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V A R H O L I C K · ARCHITECTURE P O R T F O L I O
CONTENTS
Graduate Thesis: Vision, Consumption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Undergraduate Thesis: Asylum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Ceramic, Modular Filtration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 An Art Space for McCarthy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 The Cabinet of Curiosity in the Age of [Mis]information. . . . . . . . . . . . . . . . . . . . . . 33 Bio-Mat Solar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Fibrous Tectonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 ‘White’ Studio 400 Book Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Stormproof . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Ascending Line. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 ‘Vellum’ Chair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Adjustable Lamp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Informal Robotics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Evolo 2012. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Mercato Ortofrutticolo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Ecofeminist Convent and Think Tank Theatre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Library of Epistemology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Palazzo Giovanne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Graphic ‘Narratives’ : Time + Surface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Work from Professional Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 About + Contact. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
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vision consumption SPRING 2017 GSD ADVISOR P. S. COHEN
BRINGER OF ORDER, AGENT OF ENTROPY This project began with thinking about time and architecture- how’s a building’s lifetime is often unintentionally dynamic, throughout phases of reoccupation and degradation. It would be an obvious place to start to say that all architecture, due to its material nature and exposure to natural elements is predisposed to decay. In other words, architecture is no exception to the notion of entropy a measure of disorder which is constantly increasing. In particular, this thesis investigates a decidedly human contribution to entropy - the phenomenon of tectonic reformation according to the necessity and idiosyncrasy of inhabitants. Metabolism, (for the purposes of this thesis) is understood as an aggregation of autonomous material decisions by rational-minded individuals within the built environment We therefore arrive at the notion of metabolic entropy, which recognizes inherent potential of the organic processes of the city to operate as an indeterminate generator of disorder. This plural progression towards disorder is inherently opposed to the notion of the heroic architect, understood as a singular author of order(ed solutions).It may then be considered that our built environments exist in periodic flux as they are alternatingly reformed by heroism and metabolic entropy. If the architect accepts this paradigm, then their work exists within a spectrum defined by two categorical extremes: Either the architect assumes a role as an agent of entropy, foregoing global schemes in order to participate as a local dissonant particle OR the Architect indulges heroic vision, sacrficing their work as fodder for entropic consumption. 1
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PROPOSAL 1: ‘An Agent of Entropy’
Dienis et, qui non cum fugia con consect aquidebisi atus mil eum explabo repudandus expellit lit est, sendi od etur sumque dunt.
The urban super-block is paved over by eight stories of concrete moment frame upon relentless structural grid. The architect is an agent of entropy - not attempting to emulate chaos globally, but instead acting as a authentic, local operative. Architecture is a single grain within a densifying and accelerating material flux. The concrete frame is a an accidental megastructure. The scenario immediately evokes the notion of relatively impermanent space upon a durable frame -a ‘soft’ tectonic. Architectural space becomes a fleeting amusement which is soon re-imagined, as an amalgamation of mass shifts opens, closes, recombines.
OPPOSITE, ABOVE: Physical model - entropic reoccupation of the accidental superstructure, the readymade domino. The global scheme progresses towards disorder as local milieu are reformed. 4
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Above: A moment of perpetual free-plan in the ready made domino - a single, authentic ‘grain.’
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The accidental mega-structure enjoys a life of perpetual freeplan. : a, persistent exercise as opposed to the modernist ‘free plan’ as a single moment in preconceived design. Here two scales are represented: a global amalgamation exists as an illustrative context for participatory intervention. It is within this larger system that the architect’s role as an agent of entropy may be played out. The proposal identifies four adjacent bays as the site - a somewhat adulterated ready-made maison domino. Three living units are arranged, temporarily, whimsically, casually - They are a fleeting instances to be redrawn by cause of obsolescence, functional alteration and fickle taste. The proposal is a single moment in perpetual free plan. The entropic intervention participates in an acceleration of material flux, satisfying a single need within a granular, heterogeneous landscape
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Above: Plan of the ‘ideal’ city 9
PROPOSAL 2: ‘The Heroic Architect’s Last Stand’ Upon the tabula rasa of Californian desert, the heroic architect makes his last stand. In a Forgotten gesture of architectural authority a utopian vision rose into a collection of functionally-vacant pro-ruins. They became fodder for reoccupation, vandalism, investment of superstition. The ruin surrenders a material corpse while asserting a quiet hope for transcendence. Function has faded from these structures. Stripped of timely flourishes and vestiges, what remains is pure form, not only geometric shape, but transcendent schema. The immediacy of primitive form cannot be confounded. It is persistent in its ability to reassert itself in the mind of the dweller, to be constantly reincarnated in each instance of iteration. Though, it only exists and duly persists at the command of heroism. The proposal of the architect’s last stand is then projected beyond ruin. On the verge of irrecognition, each form is held in suspense between sempiternity and tragedy.
Above: Model of the ‘ideal’ city 10
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Ultimately, in imagining reoccupation of the site, the legacy of heroism is heard as a whisper in the underlying global organization of entropic, metabolic particles.
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THESIS: ASYLUM FALL 2011 - SPRING 2012 CAL POLY SLO PROF. KAREN LANGE
I AM AN ARCHITECT, AND SO AM I. The asylum provides refuge for valid, yet condemned human natures in an exploration that investigates the objectification of another’s experience. Subjective experience may only be meaningfully spoken of in terms reduced to psychological fact. The issue of subjectivity in design may be most appreciated if we were to drive the occupant’s deviation from a norm to an extreme. That is, if perception is not analogous amongst individuals, if the occupant suffers from a cognitive disorder or mental illness, we could only imagine design per an objective process. An asylum arises as an answer to our complex and varied human nature. It is a response to psychological fact with regards to individual condition and social function. Here neurosis and psychosis are embraced. Design strives to provide for the pleasure of patients with respect to, and not alteration of, their specific conditions. The social label of disorder is questioned as more varied and extreme human natures are accepted as valid.
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Site plan with overlaid, progressive nomenclature of the sorting machine.
