Salt Lake City, UT cA+P UofUtah Prof. Dwight Yee sp. 2012
Nr. 1
Sun Screen
The studio focus was to develop parameters within architectural design, starting two-dimensionally and moving into larger parametric systems. Individually, it became an exploration of architecture with formalist expression of plastic arts similar to the work of george condo. The sunscreen was a group project for a small letterpress shop window on Salt Lake City’s Main Street. Currently, the immense time and cost necessary for letterpress is burying it in notions of impracticality. We wanted to emulate Luis Barragan, Carlo Scarpa, and Frank Lloyd Wright in our project. Barragan’s Tlalpan Chapel in Mexico City creates poetry using simply light, color, and natural materials. Scarpa incoporates craft and tactility into every space through details as well as plastic use of concrete. Lastly, Wright uses organic materials and light in creating his early Prairie houses, as well as the geometric intricacies in window mullions. All of these architects worked on an intimate scale.
a collaborative project with Minh Tang & Michael Black
Luis Barragan_ Capilla de las Capuchinas_1953
Carlo Scarpa_ Brion Vega Cemetery_1972
Our site was the first 12” in front of a storefront for a letterpress studio.
Nr.1_site_01
Nr.1_brick close-up_02
We proposed a modular system of ‘light scoops’ to cascade down the front of the building.
Nr.1_facade sketches_03
Our initial studies explored scale and variations of stackable shapes.
Nr.1_wood study modules_04
Further studies explored the patterning effect inside the space behind the veil.
Nr.1_light studies_05
Nr. 1
Sunscreen
Given the current state of letter-press, we continued our scalar concept of modules down to the corners.
Nr.1_close-up details_06
Nr.1_3d print model_07
Nr.1_elevation_08
Nr.1_door detail_09
ELEVATION
Nr.1_8’x4’ mockup_10
Wasatch Front, UT cA+P UofUtah Prof. Dan Hoffman fa. 2012
Nr. 2
Cabin & Lodge
“The suspicion of sin never comes to this thought. If men felt this, they would never build temples, even of marble or diamond...but disport them forever in this paradise.� - Henry David Thoreau
Create a cabin to be mass produced and sold to distant places. Assume a mountainous context. Now, Let everyone escape together. Make it functional, economic, and moral. Make it isolated. Banal matter can possess historical or subconscious remains. A form. A material. A thought. An architectural realism thrust into nature. Make a lodge of recreation and interaction thrusted into a mountain valley. The skiers shall come from a far to participate in the artificial engagement with nature. But where does the participant engage architecture? In structure? In form? In sheer complexity? The lodge builds on the concepts of the cabin, but alters the thoughts. The platonic volumes are now punctured and volated by glass boxes containing the program. The spatial function arises from the frozen destruction, the experience gained in negative space.
The cabin was a mediating device between man and his nature. The form became a series of nested wrapping
Nr.2_building to ground_02
Nr.2_building layers_03
Nr.2_pensketch_01
The lodge was to be itself a collection of rooms confined to a skeleton supporting each of the glass box rooms.
Nr.2_process models_05
Nr.2_spatial diagram_04
Both concepts attempt to conceive a relationship between subject and object before distorting it metaphorically and functionally.
x x x x x x x x x x x x
x x x x x x x x x x x x
Nr.2_initial abstractions_06
Materials were chosen based off their ability to create or leave trace over time or to present an action of a past event.
Nr.2_cabin/rusted steel_07
Nr.2_lodge/burnt wood_08
Nr. 2
Cabin & SkiLodge
Figure ground becomes understood as more of a conceptual device rather than a literal act.
Nr.2_cabin section_09
Nr.2_cabin plan_10
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skilodge primary i c o n o c l a s m s
6 8
the nature of the skilodge is its distance. it doesn’t engage with a city, but a surreal ritual. platonic volumes are punctured and violated by crystalline glass program containers. the spatial function LEVEL 2 arises from multiple frozen layers. experience is in the negative spaces between layers and objects.
