APHIDOIDEA
we are architects. we are graphic designers. we are film makers. we are builders. we are web developers. we are artist. we are technology. we are designers. we fabricate your environment. we are an open_collaborative_think-tank of design professionals striving toward a more creatively built environment through architecture, interactivity, art motion-graphics, video by means-and-methods.
APHIDOIDEA We are Aphidoidea, a collective of creative young professionals from various backgrounds who shared a common interest, the creation of stimulating environments for the individual and its surroundings. We emphasized on unique installations that appeal to the senses and engage the user. Our holistic solutions enhance the built environment in alienated marginal urban spaces. The collective’s diversity allows us to explore ideas, philosophies and methods. Our installations employ a variety of materials—from the ephemeral to the permanent--and technologies such as CNC prototyping, 3D modeling, lighting, and interactive graphics. We have proven competent at working with project teams, coordinating, and completing projects on time and within budget.
COLLABORATORS Jesus Eduardo Magaña Paulina Bouyer- Magaña Andrew Hernandez Jackie Muñoz JJ Paredes Jarod Allen Carlos Hernandez Alma Muñoz
CONTACT 714 S. Los Angeles St. Los Angeles, Ca 90014 213.255.5673 info@aphidoidea.com www.aphidoidea.com
TAB LE OF CONTENTS
Icups: Synthetic Landscapes The Cloud: Set in Motion Adaption: The Cocoon Preceptual Vision: Points of View
The Spinal Vortext Projections: The Funk Fest Radio Silence: Free Your Mind
LOS ANGELES - 2010 ARTCHITECTUREINSTALLATIONS
TEAM - MAGAÑA, HERNANDEZ, MUÑOZ
Icup Synthetic Landscape
The Icup installation takes one of the most ordinary, disposable, and seemingly inconsequential objects—the paper cup— To invert the consumer-object relation and perception through the creation of an extraordinary –membrane like piece that embraces both the coffee-drinker and coffee shop. Given the typical paper cup has an average lifespan of 10-15 minutes, the user hardly ever considers the elaborate processes of its production, distribution, and its disposal. By bringing to light the throw away, mundane paper cup the installation counterbalances ordinary user-object relations to challenge assumptions regarding inconsequential consumption of the invisible waste. The 4,000 cups that make the installation reconfigure the user-object interaction by transforming the special experience of the coffee shop. To further study the user-object interaction; the I-cup installation was reconfigured and mechanically animated as part of the Phantom Galleries (an organization that transforms vacant storefront into temporary public art galleries) in Long Beach. The Icup installation, created a unique relationship between the community and the cups. As pedestrian walking by had a direct interaction with the installation as he or she was able to activate its movement, via sensor, by simply standing in front of the glass. Its harmonic motion creates a vast array of soft-scapes that are generated by a rotating crankshaft.
> PERSPECTIVE SKETCHES
3
1 2
> MOTION AT REST
01 PLAN CUPS
4
> MOTION ACTIVATED BY PEDESTRIAN WALKING BY
5
02 PLAN GRID + CONTROL POINTS
LEGEND 1> 2> 3> 4> 5>
Motion Sensor Cups Crankshaft Pully System Grid System
- 4,000 CUPS - 15,000 STAPLES - 500 FEET OF STRING - 4 STAPLERS 9 PULLEYS - 8 HUMANS - 256 FL OZ OF COFFEE
> CEILING SUSPENSION SYSTEM
> STUDIES FLEXABILITY + CONSTRUCTUBILITY OF CUPS IN UNITS
9 in 9 in
Displacement 0.0 in Displacement 0.0 in 0.0 sec 0.0 sec
30 sec 30 sec
60 sec 60 sec
Period Period
> HARMONIC MOTION
A B C D > MOTION CRANKSHAFT
> MOVEMENT DIAGRAM
E
F
> MOTION CRANKSHAFT
G
H
I
1.00’
2.00’
2.50’
3.50’
4.50’
5.50’
8.50’
10.00’
> TIME LAPSE SEGMENTS
LOS ANGELES - 2008 ARTCHITECTUREINSTALLATIONS
TEAM - MAGAÑA
Set in Motion : The Cloud
> STUDY MODEL
The cloud is a catalytic structure that changed the typical spectator’s experience of a gallery environment. The installation sought to solve the contradiction of creating a prominent installation while not overshadowing the work of 40 participating plastic artist on display. The articulation of the space was housed within the shape of the installation creating a dynamic fluidity between the art on display and the observer within the display itself. This art installation was exhibited in the Basswerks gallery, as part of the art show “set in motion.”
