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Eric S. Anderson M.Arch Applicant
Contents 0 1 ) The Limitless Museum: Indianapolis’ Endless House of Art __ pages 01- 08 0 2 ) Major Taylor XL _____________________________________ pages 09- 14 0 3 ) The Indianapolis Sojourn Center ________________________ pages 15- 18 0 4 ) HexaLux, Floor Lamp ______________________________ pages 19- 20 0 5 ) Metropolis of Tomorrow 2.0
________________________ pages 21- 22
0 6 ) Utopian Visions _____________________________________ pages 23- 24 0 7 ) WT6: A Global Field Study
________________________ pages 25- 28
0 8 ) Photography, A Way of Seeing
________________________ pages 29- 30
COVER Pixel Crusher_005. Digital art. Sept. / Nov. 2017 OPPOSITE Flat Portal_003 (or the Graphic Designer’s Wedding Cake). Digital art. Dec. 2017
Glimpse Vol. 2, 2018 ed. (abridged) A design portfolio by: Eric Sobek Anderson
“Enter Here”
.01 Type: Integrated-technology art museum Location: White River State Park, Indianapolis, Indiana Date: Spring 2017 Professor: Ana deBrea Distinction: First Place Individual in the 2017 MKM Third-Year ACSA Steel Design Competition
Standard museum design too often presents a static observational experience to museum-goers. Research shows that museum curatorial teams recognize this and are trying to cater to a growing public expectation for more dynamic ways of engaging art. Art has always served to enrich our everyday realities, and augment our sense of beauty in the world. Thus, it is a natural fit, given how ubiquitous and accessible technology has become, that the Limitless museum proposes engaging art through digital interfaces, namely virtual and augmented realities. Considering how rapidly technology progresses, my proposal does not hinge upon any specific software or device. In fact, over the museum’s lifetime, the technology it leverages will likely change or be modified significantly. But what is crucial to the Limitless Museum’s core concept, it the belief that augmented and virtual reality, when coupled the architecture that holds it, can liberate the museum to become a nearly infinite visual library, benefiting both traditional and digital mediums. For instance, one can imagine a dramatic Caravaggio painting coming to life through an overlay of animation. Or envision yourself waking into a gallery filled with digital projections, as if you were immersed in a whole other world. At its simplest, this system would allow viewers a closer or more informative look at the piece they are observing. At its most complex, the interplay of augmented and virtual reality could become an entire art in itself. Ultimately, the Limitless Museum strives to take you beyond the confines of the everyday and present art is a highly relevant context. This facility not only acts as a new civic landmark for Indianapolis, but also as a forwardthinking step in the global field of museum design. 1.1 / OPPOSITE View approaching the main entrance
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1. Primatives: Two Galleries
2. Stre t c h + Respo n d
3. Smooth + Connect
4. Scul p t + Nest l e
1.2 / ABOVE Operative form finding diagrams 1.3 / BELOW Building envelope, wall assembly
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1.4 / TOP Massing model. Colored 3D print on MDF base 1.5 / BOTTOM Building envelope model. Powder 3D print 04
1.6 / ABOVE Gallery sans AR 1.7 / BELOW South elevation
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1.8 / ABOVE Gallery with AR 1.9 / BELOW Building section
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A s s e m b l y of S t r u c t u r a l S pace F r a m e C o m p o nent
Space Frame Component Connections
Component Type A and Type B (Standard)
1.10 / TOP Example of immersive exhibition experience 1.11 / BOTTOM Space frame tectonics 07
Fourth Level
T h ir d L e v e l
Second Level
F i r s t L e v el & S i t e
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.02 Type: Skatepark expansion Location: Lake Sullivan Sports Complex, Indianapolis, Indiana Date: Fall 2016 Professor: Enrique Ramirez
Whoa there, have you heard about Major Taylor’s rad new look? It’s next level!!! Major Taylor XL examines an existing skatepark and imagines what it could be with a serious facelift. This new scheme expands the skateable area, calls for the erection of a three-story pavilion, and ultimately turns the park into a true destination. Derived from the logic of nine-square grid, the pavilion stacks three layers of function into one compact structure. The lowest level provides the park with simple yet much needed amenities, namely bathrooms, a concession booth, and a place to congregate during inclement weather. On the second level, there is a double bowl and ramp, allowing the skaters to pick up added momentum when they drop in. Lastly, the top has terraced spectator seating, allowing the park to host competitions or just provide a place for people to sit and chill. Besides addressing programmatic needs, XL strives to increase the skatepark’s popularity. The pavilion functions as a billboard, alluring drivers from nearby Interstate 65. This gives a visual presence to an otherwise low-profile hole in the ground. Similar to a drive-in theatre, movies can be projected onto to the pavilion’s side walls during evening hours. In the summer months, large canvas sunshades provide relief from what would otherwise be a sun soaked concrete desert. XL goes so far as to even provide a logo for branding purposes. After examining other skateparks throughout the city, this project begins to speak more broadly about urbanism and how Indianapolis can become a skater-friendly city.