Longitudinal site section 17
ABOVE: Graphic narrative showing deep-time communal growth and site erosion.
EVERYTHING HAS A PROPER PLACE: THE SORTING MACHINE The notion of varied individuals demands a variety of milieu. These are arranged in the microcosmic conglomeration of the asylum. The sorting machine weaves individuals into their respective abodes as a collection of idiosyncratically-articulated pre-determined pathways. 18
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WE ARE ALL WONDERFUL PEOPLE Prompted by the irresolvable issue of subjectivity in design, the asylum is derivative of varied perception. Architecture is seen as a direct, sympathetic response to mental condition. To pursue this concept to its limits, it seemed only appropriate that those of outlying subjective experience, those who suffer from any number of neurosis or psychosis, should be the subjects of the design investigation, such that the lack of analogous perception between individuals is ensured. An asylum for the insane is the setting for an architecture, that may, in a functional way, begin to address psychological and individual disparity in design. IMMEDIATE: Final Model OPPOSITE: Detail shots of final model
The central issue posited that space could be designed objectively for an individual per diagnosis, increasing complexity and richness for spaces that would ultimately come to serve a collective. 21
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modular filtration FALL 2015 GSD PROF. LEIRE ASENSIO
Ceramics is a uniquely versatile class of naturally occurring, non-metallic materials found in the earth’s surface and refined to a greater or lesser extent based on the clay body being produced. Our Proposal is centered around the ambition of water conservation through capture and filtration of runoff precipitation. By utilizing ceramics’ inherent material properties, we hope to investigate the potential for this building material to create a modular system that could be utilized as a wall or a facade element which will act as a filtration device. For basic well-being, each person requires a minimum of 2,000 cubic meters of water per year. The context for the development of an accessible filtration system is the issue of access to clean water in developing nations, as well as general water conservation for arid, semi-arid and desertification-threatened regions resulting from ongoing climate change. 23
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Since many unique components would be costly to produce due to the limitations of slip casting, we sought to identify singular geometries that may be aggregated with variability via an irregular tesselation. Our goal was to find an interlocking, repeating geometry that would change orientation and not repeat a pattern across an aggregated configuration. Furthermore, we were dedicated to identifying a geometry that would be read as a perforated yet continuous surface regardless with respect to adjacent components regardless of any configuration or orientations. The second limitation of slip casting requires that any geometry produced would have a relation to the mold such that it can be removed easily. This requires a draft angle of all geometry that cannot exceed (and ideally is generously less than) the normal direction of the mold seam.
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The materiality of the flirtation modules became paramount. Combinations of various clay bodies and glazes were tested to identify both compatibility and to ensure interior porosity and exterior vitrification.
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the ART SPACE FALL 2016 HARVARD GSD PROF. EMANUEL CHRIST
The work of Paul McCarthy is as varied in subject and media, as it is grotesque and disturbing. McCarthy’s art is best understood as a cultural critique, a blatant, in-your-face exhibition of perversions that actively resist a collective societal repression - themes which address the public at large. Many of McCarthy’s sculptures approach the scale of the monument such as “Complex Shit” or his 80-foot-tall “Tree.” 1 These works are fabricated so as to be displayed in exterior, public spaces, exposed to the elements they reject the traditional necessity of art to be housed within a controlled and protected Architectural space.
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At the same time, Los Angeles, McCarthy’s native home, is historically disadvantaged in terms of public amenity. The infrastructural device of the freeway allowed for greater sprawl of the population, and this, in turn, motivated increasingly privatized investments, and the general abandonment of public urban spaces. After a century-long trajectory based upon sprawl and privatization, the city must re-examine its public sphere. As an Icon of Los Angeles, the freeway is simultaneously public in the sense of propriety and exposure, and completely antipublic in terms of interaction and social program. The proposed art space identifies an uncompleted viaduct of the I-110 Harbor freeway as the site. As the construction exists now, it will likely never be used for vehicular transportation. The project proposes a reclamation of this forgotten fragment. The proposal is an alternative to the traditional gallery, it understands art as a public experience and, in this way, transcends the work of McCarthy as a typological art space. Ultimately the project is a means of capturing and designating a public environment for art, imposing oft-unsettling works upon the city unapologetically.
ABOVE: McCarthy, Self Portait. Left: McCarthy, ‘Tree’
“Vienna is not Los Angeles. My work came out of kids’ television in Los Angeles. I didn’t go through Catholicism and World War II as a teenager, I didn’t live in a European environment. People make references to Viennese art without really questioning the fact that there is a big difference between ketchup and blood. I never thought of my work as shamanistic. My work is more about being a clown than a shaman.”
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The aircraft hangar, as an architectural type, is redeployed as a canopy which assumes a scale appropriate for the recapture of a monumental section of infrastructure. In an ironic rehabilitation, the freeway which disadvantaged the public realm, becomes a communal space for art. The architetcural solution provides access and solar shading. The result is a promenade, open to the city, the public, light and air. An ‘island’ comes as a consequence of an uncompleted exit ramp of the 110 freeway. Due to other infrastructure having been installed at the original proposed junction, this section of freeway will never be completed, and will remain untraversed by vehicles.
RIGHT: Precedents, Hangar One, Moffett Field (above); USAF1, Kontad Waschmann (below). OPPOSITE: Midterm Model
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The Freeway, while an infrastructural icon of Los Angeles, is simultaneously the paradigm and antitheses of publicness. The freeway is infamous for segregating parcels of land, which become islands in a labyrinth of sweeping vehicular circulation. These parcels are undeniably public in terms of propriety (public lands) and exposure, however they are completely under-utilized when considering social, public program.
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The variable nodal instances of the space frame exhibited an array of configurations of intersecting members. For this reason, a universal joint was developed, so that a variety of configurations could be achieved via a simple, easily producible en-masse kit of parts. 35
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Though the promenade designated by the canopy is essentially exterior and exposed to the elements, the one necessary provision for creating a comfortable outdoor space in southern California is shade. A system of folded metal panels was developed in order to baffle sunlight and create shade for the space below. The metallic sheen and fragmentation of the shading device both reflects upon the ostentatious glamour of the city as well as, to an extent, visually evaporates its material substance.