> SECTION SEGMENTS
> ELEVATION
4 5 1 3
01 LEVEL
LEGEND 3
5
1> 2> 3> 4>
Entry Sculptures Hanging Art Digital Media
LOS ANGELES - 2009 ARTCHITECTUREINSTALLATIONS
Adaptation : The Cocoon
Downtown Los Angeles is in the process of reinventing itself as a thriving hybrid community. One key component of this goal is the adaptation of old, existing industrial buildings into mix residential and work/live lofts. It is this creative and genuine adaptation process that sprouted the concept of The Cocoon. When I moved into my loft, I analyzed and explored the existing conditions and elements presented by my then-newly repurposed place, and utilized these to create an adaptive dwelling I could reinterpret as home. The extension of the machine room of the freight elevator of this previously sweatshop-building happened to be an extension of my ceiling. This 11’x9’ void became the perfect opportunity to adapt a bedroom and incorporate several other elements in the design to enhance the loft, such as exterior views, ambient lighting through the use of translucent materials, incorporated lighting, material application, and spatial geometry.
> SITE - ADAPTATION - COCCON Before this building was renovated and converted into lofts. The Cornell Building was a sweat shop. This particular area ther e used to be fright elevator.
> SKETCH + VOIDS
3
2
4 6
7
1
01 LEVEL
1. 2. 3. 4. 5. 6. 7. 8. 1. 9. 2.
HALLWAY BATHROOM KITCHEN DINNING LIBRARY STUDIO LIVING CLOSET HALLWAY BEDROOM BATHROOM
3. 4. 1. 5. 2. 6. 3. 1. 7. 4. 2. 8. 5. 3. 9. 6. 4. 7. 5. 8. 1. 6. 9. 2. 7. 3. 8. 4. 9. 5. 6. 1. 7. 2. 8. 3. 9. 4. 5. 6. 7. 8. 9.
KITCHEN DINNING HALLWAY LIBRARY BATHROOM STUDIO KITCHEN HALLWAY LIVING DINNING BATHROOM CLOSET LIBRARY KITCHEN BEDROOM STUDIO DINNING LIVING LIBRARY CLOSET HALLWAY STUDIO BEDROOM BATHROOM LIVING KITCHEN CLOSET DINNING BEDROOM LIBRARY STUDIO HALLWAY LIVING BATHROOM CLOSET KITCHEN BEDROOM DINNING LIBRARY STUDIO LIVING CLOSET BEDROOM
B3
Context
B2
Context >B1 SKIN + VIEWS + TRANSPARENCY 0’
B3
2’
0’
4’
6’
2’
4’
6’
B2 B3 B13
B2
5
B1
A2 A
3
8 2 1
A2 A
3 8
02 LEVEL
2 4
7
B2 1 B A2 A 8
2
4 5
4 5
5
0’
2’
4’
6’
0’
2’
4’
6’
0’
2’
4’
6’
02 CEILING
B2 B
1
7
LEGEND
C C2
6
C C2
6
C C2
6
7
B2 B
1> 2> 3> 4> 5> 6> 7>
Entry Kitchen Dinning Studio/Office Bedroom Living Area Restroom
3’-0”
4’-11”
9’-6”
3’-0”
4’-11”
3’-0” 1’-4” 4’-11”
> SECTION DETAIL OF BEAM AT COLUMN
> SECTION DIAGRAM
9’-6”
9’-6”
10’-9” 8’-8”
3’-0”
3’-0”
4’-11”
4’-11”
9’-6”
9’-6”
3’-0”
4’-11”
1’-4”
9’-6”
SECTION B1
10’-9”
> SECTION DIAGRAM
> ELEVATION DIAGRAM
8’-8”
3’-0”
> SECTION DIAGRAM
4’-11”
3’-0” 1’-4” 4’-11”
9’-6”
9’-6”
10’-9” 8’-8”
SECTION B1
SECTION B3 3’-0”
4’-11”
9’-6”
SECTION B1
> SECTION FOOTING BASE PLATE
SECTION B3
toto entry ENTRY to ENTRY
East Moring Sun 6:51
to Living to Windows to Studio to Living to Windows to Studio to Living to Windows to Studio
to AC
to Kitchen
to street to street to baboo shoots
to dininig
> VIEWS DIAGRAM
> BASE PLATE + COLUMNS termination to different materials CONCTETE + OPAEL POLYCARBONATE
LONG BEACH - 2010 ARTCHITECTUREINSTALLATIONS