7
LEVEL 3
E L E VAT I O N S 4
2
1 3
PLANS
Nr.2_top floor_12
1 2 3 4 5 6 7 8
ENTRY / LOBBY LOUNGE SHOP L E VBATHROOM EL 1 VIEWPOINT BAR RESTAURANT KITCHEN
LEVEL 3 LEVEL 3
9 46
1. COLUMN ROOM 2. DESKS + OFFICES 3. MEDICAL
4. LO B B Y 5. SHOP 6. RESTROOMS
7. R E S TAU R A N T 8. BAR 9. K I TC H E N
PLANS PLANS
4
1
3
6
31
7. R E S TAU R A N T 78 . RB EA SR T A U R A N T 89 . BK IATRC H E N 9. K I TC H E N
10. G R E A T R O O M 10. GPRYERAATM RI DOO RME D R O O M PYRAMIDRED ROOM
Nr.2_ramp to top floor_18
Nr.2_cabin interior_15
17
8
2
Nr.2_entrance to the pyramid_16
Nr.2_lodge basement_17
1
6
SECTIONS
4. LO B B Y 45 . LS OH BO BP Y 56 . SR HE SOTPR O O M S 6. RESTROOMS
2 10
75
8
Nr.2_lodge sections & elevations_11
1. COLUMN ROOM 12 . CD OE SL UK SM N+ ROOF OF M ICES 23 . DMEESDKI SC A+L O F F I C E S 3. MEDICAL
5
2
10. G R E A T R O O M PYRAMIDRED ROOM
Nr.2_structure exterior to rooms_13 1
LEVEL 1 LEVEL 1
Nr.2_interior model_14
4
LEVEL 2 LEVEL 2
1. 2. 3. 4.
SHOP OPENINGS RESTROOMS BAR
5. 6. 7. 8.
R E S TAU R A N T LO B B Y COLUMN ROOM MEDICAL
9 . O B S E R VAT I O N D E C K 10. G R E A T R O O M PYRAMIDRED ROOM
Phoenix, AZ cA+P UofUtah Prof. Lisa Benham sp. 2013
Nr. 3
Library & Confession
The utopian machine was created to process and experience internally the cognitions of the individual’s desires as they relate to that which is private and that which is public. Idealized simulations would produce variable outcomes of this event. To unmask to spaces that exist. To compensate for those that don’t. Here would be a fruit. Masks and masques would be put on to begin reconstructive the individual through self defined expressions of truth. Within the building, the individuals path is broken up into 4 parts to construct and confess their subjectivity: self, another, group, public. The library is composed of seven spaces and eight walls. Approaching from the gridded plaza, the individual enters the library with the others, descending a ramp and passing under the first wall. The first space contains a long courtyard and a still pool. Water reflects images of the other wall. Identity within the compound is broken into a destructive and constructive sequence. The enormity of cultural, sentimental, and built constructs is broken down, fading a much larger structure, and more. Moving through the mass, the individuals enter into spaces of reduced scale and bodies. From the spaces for gathering, they move as individuals towards the stacks. They search the walls and shelves, looking for markings. Thoughts are allowed to wander safely.
Bernardo Bertolucci_Last Tango in Paris_1972
Alfred Hitchcock_Vertigo_1958
Romain Gavras_No Church in the Wild by Kanye West_2012
The site is located at the southern perifery of Phoenix, AZ.
Nr.3_site_01
The notion of confession was discussed in a more general sense, not in its religious context, but its Foucaultian notion of self knowledge production.
