Marshall Ford / My Architecture

Marshall Ford my architecture

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M ars h a l l F o r d

I am an architect and writer based in New York, originally from Los Angeles. I graduated from Cal Poly Pomona and Harvard’s Graduate School of Design, where I received an M.Arch II with distinction, and completed my thesis on ego in architecture, culminating in the publication of “A Fragile Architecture.”

I am co-founder and principal of Small Office, with Mircea Eni, an architectural design studio based in New York and Tokyo, with welldesigned architecture projects at a variety of scales and typologies. My focus lies at the intersection of the personal and the architectural, where permanence and beauty lie in design. I am passionate about the power of satire, honesty, humor, details, and the sublime in architecture.

Personal Work 8 24 40 56 64 72 82 92

Ego: Architecture of Freedom Theater for Marcel Marceau Wattage (installation at One Night Stand LA) Architectural Architecture (exhibited at A+D Museum) Scarred Horizon Fossilized Supracapitalism Future of Work: Return to Building Human Topographies

Projects with Small Office 108 122 132 144

House for a Marine and Artist Sanctum Elemental Studio and Gallery for a Sculptor Garden Party

Projects with Firms 156 158 160 162 164

Irvine Company Projects (Pei Cobb Freed) Spectrum Terrace (Pei Cobb Freed) UCLA Anderson School of Management (Pei Cobb Freed) Yongsan Dreamhub (5+ Design) Central Park Tower (Adrian Smith + Gordon Gill)

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Education Harvard University Graduate School of Design M.Arch II Degree, with distinction. 2013 - 2015

California Polytechnic University, Pomona.

B.Arch Professional Degree, Cum Laude. 2006 - 2011

Professional Experience Pei Cobb Freed & Partners Architects Associate. New York, NY. September 2015-Present Primary design and coordination role for all phases of cultural, educational, residential, commercial, and hospitality projects in California, Maryland, Denmark, India, and New York.

Small Office Founder & Principal. New York, NY. July 2016-Present Founded, with fellow GSD graduate Mircea Eni, an architecture design office specializing in international and domestic architecture, landscape, and urban design projects of varied scales.

Adrian Smith + Gordon Gill Intern Architect. Chicago, IL, USA. June 2014-August 2014 SD, DD, and CD phases of high profile, multi-billion dollar, intl. and domestic projects including supertall residential tower in New York, and Astana Expo 2017.

5+ Design Designer. Los Angeles, CA, USA. August 2011-August 2013 Concept, SD, DD, and CD phases of high profile, multi-billion dollar, international, mixed use projects.

FoxLin Designer + Graphic Designer. Los Angeles, CA, USA. Sporadically 2011-2015 Academic and professional design role in social housing and urban design projects in Haiti, Mozambique, and Angola.

KMD Architects Intern Architect. Santa Monica, CA, USA. Jun 2009-Sep 2009, Jun 2010-Sep 2010 Professional design and production role in DD, CD, and CA phases of built healthcare, civic, and urban design projects.

Teaching Experience Harvard University Graduate School of Design Architecture Studio Instructor. Cambridge, MA. June 2015-July 2015 Architecture studio instructor and lecturer for the 2015 Career Discovery Program.

Publications “Old and new architecture can coexist. San Luis Obispo should try it.” The Tribune, June 8th, 2018 architectural Architecture, Self Published Book for Architecture + Design Museum (LA), 2017 “Ego: The Architecture of Freedom.” Platform 8, Actar and Harvard GSD, 2015 A Fragile Architecture, Self Published Thesis Publication, 2015 “Valentine to Ginuwine.” Open Letters #08, Harvard Graduate School of Design, 2014 “Herman Hertzberger.” Pin-Up Magazine, 2013/2014, 2013 “Fossilized Supra-capitalism.” Archinect.com & Bustler.com, 2012 “Uplift.” A World of Cities, Jack Fong editor, 2011-2012 Human Topographies, Self Published Senior Project Publication 2011 “Healing Bounds.” NTUT Wall Competition Publication, 2010

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Honors Young Architects Competitions - Lamborghini Road Monument, Finalist 2016 archasm Paris Peace Pavilion, top 50 Selection 2016 Appleton Travelling Fellowship Finalist Harvard Graduate School of Design, 2015 RLI Future Project Award with 5+ Design, 2013 Post+Capitalist City #2 Work, 2nd Prize 2012 Dean’s Outstanding Student Award most outstanding design student in school of architecture, Cal Poly Pomona, 2013

Certificate of Concours d’Elegance best architecture senior project, Cal Poly Pomona, 2013

IIDA Student Exhibition, Impromptu Honorable Mention 2011 2010 AIAC University College Award Scholarship, 1st Prize 2010 SocioDesignFoundation Vignette Competition Honorable Mention 2010 Outstanding 4th Year Design Student 2010 NTUT International Wall Competition, Gold Prize 2010 Koeper Writing Prize 2010 Dean’s Writing Award 2010 National Association of Women in Construction Ch110 Scholarship (3x) 2008, 2009, and 2010 Team Leadership Award, Disney Bobby Brooks Memorial Studio 2010 Best Team Dynamic Award, Disney Bobby Brooks Memorial Studio 2010 Outstanding 3rd Year Architecture Student Award 2009 LG Beyond Design Competition, Top 10 Entrant 2009 Outstanding 2nd Year Architecture Student Award 2008 LA USGBC Natural Talent Competition Honorable Mention 2008

Exhibitions Wet Electric: Wet Electricity Vol 1 video installation Brooklyn NY, 2018 architecture, architectural & Architecture Exhibition Selection at A+D Museum Los Angeles CA, 2017 One Night Stand LA Installation Exhibition Selection Los Angeles CA, 2017 Platform 8 Exhibition Selection Harvard Graduate School of Design, Cambridge MA, 2015 re:publica 15 Exhibition Selection Berlin, Germany, 2015 Grounded Visionaries Exhibition Selection Harvard Graduate School of Design, Cambridge MA, 2014 openLAB Exhibition Selection Harvard Graduate School of Design, Cambridge MA, 2014 “Relier” Exhibition Selection Los Angeles CA, 2013 Interim Design Showcase of Best Student Work (10x) Pomona CA; Spring ’08, Winter ’09, Spring ’09, Fall ’09, Winter ’10, Spring ’10, Fall ’10, Winter ’11, Spring ’11, Fall ’11

IIDA Student Exhibition Los Angeles CA, 2011 BESS Symposium Selection Los Angeles CA, 2011 Haiti Rebuilding Conference Showcase Selection Port au Prince, Haiti, 2011 NTUT International Wall Competition Exhibition Taipei, Taiwan, 2010 Metropolitan Water District Spring Green Expo Selection Los Angeles CA, 2010 BESS Symposium Selection Los Angeles CA, 2010

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Personal Work

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My architecture; academic projects, competitions, and installations, built and unbuilt, over the last 10 years.

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Ego:

the

Architecture

of

Freedom

Ego, is freedom. The deeper the architect, I, get into the work being the direct result of pushing my own ideas, pushing my ego deeper and deeper into comfortably uncomfortable territory, the broader the engagement with architecture becomes. The idiosyncratic nature of a selflessly egotistical and personal architecture is both liberating and engaging, shattering the shell of a calcified arrogance, defined by the feeling of an undue degree of self worth, too often synonymous with the architectural discipline as a whole.

The greatest architecture in the world challenges everyone, running up against a place in a tectonic shift of momentous vernacular reconfiguration. Architecture has the power to change a place, people, and the architect themselves, and an inherent architectural ego is the freedom that allows that power.

A town for myself.

Cayucos, CA 2014-2015 [M.Arch II Thesis at Harvard Graduate School of Design, advised by Mack Scogin] Featured in Platform 8 Publication Featured in Platform 8 Exhibition

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A Fragile Architecture Pushing oneself toward a completely uncomfortable and idiosyncratic place, unfamiliar in even the most familiar situation is necessary to push the edges of the discipline in productive ways. Becoming comfortable with the uncomfortable realm of the curious, naive, risky, and experimental is entirely egotistical, but this indulgence is necessary to move the discipline forward.