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5 THE CABINET OF CURIOSITY IN THE AGE OF MISINFORMATION SPRING 2016 HARVARD GSD
The Cabinet of Curiosity in the Age of (Mis)information proposes a notion of publicness as the interaction between curator and visitor. This is storytelling through the medium of the hoax- artifact, a theatre of fiction played out between the charlatan and visitors of the general public. It is deception performed by the trickster upon his victim. Moreover, the proposal understands publicness as a common experience within a population. The Cabinet follows a forgotten model of the museum, where the object as information is displayed not according to its validity, but instead according to its value as amusement. The proposal serves as a spectacle for public consumption. The building is a mechanism for fabricating fantasies, by synthesizing information, organizing parallel fictions, and allowing for a cross-referenced circulation, the same story is never told twice and the truth is never told once.
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The actors are precise individuals and organizations of a larger working label: “Imperfect curators.” These are hoarders, collectors, custodians, but perhaps most importantly, entertainers, performers, and quite possibly charlatans. They uphold objects from the legitimate artifact to the banal and mundane, to the hoax-prop, to virtually extant, ‘digital artifacts.’ The misinformers are constituted by two categories. The first is a holdover of victorian collectors, the cabinet curators. The second category is the digital falsifier. The cabinet of curiosities as a typology for public educational space finds a parallel in the modern digital age. It is said that we live in an age of information. However, it is perhaps equally true that we live in an age of misinformation. Skepticism of online sources is too-often well-founded. There is little to no contextual difference between the presentation of accurate and incorrect information online. Similar to dubious artifacts of the wunderkabinett, online Information that is factually correct is thrown together with claims that are blatantly nonrepresentative of reality in a spectacularly amusing amalgamation. 46
As an empire grew, the accumulation of knowledge of foreign lands grew imperative. Collection of artifacts as a means of understanding and representing the outside world is paramount to British society. Some of the finest collections ever amassed are to be found in Britain, specifically London, as an imperialist power attempted to understand, and then reconstruct through the microcosm of the museum, the world that surrounds.
RIGHT: Infinite expansion of the museum’s tesselation - An arrayed parallelism of falsehoods. OPPOSITE: Illustration of a single microcosmic cabinet module & geometric interlocking with adjacencies
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Each floor tells a different version of their story. There are different stories of the world’s natural history and so on. For this reason, the museum has been arranged as an irregularly tessellated module, this allows the spaces to be repeated, interlocking and interconnected.
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ABOVE: Longitudinal Sections OPPOSITE: Composite Plans and Elevation
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ABOVE, LEFT: Detail of ‘Refraction Veil,’ a cladding of lenses which distorts both centrafugally and centrifugally the museum and the city. ABOVE, RIGHT: Mapping of the city from the site (yellow) and its distortion (blue).
We turn away from a scientifically correct notion of curation and return to the wunderkabinett, the abandoned model of a museum. It is the institution that recognizes the value that our societies have undoubtedly, though not admittedly placed in misinformation. The spectacle of illusion is not a new practice. This storytelling is a publicness that unites the epochs, but it is perhaps most relevant today, a time where the creation and curation of information is accessible and unchecked, where we invest so much in the virtual ... in an age of misinformation. 51
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When the visitor arrives at the base of the museum, an amalgamation of stories have been told. The public has entered a space for a common experience, and though there is undoubtedly overlap, the public sphere has been reshaped, it is incongruent, reshuffled. In a mirror to the digital world that surrounds, experiences are global yet dissonant.
Final model and drawings were produced as a puzzle box (a literal cabinet), sections and plans are revealed by deconstructing the totality of the piece.
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“‘Rational amusement’ was the Museum’s instrument - a collection of oddities, unencumbered by scientific purpose. ABOVE, OPPOSITE: Final model details. Sections and plansare produced thorugh disassmbly or operation of the cabinett’s apetures. 55
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6 BIO-MAT SOLAR 2016 KVA
SOLAR ENERGY . GROWN MATERIALS While solar systems have improved energy access and affordability for hundreds of rural communities, the� clean� aspect of this energy infrastructure remains on the energy generation side. The materials that are used in the solar systems themselves are conventional and non-bio-degradable. They are carbon intensive in manufacture, assembly and transportation. The following is an investigation into local bio-materials to explore low carbon and low embodied energy design concepts for solar lighting. 57
CENTRALIZED
DE-CENTRALIZED
Embodied Energy Traditional materials are manufactured in carbon-intensive processes.
Bamboo is cultivated across the state of Karnataka.
Capital Expense The cost of traditional materials is often prohibitive in rural areas.
Batteries may be manufactured in large urban “hubs.�
Complex Coordination relies on coordination among isolated industries.
3D Printing enables rural areas to precisely fabricate otherwise complex equipment.
Transportation Process requires expensive and carbon-intensive transportation.
Communication is facilitated through increased availability to mobile charging networks. 58
LED LAMP
3D-PRINTED LAMP ADAPTER
TENSION MEMBER
SOLAR PANEL SOLAR PANEL
The Resulting design proposal utilizes a single salk of bamboo, taking advantage of the material’s flexibility and bending abilities, in order to create functional streetlight for the communities which Selco serves.
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3D-PRINTED BAMBOO ADAPTER
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In an effort to both localize sourcing and fabrication as well as introduce materials with a renewable collection and relatively small carbon footprint, we identified bamboo as an ideal resource for the development of an economically and environmentally sensible streetlight.
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Our investigation covered multiple scalesfrom interior lighting to more-public infrastrucural applications. One task was to create a functional and sensible street lamp out of biomaterials.