2.1 / OPPOSITE The Major Taylor pavilion at dusk
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2.2 / ABOVE Site oblique 1.11 / BELOW Skate pavilion plans
First Level: For the Functions
Second Level: For the Skaters
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Third Level: For the Spectators
2.2 / ABOVE Pavilion elevations 1.11 / BELOW Pavilion section cut
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2.6 Putting the “X� in XL. Structural column detail for the skater pavilion. Comprised of four welded steel angles
2.7 Abstract site diagramming of the Lake Sullivan Sports Complex 2.8 / OPPOSITE Skateparks need not exist in isolation. The Skater Subway proposes connecting these sequestered open spaces through a city-wide greenway system
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.03 Type: Justice complex, Community correctional facility and detention center Location: Former General Motors Stamping Plant, Indianapolis, Indiana Date: Fall 2015 Professor: Wes Janz The Indianapolis Sojourn Center (ISC) questions the current state of criminal justice in the United States. The design prompt called for the creation of a new, centralized criminal justice facility for Indianapolis. Given the staggering rates of mass incarceration in this country, meeting the excepted programmatic requirements seemed to be condoning and perpetuating the issues at hand. This project demanded taking a definitive stance on what I believe the societal and ethically ramifications of architecture to be. Starting with its very name, the Sojourn Center deviates from the defective conventions of jail design. As the word sojourn implies, this facility is not intended for extended stays. The goal for all residents is a quick and complete reentry into society. The building itself is designed around a repeated four-story module arrayed along a single datum. When seen as a whole, this long, slender building stretches nearly the full length of the massive brownfield site, announcing the true magnitude of incarceration in America. If this building is intended to detain thousands of individuals, it should not attempt to conceal the huge quantity of men and women it contains. Carried thought out the design of the ISC is the belief that all people deserve recognition and social interaction. Each of the building’s modules create a smaller community group within the context of a larger whole. Being far larger than the standard jail or prison cell, every room can sleep up to eight individuals. The largest portion of these community modules is devoted to a shared commons but every block also has a recreation room, classroom, computer station, and semi-outdoor porch. The ample use of glass not only ensures residents access to natural light but also affords them a visual connection with the outside world. This allows them to see and to be seen by others, a basic way of recognizing someone’s humanity. 3.1 / OPPOSITE TOP The “long jail,” as seen from its front lawn 3.2 / OPPOSITE BOTTOM Overall floor plan, cyan denotes publicly accessible corridors and vistation spaces
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Located in one of Indianapolis’ lower income neighborhoods, the site’s master plan returns the land in front of the ISC to the nearby residents in the form of a large public park. Standing behind the linear building, is the courthouse tower. In order to access the courts, the public must first proceed through the detention datum in front of the tower. In this sense, the “jail” transforms into a permeable wall, with the building’s center containing a publicly accessibly corridor. This corridor holds all the visitation rooms as well as provides access to a large gymnasium / recreation area on the building’s third floor. Running parallel to this main hallway are secure corridors linking the community modules. This allows for staff to safety escort residents throughout the complex. In an effort to minimize the divide between the secure and public zones, the walls lining the corridor provide the most porosity possible without compromising security. These walls consist of perforated metal screens, allowing not only visual but also auditory connection from one side to the other. The Indianapolis Sojourn Center challenges both the architectural and societal beliefs surrounding jails. Without compromising security and order, one can still design spaces that treat people as people. 3.3 / TOP Layout of standard eight-person sleeping room 3.4 / BOTTOM The design hinges upon a repeatable four-story building module 3.5 / OPPOSITE TOP All sleeping rooms have access to diffuse natural light 3.6 / OPPOSITE BOTTOM Floor plans of the standard building module
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Fourth Level
Second Level 18
.04 Type: Furniture / lighting design Location: N/A Date: Fall 2015 Professor: Tom Collins HexaLux is a new type of floor lamp designed specifically for modern interiors. Parametrically dervied apertures complement the traditional warmth of pine and cedar, imbuing the piece with a unique contemporary character. This five foot tall LED lamp casts a gentle glow and is sure to be a statement piece in any space. As with all products from the E. Anderson Design Line, HexaLux stands by its quality of fabrication and integrity of construction. The overall form is a functional and aesthetic response to two light emitting diode strips, transforming them from piercing task lights to an elegant vertical fixture. Unlike fluorescent or incandescent options, the LEDs equate to greater longevity from the product. Mylar screens on the backside of each panel diffuse the light source, thus mitigating glare. The gradation of slits along the wood panels correspond with the placement of the two interior LED strips. Carefully attenton to detail and craft was taken into conisderation. Each of the fifteen panels have 30 degree mitered edges and the panel lenghts are staggered to provide a running bond joint pattern.
