Selected Works by Karina Spassova

SELECTED WORKS KARINA SPASSOVA | 2019

Memorials ICRC Museum

Earth Pavilion

Concepts on the Memorial & Authorship UltraReal: Designing Through Rendering

Desert Landscapes Perforated Land

Essay: Oil Representations

Jumeirah Beach Hotel

Emaar Dubai Hills

Speculating on Oil Cities & Interim Urbanism 2019 Seoul Biennale: “The Collective City” Marina + Resort Expansion Proposal Residential Landscape Design

Floating Masses OPR

ARB

PRI | Adura LED

Retina Macula Institute 4

Hillside Residence Hillside Residence Offices & Warehouse Eye Clinic

Obsessive Iterations: At the Building Scale Essay: Rising Infinitely

Serial Dissonance

Dancing Structures

108

Essay: Envelopes as (Dis)honest Expression

118

The Core

122

Analysing 432 Park Ave

Reconfiguring Automotive Battery Recycling Processes Wine + (Precast) Design Honesty and Ornamentation in High Tech Architecture Viale Belfiore Development: Housing Component

Obsessive Iterations: Installations Form Follows Folding [FFF]

132

Things

140

Paper Installation | fINdings Art Center Makergraph Excerpts

Millwork Interiors SOF

154

Dwell

158

Residential Interior Design Dwell on Design Expo

MEMOR

RIALS

ICRC MUSEUM Concepts on the Memorial and Authorship 2018 | Academic, GSAPP | Prof. Bernard Tschumi With Regina Sofia Gonzalez 230,000 SF Museum + Offices Manhattan, NY

Nominated for Studio Prize ‘19 Architect Magazine & Selected for GSAPP Abstract Publication, 2019

Abstract. The ICRC is a private humanitarian institution founded by Henry Dunant and Gustave Moynier in 1863 in Geneva, Switzerland. Being founded as an aid in times of war and dealing with political, social and humanitarian issues, the organization’s ideal is to no longer need to exist. The ICRC employs invisibility and formed their headquarters around a donated building [the Carlton]. Within a “generic” block in New York City, this could suggest that there is no need to identify with a specific location. An abstraction of the Manhattan grid places one in the context of the city, yet not in any one specific location. Thus, this block places and displaces at the same time. Although they have made such efforts to establish no physical presence to identify with (architecturally speaking), the red cross has established a very permanent non-physical presence as the world’s largest humanitarian organization. Our proposed ICRC museum is an exposition turned memorial, a response to the organization’s ultimate goal of their own demise in an ideal world. Tombs of exhibition spaces lay buried beneath the public landscaped memorial, and a generic service building wraps the perimeter of the museum (fig. 1). Phenomenology. An initial response to this as a space of memorial was a critical view of phenomenology in an attempt to create sensory contrast to evoke emotional response. An experiential approach cannot be measured or quantified or proven as people experience things differently. Thus, we approached the same effect, whilst defying the traditional principles of phenomenology. Rather than designing for a specific experience, we designed for each visitation to provide a different experience through numerous possible sequences that may be taken. Memorial. The exhibition as a memorial plays on the non-physical presence of their desired “invisibility” approach, as it physically marks the presence of what is not there. Proposing the exposition as a memorial reflects on both the organization itself and the exhibited content. It is a memorial for the people that have been victims of war, natural disasters, political and social struggles; as well as a memorial to the organization. It emphasizes their ideal of ceasing to exist, while expressing the reality of their eternal presence. This simultaneously signifies the end of an existence and the manifestation of that existence in perpetuity.

memorials

Fig. 1 | Concept diagram

icrc museum

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Generic Enclosure + Fabricated Interior. Situated within a generic block in Manhattan, this solid enclosure displaces the center exhibition to a timeless and siteless position, and reflects on the reality of the ICRC’s everlasting permanence. The enclosure metaphorically acts as a retaining wall containing the fabricated interior landscape that is open to the exhibition spaces below. The boundary serves to create a space of gathering within on raised public ground levels, and the voids on either street end act as entrances for public through access. Center spaces such as the library and public area seep into the building poche and vice versa. This blurs the boundaries of the contrasting center and enclosure, and alludes to the nature of the organization in pursuing eternal issues while maintaining a generic, neutral and discreet external identity. This blurring of the spaces is further read in the

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unclear division of public and exhibition spaces within the center, where one is unsure whether they are within the public memorial or exhibition spaces. The timelessness assumed by this memorial museum is manifested spatially through a non-authoritative sequence of varying spaces. The public green courtyards on various levels are fabricated memorial spaces, which allow glimpses of the exhibitions buried below. The contrast of the generic facade to the rich memorial landscape within simultaneously translates vertically within the service building. From the base floors where the public landscape and enclosure program bleed into each other in certain areas, the enclosure then gradients rhythmically from large to tight monotonous office spaces above. The glass facade exhibits all the systems that support the center and enable the building to function, and its

ever-changing nature reflects the constant flux of the surrounding urban fabric of Manhattan. In opposition to the over-sized center, the tight grain of the facade windows further disorient and play with one’s sense of scale through their proportion to the overall building. These different volumes and lighting conditions within serve to create sensory contrast and evoke emotional response. Various volumes are extruded with voids carved out to contain the struggles of reality the ICRC intends to expose. The blurring of the programs (exhibition and memorial) is further extended here through grey areas of permanent memorial exhibitions that are designed as embedded architectural space-making installations amongst the temporary current exhibitions. The engaging memorial content accompanied by broad titles is designed to trigger visitors to resonate and imagine their own personal meanings; these are placed in between

the interior and exterior center, the exhibition and memorial, blurring the boundaries and emphasizing the conflicting nature of the organization. Apart from these permanent exhibitions, temporary exhibitions of current events are scattered throughout in no chronological or geographical order, thus alluding to the timelessness.

Left | Cross section of the fabricated experience Right | Cross section of the supporting service poché icrc museum

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Authorship. The ICRC identifies with and relies on no single entity, but rather the collaboration of volunteers. With a history of temporary, donated and buried structures, the issue of identity then translates to the necessity of having no projected architectural authorship. In such case, a subdued, authorless exterior of a “generic” service building wraps an authored center. This contrast provokes the tension of an authorless appearance that is fully exposed to the city, whilst concealing within it an authored fabrication. The museum then both rejects and assumes authorship. A stark, iconic exterior, such as Zaha Hadid’s Opus building, becomes our enemy. However, in question of how treatment can affect authorship, we applied this iconic facade in a generic manner to work towards our concept. Tadao Ando’s use of the self-effacing facade is applied to isolate from context and conceal the

authored experience within. Our use of specific architectural treatments for an internal fabrication of experiences reflects on this signature approach. While in similarity with Eisenman’s memorial in Berlin, a public access through the memorial volumes is intended to allow a public reading and to potentially expose their reactions. A museum that externally projects no authorship then is not tied to a singular time and place, and instead displaces the authored center to a timeless and eternal sense of being, a space for memorial.

Above | Roof plan icrc museum

Above | Perspective sections illustrating one of many possible routes through the museum

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Level -2

Level -1

Ground Level

Level 1

Level 2

Level 3

Level 4

Level 5

Level 6

Level 7

Level 8

Level 9

Level 3 icrc museum

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EARTH PAVILION UltraReal: Designing Through Rendering 2018 | Academic, GSAPP Prof. Joseph Brennan, Phillip Crupi 4,560 SF Pavilion

memorials

earth pavilion

memorials

earth pavilion

memorials

earth pavilion

DESERT LANDSC

T CAPES

PERFORATED LAND Speculating on Oil Cities and Interim Urbanism 2018 | Academic, GSAPP | Prof. N H D M With Ricardo Suoto, Chenxian Wu Urban Plan, Temporary Housing + Convenience Stops Pecos, TX

Selected for GSAPP Abstract Publication, 2019

Abstract. This project is an investigation of the conditions revolving around the oil industry in Pecos County, Texas, with a focus on both, the urban and ecological. As a highly exploited site for oil extraction, this project speculates on the current and post-oil condition of the densely perforated desert landscape. The extraction of crude oil, natural gas and water in the Chihuahuan Desert has completely changed its ecosystem. Vast fields of leveled out extraction sites of abandoned oil wells have invaded the natural landscape. These extensive oil and agricultural fields are not only contaminating the soil and aquifers, but also displacing indigenous species of plants and animals. We further examine the issue of the transient workers currently sleeping in their trucks, trailers and gas station motels in between work hours for reasons none other than the lack of available accommodations. While this is due to the safety precautions surrounding drilling sites, it further instigates the dangers of driving and handling hazardous machinery without proper rest (fig. 4). Proposal. Our proposal deals with providing frequently accessible, temporary accommodations for the transient workers in a manner that intervenes the disrupted landscape and natural ecology of the region through the creation of a restorative interim urbanism. This is a series of interventions that accommodate the workers, as well as the plant and animal life of the Chihuahuan Desert. We are invading the already intervened and abandoned oil extraction sites in the creation of a new landscape into the postoil situation. The proposal is a network of three components situated on the cleared extraction sites (fig. 1). It includes two housing types, which respond to different conditions of the landscape, and intermediate convenience stops with various supporting programs, which is the intervention of focus. The first housing type is placed at leveled out sites which have invaded the natural depressions of the landscape. It utilizes both natural and manmade elements to restore the landscape through deterioration, and serves for short-term temporary stay. The second housing type is placed at sites of contaminated bodies of water. These housing complexes act as bird habitats which purify the water and restore balance to the disrupted ecosystem. These serve for longer-term temporary stay. What forever lies beneath, however, is marked by the intermediate convenience stops. We are dealing with the perforated, polluted and leveled out landscape on a surface level - a cosmetic restoration, whilst also exposing the underground condition by marking the permanent perforations beneath the visible surface.

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Fig. 1, Above | Illustrations of the three intervention types: convenience stops as oil well markers, short-stay worker housing at depressions, and longer-stay worker housing as bird habitats, respectively Right | Thesis drawing illustrating the urban proposal of the intervened surface and the exposed permanent condition of the earth below

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REEVES COUNTY

WARD COUNTY

PECOS

3500 BC - 1550s

828 - 1126

1873

1881

Mound Builders

Pueblo Bonito

Pecos’ Establishment

The Southern Railway

Mound Builders were inhabitants of North America who, during a 5,000 year period, constructed various types of earthen mounds for religious, ceremonial, burial and elite residential purposes.

The largest and best-known great house in Chaco Culture National Historical Park, northern New Mexico. It was built by the Ancestral Puebloans who occupied the structure.

Pecos was established on the east side of the river as a camp for cattle drives up the river. Pecos has been a crossroad for over land transportation lines for many years. Its origins began because of this strategic location.

The Texas and Pacific Railroad tracks were built through the area in 1881. The town was initially called Pecos Station, then Pecos City, and finally, Pecos. In 1883, Reeves County was separated from Pecos County.

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1850 - 1900s

1900s

1900 - 1940s

1940 - 1960s

1940s

Beginning of Oil Drilling

Beginning of Agriculture

Texas Oil Boom

Beginning of the Oil Age

Modern Extraction

The process to distill kerosene from petroleum was invented, and the demand for petroleum as fuel for lighting grew quickly. Exploration developed in many parts of the world with the Russian Empire. In 1859, Edwin Drake of Pennsylvania invented a drilling process to extract oil from deep within the earth.

With the introduction of irrigation from underground aquifers, the city became a center of commerce for extensive local agricultural production of cotton, onions & cantaloupes.

The gusher age began with the discovery of a large petroleum reserve near Beaumont. The find was unprecedented in size and started a rapid regional development & industrialization. Texas quickly overtook the Russian Empire as the top producer of petroleum.

By 1940, Texas had come to dominate U.S. production. Some historians even define the beginning of the world's Oil Age as the beginning of this era in Texas. In the late 1960s, oil and gas exploration and production became very important to the Pecos economy.

Fracking (hydraulic fracturing) is the process of injecting liquid at high pressure into subterranean rocks, boreholes, etc., so as to force open existing fissures and extract oil or gas.

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Fig. 2, Left | Site map of the superficial condition locating the markers Fig. 3, Right | Site map of the oil and gas wells beneath 0

0.5

1.5

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Fig. 4, Left | Research and analysis drawing exhibiting the existing conditions of the workers’ housing, transportation to work sites, and oil extraction processes. Right | Vignettes of the existing active work sites

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Perforation Tower

Pump Jack

Tanks

Water Disposal

Tank Battery

Train

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Markers. The series of intermediate programs supporting the housing proposals are located at the capped [exhausted] oil well sites (fig. 2 & 3). They occur at various frequencies based on the density of wells, which is threefold: first, this provides services based on demand; second, it forms an urban network that links the outlying housing and the work sites; and third, they act as markers of the wells below, as well as markers for the type of services provided. There are three types of convenience stops: 1. Food & Beverage (fig. 5), which includes a café, restaurant and convenience mart; 2. Fitness (fig. 6), which consists of a gym and swimming pools utilizing the purified residual water from oil extraction; 3. Research Center with data archives and exhibition. All three types include a research component, as Greenpeace funds this proposal to bring revenue to support ongoing research and data archives.

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Dubai compares as a desert oil city, however, rather than creating a developer’s playground, we are establishing a network of markers. Currently in Pecos County, the oil and water is already read through aerial imagery. The crop circles expose the water wells for irrigation, and the cleared drilling sites expose the oil extraction. However, with time, the vegetation restores the superficial condition and masks the permanent oil wells buried just three feet beneath the surface. The marker in plan is thus a play on the aerial design of Dubai - it magnifies the insignificant tip of the milesdeep concrete well. Aside from providing shaded oases throughout the desert, these structures then serve to mark and make visible the permanent intrusions in the earth below. In section, by digging & providing shade, we are

setting up these leveled and cleared out spaces to once again be taken over by the natural vegetation. We are, at the same time, exposing the buried concrete tip of the wells.

Above | Concept drawing of the markers intervention

The markers are lit at night to denote the various programs, and during the day, they are distinguished by the different formal iterations.

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Fig. 5, Right | Convenience stop type 01, Food & Beverage Fig. 6, Left | Convenience stop type 02, Fitness

desert landscapes + memorial

perforated land

desert landscapes + memorial

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OIL REPRESENTATIONS 2019 Seoul Biennale: “The Collective City” 2019 | Academic, GSAPP Prof. David Moon of N H D M Speculative City: Crisis, Turmoil, And Projections Abstract. Through mass media and information overload, we have become desensitized to representations of the detrimental effects of oil extraction. As the masses remain unaffected, I investigate methods of representation with regards to our culture of mass media and fragmented intake of information. Beatriz Colomina argues that in our world of sensory overload, we need distraction in order to focus our attention. In this light, mass media becomes a tool for representation and communication. Bernard Tschumi further theorizes on the importance of the surprise factor - the shock. “The constant flickering of images fascinates us” and the factor of shock is what allows an image to stand out. I analyze the methods of representation used by Design Earth, the Eames, and McCloud in questioning the power of the single image and formulating a response to desensitization. More specifically, I question the indirect relationship between the viewer and the imagery rather than the experience. After all, such interventions become spectacles that command attention. In a culture of mass media, our methods of oil representation must be further examined. Whether it is built space on the urban scale or a simple illustration, we may utilize the concepts of distraction, fragmentation and scale to focus the world’s attention. As the fragmentary and overwhelming information flow is the way in which the brain receives information, we may exploit sensory overload as a technique in favor.

