Markus Russell - Architecture Portfolio by MARKUS RUSSELL

DESIGNING VOLUMES WITH PIXELS A PORTFOLIO BY MARKUS WYATT RUSSELL D 29 G 44 P 31 R 14 V 50

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- Drawings - Graphics & Diagrams - Photographs - References - Visualizations & Renderings

WORK EXPERIENCE

PUBLISHED WORK

SHARIF, LYNCH: ARCHITECTS

SOMEDAY IS TODAY, 3rd SURFER RECORDS

From July 2019 to February 2020 I interned with the award winning small office of Sharif Lynch Architects in Santa Monica, California. There I primarily worked on construction documents and producing marketing materials for the office.

Working collaboratively with Denver-based artists Max Frost, Patrick Maxcy, and Hayes Trotter, an album jacket and cover was produced for Brad Corrigan (from the award winning band Dispatch). Using a counter culture aesthetic, I produced the photograph for the cover, as well as the copy throughout the jacket. Executed by manually reproducing a public domain typeface with hand-cut stencils and scanning the stenciled painting into the collaborative file where the other artists’ graphics and textures lived.

BLUE LINE ARCHITECTS In the summer of 2017 I interned with a boutique high end residential practice in Denver, Colorado formerly known as Blue Line Architects. Under the generous leadership of Stuart Brummett, I designed residential remodels, measured a handful of as-builts, and learned about the submission process.

UCLA A.UD From May 2019 to April 2020 I worked as a gallery exhibition coordinator and an office assistant in the administrative office of UCLA’s School of Architecture and Urban Design. There I worked with various members of the school’s leadership to exhibit student work, offer hospitality to visiting lecturers, and assist in daily office work.

SCAD MODEL SHOP From September 2016 to June 2018 I was a shop technician in the wood shop dedicated to the School of Building Arts. Assisting historical preservation, interior design, and architecture students with their models, as well as being the only student tasked with stretching large format canvases for the painting department.

CITIZEN MAGAZINE Traveling to Puerto Rico in the aftermath of the devastation of Hurricane Maria, I wrote an article for Citizen Magazine, run by the AIA of Georgia, on the congruencies of architectural education in Georgia and Puerto Rico, as well as the hope that shared pedagogical intentions offer the built environment.

SOFTWARE AND SKILLS ADOBE SUITE AfterEffects - Fair Illustrator - Adept InDesign - Adept Photoshop - Adept Premiere - Foundational

SECONDARY INTERESTS

RHINOCEROS

FILM PHOTOGRAPHY

AUTODESK

With a rather large collection of various Polaroid cameras, as well as a 1970s Minolta / LEICA 35mm and a 1940s Brownie, analogue film processes are a consistent interest.

OLIVETTI TYPEWRITERS A passion for writing manifests itself in a collection of manual typewriters, all made by Olivetti and designed by various architects. A few machines quickly became well over a dozen.

SURFING & TRACK BIKES Just a kook trying to blend in.

Modeling - Adept Grasshopper - Foundational V Ray - Adept

AutoCAD - Fair ReCap Pro - Foundational Revit - Fair

HAPTIC SKILLS Model making - Adept Photography - Fair Sketching - Fair Writing - Adept

AWARDS UCLA SCHOOL OF ARTS FELLOWSHIP 2020-1 The UCLA School of Arts and Architecture Fellowship is awarded based on portfolio submissions to the department at the end of each year. Fellowships are awarded to one candidate per department.

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MARKUS WYATT RUSSELL

EDUCATION

UCLA M. ARCH I CANDIDATE GRAD. 2021

UNIVERSITY OF CALIFORNIA, LOS ANGELES

I am a third year candidate for an accredited Master’s of Architecture at the University of California, Los Angeles, and the recipient of the UCLA School of Arts and Architecture Fellowship for this upcoming year.

Master of Architecture (M.Arch I) UCLA School of Arts and Architecture Fellowship Class of 2021 Candidate Los Angeles, California

I interned for Sharif, Lynch: Architecture, an award winning practice focused on culturally resonate, ideadriven design at all scales. At S,L:A, I worked with a small design team to primarily help them to produce construction documents and office marketing materials.

THE SAVANNAH COLLEGE OF ART & DESIGN

In the summer of 2017, I interned for Blue Line Architects in Denver, Colorado where a generous duo of partners gave me the opportunity to explore designing for a client, seeing all stages of the submission process, and measuring as-builts for a handful of projects to produce an existing building model in Revit. I hold a Bachelor’s of Fine Arts from the Savannah College of Art and Design in Architecture with a minor in Furniture Design, having graduated in 2018. While studying at SCAD I also explored my interests through classes in textile production, jewelry design, and advertising. When I am not working on my architectural designs I am perennially seeking to add to my collection of Olivetti typewriters.

Bachelor of Fine Art in Architecture (B.F.A.) Minor in Furniture Design Class of 2018 Savannah, Georgia

REFERENCES KAYEON LEE - DESIGNER AT BIG, NYC KAYEONLEE@GMAIL.COM

MOHAMED SHARIF - PRINCIPLE OF S,L:A MOHAMED@SHARIFLYNCH.COM | 310.699.6280

KAT ENGLISH - DIRECTOR OF OUTREACH, UCLA KATHERINE.KEARNEY@GMAIL.COM | 310.340.4968

A COHOUSING STRATEGY STUDIO VII - KAYEON LEE OF B.I.G.

This project proposes an architectural system that makes built projects possible through the purchasing of condos at a variety of sizes and price points depending on the individual.

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FLOATING FORTRESS OF INDUSTRY STUDIO VI - JIMENEZ LAI OF BUREAU SPECT.

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Loaded with Marxist critique and guided by a utopian tone, this project seeks to address not only the arrival of rising ocean levels, but also the threat of automated labour, isolated housing conditions, and the encroachment of work into the leisure hours of the working class.

BRUT NEUE STUDIO IV - NEIL DENARI OF NMDA

This project proclaims that one has the freedom from and for communism. Here, then, is neo-brutalism.