Nr.3_self portrait_02
Nr.3_colors_03
Nr.3_cardboard & string_04
Nr.3_chipboard, string, and paint_05
Nr.3_plywood and chipboard_06
Nr.3_plywood and bass_07
Nr.3_wood and mylar_08
Nr.3_cardboard, ink, and graphite_09
Nr. 3
Library & Confession
Nr.3_typ. section_10
Nr.3_full section_11
Nr.3_plan 1_12
Nr.3_interior stacks_15
Nr.3_plan 3_13
Nr.3_wall 5_14
Nr.3_exterior approach_16
Nr.3_another confessional_17
New York, NY GSAPP Columbia Prof. Pep Aviles fa. 2013
Nr. 4
Heterotopia #4
Heterotopia, as a term borrowed in architecture, has been made a cliché through use, misue, and sheer over use. The bathroom exists as a heterotopic space–as a real space that deviates from culture logic through exercises in excess or deviation. The public bathroom, by its typology, is a private space directly placed within public space. Therefore, and within Foucault’s contradiction, the bathroom is inherently a very real space within public space that contains a strange reflexive relationship with cultural logic. The design plays upon the typology’s notions of vanity, of privacy, of separation, of confession, of eroticism, and of transgression. Foucault uses the mirror to animate his theory of heterotopic and utopian space. Looking in the mirror, the space beyond the glass is not real. However, it puts the person looking into the mirror in a position to reflect on a very real space from a vantage point beyond themselves. The mirror is used of course a mere conceptual device. The proposal takes the mirror, in its literal sense, and exaggerates it in its symbolic characteristics, specifically through aspects of private, public, gaze, division, and function. Thus, through ‘the monstrousness of the contaminated program, the cracks guiltily repressed by deviant rigor are revealed.’ The symbolic, the profane, (the sacred), the structural, and functional aspects of the bathroom are designed into a single, continuous, reflective, and malleable surface. However, the bathroom is maintained as a sanctuary. The public and the individual are put into a position such that they become conscious of that position and its surrounding contradictions.
Steve McQueen_Bear_1992
Jeremy Bantham’s_Panopticon_1787
The proposed site was for any public space in need of a public restroom. Below is a small part along the Hudson at 132 st. SITE PLAN
SCALE 1:100
0 10
50
100
200
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-6 -3
-4
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-5 -4 -3
Nr.4_site plan_01
Nr.4_panel types_04
The architecture is a set of three systems that act as mediating devices between the public sphere and the brief private sphere of the bathroom stall.
Nr.4_systems_05
-3
Nr.4_triangulated model_02
The functional and symbolic interactions are all combined into a mirrored metal panel system.
Nr.4_panel system_03
-4
Nr. 4
Heterotopia #4
RN
5’
TU
Nr.4_plan_06
Nr.4_plumbing_07
Nr.4_sections_08
The privateness is exaggerate to the observer from the exterior—the publicness from the interior.
Nr.4_publicgaze/privatesubject_09
Nr.4_privategaze/publicsubject_10
New York, NY GSAPP Columbia Prof. Pep Aviles fa. 2013
Nr. 5
Untitled
May we present the massive contraption to satisfy any and all desires of capital, absorbing them like a black hole. It sustains itself as a congested concentration of an infinite number of desires. By far, it is the happiest place on earth. The primary structure of the complex is a mysterious, desirous, black monolith. In reality, the monolith is merely a screen, a dark veil draped over an enormous simulation machine. But is ‘monolith,’ monolith? This fantastic machine performs through a series of cyclical, sequential pauses, dislocating the subject’s reality. Each room is separated out as an event or marking, building upon each other (or consuming another). The parts are made into a whole by the individual, producing a new utopian real from the matrices, memories, and models of pleasure densely packed in an endless network of unreal circulation — of fantastic proportions without space or dimension. A theme park to perpetuate and satisfy these desires. The black monolith is composed of two separated program/objects: the auditorium and the bath, with the first below ground and the second at the top. They are separated out by a dense field of walls that grow out of pyramid (auditorium), supporting the endless circulation above (bath). There are baths or immense sensory pleasures. Hidden behind screens, different rooms look over the bath as another wave of Others indulge in the waters. Their view is framed just so. Off of these rooms are a series of smaller, private rooms. Upon scanning your tattoo, a television screen plays a recording of yourself in the bath. The bath is relived again through memory. Scanning your tattoo again, you are let into an adjacent room slightly different from the previous one. A television screen plays a video of yourself, watching others in the bath. The next room plays a video of you from the first private room, watching yourself take a bath through the screen. The next is a video of you watching a video of yourself watching others take a bath, and so on. And so on. In a way, each individual becomes their own dream commodity, fetishized not as an object but an ever abstracting memory or addictive thought. As the machine becomes an unnecessary relic, an amazingly new, ‘asexual’ species remains. Now and again, the happiest place on earth.
FX WHOLEF FX WHOLEFOODS
Nr.5_Conceptual Black HOle_01
Nr.5_new market developments_02
Adolf Loos_Josephine Baker House_1928
INCOME
Kaiserbründl in Vienna_1898
The project’s site was located at 100st and Columbus Ave, in a NYCHA housing project at the edge of a gentrifying neighborhood.