This thesis investigates methods of representation of oil extraction and the resulting climate change. Charts and graphs typically used to illustrate climate change do little for their audience. And while architects have recently undertaken this matter, the masses remain largely unaffected. Perhaps it is not an issue of the content being represented, but rather of the form of representation with regards to our culture of mass media and fragmented intake of information. We have seen too many charts, graphs, stories, illustrations, installations and films that we consider for but a moment, or not, and then proceed with our daily lives. It thus becomes a question of immunity. Through mass media and information overload, we have become desensitized, and terror1 no longer terrifies us unless it directly concerns us. While the immediate response of the architect to the concerns of climate change is sustainable design, this does not project an understanding of the cause. The story of oil is told extensively in the Norwegian petroleum museum. Deep Secrets expands on the processes involved in the production of oil over the past 200 million years. It attempts to depict the gravity of this natural phenomenon through detailed accounts.2 However, as a typical exhibition setting of facts, the subject presents itself as yet another abstraction. Abstraction has been discerned as a means of dissociation from the direct relationship to the issues surrounding oil. Design Earth questions the means of representation by which climate change is portrayed, as it seems that “the sky may be falling on our heads, [so] how is it that we have done so little about it?”3 Their use of architectural drawings to tell geostories attempts to remove the abstraction that sets apart the physical world from the resources and “uncompensated environmental effects”. They target exactly this abstraction from reality through stories as a method of immediacy. This is achieved through a sensory storyboard exposing the various detrimental interventions through which we have exploited and redesigned the Earth without regard. Through their work, they shift the perspective to one where humans are one with the Earth, as the Gaia theory acknowledges, and away from that of separating ourselves, where the Earth then simply becomes a resource.4 Their work is extremely successful to an architect, yet through such architectural drawings [which may be deemed as abstractions, the exact notion that they are working against], the audience is limited to the architecture world. Nonetheless, they address desensitization as our removal from the issues through the provocative storytelling of reinterpreted landscapes. Their meticulous accounts, however, rely on the power of the drawing, which is undermined by the constant blast of information with which we are

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faced. This in turn reverts to a separation between the image and the viewer. Antoine Picon poses the question of the boundary between the observer and the object observed. The individual form [in this case the drawing] invokes an emotional state attributed to the concentration of the whole. Dispersion, however, removes the formality of the praised singular object, and the distance between the observer and the observed is removed.5 In such case, as Design Earth infers that terror6 [with its connotation to territory] no longer terrifies us, then the power of the single image is diminished to the attempted evocation of an emotional response from a desensitized society. Beatriz Colomina argues that in our world of sensory overload, we need distraction in order to focus our attention. This shifts the problem from an emotional one to that of attention. “The idea of a single image commanding our attention has faded away. It seems as if we need to be distracted in order to concentrate…[W]e now look in one direction and see many juxtaposed moving images, more than we can possibly synthesize or reduce to a single impression.”7 In this light, mass media becomes a tool for representation and communication. Bernard Tschumi further theorizes on the importance of the surprise factor - the shock. “The constant flickering of images fascinates us… When Benjamin discussed the reproducibility of images, he pointed out that the loss of their exchange value, their ‘aura,’ made them interchangeable, and that in an age of pure information the only thing that counted was the ‘shock’,” where the factor of shock is what allows an image to stand out.8 He attributes this to our contemporary mediatized condition and the constant need for change - a defamiliarization through fragmentation that breaks the comforts of tradition, permanence and authority.9 While this is discussed in relation to structures, the concept of shock through defamiliarization of the holistic image may be applied to the representations of oil. The Eames formulated their films around information flow with “a strict logic of information transmission” - a controlled sensory overload. The multi-screen films employ a technique of fast cutting, which corresponds to the manner in which the brain receives and processes information - that is fast-paced intervals of fragmented information that is pieced together by the brain. Their film A Communication Primer was aimed at presenting Shannon’s diagram of the passage of information flow to architects in hopes of establishing communication theory as a tool of representation in architecture.10 “The highest level of participation consists in getting fascinated by the pieces and connecting them for oneself.”11 By producing their films at the speed of the mind, this interaction produces a distraction that focuses the viewer.

The techniques of controlled sensory overload were inspired by their fascination with the circus. The circus displays a notion of seemingly complete chaos that is actually very carefully curated in its overwhelming projection of acts, colors, movement, objects, people, animals, sounds, smells, etc.12 Relating this to the processes of the brain encompasses the world in which we live today. While it is clear that we are conditioned by the multi-sensory and imagery overload of mass media - tv, radio, internet, flashing advertisements, etc - it is interesting to conceive of the concept in reverse. As this fragmentary information flow, which is overwhelming at the moment of intake, is precisely the way in which the brain receives information, it is perhaps the reason why simulation and fascination are intrinsic to our culture. McCloud further expands on how we process information and the notions of fragmented perception as what he deems closure. We perceive the world as a whole through our experience of the senses (prior knowledge), yet our senses can only reveal a world that’s fragmented and incomplete. He explains this through the format of comics - where a sequence of images are arranged and separated by the blank space in between called the gutter space. In seeing these images next to one another, our mind completes the actions occurring in between the two frames. It is this act of closure that allows us to make connections within a rhythm of unconnected moments - or to fill in the gutter space.13 Consequently, this introduces the concept of the wandering eye, which may be utilized to compress or decompress time and space. McCloud places importance on what can be seen at the same time and what cannot, establishing an atemporal effect that bypasses time to the eternal and therefore has no end - an unresolved nature that produces the affect of a lingering presence, of a timelessness beyond a fixed sequence.14 The Eames, on the other hand, argue that the “eye has to jump around from image to image and can never fully catch up with all of them and their diverse contents.”15 Their multi-screened film Glimpses in the USA displayed at the American Exhibition in Moscow, 1959 was projected onto seven 20-by-30 foot screens suspended in the Buckminster Fuller dome simultaneously playing separate reels composed of over 2,200 still and moving images. A typical work day in the US was presented in just 9 minutes, and a typical weekend day in 3 minutes. The team stated that the “80,000 square feet of exhibition space was not enough to communicate more than a small fraction of what [they] wanted to say,” so they redefined the space to present as much information as possible through fragmentation and compression.16 Here, the wandering eye is trying to catch up with the blast of information compressed in just moments, whereas McCloud uses it to set a lingering timeless presence, or a decompression of

time. Both instances, however, derail from a fixed sequence, and time is read spatially, where through such fragmentation, time and space become one. Closure is derivative of the Blue Marble affect, a manifestation also referenced by Design Earth and the Eames, which inevitably presents the factor of scale. McCloud diagrams our view of the world as one that may never be seen as a whole, where our minds compose an image of the whole based on fragments of previous knowledge.17 Design Earth introduce their book with a quote embodying exactly this notion: “Those who refuse to listen to dragons are probably doomed to spend the rest of their lives acting out the nightmare of politicians. We like to think we live in daylight, but half of the world is always in the dark; and fantasy, like poetry, speaks the language of the night.”18 Here, the fragments from which we are abstracted are brought to light through the framed scenarios at various scales of the scaleless. This allows for a holistic rendition to be composed from the parts presented. And while the power of the image [any image] is questionable, the manipulation of scale in such a manner is pivotal. The approach is to further eliminate the perspectival distortion through orthographic representation, which exhibits a comprehensible totality “to make the infinite visible” and thus renders the externalities as part of the whole.19 This engages the mind to perform closure and further relieves the necessity of true scale. In contrast, the Eames introduce the Powers of Ten and Glimpses videos with images of the Earth as a factor of scale. While Design Earth explores the fantastical and scaleless to tell the story, the Eames use scale through satellite imagery as a way to place us precisely within the universe. Scale then becomes inherently tied to such representation. Satellite imagery now presents a form of representation at an entirely new scale - aerial imagery on the urban scale. Post-oil Dubai has transformed its landscape into an array of whimsical imagery to be read on a map. The immediacy of Dubai’s landforms as seen from Google Earth reflects our technological era. Through the exaggeration of scale, the sense of the whole is lost when one is placed within the city, yet the imagery declares its presence as a known condition. Design Earth targets the abstraction from the source of these developments (oil wealth) through reinterpretations of the landscape. “Although such territories of extraction are central to development above the surface, they are out of site and often external to urban representation.”20 These scaleless representations might then translate into a new opportunity of representation within the built environment. While it would be naive to propose an entire cityscape depicting the crisis of oil extraction, it presents the following question: what is the affect of this indirect reading of such [over-scaled and therefore scaleless] aerial representations within

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the built environment? More specifically, I question the indirect relationship between the viewer and the imagery rather than the experience of being there. After all, such interventions become spectacles that command attention. Whether it is built space on the urban scale or a simple illustration, we may utilize the concepts of distraction, fragmentation and scale to focus the world’s attention. Rather than denying desensitization, we may exploit sensory overload as a technique in favor. The highest frame rate that the human mind can process is 150 frames per second,21 so if the average person comprehends 57,600 images per day, how much impact can an image really have? Even the most quintessential illustrations are buried amidst our overloaded society. And as our media culture advances, the once overwhelming film Glimpses in the USA is no longer fast enough for our generation.22 In a culture of mass media, our methods of oil representation must be further examined within this context.

References 1,19. Rania Ghosn and El Hadi Jazairy, Preface, in Geostories: Another Architecture for the Environment, (New York, Actar, 2018), 14. 2. “Deep Secrets Tells the Story of Oil,” Norsk Oljemuseum, accessed May 10, 2019, https://www.norskolje.museum.no/en/ deep-secrets-tells-the-story-of-oil/. 3,6. Ghosn and Jazairy, Geostories, 11. 4. Ghosn and Jazairy, Geostories, 11-25. 5. Antoine Picon, “Ornament and its Users: From the Vitruvian Tradition to the Digital Age,” in Gülru Necipoglu, Alina Payne (eds.), Histories of Ornament: From Local to Global, (Princeton, Princeton University Press, 2016), 10-19. *In his discourse of the repetitive nature of prefabricated building components as the contemporary ornament, as applicable to this thesis 7. Beatriz Colomina, “Information Obsession: The Eameses’ Multiscreen Architecture,” The Journal of Architecture 6, (2001): 205. 8. Bernard Tschumi, “Six Concepts,” in Architecture and Disjunction, (Cambridge, MIT Press, 1996), 1. 9. Tschumi, “Six Concepts,” 1-7. 10,12. Colomina, “Information Obsession,” 205-223. 11. Colomina, “Information Obsession,” 221. 13. Scott McCloud, “Blood in the Gutter,” in Understanding Comics, 60-93. 14. Scott McCloud, “Time Frames,” in Understanding Comics, 94-117. 15. Colomina, “Information Obsession,” 218. 16. Colomina, “Information Obsession,” 209. 17. McCloud, “Blood in the Gutter,” 62-63. 18. Ghosn and Jazairy, Geostories, 7. 20. Ghosn and Jazairy, Geostories, 30. 21. “What is the highest frame rate (fps) that can be recognized by human perception? At what rate do we essentially stop noticing the difference?” Quora, accessed May 10, 2019, https://www.quora.com/What-is-the-highest-frame-rate-fpsthat-can-be-recognized-by-human-perception-At-what-rate-dowe-essentially-stop-noticing-the-difference. 22. Colomina, “Information Obsession,” 222.

As this fragmentary and overwhelming information flow is the way in which the brain receives information, this graphic is a self-critique. It questions the power of the single image, as even the most quintessential illustrations are buried amidst our overloaded society. Displayed as a gif, it is a destruction of the image into fragments [or pixels] flashing repeatedly as to draw the viewer to a single illustration over and over again, yet never revealing the whole. It distracts as to command attention. It is both an aerial proposal on the urban scale, as well as a fantastical and scaleless illustration. Original drawing done in collaboration with Ricardo Suoto and Chenxian Wu. oil representations

JUMEIRAH BEACH HOTEL Marina + Resort Expansion Proposal 2014 | Professional, Hopkins Architects Design Competition Won 26.8 Acres Marina + Hotel Resort, Unbuilt Dubai, UAE Abstract. This proposal for the extension of the hotel and existing marina helped win the design competition. The expansion included a hotel, a boardwalk [lined with shops, restaurants and cafés] leading to and throughout the extended marina, and an exclusive private island with a beach. The form of the marina allowed for an extension of both public and private beaches on either side, as well as a natural positioning of the private beach (left) with respect to wave direction for minimal support from groins. The separation of the private island (joined by a bridge) allowed for the desired exclusive beach as well as water circulation through the marina. Contributions Schematic Design Proposal

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jumeirah beach hotel

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jumeirah beach hotel

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Section A

Section B

Section C

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Section D

Section E

Above | Sections through (A) public beach and boardwalk, (B) public beach and boardwalk with café, (C) private island beach and hotel on marina, (D) hotel on marina, (E) boardwalk with retail on marina jumeirah beach hotel

EMAAR DUBAI HILLS Residential Landscape Design 2014 | Professional, Hopkins Architects Design Competition 9.5 Acres Residential + Commercial Complex, Unbuilt Dubai, UAE Abstract. Schematic landscape and hardscape site plan design proposal for a Dubai Hills residential complex. Contribution: Schematic Landscape Design

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emaar dubai hills

FLOATIN MASSES

NG S

OPR Hillside Residence 2017 | Professional, domæn Ltd. 4,500 SF Ground-Up Construction, Unbuilt Benedict Canyon, CA Abstract. Domaen centers its design on volumetric mass and datum in various forms. This hillside residence follows this design logic through a process of programmatic juxtapositions. The form is derived from a series of overlapping orthogonal masses, each responding to their respective program, which carve into one another to produce the playful massing with pragmatic adjacencies. The negative spaces generate courtyards tucked in between the hill and the residence. The skylights and full-height recessed glazed sliders further blend the threshold of interior and exterior spaces. This extension from the interior to the exterior reverts the interior spaces as cavities within the mass, and thus produces moments of the floating mass. Materially, the project retains a Corten steel skin wrapping its entirety as to further fuse the geometries into one articulated mass. The weathering steel would age gracefully into a radiant mass complementing the palette of the surrounding hillside scenery of Benedict Canyon.

Contributions Schematic Design: Massing, Plans, Sections Renderings Physical Model Post-Production for Public Relations

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Above | Plan diagram illustrating the positive and negative spaces of the resulting enclosures and openings

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Above | Stills from an animation showing the process of the geometric logic behind the shaping of the mass opr

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Above | Rendering exhibiting the interior as one open space with the exterior of the central courtyard. The living space becomes a cavity within the building’s mass hovering above. Left | Ground level floor plan, upper level floor plan and roof plan, respectively

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ARB Hillside Residence 2017 | Professional, domæn Ltd. 9,000 SF Ground-Up Construction, Built Benedict Canyon, CA

Honorable Mention for Architecture Masterprize ‘19 in Architectural Design / Residential Architecture

Abstract. Domæn is a design-build firm that centers its designs around the concept of floating masses. This hillside residence frames an unobstructed view of the scenic hillsides beyond while maintaining full privacy of the residents. The project responds formally and programmatically to the stringent code requirements and ordinances in a didactic yet playful manner. It re-imagines and progresses the rather modernist concept of open living plan into a contemporary architecture.