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HITCHCOCK’S MISS LONELYHEARTS U.G. STUDIO I - SCOTT SINGEISEN

Taking Alfred Hitchcock’s 1954 masterpiece, Rear Window, this project imagines the spaces beyond the gaze of the lens. Articulating these spaces with loaded narrative produces a secondary narrative that exists off screen.

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CALIFORNIA VERNACULAR: REVISITED RESEARCH STUDIO - NEIL DENARI OF NMDA

Reimagining the suburban sprawl of Los Angeles as a densified urban fabric, this project looks to Los Angeles’ earliest housing developments as a guide for its future.

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ADDITIONAL PROJECTS AND WORK MODEL MAKING AND TYPEWRITER WORK

Additional work showcasing my experience with model making, as well as an ongoing project that uses collaborative writing to produce fictional narratives as well as collages that obscure those narratives.

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A COHOUSING STRATEGY STUDIO VII, UCLA - FALL 2020 LEAD BY KAYEON LEE OF BJARKE INGELS GROUP

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When asked to find an application for a cohousing model for a site in Los Angeles’ Korea Town, Los Angeles’ emerging professionals were an immediate choice as the perfect demographic. Insisting there must be a way to bring more affordable forms of residences into the city to make home ownership a possibility for young working citizens, this project proposes an architectural system that makes built projects possible through the purchasing of condos at a variety of sizes and price points depending on the individual. Through this collective purchasing power, young professionals can come together and generate the kind of capital required to build new housing in this extraordinarily expensive city. In this project, twenty nine families, individuals, and couples have invested their own appropriate sums of capital, resulting in a cohousing model that is predicated on intent through ownership. As the project began, formal references were taken from Moshe Safdie’s Habitat 67, inspiration of spirit from the density, autonomy, and variety of Kowloon Walled City, and the expressive dogmas of Friedensreich Hundertwasser. In the

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core of this project were fixed the words of Hundertwasser, “the occupant of an apartment must have the right to lean out of his window and to decorate the outer walls as it suits him as far as his arm can reach so that one can see at a distance that a person as an individual being is living there.” The result of taking Hundertwasser’s words to heart meant the modular design of the project must embody ample choice for each investor to be sure the developer can promise that one should be capable of designing “the outer walls as it suites him”. In order to fast track assembly, all pieces are designed to fit on the back of an oversize load lorry. This ensures that through factory manufacturing, the same system can be regionally mass-produced to generate mass-customization solutions to an inaffordable housing market. Utilizing an 8 foot by 8 foot grid, a structural frame assembled off site acts as a primary modulated object. This steel frame is filled with a lightweight concrete slab, and then clad in an aluminum shell that continues to increase the module’s performance by providing the slips for it to interlock with additional modular

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pieces to achieve windows, doors, and balconies (G 01 - 08). This assembly method is an interpretation of an “occupant’s right to decorate the outer walls as it suits them, so that one can see a person as an individual lives there”. Each condo is produced using this kit of parts that includes a handful of irregular volumetric attachments, allowing for more unique pieces of spatial articulation to reduce any redundancy from repetition (G 09 - 10). Furthermore, a variety of window types, doors, built-in furniture, and other elements round out the system. Here, blue and yellow chromatic hatches help to articulate individual units and their assembly, green identifies urban gardening plots, and red denotes shared programmatic spaces. This chromatic shorthand continues through the graphics with explorations of the building being articulated through a diagrammatic language, operating as a rapid articulation of each unit’s mass.

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D 03 GRAPHICS GUIDE V 02 - An axonometric view from the NW side of the

building D 02 - Short Section D 03 - Site Plan G 11 through G 39 - Axonometric drawings of the various condos within the building

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GRAPHICS GUIDE D 04 - West Elevation D 05 - Ground Level Plan D 06 - Second Floor Plan D 07 - Section Perspective D 08 - Third Floor Plan D 09 - Fifth Floor Plan

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FLOATING FORTRESS OF INDUSTRY STUDIO VI, UCLA - SPRING 2020 LEAD BY JIMENEZ LAI OF BUREAU SPECTACULAR

Through the exploration of the typology of a ferry terminal this project arrives at the intersection between low-lying coastal communities and the near-future threat of rising tides. Using the Royal Saltworks by Ledoux as precedent, this ferry terminal produces a utopian critique of the typology by challenging it to produce a phalanstery through its micro-economy. Taking industries from neighboring areas of Oxnard (a given site), this condensed economic community brings agriculture, cultural / recreational facilities, housing, and a desalination plant onto a rig that responds to rising sea levels, ensuring the longevity of Oxnard’s relevance along the fragile California coast. In the 21st century, there is no longer a true separation between “work” and “leisure” – this structural convergence is an inescapable reality where we have, as a culture, made ourselves accessible to our work at all times – even when we are off the clock, on holiday, or at home – through our desire to be competitive as employees and as consequence of our tethered status to mobile networks through our phones and computers. In many ways, a crisis with a home in the United States specifically.

Work (labour), when historically contextualized, was a totally separable clocking in and clocking out type of labour. After work, typically, is when people could go home and utilize their regenerative capital to sustain their morale, health, and spirit before returning to work once again. These spaces of regeneration were independent of, and sustained by capital outside of, the immediate realm of work. Work (labour), today, has become inseparable from life (leisure). This division has proven problematic and has been addressed by many leading tech companies through the introduction of play into workspaces as incentive for employment. We believe that the way forward is not just through the implementation of “fun” into spaces of labour, but rather an entire cohabitation of work and leisure through the proposal of phalansteries built around, and profited from, sustainable industries. We believe that the capital earned by a working class does not afford enough surplus capital to nourish the worker. We are guided in no small portion by the ideas of Henri Lefebvre, who saw architecture as an instrument which perpetuates

capitalism’s depredations. If leisure spaces are indispensable to the reproduction of capital, why not generate a means of production whose profits then generate leisure spaces for the labourers? Utilizing a secondary study of what Jimenez Lai identified as “the aesthetics of the chill”, an intimate analysis of chill-hop music videos, late vapor-wave graphics, and late 20th century Japanese animation styles like Akira and Cowboy Bebop, produced a representational regime that guided the visuals of the project. The pillars of this aesthetic appeared to fit seamlessly with the beginning weeks of the Covid-19 Pandemic as it is a design style that is notably devoid of human figures and instead portrays the exotica of material life through artifacts seemingly just abandoned. This collaborative project was completed with the help of the immensely talented Xavier Ramirez, Jenn Peterson Ruiz, and Artin Sahakian, all UCLA M. Arch I 2021. All four of us equally divided rendering, modeling, and animating the project.

