www.margauxcollective.com
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I am ............................................................ m.arch 2013.................................................. rhode island school of design .
...exploring, circling in more and more to what I find the most joy in doing. this means pulling in cultural understanding and humanity into my work. understanding what brings me delight or awakens my sense evoking what i want the spaces i create to do. ...seeking to always be a student, and hoping someday to be a teacher. teaching + learning as a cyclical process in which one can continually return to and refine ideas that make my heart hum. ...wishing to see my spatial dreams become a reality in the built environment. the wish of any architect to allow the dreams and intangible strings which pull at our minds to manifest themselves as built: a place where others can feel how you felt. ...interested in dwelling as a way of imagining all architecture- dwelling as a means of achieving a space that delights the senses, engaging the soul and memory, actively involving and empowering the user in his environment.
..................................seeking to understand: : the ways in which art and architecture resonate with our emotional senses. Architecture can heighten our emotional and physical awareness of our inner and outer environments. : the way geometries and the concrete logic of mathematics can inform my work. Intrigued by patterns and logic based systems which allow our minds to make sense of spaces. :the power of geometry in storytelling. And I believe that narrative in architecture is very powerful.
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PAGE 8-15 thesis: memory and dwelling spring 2012 PAGE 18-29 design principles fall 2010 PAGE 32-37 architecture design principles spring 2011 PAGE 39-43 urban design principles fall 2011 PAGE 46-47 city of the future: ephemeral winter 2012 PAGE 50-57 raw earth archive: narrative and space spring 2012 PAGE 60-65 interfaith chapel: phenomenal transparency fall 2012 PAGE 68-80 miscellaneous past-present portfolio.indd 5
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thesis dwelling spring 2012 portfolio.indd 7
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unfolding the commons explores a new way of looking at a neighborhood exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� drafted graphite on vellum with digital rendering unfolding the commons
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dwelling deconstructed imagines dense elderly housing exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 22� drafted graphite on vellum with digital rendering dwelling deconstructed
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soul and place
soul and place extropolated gesture to find meaning in space exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 8� x 8� lithographic print + graphite on arches 88
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the art of memory seeks to define place through physicality and memory exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 22� lithographic print + graphite on arches 88 the art of memory
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morning unfolding
morning unfolding bplaces figures in geometric landscape to create place exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 11� x 1� draften graphite + collage on arches 88 with digital rendering
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labyrinth and layer explores richness of site and experience exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 14� x 30� drafted graphite on vellum with digital rendering labyrinth and
layer
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the thick wall
the thick wall explores typologies to frame views and memory exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 8� x 8� plaster models and digital photocollage
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the art of memory seeks to define place through physicality and memory exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� lithographic print + graphite on arches 88 the art of memory
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design principles principles tectonics of knot fall 2010 portfolio.indd 17
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labyrinth for a minotaur explores design principles exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 30� x 22� drafted graphite on vellum with digital rendering labyrinth for a minotaur
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eroding landscape explores mapping site exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 30� x 22� drafted graphite on vellum with digital rendering eroding landscape
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tectonic of knots
tectonic of knots explores design principles exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 24” x 24” x 36” cardboard and bristol board folded construction
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tectonic of knots explores design principles exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 24” x 24” x 36” cardboard and bristol board folded construction
tectonic of knots
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labyrinth for a minotaur explores design principles exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 24” x 8” x 6” cardboard and chipboard labyrinth for a minotaur
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labyrinth for a minotaur explores design principles exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 24” x 8” x 6” cardboard and chipboard labyrinth for a minotaur
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windchime monastery distills and densifies ideas of the labyrinth exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 44� x 30� drafted graphite + watercolor on toned arches 88 windchime monastery
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windchime monastery distills and densifies ideas of the labyrinth exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� drafted graphite + watercolor on toned arches 88 windchime monastery
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windchime monastery explores spaces through constructed perspectives exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� drafted graphite + colored pencil on toned arches 88 windchime monastery
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windchime monastery explores spaces through constructed perspectives exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� drafted graphite + colored pencil on toned arches 88 windchime monastery
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reconstruction of diebenkorn explores confounding ideas of interiority exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 12” x 12” x 18” chipboard model with digital rendering reconstruction of diebenkorn
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reconstruction of diebenkorn explores confounding ideas of interiority exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� drafted graphite on vellum with digital rendering reconstruction of diebenkorn
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architecture design principles spring 2011 portfolio.indd 31
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blossom was built as a design build initiative exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 2,000 sq. ft. digital photograph of site blossom: community garden
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blossom was built as a design build initiative exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] built garden beds 41 x 20’ x 18� blossom: community garden
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garden pavilion
garden pavilion uses local materials and explores movement exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 6” x 6” x 3” canvas + basswood + string
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mobile market project: refurbishes found trailer for use in urban food deserts exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� drafted graphite + watercolor on arches 88 mobile market project: trailer
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bikes promotes jobs within mobile market project community exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� drafted graphite and watercolor on arches 88 mobile market project: bikes
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growth studies the possibile relationships geometries and tectonic exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� white charcoal on arches 88
growth: tectonic
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design urban principles design tectonics of principles knot fall 2011 2010 portfolio.indd 39
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patterned growth seeks to understand urban growth exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] each 8� x 8� ink + graphite + goauche on arches 88 pattern and growth studies
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patterned growth seeks to understand urban growth exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 14 x 11� ink + goauche on arches 88 pattern and growth
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eroded core