The first work of the great creators necessarily permits curious innovation. It is rough, tangible, delicious, confusing, interpretive, and incomplete; the culmination of a human spirit yearning to create and the result of an egotistical ability to do so. The liberation of an architect at the intersection of necessarily egotistical and personally exposed permits an incredibly powerful but fragile architecture with universal appeal and broad engagement that moves architecture past pedagogy, practice, discipline, towards the sublime.

The danger of an egotistical architecture is a broader assumption of selfishness shaped or guided by contemporary social, cultural, and political challenges, both inside and outside architecture. The necessity of egotistical architecture beckons loudly as such challenges begin to quiet the discipline and shatter the architectural potential of the untouchable into niche games, theoretical anxiety, vacuous trends, and white noise. Ego means something dangerous now, weighing heavily on the professional, academic, and amateur, encouraging caution, assuredness, and anxiety to stop.

The egotistical architect doesn’t stop. They push and push and push, relentlessly, they push themselves, the discipline, the edges of pedagogy and theory, their memory, influences, and origins farther and farther and farther until they reach that point of liberation. That essential, untouchable, right moment in architecture only possible for the selfless egotist. Only the egotistical can do that.

Le Corbusier did it at Ronchamp. Enric Miralles did it in Utrecht. Frank Gehry did it at Bilbao. They put themselves out there, exposed, vulnerable, while never giving up the ego, completely self centered, idiosyncratic, with an inherent sense of generosity, remaining porous enough to let the outside world in, to the point that the architecture could reach that untouchable moment, creating something brand new, deeply rooted in a place while redefining it entirely.

The architect needs an ego, the ability and will to see things in a certain way nobody else can. The architect curates the world for others. A universally approachable and fragile egotistical architecture is utterly permanent. And that ability is rooted in origins, in our beginnings, where I start this project.

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First House

Second House

FIRST and second HOUSES My A r c h i t e c t u r e

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Third House {a house of the houses I love} My A r c h i t e c t u r e

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{

Rooms /Program

A Place to Store My Models Kitchen for Snacks View Room Linoleum Dining Room Wes Anderson Memorial Movie Den Unusually Hot Sun Deck The Marshall Ford Gallery of Amateur Modern Art Manifesto Chamber Whiskey Den (Wood Panels) Ping Pong Arena Nostalgic Artifacts Depository Sand Rinse Shower The Lounge to Be Critical In Watch Gallery Jacuzzi Spa Pool Tower Bath Room Crows Nest The Quiet Chamber with a Window Muddy Back Yard Pitch Black Reality TV Theater Skimboard Storage Greeting Foyer Piano Room Mom’s Vacation House Dad’s Tool Room Amanda’s Yellow Room Fireworks Roof BBQ Galley Fourth of July Room / Museum Guest Bedroom Fog Observatory

Plan at Floor 4 and 5

View from Shearer Ave.

Section

Fourth House {elements of the third house, within the parameters of my childhood home} 14

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Details

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Bluffs Drinking Fountain

Top of the World Tower

Next Submarine Attack Defense Cannon

North Cayucos Lighthouse

F Street Shower

Kayak Buoy

Old Creek Football Bleachers

The Pier Diving Board

Volleyball Lights at 24th Street

Elements of the Fourth House are reconstructed as unfound elements of my youth within the cutout of the most vivid paths through the town.

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Void/solid context of vivid paths.

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{

Moments /Program

Running Bluffs Drinking Fountain Nikki's Ranch Waterslide Cayucos Creek Beach Bridge Old Creek Football Arena Bench North Cayucos Lighthouse The Pier Diving Board Top of the World Tower North Bluffs Bike Rack F Street Shower Ash Street Bed VIP 4th of July Parade Bleachers Rain Island in Old Creek Rapids Volleyball Lights at 24th Street Seagull Fries Pit Whale Rock Dock Look Out Telescope School to Pool Slide Kayak Buoy Toro Creek Turnaround Top of the Rock Hot Spring Swap Meet Forum Next Submarine Attack Defense Cannon Sprinkler Fountains for the Vines by the Cemetery Gateway Bells

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Old Creek Road Football Stadium

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Top of the World Church

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The architecture in the new town is not only about building but about that moment of liberation through the ego that finds architecture inherent to place, topography, people, sky, color, and context.

Architecture that goes deep embeds itself into a place, it makes new towns, it makes new vernacular. And the deeper we are able to dive selflessly, vulnerably, into our own egos the more liberating, unlimited, universal, beautiful, and intrinsically powerful architecture becomes.

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A Theater

for

Marcel Marceau

Marcel said, “The world is too loud.�

Architecture is too loud; it needs to stop talking to let Marcel speak. A theater for the performer who says nothing and everything at the same time must remain silent for the performance but say everything for the discipline - a visit to the sublime. The theater is an architecture of performance, impossible to derive, but capable of withstanding infinite performances, so loud it becomes utterly silent. For the performer who creates anything from nothing, the theater must do absolutely nothing with everything.

Berlin, Germany 2014 Considered for Platform 7 Publication Honored with Distinction

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Textual Spatial Narrative

Introduction - My First Spatial Narrative “A light blue, two story townhouse with a patchy, muddy backyard. A wooden fence with no finish. A sandbox with nothing but sand. A crack between two panels. The smell of wood, unfinished, raw, and splintery.

Every morning I hoped she was there. One morning she’s crying.

‘Hold on to it for me. I don’t want my mom to find it.’

Life went on after that. Her bedroom. She’s crying. It was the last time I will understand somebody unconditionally. We moved soon after that. I imagined it would go on forever. Some things never get lost.”

It begins with an infinite number of silent performances locked into an infinite number of moments. If I were to find her now it would all be lost.

She exists as the essence of her performances, both real and hyper-real, fantasy and reality, always separated by a crack in the fence. Marcel’s mask is the fence, allowing him to overact and scream silently, finding the essence of his performance to achieve the character, emotion, or object.

Each performance contains hundreds of spectacular moments, every one calculated, rehearsed, and performed. The movements, the costume, the makeup, the strength, the repetition, the rigor, and his face: the mask.

The location for the project is Spreepark, an abandoned amusement park on the Spree river in Southeast Berlin. The site is the path that winds through the park - the mime of the park - specific and ambiguous it is a collection of pieces used for infinite interpretations and performances, manifesting voids within the more specified performances.

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Video of First Spatial Narrative

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The theater for Marcel Marceau is so loud it becomes utterly silent. For the performer who creates anything from nothing, the theater must do absolutely nothing with everything.

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ACT 1: SPREEPARK’S MIME Using the result of the animate evolution of the voids, new topography is discovered from the park’s mimetic forms.

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ACT 2: THE LAND Extensive explorations of these new topographies lead to strangely human, yet completely unreal results.

These interpretations are remodeled based on their intensity and chaos into a completely new thing.

When extrapolated as specific form these new topographies begin to scream.

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Let’s be alone, get away to our paradise. I know you can see me and I can’t always perform. I need a rest.

“Hold onto it for me.” This place is safe, I’m comfortable and I’m happy.

I think everyone else is scared but us.

That makes me happy.

ts. I I feel free, I have no limi explore must go forward and to time t righ the is and this itious. do it. I’m feeling amb

I’m ar hid a t ound ing sec ease . I kn and m ond and ow I’m no agic and I lik wha jum jus t run , you ther e it. t I’m ping t h nin can e th I’m do av g ’t e n he in ing aw tel ex re g, fun ay I l it’s t. It one it’s . pro rea ’s li mi l. I ke se, ’m I’m

e sur e to lly rea tim not ot the t. m ’ e. I t’s n pec tim ut i r res mn ng b e fo sole erythi a tim a s ’ v It ut e it. It’s abo stion que

o, I to g h you, ere wh be wit stay o n to ust ve I ha t want ss I m jus I gue ppy. but be ha and

Hahahah!

Look at all them!

Here to see me!

But they can’t even see me!