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GRAPHICS GUIDE V 03 - Still from animation, view of leisure pool V 04 - Still from animation, axonometric turntable of Fortress

of Industry on left, map of Oxnard, CA on right V 05 - Still from animation, axonometric turntable of Fortress of Industry on left, map of Channel Islands Harbor V 06 - Still from animation, drawings of FFOI pinned to wall V 07 - Still from animation, view of construction management office V 08 - Same as above, but with the onset of evening lighting V 09 - Still from animation, view of agricultural industry being disassembled and prepared to move down river to the FFOI V 10 - Still from animation, agricultural site being shipped down river to Channel Islands Harbor where the FFOI is V 11 - Still from animation, docks on the FFOI for small sea craft V 12 - Still from animation, retain kiosk on tourist deck of the FFOI V 13 - Still from animation, advertisement with cheeky reference to Ledoux whose Salt Works inspired the labor structure of this project

V 14 - Still from animation, desalination plant on the FFOI V 15 - Still from animation, embering bong in one of the

residences of the rig. Used to articulate a sense of “chill” within the domestic setting of the labourer V 16 - Still from animation, view of typical residence on the FFOI, agricultural program seen through window V 17 - Still from animation, recreational field seen from stands, more ironic advertisements on opposite wall V 18 - Still from animation, b-roll shot of palm trees swaying in the wind with leisure chairs in the sand V 19 - Still from animation, view from Oxnard of the FFOI as it floats in the center of Channel Islands Harbor

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GRAPHICS GUIDE V 20 - Still from animation, view of visitor entrance when

approaching from automobile infrastructure, imagined as a site for a future additional ferry terminal once ocean levels rise another 10 feet V 21 - Still from animation, view of interior of visitor entrance upper level. Space imagined as a location for retail of goods produced on the FFOI V 22 - Still from animation, simple overhead graphic of the FFOI as it existed in the visualizations on the previous page. A quad-based organization with programs limited to these nodes. Here, the FFOI is shown expanding and with new complexities to the in-between spaces V 23 - Still from animation, diagram of the “chill”. Physical manifestations of the explorations of chill-hop aesthetics V 24 - Still from animation, axonometric view of the desalination plant on the rig. The desalination plant is conceived as the primary industry of the rig. Here, the Floating Fortress of Industry desalinates ocean water and sells the potable water to the city of Los Angeles at a premium price

V 25 - Still from animation, view of rig and the sources of its buoyancy

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residential portion of the rig. Here, unique housing units offer labourers a residential solution with some physical distance from their site of labour V 27 - Still from animation, axonometric view of the various ports of entry for the FFOI. Various methods of transport have their own unique entry experiences. A path for visitors via automobile to the south side, pedestrian traffic to the west, and marine vessel arrival in the center V 28 - Still from animation, axonometric view of the leisure part

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GRAPHICS GUIDE V 29 - Still from animation, view of ferry terminal that acts as the hub to bring non-residents to the site. The role of the leisure zones within the phalanstery are extensions of the rig’s closed economy, allowing for outside capital to come into the system, but not leave it V 30 - Still from animation, view of desalination program on rig V 31 - Still from animation, view of agricultural towers on FFOI

V 32 - Still from animation, view of power transformers on top of the recreational facility, seen in distance is one of the many agricultural towers V 33 - Still from animation, the animation follows the day of a ferry terminal employee. Beginning with their day here in the office, the animation produces a sense of passing time and ultimately arrives at a frustrating continuation of scene - much like a day at work

V 34 - Still of animation, first person view of the animation’s protagonist looking at the clock to see if they are off work yet V 35 - Still from animation, view of the thermal baths attached to the desalination system. A primary hub for tourism, but also a leisure space for the labourers on the rig V 36 - Still from animation, aerial view of desalination rig with thermal baths below V 37 - Still from animation, view of the “lower valley”, a region

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of the FFOI that acts as the circulatory hub for the entire rig. Here residents interact between shifts, on their way to the many leisure programs, and even pass the visiting tourist or recreationalist V 38 - Still from animation, view of the pool at sea-level. A primary non-labour program within the rig V 39 - Still from animation, view of lowest elevator exit. Wooden deck leads to the recreational fields (not pictured)

and looks ahead at the lower valley V 40 - Still from animation, view of typical residence at dusk

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BRUT NEUE STUDIO IV, UCLA - FALL 2019 LEAD BY NEIL DENARI OF NMDA

“Aesthetics without ideology” decrees the poster to the right, but in fact there is much ideology at stake here. Conceived as an exploration of housing through a modular lens, this neo-brutalist housing strategy is just as interested in seeking what urbanism in Los Angeles looks like in 2019 as well as what constructivist aesthetics and the ghosts of Soviet design have to offer without the heavy hand of The Iron Curtain. Los Angeles is no stranger to orphaned building ideologies, standalone oddities and displaced stylistic revivals. From the space-aged fantasy of the Theme Building at LAX by Paul Williams, Pereira & Luckman, and Robert Herrick Carter, to the folk art “Watts Towers” by Sabato Rodia, the oddity of the Cinerama Dome by Pierre Cabrol, or the infamous Gothic French chateau, The Hotel Chateau Marmont by Arnold A. Weitzman and William Douglass Lee, Los Angeles is a sprawling landscape where anything goes. The appeal of the architectural proposition for the address of 3788 - 3900 West Martin Luther King Jr. Boulevard is rooted in an apolitical Soviet-brutalist architecture.