Fig. 1 | Front elevation visualizing the seemingly monolithic stone clad mass hovering above as to frame a slit of the hills beyond while maintaining privacy of the residents

The setback limitations position the building and negotiate a response that deforms, twists and brakes the otherwise rigid program containers. The resulting undulated mass then delivers a fluid response to the site. Height limitations and setback requirements initiative the unfolding of the otherwise rigid mass of the second floor into a L-Shaped plan, turning facade into roof. Perched over Benedict Canyon, the building mass itself is reduced through a sectional parti. A third of the building is buried into the deep hillside, and a levitated mass of the more private, deformed solid of the second floor hovers above (fig. 1). Thus, the building never overpowers, neither in scale nor in section. Vertical building parts are operationally connected through a horizontal parti. It separates the front yard from the building in plan as a programmed poché wall that houses the restroom, elevator etc., onto which the second floor balances its weight. This frees the building from programmatic constraints and delivers an open floor plan, expanding its extents to the exterior. Landscape, building and program become one landform. The floor plate of the main floor extends to the exterior, while defining an artificial edge condition that gradually softens in elevation and reconnects the lower floor with the main floor through a tapered screen wall. Materially the project is muted. It expresses the solid mass through concrete and stone and inserts simple operations of formally logical openings. Contributions Design Development: 3D Model Revisions Construction Documents: Hardscape Cross Checks + Revisions Specifications Catalogues Title 24 Calculations Post-Production for Public Relations

floating masses

Photographs by Paul Vu Photography

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floating masses

Left Above | Ground floor plan. See hardscape construction plan detail [next page] Above | Exploded axonometric graphic of the stone facade Left | North, west and south elevations, respectively

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PRI | ADURA LED Offices & Warehouse 2016 | Professional, domæn Ltd. 9,400 SF Interior Remodel, Built Corona, CA

Published by gooood, 2017

Abstract. An existing industrial warehouse in the outskirts of Corona, CA is converted into a high-tech manufacturing facility and office for the firm Adura LED. The program includes offices, testing labs, showroom/meeting rooms, a manufacturing hall, and a distribution warehouse. Тhe nature of the program and business is primarily functional and pragmatic, with all emphasis on the streamlined processes of manufacturing, testing and distributing. Оur team was charged to challenge the notion of a typical manufacturing facility and insert a sense of openness and identity. With a small budget and tight timeline, domæn sought to maximize the company’s abilities through a series of volumetric, graphic and lighting interventions. As part of a series of projects that engage volumetric mass and datum in various forms, the interior contemplates the ceiling as a rigid mass complimenting a simple floor plan (fig. 1). The plansection contrast allows maximum flexibility in programming and defines a volumetric narrative that is pertinent to the spatial needs of the client (fig. 2). The dual program of an office space and manufacturing hall is visually linked through glazed walls and a continuous articulated ceiling with a rhythmic pattern of hung lighting fixtures that are part of the Adura LED product series. The ceiling mass changes its vertical datum strategically to create zones of different occupation throughout the project, to articulate light-wells, and to serve as a vertical enclosure of the centralized showroom meeting area. This allows for the central positioned space to remain visually open and serve as a hub for the entire building. Materially minimal, the rigid mass and the lighting datum overhead engage the program playfully. This is done in large scale in the manufacturing area and in detail by forming a volumetric entrance desk (fig. 1) and a presentation wall in the conference room. The business identity is further visually articulated through colored glazing and linear graphics that assume textural qualities and serve as wayfinding.

Contributions Schematic Design: Floor Plan Revisions Design Development: 3D Model, Plans Construction Documents: Plans [Site, Demo, Floor, RCP, MEP] Specifications Post-Production For Public Relations

floating masses

Fig. 1 | The interior millwork [extending from the reception desk and up throughout the ceiling] spans over the entire length of the project and hovers over frameless glazed office spaces surrounding the open warehouse Fig. 2, Next Page | Representation of the plan-section relationship of the ceiling as an articulated floating mass above an open plan

Photographs by Paul Vu Photography

pri | adura led

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pri | adura led

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68'-11 3/8"

(E) ROOF ACCESS LADDER

32'-4 1/4"

1 A6.0.6 A6.0.7 3

EV CHARGER

(E) ELEC. PANEL

22'-8 5/8"

(E) ELECTRIC GEAR

(E) ELEC. PANEL

LISUN SPHERE

5 1/4"

17'-1 5/8"

140'-2 5/8" 24'-10 3/4"

5 1/4"

12'-2 3/4"

5 1/4"

10'-9 3/8"

(E) SPRINKLER RISER

1 A6.0.5 3

15'-11 1/2"

4'-9 5/8"

FINISHED CONCRETE

15'-11 1/2"

1 A6.0.3 3

5'-9 1/8" 4'-9 1/8"

(E) RD

R_100 RECEPTION A: 312.75 sq ft FINISHED CONCRETE

1 A6.0.2 2

R_105 HALLWAY A: 277.25 sq ft FINISHED CONCRETE

16'-1 3/4"

1 A6.0.0 3

1 A6.0.1 3

1'-5 7/8"

R_104 JANITORIAL CLOSET A: 20.75 sq ft FINISHED CONCRETE

1 A6.0.1 3

1'-6 1/8"

R_107 WOMEN'S RR A: 70.25 sq ft FINISHED CONCRETE

5 1/4"

R_108 KITCHEN A: 229.5 sq ft FINISHED CONCRETE

MAXIMUM COUNTERTOP ELEVATION OF 34"

1 A6.0.2 3

10'-1"

R_106 MEN'S RR A: 77.25 sq ft FINISHED CONCRETE

1 A6.0.2 3

COUNTERTOP HT. EL. +2'-10"

R_109 TESTING SHOWCASE A: 290.25 sq ft DK GREY CARPET

1 A6.0.3 3

G 16'-3 3/4"

R_110 PRESIDENT OFFICE A: 194.5 sq ft LT GREY CARPET

1 A6.0.5 3

5'-9 1/8" 4'-9 1/8"

B A2.0

REFRIGERATOR

5 1/4"

MESH CAGE

UNDERCOUNTER REFRIGERATOR

R_117 SECURE SHELF STORAGE A: 112 sq ft FINISHED CONCRETE

R_111 IT/MECH ROOM A: 129.25 sq ft FINISHED CONCRETE

R_112 POST PROCESSING A: 146 sq ft LT GREY CARPET

1 A6.0.5 A6.0.6 3

A6.0.8 3 1 A6.0.9

R_113 POST PROCESSING A: 297 sq ft LT GREY CARPET

48'-10"

48'-9 1/2"

1 A6.0.6 3

12'-4 1/8" OPEN SHELVING

2'-10 1/4"

1/4"

9'-5 5/8"

55'-7/8"

PROVIDE SIGN READING "THIS DOOR TO REMAIN UNLOCKED WHILE THE BUILDING IS OCCUPIED" 1008.1.9.3 (2013 CBC)

1 A6.0.8 3

12'-7"

1.5 M

R_115 SERVICE TESTING A: 214.25 sq ft FINISHED CONCRETE

12'-7 1/2"

68'-2 7/8"

12'-5 1/4"

R_101 SALES OFFICE A: 311 sq ft FINISHED CONCRETE

A6.0.0 2

12'-5 1/4"

12'-5"

R_102 SALES MGR A: 150.25 sq ft LT GREY CARPET

12'-5"

R_103 ACCTG OFFICE A: 144 sq ft LT GREY CARPET

10'-11 3/8"

(E) RD

(E) CLEANOUT

A A2.0

PROVIDE SIGN READING "THIS DOOR TO REMAIN UNLOCKED WHILE THE BUILDING IS OCCUPIED" 1008.1.9.3 (2013 CBC)

7'-8 1/8"

1'-6" 2'

11'-11 1/8"

(E) RD

A 14

15 ELIASON EHH-3 STAINLESS STELL DOOR

18'-3 3/4" R_116 CONDITIONED WAREHOUSE A: 3,188 sq ft FINISHED CONCRETE

140'-10 5/8"

14'-8 1/8"

5 1/4"

24'-7 1/4"

68'-3 1/4"

R_114 UNCONDITIONED WAREHOUSE A: 3,004 sq ft CONCRETE

2 1/2"

12'-7 1/2"

10'-5 7/8" 1'-11 1/4" 5' 18'-3 3/4" 31'-11 1/2"

FE 5 1/4"

60" X 56" CLEAR

12'-3 7/8"

5 1/4"

11'-11 5/8"

2'-2"

6'-8 3/4"

7'-10 3/8"

17'-9 1/2"

5 1/4"

14'-7 1/8"

5 1/4"

A A2.0

42'-4 7/8"

4'-11 1/2"

1'-5 1/4"

45'-8 7/8"

5 1/4" 1'-5 3/4"

4'-1 1/8"

30" X 48" CLEAR

60" X 56" CLEAR

7'-11 1/2"

5 1/4"

8'-2 1/2"

3 7/8"

35'-9" 31'-11 1/2"

Above | Floor plan, construction document

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30" X 48" CLEAR

16" A.F.F.

4'-4 5/8"

CL 3

16" A.F.F.

EXISTING HT.

44" A.F.F.

3'-1 7/8"

3 CL

1'-2 5/8" 3

CLG. SLOPES UP

16" A.F.F.

44" A.F.F.

EQ.

44" A.F.F.

EQ.

TERMINATION AREA

EQ.

3'-5 3/8"

R_110 PRESIDENT OFFICE A: 194.5 sq ft CH: 120.00"

8'-8 1/8"

C.H.:96.00"

8'-8 1/8"

42" A.F.F.

60" A.F.F.

8'-8 1/8"

6'-6 7/8"

F-3.10 F-3.09

8'-8 1/8" 15'-7 1/4"

FLOOR MOUNTED OUTLETS AND DATA

C.H.:132.00"

CLG. SLOPES UP

R_109 TESTING SHOWCASE A: 290.25 sq ft CH: 96.00"

EQ.

C.H.:96.00" C.H.:120.00"

EQ.

F-3.13

4'-10 3/4"

42" A.F.F.

16" A.F.F.

3'-9 5/8"

3'-11"

EQ.

C.H.:96.00"

CLG. SLOPES UP

F-3.16

EQ. 5 1/4"

F-3.12 F-3.11

EXISTING HT.

16" A.F.F.

6'-8 3/8"

16" A.F.F.

44" A.F.F.

F-3.08

42" A.F.F.

16" A.F.F.

GFCI 42" A.F.F.

EQ.

44" A.F.F.

F-3.04

F-3.05 (VERTICAL)

EQ.

42" A.F.F.

F-3.06

F-3.02 (VERTICAL)

EXISTING HT.

C.H.:96.00"

EQ.

R_105 HALLWAY A: 277.25 sq ft EXISTING HT.

R_102 SALES MGR A: 146.25 sq ft CH: 108.00"

44" A.F.F.

16" A.F.F.

CAT 6 IN CEILING ACCESS POINT FOR WIFI

GFCI 42" A.F.F.

F-4.01

F-3.07 (VERTICAL)

44" A.F.F.

R_104 JANITORIAL A: 21 sq ft EXISTING HT.

F-3.01

BCL

F-3.03

R_100 RECEPTION A: 314.5 sq ft CH: 192.00"

F-1.03

EQ.

EXISTING HT.

F-1.04

16" A.F.F.

R_101 SALES OFFICE A: 311 sq ft EXISTING HT.

16" A.F.F.

5 1/4"

C.H.:96.00"

R_111 IT/MECH ROOM A: 129.25 sq ft CH: 120.00"

EQ.

F-1.11

EQ.

F-1.10

44" A.F.F.

EQ.

16" A.F.F.

17'-11 1/8"

CAT 6 1/MC

VERTICAL SKYLIGHT

(E) SKYLIGHT (TEMPERED)

8'-9 1/4"

16" A.F.F.

EQ.

44" A.F.F.

EQ.

44" A.F.F.

EQ.

1 3/4"

EQ.

16" A.F.F.

F-1.19

R_112 POST PROCESSING A: 146 sq ft CH: 120.00"

4'-4 5/8" (E) SKYLIGHT TO BE BLOCKED

(E) SKYLIGHT ABOVE CLG. (TEMPERED)

C.H.:120.00"

CLG. OPENING TO LIGHT WELL @ 10'-0" A.F.F.

EQ. 4'-4 5/8"

EQ.

44" A.F.F.

R_108 KITCHEN A: 230 sq ft CH: 96.00"

R_107 WOMEN'S RR A: 70.25 sq ft CH: 96.00"

44" A.F.F.

EQ.

16" A.F.F.

EQ.

CAT 6 1/MC

GFCI 42" A.F.F.

R_117 SECURE SHELF STORAGE A: 112 sq ft EXISTING HT.

R_106 MEN'S RR A: 77.25 sq ft CH: 96.00"

16" A.F.F.

C.H.:120.00"

EQ.

20'-8 1/4"

57'-1 5/8" EQ.

CAT 6 1/MC

F-1.20

R_113 POST PROCESSING A: 297 sq ft CH: 120.00"

(E) SKYLIGHT ABOVE CLG. (TEMPERED)

CLG. OPENING TO LIGHT WELL @ 10'-0" A.F.F.

EQ. 4'-4 5/8"

CAT 6 1/MC

16" A.F.F. H

44" A.F.F.

S CL

4'-4 5/8"

(E) SKYLIGHT TO BE BLOCKED

EQ. 1'-1 7/8"

EQ.

CAT 6 1/MC

4'-4"

CL T

EQ.

8'-11 1/4"

S S

44" A.F.F.

42" A.F.F.

EQ.

42" A.F.F.

42" A.F.F. 42" A.F.F.

EQ.

COMPRESSED AIR LINE

CAT 6 1/MC

R_116 CONDITIONED MFG FLR A: 3,188.25 sq ft EXISTING HT.

EQ.

F- 2.02

R_115 SERVICE TESTING A: 215.75 sq ft CH: 120.00"

4'-4" CAT 6 IN CEILING ACCESS POINT

DATA LINE POWER LINE

EQ. EQ. (E) SKYLIGHT (TEMPERED)

16" A.F.F.

R_103 ACCTG OFFICE A: 144 sq ft CH: 108.00"

F-1.05

F-1.06

16" A.F.F.

F- 2.01

F- 2.04

44" A.F.F.

F-1.01

F-1.02

FE 16" A.F.F.

(E) RD

Above | Reflected ceiling plan, construction document

16" A.F.F.

(E) SKYLIGHT (TEMPERED)

R_114 UNCONDITIONED WAREHOUSE A: 3,004 sq ft CH: 192.00"

(E) SKYLIGHT (TEMPERED)

COMPRESSED AIR LINE DATA LINE POWER LINE

EQ.

10 5/8"

EQ.

F-1.09

F-1.08

F-1.07

9'-4 1/2"

6'-8 3/4"

7'-7 1/4"

EQ.

C.H.:96.00"

EQ.

13'-1"

EQ.

F-1.17

EQ.

17'-9 1/2"

60" A.F.F.

F-1.18

44" A.F.F.

3'-4 3/8"

7'-3 1/2"

3'-11 1/4"

44" A.F.F.

F-1.13

F-1.12

EQ.

4'-6 1/2"

3'-9 1/8"

7'-3 1/8"

4'-8"

F-1.16

F-1.14

F-1.15

F-1.51

EQ.

F-1.35 F-1.34 F-1.36 F-1.37

EQ. EQ.

F-1.21 F-1.33 F-1.32 F-1.38 F-1.39

F-1.50 16" A.F.F.

S 7'-2 5/8" 6' 5'-1 1/8"

F-1.31 F-1.30 F-1.40 F-1.41

5'-6" CL

7'-3 3/4" CL

5'-6"

F-1.22 F-1.29 F-1.28 F-1.42 F-1.43

3'-6" CL

11'-3 3/4" CL

3'-6"

6" 17'-3 3/4" 6"

7'-2 5/8" 6' 5'-1 1/8"

F-1.23 F-1.27 F-1.26 F-1.44 F-1.45

60" A.F.F.

EQ.

F-1.46 F-1.47

F-3.15

EQ.

F- 2.03

F- 2.06

EQ.

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F- 2.05

EQ.

COMPRESSED AIR LINE

EQ.

