1 0 1 1 0 1 1 0 1 0 1 1 0 0 1 0 1 0 1 0 1 1 1 0 1 0 1 0 1 0 1 0 1 0 1 0 0 1 1 0 1 0 1 0 0 0 1 0 1 0 0 1 1 1 1 0 1 0 0 1 1 0 1 0 1 0 0 1 0 1
N O P Q R S T U V W X Y Z 1 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 1 0 1 1 1 1 1 0 1 0 1 1 1 0 1 0 1 0 1 1 0 1 1 0 1 0 1 1 0 0 1 0 1 0 1 0 1 1 1 0 1 0 1 0 1 0 1 0 1 0 1 0 0 1 1 0 1 0 1 0 0 0 1 0 1 0 0 1 1 1 1 0 1 0 0 1 1 0 1 0 1 0 0 1 0 1
0 1 0 0 1 1 1 0 0 1 0 0 1 1 1 1 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 1 0 1 0 0 1 0 0 1 0 1 0 0 1 1 0 1 0 1 0 1 0 0 0 1 0 1 0 1 0 1 0 1 0 1 0 1 1 0 0 1 0 1 0 1 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 1 0 1 0 1 1 0 1 0
0 1 0 0 1 1 1 0 0 1 0 0 1 1 1 1 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 1 0 1 0 0 1 0 0 1 0 1 0 0 1 1 0 1 0 1 0 1 0 0 0 1 0 1 0 1 0 1 0 1 0 1 0 1 1 0 0 1 0 1 0 1 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 1 0 1 0 1 1 0 1 0
0 1 0 0 1 1 1 1 0 1 0 1 0 0 0 0 0 1 0 1 0 0 0 1 0 1 0 1 0 0 1 0 0 1 0 1 0 0 1 1 0 1 0 1 0 1 0 0 0 1 0 1 0 1 0 1 0 1 0 1 0 1 1 0 0 1 0 1 0 1 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 1 0 1 0 1 1 0 1 0 0 1 0 0 0 0 0 1
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MINIMAL SURFACE INSTALLATION BURBANK, CALIFORNIA
Based on research into catenary curves and relaxed surfaces, the explorations of design in the analogue and digital propose a campus installation aimed at transforming the programmatic use, and campus circulation through object and space. Analogue explorations incude the inflation of fabric with concretized plaster and the hanging of this volume with multiple anchor points. The forms are inversed in space and display a new structural state of compression. Variables are established: fabric, geometry, anchor points, and inflation volume. However, the subjegation to free gravity forces implies and produces animetric form. In parallel, digital modeling aims to integrate discoveries made in the analogue into an architectural installation; greater in scale and production. Digital exploration begins with the analysis of the site with catenary curves, relating concerns of scale and space to the inherent properties of the catenary curve. Catenary curves are connected with digital surfaces. The relationship between inverse catenary curves oriented offset and perpendicular from one another at various heights, widths and placement of anchor points is understood early on. The installation aims to express these discoveries in a lineage of these discovered conditions in direct response to two site surfaces: ground and wall.
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LOS ANGELES RIVER INFRASTRUCTURE AND HOUSING STUDIO CITY, BURBANK, CALIFORNIA
Located in the heart of Universal City, a four mile stretch along the existing Los Angeles River is reimagined through multiple teams of architects in the forms of social housing, public ammenities and public spaces along Ventura Boulevard and the Los Angeles River. The central site curretnly houses CBS broadcasting headquarters and filming campuses. The campus requires indoor and outdoor sound stages, office space and flexible spaces which may transform from public thruways to private set designs. The project proposes the complete redistribution of CBS programs and new social housing striations which pivot from boulevard to river. CBS sound stages are sunken below ground and topped with social housing, maintaining the private separation between public and private, but reimagining the mutual support of industry to living. Each striation is a machine for entertainment production and leisure. Public retail spaces line Ventura Boulevard which are topped with CBS headquarter offices, providing overhead gateways to a series of public promenades and ecological avenues which slope down toward the LA River. Housing units project into the thruway of the LA River, re-establishing the residential domain as directly related to infrastructre. Housing builds up vertically toward the boulevard as a means to control light and mimick the slopes of surrounding mountains.
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LABC DESIGN COMPETITION DOWNTOWN LOS ANGELES, CALIFORNIA
Located in the heart of downtown Los Angeles, the existing site is situated in the northern lot of the Los Angeles Civic center; comprised of historic City Hall, East City Hall and public plazas at ground and subterranean levels. The current site offers public amendities in the forms of open space, commercial ventures and restaurants. It also houses the renowned Los Angeles Trifourium Sculpture. The site positions itself at a critical intersection between Highway 101, the historic Pueblo and Union Station at the mouth of Downtown Los Angeles. It also sits at the forefront of Downtwon Los Angeles’s current outreach toward the Industrial District and the Los Angeles River. Intended to serve as the center for all business and governemnt officials working in Downtown Los Angeles, the Civic Center is formerly concieved as the center for the “10 Minute Diamond,” an urban plan which seeks to link all major Downtown Los Angeles venues together through clear vehicular and pedestrian traffic thruways. The proposed project suggest the redevelopment of such a plan in its attempt to establish the next urban way point: the city’s first public bike hub as a point which may finally thread the lifeblood of Downtown Los Angeles through the Pueblo and beyond to Montecito Heights and eastward toward the developing Industrial District.