Through an investigation of the highly geometric and austere pedagogy of Soviets-past, and a recognition that Los Angeles is the quintessential home for architectural movements and neo-isms without clear base, this proposition dares to tell Los Angeles that Soviet aesthetics are a great deal of fun, and so too is your access to free enterprise.

roots of our beloved modernists. This project studies the premodernist explorations of the Russian constructivists who launched the ideologies that migrated west into the Bauhaus of Weimar, Germany and furthermore onwards into the iconic architecture programs stimulated in the United States by individuals such as Walter Gropius and Marcel Breuer.

This project proclaims that one has the freedom from and for communism. Here, then, is neo-brutalism.

The result is an appropriated design aesthetic which relies on the rebirth of mass-culture taste for brutalist architecture as agitated through the mediums of cinema, namely films such as Blade Runner 2049, and the advent of countless online blogs existing as content collectors of solely brutalist projects – both real and imagined.

Through the studying of iconic constructivist artists Marcel Breuer, Naum Gabo, Wassily Kandinsky, El Lissitzsky, Kasimir Malevich, Laszlo Moholy-Nagy, and Piet Mondrian, as well as iconic Brutalist architects Gottfried Bohm, Marcel Breuer, Felix Candela, William Pereira, Jenaro Pindu, Moshe Safdie, Both Kuldip Singh, Jorn Utzon, and Hans Zwimpfer, a climatically oriented, chevron-oscillated modularly stacked housing solution emerges. With building plans and sections drawn in a neo-constructivist style, the project begins to truly embody an homage to the

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G 40 GRAPHICS GUIDE D 10 - Constructivist aesthetic elevations of the street front

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(left) and the rear of the building (right) G 40 - Poster for the project, conceived as an advertisement for the housing structure as a means of garnering ideologically motivated tenants to sign on. Copy that is on poster is repeated on page 18 at a more legible scale in the form of the project description R 01 - Aldo Rossi, “The Possibility of an Absolute Architecture, Charcoal on Paper, 1970s R 02 - Gustav Klutsis, ‘Megaphone”, Medium on Paper, 1922 R 03 - El Lissitzsky, “Beat the Whites with the Red Wedge”, Medium on Paper, 1919 R 04 - Hans Zwimpfer, Schulhaus Boppartshof Primary School, St. Gallen, Switzerland, 1962-66 R 05 - Jenaro Pindu, Castillo Pindu, Asuncion, Paraguay, Date Unknown R 06 - Gottfried Bohm, Bensberg City Hall, Bensberg, Germany, 1965-67

R 07 - John C. Portman, Jr., Atlanta Marriott Marquis Hotel, Atlanta, GA, 1985 R 08 - Egidio Bonfante, Olivetti Valentine Advertisement, Silk Screen Print, 1970 R 09 - Cass Gilbert, Brooklyn Army Terminal, Brooklyn, New York City, NY, 1918-19 R 10 - Marcel Breuer, Whitney Museum of American Art, Manhattan, New York City, NY, 1966 R 11 - Album art for Black Rebel Motorcycle Club’s 2013 album Specter At The Feast, Abstract Dragon Records R 12 - Yakov Chernikhov, Book Cover for “Fantasy and Construction”, Medium Unknown, Date Unknown (NEXT PAGE) V 41- Elevational study of project. The oscillation of units as

they stack provides opportunities for ample patio spaces on the facade. A lone red figure stands in for scale as the interior of some apartments is illuminated.

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24 GRAPHICS GUIDE (PREVIOUS PAGE) D 11 - Site plan. Worth noting here the adjacency of reference no. 13 D 12 - Third floor plan of Brut Neue. The angled circulation core attached to the rear of the structure provides a single loaded core with various scales of modulated housing volumes D 13 - Long section through the project. The red color is a rapid shorthand for distinguishing interior, conditioned space. This section doubles as an effective graphic to show the oscillation in the composition of the building D 14 - Hard shadow elevation of the long side rear of the structure. This view highlights the presence of the same elevation gesture as found on the primary facade along MLK Blvd. The circulation cores peek out from behind the edges of the dog-leg and show the two primary vertical egress routes D 15 - Section to articulate the structural column at the base of each triad of modular hexagons at the second level. The columns act poetically as a rotating irregular form that at the intersection of the ground level (the throat of the column)

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is aligned to the off-compass orientation of the site before extending upwards, continuing to contort, in order to arrange the residential units overhead on a true North orientation for climatic performativity. The section also serves as the only evidence of the subterranean parking conditions under the project G 41 - A diagram of Brut Neue with all the housing stacked uniformly rather than in the redistributed system of the finished project G 42 - This diagram shows the displacement and rearrangement of residential units along the primary facade of the project. This generates a more dynamic elevation, as well as providing structural cues to the hierarchy of vertical circulation at the cores G 43 - A series of constructivist diagrams to explore the various residential unit designs that are achieved with the simple modulated hexagonal form R 13 - Here, the direct appropriation of perhaps the most quintessential constructivist piece of art produces a site plan

with the same wedge appearing in the split circulation bars, the “whites” are embodied in the circular pedestal found on the ground level plaza. Graphic has been rotated 180 degrees to make the design a 1:1 evidence. El Lissitzsky, “Beat the Whites with the Red Wedge”, Medium on Paper, 1919

(CURRENT PAGE) V 42 - Visualization of Brut Neue from perspective of a foot

bridge from the circulation core to the door of a residence. 7th story POV looking up at the elevator core and the cantilevering bridges overhead V 43 - A visualization from the northern elevator core, looking down the extension of the circulation spine, overlooking the dog-leg extension on the right. Minimal site information not unintentional

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The kitchen is a symbol of her autonomy. While she may be a widow, or perhaps alone all her life, here she works on her own.

At the dining table we see the loneliness of Ms. Lonelyhearts. Her lack of fulfillment.

At the couch we see a nervous Ms. Lonelyhearts get assaulted by an anonymous suitor. An act of betrayal.

At her desk, Ms. Lonelyhearts nearly takes her life. Here we see the depth of her misery and her moment of saving.