BATTERY BOX BATTERY BOX
3D-PRINTED SPREADER ARM ADAPETR
HOSE CLAMP
3D-PRINTED BAMBOO ADAPTER 3D-PRINTED TIE-OFF ADAPTER
MATERIALS NEEDED
1. FASTEN ADAPTERS TO BAMBOO
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A kit of parts allows for the adaptation of solar lighting components to readily available bamboo poles, resulting in deployable street lighting
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SOLAR PANEL
Prototype street lamp in-use; Kit of Parts and Assembly Details
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TIE-OFF BASE ASSEMBLY EXPLODED AXONONOMETRY
60 BASE ASSEMBLY WORMS-EYE AXONONOMETRY
PUNCH DIE TEMPLATE
MOLD POSITIVE
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1. Raw, dry areca leaf
2. The areca leaf is soaked in water to improve workability.
3. The Leaf is trimmed to shape.
4. The trimmed leaf is set into a two-sided mold; pressure is applied to shape the areca.
5. The formed areca is removed from the mold.
6. Living hinges are set, and electronics are installed.
Areca wood is widely used in Karnakata by entrepreneurs as a natural material for organic bio-degradable disposable plates, table wear, trays and packaging. Areca palm leaves are gathered, dried, then cleaned and soaked in water. Heated molds with very simple chucks are used to stamp the leaves into bowls and plates. SELCO has a specific, small but successful areca factory owner standing by to experiment with other industrial / design uses for this bio-degradable material. KVA has produced prototypes of home and portable lighting fixtures which would be produced from areca within the forementioned context.
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The task light transforms a single leaf of areca into a functional, inexpensive, and locally-sourced fixture for Selco’s BPL system. The design takes advantage of areca’s flexibility, and introduces functional adjust-ability via a living hinge.
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7 FIBROUS TECTONICS FALL 2015 GSD PROF. ACHIM MENGES
The fibrous tectonics studio investigates new methodologies, arrangements and applications of composite fiber materials, namely carbon and glass fibers which are saturated in epoxy resin. The aim of the investigation is to propose an innovative system of deploying these specific materials. Our system combines the traditional textile technique of knitting with inflatable pneumatic membranes to create composite fiber structures. We see these two techniques as inherently complementary. The pneumatic membrane is able to pre-tension the fibers of the knit surface and expand it into a spatial and form-active volume while knitting allows the fibrous surface to be behaviorally and topologically programed which, in turn, determines how the pneumatic membrane inflates. The resulting configuration of fibers is then saturated with resin and cured into a rigid structure.
FIBER
KNIT SURFACE
INFLATION + PRETENSION
FIBER SATURATION + CURING
KNITTING ALGORITHM
COMPUTATIONAL MODEL
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PNEUMATIC MEMBRANE
RESIN
RIGID COMPOSITE STRUCTURE
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Knitting is an inherently programmable process. The algorithm which informs stitches may allow for a variety of patterns. Alternating the pattern, density or tension of stitches results in a fabric surface with specific behavioral properties. Elasticity or rigidity, density or porosity can be programmed into the material via geometric arrangement. In this way a highly inelastic material (carbon fiber) can be rearranged at a tectonic scale t mimic otherwise alien material properties (elasticity).
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Formal and structural investigations led to the modeling of complex forms and topologies. These would often be approximated by joining several knit textile surfaces which were produced separately. An incredible benefit of the process is that separate knit surfaces may be continuous/seamless when joined.
ABOVE: Various geometric tesselations were explored as a means of aggregating the fibers into a continuous structural system. Developable templates were conformed to surfaces through the careful location of ‘suture’ seams.
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Stitches identical to those used in the production of the fabric surface may be used to close seams, ultimately creating a uniform condition. Locating seams appropriately allows for complex geometry to be unrolled into manufacture-able templates with minimal distortion. Additional information such as stress mapping and load flows may be unrolled along with these surfaces, informing the template’s knit algorithm in terms
of density and pattern. Ultimately, complex configurations of fibers may be accomplished as tectonically continuous forms, improving upon processes that cut and compromise the integrity of fibers, and component-based systems that rely on alien hardware for aggregation or assembly.
ABOVE, LEFT: Aggregation/growth of structural system. ABOVE: Inflation/Activation.
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PLA
KNIT PATTERN VALLEY DENSE KNIT (LESS ELASTIC)
SWELLSLOOSE KNIT
Illustrated are various proposals for the aggregation and application of forms previously investigated. Above is a scheme that deploys aggregated brachial structures to add structural depth to a spanning surface.
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As t ing rese app mis ma arc ske a fib an
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the system for deployg fibrous composites was earched, we imagined plications in which an often sused and under-utilized aterial could have a true chitectonic presence. These etches illustrate a vision of brous tectonic language at architectural scale.
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STUDIO 400 BOOKSHOW WINTER 2012 CAL POLY SLO STUDIO COLLABORATION
WHITE The 2012 studio 400 book show was an opportunity to showcase in-progress architectural work in the context of a collaborative installation effort. Design began with the selection of and experimentation with economical, bulk material. An excess roll of plastic sheet left in our studio quickly caught the attention of our class. We quickly devised a way of creating large-scale, durable surfaces through weaving techniques. Schemes were then developed to create a materially innovative, climbable surface in one of the campus galleries.
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Formal concepts and component assembly
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ABOVE: Weaving
Our studio collaborated to weave thousands of feet of plastic into a cohesive installation. Simple looms were constructed to increase the rate of weaving and control the quality and consistency of our work. Ultimately, the Studio’s collective efforts resulted in an inviting and playful environment in which to showcase our work. Students and faculty visited throughout the exhibition to lounge, read and play.
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ASCENDING LINE SPRING 2015 1ST PLACE AWR COMPETITIONS TEAM: J.VARHOLICK, P.WANG
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The urban farm’s necessarily unorthodox mindset leads us to the most radical, yet rewarding of schemes. In this place that reaches the sky we continue to challenge the occupant’s orientation to the ground plane. We have taken the farm and the field and turned it skyward; it becomes the literal connection between earth and heavens. Our ephemeral fields are kinetic looms of vegetation, held aloft by buoyant dirigibles in the atmosphere. Urban agriculture is liberated of the dimness and grime of the street-level city, and opened up to light and air. It is the deployable hanging garden, an icon and a park of an entirely different experience, the new lungs of the city. We envision the vertical field as a set of movable and re-configurable parts.