DEVELOIPMENT
DEVELOIPMENT
Giovanni Battista Piranesi_Campo Marzio_1762
Nr.5_the ‘wholefoods’ effect_03
Nr.5_income by block_04
Stanley Kubrick_2001: A Space Odyssey_1968
Nr.5_exterior collage_06
FX WHOLEFOODS
Initial ideas focused on imagery, historicism, and techniques of observation.
$$$
INCOME
Raphael_Vatican Loggia_1518
$ $$$
Nr.5_Raphael Wall Ornament_05
INCOME
The section below is cut and turned to create an ideal perspective for each room.
$ 12
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10
9
8
6
5
4
Nr.5_ground floor_08 3
2
1
Nr.5_A Perfect Section_07
Nr.5_lobby/ziggurat/blueroom_09
Nr.5_lower bath_10
Nr. 5
Untitled
The building is a series of curated and conditioning moments. The drawings are made from the vantage of the observer. They are Perfect Axonometrics.
Nr.5_auditorium_11
Nr.5_moving inclined walkway_12
Nr.5_green room_13
Nr.5_lobby_14
Nr.5_blue room_15
Nr.5_ziggurat & tattoo parlor_16
Nr.5_changing rooms_17
Nr.5_locker room_18
Nr.5_shower_19
Nr.5_lower bath_20
Nr.5_upper bath_21
Nr.5_auditorium_22
Nr.5_moving inclined walkway_23
Nr.5_green room_24
Nr.5_lobby_25
Nr.5_blue room_26
Nr.5_ziggurat & tattoo parlor_27
Nr.5_changing rooms_28
Nr.5_locker room_29
Nr.5_shower_30
Nr.5_lower bath_31
Nr.5_upper bath_32
New York, NY GSAPP Columbia Prof. Christoph Kumpusch sp. 2014
Nr. 6
Amnesia Bank
A memory bank for those who do not, or cannot, have memories. Amnesia questions the value of memory its loss of a past or an inability to record a future. Not all capacities of memory are left in ruin. Languages and speech are usually retained in patients - ingrained familiarity that extends to multiple visual and audible forms. In the Netherlands, there is a large compound for alzheimer patients. It includes different programs and facilities to fabricate a normal life in a small city (salons, grocer, etc.). However, every space is designed as a living room. Potted plants litter the streets. Side boards grace the meat counter. A secondary population of armchairs, floor lamps, and persian area rugs form a familiar spatial language. This is nothing new. Before its implementation for commercial psychology, Sigmund Freud’s library and office were designed as rooms in a home. Retail stores like Tom Ford go even further to tap the potential of this language of familiarity, replicating the grammar of living rooms through scale and spatial definition.
Nr.7_brooklyn tech triangle site_01
Wassily Kandinsky_Capricious Forms_1937
Freud’s office and Tom Ford stores were looked at for precident studies. Utilizing living room as familiar language.
Sigmund Freud_Psychiatric Office_circa1900
Nr.7_freud interior diagram_02
Early models explored dialectical and autobiographical memory in objects and architectural alphabets.
Nr.7_geometric extrusions & voids_04
Nr.7_paper process models_05
Building a conceptual device from early 20th century abstract painters, combining raum and free plans through spatial overlapping. The result is disorienting.
Nr.7_initial plan and depth studies_06
Models were made as fragments of parts that were added onto and subtracted from. The process of design became a process of memory.
Nr.7_1/2� scale fragments_07
New York Tom Ford Store_2008
Nr.7_tomford interior diagram_03
Nr. 6
Nr.7_psychogram_08
Nr.7_alphabet_09
There are a series of parts, a language, which is manipulated as the parts are joined and imposed on one another.
Nr.7_formal to spatial process_11
W. C .
Nr.7_axonometric plans_12
The interior space is a matrix of fragment rooms and continuous, incomplete perspectives.