I mu wat st perfo c aud hing, I rm. Th a ’l ienc e. l wave nk you to y f ou i or n th e

nd ble a forta ere’s too h ncom I’m u t ready. T ! I want o ch n I’m Too mu else, I ! much mewhere ne else. o so to be be some t. to h want n’t be rig ca is Th ll be f ine, Things wi time to ve I don’t ha t not us m I . worry e I’ll get worry or els d. te distrac

I hav e alone to think, le . need It’s not yo ave me some u time. , I just

I’m ready, I’m pumped, it’s the right time and I’m the right person. I’m feeling confident and I’m feeling right. Showtime.

I’m curious and brave.

Will you come with me?

Path Narratives In Abandoned Spreepark oo is t ill ng w thi you ery nd Ev sta o. ve. der o g lea un d t to . I nee eed ow t I I n uch n e bu m iss m m

Re-interpretation of the Path’s Narrative 34

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Act 3: the Path

Site Plan

The mime of the park, telling infinite stories of experiences; intensely specific and rigorous in form yet highly interpretive and subjective in perceived exploration. Each piece of the path loudly tells a story. Some of anguish, some of love, some of death.

It is an infinite set of performances only Marcel can perform because, of course, he is everything as well. Each performance is specific, separated momentarily at the obvious places, then rigorously re-interpreted, piece by piece; a chaos generating a new thing; not a combination of many things, but the result as one.

The new thing is reintroduced to the new land creating an architecture of performance, impossible to derive, but capable of withstanding infinite performances. It is at the same time, screaming and silent; the only place for Marcel Marceau to perform.

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Model

Typical Sections 36

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Finale In a moment the architecture is a landscape of dramatic, deafening tectonic performance, penetrated by the performance of the path.. A finale of nothing created from everything, forming within the silent, interpretive realm of the mime, mid-evolution between theme park and theater. It becomes an evolution of the acts of many performances of rigorously practiced and performed essentialities; a theater for the fantasy and the real; the real and the hyper real; for the specific and the ambiguous, for the infinite and finite, for life and death, all at once. Marcel is everything, just as the girl in my memory is everything, suspended in time and place; impossible to locate or find, but just as impossible to lose. Marcel performs within the deafening silence of everything. The theater for Marcel Marceau is so loud it becomes utterly silent. For the performer who creates anything from nothing, the theater must do absolutely nothing with everything.

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W a tt a g e ( i n s ta l l a t i o n

for

O n e N i g h t S t a n d LA 2 017 )

Wattage confronts the inevitable death of the architectural installation with brutal authenticity. Directly reminiscent of Chris Burden’s Urban Light, LA’s favorite/most photogenic installation, it knocks off his knock off (of Sheila Klein’s “Vermonica”) with a ruthlessly authentic re-architecturalization, only possible within the context of the motel room. The piece is an assemblage of unwanted or forgotten lamps from around Los Angeles, acquired directly from several local neighborhoods, carefully organized within an empty motel room (carpet, curtains, and paint remain as backdrop) to create an overwhelming, ecstatic spatial moment from deeply uninteresting and mundane objects with little or no professionally validated historical value. Wattage aims to re-introduce the efficacy and genuine allure of the architectural installation by laying it to rest and replacing it with an uncanny landscape of dramatically familiar things.

Each lamp is cataloged with a biographical narrative referencing its former location and owner posted in the adjoining Portrait Gallery.

Los Angeles, CA 2017 Featured on Bustler and several small publications

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The clock radio, stiff towel, motel lamp, a Bible. The relentless blink of a smoke detector from 6 feet under.

Muffled voices outside match gathering blurred figures through the curtains.

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Police tape everywhere.

We hover toward the scene of the crime, like moths to light.

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The sideshow. A knockoff, gluttonously kitsch. Blanket forts instead of jungle gyms. Familiar becomes uncanny; unforgettable and absolute. The icon as icon, the actionless, is announced deceased. Have mercy upon the iconic, the installed, as static as they may lie.

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Fabric lamp shade (x30) Lamp shade bracket (typ) Medium wattage, energy efficient light bulb (x30)

Light socket per lamp design

Treatment of accent wall TBD. 1. Leave as is, purple/red 2. Paint with gradient 3. Hang gradient curtain

0”

Detail Section

1”

3”

Lamp Biographies > 48

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Biographies

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30 8.5” x 11” single sheet narrative biographies & lamp portraits, using the Craigslist and phone-pole-stapled-lost-dog model, taped to wall Existing light bulb to be replaced with “streetlight orange” color bulb

This lamp has a very typical but subtly beautiful life that will be portrayed in a concise narrative that says all the right things.

This lamp has an emotionally empowering story that doesn’t reflect on the outside but lies deep within its wires and feelings.

This light has a long story that will be told over the course of a paragraph or two.

This light has a very tragic story that ends abruptly somewhere in the valley. This light has a very tragic story that ends abruptly somewhere in the valley.This light has a very tragic story that ends abruptly somewhere in the valley.

30 lamps, acquired from around the LA area, arranged on a 1’-6” x 1’-6” grid, by size and proportion, powered by 3 12-outlet power strips

Portrait Gallery

Treatment of accent wall TBD. 1. Leave as is, purple/red 2. Paint with gradient 3. Hang gradient curtain

Main Room / Memorial

Elevation

Open Area

0’

30 8.5” x 11” single sheet narrative biographies & lamp portraits, using the Craigslist and phone-pole-stapled-lost-dog model, taped to wall

1’

5’

30 lamps, acquired from around the LA area, arranged on a 1’-6” x 1’-6” grid, by size and proportion, powered by 3 12-outlet power strips

Portrait Gallery

Open Area

Main Room / Memorial

Plan

50

0’

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1’

5’

Lightweight Aluminum Base Mid City, date unknown

Faux River Stone Base Placentia, 1979 Existing Carpet

12 outlet power strip (x3)

Lamps Plus Brushed Steel Base West Covina, 2001 Genuine Chrome Base Silverlake, 1961

0”

1”

Construction Plan

5”

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architectural (an

i n s ta l l a t i o n a t t h e

Architecture

Architecture

and

D e s i g n M u s e u m LA)

This is about the chasm between architecture and Architecture. architecture defined as architecture the way the public sees it Architecture defined in the way the discipline sees it.

It is a statement on the ironic abandonment of the discipline’s inherent power (obligation?) by creating and maintaining this chasm through the ignorance of what the architectural truly is - the subtle power to create a bridge between architecture and Architecture through the impossible, experiential moment at the intersection of contradictory things. Moments of conflict, solution, discussion, experimentation, vulgarity, refinement, occupation, abandonment, inhabitance, and the sublime.

Moments where architecture is Architecture are all but lost right now. Perhaps due to unmanaged ego or lack of focus and intent. No longer a pragmatic discipline for people it is an insular, chaotic, practice for the “creators.”

Los Angeles, CA 2017 Exhibited at Architecture and Design (A+D) Museum, Los Angeles

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Architecture is now everything, for better or worse, as seen by the discipline, God [image / God as the architect of the universe]

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architecture is the built work of architects, seen by the public as symbolic or not, mostly not at all, an object [object / 3 physical crosses of common architectural intersections; structure, guts, and facade]

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architectural is the moment of impossible intersection (†) of contradictory things, bridging positions, ideologies, people, us [text / a 300-500 page book of architectural contradictions]

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Architecture / image (image of God as Architect of the Universe preferably hung from ceiling)

architecture / object (3 crosses)

Van

Go

gh Air

Co

ndi

architectural / text (300-500 page book)

tionin

g

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In the end, the project was scattered with 100 others to blur the lines between Architecture, architecture, and the architectural. The crosses stood with models and laid with text while the image hung directly below another of Le Corbusier’s mother’s house.

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Scarred Horizon

Decay marks an end and infinity.

To achieve the delicate balance of fear and respect, a shift in amplitude by lifting the familiar ground plane up 1000 feet, occurs as the contemporary landscape of progress and commercialism (a sea of thousands of existing oil pumpjacks) builds and builds, nodding donkey upon rocking horse, decaying and bonding over millennia into an overwhelming landform of future relics, signifying a scarred wasteland and sacredly profane burial ground; purposefully intriguing, warning, and disinviting until, at the horizon, nothing.