MISS LONELYHEARTS U.G. STUDIO I, SCAD - FALL 2016 LEAD BY SCOTT SINGEISEN

Here, one take one of the auxiliary protagonists from Alfred Hitchcock’s 1954 masterpiece, Rear Window, and uses a forensic eye to understand the “known parts” of their apartment as captured by Hitchcock’s largely fixed lens. From this single perspective, the film explores Lacan’s Gaze, and allows for one to experience the perversion of being caught gazing. Here, the project dares to swim in this induced perversion and to linger in the frames and extrapolate beyond the view sheds through the windows in order to imagine the rest of the apartment’s volume as well as how the “unknown parts” might influence the murderous plot of the film. Selecting the woman living alone on the ground level, Miss Lonelyhearts, the project required documentation of the portions of the apartment which were known from the various and isolated views into her domicile (shown in the drawings above).. From analyzing screen captures and stills from the film, the known parts of the apartment were quickly identified as the

entry hall, a slice of her kitchen, a dining table and living room couch, as well as a vanity table in her bedroom. The plot points in Miss Lonelyhearts’ story arc are perhaps the heaviest in the film. Short of Mrs. Thorwald’s murder off camera, Miss Lonelyhearts’ seen life is tragic and isolated. Expanding the plot of the film through this exercise, Miss Lonelyhearts becomes engaged in an affair with Mr. Thorwald that makes her an accomplice to the murder of Mrs. Thorwald. Imagining Miss Lonelyhearts as a widow living in a reducedrent apartment above the laundry room (of which she is the sole operator in exchange for this reduced-rent), her private access to the laundry shoots and the washing machines makes her the inevitable suspect in the process of disposing of Mrs. Thorwald’s body. As the following plans will show, once Mr. Thorwald had thrown Mrs. Throwald’s body down the laundry shoot into the laundry room below Miss Lonelyhearts’ apartment, Miss Lonelyhearts begins dismembering Mrs. Thorwald’s body with a saw, and

placing the parts into briefcases which are returned to Mr. Thorwald so he can take them and dispose of them somewhere in New York City. As she wields the saw, the thought of the act of murder, the paranoia of the police rushing in, and the anxiety of being arrested for the heinous act become too big for the room. These emotional affects on Ms. Lonelyhearts are expressed through the underlaid graphics surrounding the plans of the project. Illustrated on the ground floor are the cubbies in which Miss Lonelyhearts places the washed and folded laundry of the other tenants of the apartment. It’s also the location of her profound guilt in the wake of the murder… a guilt so heavy that it leads to her pondering suicide…

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GRAPHICS GUIDE D 20 - Primary floor plan. A blend of vector

based architectural drawing, overlaid hand sketches to capture moments of the implied plot. The underlaid graphics are intended to articulate the psyche of Miss Lonelyhearts, not an actual reality. D 21 - Laundry room floor plan. Same mediums as above, with the same design intent throughout P 03 - Wood model, seen as view in film P 04 - Wood model, overhead plan view P 05 - Wood model, section of stairs to laundry R 14 - Side photograph of James Stewart

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- A WORK IN PROGRESS -

CALIFORNIA VERNACULAR: REVISITED RESEARCH STUDIO - M. ARCH I 3RD YEAR LEAD BY NEIL DENARI OF NMDA

This brief seeks to replace R1, single-family housing with a more dense alternative kind of urbanism. This brief is proposing a future housing strategy for the city of Los Angeles that allows for an increase of its housing stock while preserving the boundaries of the city. When imagining this future, one anticipates the decline of the personal automobile, the rise of ride share strategies and a bolstering of public transportation. With these methods of moving citizens, an expanding city scape is a problem, and densification is a viable solution. Thinking of reimagining the density of the city, one might think of the turn of the previous century when this city was booming. Ample land, endless sun, and many other half fulfilled promises. Suburban development and real estate speculators quickly moved to build the city fast enough to keep up with the new masses coming in. Tracking the Spanish style specifically, architects from Frank Lloyd Wright and Richard Neutra to Irving Gill and Arthur Harvey took from its rich rolodex of form language and gave it its appropriated incorporation into each successive era

in an ontological sense. From stream line hybrids to prairie interpretations it was developed and modified to varied degrees of legibility. As this project addresses the brief, a redeployment of the same Spanish Colonial domestic images of a century ago are revisited. This seeks not to be an effort of pure revivalist ambition nor does it go so far as to be a haphazard collage of images as an act of rapid appropriation… no, this project seeks instead to be a contemporary exploration of an architecture that speaks of the past with an informed voice while also engaging with the now and the imagined densified future in an interrogative way. Beginning with the shorter of the three, this lower structure is akin to the brick masonry construction of many of the 1920s apartments and hotels built in the style. As a consequence the steel remains enclosed entirely in the plaster walls, giving this tower a more historical facade. In the mid-rise tower, the base of each level’s arcade has the steel exposed. Having looked to the courtyard houses of the Moorish

Mediterranean, the steel leaves the encasement of the plaster and allows for momentary exposure. Lastly, looking to the high rise, here we see Spanish Colonial architecture being deployed in a way that it has not before. In a historic sense, entirely incapable of such verticality, the tower sheds the plaster envelope and instead expresses its Miesian truth at its boundary. Here, the image of the Spanish references are deployed like an intestinal lining rather than a cladding or enclosure.