eroded core explores synthetic urbanism exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 14� x 30� drafted graphite on vellum with digital rendering
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braided urbanism explores synthetic urban programs exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 4” x 3” 12” balsa wood and bass wood model braided urbanism
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design city of the principles futureof tectonics knot winter 2012 fall 2010 portfolio.indd 45
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mapping the intangible quantifies light interventions exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 48� x 48� acetone ink transfer + gouache + red thread on arches 88 mapping the intangible
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luxchaos explores urban agricultural solutions for dense urbanity exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� acetone ink transfer + white gouache on arches 88
luxchaos
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design raw earth principles studio tectonics of knot spring 2012 fall 2010 portfolio.indd 49
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these sections study form light and path exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� drafted graphite on vellum with digital rendering sections of light and shadow
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roof as mountain topography controls flow of water
roof as landscape studies the movement of water in relation to an interior exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� ink + graphite on arches 88 with digital rendering archive for bauhaus collection
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this captures the essence of movement inspired by bauhaus piecce exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 8� x 30� ink + graphite on vellum with digital rendering archive for bauhaus collection
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China Academy of Art Campus, Hangzhou, China this site plan depicts the buildings as continuous path exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� graphite and ink on vellum site plan on china academy of art in hangzhou
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trying to draw language from site, context, history and place exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 8� x 8� intaglio prints studies of light form and place
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these studies explore bauhaus form light and path exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 8� x 8� digital prints studies of form light path and transparency
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this archive for a bauhaus collection explores a synthesis chinese vernacular exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 14� x 30� drafted graphite on vellum with digital rendering archive for bauhaus collection
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these drawings capture the experience of moving through the project exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 14� x 30� ink + graphite on arches 88 with digital rendering archive for bauhaus collection
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design chapel: principles phenomenal tectonics of transparency knot fall 2010 2012 portfolio.indd 59
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narrative of path and body creates a dialogue exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 11� x 17� india ink on paper narrative of path and body
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phenomenal transparency explores thecollapse of space with floating planes exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 24� x 24� charcoal and graphite on paper phenomenal transparency
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maquette on site
maquette on site explores the relation of the building to its context exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 4’ x 6’ lasercut chipboard with wire , butterboard, cork, and basswood
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razzledazzle facade explores camouflage techniques from WWII exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30 “ drafted graphite on arches 88 camouflage: razzledazzle facade
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rendering light and water explores digital and analog techniques exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30 “ drafted graphite on arches 88 and digtal print rendering light and water
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slippinggroup explores context planometrically to create seamless site exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30 “ drafted graphite on arches 88
slipping ground
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miscellaneous: drawings + writings past-present portfolio.indd 67
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movement
movement looks at the geometry of passing time exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 6 shots with 2 secon delay digital photograph collage
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phenomenal transparency explores thecollapse of space with floating planes exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 14� x 48� drafted graphite on vellum with digital rendering phenomenal transparency
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oilrig prisons
oilrig prisons creats an landscape with rotation of pobject in space exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 36� x 36� digital prints
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digital landscapes explore the generative power of the computer exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 48� x 18� digital prints digital landscapes
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perspective and mood explores changes in one object exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 22� x 30� cyanotype perspective and mood
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models of small or high density exological housing exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 8” x 8” x 2” m o d e l s f o r T. I . A A r c h i t e c t s
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ce h r oi ndeesde cjou rnek
chinese junk plays with architectural ideas in ceramics exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] approx. 36” x 12” x 18” stoneware with glazing
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dreamscape tries to capture the imagery of dreams exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] 12� x 6� photographic collage with watercolor and graphite
dreamscape
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models made for presenting projects to clients exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] approx. 24” x 24” x 2-8” models for AGi Architects
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models made for presenting projects to clients exercise in: [interiority/exteriority] [roof as landscape] [buildings with feet] [pattern and movement] [storytelling] [path as narrative] [art of memory] [architecture of soul + body] [ecology of community] approx. 24” x 24” x 2-8” models for AGi Architects
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DECORATION+WHIMSY
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Views to accomodate our eyes, doors to accomodate our moves, ornament to accomodate our souls: our memory. Like a face, a facade can be a place to put our memory in the long poem of life. The poet Simonides who began to formalize the art of memory argued that this art was the very thing that defi ned our humanity, our humulity, our civility. By created memories in a place, allowing our minds to use architecture as a perch to hold our most precious feelings, we free our souls from the burden of losing place. This idea of ornamentation represents an idea that it can create thickness and meaning in the walls of a dwelling. Things that are ordinary become charged when thought of as decoration, Walls that are thickenned allow the pace to be slowed to accomodate life. Life is a labyinth in which we get lost and in doing so unravel, we age, we learn to love more fully, to allow ourselves to be cared by one another. How does memory collapse space and expand it in tune with the stirrings of the heart? In this discovered thickness, how many ways can a wall be? How do we age? What happens to our body is clear, but what happens to our soul is still shouded in mystery. It has recently be discovered that the more times you think of a memory, the more distorted it becomes from the fact of its past reality. How do these distortions magnify in our personalities of our souls as we age. Does this accentuation of your imagined future allow you to shape the world around with meaning? Do everyday object begin to carry more and more meaning as the storytelling and memories acculumate with it? How does the new slow fragile pace of life allow the body to become more in tune with the architecutre that surrounds it, that supports it, that holds its body and its memories in its walls? Like an aging face, how does the architecture of our domestic life a reord of everything we have seen and done, how do the wrinkles on our face resemble every ray of sunlight that has hit us, and what is the equivalent to this in the built environment.