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MUSEUM OF THE SENSES BOSTON, MASSACHUSETTS
Located in Boston’s Back Bay District, the Museum of Senses resides in a left-over plot situated adjacent to a major thruway, diagonal streets, and an 8-story parking garage. Early model and diagram explorations understand the site as a series of sensory forces: auditory and visual. The site provides radically opposed sensory conditions, flanked by a church and the murmer of heavy traffic. The irregular plot of land and linear progression of intended spaces promotes a museum circulation which follows the perimeter of the site. Wall apertures or light, materiality and views produce a series of four museum spaces, each of which engage the viewer through sound, sight, and kinetic activity. The museum procession begins along the lower side of the site adjacent to the church. Made of only cocrete the space lets in a single band of light and noise above the occupants. The user proceeds up two flights of stairs along the sloped part of the site which begins to introduce light, growing spatiality and tectonic systems. Finally, users are free to explore along hung walkways in a space which engages surrounding views and the interior courtyard. Sight and sound sensory experiences are produced through the juxtaposition of external activity and interior sound or vice a versa. Users are confronted with visual or non-visual adjacenies which undermine their sensory capabilities.
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MUSEUM OF THE SENSES
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07 THE VOID
BOSTON, MASSACHUSETTS
The void is the non-present within the immediate perceptual realm. An antithesis to the definite world; the void is both static and dismantling. It’s presence is in fact non-existence. The void is understood through a series of books which direct their focuses toward representing the void. In Book 1, the void floats within the page behind the projected topographic lines of the reader’s immediate perceptual realm. The presence of a its non-mass in relation to the character’s surroudnings suggest an awareness of its existence but the inability to reconcile this emptiness as non-existence. The void takes on the field condition and form as the anomoly in topographic reality. It becomes the core of the project: a wellness and meditation center. Book 2 generates form though the sectional reading of the sites topogrophy through overlay and proximity to the void. Conceptualized differences in section drive spatial volumes, user experience and programmatic significance with the void, or non-existence. The void is realized as either mass which sinks program beneath it or space which is observed from above. The movement across the site generates twelve sections, each of which go through transformations as a single story board and indivdual page overlays. Book 3 defines the void in relation to the architecture. It directs circulation downward into the subterranean. It’s presence drives the experience of the wellness center.
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ANNEX CONNECTOR BOSTON, MASSACHUSETTS
The college of Architecture, Design and Construction Management at Wentworth Institute of Technology in Boston, Massachusetts is housed in a threewing historical building which contains a central auditorium and classrooms in the southern wing, architecture studios in the west wing and industrial design and construction management studios in the east wing. The project proposes a fourth wing along the northern boundary of the site which connects architecture and industrial design studios as well as public gallerys which display student work. The project proposes two volumetric masses which extend into space, reaching toward the opposing design studios. The masses are sliced diagonally with a third level catwalk. Vertical circulation belonging to the individual design wings protrude into negative space outside of the floating masses. The ground level is open plan with movable gallery walls, public restrooms and access to private vertical circulation. The project can be described as a reconcilliation of space and views between differing design majors and the promotion of social and academic collaboration between it’s respective students. The fourth wing in the college of Architecture, Design and Construction Management is the collective involvment of multiple disciplines and engagment with the surroudning communities.
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1. STUDENT WORK PUBLIC GALLERY 2. PUBLIC INFO CENTER 3. PUBLIC RESTROOM 4. JANITORIAL STORAGE 5. MECHANICAL ROOM 6. KITCHEN 7. CAFE 8. MENS ROOM 9. WOMEN’S ROOM 10. MECHANICAL ROOM 11. ANNEX EAST 12. ANNEX NORTH 13. OUTDOOR SEATING 14. LANDSCAPE GALLERY
1ST FLOOR PLAN
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ERIC EAKEN ARCH 345 ANNEX CONNECTOR PROJECT
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1. ARCHITECTURE COLLABORATIVE STUDIO 2. ARCHITECTURE COLLABORATIVE STUDIO FLEXIBLE SPACES: -PIN UP WALLS -MODEL TABLES -DRAFTING TABLES -WOOD SHOP -DIGITAL FABRICATION SHOP
3RD FLOOR PLAN
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ERIC EAKEN ARCH 345 ANNEX CONNECTOR PROJECT
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EAST SECTION A
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INDUSTRIAL DESIGN COLLABORATIVE STUDIO, CLASS INSTRUCTION ROOM, ENTRANCE/ PUBLIC GALLERY, iINFO CENTER ERIC EAKEN ARCH 345 ANNEX CONNECTOR PROJECT
0 2 4 8 EAST SECTION B 8 EAST SECTION A 0 2 4 STUDIO, ARCHITECTURE COLLABORATIVE COMMUNITY MENTOR SACES, MASTER’S LOUNGE, CAFE/ SEATING
INDUSTRIAL DESIGN COLLABORATIVE STUDIO, CLASS INSTRUCTION ROOM, ENTRANCE/ PUBLIC GALLERY, iINFO CENTER ERIC EAKEN ARCH 345 ERIC EAKEN ANNEX CONNECTOR PROJECT ARCH 345 ANNEX CONNECTOR PROJECT
SOUTH SECTION C 0 2 4 8 0 2 4 8 STUDIO, CLASS INSTRUCTION ROOM, ENTRANCE/PUBLIC GALLERY, SUPPORT SPACE EAST SECTION B INDUSTRIAL DESIGN COLLABORATIVE ARCHITECTURE ERIC EAKEN COLLABORATIVE STUDIO, COMMUNITY MENTOR SACES, MASTER’S LOUNGE, CAFE/ SEATING ARCH 345 ERIC EAKEN ANNEX CONNECTOR PROJECT ARCH 345 ANNEX CONNECTOR PROJECT
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