4.1 / RIGHT Exploded axonometric of the lamp, some panels omitted for clarity 4.2 / OPPOSITE LEFT Finished Lamp. Stained pine, salvaged cedar, mylar, black chipboard trim, two light emitting diodes 4.3 / OPPOSITE TOP An oculus at the top allows views down the inner shaft 4.4 / OPPOSITE MIDDLE Detail view of the apertures 4.5 / OPPOSITE BOTTOM Drawing of the initial parametrically-generated aperture pattern
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.05 Type: Science fiction delineation, graphics charrette Location: A time and place in the not too distant future Date: Fall 2017 Independent work In the first half of the twentieth century, Hugh Ferriss influenced a whole generation of architects through his arresting delineation of architectural forms. The staggered setbacks and soaring geometries of art deco architecture were perhaps most eloquently conveyed by his skilled hand. His catalog of drawings, famously compiled in the 1929 book The Metropolis of Tomorrow, presents a herculean body of architecture, aglow with an almost mystical aura. In contemporary architectural discourse, Patrik Schumacher heads the charge for Parametricism, a movement intended to best articulate the fluidity, complexity, and technological acumen of our time. Since the end of the economic recession, Schumacher has staunchly advocated that his more mature “Parametricism 2.0� is now ready to become a tenant of mainstream architecture. Like any movement, Parametricism 2.0 manifests itself through a specific set of architectural vocabulary, namely one of sinous curvilinear forms. Other architectural theorists, such as Mark Foster Gage, have rebuffed Schumacher arguing that his repertoire of architectural gestures is not necessarily a paramount architectural language for this era. As an architect, I am constantly dreaming and drawing. This series of images represent my own attempt to grapple with conflicting theories and aesthetic agendas present in contemporary discourse. As a graphic exercise, I sought to channel the glow and contrast that made Ferriss’ work so compelling. As a design task, I attempted to generate a language which expressed the dense layering of information present in emergent technologies like blockchain and big data aggregation. This charrette afforded me the opportunity to investigate design which is highly contingent upon the generative capabilities of computer software.