DATA LINE

31'-11 1/2"

F-1.25 F-1.24 F-1.48 F-1.49

CL CL

60" A.F.F.

POWER LINE

EQ.

5' 5'-6" 3'-6" 2' 7'-3 3/4" 7'-3 3/4" 2' 5'-6" 3'-6"

CL CL CL CL CL

CL CL CL

EQ. EQ.

CL CL CL

14'-11" 18'-11 1/4" 18'-11 1/4" 14'-11"

240 V

44" A.F.F.

42" A.F.F.

16" A.F.F.

pri | adura led

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pri | adura led

RETINA MACULA INSTITUTE 4 Eye Clinic 2016 | Professional, domæn Ltd. 6,000 SF Interior Remodel, Unbuilt Los Angeles, CA Abstract. This interior remodel for the Retina Macula Institute utilizes color coding throughout as programmatic orientation. Where appropriate, the receptions are designed as a continuum of millwork, as the furniture extends to wrap the ceiling for a coherent reading. This allows for spatial articulation with customized built-in desks, seating and lighting on a superficial level without intervening the built structure.

Epe nimo voluptam et ratibea rissit oditiam facepud antibus tisque necto expel mod ex expedit quaestias nam ipis mo

Epe nimo voluptam et ratibea rissit oditiam facepud antibus tisque necto expel mod ex expedit quaestias nam ipis mo Contributions Schematic Design: Receptions 02, 03 Design Development: 3D Model Construction Documents: Interior Elevations Specifications Renderings Post-Production For Public Relations

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Left | Exploded axonometrics of the cabinetry and ceiling millwork of receptions 01, 02 & 03, respectively Previous Page | Rendering of reception 02

retina macula institute 4

OBSESS ITERATIO THE BUI SCALE

SIVE ONS: AT ILDING

RISING INFINITELY Analysing 432 Park Ave 2018 | Academic, GSAPP Prof. Andrés Jaque Metropolis Abstract. Viñoly’s residential tower on 432 Park Ave, coined “The Finger”, sits proud amidst a cluster of skyscrapers as the world’s tallest residential building. It rises to infinitude in a potentially endless series of constituent parts assembled around a central core. An obsession with the square rationalizes the part to whole relationships extended by a coherent square grid ultimately serialized as the ever-expanding generic urban grid. Through this extension of the grid, it suggests a conceptual height beyond that of being New York’s tallest tower. This reading of the displaced, infinitely tall tower is precisely what physically embodies and further reveals its exteriority. The highest status and exclusivity of the tower’s both material and political nature is understood as it rises exponentially in height and cost. Yet, contrary to public criticism, this simultaneous infinitum is hinted most subtly, and the controversial tower declares its presence most elegantly.

The residential tower on 432 Park Ave subtly ascends above its current status as New York’s tallest skyscraper1 to the infinite. Rising in a potentially endless series of constituent parts assembled around a central core, the tower is extended by a coherent square grid. Viñoly’s interpretation of the ever-expanding urban grid translated onto the facade hints at its dissonant situation exclusively for the upper class. This system composed through the repetition of identical parts extending vertically suggests a logic of infinite height and discretely renders its unattainable financial status - a clever simulation of the slender tower casually rising above New York’s skyline for the highest elite. Even in infinitude, the controversial tower sits proud yet elegant amidst it’s tall neighbors, as its true sense of height - that of the tallest residential building in the western hemisphere2 - dissipates from the humble view on street level. Here, the relative heights of the clustered skyscrapers become ambiguous (fig. 1). The slender 15:1 height proportion,3 and the reflective glass simulating a degree of transparency both seemingly further relieve the structure of its silently soaring prominence. Yet, coined as “The Finger”, 432 Park Ave is typically portrayed through aerial imagery that eliminates the perspectival distortion of its condition, thus exposing the “extreme relative height and dissonance with local context”.4 This portrayal achieves a grandeur that captures its highly criticized purpose being for the elite 0.001%.5 The tower is composed of seven parts stacked on top of each other with physical breaks in between, seemingly interrupting its stature while layering an exclusivity with each break nearing the top. The base contains luxurious amenities for the residents, and above are stacked the other six volumes containing 104 residential units topped with full-floor penthouse suites.6 The two-level breaks of exterior space between the seven volumes retain the geometries of the facade composed of a consistent square grid, where merely the absence of windows is what allows their prominent reading, and the central circulation core is exposed. Through such glimpses, the core playfully boasts its eminence while puncturing the tower with private elevators opening directly into the residence suites. A break in the diagram occurs at the base of the building. This irregularity of the base volume [being a half volume and ultimately a cube] translates from a change of program to a distinct difference in the part’s geometry.7 Here one may read the shift from the common space to the private residences above in the proportions of what Viñoly denotes as stacked “individual buildings” within the gridded shell.8 Only in the case of the first break separating the base, the windows are present but set in to simulate their absence. The remaining breaks curiously add

obsessive iterations: at the building scale

a weight to the building by casting shadows and exposing the depth of the concrete structure, while at night, these breaks are lit. Shadow gaps lined with inset black window frames separate the windows from the concrete, where the notion of the breaks gets carried through to the details of the building. In either case, the breaks are prominent in the accumulating separation of the elite. A compulsive repetition of the square throughout the various components of the tower rationalizes the part to whole relationships into a potentially infinite system. The entire structure celebrates the proportions of the square - the proportions of the seven parts, the 10’x10’ window grid within those parts, the square 100’x100’ plan with a centered square core, and even the checkered plan of the adjacent public plaza reminiscent of the facade grid.9 Of the seven parts, only the base retains a 1:1 square elevation of 6x6 windows, while the other six have a 1:2 proportion of 6x12 windows. This obsession with the square is rooted in the rationale of Palladian geometry as translated in the logics of the building.10 The systemization of cubic forms bound by the square grid praises the classical dictates of reason and harmony through pure geometry of mathematical proportions. This entirely harmonious structure then, with its extreme [and conceptually infinite] height, subtly presents itself in dissonance with its surroundings. The light grey concrete grid that serves as the structural shell of the building frames the square windows, which simulate both a false transparency and false seriality through their reflective and repetitive nature. The featured windows form a modest conception in their reflections of the sky as the building forfeits its presence to the surroundings. This false transparency is countered from a different [nightly] view, where the windows frame the irregular patterns of the various interior conditions of the units. The false seriality of seemingly identical units composing the wholes is read in the division of the surface into sets of uniform square windows. This extends itself to the tower’s continuum, where various articulations of subdivisions of the square plan present a multitude of unit types, sizes and configurations, including the full-floor penthouses nearing the top.11 As though living above every other person in Manhattan in such spacious suites is not enough, units have been further reconfigured through combinations into “megapenthouses”,12 though this is not revealed in the unified exterior grid. While a single penthouse has sold for as high as $95 million, the reading of a serial extension to infinity further amplifies the notion of cost beyond that which already only pertains to the select few,13 and thus imperceptibly rises to an infinite opulence.

The public plaza adjacent to the tower almost seems as a failed attempt at integrating the inhabitants with the general public in being completely segregated from the heavily guarded main entrance [with hedges and a portable gate that seem to have been an after thought]. The side doors directly linking the plaza to the lobby remain locked and with closed curtains, where the sheer silver curtains provide only hazy glimpses of the lobby’s royal interior. The absence of a plinth further speculates a welcoming integration with the city with no separation, where the minimal divide between the open driveway before the lobby’s main entrance and the sidewalk is merely lined by a marble half wall. However, visitors are forbidden by the guards from entering the building or even setting foot on the otherwise seemingly accessible driveway. This falsely integrated and public situation of the tower simply reinforces the tower’s inaccessibility to the public rather than not. In relation to the surrounding city, Viñoly addresses the tower’s grid as a continuation of the Manhattan grid,14 yet the Manhattan grid is not comprised of the square. The use of the square instead denotes the ever-expanding urban grid, which displaces the tower from its specific site and places it in a generic urban context. In such case, the logic of the building may be understood through the interpretation of any urban grid, and thus, the tower becomes autonomous. This Miesan approach of situating within a generic metropolis as per Hilberseimer’s “ruthless reduction of the city to the logic of urbanization”, as does the Seagram Building [though it does not claim its facade to be an urban grid],15 is evident in Viñoly’s work. His consistent use of the grid throughout numerous projects inside and outside of Manhattan generalizes the grid to that of a generic urban grid, despite his explicit reference to the “Manhattan” grid in 432 Park Ave. The Mathematical Institute building in Oxford, England marks a concise grid of square windows throughout the entirety of the building, and the Atlas Building of Wageningen University in the Netherlands features a 45 degree rotated square grid facade. The residential tower One Grant Park in Chicago celebrates the square plan and, although not further composed of a square geometry, the clearly defined grid facade.16 While Mies makes use of a plinth throughout his projects as a means of confronting, and therefore situating within the context of the site to a finite location, Viñoly’s application of the generic urban grid throughout these various sites may be better understood through Cerdà’s concept of urbanization. This urban condition as decentralized, boundless and, therefore, potentially infinite manifests the tower as an autonomous architectural object displaced by the ever-expanding and generic urban city.17 Viñoly’s repetitious use of the square as a representation of the urban grid in and of itself

totalizes the architecture of the building into the displaced and infinite. Through this extension of the square grid, it suggests a conceptually infinite height beyond that of being New York’s tallest tower. The sequence of parts arranged within the structural grid in 432 Park Ave praises the seriality of the diagram into a potentially endless stacking and accumulating divide of the elite residents. This essence of height and preeminence suggested in the tectonics of the building is precisely what physically embodies its political implications that gained 432 Park Ave its nickname “The Finger”.18 The highest status and exclusivity of the tower’s both material and political nature is understood, as it rises exponentially in height and cost. Yet, contrary to public criticism, this simultaneous infinitum is hinted most subtly, and the controversial tower declares its presence most elegantly.

References 1. *1,396 ft. tall. 1,2. “Immediate Occupancy.” 432 Park Ave. 2016. Accessed June 05, 2018. https://www.432parkavenue.com/. 3,6,8,9,14,16. ”Works Archive.” Rafael Viñoly Architects. Accessed June 20, 2018. https://www.vinoly.com/works/. 4,18. Moore, Jacob R. “432 Park Avenue: Pointing Fingers.” The Avery Review. Accessed June 05, 2018. http://averyreview. com/issues/4/park-avenue. 5. Owen, Paul. “New York’s skyline: soon the super-rich will literally cast a shadow over ordinary New Yorkers.” The Guardian. May 12, 2015. Accessed June 05, 2018. https:// www.theguardian.com/global/2015/may/12/bite-of-the-applenew-york-skyline-432-park-avenue-nordstrom-tower 7. Eisenman, Peter. “Interiority: Grids” In Diagram Diaries. New York: Thames and Hudson, 2001. 10. McKnight, Jenna. “Photos Reveal Impact of Viñoly’s Supertall Skyscraper in NYC.” Dezeen. July 04, 2016. Accessed June 20, 2018. https://www.dezeen.com/2016/01/15/raphael-vinoly432-park-avenue-super-tall-skyscraper-new-york-instagram-photos/. 11. “Floor Plans for 432 Park Avenue.” StreetEasy. Accessed July 14, 2018. https://streeteasy.com/building/432-parkavenue-new_york/floorplans. 12. Plitt, Amy. “At 432 Park Avenue, Three Penthouses Sell as a Huge $91M Combo Unit.” Curbed. December 19, 2017. Accessed July 14, 2018. https://ny.curbed. com/2017/12/8/16750924/midtown-nyc-432-park-avenuepenthouse-sold. 13. Brown, Joshua. “Meet the House That Inequality Built: 432 Park Avenue.” Fortune. November 24, 2014. Accessed June 05, 2018. http://fortune.com/2014/11/24/432-park-avenueinequality-wealth/. 15,17. Aureli, Pier Vittorio. “Toward the Archipelago” In The Possibility of an Absolute Architecture. Cambridge: MIT Press, 2011. Fig. 1. Rihaly, Jason. “432 Park.” Instagram, December 30, 2015. Accessed July 14, 2018. https://www.instagram. com/p/_7Z_q9TTAx/?utm_source=ig_embed.

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Fig. 1 | Street level view of 432 Park Ave. Here, its true sense of height dissipates, and the relative heights of the clustered skyscrapers become ambiguous.

rising infinitely

SERIAL DISSONANCE Reconfiguring Automotive Battery Recycling Processes 2016 | Academic, CPP | Prof. Axel Schmitzberger Undergraduate Senior Project 50,000 SF Battery Recycling Facility Vernon, CA Abstract. The single component impeding the widespread adoption of electric and hybrid vehicles is the development of a practical, efficient, and clean automotive battery with high rate performance. As battery manufacturers are developing new designs to meet the high standards of the user, recycling technologies must also accommodate these changes. Disassembly becomes more complex and less standard, parts become smaller and more, and variations in material use increase, all of which requires new technologies for recyclers in order to keep up. Thus far, rather than updating existing facilities, automotive battery recyclers resort to erecting new facilities with the appropriate technologies for each battery type. Recent advancements in recycling technologies have been made towards specific material separation and hydrometallurgical recycling processes which make possible to both automate and integrate the recycling processes, while also significantly lowering hazards and emissions. Situated in the exclusively industrial city of Vernon, this project is a proposal for a collective automated automotive battery recycling facility. It is an investigation into a serial architecture of disharmonies and endless iterations, and samples lead-acid, lithiumion, and nickel metal-hydride automotive batteries to serve as a prototypal solution for the recycling of the ever-evolving automotive battery.

Published in CPP UGSP, 2016

Fig. 1 | Cataloging battery typologies

Battery Types. Automotive batteries are today’s most recycled product and return nearly full preciousmaterial makeup. Yet with such a broad understanding of the term ‘battery’, how do we design for their final destination, and how do we define battery types and further categorize them (fig. 1)? The literal conception implies a seriality attained by a set of units typically exerting a form of power through impact. In the case of the battery as energy storage, despite established categorical principles, automotive batteries may ultimately end up in the same terminus, even with other ‘types’ of batteries. The Series. In an attempt to harbor the progression of the divergent mechanical processes embodied in a collective and automated automotive battery recycling facility, an architectural response to the sequential differences is formalized through an understanding of the battery as a generator of potential serial and parallel configurations tailored to specific outcomes. The architectural process indulges in a potentially endless series of iterations drawn upon what R.E. Somol introduces as the second form of repetition, which “sets in motion the divergent series and exists as a continual process of differentiating.” Rather than capturing “a static moment of being” as the first form of repetition, the second “advances through modes of becoming.” The study of a series as an accumulation of possibilities for generating new configurations rather than a progression towards an ultimate final condition (fig. 2)allows for certain disharmonies within an architecture that deals with the incongruencies of the space between.