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V 49 GRAPHICS GUIDE (PREVIOUS PAGE) G 44 - Simple graphic to articulate core ideas of project D 22 - Plan of subterranean volume D 23 - Plan of plaza pedestal D 24 - Plan of lowest level of residences V 45 - Rendering of the courtyard of the project. The glazed

plaza is clearly seen, and the different degrees of exposing the steel structure at the core of the project are showcased

(CURRENT PAGE) V 46 - Railing study shows the Moorish-derived deployment of

the steel columns for the midrise building V 47 - Rendering of the glazed pavers of the public plaza as seen from the subterranean volume V 48 - Axonometric rendering of the project within its context. As shown here, the building is primarily rendered as its mass with a pink plaster applied for legibility V 49 - View of the project from the northern facade, as seen from the street V 50 - Close study of facade fenestration. View showcases the reveal of the horizontal steel structure as it passes through the void between the two volumes of residences

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PHYSICAL MODELS A SYNOPSIS OF THE MODELS MADE

GRAPHICS GUIDE D 25 - Short section drawing through a project called

Body Reversals. An urban mechanized parking structure is impregnated with a gymnasium in an exploration of what it means to utilize a structure for storage and engagement in downtown Los Angeles. Project can be seen in full on my website, MarkusRussell.com D 26 - First floor plan for a project called The Royal Tenenbaums. A voyeuristic house produced for the Adidas tracksuit wearing Chas Tenenbaum. Project can be seen in full on my website, MarkusRussell.com D 27 - Second floor plan for The Royal Tenenbaums D 28 - Third floor plan for The Royal Tenenbaums D 29 - Fourth floor plan for The Royal Tenenbaums P 06 - Photographs of the model produced for a project called An Art Center. This model, roughly 36in x 18in, was produced solely with a table saw and Zap a Gap. Utilizing a rough board of poplar, I jointed, planed, resawed, sanded, and then ripped

the wood to produce 100% of the modulated pieces for this model, the thin raked texture on the facade included. Scale figures were laser cut P 07 - Photograph of the model produced for Body Reversals. Using particle board, a walnut model ply, birch dowels, and 3D printed scale figures and cars, this multi-method approach to model making allowed for laser cut pieces, printed ones, as well as machined elements. The white painted ramps help to clearly articulate the focal point of the project and the ramp’s relationship to the innate status of the automobile P 08 - Laser cut craft play and acrylic. Floor plan and furniture plan engraved on floor plates. Each level of the project is a glued piece that enables the model to act as an investigative tool, building and then deconstructing the project easily in order for the inhabitable poche to be easily understood as it dodges fenestrations and climbs between levels P 09 - Same model as P 08 but assembled up to the second floor of project

P 10 - Same model as P 08 but assembled up to the third floor of project P 11 - Same model as P 08 but assembled up to the fourth floor of project

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TYPEWRITER NIGHTS A TAKE ON EXQUISITE CORPSE Typewriter Night is a game that operates in a similar spirit to the drawing game Exquisite Corpse played first by Marcel Duchamp in the 1920’s. In this version however, friends gather to collaboratively write stories on a series of typewriters that the host has collected. Each participant sits at a typewriter and conceives of the beginning of a plot, they then develop that beginning for the duration of about 20 minutes (or one side of an LP) before moving to their left, reading the plot written by the participant beside them, and then continuing the story where it left off for another 20 minutes: about five Joy Division tracks. The night continues like this as the group slowly rotates around the room, reading stories, developing their plots (or sabotaging them), until finally they get to the typewriter to the right of

where they started their night. At this point in the rotation each participant is expected to finish the story they find here, making the next rotation - the one that reunites each writer with the story the began - a moment of discovering the story you started as a completed one, only to be read for the first time strictly out loud and in a rotational fashion in line with how the evening was began. There are other factors involved here like the drinking of wine, one machine determining who gets to change the LP between turns, and the curation over time of motifs and plot threads, however the ambition here is not to produce anything of quality, but rather to enjoy the sensation of typing on one of these amazing machines, sharing time with friends without any digital technology, and advocating for those who participate to consider buying their own typewriters and LPs to give orphaned

typewriters new homes and the idea of owning music a new urgency. Since leaving Savannah, GA to move to Los Angeles, Typewriter Nights have sprung up in new and exciting places. They continue to gather at the keys of Adam Drummond’s typewriter collection in Savannah, GA, they gather amazingly at Alexia Lund and Aaron Bower’s collection in Paris, France, and predictably mine in Los Angeles. The images here are a means of presenting the work so that the perverse or non-politically correct facets of some stories are reduced to aesthetic compositions rather than maintained as stories. The color graphics in each overlay are from the wine labels consumed that evening.

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38 D - DRAWINGS G - GRAPHICS (DIAGRAMS) P - PHOTOGRAPHS R - REFERENCES V - VISUALIZATIONS (RENDERS) GRAPHIC GUIDE - COVER PAGE AND CONTENTS P 01 - Linear scanned photocopy of my hands in 2016. Used

as a phenomenological device for expressing the tactility of my architecture. To see the discoloration of the skin against the glass that separates the flesh from the pixel is to hopefully articulate a sense of the physical labor that is required in order for these projects to become actualized P 02 - Portrait of self shot on 35mm Minolta / LEICA XD, Japanese market-exclusive body. Color Kodak 100 iso film. Shot by Jennifer Peterson Ruiz, Summer 2019

GRAPHIC GUIDE - COHOUSING STRATEGY D 01 - Unit Diagram, showcasing modular assembly strategy D 02 - Short Section D 03 - Site Plan D 04 - West Elevation D 05 - Ground Level Plan D 06 - Second Floor Plan D 07 - Section Perspective D 08 - Third Floor Plan D 09 - Fifth Floor Plan G 01 - 08 - Assembly diagrams, chronological from left to

right. Description of function found within body copy of page 6

G 09 - 10 - Itemized catalogue of full kit of parts G 11 through G 39 - Axonometric drawings of the various

condos within the building V 01 - Visualization of cohousing strategy from NW street level. Visualization retains the sensibilities of the strict visual regime used in the drawings for the project

V 02 - An axonometric view from the NW side of the building GRAPHIC GUIDE - FLOATING FORTRESS OF INDUSTRY V 03 - Still from animation, view of leisure pool V 04 - Still from animation, axonometric turntable of Fortress of Industry on left, map of Oxnard, CA on right

V 05 - Still from animation, axonometric turntable of Fortress

of Industry on left, map of Channel Islands Harbor V 06 - Still from animation, drawings of FFOI pinned to wall V 07 - Still from animation, view of construction management office V 08 - Same as above, but with the onset of evening lighting V 09 - Still from animation, view of agricultural industry being disassembled and prepared to move down river to the FFOI V 10 - Still from animation, agricultural site being shipped down river to Channel Islands Harbor where the FFOI is V 11 - Still from animation, docks on the FFOI for small sea craft V 12 - Still from animation, retain kiosk on tourist deck of the FFOI