5.1 / TOP Neon cathedral, a scared space for the twentysecond century 5.2 / BOTTOM Data streams intersecting to form an architectural language 5.3 / OPPOSITE Optic fiber architecture, a lighting design proposal for visually-rich pedestrian corridors
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.06 Type: History and theory research Location: 1910s Italy / 1960s Japan Date: Fall 2016 Professor: Matthew Wilson Distinction: Design Research Award for coursework excellence in Architecture History II Utopian Visions examines the aesthetic adjacencies of two movements in modern architecture: Italian Futurism and Japanese Metabolism. Both these movements, and the manifestos that spawned them, exemplify utopian urbanism. Utopian urbanism not only discusses design philosophy for individual buildings but also demands wide scale restructuring of the entire urban environment to establish an idyllic city. Both Futurists and Metabolists held a deep fascination with changeability in architecture. Futurism embraced dynamism. This translated to a penchant for speed, movement, and all things new; even going so far as to declare each generation will build its own city anew. Metabolism, seeking to produce architecture that could expand or shrink according to a city’s needs, speaks of metamorphosis. This often resulted in designs where modular units could be added or removed from mega-structural frameworks. Expounding upon my research, illustrations and physical models were produced to convey fundamental tenets about these movements. The designs are my own yet they bare the intentionally clear influence of prominent Futurist and Metabolist architects. For my exploration of Futurism, I channeled the work of Antonio Sant’Elia’s Città Nuova, while my Metabolist design harkens back to Arata Isozaki’s City in the Sky proposal. In each instance, I use color as a diagrammatic tool to both emphasis the design while highlighting the elements of the building that imbue it with dynamic or metamorphic qualities. Through this research process, I explored the shortcomings and enduring legacies of the movements and garned a better understanding of my own philosophical and theortical predilections toward modern architecture. 6.1 / TOP Residential high-rise in a Futurist vein 6.2 / BOTTOM Apartment units populate a Metabolistlike megastructure 6.3 / OPPOSITE TOP Acrylic model. Red denotes areas of programmatic movement and ciruculation 6.4 / OPPOSITE BOTTOM Acrylic model. Red denotes rearrangeable building components 23
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.07 Type: Sketching and analysis Location: Varied Date: Spring 2016 Professors: Leslie Smith and Rod Underwood The College of Architecture and Planning offers a number of design-focused study abroad opportunities, with the most esteemed of these being the semester-long World Tour. During my undergraduate career, I had to incredible privilege of embarking on the World Tour’s sixth iteration. Usually shortened to WT6, this program was a fast-paced, interdisciplinary immersive study. The trip was geared toward architecture, landscape architecture, and urban design, with an emphasis on culture and history. Local guides in each city provided invaluable insights into local customs, often becoming the group’s de-facto third professor. The 99day itinerary included twenty-nine countries across Europe, Africa, and Asia. Course work, including a design studio, was integrated into the trip. As part of our studies, frequent sketching was compulsory. The act of drawing not served to hone one’s graphic sensibilities but more importantly instilled an astute ability to internalize characteristics of the built environment. One such sketching exercise was dubbed translations. Translational sketching involves depicting an example of design and then reimagining the same principles in a different application. This process enhanced my agility when ideating. WT6 had a profound impact on me. The incredible breadth of the trip dramatically increased my exposure to cultures, languages, and peoples in a very personal way. I believe this experience was the being of a radical realignment in my understanding of and approach to architecture. It is better to see something once, than to hear about it a thousand times.
7.1 / OPPOSITE Grid array of sketching translations
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7.2 / ABOVE Burj Al Arab, Dubai, UAE 7.3 / BELOW The 1972 Olympic Park, Munich, Germany
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7.4 / ABOVE BMW Welt, Munich, Germany 7.5 / BELOW Marina Bay Sands, Singapore
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.08 Type: Architectural photography Location: Varied Date: Summer & Fall 2017 Independent work “It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.” -John Berger, quote from Ways of Seeing Photography is a way of seeing. It is a method by which we can observe the world around us – to document it, to internalize it, to reimagine it. I do not claim to be a professional but, after taking tens of thousands of photographs, I feel I have learned much. Photography is a valuable skill for the architect. Architecture is a process by which flat, twodimensional representations manifest into three dimensional realities. Photography reserves this. It compresses the world we see and allows for the discovery and creation of new realities. In her book On Photography, Susan Sontag asserts this is a surrealist endeavor: “Surrealism lies at the heart of the photographic enterprise: in the very creation of a reality in the second degree, narrower but more dramatic than the one perceived by natural vision.” This quote expresses much of my own mindset toward the camera and I hope my work emanates such a character. This portfolio’s brevity precludes me from displaying my photography exhaustively, although the vast majority of it explores architecture and landscape. Those images I have selected here attempt to portray the built environment in a heighten manner. It is the built environment in the second degree.
8.1 / TOP The Eternal Mother Temple. Pontiac, Michigan, July 2017 8.2 / BOTTOM Zug Island_2. Detroit, Michigan, July 2017 8.3 / OPPOSITE Retroactive Work in Progress: 1976 Summer Olympic Stadium. Montréal, Québec, Oct. 2017
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Glimpse Eric Sobek Anderson