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Fig. 2 | Concept diagram illustrating potential configurations in investigation of seriality through a 3D abstraction of the processes [see next page]

serial dissonance

highly toxic regulated sustances existing automotive battery recycling potential battery waste potential clients 0’ 500’

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Proposed Lead-Acid, Lithium-Ion and Nickel-Metal Hydride Collective Automotive Battery Recycling Process

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unrecovered sulfuric acid effluent treatment to greywater

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spent sulfuric acid filtered

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sulfuric acid reclaimation

METAL CONTAMINENTS

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lead-detecting separator for lead-acid batteries

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x-ray separating of different metals and alloys with new technology (titech x-tract)

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FERROUS ALLOYS steel, Ni-plated steel

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RARE EARTHS MH (AB₅)

LiPF₆, LiMn₂O₄, LiFePO₄ LiNiMnCoO₂

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MATERIAL OUTPUT metals: lead, steel, nickel, copper, aluminum, lithium, cobalt, rare earth metals plastics: polypropylene, polyethylene, polyvinyl chloride acids: sulfuric acid notes: discharging and acid leaching uses (and reuses) sulfuric acid, spent acid is redirected to ion exchange treatment dissolution solvents and extraction fluids directed to effluent treatment remaining metals from Li alloys left as metallic composition impurities from filtration directed to waste

Re-Imagining The Process. After a detailed study of existing processes, hydrometallurgy (chemical metal separation) has proven to be significantly more environmentally friendly than pyrometallurgy (physical metal separation through smelting) as it produces zero emissions. Automating the entire recycling process further reduces hazardous exposure to workers, whereas many existing battery recycling facilities world-wide operate with manual battery disassembly, which exposes workers to toxic substances and can be avoided by automated crushing techniques. Despite slight variations in the chemical make-up of various

targeting Li

RARE EARTHS ALLOY

targeting Co

batteries, certain measures may be taken to integrate the processes and establish a collective recycling system. This projects looks specifically at lead-acid batteries (for fuel vehicles), lithium-ion batteries (for electric vehicles) and nickel-metal hydride batteries (for hybrid vehicles) to sample a broader variety of battery “types”, however would serve as a prototype applicable to the collective recycling of all batteries. Above | Linear layout of the proposed process Fig. 3, Left | Site movement governing the massing dynamics serial dissonance

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Walkways & Catwalks

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Disharmony. The series of particular formal arrangements of the accumulated oscillating platforms constitutes a fraction of a possibly infinite chain of energetic reactions against the static verticals (fig. 3). The configurations of the conveyor belts, pipes and alike then further this process while attempting to retain a certain harmony with the platforms and their mechanical processes (fig. 5). The superimposition of these various floors embraces the emergence of differences within and without, highlighting the voids in plan that encompass the movement of parts to and from the different phases of the recycling process. This disharmony is then analyzed in section via ramifying platforms, which create pockets of void space intruding on the automated recycling processes to engulf the workers’ spaces. These configurations of possibilities invoke a layer of bridging and circumstantial continuity and discontinuity within the series. The instilled anxiety of serial dissonance may then translate into the chaos

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of a disharmonious industrial architecture housing an organized yet ever-evolving automated system - that is of organized complexity employed by a series of potential differences (fig. 4). “Now the space between is not part of classical unity, wholeness, completeness; it is another typology. It is not a typology of sameness or wholeness; it’s a typology of differences. It is a typology which transgresses wholeness and contaminates it. If you say A/B A/B, that is an alternation of wholes outside of the classical canon, which tries to take A and B and bring them into symmetry -- as in B/A/B/A/B... What is interesting about serial structures is the spaces between, not the elements themselves, but the differences between the two.” (Eisenman) Fig. 4, Above | Program diagram as a series of iterations designed for particular misalignments upon their superimposition Fig. 5, Right | Visualizations of the conveyor belt, which lifts the batteries to the beginning of the collective process, and the composition of the floor plates

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References Contrasting Concepts of Harmony in Architecture: The 1982 Debate [Peter Eisenman,Christopher Alexander] Diagram Diaries [Peter Eisenman, Robert E. Somol] Serialism in Art and Architecture: Context and Theory [Sandra Louise Kaji-O’Grady] Aesthetics of Total Serialism: Contemporary Research from Music to Architecture [Markus Bandur] Atlas of Novel Tectonics [Jesse Reiser, Nanako Umemoto] The Manhattan Transcripts [Bernard Tschumi] European Li-ion Battery: Advanced Manufacturing for Electric Vehicles [Elibama]

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Technical Guidelines for the Environmentally Sound Management of Waste Lead-acid Batteries [Basel Convention, UNEP] Metal Extraction Processes for Electronic Waste and Existing Industrial Routes [Abdul Khaliq, Muhammad Akbar Rhamdhani] The Future of Automotive Lithium-ion Battery Recycling: Charting a Sustainable Course [Linda Gaines] Remanufacturing, Repurposing, and Recycling of Post-VehicleApplication Lithium-Ion Batteries [Charles R. Standridge, Lindsay Corneal] How to Recycle Batteries [batteryuniversity.com]

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DANCING STRUCTURES Wine + (Precast) Design 2015 | Academic, CPP | Prof. Robert Alexander With Necils Lopez, Isa Mattia 32,800 SF Winery Pomona, CA

Published in CPP ARC: Best Students’ Work, 2015

Abstract. The proposed winery re-examines the classical implementation of Euclidean geometry in architecture through the inclusion of variations that accordingly reconstruct the geometries of the entire structural system. In an analysis of the possibilities of precast rib structures, the outcomes are controlled through variations in height, width, line of symmetry, and/or point of origin in the main concrete rib structure - the public walkway. The facade furthers this process in managing the levels of opacity through the scaling and densifying of patterns (fig. 1). These variations are configured to accommodate the gradation of public occupancy levels throughout the main walkway (fig. 4). The public areas, such as the cafe / tasting room, are welcomed by tall, wide, sinuous and open spaces into which the seating spills over, and the walkway gradually becomes small, narrow, straight and opaque towards the less public areas, such as production. The main walkway is punctured by paths bridging through the project and extending out to the exterior spaces, providing access to and from the winery, parking lot, and vineyards. The paths extending out to the vineyards form exterior pools collecting rainwater and excess water from the winemaking process that is redirected to the vineyards. These pools are carefully positioned to reflect fragments of the project’s eclectic exterior. Rib Systems. The two rib structures - the main walkway and the back vault - are each constructed of two precast rib types, the major [transverse] and minor [diagonal] ribs (fig. 2). Both rib types comply with a fixed radius to satisfy a half-circle mold within which the arc length is adjusted with stops. The variations in height and width are thus attained through the extension and shortening of the precast rib arc length, where the height and width are proportional. Furthermore, the transverse ribs are determined to sit perpendicular to the floor with a central line of symmetry in each set, but are shifted in relation to one another, while the diagonal ribs offer various arc lengths in each set in the process of bridging over the scaled and shifted transverse ribs. While the main walkway is formulated through such variations, the back vault remains constant at a fixed height and width (fig. 3).

Fig. 1 | Facade geometries studies sampling the evolution of the modular compositions through shifting and scaling as necessary

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Rendering of main walkway by Necils Lopez dancing structures

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Collective Systems. When a certain variable is introduced in a set of systems each dependent on the previous, that variable is carried throughout and highlighted in a coherent reading of the resulting structure. The roof system connects the two rib structures, spanning from the irregular main walkway to the constant back vault. Thus, the roof variations are produced as a result of the irregularities in the precast rib system, achieving a wavy roof composed of straight beams (fig. 6). The irregularities carried throughout the collective system of structures simulate a dancing elevation (fig. 4). The interior is further articulated through a layering of ceiling systems (fig. 5). Vertical ceiling panels are introduced as a continuation of the roof beams in the process of vaulting between the two rib structures, and the back vault, which serves as a walkway and wine collection, is partially enclosed through

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webbing for a cool, wine cellar feel. Finally, the roof is punctured with cylindrical conference rooms around which the ceiling panels fall, reminiscent of the funicular funnel vault, creating well lit yet private enclosures.

Fig. 2, Above | Diagram of the transverse and diagonal precast rib systems Fig. 3, Right Above | Axonometric drawings of the two rib structures (the back vault and the main walkway) and the main walkway components, exploded Fig. 4, Right | Visualizations of width, opacity and height variations, respectively, of the main walkway in regard to public occupancy, and the movement of the transverse ribs in elevation resulting from the rib system

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0’ 300’

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900’

Fig. 5 | Exploded axonometric drawing of the roof and ceiling systems: roof cover, roof structure, ceiling panels, back vault Left | Rendering of back vault by Necils Lopez dancing structures

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office lounge

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Rib System rule 01: radius = 24 ft rule 02: base perpendicular to floor rule 03: back vault at fixed height

Section A

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Fig. 6, Left | Diagram of the roof variations as a result of the precast rib system

Main walkway and facade design Design development [Karina Spassova, Necils Lopez] All content presented is by Karina Spassova unless otherwise noted

Contributions Group management and design integration Site planning and program layout [Karina Spassova, Necils Lopez, Isa Mattia] Concept development [Karina Spassova, Necils Lopez] Precast rib systems and roof system design

References The World Atlas of Wine [Hugh Johnson] Geometry Concepts in Architectural Design [Cornelie Leopold] Technology and Geometry in the Design of Gothic Vaults in Britain [Dimitris Theodossopoulos] Funicular Funnel Shells [Matthias Rippmann, Philippe Block]

Above | Rendering by Necils Lopez

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ENVELOPES AS (DIS)HONEST EXPRESSION Honesty and Ornamentation in High Tech Architecture 2019 | Academic, GSAPP Prof. Bernard Tschumi Architecture: The Contemporary Abstract. I question the importance of the honesty of expression in architecture through an analysis of the High Tech envelope of the Sainsbury Center for Visual Arts by Foster + Partners. The enclosure is highly sophisticated in both its aesthetic and its function. It is neither fully efficient, because no building ever truly is, nor is it purely about the aesthetic of maximum efficiencies - it lies somewhere in between. It is therefore both decorated and not. It is not completely honest, yet very successful in its slight dishonesties. There seems to be an honesty of expression, but the aesthetics are prioritized, and the functional parts in turn become decorative. The High Tech style proves the contemporary condition where function and ornament have fused, and the functional becomes the ornament. The superficial quality thus becomes justified - it is an ideological justification that subverts the honesty of expression.

The strive for a mass-produced appearance is seen religiously throughout the High Tech style. It is not a question of achieving the mass production of parts with maximum efficiency, it is a symbolic projection of the industrial processes and high technology of the era within which architecture is trying to fit. There seems to be an honesty of expression, but the aesthetics are prioritized, and the functional parts in turn become decorative. After all, if buildings were merely designed for maximum efficiency, the role of the architect would dissipate. “But this is architecture, not engineering,”1 thus it is important to understand the High Tech as an architectural style rather than literal implication.2 This aesthetic drove the design of the ornamented John Lewis Department Store’s facade appearing to be a composition of only four panel types. The oriental facade is comprised of a double-skinned system of printed glass panels designed as an arrangement of four patterns in various combinations to produce a seamless, mass-produced affect. However, due to three-dimensional [and other] manipulations of the initial diagram, the nearly 3,000 printed panels were actually all different in size, pattern and transparencies. While the oriental decor from 18th century archives is meant to respond to the multicultural urban environment within which the building is situated, the patterned panels are also symbolic of our technological era.3 It is precisely through the insistent use of only four patterns [despite the reality of manufactured differences] that it claims its image of the High Tech style.4 It is an ideological justification, and what is mass customization is masked as mass production.5 The Sainsbury Center for Visual Arts masters the High Tech aesthetic. Foster + Partners here, unlike FOA, make use of truly prefabricated elements in the creation of the envelope. Being an early exploration into lightweight flexible enclosures, the shell is composed of a modular, prefabricated truss system encased in operable aluminum and glass paneling serving the interior spaces. These aluminum panels also marked the first use in the building industry of vacuum-formed superplastic aluminum.6 Despite the authentic representation of the High Tech, these functional parts are also essential to the designed aesthetic. Semiotics and ornament are inseparable from the functional components of the building, and the prefabricated parts consequently become decorative. With technological advancements came the ability to design structure and building parts. And while ornament has historically been understood as an additive application, Gottfried Semper dissociates this as “ornament… takes different forms from one society and one era to another.”7 In this case, it is the functional ornament of a mass-produced aesthetic -

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the contemporary condition where function and ornament become one.8 Therefore, if the Sainsbury Center makes use of the generic shed typology and, although does not signify its program, is symbolic to our era of technology and mass production through the envelope’s design, then [even stripped down to its mere functional parts] it is simultaneously true to what it is and also a decorated shed. If ornament is understood as the superficial element covering an underlying structure, then the controlled visual surface inherently becomes ornamental.9 Even the vents embedded along the repetitive, gridded facade are ornamental constituents of the building’s image (fig. 1). It possesses an intentional aesthetic of what it stands for. Every design decision becomes decorative, despite its functionality. Although the Sainsbury Center possesses a truth in its expression of prefabrication, unlike most High Tech architecture, much of the structure is hidden. There is a relentless desire across High Tech architecture for exposing every single pipe and structural element of a building, regardless of the fact that this exposure is problematic more-so than not. The guts of the building once concealed by ornamentation now become the ornament. The Pompidou Center takes this to the extreme, as it introduces pipes that serve no purpose. This is characteristic of the High Tech Style, yet Foster + Partners take a different approach. While the truss structure of the Sainsbury Center is exposed at either end, the remaining structural and service elements occur within the double-layer shell spanning the building, including toilets, ducts and pipes.10 Rather than being exposed, they are concealed. This masking might be understood as a breach in the honesty of the building’s composition, yet it simultaneously remains true to its efficiency precisely because of the protective covering.11 Thus, it presents a contradictory stance on this notion of honesty of expression amongst High Tech architecture. The shed typology of the building denotes the inherent flexibility that it allows. The concept of the temporal is immanent in its demountable quality. Amongst High Tech architecture, this is often executed through the exposure of pipes and structure, which offers different life expectancies of the original building and its additions when exposed to the elements, yet Foster + Partners extend this quality without exposing. The Sainsbury Center was intentionally designed to allow for subsequent extension at the glazed ends. However, when this expansion became necessary, Foster instead proposed a separate structure.12 The building was designed for the glazed ends to be demounted and the modular system of the envelope’s construction to be extended, although this was not realistically feasible. In this case, the idea of potential expansion prevailed over its practicality, and the authenticity of the intention is refuted, and it

remains an idealogical justification. The use of the shed typology further perplexes the building’s expression. While it makes use of what is typically the factory typology and therefore embodies notions of industrial production, it simultaneously strips the building of its programmatic identity. The shed then translates as the generic, mass-produced shell - the High Tech aesthetic - and defies typological correlations to program. It prevents itself from being rendered immediately readable in its function.13 The enclosure now conceals the building’s programmatic being, and the program no longer informs the form of the building, inducing a “confusion of genres.”14 Inversely, the form does not inform the program either. While the open plan of the shed typology is a concept that may be typical of the modern movement [which contemporary architecture has broken away from], it goes beyond this and begins to set the affect. The Sainsbury’s believed that “the study of art should be an informal, pleasurable experience, not bound by the traditional enclosure of object and viewer.”15 The gallery thus does not place an emphasis on the art in isolation, and is rather a single open space within a shell containing a number of related programs. Coincidentally, the Sainsbury’s touched on the subject of the boundary between the observer and the observed. Antoine Picon eliminates this boundary in the repetitive nature of the contemporary form of ornamentation [intrinsic to the mass-produced aesthetic, as opposed to the traditional individual form]. The continuum of patterns removes the formality of the praised singular object, and thus the distance between the observer and the observed is removed. It sets an affect by which “the observer is immersed in the environment” rather than being separated16 - an affect which the Sainsbury’s sought for their gallery spaces. While the operable envelope of the Sainsbury Center produces patterns of natural light scattered throughout the gallery spaces, this affect may be clearly read in the John Lewis Department Store facade. Back-lit in 256 colors, it possesses a somewhat confusing aspect, where depending on the viewing angle and distance, the two layered patterns present a confusing spectacle of color. The facade’s overlaying patterns and transparencies are claimed to frame precise views of both the interior and exterior to provide a simultaneous control of conditions.17 This relationship between interior and exterior, however, is broken by a corridor separating the facade from the building. This separation diminishes the purpose of the facade to an ideological one, functioning merely within this peripheral barrier. Farshid Moussavi justifies this as she attributes a building’s expression to a superficial condition towards the urban setting independent from the building’s interior.18 Nonetheless, the