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ABOVE: Access to the atrium market and ‘loom’ from the highline. Urban theatre is framed BELOW: View of the loom within atrium from apartment terrace RIGHT: aerial view of vertical farm, dirigibles exposing crops to light.
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Urban agriculture is liberated of the dimness and grime of the street-level city, and opened up to light and air. It is the deployable hanging garden, an icon and a park of an entirely different experience, the new lungs of the city. We envision the vertical field as a set of movable and reconfigurable parts.
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STORMPROOF 2013 INDEPENDENT TEAM PROJECT MEMBERS: C.WALKER, SELF
PLASTIC RELIEF Although storms perpetually devastate our natural and built environment, they are a necessary component of a larger meteorological system on which we depend. it is this relationship we share with natural phenomena that prompts us to pursue its inherent advantages. Storm systems are capable of displacing oceanic plastic gyres. This grants us the opportunity to collect this material and , in turn, recycle plastic into storm-proof infrastructure for our cities. Digital fabrication technologies allow us to deploy this material in the most versatile, innovative, and efficient schemes. The notion of adaptive, parametric solutions invites the concept of a worldwideapplicable system. we propose a progressive time line, one which will protect our cities and cleanse our oceans in the years to come 83
We selected Dhaka, Bangladesh as an ideal site. Regular flooding due to tropical monsoons as well as proximity to the Indian ocean gyre and local pollution made this infrastructure-lacking city a prime candidate for flood-proofing.
HURRICANE
GYRE
WASHUP
PRINTER
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BARRIER 84
Storm-proofing is accomplished via two elements: levees and deployable flood barriers. Both are passively activated by rising waters and work together to protect the surrounding city and collect plastic, effectively cleaning the river.
As more plastic is collected, flood barriers are recycled and reprinted upstream. This beneficial infrastructure advances and improves with time.
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A structural diagrid mimics switchbacks down the levee face, the structural members are printed as thin, soil-filled membranes with a section that mimics a walk-able pathway, allowing great access to the improved shoreline and water.
ABOVE; Revitalized riverbank with ample access. BELOW: Elevation of levee system
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PRINTERBOT
solar collector mirror
melting chamber pv array locomotive legs printer arm
loading hatch sun tracking feed
printer head plastic storage
ABOVE LEFT: Interface with the urban environment provides storm shelters, and circulation to the waterfront ABOVE: Printerbots at work.
collector
Printerbots are entirely self-sufficient machines which can autonomously collect, recycle and print plastic. They are solar-powered, focusing the sun’s heat to melt plastic into a printable slurry. The printerbot can assess any site and provide a flood protection system. These machines are able to fabricate plastic sails and barges. which can transport them to oceanic gyres, allowing for worldwide collection and distribution of plastic waste.
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VELLUM FURNITURE SHOW FALL 2011 CAL POLY SLO PROF. KAREN LANGE
HAVE A SEAT We design for a unique human condition, but that condition, as a collective average, is a cognitive model rather than the constituent objects [i.e. individuals] of a truer existence. A chair is designed for an approximation of what a man is. Weights taken from measurements of an individual’s mass are hung on a grid to provide a form that is fitted to the individual. It is a process of rapid-making that enables the design of an ordinarily uniform object to become personalized. A reductionist model is embraced as a man is reduced to a minimal grid of 6X8, which actually turns out to be quite comfortable.
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Construction of catenary curve for displaced fabric
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ABOVE: weights are applied to an elastic fabric to shape the material to the desired form, eliminating the need for a mold. The fabric is then saturated in resin, resulting in a rigid shell, contoured to an individuals form in a manner very similar to a hammock.
RIGHT: Finished, rigid form
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ABOVE: Connection details and corresponding magnetic inserts in cushion. BELOW: fabrication process (i. material hung with leader lines ii. distribution of body weight is measured iii. weight applied, material assumes form iv. material is saturated with resin v. resin cures, leader line vectors reversed to locate support members vi. support is constructed under center of gravity vii. completed chair).
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12 LAMP 2014 PERSONAL WORK
IT KEEPS ME BALANCED This study is a prototype adjustable work lamp that seeks to improve upon the conventional spring-loaded and friction-locking desk lamps. By attaching a counterweight to the lever arm, opposite the fulcrum via an involute cam, the lamp remains balanced in any position without friction-locking; this allows for greater ease of adjustment. The simplicity of this mechanical system and its overt presence on the design create a unique aesthetic of kinetic functionality.
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FAR LEFT; the movement attached via a pivot to a tripod; detail showing interior cam. ABOVE: assembled movement
The mechanism is comprised of a single moving part. A cam that rotates along with the lighting boom effectively alters the length of the balancing lever. In this way the boom will remain balanced (and stationary) regardless of position. The result is an adjustable light that can move with frictionless ease to any point on a hemisphere.
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13 INFORMAL ROBOTICS: pal 9000 SPRING 2017 PROF. C. HOBERMAN
I’M AFRIAD I CAN’T DO THAT, DAVE. PAL, Prismatic Automated Locomotive, is the result of a research effort investigating the application of prismatic structures as informal robotic armature. The project identifies prismatic structures as open, multi-faceted surfaces which are derived through the extrusion of selected faces of a base polyhedron. By identifying prismatic structures which possess one or more degrees of freedom, one is then able to reorient, reconfigure, array and actuate these mechanisms to produce robotically useful (and perhaps even beautiful) movement. ‘Soft’ materials such as card-stock and thin chipboard are utilized to construct prototypes, relating the work to folded tectonics and the notion of informal robotics, whereby rigid, hard materials are replaced by the relatively pliant.