A reliquary to our inevitable vulnerability to nature after our profit from it.

Eddy County, NM 2017

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An imperfect edge of mortals and gods.

Vast, spent, scarred existing topographical context of oil pumps.

An impassable symbolic and physical barricade of utilitarian objects.

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0 miles

1 mile

Site Plan

2 miles

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We’ll lie with the swords and bones of our fathers on a bed of silt and pine needles.

Jim Harrison

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F o s s i l i z e d S u p r a c a p i ta l i s m

We replaced hope of success with the unmitigated fate of overtime death. Somewhere the optimism of working and creating a life justified by some sort of career meaning was lost and we are left with an undiagnosed addiction to hours. We created “supra-capitalism”: a society supported, guided, and defined by uncontrolled work habits, misguided productivity-to-time-spent ratios, and relief in mandatory death. In order for the workplace to evolve (or devolve) we must allow supra-capitalism to fossilize itself.

This is an office tower cemetery.

This project establishes an expandable system with incredibly efficient office space that slowly deteriorates as it’s employees do. It’s thousands of cubicles literally become caskets which stack, providing structure for future expansion of the system itself and a fossilized monument to the victims of supra-capitalism.

Pittsburgh, PA 2012 Post+Capitalist City International Competition 2nd Prize “Relier” exhibition selection Featured on archinect.com and bustler.com

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Process The project begins with fertile slabs prepared to accept expansion and renovation as necessary. Structure allows the system to move upward and offices begin to form and mature, creating an efficiency zone that continues vertically, and includes ultra-efficient office space where hundreds of thousands of hours can easily be logged in private cubicles. As time passes, so do many employees who hit their magic number of hours. When this happens, each personal cubicle prepares for burial and transforms into a casket constructed with concrete. Caskets are placed nearby the employee’s place of work (and death) and eventually stack upon each other once deaths begin to outweigh current living employees. As offices fade into sublime concrete forests of those who passed, the system solidifies.

As ultra-efficient workplaces continue upward, usually containing 10-20 floors of the tower at any one time, the base fossilizes those lost alongside the ideology of supra-capitalism. The result, after decades or centuries, is lush flora rooted in the lives of those who achieved their hours, reminiscent of the ruins of other lost cultures.

Aerial View

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Hallucinations of Industrial Optimism

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1. Fertile Planes (2-10 years)

2. Ripe Office (5-20 years)

3. Office (20-100 years)

4. Disintegrating Office (10-50 years)

5. Pixel Graveyard (100-500 years)

6. Fossilized Monument (indefinite)

7. Elevated Terrain and Facilities Beneath (indefinite) Provides sufficiently appropriate separation from preexisting urban conditions and a cover for necessary facilities needed for expansion, burial, and upkeep, further integrating the optimistic present with a somewhat macabre future above.

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Site Plan

FERTILE PLANES top floors provide open fields for young children destined to live and die within the structure.

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0’

RIPE OFFICES form in the fertile upper floors, hours and cubicles begin to grow rapidly

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50’

100’

FULL OFFICES organized and “efficient” making each employee's 114,000-150,000 lifetime hours most "productive"

Mid-tower View

R.I.P. 114,400 HOURS WORKED

DISINTEGRATING OFFICES fade as permanent retirement happens; cubicles convert easily into sarcophagi and begin to overtake vertical landscape

As the transition from current to past is completed, the PIXELATED CEMETERY acts as a new urban park and strengthened structure for the growth of the system. We remember those gone by the number of hours they put in.

My A r c h i t e c t u r e

Victims, ideals, and ideologies of supracapitalism become FOSSILIZED and overgrown, yet continuously more permanent, stable, beautiful and monumental.

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The Future of Work A Return to Building This is a project about things: the things we collect to preserve and build some self worth or permanence.

Our hoards of things in an age when we are supplanted online and through digital means are the final product of our actual existence as people. This is the archive of our most needed things.

The Dutch have beautiful things, and they have centuries of practice preserving those things including the physical land in their country which scientifically should be under water. They are also global leaders in transporting their things and their landscapes to different places that are interested in those things. Now, with the opportunity to become the node of all data across Europe, and at the moment that the Netherlands is most equipped to handle full scale replication and preservation projects the Dutch are at the forefront of immediately preserving their most important things at 1:1, and showcasing those things in order to allow people to view themselves as a whole and not as individual pieces in a hoard.

The Hague, Netherlands 2013 “Workplan� studio sponsored by Harvard University and the Dutch government with Florian Idenburg

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Dutch Love As one of the most efficient nations in construction, transportation, and living, the Dutch system is desired all over the world. The Dutch make beautiful things and everyone wants those things, making it necessary to create a new system to store and display those things to the world.

Since the 1600’s, constant construction and reconstruction has created a country not reliant on the past, and has cultivated a specific skill set of rebuilding things perfectly, demonstrated at Madurodam (seen at right), a city of selected Dutch buildings built at 1:25 scale.

Renewed Praxis (Herman Hertzberger) The project harvests the old Ministry for Social Welfare and Employment in the Hague for a financially and socially lucrative future. The building will be empty by 2015 and in order to provide a pure framework for the preservation of the countries present, past, and future the original intent of the building and Herman Hertzberger’s theories of building as city are re-initiated.

Madurodam

Things are collected around the street in the new grounds created from the old towers of the building, recalling the labyrinthine product of Hertzberger’s “freedom through structure” results. The Hertzberger grid, once divided into an even more human scale, becomes an appropriate size for storage of valuables based on average storage facility unit dimensions (5’x5’ - 10’x10’), and standards set by shows like Storage Wars.

Reproduction, replication, and restoration of historic buildings at a 1:1 scale necessitates separating and shifting large pieces of the original structure to create an inhabited scaffold reproduced endlessly in any direction, based on Herman’s strict rules that his structures were infinitely expandable. The authority whether to preserve, reconstruct, or replicate a thing is based on the current nature of the building.

There are 3 possible eras in the building’s continued history: 1. Bureau van Sociale Oogsttijd (Bureau of Social Harvest) 2. The Ministerie van Gecontroleerde Ruïne (Ministry of Controlled Ruin) 3. Ministerie van Maatschappelijke Continuïteit (Ministry of Societal Continuity)

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Our social image is built from our things.

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online 0%

10%

20%

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new spirit

static art

censorship censorship

moving art

recreation

advertising

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mobility

housing

preservation

work

social

unrest

education

music

Humanity Matrix: after examining our humanity through data, we build things to create proof we actually exist.

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Anatomy The project is four primary components. The first is the terrain. Eroded from the original grounds of the Hertzberger building, following existing corridors and paths in the Hague.

Second are the new grounds where the collection is stored, replicated, and rebuilt.

These grounds are re-organized to create perfect replicas at 1:1 (including buildings) or allow immediate preservation of existing structures (cultural artifacts) based on the era of preservation theory at that time.

Street

Third, stored within the new grounds, is the collection: pieces of societal existence collected and replicated in one place. Organized by plots, recalling Hertzberger’s theories of freedom through structure and labyrinthine results of organization.

Collection

Last is the public street, built of typologies that allow disagreement with potential for resolution, mapped through the original public dialogue zone of the Ministry.

New Grounds

Public Street 1. Park / Reception 2. Library 3. Daycare 4. Forum 5. Bar

6. Square 7. The Cage (Cagematch) 8. Lecture Hall 9. Observatory 10. Offices

Terrain

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Selected Inventory

Larger objects (1:1 buildings) are more than perfect replicas and originals moved on-site and reconstructed; each evaluated based on disagreement and resolution in the public street dialogue core. The rest of the collection adapts to shifting pieces of the building, filling space between preservation building projects and structure. Proximities develop between typically unrelated, priceless objects.

a. Dom Tower of Utrecht b. Grass from 2010 World Cup Final defeat c. Piet Mondrian; Broadway Boogie Woogie 1944 d Atelier van Lieshout; Darwin 2008 e. Original Bizarden Tulips Seedlings from 1637 f. New Babylon model, Constant g. Red Vines from Van Gogh’s “Red Vineyard” h. Last boxes of Twinkies before bankruptcy, 2013

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Result This place became eternal, and impossible to ruin, because it was always in ruin.