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ornament is functional in its superficiality. It is neither purely ornamental nor purely functional, but an eloquent combination of both serving one another. It is decoration with justification. The envelope of the Sainsbury Center, however, is inseparable from the building’s interior. It is not only flexible in plan, but in its lighting affects. The tunable perforated aluminum louvres provide a highly flexible system for the control of natural and artificial light. The building truly becomes High Tech because of its low energy. The shell generates infinite combinations of glazed, solid or louvered aluminum panels to stage various interior lighting conditions.19 This quality of complexities and infinite configurations translates to the conceptual flexibility of High Tech architecture. While this poses a condition that allows the building to function regardless of the program, it produces an affect that cannot separate the envelope from its interior - the envelope informs the interior. It is precisely because of this flexibility that the operable shell allows for lighting that may be tuned to what is needed, and thus creates a very specific interior environment. The envelope is not only inseparable from the building - it is the building. The insertion of all supporting elements within the envelope translates into a solid and void relationship, the shell being the solid encompassing all structure and ancillary spaces, and the interior being the void. Thus, the envelope may be construed as the building itself. Unlike the cosmetic nature of the John Lewis Department Store facade, which may be stripped from the building, the envelope of the Sainsbury Center is fundamental. The semantics further reiterate the essential distinction of the envelope from a facade. The state of the envelope implies a certain honesty of the building’s exterior, as it is the entirety of the enclosure - a single entity. The paneling forms a coherent surface where the vertical and horizontal cease to exist, and the rounded corners are equally as important in rendering its cohesion. This eliminates the physical break between wall and roof, and the envelope becomes one whole. This then raises the question of the gutter, as this would create the technical separation.20 The gaskets of the aluminum paneling double as continuous gutters, tucked away within the envelope along with the remaining supporting components of the building.21 While this poses yet another concealment, the gaskets wrap the entire exterior, and there truly is no break. The envelope is honest in its unity and proves its state as the whole. The enclosure is highly sophisticated in both its aesthetic and its function. It is neither fully efficient, because no building ever truly is, nor is it purely about the aesthetic of maximum efficiencies - it

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lies somewhere in between. It is therefore both decorated and not. It is not completely honest, yet very successful in its slight dishonesties. So, how important is honesty of expression in architecture, really? Modernism brought upon this obsession with transparency, understanding it to make buildings more “sincere” or honest. It is a consequence of a history of concealing through additive ornamentation. Yet with the contemporary condition where function and ornament have fused, and the functional becomes the ornament, the superficial quality becomes justified. It is an ideological justification that subverts the honesty of expression.

Fig. 1 | Ventilation louver detail of the Sainsbury Center facade. These vents embedded along the sleek facade become an ornamental constituent of the controlled visual surface, despite their functionality. References 1. Colin Davies, “Introduction,” in High Tech Architecture, (New York, Rizzoli, 1988), 6. 2,11,13. Davies, High Tech Architecture, 6-21. 3,17. “John Lewis Department Store,” Seele, accessed May 8, 2019, https://seele.com/references/john-lewis-department-store/. 4. Farshid Moussavi, Preface, in The Function of Ornament, (Barcelona, Actar, 2006), 11. 5. Robert Levit, “Contemporary Ornament: Return of the Symbolic Repressed,” Harvard Design Magazine 28, (2008): 71-85. 6,19,21. Colin Davies, “Sainsbury Center for the Visual Arts,” in High Tech Architecture, (New York, Rizzoli, 1988), 58. 7. Antoine Picon, “Ornament and its Users: From the Vitruvian Tradition to the Digital Age,” in Gülru Necipoglu, Alina Payne (eds.), Histories of Ornament: From Local to Global, (Princeton, Princeton University Press, 2016), 13. 8,9,16. Picon, Histories of Ornament, 10-19. 10,15. “Sainsbury Centre for Visual Arts,” Foster + Partners, accessed May 8, 2019, https://www.fosterandpartners.com/ projects/sainsbury-centre-for-visual-arts/. 12. “Sainsbury Center for Visual Arts | Foster and Partners,” arch2o, accessed May 8, 2019, https://www.arch2o.com/ sainsbury-center-for-visual-arts-foster-partners/. 14. Bernard Tschumi, “Six Concepts,” in Architecture and Disjunction, (Cambridge, MIT Press, 1996), 5. *While this refers to crossprogramming, it may be similarly applied in the context of program vs. form. 18. Moussavi, The Function of Ornament, 6. 20. Bernard Tschumi, “Ideological and Ecological Envelopes,” (lecture, Columbia University, New York, NY, April 4, 2019). Baudrillard, Jean, Rosalind Krauss and Annette Michelson. “The Beaubourg-Effect: Implosion and Deterrence.” October 20, (1982): 3-13 Fig. 1. Dant, Michael. “Ventilation Louver Detail.” Flickr, October 24, 2011. Accessed July 12, 2019. https://www.flickr.com/ photos/faasdant/6320162636/in/photostream/.

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THE CORE Viale Belfiore Development: Housing Component 2014 | Academic, CSU Firenze | Prof. Achille Michelizzi With Michael Moss 30,000 SF Multi-Family Residential Florence, IT Abstract. Florence’s dense urban fabric entails the typical Italian typology - the tight condominium - almost necessarily adjoining a green courtyard hidden behind stone and stucco facades and offering enticing views to bypassers (fig. 4). The city is linked with nodal piazzas often featuring grand steps frequently enjoyed by locals, and, consequently, a coherent mix of public and private spaces is rendered. Situated across a high-speed train station, the proposed mixed-use development features a residential building [designed by Karina Spassova] and a hotel [designed by Michael Moss] planned for consolidation with the existing surroundings. A private green courtyard for the residents allows mere glimpses to the public, and a sunken public courtyard fringed with steps extends before the hotel. The two courtyards are separated by a major pedestrian artery lined with shops and offices reconnecting the existing street that was previously broken by the site. The public courtyard extends immediate access to and from the high-speed train station via a redesigned traffic circle on and below street level (fig. 5). The notion of the courtyard is further realized as a necessary core with controlled exposure, the concept around which the project’s individual buildings are designed. The Core. In an investigation of the modular condominium typology, tight and practical living spaces are organized in a system composed of two unit types, A [one story] and B [two story], interlocking around shared circulation cores (figs. 1 & 3). The modular system is designed possible for an indefinite vertical expansion in response to urban densification through the interchangeable stacking of the two units (fig. 2). The stacking configurations of units A and B composes a rhythm [of 1/3rd levels] in the sectional datums of the assembled product. Each unit type is further arranged around a central core - a light well that punctures the entire section flooding light into the otherwise dark center of the units. These central cores accommodate each unit’s internal circulation and service areas, which are also lit and ventilated through the light well. The major living spaces - the bedrooms and living room - are then pushed out to either end of the unit for maximum peripheral exposure. The roof of the upper level units is lifted opposite the living/kitchen space [seemingly pushed up by the light well in an emphasis of the core] to further capture indirect natural light. The hotel is similarly designed around a central circulation core with hotel rooms wrapping around the perimeter of the tower. Both buildings expose glimpses of the vertical movement occurring in their circulation cores.

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Fig. 1 | Diagrams of the project cores, public & private exterior spaces, and circulation within & between units, respectively Right | Rendering by Karina Spassova & Michael Moss

the core

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UNIT A

UNIT B

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CORE

L0 unit A, L1 unit B, L1 unit B, L2

Fig. 2, Above | Axonometric diagrams illustrating the stacking of units A & B and the circulation core between units Fig. 3, Above | Plan diagrams of the arrangement of units A & B

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0’ 100’

300’

Fig. 4, Above | Site plan and analysis of green spaces and courtyards in surrounding vicinity. Rendered by Karina Spassova & Michael Moss Fig. 5, Below | Site section through the public & private courtyards and the redesigned traffic circle leading to and from the high-speed train station

0’ 10’

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1. entry 2. bedroom 3. bathroom 4. storage 5. living /kitchen 6. patio 7. office / loft space

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Contributions Site analysis and planning [Karina Spassova, Michael Moss] Concept development Housing design All content presented is by Karina Spassova unless otherwise noted

L1 Unit A

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SIVE ONS: LATIONS

FORM FOLLOWS FOLDING Paper Installation | fINdings Art Center 2012 | Personal bobCAT Studio + CPP Architecture Dept. 350 SF Installation San Pedro, CA Abstract. The “Form Follows Folding” (FFF) installation was a collaboration between bobCAT Studio and a team of architecture students from Cal Poly Pomona examining temporary paper structures. The concept originated from an Origami Shelter studio design project, which analyzed shapes and techniques of folding to create a temporary paper environment that is 100% recyclable. The full-scale installation was created from the disused presentation posters of architecture students from Cal Poly Pomona. The Module. A single module of different scales was used throughout the entire installation (fig. 1), pieced together by the same module [flipped over] through a slit-and-fold technique (fig. 2). The resulting system provides a double sided skin that is further manipulated into its final form through an understanding of the formal logic of the module. The realization of a full-scale installation called for further necessary analysis. The structural qualities of paper vary with scale, as it becomes heavier and less rigid. With an understanding of the structural integrity and formal tendencies of the paper structure at various scales, the form was manipulated through the scaling of the modules (figs. 3 & 4) and reinforced with suspended wires.

Contributions Module system design upon which the installation is based Concept development [Group] Study models at various scales [Group] Installation fabrication [Group] All content presented is by Karina Spassova unless otherwise noted

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Fig. 1 | The paper module: “cootie catcher”

Photograph: Robert Alexander

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Mock-Up Scale size 9.5” 9” 8.5” 8” 7.5”

up/dn

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1’

Full Scale qty 3 77 344 732 10

size 28.5” 27” 25.5“ 24” 22.5”

up/dn

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qty 3 77 344 732 10

Slit one module’s leg

Flip another module and fold over the leg

Pull folded leg through slit leg

Push folded leg down

Above Left | Formal tendencies study of the paper module system Fig. 2, Right | Instruction manual for the module system Fig. 3, Left | Flattened map of the scaled modules. Graphic by others Fig. 4, Right | 3D concept diagram of the installation space

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Photograph: Robert Alexander

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Photograph: Catherine Bruce

THINGS Makergraph Excerpts 2018 | Academic, GSAPP | Prof. LOT-EK Book + Installation Manhattan, NY View Book

Selected for GSAPP Abstract Publication, 2019

Abstract. My makergraph is a catalogue of things – controlled, polished, finite things shapeshifting through their various states into the surreal. They are reinventions of the circle – the purest form of the finite, yet infinite within itself. They are closed systems – they do not grow nor contract, they transform. It is a controlled and precise transformation of the finite thing from one being to another. Color is the material. It removes the burden of understanding its material self, its construction, parts and function. It transforms material objects to an immaterial thing. It becomes what I present it to be. It is the flawless plastic self. No one knows, but no one wonders. It is complete, so it makes sense. No one questions it.

Epe nimo voluptam et ratibea rissit oditiam facepud antibus tisque necto expel mod ex expedit quaestias nam ipis mo

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things

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Collage. Plastic | Head | Temple Operational Object 01 A thing is a thing specific to itself and its purpose. So is an object still the same object if it mis-used? A thing without purpose becomes a trinket. A helmet supporting a thing becomes a stand. A funnel in front of my eye becomes a looking glass. A looking glass repositioned at the mouth becomes a megaphone. What happens when an object becomes occupied in ways different from the original intention - when it is extracted and collaged into a new being? And to what degree may it remain in control of its use? How does it become occupied and why? I made a collage of things, which transform through re-invention. As the object rotates, the funnels multiply to circle the head. A collage of the collage

is generated into a new invention. A re-invention. It is pink.

Left | Photo of the initial object, which, through rotation, transforms into the final object Left Above | Floor plan and section of the first object Right Above | Floor plan and section of the final object things

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Agglomerate. Wood | Heart | Chamber Operational Object 02

cylinder, though it appears to shift into a slant as it circles around.

I made a chamber of chambers – an armature of 300 candle cups. Or honey jars? Breadstick holders? They are mass-produced things and should have no identity. They should be perfect in uniform. They should look the same, move the same, and have no opinion. They do not have names, they are item #9119-40. The wood’s grain is its fingerprint, so I painted them to mask it. It no longer matters if they are wood, plastic or metal. Only mere traces of their material self is left in the cracks, splinters, and mill marks.

It is green.

Through agglomeration, the objects become unrecognizable. I assembled the pieces in the manner in which they want to fit - through the curvature of the objects’ bodies. They agglomerate into a perfect

Above | Floor plans of the operational object Below | Sections of the operational object things

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Mirror. Metal | Hands | Purchase Operational Object 03

maintaining its physical rigid structure. It transforms through the distortion of perception.

A reflection is a distortion of one’s perception of the original thing. My left hand is a distortion of my right hand, yet through this distortion, they meet. My right hand fits my left hand because it is mirrored. The pipes’ ends fit together because they are mirrored.

It is blue.

The circular section of the pipe is skewed through angled cuts. I rotated to meet the mirrored edges to create two mirroring modules, which fit together to create another set of two mirroring modules. They join into a single closed system as a distorted handrail. As it circles, the perpendicular elevation is always the upside-down mirror. The object takes on a new identity from every point of view, shapeshifting while

Above | Floor plans of the operational object Below | Sections of the operational object Next Page | Elevations taken at 10° increments of rotation things

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0° / 180°

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things

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Array. Fabric | Legs | Doubles Operational Object 04

Above | Floor plans of the operational object Below | Sections of the operational object

I used two fabrics, lined at each end by two seems holding two wires, and stitched together at two points of connection to create a two-sided ensemble of two rows of two foot long mirroring openings that array around two legs and close behind at the two open ends. The 22 in. wide fabric wraps around a supporting wire mesh and lining wires, concealing its internal make-up. The plastic structure of the arraying object allows it to shift into different forms, opening and closing at its central and peripheral openings. It is yellow. things

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MILLWO

ORK

SOF Residential Interior Design 2017 | Professional, Freelance 37 LF Millwork, Built Sofia, BG Abstract. This project consists of millwork designed for the kitchen and bedroom of a one-bedroom apartment. It includes a built-in kitchen, platform bed with nightstands, built-in closet and built-in vanity.

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millwork

ЛЕПИЛО

ПЛОТ, СВЕТЛОСИВ БЕТОН

0.7 1 MIN.

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1.9

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

ВЪТРЕ

ЧЕКМЕДЖЕ

ЛЕПИЛО

СТЪКЛЕНА ВРАТИЧКА ОТВАРЯЩА СЕ НАГОРЕ, МАТОВО АНТИРЕФЛЕКТОРНО СТЪКЛО БЕЗ РАМКА

3.8

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1 MIN.

