MAX BRAVO
Often structures such as bridges and benches go unnoticed, fading into the background of our conciseness. However, in this particular piece, I sought to transcend the mere physicality of the bridge. The interplay of negative space and playful curvature evoked visions of an elegant building facade. Image manipulation and opacity amplifcations allowed me to ignite a fresh perspective and a renewed appreciation for the inherit artistry in architecture.
“NATURE FACADE” [22]
“FORM” [23]
Movement and silhouette was the theme of this sculpture. My goal was to blend two mediums that evoked distinct energies in a way that felt harmonious. By carefully angling the card stock around the tree-like structure, I was able to create a design that complemented its natural order without disrupting its visual integrity.
“FORM” CONTINUED [23]
In order to become more familiar with the software, I decided to explore its various features through experimentation. During this process, I was able to create an object that refected my personal aesthetic. Layered planes create a harmonious balance of shapes, allowing them to coexist with each other.
“CUBOID” [23]
“AERIAL PERSPECTIVE”CONTINUED
“PERCEPTUAL SPACE” [23]
By exploring external planes I developed a conscious narrative through the superfcial lens of perception. I wanted to communicate an imagined rehearsal by rearranging outer boundaries to evoke the feeling of what is perceived versus what actually is.
“SQUIGGLE” DIGITAL [23]
“BUILDING
[23]
FACADE”
“ART DECO” [23]
Through the experimentation of simple material layering, and sharp cornered silhouettes , I wanted to create a pavilion imagined many ways. Negative space and signalized exteriors entertain the subject.
“PAVILION” [23]
Adaptability was the subject in creating this sculpture. I wanted the approach to feel tactical and utilitarian. By using simple cardboard and metal snaps for repositioning planes I was able to bend and rework surfaces to imitate bent steel. Rigid corners and angled coatings help the viewer down the exteriors.
“INTERCATIVE PLANES” [23]
“INTERACTIVE PLANES” CONTINUED [23]
I delved into the concept of time and process by layering images and amplifying their opacity, thus creating a sense of simulated “movement”. This exploration enabled me to visualize the dynamic evolution of the model and presented a realm of possibilities.
“ARCHETYPE”
“ARCHETYPE”CONTINUED” [23]
By manipulating proportion, I aimed to evoke a sense of dynamic movement allowing the viewer to engage with the subject on a deeper level. I was able to transform conventional boundaries and unveil a contemporary approach to architectural expression.
“CREASE” [23]
“CREASED” CONTINUED (DIGITAL) [23]
Taking from “PERCEPTUAL SPACE” I chose to develop another rehearsal by rearranging the model various way to capture diferent planes. Ultimately this unveiled a completely diferent dialogue through the use of diferent materials.
“ARCHITECTURE LEXICON” [23]
“ARCHITECTURE LEXICON” CONTINUED [23]
“PYRAMIDAL FACADE” (DIGITAL) [23]
“CRYSTALLIZED PLANES” [23]
Repetition has emerged as a recurring theme in my architectural exploration. It has become a technique I often fnd myself admiring on a building facade. Allowing myself to embrace this approach has led me to celebrate transformative potentials to architectural compositions.
Collage serves as an integral pillar in my design process. Often I fnd myself merging both physical and digital realms to create a fresh and eclectic experience. By simply duplicating and amplifying the opacity of images, I was able to craft a building facade through the replication of visuals. I often look to evoke a feeling of unfamiliarity, giving new possibilities to architectural design that is both intriguing and thought provoking.
“PODS” [23]
“CRYSTALLIZED PLANES” CONTINUED [23]
“CRYSTALLIZED PLANES” CONTINUED [23]
“LAYERED SURFACES” [23]
What started as simple block layering transformed into an entrancing dystopian congregation of vertical planes. Utilizing leftover materials challenged me to methodically place the vertical beams in a way that could be approached as careless, but ultimately visually efective. The end result emerged as a spectacle of uncanny exteriors and textures.
“IMAGINED ARTS CENTER” [23]
Often in architecture, designers are faced with the task of creating spaces that are harmoniously tailored to specifc geographical contexts. Despite my limited familiarity, I took on the role to envision an Arts center that evoked a sense of fuidity and motion by employing leveled planes, and horizontal elements, reminiscing the undulations of water. The cuboid surfaces act as anchoring stabilizers and provide a sense of balance on the end planes.
“EXPLORATION” 01” [22]
“FIXED PLANES” [23]
“ALLIGNMENT”
[23]
CONTINUED [23]
“ALIGNMENT”