Nr.7_video stills_13
Amnesia Bank
Nr.7_raumplan/spatial disjunction_10
New York, NY GSAPP Columbia Prof. Christoph Kumpusch sp. 2014
Nr.8_Untitled #1_01
Nr. 7
12 Autobiographic Objects
Nr.8_Untitled #3_02
Nr.8_Untitled #4_03
Nr.8_Untitled #5_04
Nr.8_Untitled #11_06
Nr.8_Untitled #9_05
Nr.8_Untitled #12_07
Bronx, NY GSAPP Columbia Prof. Mario Gooden fa. 2014
Nr. 8
Interior
A monad is a single chain of units within other units that repeat their structure with every jump in scale. Their repeating patterns are unaffected by jumps in scale. Mathematically, it can be described formally by a collection of numbers in a power of ten sequence. The development of the interior created a monadic condition of interior within interiors, occurring at every physical and conceptual scale. For Benjamin, the scales of these interior monads are: subject, cabinet, boudoir, apartment, building, arcade/street, and city. These interior monads shed light on the unconscious collective structure of the 19th century by revealing patterns between scales. Thresholds and monads for Benjamin are both physical, dividing spaces into units, but also take place purely psychological. The interior continues into the body to form an additional set of layers of psyche. Benjamin describes dreams as monads of the interior that, given their unconscious nature, perform, upon awakening, as windows without screens. Exploring Benjamin’s fragments, Teyssot pictures the interior as being a series of inside-to-outside dissolves. In this new mode of thought, in existence or not, subject become analyzed not as containers, but zones. The shell of the interior has an occupiable thickness. Flagrant disregard for boundaries of scale opens up a possibility of new meaning. No doubt, it is a false logic, but only so within that particular system, itself a false logic. Like Grandville’s perverted objects, we see this Deleuzian destruction of a “body with organs,” an interior without internal thresholds. We are beginning to awake to our subjective states as flickering sporadically on Jacques Lacan’s psychoanalytic diagram. But Lacan’s diagram is static in nature. Rather, the three “objects” of the diagram could be described as moments or “encounters,” perpetually jumping to a different order and relationship, at times occupying the same space like a wormhole. Deleuze’s model is a dynamic one. He writes that “[t]here is an oscillation, a perpetual exchange between actual object and virtual image.” Deleuze calls this system one of crystals and crystallization—a state of perpetual flickering that reaches a density (similar to how Salvador Dali’s Critical Paranoic Method makes truthes) to form a subject.
a collaborative project with Harrison Nesbitt
Subject
MiesvanderRohe&LilyReich_Velvet&SilkCafe_1927
Imi Knoebel_24 Colors—for Blinky_1977
Gerhard Richter_Six Gray Mirrors_2003
System
JosephAlbers_Homage to the Square_1968
Primary initial drawings for concept development. First, subtraction and distortion of object and image. Second, reconstructing the subject’s frame.
Nr.8_jacksonholeagain_02
Nr.8_#Obelisk_01
Nr.8_interior as system_03
essential space
kitchen space
laundry space
sleeping space
living & dining space
sleeping space
320 ft2
75 ft2
5 ft2
160 ft2
218 ft2
220 ft2
LIVING
living & dining space
SHOWER
MICROUNIT 1
425 ft2
To explore social density and superimposition, we chose to explore the floor plate and tower as types to play with. We called it programmatic flaking.
Unit study. Proposing levels of transparency, opacity, and mobility between interiors and exteriors
Nr.8_early study models_06
Nr.8_unit study_07
DINING
SHARED PROGRAMS
Nr.8_flaking & distributing program_05
ROOF GARDEN
SHARED PROGRAMS
Nr.8_analyzing our own apartments_04
KITCHEN
apartment b
340 ft2
EXERCISE
essential space
apartment a
MICROUNIT 2
Breaking elements away from the apartment unit to distribute in multiple collective membranes.
Site Design!!!!! Place them both below as squares.
UP UP
DW
UP DW
UP DW
Nr.8_ground plan_08
Nr.8_1st level plan_09
Nr.8_typ. plan 4 & 2_10
DW
Nr. 8
Interior
Nr.8_proposal for a new subject_11
Primary initial drawings for concept development. First, subtraction and distortion of object and image. Second, reconstructing the subject’s frame.
Nr.8_perspectivestudy1_12
Nr.8_internal coil stair_13
Nr.8_4 axo 5 & 4_14
Nr.8_2 bedroom unit_15
Nr.8_4 plan composite_16
Nr.8_interior model photo_17
Nr.8_building program diagram_18