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CAB. DOOR AT STONE COUNTERTOP

ВРАТИЧКА

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ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

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ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

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ПЛОТ, СВЕТЛОСИВ БЕТОН

DRW. FACE AT STONE COUNTERTOP

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GLASS DOOR AT UPPER CABINET

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0.3 СМ РАЗСТОЯНИЕ МЕЖДУ СТЪКЛОТО И ШКАФА ДА ПРОДЪЛЖИ ДО КРАЯ НА ШКАФА

КРАЕН ПАНЕЛ ДА Е НА РАВНО С ЛИЦЕТО НА СТЪКЛОТО И ВРАТИЧКИТЕ 0.3 СМ РАЗСТОЯНИЕ МЕЖДУ СТЪКЛОТО И КРАЙНИЯ ПАНЕЛ СТЪКЛЕНА ВРАТИЧКА ОТВАРЯЩА СЕ НАГОРЕ, МАТОВО АНТИРЕФЛЕКТОРНО СТЪКЛО БЕЗ РАМКА

1.9

МИНИМУМ 32 СМ ЗА ЧАШИ И БУТИЛКИ

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*ДА СЕ ПОТВЪРДИ ПОЛОЖЕНИЕТО НА ЛИЦЕТО НА МИКРОВЪЛНОВАТА В ОТНОШЕНИЕ С НИШАТА ЗА ВГРАЖДАНЕ

GORENJE BM171E2XG МИКРОВЪЛНОВА ФУРНА ЗА ВГРАЖДАНЕ

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0.3 СМ РАЗСТОЯНИЕ МЕЖДУ СТЪКЛОТО И ШКАФА ДА ПРОДЪЛЖИ ДО КРАЯ НА ШКАФА

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ДОЛНОТО ЛИЦЕ НА ГОРНИТЕ ШКАФОВЕ

ВГРАДЕНА ЛЕД ЛЕНТА, 2.3 CM Ш МИНИМАЛЕН ПРОФИЛ С МАТОВО ЛИЦЕ, БЯЛА СВЕТЛИНА. МОДЕЛА ДА СЕ ПОТВЪРДИ ГЪРБА

2.3

LIEBHERR IK 2764 PREMIUM ХЛАДИЛНИК ЗА ВГРАЖДАНЕ С ПАНЕЛ КАТО ШКАФЧЕТАТА

1.9

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GORENJE BM171E2XG МИКРОВЪЛНОВА ФУРНА ЗА ВГРАЖДАНЕ

*ДА СЕ ПОТВЪРДИ ПОЛОЖЕНИЕТО НА ЛИЦЕТО НА МИКРОВЪЛНОВАТА В ОТНОШЕНИЕ С НИШАТА ЗА ВГРАЖДАНЕ

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ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

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ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

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CAB. DOOR ABOVE MICROWAVE

OVERLAY PANEL AT FRIDGE

LIGHT STRIP AT UPPER CABINET

END PANEL AT UPPER CABINET

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ЛИЦЕТО НА ПЛЪЗГАЩАТА ВРАТА

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HAFELE 124.02.974 ДРЪЖКА (ИЛИ ПОДОБНА) ПЕРАЛНЯ

HAFELE 124.02.974 ДРЪЖКА (ИЛИ ПОДОБНА) ПЛЪЗГАЩА ВРАТА

15.2

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HAFELE 124.02.974 ДРЪЖКА (ИЛИ ПОДОБНА) ВГРАНЕДА ДА Е НА ЕДНА ПЛОСКОСТ С КРАЯ НА ВРАТАТА, ДА Е ЦЕНТРИРАНА НА ВИДИМАТА ВИСОЧИНА НА ВРАТАТА

ПЛЪЗГАЩА ВРАТА

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TAB PULL AT SLIDER

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TANDEM BLUMOTION СКРИТИ ВОДАЧИ

19 5.4

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HAFELE 124.02.974 ДРЪЖКА (ИЛИ ПОДОБНА) ВГРАНЕДА ДА Е НА ЕДНА ПЛОСКОСТ С РЪБА ЧЕКМЕДЖЕТО

1 MIN.

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ВСИЧКИ ЪГЛИ ДА СА 45°

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ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

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ВГРАДЕНИ ДРЪЖКИ ДА Е НА ЕДНА ПЛОСКОСТ С КРАЯ НА ВРАТАТА ВЪТРЕ

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ДА Е НАРАВНО КОГАТО ВРАТАТА Е НАПЪЛНО ОТВОРЕНА. ДА СЕ ПОТВЪРДЯТ МИНИМАЛНИТЕ РАЗСТОЯНИЯ НА ПЛЪЗГАЩАТА ВРАТА. ДА СЕ ПОТВЪРДИ ЧЕ 1.5 CM ЗАСТЪПВАНЕ НА ВРАТАТА Е ДОСТАТЪЧНО КОГАТО ВРАТАТА Е ЗАТВОРЕНА

МИВКА ЗА ГРАЖДАНЕ ПОД ПЛОТ, EUROLUX FEM 50 СМЕСИТЕЛ, FORMA VITA POMPEII (85605)

EQ.

LIEBHERR IK 2764 PREMIUM ХЛАДИЛНИК ЗА ВГРАЖДАНЕ С ПАНЕЛ КАТО ШКАФЧЕТАТА. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 55 Д Х 140 В (CM)

EQ. CL

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

GORENJE BM171E2XG МИКРОВЪЛНОВА ФУРНА ЗА ВГРАЖДАНЕ. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 38 В (CM)

0.3

59.8

ПЛЪЗГАЩА ВРАТА С ГОРЕН МЕХАНИЗЪМ ВГРАДЕН МЕЖДУ ШКАФОВЕТЕ. ДА СЕ ПОТВЪРДЯТ МИНИМАЛНИТЕ РАЗСТОЯНИЯ НА ПЛЪЗГАЩАТА ВРАТА. ВРАТАТЕ ДА Е EGGER U732 PМ, ПРАХОВО СИВО

A101-102

KITCHEN

256

117.1 +/-

EQ.

260 +/-

1.5 +/61.7 +/-

EQ.

109

35.5

0.3

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

СТЕНАТА

101

51.93 +/ГЪРБА И РАМКАТА НА ВРАТАТА КЪМ ПЕРАЛНЯТА ДА СА EGGER H1210 ST33, БРЯСТ ТОСИНИ СИВОБЕЖОВ

EQ. CL

64.9 +/-

EQ. CL

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

5 1.9

5.9 EQ. CL

151.6

160 +/-

EQ.

ВЪТРЕШНИТЕ ПЛОСКОСТИ ЗАД СТЪКЛОТО (ГЪРБА, ГОРЕ, ДОЛУ И ЛEВЯ КРАЙ) ДА СА EGGER U732 PМ, ПРАХОВО СИВО

ДЕСНЯ КРАЙ (КОЛОНАТА) И КАНТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

55 EQ.

56.9

EQ.

1.9

58.8

60.3 +/-

6 5

5 +/- DOOR POCKET

1.5 +/1.9

1.5 +/-

ПЛЪЗГАЩА ВРАТА

147

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

BOSCH HBN211E4 ФУРНА ЗА ВГРАЖДАНЕ ОТ ДОЛУ. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 55 Д X 57.5-59.7 В (CM)

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

ELECTROLUX EHF-3320FOK/NOK ПЛОТ ЗА ВГРАЖДАНЕ. РАЗМЕРИ ЗА ВГРАЖДАНЕ 49 Д X 27 Ш X 3.4 В (CM) МИНИМУМ 2 CM РАЗСТОЯНИЕ ПОД ВГРАДЕНИЯ УРЕД. ЛЯВАТА СТРАНА ДА Е НАРАВНО С ВГРАДЕНАТА ФУРНА ОТ ДОЛУ (ВИЖ ELEVATION 2)

EQ.

64.5 +/-

ПЛОТА ДА Е НАРАВНО С ОТВОРА КЪМ ПЕРАЛНЯТА

78.9

EQ. 1.9 1.5 +/3.4+/-

1.9 3.2

203.07 +/-

4.28 +/-

ПЛОТ, СВЕТЛОСИВ БЕТОН

67.9+/-

15.3 +/-

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

56.9

72.2 +/-

KITCHEN PLAN

KITCHEN ELEVATION

211.05 0.3

51.93 +/ПЛЪЗГАЩА ВРАТА С ГОРЕН МЕХАНИЗЪМ ВГРАДЕН МЕЖДУ ШКАФОВЕТЕ. ДА СЕ ПОТВЪРДЯТ МИНИМАЛНИТЕ РАЗСТОЯНИЯ НА ПЛЪЗГАЩАТА ВРАТА. ВРАТАТЕ ДА Е EGGER U732 PМ, ПРАХОВО СИВО

203.07 +/-

1.9

ОСТАНАЛОТО РАЗСТОЯНИЕ ОТ СТРАНИ НА ФУРНАТА СЛЕД КАТО СЕ РАЗДЕЛЯТ ВРАТИЧКИТЕ НА РАВНО. ДА Е МИНИМУМ 2 СМ И ДА СЕ ПОТВЪРДИ С АКТУАЛНИТЕ РАЗМЕРИ

59.5

260 +/-

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

0.3 35.5 0.3 109

101

64.9 +/-

38.8

ВГРАДЕН ИЗТЕГЛЯЩ КОШ ЗА БОКЛУК

EQ.

СТЕНАТА

WATERFALL ПЛОТ, СВЕТЛОСИВ БЕТОН

ЧЕКМЕДЖЕ

BOSCH HBN211E4 ФУРНА ЗА ВГРАЖДАНЕ. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 55 Д X 57.5-59.7 В CM

ЧЕКМЕДЖЕ

ФИКСИРАН ПАНЕЛ ПОД ФУРНАТА

19.4

ЧЕКМЕДЖЕ

56 ВГРАДЕН КОШ ЗА БОКЛУК С ИЗТЕГЛЯЩ МЕХАНИЗЪМ. МЕТАЛНО С ПАНЕЛ КАТО ШКАФЧЕТАТА. МОДЕЛА ДА СЕ ПОТВЪРДИ

ВРАТАТА ДА Е НАРАВНО С ПЛОТА И ОТВОРА КЪМ ПЕРАЛНЯТА КОГАТО Е НАПЪЛНО ОТВОРЕНА (ВИЖ PLAN). ДА СЕ ПОТВЪРДИ ЧЕ 1.5 CM ЗАСТЪПВАНЕ НА ВРАТАТА Е ДОСТАТЪЧНО КОГАТО ВРАТАТА Е ЗАТВОРЕНА

60.2 +/-

ПЛОТА ДА Е НАРАВНО С ОТВОРА КЪМ ПЕРАЛНЯТА

ВГРАДЕН ИЗТЕГЛЯЩ МЕХАНИЗЪМ ЗА ПОДПРАВКИ. МЕТАЛНО С ПАНЕЛ КАТО ШКАФЧЕТАТА. МОДЕЛА ДА СЕ ПОТВЪРДИ

59.5

176.9 +/-

EQ. 0.3 23.45

127.85 +/-

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

1.5 +/-

151.6

5 15.3 +/-

308 +/-

KITCHEN ELEVATION

56.9

KITCHEN ELEVATION

56.9

60.3 EQ. CL

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

ДА СЕ ПОТВЪРДИ ПОЛОЖЕНИЕТО НА ЛИЦЕТО НА МИКРОВЪЛНОВАТА В ОТНОШЕНИЕ С НИШАТА ЗА ВГРАЖДАНЕ

TYP.

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

155.9

147

140

1.9 3.2

3.2

LIEBHERR IK 2764 PREMIUM ХЛАДИЛНИК ЗА ВГРАЖДАНЕ С ПАНЕЛ КАТО ШКАФЧЕТАТА. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 55 Д Х 140 В (CM)

59.7

78.9

147

8.12

1.9 3.2

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

78.9

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

ВГРАДЕН КОШ ЗА БОКЛУК С ИЗТЕГЛЯЩ МЕХАНИЗЪМ. МЕТАЛНО С ПАНЕЛ КАТО ШКАФЧЕТАТА. МОДЕЛА ДА СЕ ПОТВЪРДИ

МИНИМАЛНИЯ ОТВОР ИЗИСКАН ЗА ХЛАДИЛКИКА

TANDEM BLUMOTION СКРИТИ ВОДАЧИ

TYP.

144.7

A107

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

256

*ПАНЕЛА НА ХЛАДИЛНИКА ДА СЕ ИЗРАВНИ ВЪЗМОЖНО НАЙБЛИЗО С ДОЛНОТО ЛИЦЕ НА ГОРНИТЕ ШКАФОВЕ

260 +/-

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

A107

260 +/-

ГЪРБА ДА Е EGGER H1210 ST33, БРЯСТ ТОСИНИ СИВО-БЕЖОВ

2 A107

МИВКА ЗА ГРАЖДАНЕ ПОД ПЛОТ, EUROLUX FEM 50

256

2.3 1.5

ПЛОТ, СВЕТЛОСИВ БЕТОН

256

40 5

260 +/-

СМЕСИТЕЛ, FORMA VITA POMPEII (85605)

ВГРАДЕНА ЛЕД ЛЕНТА, 2.3 CM Ш МИНИМАЛЕН ПРОФИЛ С МАТОВО ЛИЦЕ, БЯЛА СВЕТЛИНА. МОДЕЛА ДА СЕ ПОТВЪРДИ

5.9

3.2

TYP.

100.1

49.8 +/3.2 38.8

GORENJE BM171E2XG МИКРОВЪЛНОВА ФУРНА ЗА ВГРАЖДАНЕ. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 38 В (CM)

1.9

A107

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

0.3 45.4 +/МИНИМАЛНИЯ ОТВОР ИЗИСКАН ЗА МИКРОВЪЛНОВАТА

6.4

0.3 ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

EQ.

101

64.9 +/-

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

EQ.

TYP.

1.9

59.5 +/-

64.9 +/-

1.9

5 A107

A107

0.6 25.95

109

СТЪКЛЕНА ВРАТИЧКА ОТВАРЯЩА СЕ НАГОРЕ, МАТОВО СТЪКЛО БЕЗ РАМКА

95.3 +/-

109

0.3

101

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

EQ.

59.5 +/-

EQ.

95.3 +/-

0.6 25.95

35.5

3 РАВНОМЕРНО РАЗПОЛОЖЕНИ ЛАМПИ

3.8

СТЪКЛЕНА ВРАТИЧКА ОТВАРЯЩА СЕ НАГОРЕ, МАТОВО СТЪКЛО БЕЗ РАМКА

0.3

МИНИМУМ 32 СМ ЗА ЧАШИ И БУТИЛКИ

35.5

3 РАВНОМЕРНО РАЗПОЛОЖЕНИ ЛАМПИ

МИНИМУМ 32 СМ ЗА ЧАШИ И БУТИЛКИ

0.3

EQ.

0.3

EQ.

59.8

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

1.5 +/-

14 0.3

1.9 2.38 +/-

EQ. 117.1 +/-

67.9 +/-

0.3 43.95 +/0.3

EQ.