Preceptual Vision : Points of View
> FLOOR DIAGRAM
A multi-perceptual experience of consciousness through a vacant storefront An individual’s perception of things is a critical aspect of the interaction between the spectator and the physical world. A perceptual ‘object’ can be defined as a spatiotemporal coincidence of its different attributes. For example, an object could be a large, red, moving square. If an object’s different attributes occur simultaneously in different places, can they still define the object? The installation emphasizes this “spatio-temporal coincidence” making the observer consider the conditions of our conscious recognition. The installation consisted of fragmentary shapes in different perspective planes that, when seen from specific positions, joined to create words that formed philosophical and artistic arguments on perception. The spectator would decipher each message as he or she looked for key perspective views. However, what lay before him were not letters or words, but rather shapes that, when seen from a specific point of view, aligned in a way the viewer could attach particular meaning to the collective ensemble. The installation sought to convey how art is judged as it is being observed, from the individual’s point of view.
MESSAGE
LETTER SEPARATION
PLANE PROJECTION
> WORD FRAGMENTATION
> SPACE LAYUOT
LEGEND
1 2 3
01 FLOOR PLAN
1> 2> 3> 4>
4 5
The world we see is not real, it’s our mind’s representation of our senses Question what you see Withdrawn in the mind Reality cannot be found except on a single source, because all things are inteconnected 5 > Art is truth existing only in the mind. There is no absolute truth
MESSAGE 1
MESSAGE 2
MESSAGE 3
MESSAGE 4
MESSAGE 5
MESSAGE 6
> WORD FRAGMENTATION
8’ 5 5/8"
8’ 9
" /8
4’ 9 1/4"
/ 8
"
4" 4 3/
5 9 ’
"
3’ 5 5/8 "
This installation carried on the challenge of transforming a neglected and marginal service patio behind a Hollywood club into a temporary exhibit space. The show sought to fuse elements of art and music creating a unique experience in an unexpected place. Not being able to physically alter the structural conditions of the patio, the Spinal Vortex facilitated its transformation as it covered the full extent of the space. The installation offer a free-flowing look allowing the existing conditions to bring a new layer of interest, Adding to the place without hiding or masking what was there, it created a well-rounded solution for the artists and musicians performing at the “The Live Festival” show.
LEGEND 1 > THE CAT CLUB 2 > Retail 3 > WISKY GO-GO
4 > Retail 5 > Restaurant 6 > Parking
6
1
5
4
Node_Panels 9.10
Node_Panels 3.4.5.6
Node_Panels 8.9.10
Node_Panels 1.2.3
Node_Panels 6.7.8
Node_Panels 1.2
01 FLOOR PLAN
2
1
5
1/ 2"
4’
4
/8 3 ’4
" 7/8
/8
’ 2
5’ 5/8"
7/ 5’ 8" 11
"
5/ 8"
3"
7
3’
3’
"
1/4"
8" 1 1/
7’ 1 1/4"
3
5’ 3/4
3
7/ 8"
5’
2’ 9" "
4
3/ 8"
5’ 1
2’ 7/8"
4
4’ 1/4
4’ 4’
"
4’ 4’ 3 3/4"
3’ 10 7/8"4’ 5’2"
6’ 7 7/8
8
"
8"
3/
5’ 1 1/8"
/8
"
"
’4
/8
3
3
1/ 2"
3
4
2
"
’
/8
4’
5