Onlookers saw the fossilized remains of the zones where reconstruction had taken place. Many desired to remove themselves from an inevitable digitized existence leading to a new future of work, a return to building.

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Human Topographies

The megacity is created by expansion controlled only by the needs of the people. Growth continues informally outward as verticality becomes less and less possible in urban cores. Incredibly rapid and autonomous patterns of settlement are creating cities too big for comprehension. What do we do before this expansion creates international, social, political, structural, and economic problems too big for comprehension? This project maximizes our possible [reasonable] densities through familiar architectural and construction systems and envisions appropriate, sustainable, yet futuristic vertical systems that will permit necessary macro and micro vertical expansion, adding rare program like open space, amenities, and agriculture zones, as we engulf the fringes of our megacities. This architectural proposal offers a vertical system not unlike ideologies surrounding existing self-built horizontal systems: a 3-dimensional microcity contained in constantly growing vertical structures, integrated within the existing maximized human topographies. In essence, in 30 years when 90% of the world’s population lives in cities (8.3 billion people), it will not make sense to avoid verticality.

Ecatepec de Morelos, Mexico City, Mexico 2011 Deans Award for most outstanding design student in graduating class Comp d’Elegance award for top senior project in graduating class Interim Design Showcase selection

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AND

AND

CTED

21,163,266 population of mexico city (2011)

76.3%

live in informal settlements

!

A DENSIFICATION PROTOTYPE 90% of people will live in cities in 20 years (2011). What happens when there is no more room? Mexico City is a megacity with extreme terrain, intense social dynamics, and frightening developing typologies. Expansion of up to 1000% every 10 years leads to lost districts, AND THERE IS NO MORE ROOM TO GO UP BUT THEY LIKE THEIR ROOFTOP SPACES with stolen power, unclean water, and no waste removal. Through my travels to Mexico City I witnessed a very deep, Breal connection people AND THERE IS NO MORE ROOM TO GO UP UT THEY LIKE THEIR ROOFTOP SPACES have with their self built homes on the fringes, but the density is reaching fatal proportions.

However, recent sweeping and generic solution ideas are dangerous, overwhelming, anonymous, or nonexistent. At some point it makes no sense ...AND FOR LAUNDRY BUT THEY ARE STARTING TO FILL WITH to continue horizontally.PROGRAM This AND is aSTORAGE... prototype for autonomous densification. ...AND FOR LAUNDRY

!

! !

! !

NO MORE ROOM, THERE ARE NO

INTERSECTIONS OF PATHS ARE WHERE CORES at ARE BEGUN. Cores placed intersections

informal paths.

to existing infrastructure.

NO MORE ROOM, THERE ARE NO SUSTAINABLE SOLUTIONS.

INTERSECTIONS OF PATHS ARE WHERE CORES ARE BEGUN.

THE INFANT SYSTEM IS CONNECTED TO EXISTING INFRASTRUCTURE

SUSTAINABLE SOLUTIONS. No more room, there are no sustainable solutions.

of

THE INFANT SYSTEM IS CONNECTED TO INFRASTRUCTURE TheEXISTING infant system is connected

BUT THEY ARE STARTING TO FILL WITH PROGRAM AND STORAGE...

1. Establish Nodes

To determine where these systems are initiated we must examine existing urban fabric and create new districts or zones based on where paths travel,ANDsettlement, or usage BUT Wimplied HAT IF THEY COU LD EXPANDof ?

GROW!? will occur within the next half century. In order to do this, major roadways are extended either BUT WHAT IF THEY COULD EXPAND? AND GROW!? physically or visually. Where these paths of travel intersect is where nodes are established.

These paths create shapes that become separate usage zones like mountainous agriculture, transportation corridors, or sports fields.

WHERE THEY CAN CHOOSE THE PIECES THEY WANT...

...AND THE MATERIALS AND SIZES

WHERE THEY CAN CHOOSE THE PIECES THEY WANT...

...AND THE MATERIALS AND SIZES

PUBLIC PLANES ARE CONSTRUCTED PRE-FABRICATED RESIDENCES ON EXPANDING STRUCTURE. CONNECT TO STRUCTURAL CORES

NOW SUSTAINABLE GROWTH CAN HAPPEN! ON THE GROUND AND OFF...

PUBLIC PLANES ARE CONSTRUCTED PRE-FABRICATED RESIDENCES Pre-fabricated residencesCORES CONNECT TO STRUCTURAL

NOW SUSTAINABLE GROWTH CAN No sustainable growth can HAPPEN! ON THE GROUND AND OFF...

Public planes are constructed ON EXPANDING STRUCTURE. on expanding structure.

connect to structural cores.

happen on the ground and off.

EXPANSION BECOMES POSSIBLE WITH THIS NEW TYPOLOGY.

EXPANSION BECOMES POSSIBLE WITH THIS NEW TYPOLOGY.

94HOOKED UP TO INFRASTRUCTURE...

AND LIVED IN. IT CAN GROW!

M ars h a l lREVIEW F o r d 01 | 04/18/11

MARSHALL FORD | ID 006851598

!

FAMILY PACKED INTO HILLSIDE

TA HM EY WP ILALCSKU COHNILTLIN F ILY ER DEIL NYTO SIUDEETO EXPAND

!

A SRNEOLYMC OO RN ETRIN OU OEMTTOOEG TN HD EYTH WEILRLESIU XO PAUNPD FAMILY PACKED INTO HILLSIDE

!

BN UD T TTH LIK HE R RREOR OO FT A HE EY RE ISENTO MIO OO MPTSOPA GCES O UP THEY WILL SURELY CONTINUE TO EXPAND

!!

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O MORE ROOM TO GO UP NIT NO TOHIHLILLSLISDIE DE

BO UR TT HE YDE LIN KIE THEIR ROOFTOP SPACES G TF FH TAE HMY EIL Y W YA W IP LRIL AL C L SK U SE R UN D E RG LE IN YLT Y COO CH O NIT N LIL TNS IU NID E UE E TO TOEX EP XAPN AD ND FAMILY PACKED INTO HILLSIDE

P AA NU G RD R IN NO GO AF TN AO HD NE TYG H TW E HR IR E LTD E R LYE E S IIS IS R N E LM YM OCO ROE RNER TIO R NO UO M EM TO TO E GX G OPOU AP N UD P THEY WILL SURELY CONTINUE TO EXPAND

BBUATSTIC HA ELYLA RTEHE SY TAHRATVIN TOMFOILRLEW TH Y EGNO RIO OM...

FF O FOO RRRPG APA R AR T RD Y TIE YNN IG NIN GG FOR PARTYING...

PROGRAM STORAGE...

F OR GARDENING, GARDEAND NING

N.N O O D Y OTU E !YR B A SBP IF C A L YIAL HN RD AO RO TLR Y N ..F ..A.O A N D F R LD AG USED N DH Y RA YVE NO MORE ROOM...

FOR PARTYING

! !!

.B.N A NTD F O LIN U NT FU O R P A R TR Y B.A T UD H T E HAE Y ERR Y LD EIL K IA E S KG T ODE HR M IERYO IRR RO R EORO FOTFO O TM O PP S TO P SAPG CES AO CES UP FO RT GH E N IE NH G AND THERE IS NO MORE ROOM TO GO UP

NO MORE ROOM, THERE ARE NO SUSTAINABLE SOLUTIONS.

NDRY G

BUT THEY LIKE THEIR R AND THERE IS NO MOR

THFEOYRALRAEUS .B AT ND NTDARRYTING TO FILL WITH B.F.U U OTRTPHAERYTLYIIKNEGTHEIR ROOFTOP SPACES BUT THEY LAND IKE TSTORAGE...