ПЛЪЗГАЩАТА ВРАТА ДА Е EGGER U732 PМ, ПРАХОВО СИВО

32.5

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ. МИНИМУМ 200 CM2 ВЕНТИЛЯЦИОННА ПЛОЩ ЗА ХЛАДИЛНИКА, ДА Е СИВО КАТО ШКАФОВЕТЕ

3.57

3.2

ГЪРБА И РАМКАТА НА ВРАТАТА КЪМ ПЕРАЛНЯТА ДА СА EGGER H1210 ST33, БРЯСТ ТОСИНИ СИВО-БЕЖОВ

ELECTROLUX EFP60424OX ВГРАДЕН АПСОРБАТОР (ИЛИ ПОДОБЕН). ДА Е НАРАВНО С ФУРНАТА

1.9 3.2

1.9 HAFELE 124.02.974 ДРЪЖКА (ИЛИ ПОДОБНА) ВГРАНЕДА ДА Е НА ЕДНА ПЛОСКОСТ С КРАЯ НА ВРАТАТА

WATERFALL ПЛОТ, СВЕТЛОСИВ БЕТОН

ОТДЕЛИ РАЗЛИЧНИТЕ ФУРНИРИ НА ЕДНА ПЛОСКОСТ С 0.3 СМ ЛАЙСНА

144.7

15.2

МИВКА ЗА ГРАЖДАНЕ ПОД ПЛОТ, EUROLUX FEM 50

ВГРАДЕНА ЛЕД ЛЕНТА, 2.3 CM Ш МИНИМАЛЕН ПРОФИЛ С МАТОВО ЛИЦЕ, БЯЛА СВЕТЛИНА. МОДЕЛА ДА СЕ ПОТВЪРДИ

ВЕНТИЛАЦИОННАТА ТРЪБА ДА Е МИНИМАЛНА И ДА МИНАВА ПРЕЗ СКРИТОТО ПОМЕЩЕНИЕ В ШКАФА, ДА СЕ ПОТВЪРДИ

ГЪРБА ДА Е EGGER H1210 ST33, БРЯСТ ТОСИНИ СИВО-БЕЖОВ

LIEBHERR IK 2764 PREMIUM ХЛАДИЛНИК ЗА ВГРАЖДАНЕ С ПАНЕЛ КАТО ШКАФЧЕТАТА. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 55 Д Х 140 В (CM)

СМЕСИТЕЛ, FORMA VITA POMPEII (85605)

РАЗСТОЯНИЕТО ОТ 0.3 СМ ДА Е НАРАВНО СЪС СТЪКЛЕНАТА ВРАТА ГОРЕ

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

ELECTROLUX EHF-3320FOK/NOK ПЛОТ ЗА ВГРАЖДАНЕ. РАЗМЕРИ ЗА ВГРАЖДАНЕ 49 Д X 27 Ш X 3.4 В (CM). МИНИМУМ 2 CM РАЗСТОЯНИЕ ПОД ВГРАДЕНИЯ УРЕД. ЛЯВАТА СТРАНА ДА Е НАРАВНО С ВГРАДЕНАТА ФУРНА ОТ ДОЛУ

EQ.

A108

КРАЕН ПАНЕЛ ДА ПОКРИЕ СТЪКЛОТО ОТ СТРАНИ СТЪКЛЕНА ВРАТИЧКА ОТВАРЯЩА СЕ НАГОРЕ, МАТОВО АНТИРЕФЛЕКТОРНО СТЪКЛО БЕЗ РАМКА САМО ТАЗИ ВРАТИЧКА ДА Е TIP-ON, ВСИЧКИ ДРУГИ ДА СА ПЛАВНО ЗАТВАРЯЩИ

5.1

EQ.

ГЪРБА ДА Е EGGER H1210 ST33, БРЯСТ ТОСИНИ СИВО-БЕЖОВ

*ПАНЕЛА НА ХЛАДИЛНИКА ДА СЕ ИЗРАВНИ ВЪЗМОЖНО НАЙ-БЛИЗО С ДОЛНОТО ЛИЦЕ НА ГОРНИТЕ ШКАФОВЕ

ВГРАДЕНА ЛЕД ЛЕНТА, 2.3 CM Ш МИНИМАЛЕН ПРОФИЛ С МАТОВО ЛИЦЕ, БЯЛА СВЕТЛИНА. МОДЕЛА ДА СЕ ПОТВЪРДИ

1.5

60.2

F A106

A108

147

63.2 +/-

EQ.

8 0.3

49.8 +/3.2

ПЛЪЗГАЩА ВРАТА

1.5 EQ.

15.3 +/-

E A106

3.2

EQ.

GORENJE BM171E2XG МИКРОВЪЛНОВА ФУРНА ЗА ВГРАЖДАНЕ. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 38 В (CM). ДА СЕ ПОТВЪРДИ ПОЛОЖЕНИЕТО НА ЛИЦЕТО НА МИКРОВЪЛНОВАТА В ОТНОШЕНИЕ С НИШАТА ЗА ВГРАЖДАНЕ

256

109

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

ГЪРБА ДА Е EGGER H1210 ST33, БРЯСТ ТОСИНИ СИВО-БЕЖОВ

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

ГОРЕН МЕХАНИЗЪМ ЗА ПЛЪЗГАЩАТА ВРАТА ВГРАДЕН МЕЖДУ ШКАФОВЕТЕ

56.9

D A106

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

3.2

EQ.

СТЪКЛЕНА ВРАТИЧКА ОТВАРЯЩА СЕ НАГОРЕ, МАТОВО АНТИРЕФЛЕКТОРНО СТЪКЛО БЕЗ РАМКА

ОТДЕЛИ РАЗЛИЧНИТЕ ФУРНИРИ НА ЕДНА ПЛОСКОСТ С 0.3 СМ ЛАЙСНА

99.7

*ВЪТРЕШНИТЕ ПЛОСКОСТИ ЗАД СТЪКЛОТО (ГЪРБА, ГОРЕ, ДОЛУ И ЛEВЯ КРАЙ) ДА СА EGGER U732 PМ, ПРАХОВО СИВО. ДЕСНЯ КРАЙ (КОЛОНАТА) И КАНТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

C A105

EQ.

B A105

EQ.

3 РАВНОМЕРНО РАЗПОЛОЖЕНИ ЛАМПИ

78.9

EQ.

A A105 CL

EQ.

КРАЕН ПАНЕЛ ДА ПОКРИЕ СТЪКЛОТО ОТ СТРАНИ, ДА СЪВПАДНЕ С ВРАТИЧКАТА ОТ ДОЛУ (ВИЖ DETAIL 7)

256

0.3

EQ.

260 +/-

0.3 *ВЪТРЕШНИТЕ ПЛОСКОСТИ ЗАД СТЪКЛОТО (ГЪРБА, ГОРЕ, ДОЛУ И ЛEВЯ КРАЙ) ДА СА EGGER U732 PМ, ПРАХОВО СИВО. ДЕСНЯ КРАЙ (КОЛОНАТА) И КАНТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

3.57 4.43

МИНИМУМ 200 CM2 ВЕНТИЛЯЦИОННА ПЛОЩ ЗА ХЛАДИЛНИКА, ДА Е СИВО КАТО ШКАФОВЕТЕ

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

48.9

1.9 1.5 +/-

3.4 +/-

48.9

1.9 1.5 +/-

SECTION AT SINK CABINET

SECTION AT TRASH UNIT

64.5 +/-

EQ.

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

ВЕНТИЛАЦИОННАТА ТРЪБА ДА Е МИНИМАЛНА И ДА МИНАВА ПРЕЗ СКРИТОТО ПОМЕЩЕНИЕ В ШКАФА, ДА СЕ ПОТВЪРДИ

ПЛОТ, СВЕТЛОСИВ БЕТОН

4 43.8

109

0.3

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

EQ.

64.9 +/-

1.9

95.3 +/-

256 147

16 3.2 3.2

56.5

3.4 +/-

56.5

32.5 8

3.4 +/64.5 +/-

64.5 +/-

ПЛОТА ДА Е НАРАВНО С ОТВОРА КЪМ ПЕРАЛНЯТА

67.9 +/-

SECTION AT CABINET

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

1.9 1.5 +/-

78.9

16.12 23.8

EQ. 19.4 8

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

1.9 1.5 +/-

ПЛОТА ДА Е НАРАВНО С ОТВОРА КЪМ ПЕРАЛНЯТА

SECTION AT OVEN

1.9 3.2

8.12

147 78.9

1.9

74.2

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

64.5 +/-

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

EQ.

147

1.9 3.2

ИНТЕГРИРАНИ ДРЪЖКИ HAFELE 126.38.925

59.5 78.9

57.5

56.5

3.4 +/-

2 МИНИМАЛНИЯ ОТВОР ИЗИСКАН ЗА ФУРНАТА

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

1.9 1.5 +/-

millwork

EQ.

ПЛОТ, СВЕТЛОСИВ БЕТОН

TANDEM BLUMOTION СКРИТИ ВОДАЧИ

ФУРНАТА ГОРЕ ДА Е НАРАВНО С ВРАТИЧКИТЕ

BOSCH HBN211E4 ФУРНА ЗА ВГРАЖДАНЕ. РАЗМЕРИ НА НИШАТА ЗА МОНТАЖ 56 Ш X 55 Д X 57.5-59.7 В (CM)

ФИКСИРАН ПАНЕЛ ПОД ФУРНАТА

156

1.9

59.5 +/-

1.9 55

256

ВГРАДЕНА ЛЕД ЛЕНТА, 2.3 CM Ш МИНИМАЛЕН ПРОФИЛ С МАТОВО ЛИЦЕ, БЯЛА СВЕТЛИНА. МОДЕЛА ДА СЕ ПОТВЪРДИ

МИНИМУМ 2 CM РАЗСТОЯНИЕ ПОД ВГРАДЕНИЯ УРЕД

2’

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

0.6 29.75 +/-

EQ.

A108

EQ.

101

0.3 1.9

64.9 +/-

ШКАФЧЕТАТА ДА СА EGGER U708 PM, СВЕТЛОСИВО

EQ. 260 +/-

256 55

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

EQ.

95.3 +/-

0.6

10.2

ELECTROLUX EFP60424OX ВГРАДЕН АПСОРБАТОР (ИЛИ ПОДОБЕН)

ELECTROLUX EHF-3320FOK/ NOK ПЛОТ ЗА ВГРАЖДАНЕ. РАЗМЕРИ ЗА ВГРАЖДАНЕ 49 Д X 27 Ш X 3.4 В (CM). ЛЯВАТА СТРАНА ДА Е НАРАВНО С ВГРАДЕНАТА ФУРНА ОТ ДОЛУ (ВИЖ ELEVATION 2)

СТЪКЛЕНА ВРАТИЧКА ОТВАРЯЩА СЕ НАГОРЕ, МАТОВО СТЪКЛО БЕЗ РАМКА

109

15.75 +/-

МИНИМУМ 32 СМ ЗА ЧАШИ И БУТИЛКИ

0.3

29.75 +/59.5 +/-

109

101

64.9 +/-

1.9

САМО ТАЗИ ВРАТИЧКА ДА Е TIP-ON, ВСИЧКИ ДРУГИ ДА СА ПЛАВНО ЗАТВАРЯЩИ

EQ.

59.5 +/-

EQ.

0.6 13.85 +/-

*РАЗЛИКА В АКТУАЛНИЯ РАЗМЕР ДА СЕ ПРИСПАДНЕ ОТ ТУК

0.3

СТЪКЛЕНА ВРАТИЧКА ОТВАРЯЩА СЕ НАГОРЕ, МАТОВО СТЪКЛО БЕЗ РАМКА

35.5

МИНИМУМ 32 СМ ЗА ЧАШИ И БУТИЛКИ

0.3 35.5

МИНИМУМ 32 СМ ЗА ЧАШИ И БУТИЛКИ

95.3 +/-

ВЕНТИЛАЦИОННАТА ТРЪБА ДА Е МИНИМАЛНА И ДА МИНАВА ПРЕЗ СКРИТОТО ПОМЕЩЕНИЕ В ШКАФА, ДА СЕ ПОТВЪРДИ

260 +/-

EQ.

ГОРНЯТ И ДОЛНЯТ ПАНЕЛ НА ЛИЦЕТО НА КУХНЯТА ДА СА ЕДНАКВА ВИСОЧИНА, 8 СМ

ВЕНТИЛАЦИОННАТА ТРЪБА ДА Е МИНИМАЛНА И ДА МИНАВА ПРЕЗ СКРИТОТО ПОМЕЩЕНИЕ В ШКАФА, ДА СЕ ПОТВЪРДИ

0” 8”

SECTION AT FRIDGE

64.5 +/EQ.

EQ.

56.9

260 +/-

48.9

3.4 +/-

3.4 +/56.9

1.9 1.5 +/-

sof

157

DWELL Dwell on Design Expo 2017 | Professional, domæn Ltd. 9 LF Millwork, Built Los Angeles, CA Abstract. This counter piece fabricated for the Dwell on Design Expo was designed to act as an exhibition piece encompassing the firm’s architectural style and fabrication capabilities on a smaller scale. It follows a series of sections that play on two-directional orientations of misaligned parallels, while exploring solid-surface-line relationships. Contributions Mlllwork Drawings Set Desktop Graphic Expo Setup

Photographs by Paul Vu Photography

158

millwork

VERTICAL VENTILATION HOLES 1/2" DIAM. @ 12" O.C. ALONG PERIMETER

GLASS

C-3 C-1

ALUMINIUM SHEET

C-4 C-2

L1-2

L1-3

S2-1 LED STRIPS AT 4" O.C.

PLY PANELS, PAINT GRADE FIN.

G1 G2 V1

D-2

L1-1 P-1

2 A100

B-1 L1-6

L1-5

L1-4

S1-3

S1-2

S1-1

A-3

A-2

A-1 D-1

1 A100

PLAN

A100

3 3/8"

8'-8 7/16"

CUSTOM LOGO 2" X 2"

2'-6 5/8"

4 9/16"

4'-3/16"

1 1/2"

GLASS

C1 L1-4

L1-6

L1-5

8 1/4"

16°

G1 G2 V1

A-3

16°

A-2

A-1 4'-5/8"

2'-8 11/16"

1'-4 5/8"

1 1/2"

3 3/4"

LED STRIPS AT 4" O.C.

2'-3/16"

3'-1/4" 1'-7 5/8"

2'-4"

3'-1/4"

3'-4"

16° PLY PANELS, PAINT GRADE FIN.

B1-1

7 13/16"

4'-4"

4'-4 1/2" 7'-6 5/16" 9'-4 5/16"

ELEVATION 1

8'-9 9/16"

4 9/16"

CUSTOM LOGO 2" X 2" BLOCKING PER MANUF.

ALUMINIUM SHEET

G1 G2 V1

D-2 8 1/4"

16°

LED STRIPS AT 4" O.C.

VERTICAL VENTILATION HOLES 1/2" DIAM. @ 12" O.C. ALONG PERIMETER

B-1 L1-1

L1-2 & L1-3

16°

P-1 16°

2" DIAM. HOLE FOR ELEC.

C-3

3'-1/4"

1'-4 5/8"

GLASS POWER CUT-OUT

1'-7 5/8"

2'-4"

PLY PANELS, PAINT GRADE FIN.

16°

D-1

B1-2

B1-3

4" CL

7 13/16"

6'-10 1/2" 9'-4 5/16"

SECTION A

C A100 LED STRIPS AT 4" O.C.

ALUMINIUM SHEET

LED STRIPS AT 4" O.C.

GLASS

1'-1 7/16"

L1-2

4 1/4"

1' C-2

D-2 83°

D-2

B-1

83° D-1

A-1

C-3

A-3

2'-4"

2'-8"

3'-1/4"

3'-4"

D-1

1'-7 5/8"

B1-2

10 5/16"

B1-1

11 9/16"

B1-3

9 1/2"

C-2

P-1

B1-2

B1-1

L1-3

D-2

3'-4"

1 1/2" A-3 C-4

L1-6 L1-1

3'-1/4"

S2-1

G1 G2 L1-1 V1

3'-4"

1'-4 5/8"

S1-3

PLY PANELS, PAINT GRADE FIN.

C-1 L1-4

PLY PANELS, PAINT GRADE FIN.

13° G1 G2 V1

8 1/4"

11°

PLY PANELS, PAINT GRADE FIN.

GLASS

2'-5 1/16"

ELEVATION 2

97°

B1-3

97° 97°

11 9/16"

9 1/2"

97°

2'-5 1/16"

11 9/16"

9 1/2"

2'-5 1/16"

SECTION B

SECTION C

0” 4”

dwell

1’

159

160

millwork

dwell

161

SELECTED WORKS KARINA SPASSOVA MS.AAD Columbia University B.Arch Cal Poly Pomona karina.spassova@gmail.com 2019 Sincere thanks to domæn Ltd. + the faculty & students at CPP & GSAPP