RIGHT: Cut and fold template for PAL
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ABOVE: Time-lapse of PAL’s ambulation BELOW: Final prototypes with incorporated electronics
Through several prototypes, the movement was reoriented and reconfigured in its arrangement of ‘legs’ and its relation to the ground. The vertices upon the prismatic extrusions of this mechanism (which were to function as ‘legs’) would each produce a coupling curve that could be considered a work cycle. By adding extensions at specific vertices, the coupling curve could be enhanced with respect to ambulation and constructive movement with other members.
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ABOVE: Time-lapse of PAL’s ambulation & ‘sensing’ abilities as the robot maneuvers about a darkened form. OPPOSITE TOP: Evolution of Pal from simple prismatic structure. OPPOSITE BELOW: Construction Schematics.
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EVOLO 2012 WINTER 2012 CAL POLY SLO - TEAM PROJECT TEAM MEMBERS: E.KIRWAN, R.JANSEN, SELF
ABOVE: Conversion account illustration BELOW: Underside of communal massing, dwellings
DISOWNING PRIVATION “Our civilization itself is to blame for a great part of our misery, and we should be much happier if we were to give it up and go back to primitive conditions.” This new place is separate from modern urbanity, sustainable and nomadic; it feeds on the scraps of society below and grows, evolves opportunistically, according only to the will of its liberated inhabitants. Here communities live in a greater harmony, in closer care and cooperation, analogous to primitive tribes or communes, treating resources as natural commons. Here we escape the ‘nervousness of modernity.’
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ABOVE: Section Perspective through growing atrium BELOW: Building systems
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Growth + schism due to population carrying capacity
15 MERCATO ORTOFRUTTICOLO SPRING 2011 CAL POLY SLO + CSUIP FIRENZE PROF. M.BRIZZI + P.GIACOMO
YOU ARE WHAT YOU EAT.
The Mercato Otofrutticolo and Novoli redesign transforms a formerly blighted industrial area of Florence into an ecologically minded community center while proposing a relatively new building type, the notion of a vertical farm. Objectives for the design include the reduction of energy use in the production and delivery of food, improvement of quality by growing food locally and using more intimate labor, production of food in proportion with a healthy human diet, Increasing biodiversity within the farming system to create a sustainable ecology. In addition, the social goal is to design a new, concurrent ideology and lifestyle, provoking the growth of a deep ecology in the minds of the inhabitants. The result is an altogether new building type which holds the potential to be replicated on a large scale. The resulting program is relatively complex. the ground floor holds the majority of public facilities: markets, stadium, amphitheater, library, school, etc.. Higher levels are comprised of a complicated mechanical/biological engine, where a machine-supported ecosystem processes and provides food products for the surrounding city. 105
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Section of the slaughterhouse and biodiesel generating station; section through farm levels, illustrating harvesting equipment
RIGHT: The possibility for this vertical infrastructure to exist as a network aimed at the coexistence of parallel cultures.
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16 ECOFEMINIST CONVENT AND THINK TANK THEATRE FALL 2009 CAL POLY SLO PROF. TERRY HARGRAVE
BREAD, WINE, AND COGNITIVE DISSONANCE
The aim of the convent is to provide facilities for a group of seven retiring catholic nuns who are part of an environmental and social ecofeminist movement within the American clergy. The union of catholic and feminist ideologies is unorthodox and also inherently contradicting. This complex is a shed for lifestyle experimentation, authored by the dweller more so than the architect.
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BELOW: Section model through think tank theatre. RIGHT: site analysis model. BELOW, RIGHT: physical model of complex. FAR RIGHT: exploded axonometric of complex.
Whether a grid is liberating or oppressive is a persistent question, it imposes a rigid organizational system on an architecture, however, it is an efficient (structural) system, and allows partitions to be drawn as free plan. Here this dichotomy is appropriate, for if it is oppressive, it is fitting, in terms of Catholic repression, guilt and unrelenting dogma. If the grid is liberal, it allows eco-feminism to break free. It is this ambiguity, or perhaps even contradiction, that seems to parallel the ideology of ‘catholic eco-feminism.’
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TOP: Think Tank Theatre section model and operable panel detail; ABOVE: Physical model; OPPOSITE: Longitudinal section
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17 LIBRARY OF EPISTEMOLOGY WINTER 2010 CAL POLY SLO PROF. CURT ILLINGWORTH
I KNOW NOTHING.... EXCEPT FOR THAT.
Epistemology: the study or a theory of the nature and grounds of knowledge especially with reference to its limits and validity This library is not so much a place to store books and objects that bestow knowledge; it seeks to create, and examine knowledge through the architecture itself. To accomplish this, the project is arranged as a series of meditative spaces, a ‘journey,’ that metaphorically replicates the formation of knowledge in the human mind. The occupant begins to question.
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The site, the most minimalistic of landscapes: Ocean, horizon, served as the inspiration for the project. The structure is submerged, less visually impactful to the pre-existing qualities of site.
ABOVE: Elevation BELOW: Section 1. Entry vestibule 2. Reading room 3. viewing platform 4. stairwell 5. Bathroom 6. sensory room / book storage 7. Refuge chamber 8. lobby 9. service .
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BELOW: Exploded axonometric. A series of experiential spaces evoke the relation of experience to knowledge, save, the formation of knowledge itself. The aim is a provocative contemplative experience, one that advances an awareness of cognitive being.
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1. Entry vestibule 2. Reading room 3. viewing platform 4. stairwell 5. Bathroom 6. sensory room / book storage 7. Refuge chamber 8. lobby 9. service / staff.
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18 PALAZZO GIOVANNE FALL 2010 CAL POLY SLO + CSUIP FIRENZE PROF. M.BRIZZI + P.GIACOMO
LESS [CLOTHING] IS MORE.
Clothing and architecture are the masks of our being in the world. Clothing exists at the scale of an individual, architecture at the scale of the collective. Social function relies on a common identity, and although this may be accomplished through uniform, it is easily undone by the contemporary notion of fashion as a promotion of individuality. The environment we occupy is our relative and collective identity. Architecture and nudity beget a social collective. A small alley and courtyard serve a 16th century palazzo which has been dedicated as a youth and arts center for the city of Florence. Without a functional assignment, the space is unused, deserted, and there is a missed opportunity for social interaction of the city’s large university student population. There is a lost, antiquated tradition, buried beneath soil which waits to be reborn, the Roman public bath.