HEIR ROOFTOP SPACES PROGRAM

NO MORE ROOM SUSTAINABLE S

BUT THEY ARE STARTIN ...AND FOR LAUNDRY PROGRAM AND STORAG

INTERSECTIONS OF PATHS ARE THE INFANT SYSTEM IS INTERSEC CONNECT NO NO MORE MOREROOM, ROOM, THERE THERE ARE ARE NO NO NO MORE MORE INTERSE ROOM NO ROOM WHERE CORES ARE BEGUN. TO EXISTING INFRASTRUCTURE SUSTAINABLE SUSTAINABLESOLUTIONS. SOLUTIONS. SUSTAINABLE WHERE WHERECO S SUSTAINABLE SC

TBH W H FE TS H ER YT LO D E NW N O O B.U .B.B A T N FD O Y R ATD R LIO E A U N T D YC ITNO T FIX W ID TI?H UU H EYA Y A R ES S!A T A R IG NUG TO FLP ILLAL TH B ATD STIE C A L ...A N D FO RLY LATUHNEDYRHYAVE NO MORE ROOM...

PROGRAM PROGRAM AND ANDSTORAGE...

STORAGE...

A NT DTH GER O ? TSHTE U W HIS AA TWRI!FE CIO AN BB U AY RT NU GLTDOEFXIP LL WDIT?H THERE NT OEDY DROEEMORE BU TOTBH YYANO SST! ARTROOM! ING TO FILL WITH PROGRAM AND STORAGE...

PROGRAM AND STORAGE...

AND GROW!?

BUT WHAT IF THEY CO

PUBLIC PLANES ON EXPANDING

HEY COULD EXPAND? Y EY HA HVAE VENO NOMM OO RE RERO ROO MM ......

ANDWHAT GROWIF!?THEY COULD EXPAND AND CURRENT THAT BO ICO LSYSTEMS YO VE NOALLOW MORE R OOM...

NBUT NAO BSO B DAY DLY D DT O EH S EE !SY! HADON’T BASICALSAFELY LY THEYOR HAV E NO MORE ROOM...

GROW?!

GROWTH SUSTAINABLY

THE FAMILY MOVES CURRENT DON’T ALLOW OW YTASYSTEMS D EH S !HY BN U BO T UB T W HDA H T IFO IF T TE EY CJUST O CO UL UD LBEYOND DE X EP XAPN AD NTHAT ?

D? NOB ODYSAFELY DOES! OR SUSTAINABLY THE FRINGES. GROWTH

WHERE THEY CAN CHOOSE THE THE JUST BN WG TW THEY COULBEYOND DE XPAPIECES ND? A AUD NTFAMILY DG RH O RAO W !IMOVES ?F!?

CURRENT BUTFRINGES. W HATSYSTEMS IF THEY CDON’T OULD ALLOW EXPANDTHAT ?

THEY WANT...

THE GROWTH SAFELY OR SUSTAINABLY

WHERE THEY ...AND THE MATERIALS AND THE SIZES WHERE THEY CANCHOOSE CHOOSE THE PIECES ANDFAMILY G R OW !MOVES ?CAN THE JUST BEYOND AND WANT...

GROW !? PIECES MATERIALS AND THEY WANT. THEY THE FRINGES.

...AND THE MATERIALS A WHERE THEY CAN CHO THEY WANT...

PUBLIC PLANES ARE CONSTRUCTED PRE-FABRICATED RESIDENCES NOW GROWTH CAN PUBLIC PUBLICPLANES PLANES ARE ARESUSTAINABLE CONSTRUCTED CONSTRUCTED PUBLIC PRE-FABR PRE-FABR PLANES PUBLIC PLANES ON EXPANDING STRUCTURE. CONNECT TO STRUCTURAL CORES HAPPEN! ON THE GROUND AND O ON ONEXPANDING EXPANDINGSTRUCTURE. STRUCTURE. ON ON EXPANDING EXPANDING CONNECT CONNECT

AN CHOOSE THE PIECES MS EMSDON’T DON’T ALLOW ALLOW THAT THAT LY OR ORSUSTAINABLY SUSTAINABLY

...AND THE MATERIALS AND SIZES WHICH ARE PARTIALLY MANUFACTURED CURRENT SYSTEMS DON’T ALLOW THAT THE THE FAMILY FAMILY MOVES MOVES JUST JUST BEYOND BEYOND CURRENT SYSTEMS DON’T ALLOW THAT OFF SITE. GROWTH SAFELY OR SUSTAINABLY THE THE FRINGES. FRINGES. GROWTH SAFELY OR SUSTAINABLY

...SHIPPED TO THE SITEMANUFACTURED AND CONNECTED WHICH ARE PARTIALLY THE FAMILY MOVES JUST BEYOND WHERE WHERE THEY THEY CAN CAN CHOOSE CHOOSE THE THE PIECES PIECES THE FAMILY MOVES JUST BEYOND TOGETHER. OFF SITE. THE FRINGES. THEY THEY WANT...

WANT...

THE FRINGES.

HOOKED UP TO INFRASTRUCTURE... ...SHIPPED TO THE SITE AND CONNECTED WHERE THEY CAN CHOOSE THE PIECES ...AND ...AND THE THE MATERIALS MATERIALS AND AND SIZES SIZES WHICH ARE PARTIALLY MANUFACTURED WHERE THEY CAN CHOOSE THE PIECES TOGETHER. THEY OFFWANT...

SITE. THEY WANT...

AND LIVED IN. CAN GROW! HOOKED TOITINFRASTRUCTURE... ...AND THEUP MATERIALS AND SIZES ...SHIPPED TO THE SITE AND CONNECTED ...AND THE MATERIALS AND SIZES TOGETHER.

AND LIVED IN. IT CAN G HOOKED UP TO INFRA

EXPANSION BECOMES POSSIBLE WITH THIS NEW TYPOLO

2. Inhabit Terrain

Narrative

This is done in three steps. First the public use platforms (or foundations) are established as the inherent base for future vertical growth. Next, a standardized system of retaining walls are provided with hookups for infrastructure and utilities. Lastly, within this retaining wall structure, users implant pre-designed homes that may beANDconstructed by a team or themselves. The public platforms surrounding the tower O INFRASTRUCTURE...

LIVED IN. IT CAN GROW! REVIEW 01 |foundations 04/18/11 WHICH ARE PARTIALLY MANUFACTURED ...SHIPPED TO THE SITE AND CONNECTED HOOKED UP TO INFRASTRUCTURE...

TIALLY RTIALLY MANUFACTURED MANUFACTURED ...SHIPPED ...SHIPPED TO TO THE THESITE SITE AND ANDCONNECTED CONNECTED HOOKED HOOKEDUP UP TO TO INFRASTRUCTURE...

INFRASTRUCTURE...

AND ANDLIVED LIVED IN. IN. ITIT CAN CANGROW! GROW! WHICHas ARE PARTIALLY MANUFACTURED ...SHIPPED THE SITE AND CONNECTED HOOKED UP TO INFRASTRUCTURE... begin to serve publicTOprogram.

OFF SITE. markets, sports fields, or other TOGETHER. TOGETHER. TOGETHER. OFF SITE. TOGETHER.

MARSHALL FORD | ID 0068515 REVIEW REVIEW 01 01| |0

AND LIVED IN. IT CAN GROW! AND LIVED IN. IT CAN GROW!

3. Sustainable Vertical Growth On those foundations, the first 24 ft. increments of vertical growth are installed with all necessary connections to utilities, transportation, and future structural implications for residential units. Each 24 ft. increment module is designed by a committee and potentially include green space, public services like schools, medical clinics, or safety; sport fields, meeting halls, churches, or open circulation. Eventually the towers will be topped out, controlled by seismic safety and density regulations and/or resident preferences.

My A r c h i t e c t u r e

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Existing Fabric

Assumed Connections

Nodes At Intersections

Provide retaining walls and utility connections.

Units designed/inserted; expanded at users will.

Install utilities and infrastructure

Circulation, green space, verticality; tower is established.

1. ESTABLISH NODES

Establish foundations.

2. INHABIT TERRAIN

Expand vertically in 24’ units.