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DOMESTICITY+DWELLING understanding personal space
The space of domesticity is charged with history. It is our innermost sanctuary, our place of intimacy in which we engage with a world that we understand and commit to with complete confidence. The domestic space in architecutre has a particular power because it relies on a distinct relationship between occupant and space. This confidence allows us to be at ease, as in the company of a good friend for tea, an architecture that truly understand dwelling, and the nead for intimacy, can be a holder of secrets, a support, a confidante. The spaces of sleep have two major importances, for the time we are indeed asleep in them, and for the time where we are still awake but falling into that place of limbo between night and day and consiousness and unconsciousness. For this reason, the space of sleep is sacred, and should be finely tuned to the senses to maintain both a presence that is dreamdlike, and one that is firmly rooted in reality. Light plays a big role, this responds to the way in which our bodies chose to sleep, with some in darkness and others needing the rays of warm morning sun to wake from sleep. The softennsss of shadows allows us to bridge between night and day, we fall into the asleep, but we also grasp at its subtle fl uctuations to pull ourselves back into the world. The ritual of bathing is one that allows us to maintain our dignity, and also feel the aging of our bodies as we unmask ourselves. A space of bathing should make one feel beautiful and calm, it should be a place of quiet introspection into the wonders of having a body, a place where we can thank our arms and our legs for where they bring us and what they make for us, where we can allow our bellies to soak and think of all the good meals we have been allowed to share. A space of bathing allows us to feel blessed and at peace with what we have, what we have lost, and the intimate rituals of daily life which keep us moving, keep us alive. Domesticity is not about age or gender but about a keepsakje of emotion, of memory, of preservation of the soul. Indeed, within the private realm of our homes we must understand our place of keepsake, the space we give to our precious things, material and emotional, which allows us to feel grounded and rooted in a place. This space can simply be a window which frames a view which holds a memory of a time past.
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MATERIAL+MEMORY Materiality becomes the link between memories dreams and reality. The moment we can feel the warmth of the sun on a stone we know we have entered the real world. Sometimes smells evoke memories, cedar shingles suddenly evoke a strong memory of being a child hiding in a closet, or the smell of soil after a strong spring rain reminds us of the endless springs we have experienced, a collapsed time. In this way, materiality becomes the lifeblood of our build environment. Indeed, materials build continuity with our built and land environment, but also provide the opportunity to bring reality and memoryt. This evocative power must not be overlooked in imagining with which power the materials around us effect our daily lives. A building must of course have a presence, a front porch, a facade like any other face, but also one must consider a building that is dematerialized. [This is a bit of a misnomer, as this is actually a highly calibrated use of materials that allow certain conditions and moments to disappear]. Materials that allow building to disappear, such as glass and grass allow the building to take on characteristics of air, water and land. The use of grass through a building also allows a seasonal disappearance of the building. This is powerful also as a seasonal illusion that accentuates the buildings presence on a site while confounding the boundary between built and unbuilt, interior and exterior. Materiality must also be considered for its ability to be present, heavy, comforting. There are materials that have cultural signifcance, the weight of stone, the durability of metal, and the soft temporality of wood. Use of each of these materials creeates a composition of lightness and heaviness that beckons a user to stop [and for example feel comforted, feel the warmth of the sun, walk through in awe, or understand ti as an object that is so ancient, it seems difficult to decipher what came first, the ground itself or the building. We begin to wonder : does materiality of a thick wall allow thin to be thick, wall to read as ground, as sky? how does earth become a material of continuity throughout the building? how does this allow the building to confound notions of interior exterior, public private and create communal?
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www.margauxcollective.com
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