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ABOVE: physical model of entry and identification element.
A major issue for the existing facility is the ambiguity of public and private exacerbated by a lack of identity from the street. A reworking of the entry assists in the urban way-finding to a transformed, social space. The bath occupies what was previously a typical Florentine palazzo courtyard. A roof with operable apertures maintains temperatures at favorable bathing conditions, while allowing lighting and ventilation. 123
ABOVE: Transverse section; an excavated bathing basin places users closer to the roman precedent- both in practice and literal space. OPPOSITE: circulation diagrams of the entry element and alley-
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19 graphic Narratives FALL 2016 HARVARD GSD PROF. EWA HARABASZ
‘TIME AND SURFACE’ A fundamental question of two-dimensional figurative art (i.e. drawing and painting) is how to represent objects of higher dimensions upon a flattened surface. The representation of three dimensions on a planar surface seems natural in the sense that we are able to perceive objects of height, width and depth in a single moment as a projected image. The representation of the third dimension in drawing and painting has achieved an empirical realism which directly relates to the nature of visual perception. However, the necessarily manneristic representation of time is far less evident than that of three-dimensional form. The very notion of a graphic, temporal representation is inherently abstract. It therefore promises varied and imperfect solutions. Time and Surface investigates decidedly idiosyncratic approaches to the graphic representation and notation of time, through traditional drawing and painting techniques, with the purpose to create abstracted narratives in graphic form.
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There is, by definition, no instance in which we visually perceive a stretch of time such that it may be reconstituted in an analogous image. Truly temporal representations attempt to compress information of several moments into a single image, a collapsed depiction of spatial alterations.
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Last save: 8/30/2013/morenon
TOP OF SPIRE
172'-6"
20 PROFESSIONAL WORK
TOP OF SAIL
2012 - 2015 AC MARTIN
100'-0"
SAIL STRUCTURE OPTIONS SEE
7'-0"
A-556
20'-0"
72 - MACHINE ROOMS / KITCHEN
22'-0"
GL1 - Vision Glass, Insulating
GL2 - Vision Glass, Insulating GL2a - Acoustic Vision Glass, Insulating Laminated GL2d - Vision Glass, Insulating at Parapets GL3 - Vision Glass, Laminated GL4 - Laminated Glass for Overhead Glazing with Ceramic Frit Pattern
THE WILSHIRE GRAND TOWER
69 - HOTEL RESTAURANT 66 - HOTEL CLUB LEVEL / ELEC. & MECH. 65 - HOTEL CLUB LEVEL 64 63 62 61 60 59 - FIRST HOTEL CLUB LEVEL 58 57 56 55 54 53 52 51 50 49 48 47 46 45 43 42 41 40 39 38 37 36 35 34 33 32 31 - 1ST HOTEL FLOOR 30 - PARTIAL OFFICE / MECH. + ELEC. 29 28 26 25 24 23 22 21 20 19 18 17 16 15 12 11 - 1ST OFFICE FLOOR (386') 7 - GARDEN / POOL (366')
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A-548
70 - HOTEL LOBBY
1100'-0"
GL1d - Vision Glass, Insulating at Parapets
71 - RESTAURANT
827'-6"
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GL1a - Acoustic Vision Glass, Insulating Laminated
Reaching a height of 1100’, the Wilshire Grand is established as the tallest building on the west coast. The program consists of offices through approximately the bottom half of the tower, with a luxury hotel occupying the levels above . the podium occupies an entire city block, with designed efforts aimed at providing pedestrian circulation, public space, and support programming for the tower.
TOP OF POOL DECK BARRIER 73 - POOL DECK
18'-0"
6 - BALLROOM MEZZANINE (348')
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2 - WILSHIRE / RESTAURANT LOBBY (302') 1 - ARRIVAL / HOTEL LOBBY (286') PLAZA (284')
A-549
1/32" =1'-0" 0
sheet number
A-503
plot date: 9/4/2013
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project information
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WILSHIRE GRAND REDEVELOPMENT HANJIN INTERNATIONAL CORPORATION 900 Wilshire Boulevard
project director
SOUTH ELEVATION GLASS TYPES DIAGRAM
2012110 P. McDonough
project designer
D. Martin
project architect
G. VanGilluwe
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FAR LEFT: Top of tower including ‘sail’ and skydeck; a cutaway-section showing the skylobby of the hotel, located at the top floors of the tower; interior perspective of the skylobby. LEFT: Night render of the Wilshire Grand. ABOVE: Exploded axonometric of the sail.
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One of the more challenging elements of the project is the atrium skylight which spans between the tower and podium. the complexity of the geometric form, paired with a cassetteglazing enclosure system required the development of several parametric models to solve breakup and detailing conditions.
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The skylight creates a canopy over the main entrance to the podium (comprised of hotel amenity, ballroom and meeting/ convention spaces). It then spans the void between the tower and podium, establishing the podium and tower as separate architectural entities, per the original design parti. The glass patterning was parametrically solved. Each glass panel is tested for deviation out of plane, edge lengths and corner conditions. Panels are ‘cold-bent’ on site to enable fabrication and maintain similarity of panel dimension. OPPOSITE: overlay of several designs of the skylight from conceptual through design development. The form changed drastically as structure, glazing conditions, and adjacent enclosure geometries were realized. The gestuarl quality and affect remained fairly consistent between iterations.
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The interior of Wilshire Grand was closely coordinated with the hospitality needs of both client and operator. Much of the inspiration for the interior design was to be a reflection upon the city of Los Angeles itself. One of the signature elements of the interior adornment is the sky lobby’s chandelier - a subtle ode tot he automotive culture of LA.
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ABOVE: Generation of the chandelier’s form by ‘draping’ the intersection of the 110 and 10 freeways.