3. SUSTAINABLE VERTICAL GROWTH

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Green Space

Public Program

Services

Existing Program

Vertical Program Preservation

Resulting Community

Ecatepec de Morelos

Central Mexico City

Urban Context

My A r c h i t e c t u r e

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A

B C

Site Plan A. Terrain Units B. Tower Region C. Reserved Program (the odd shapes)

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SHRINE

AG A G HOUSE GREEN HOUSE GREEN HOUSE GREEN HOUSE HOUSE

A

HOUSING

GARDENS

B

FOREST MEETING SPORT

PARK

C

HOUSING

HOUSING

OFFICES

D

AGRICULTURE A GRICULTURE SCHOOL OOL OL

HOUSING

The problem with fantasy vertical typologies from the 20th and 21st centuries is they are not vertical systems of inhabitancy but vertical blocks of requirements. This system performs as a direct reflection of inhabitants desires–the human determines the site section, one of infinite possibilities. Just as in two-dimensional layouts of streets and neighborhoods, parks are adjacent to homes adjacent to roads leading to places of work. Stacking ideologies breeds new types of urban adjacencies that are compact, achievable, and efficient, allowing for adequate preservation of open space, agricultural zones, and safe places to play while also accounting for the extreme densities that begin to form. The transition from vertical to horizontal takes place on public platforms at the base of the tower, anchored by a church in this case. A similar typology is followed through into the “terrain units” but instead of a vertical structure, these follow existing topographies as much as possible; a familiar way of living to those used to creating the urban fabric that surrounds them.

SERVICES

CHURCH

MARKET

PLAZA SPORT

AGRICULTURE ULT LTU TURE HOUSE HOUSE

EXXISST EEXISTIN STIN TIINNG TI

TOWER An aggregation of pieces of public necessities determined by the will and need of the users themselves, within 24 ft. increments of predesigned pieces of structure.

0m

My A r c h i t e c t u r e

10m

30m

Sections 99

Informal Terrace Space Storefront Space Single / 256 ft2

Circulation Zone

Pixel Facade

Unit Courtyards

Assorted Open Space

Double / 512 ft2 Construction

Neighborhood Stacking and Expansion

Terrain Units Homes and businesses, meant to be stacked. Each unit is extraordinarily flexible with a courtyard to preserve outdoor space once stacking begins and the rooftops become public space and circulation. From above, the terrain looks almost uninhabited although densities may eventually be doubled. From the ground the conglomeration of self-built homes creates a human pixelation effect; an image of human topographies.

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Typ. Plans

Econ 3rd

Basic 3rd

Econ 2nd Construction

1 Floor / 320 ft2

2 Floors / 640 ft2

3 Floors / 960 ft2 Typ. Plans

?

Typ. Configurations

TOWER UNITS Each unit has several options and can be altered further once installed. A wet module (kitchen/bathroom), utility connections, one partition wall, stair cutouts, and ceiling tracks are provided for future walls. From there the user picks their pieces. Personal outdoor space includes rooftops and optional balconies.

My A r c h i t e c t u r e

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work with

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Small Office

M ars h a l l F o r d

An architectural partnership with Moldovan architect and co-founder Mircea Eni, with an intent to find the sublime through architecture.

My A r c h i t e c t u r e

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House

for a

Marine

and

Artist

A house for a Marine and artist in the red hills near Sedona, Arizona.

A home that exploits elemental forms and materials to create spaces of intricacy, complexity, beauty, and comfort within an otherwise vast, raw, and unforgiving landscape using the manufactured parameters (restraints) of the shipping container to develop an architectural language of freedom - a bridge between home and terrain.

Clarkdale, AZ 2017 - Present (under construction)

My A r c h i t e c t u r e

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Site

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100’

500’

0’

10’

Site Plan and View from Main Road

50’

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112

M ars h a l l F o r d

Formal Studies for 3-4 Shipping Containers

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Exterior Materiality

Interior Materiality

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10’

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5 7

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2 7 1. Living 2. Kitchen 3. Dining 4. Terrace 5. Guest Bedroom 6. Guest Bath 7. Storage 8. Utility 0’

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Upper Level Floor Plan

10’

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Southeast Elevation

120

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Northwest Elevation

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M ars h a l l F o r d

S a n c t u m E l e m e n ta l

A Monument for Automobili Lamborghini.

Lamborghini is built to provide a moment of inherent human exhilaration - at the crux between anticipation and satisfaction, driving, heart racing on both sides of a razor sharp edge cultivating visceral effects possible through perfection in engineering of these elements; a deeply familiar, wanted, and cherished human moment defined through unforgettable experiences. It is the machine between the unknown and revelation, passion and achievement, demanding an architecture that embodies what drives the dream of Lamborghini - the dueling elements of the machine. This monument is a sanctuary to both - the engineering elements of the machine as a monument to the trophy they become. The shell: beautiful and fragile, revealing an emptiness to be filled.

The core: elemental and solid, powerful and raw. One cannot exist without the other. The shell: beautiful and fragile, revealing an emptiness to be filled. The core: elemental and solid, powerful and raw. Together they sanctify Automobili Lamborghini.

Sant’agata Bolognese, Bologna, Italy 2017 Young Architects Competition Finalist

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Elements of Exhilaration The shell is fragile but necessarily iconic in form. The core is solid and but necessarily humble in personality.

The shell is wanted; the core is needed. Without perfect engineering of each, creating elements combining to culminate in the pinnacle automobile, Lamborghini does not exist. This engineering happens here. Thus the gateway to the factory is a monumental distillation of the pure forms, the essential elements of Lamborghini.

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Contextual View My A r c h i t e c t u r e

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Monument One

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Monument Two

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Black Marble

Dark Brushed Steel (bent to form) Gold Leaf (laid on interior of bent steel)

Gold Leaf (or similar) laid on waterjet cut marble

25mm Reveal Local Tall Grasses

Local Tall Grasses Weld to Base Plate Steel Base Plate Anchor Bolts

(stone sits directly on slab)

Monument One, Detail Section

Monument Two, Detail Section

0m

.1m

.5m

MATERIALITY AND CONSTRUCTION Materiality of the monument reflects the principles of Lamborghini including a respect and sensitivity to the environment. All materials have a very low impact on the earth and the majority of construction takes place off site as pieces are prefabricated elsewhere and installed very quickly on-site. Simplified, concise details reduce impact to site to almost nothing and require very little to no maintenance for the indefinite lifespan of the monument.

130

Gold timeless iconographic element intimately associated with Lamborghini

M ars h a l l F o r d

Steel anchor of the automobile industry, universally strong but malleable

Black Marble solid and refined, beautiful in raw exposure, monumental in texture

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Studio

and

Gallery

for a

S c u l pt o r

Commission for a studio and gallery space for a sculptor in Arizona. The sense of weight, lightness, and secrecy in her work complements the vast surrounding landscape defined by stone and weightless horizons.

The first proposal was to add this addition to the top of an existing garage. Studies of possible profiles, developed through deep explorations of endemic materiality and subtle horizons inspired to encase a clandestine interior, led to the realization that the proportions created through this architecture did not suit the idiosyncratic local terrain.

Instead we moved the gallery to a thin piece of land behind the garage and continued developing a subtle profile that contained a clean interior with specific moments of contrast through exposure to the wild cacti, sagebrush, mountains, and sky in all directions. This location allowed the creation of a courtyard where infant planting would develop into a connective tissue between all architectural elements on site. An apartment is designed as a perch integrated into the gallery architecture as an additional income generator for the client.

Clarkdale, AZ 2017

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View Toward Private Area of Site

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View Over Plains Toward Sedona

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Novie's Sculpture

0’

1. Form a courtyard with architecture and landscape, both refined and wild, from outside and inside.

2. Build a subtle form that deviates from existing orthogonal linearity, but thrives within the scale and materiality, of the existing context and structures.

3. Create a clandestine interior revealing specific moments of the wild exterior, and providing a refined, flexible, holistic working, teaching, and gallery space.

4. Integrate an apartment within the form that takes advantage of the architecture and landscape to feel secluded and provide guests with comfort.

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50’

100’

Profile Studies My A r c h i t e c t u r e

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Elevation Iterations

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10’

25’

View Toward Studio from Courtyard

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Studio Addition Garage

House

Casita

Ground Level Plan 140

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10’

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Apartment

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Upper Level Plan

25’

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Garden Party

Forced relationships fail; organic relationships thrive. In order to revive the garden as a thriving and viable living organism in the heart of the city we reintroduce the human-nature, town-nature relationships lost and forgotten over time with architecture (human) that celebrates and embraces endemic, existing (nature) and nurtures a lush, expanding, natural green foundation for the future of the garden.