V 13 - Still from animation, advertisement with cheeky reference to Ledoux whose Salt Works inspired the labor structure of this project V 14 - Still from animation, desalination plant on the FFOI V 15 - Still from animation, embering bong in one of the residences of the rig. Used to articulate a sense of “chill” within the domestic setting of the labourer V 16 - Still from animation, view of typical residence on the FFOI, agricultural program seen through window V 17 - Still from animation, recreational field seen from stands, more ironic advertisements on opposite wall V 18 - Still from animation, b-roll shot of palm trees swaying in the wind with leisure chairs in the sand V 19 - Still from animation, view from Oxnard of the FFOI as it floats in the center of Channel Islands Harbor V 20 - Still from animation, view of visitor entrance when approaching from automobile infrastructure, imagined as a site for a future additional ferry terminal once ocean levels rise another 10 feet V 21 - Still from animation, view of interior of visitor entrance upper level. Space imagined as a location for retail of goods produced on the FFOI V 22 - Still from animation, simple overhead graphic of the

FFOI as it existed in the visualizations on the previous page. A quad-based organization with programs limited to these nodes. Here, the FFOI is shown expanding and with new complexities to the in-between spaces V 23 - Still from animation, diagram of the “chill”. Physical manifestations of the explorations of chill-hop aesthetics V 24 - Still from animation, axonometric view of the desalination plant on the rig. The desalination plant is conceived as the primary industry of the rig. Here, the Floating Fortress of Industry desalinates ocean water and sells the potable water to the city of Los Angeles at a premium price V 25 - Still from animation, view of rig and the sources of its buoyancy V 26 - Still from animation, axonometric view of the residential portion of the rig. Here, unique housing units offer labourers a residential solution with some physical distance from their site of labour V 27 - Still from animation, axonometric view of the various ports of entry for the FFOI. Various methods of transport have their own unique entry experiences. A path for visitors via automobile to the south side, pedestrian traffic to the west, and marine vessel arrival in the center V 28 - Still from animation, axonometric view of the leisure part

V 29 - Still from animation, view of ferry terminal that acts as the hub to bring non-residents to the site. The role of the leisure zones within the phalanstery are extensions of the rig’s closed economy, allowing for outside capital to come into the system, but not leave it V 30 - Still from animation, view of desalination program on rig V 31 - Still from animation, view of agricultural towers on FFOI V 32 - Still from animation, view of power transformers on top of the recreational facility, seen in distance is one of the many agricultural towers V 33 - Still from animation, the animation follows the day of a ferry terminal employee. Beginning with their day here in the office, the animation produces a sense of passing time and ultimately arrives at a frustrating continuation of scene - much like a day at work V 34 - Still of animation, first person view of the animation’s protagonist looking at the clock to see if they are off work yet V 35 - Still from animation, view of the thermal baths attached to the desalination system. A primary hub for tourism, but also a leisure space for the labourers on the rig V 36 - Still from animation, aerial view of desalination rig with thermal baths below

V 37 - Still from animation, view of the “lower valley”, a region

D 14 - Hard shadow elevation of the long side rear of the structure. This view highlights the presence of the same elevation gesture as found on the primary facade along MLK Blvd. The circulation cores peek out from behind the edges of the dog-leg and show the two primary vertical egress routes D 15 - Section to articulate the structural column at the base of each triad of modular hexagons at the second level. The columns act poetically as a rotating irregular form that at the intersection of the ground level (the throat of the column) is aligned to the off-compass orientation of the site before extending upwards, continuing to contort, in order to arrange the residential units overhead on a true North orientation for climatic performativity. The section also serves as the only evidence of the subterranean parking conditions under the project G 40 - Poster for the project, conceived as an advertisement for the housing structure as a means of garnering ideologically motivated tenants to sign on G 41 - A diagram of Brut Neue with all the housing stacked uniformly rather than in the redistributed system of the finished project G 42 - This diagram shows the displacement and rearrangement of residential units along the primary facade of the project. This generates a more dynamic elevation, as well as providing structural cues to the hierarchy of vertical circulation

at the cores G 43 - A series of constructivist diagrams to explore the various residential unit designs that are achieved with the simple modulated hexagonal form R 01 - Aldo Rossi, “The Possibility of an Absolute Architecture, Charcoal on Paper, 1970s R 02 - Gustav Klutsis, ‘Megaphone”, Medium on Paper, 1922 R 03 - El Lissitzsky, “Beat the Whites with the Red Wedge”, Medium on Paper, 1919 R 04 - Hans Zwimpfer, Schulhaus Boppartshof Primary School, St. Gallen, Switzerland, 1962-66 R 05 - Jenaro Pindu, Castillo Pindu, Asuncion, Paraguay, Date Unknown R 06 - Gottfried Bohm, Bensberg City Hall, Bensberg, Germany, 1965-67 R 07 - John C. Portman, Jr., Atlanta Marriott Marquis Hotel, Atlanta, GA, 1985 R 08 - Egidio Bonfante, Olivetti Valentine Advertisement, Silk Screen Print, 1970 R 09 - Cass Gilbert, Brooklyn Army Terminal, Brooklyn, New York City, NY, 1918-19 R 10 - Marcel Breuer, Whitney Museum of American Art, Manhattan, New York City, NY, 1966 R 11 - Album art for Black Rebel Motorcycle Club’s 2013 album

GRAPHIC GUIDE - BRUT NEUE D 10 - Constructivist aesthetic elevations of the street front

(left) and the rear of the building (right) D 11 - Site plan. Worth noting here the adjacency of reference no. 13 D 12 - Third floor plan of Brut Neue. The angled circulation core attached to the rear of the structure provides a single loaded core with various scales of modulated housing volumes D 13 - Long section through the project. The red color is a rapid shorthand for distinguishing interior, conditioned space. This section doubles as an effective graphic to show the oscillation in the composition of the building