Intended to evoke auto head-andtail-lamps turning about a freeway bend, the form was derived by ‘draping strings’ which follow the roadways of a nearby freeway intersection. Dynamic physics applications were able to calculate resting catenary forms of this network which maintain and map the topological information of LA’s infrastructure. 134
SOUTH PARK RESIDENTIAL TOWER
Situated in the south-end of downtown Los Angeles, the South Park redevelopment improves and populates a historically neglected neighborhood of the city. Several high-rise residential towers, retail, and open space create a livable neighborhood. The towers unravel to the sky, taking advantage of views and LA’s spectacular climate.
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LOS ANGELES CONVENTION CENTER TEAM: LMN + AC MARTIN
In late 2014 the City of Los Angeles Announced a competition for the remodel and expansion of its convention center in south park, as an alternate use of the site. Three teams were selected for the competition, and the following work represents the proposal of the LMN + ACM team. Our proposal delivers value to the city on a budget by taking advantage of southern California’s hospitable climate, expanding the possibilities for outdoor programming through less-costly flex space. The design puts forth a stratified scheme, that preserves maximum existing program while densifying the site and adding a typlologically new experience to the convention visitor. It is a fiscally responsible plan that responds to the climate and culture of LA.
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The proposal seeks to utilize the existing organization of the convention center, following the original parti and applying it to the expansion while further ‘opening’ the structure to light, air, and Los Angeles’ famous climate. Central to the new design is an exterior promenade which strengthens the link between south and west exhibition halls. Aditionally the proposal explores a verticalization of program, providing an enhanced use of the site and a unique experience for the convention-goer.
OPPOSITE: Exploded axonometric of the proposal for LACC- Colored spaces are new construction (Blue: Convention Hall, Green: Promenade, Orange: Meeting Room, Magenta: Ballroom/Exhibition) IMMEDIATE LEFT: View of exhibition hall facade, lined with break-out meeting rooms, creating a lively boundary for the proposed promenade.
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ABOVE: By extending the super-structure of the original complex, we were afforded the opportunity to elevate program elements shown is a render of the signature ballroom which sits atop the convention center, offering stunning views of the city. Below: Careful planning of building systems allows for more efficient, and at times passive, operation of the convention Halls.
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Given the competition’s nature, representation of our scheme was vital. Monumental presentation models were produced over a period of a month.
ABOVE: Diagram of Proposed LACC Campus Organization
MMEDIATE: Competition model of the proposalAcrylic with embedded graphic transparencies and LED illumination (48” x 72”)
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LAX PEOPLE MOVER As part of an ongoing renovation, LAX is incorporating an aerial train that will connect terminals to the LA Metro system. Elevated walkways (people-movers) will allow passengers to move from the terminal to the tram stations. This is a study of a ‘gateway’ opportunity, where the people mover intersects the terminal.
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PALLADIUM RESIDENTIAL TOWER The Palladium residential tower sits on a lot adjacent to the historical Palladium theatre on sunset boulevard in hollywood. The focus of this project is to propose an efficient tower with an accompaniment of ground level program to support the theatre and adjacent public space, ensuring an attractive environment both day and night whether performances are scheduled or not.
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SACRAMENTO STATE DORMITORY
The Dormitory largely follows a schematic put forth by a previous master plan. However, we proposed an intervention of incorporating a breezeway through a double-story lobby that would allow access to the recreational path system that runs along the adjacent American River.
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JOSEPH VARHOLICK EDUCATION: MASTER of ARCHITECTURE with DISTINCTION Harvard University Graduate School of Design: 2015-2017 BACHELOR of ARCHITECTURE California Polytechnic University, San Luis Obispo: 2007-2012
CSU International Programs, Florence, Italy Study of Architecture, Language, Culture
California Institute of the Arts Courses in Drawing, Painting, Sculpture
Art Center College of Design Courses in Entertainment Design
International Baccalaureate Diploma SCHS 2007
Laguna College of Art and Design Courses in Drawing, Ceramics and Sculpture
WORK EXPERIENCE: 2016: KENNEDY & VIOLICH ARCHITECTURE 10 Farnham St. Boston, MA P: (617) 442-0800 F: (617) 442-0808 Position: Designer/Research Assistant Responsibilities: Design and fabrication of prototypes for solar lighting fixtures, schematic architectural design. 2012-2015: AC MARTIN PARTNERS 444 S Flower St #1200, Los Angleles, CA P: (213) 683-1900 | F: (213) 614-6002 Position: Designer Responsibilities: Architectural design, document production, work acquisition(competitions), client/consultant/internal coordination, physical modeling, digital modeling,rendering, graphics.
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joeyfv@hotmail.com +1 (949) 412-9787
SKILLS + COMPETENCIES: ◦◦ ◦◦ ◦◦ ◦◦
Architectural Design Document Production Work Acquisition (Proposals/Competitions) Competency of Software: Rhino , Autocad, Sketchup, Revit, MasterCam,Photoshop, Illustrator, Indesign etc.
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Physical Modeling & Fabrication Skills: Woodworking, Metalworking/Welding, etc. Digital Fabrication: laser-cutteing, CNC routing etc. Computer Rendering Programming: Java, C#
HONORS AND AWARDS: 2017 Kevin V. Kieran Prize for Highest Level of Academic Achievement, Harvard GSD 2017 Architect Magazine R+D Award-Solar Lamp (design team member) 2017 Featured at GSD Platorm 10 2016 Featured at GSD Platorm 9 2016 Featured at GSD Ceramic Material Formation Exhibition 2015 First Place AWR Competitions: NYC Sky Condo 2014 American Architecture Award, AC Martin, Wilshire Grand Tower (design team member) 2013 AIA Los Angeles Design Award of Merit, AC Martin, Wilshire Grand Tower (design team member) 2013 ‘One Prize’ Competition Finalist 2012 Cal Poly Archiprix Nomination 2012 Best of Show Award, Cal Poly 5th-year thesis show 2011 First Place Robert Hifumi Odo Scholarship design Competition, Cal Poly 2004 Eagle Scout Rank, Boy scouts of America
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