2’ 8 4 1/’3 4"
4’ 7 3/8"
’8
4" 3/
8" 3/
4
5
8
4’61/8"
3’
3’
4’53/4"
" 5/8 " 13/4
2’ 9 3/4"
7"
4"
1
2’ 8 7’ 3 5/8" 1/4"
7’
7’ 5 1/4"
1/8" 4’ 10/4"
4
5/8
’
4’ 1 "
4
/4" " 2 3 /8 5’ ’ 11 1 4
2’ 10"
4’ 10 1/4"5/8"
7/8" 11 2’3’
5’ 1 1/8"
4’ 4 1/8"
2’
11 2’ 4 1/4" 5/ 8"
31 ’’ 22
2’
"
"
4’ 10 4’1/ 10 4"7/8" 6’ 6’ 5 3/ 5 8" 1/2" 1
7/8
7/8"2’ 8 1/2" " 2’ 4 1/8"
1
/4 3’ 10 "5’
5’ 1 3/8"
’
8"
1
5’8’2 3/8"1/8"
3/4"
/ 5/8" 3 5’7 ’ 10 3/4" 7 10 2’
9
7’ 5 1/8"
2 1/ 8"
3/4" 3/4" 5’ 5 5’ 5
7/8"
14’ 0 3/4"
6
1/2"
1
5’ 5
4
4’
5’
"
’
4’
3’
3’
7’ 7 3/8"
4’ 4’ 5 8 3/4" 3/4"
8 /
2
6
"
1/ 2"
8’ 3"
3
4’ 11"
3
’
5’ 1 91/4" 1
7 1/ 8" 7’ " /8 3
/2
5
’
1
3/8"
1
1
11
4’ 4 5/8"
1
5’
9 5’
"
’
8’
1/2"
10
5
SPINAL VORTEX
10
’
LOS ANGELES - 2009
5’
5’ 1 1/4" 6’
8
ARTCHITECTUREINSTALLATIONS
3’ 4 1/4"
3
> CROSS-SECTON
> ELEVATION VORTEX - CATALYST
1R5,1R6,4,5
F,3R1,E,2R3
Group 01
1R1-1R2-1R3-1R4-1R5 1R6-1R7-1R8-4-5-6-7
Group 02
2R1-2R2-2R3-2R4-E-5
Group 03
A-B-C-D-F-3R1
Group 04
B-D-E-E-F-4R1-4R2
Group 05
A-C-E-F-5R1-5R2
Group 06
A-B-C-D-6R1-6R2-6R3
C,E
E,D,B,5R1,A,C
F,E,5R2
C,E
D,B,C,A
Group 07
B-D-E-7R1-7R2-7R3
Group 08
A-C-D-E-F D,B,C,A
9R2,9R1,F
Group 09
A-B-C-D-9R1-9R2
Group 10
A-A-B-B-C-D-E-F-F
> DEFRAGMENTED SEGMENTS
GLAMIS, CA - 2009 ARTCHITECTUREINSTALLATIONS
RADIO SILENCE
“Radio Silence. Inner-Mind Portal” Radio Silence is an independent film in-process. We were given the script for one of the scenes in the movie, to convey the vision for the scene and create the installation. The concept was a portal in the middle of the desert. The main actor will find himself in front of this portal and as he goes through it, he is taken into his inner thoughts. We created a metal spiral with illuminated sections. Each section takes you deeper into the portal as a message is gradually revealed to the camera. The materials selected intended to highlight the object’s foreign aspect in relationship to the desert. The scene was shot in Glamis Ca.
Two... one... Ext. Backyard-NIGHT Lila fades back to the disheveled woman. Ext. Desert path - day Lila and Sean are walking down the path. Lila takes a gun to her head and a loud shot goes off. Int. BlaCKROOM Sean is now free of the handcuffs and is sobbing. Int. whITEROOM Janelle I love you. Ext. desert path - day The projection shows him as the little boy walking along the path alone. He comes to a fork in the road, stops for a moment and veers to the right. FADE TO:
LONG BEACH, CA - 2009 ARTCHITECTUREINSTALLATIONS
FUNK FESTIVAL
“Long Beach FUNK FEST motion graphic projections.” As a crescendo of the city’s summer-long, free concert series, we were invited to incorporate digital motion graphics to the festivals “funk-adelic” environment and experience. We took this opportunity to research the essence of the FUNK genre. Thus, compiling information, images, video footage, art, and graphics of the funk culture. We then processed and abstracted the “FUNK” into a video reel that was projected along the building facades providing an extra layer of visual-informative complexity to the festival.