39 Specter At The Feast, Abstract Dragon Records R 12 - Yakov Chernikhov, Book Cover for “Fantasy and Construction”, Medium Unknown, Date Unknown R 13 - Here, the direct appropriation of perhaps the most quintessential constructivist piece of art produces a site plan with the same wedge appearing in the split circulation bars, the “whites” are embodied in the circular pedestal found on the ground level plaza. Graphic has been rotated 180 degrees to make the design a 1:1 evidence. El Lissitzsky, “Beat the Whites with the Red Wedge”, Medium on Paper, 1919 V 41- Elevational study of project. The oscillation of units as they stack provides opportunities for ample patio spaces on the facade. A lone red figure stands in for scale as the interior of some apartments is illuminated. V 42 - Visualization of Brut Neue from perspective of a foot bridge from the circulation core to the door of a residence. 7th story POV looking up at the elevator core and the cantilevering bridges overhead V 43 - A visualization from the northern elevator core, looking down the extension of the circulation spine, overlooking the

GRAPHIC GUIDE - CALIFORNIA VERNACULAR D 22 - Plan of subterranean volume D 23 - Plan of plaza pedestal D 24 - Plan of lowest level of residences G 44 - Simple graphic to articulate core ideas of project V 45 - Rendering of the courtyard of the project. The glazed

plaza is clearly seen, and the different degrees of exposing the steel structure at the core of the project are showcased V 46 - Railing study shows the Moorish-derived deployment of the steel columns for the midrise building V 47 - Rendering of the glazed pavers of the public plaza as seen from the subterranean volume V 48 - Axonometric rendering of the project within its context. As shown here, the building is primarily rendered as its mass with a pink plaster applied for legibility V 49 - View of the project from the northern facade, as seen from the street V 50 - Close study of facade fenestration. View showcases the reveal of the horizontal steel structure as it passes through the void between the two volumes of residences

dog-leg extension on the right. Minimal site information not unintentional

GRAPHIC GUIDE - MISS LONELYHEARTS D 16 - Hand sketched drawing to capture the artifacts,

furniture, and spatiality of the known portions of Miss Lonelyhearts’ apartment. Here it is the kitchen D 17 - Hand sketched drawing to capture the artifacts, furniture, and spatiality of the known portions of Miss Lonelyhearts’ apartment. Here it is the dining room D 18 - Hand sketched drawing to capture the artifacts, furniture, and spatiality of the known portions of Miss Lonelyhearts’ apartment. Here it is the living room D 19 - Hand sketched drawing to capture the artifacts, furniture, and spatiality of the known portions of Miss Lonelyhearts’ apartment. Here it is the vanity of her bedroom V 44 - This timeline tracks both Hitchcock’s plot as well as the imagined parallel one. The copy included on this graphic were produced using my Olivetti Dora and scanned into the computer where it was made into a .png and used to fill

GRAPHIC GUIDE - PHYSICAL MODELS D 25 - Short section drawing through a project called

copy blocks. The image in the bottom of the elevation of Miss Lonelyhearts’ apartment is a collage of three film angles that I connected to make a wide view. At the top of the graphic is a plan tracing the various imagined acts of Miss Lonelyhearts with view cones placed in the apertures to help articulate what Hitchcock’s camera does and does not capture D 20 - Primary floor plan. A blend of vector based architectural drawing, overlaid hand sketches to capture moments of the implied plot, and collage to articulate mood. The underlaid graphics are intended to articulate the psyche of Miss Lonelyhearts, not an actual reality beyond the threshold of her residence D 21 - Laundry room floor plan. Same mediums as above, with the same design intent throughout P 03 - Wood model, seen as view in film P 04 - Wood model, overhead plan view P 05 - Wood model, section of stairs to laundry R 14 - Side photograph of James Stewart

to model making allowed for laser cut pieces, printed ones, as well as machined elements. The white painted ramps help to clearly articulate the focal point of the project and the ramp’s relationship to the innate status of the automobile P 08 - Laser cut craft play and acrylic. Floor plan and furniture plan engraved on floor plates. Each level of the project is a glued piece that enables the model to act as an investigative tool, building and then deconstructing the project easily in order for the inhabitable poche to be easily understood as it dodges fenestrations and climbs between levels P 09 - Same model as P 08 but assembled up to the second floor of project P 10 - Same model as P 08 but assembled up to the third floor of project P 11 - Same model as P 08 but assembled up to the fourth floor of project

GRAPHIC GUIDE - TYPEWRITER NIGHTS P 12 - Overlay of each story over one another with wine labels

showing underneath the copy. Condensement of typewritten stories from night one at Drayton Tower, Savannah, Georgia P 13 - Overlay of each story over one another with wine labels showing underneath the copy. Condensement of typewritten stories from night ten at Drayton Tower, Savannah, Georgia

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showing underneath the copy. Condensement of typewritten stories from night eleven at Drayton Tower, Savannah, Georgia P 15 - Overlay of each story over one another with wine labels showing underneath the copy. Condensement of typewritten stories from night two at Drayton Tower, Savannah, Georgia P 16 - Overlay of each story over one another with wine labels showing underneath the copy. Condensement of typewritten stories from night three at Drayton Tower, Savannah, Georgia P 17 - Overlay of each story over one another with wine labels showing underneath the copy. Condensement of typewritten stories from night four at Drayton Tower, Savannah, Georgia P 18 - Overlay of each story over one another with wine labels showing underneath the copy. Condensement of typewritten stories from night seven at Drayton Tower, Savannah, Georgia P 19 - Overlay of each story over one another with wine labels showing underneath the copy. Condensement of typewritten stories from night eight at Drayton Tower, Savannah, Georgia P 20 - 30 - Document number 01 - 11 in read chronological order. Artifact from night eight at Drayton Tower, Savannah, Georgia P 31 - Thank you to Elle Friedle, JW Mutin, Lauren Prefer, Wesley Stager and Nick Taormina. Artifact from night eight

markusrussell .com THE REST OF MY WORK LIVES ONLINE Showcased there are projects from my graduate studies at the University of California, Los Angeles, undergraduate studies at The Savannah College of Art and Design, and those executed as a means of hobby. They span many mediums, from architectural designs to writings and paintings.