We celebrate the nature that exists in Pafos’ Public Garden by creating architecture that embraces existing trees in the garden and provides a system of nourishment for the surrounding flora in order to provide a thriving future.

Based on primitive forms, the lightweight structure lifts a weightless, translucent membrane penetrated by existing trees, blurring the lines between human and nature, architecture and landscape, architecturally balancing and embracing the chaos of these intersections into moments where the garden is reborn from the organic pieces that existed there for decades.

Paphos, Cyprus 2016

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An intrinsic need for shelter is ingrained in humans and is the basis for the power of architecture, and the moment of collision between humans and nature. When this architecture coexists and embraces an existing nature, the human-nature relationship is at its closest. In Paphos we embrace this moment and celebrate those which exist already, nourishing a forgotten yet fertile environment towards a vibrant, inviting, living urban organism.

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ZONE 4

ZONE 4

0m 1m

Site Plan

5m

3

Within the garden, architecture integrates as a natural and focal element as these moments of celebration act as lanterns, illuminating the garden at night and create areas of meditative, shaded respite during the day. These moments are stages, rest areas, romantic corners, hiding places, classrooms, and social gathering spots; activity sparked by the introduction of a new human-nature-architecture relationship leading to a highly utilized and loved center of town.

4

2 6 1

5 7

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Volcanic Stone Ground Cover

Phase 4 Interior Fabric Application

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Phase 3 Installation of the 6 modules on site

Installation Context

3000mm x 5000mm Fabric x1

Phase 2 Assembly of 4 sections into single modules x6

50mm x 1000mm Lumber x48

Thread Bold and Nut x24

50mm x 50mm x 2000mm Lumber x24

50mm x 50mm x 500mm Lumber with Painted Ends x216

Phase 1 Fabrication of lumber sections x24

Construction and Materials My A r c h i t e c t u r e

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Plan 150

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1m

0m

1m

3m

Section

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1m

3m

Elevation My A r c h i t e c t u r e

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The 3m x 3m x 3.5m tall structure is built of systematic, elemental pieces, quickly constructed into a complex and beautiful architecture embracing existing nature and celebrating the potential for this nature to revive the garden as a living heart to the town through new, lively, genuine human-nature moments.

A lightweight structure consisting of 50mm x 50mm wood members is constructed in modules, easily fitting together, bracketed to form a familiar, universal home shape, embracing an existing tree in the garden. The interior of the structure is fitted with a translucent white fabric connected to the structure with simplified bolted connections (see details) creating a softly sun-drenched shelter, stage, or getaway. These connections allow the fabric to be easily replaced upon wear due to weather and use and give the impression of a floating, soft, interior shell.

50mm x 50mm WoodMEMBERS Members 50MM X 50MM WOOD Manually Cut at Angles MANUALLY CUT ATFollowing ANGLES 1300mm Circular Cutout for Tree FOLLOWING 1300MM CIRCULAR CUTOUT FOR TREE

50mm x 50mm WoodMEMBERS Members 50MM X 50MM WOOD Threaded Bolt, Nut, andWASHER Washer threaded BOLT, NUT, AND Fabric ConnectionASSEMBLY Assembly FABRIC CONNECTION Translucent White Fabricscrim Scrim translucent white fabric

of WoodMEMBERS Members ENDSEnds OF WOOD PaintedWHITE White PAINTED 50mm x 50mm WoodMEMBERS Members 50MM X 50MM WOOD Threaded Bolt, Nut, andWASHER Washer threaded BOLT, NUT, AND Fabric ConnectionASSEMBLY Assembly FABRIC CONNECTION Translucent White Fabricscrim Scrim translucent white fabric Endemic Local Flora Introduced ENDEMIC LOCAL FLORA Through Light Seeding Around Project INTRODUCED THROUGH LIGHT SEEDING AROUND PROJECT Translucent White Fabricscrim Scrim translucent white fabric UplightingSYSTEM System LEDLED UPLIGHTING 50mm x 50mm WoodMEMBERS Members 50MM X 50MM WOOD Threaded Bolt, Nut, and Washer Fabric threaded BOLT,Connection NUT, AND Assembly WASHER FABRIC CONNECTION ASSEMBLY White Gravel WHITE GRAVEL

INTEGRATED SPRINKLER SYSTEM Integrated Sprinkler System (typ) (TYP) CONNECTED TO CENTRAL Connected to Irrigation Network IRRIGATION NETWORK

Wall Section

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.25m

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work with

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Firms

Projects completed at various, high profile, internationally recognized architecture studios — including pei cobb freed, adrian smith & gordon gill, and 5+ design — where I played a prominent role in design, production, and management.

* Photos and drawings are property of the respective firm. Some information remains confidential, please do not distribute.

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Irvine Company Projects

Several high profile projects for a company that created a city.

Irvine is a developed community somewhere between a theme park and a city. In order to introduce an emblem of future development within this strict and seemingly impenetrable environment, these projects almost disappear in unison into the sky above the constantly shifting Southern California landscape.

In accordance with many elements in the city, the buildings singularly continue a familiar symmetry, while urbanistically creating a new system of nodes, landmarks, and welcome breaks in the large scale pattern.

Irvine, CA with Pei Cobb Freed and Partners 2014 - 2019 (completed)

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Spectrum Terrace

After the financial success of 200 and 400 Spectrum Center Drive, The Irvine Company asked us to explore several options for growth throughout the area including a 3-phase, 13 building office campus a mile west on the 405 freeway. Spectrum Terrace is the continuation of the iconic Irvine master plan designed to adapt to a dynamic and growing live-work population, with rigorously designed amenity spaces (event hall, dining complex, fitness center, community hub) seamlessly set within an endemic, terraced landscape.

Phase 1 of Spectrum Terrace finished construction in 2019.

Irvine, CA with Pei Cobb Freed and Partners 2017 - Present (under construction)

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UCLA A n d e r s o n S c h o o l

of

Management

As an extension to the existing School of Management, designed 40 years ago by Harry Cobb, the intent of the addition is to simultaneously exist within and enrich the existing school, while adding necessary program and a central hub for student and faculty activities. Rigorous datum lines are preserved and existing brick and precast concrete are meticulously matched, while the form subtly breaks free from existing parameters.

Furthermore, the resultants of the extension become a bridge between two primary paths through campus, necessitating an element to connect both that visually or atmospherically takes away from neither existing nor new, but signals a contemporary path between all. This element is a grand stair, orchestrating existing rigid geometries and the will of movement from students.

A delicate dance between upper and lower, new and old, and dozens of existing necessities, this element is a purposefully subtle but invaluable contributor to the overall project.

Los Angeles, CA with Pei Cobb Freed and Partners 2015 - Present (under construction)

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Yongsan Dreamhub

A hyper-ambitious plan for a city within a city, or a metropolis within a megalopolis, Yongsan IBD was master planned by Daniel Libeskind and distributed amongst 19 internationally renowned architects to develop into arguably the world’s largest urban design and architecture project. Our purpose was to link these 19 towers through a valley of dynamic “districts” meandering through the project’s base, from Renzo Piano’s proposed spire to the Han River.

Seoul, Korea with 5+ Design 2012 - 2013 RLI Future Project Award

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Central Park Tower

Residential supertall tower in New York City along “Billionaires Row.� Once completed, the tower will be the tallest residential building in the world by architectural and roof height, and the second tallest building in the United States, anchored by an 8-floor flagship department store and pedestrian connection between 57th and 58th street. Diverse work on the project included design for penthouses and rooftop architecture, rigorous DD package drawings and design production, and client issued drawings, sketches, and imagery for interiors, exterior, and engineering on a weekly basis. Details of the project remain confidential.

New York City, NY, USA with Adrian Smith + Gordon Gill 2014 - Present (under construction)

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Marshall Ford 805 801 7576 marshallwford@gmail.com www.marshallwford.com

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