NICOLE M FRIEND
NICOLE M FRIEND
urban research
los angeles | a case study
urban design
el centro de nueva pompeya, buenos aires abata + opera square; cairo
architecture
FiDM studio annex; los angeles
fabrication
spatial apparatus; los angeles
artwork
sketchbook life drawings paintings + mix media
nicolemfriend@gmail.com | 1+ 508.361.1115 | nicfriend.com
Los Angeles is an incredibly diverse and complicated city. I am interested in analyzing the city; from the form of the city over time, to the affects of historical changes on that form, as well as the cultural diversities that shape the urban environment. In LA | Tokyo, I compare the physical growth of Tokyo and Los Angeles in relation to their population growth. By analyzing the affects of events on the cities growth, both in size and population, I gained a new understanding of city form. Los Angeles, a single sprawling metropolis, is not your conventional city. Home to a number of “micro-cities”, LA cannot be summed up by a single image or description. The city is home to a wide variety of neighborhoods, separated by a range of cultures, geographies, boundaries, and micro climates. An “umbrella city”, Los Angeles is a network of communities, with each community defined by its distinctive lifestyle and perspective. In Freeway to Public Way, I Explore the history of Los Angeles freeway development, its morphology into LA’s public realm, and the complications behind defining a city with no real center and no real edge. People and cultures operate as collectives, changing the relationships and connections to the city over time, therefore the city itself is constantly mutating. If we analyze a series of urban typologies, we may find that adaptation is an integral part of urbanism. The goal of this research is to discover emergent patterns of growth through adaptation, and to understand the formal and informal changes in Los Angeles by analyzing cultural enclaves and neighborhoods in the city. The cultures flow through the city, overlapping and sometimes absorbing other cultures, creating new forms. The key to a successful urban environment is adaptation, and whether it is formal or informal, rational or chaotic, the city is always transforming. By understanding transformations of the city and its inhabitants, designers and planners can make educated and thoughtful design decisions. Chinatown to Downtown is a research project finding evidence and trends of cultural adaptation in Los Angeles. Every culture is embedded with the innate human need for identity, community and the desire to express ourselves as individuals and groups. In the end, its not the physical space that dictates our environment, it is the spaces we make through territory, interaction and expression that creates the world we live in.
Los Angeles; a case study Los Angeles, CA; 2009-2011
Ptitititititititititititititititititititititititititi tititititititititititititititititititititititititi
tititititititititititititititititititititititititititititititititititititititi titititititititititititititititititititititiftftftftftft
tititititititititititi
tititititititititititititititititititi Ptititititititititititititititititititititititititi tititititititititititititititititititititititititi titititititititititititititititititititititititititititititititititi titititititititititititititititititititititiftftftftftftft
area: 622 km.sq. | population: 8.6 million | density: 14 people per m.sq.
tititititititititititititititititi
area: 1291 km.sq. | population: 4.1 million | density: 8 people per m.sq.
LA | Tokyo;a comparative view
tititititi
population growth
city growth Tokyo
Los Angeles
Tokyo
Los Angeles
htiti.titihtiti htiti.titihtiti htitictitititi htitictitititi htiti htiti titititititi titititititi
titititititititi titititititititi
ptiptitititititititititititi
NtictitititiFtititititititiRCHti5tititiFtititititititititictititimtitititititi@timtititi.c
ptiptitititititititititititititi ptiptitititititititititititititi
Ctimptitititititititititititititititititititititititititititititititititi
tititititititititititi
tititititititititititi ti78ti ti78ti
NtictitititiFtititititititiRCHti5tititiFtititititititititictititimtitititititi@timtititi.ctimti NtictitititiFtititititititiRCHti5tititiFtititititititititictititimtitititititi@timtititi.ctimti
ti6titi
Ctimptitititititititititititititititititititititititititititititititititititi Ctimptitititititititititititititititititititititititititititititititititititi
tititititi tititititi ti6titi
tititititi tititititi ti6titi
ptiptititititititititititititititi ti6titi ptiptititititititititititititititi
ti
ti ti =titititititititiptitiptitititititititititimtititititi;titititiptitiptititiptititim =titititititititiptitiptitititititititititimtititititi;titititiptitiptititiptititim ti ti =titititititititiptitiptitititititititititimtititititi;titititiptitiptititiptititim
tititititititititititi
tititititititititititi ti78ti ti78ti ptiptitititititititititi ptiptitititititititititi
htitititititi htitititititi titititititi titititititi
ti6titi ptiptititititititititititititititi
htitititititi
ti6titititiEtitititititititititititititititititibtititihtiti.titihtiti titititititi ti6titititiEtitititititititititititititititititibtititihtiti.titihtiti EtitititiCtitititititititititihtitictitititititititititihtitictitititi EtitititiCtitititititititititihtitictitititititititititihtitictitititi ti6titititiEtitititititititititititititititititibtititihtiti.titihtiti titititititibtictititititititi57titititititititititihtiti titititititibtictititititititi57titititititititititihtiti EtitititiCtitititititititititihtitictitititititititititihtitictitititi ptiptititititititititititititititititititititititititititititititi ptiptititititititititititititititititititititititititititititititi titititititibtictititititititi57titititititititititihtiti titititititititititititi titititititititititititi ptiptititititititititititititititititititititititititititititititi
titititititititititititi
titititititititititititi titititititititititititi ti78tititititititititititititititiptitibtitititititititititititititi ti78tititititititititititititititiptitibtitititititititititititititi titititititititititititi wtitihtititiptiptitititititititititititititititititi wtitihtititiptiptitititititititititititititititititi
ti78tititititititititititititititiptitibtitititititititititititititi wtitihtititiptiptitititititititititititititititititi
tititititititititititi
ti78ti ptiptitititititititititi
ti
tifititititi tifititititi tititititititi7ti tititititititi7ti fitititititititi fitititititititi titititi titititi
fifi fifi
titititi titititi
ptiptitititititititititititi
NtictitititiFtititititititiRCHti5tititiFtititititititititictititimtitititititi@timtititi.c
tititifitititititititititititititi tititifitititititititititititititi
Ctimptitititititititititititititititititititititititititititititititititi
tititititititititititi tititititititititititi
NtitititititiFtitititifititiRCHti5tititiFtititititititititititititititititititifi@tititititi.titititi
ti73ti
Ctititititititititititititititititititititititititititititititititititititititi Ctititititititititititititititititititititititititititititititititititititititi NtitititititiFtitititifititiRCHti5tititiFtititititititititititititititititititifi@tititititi.titititi
tititititi tititititi ti73ti
tititititi tititititi
ti7titi ti7titi tititifitititititititititititititititititi tititifitititititititititititititititititi
ti ti ti ti =titititititititititititititititititititititititititititi;titititititititititititititititi =titititititititiptitiptitititititititititimtititititi;titititiptitiptititiptititim ti ti =titititititititititititititititititititititititititititi;titititititititititititititititi
tititititititititititi tititititititititititi
titititi titititi tititifititititititititititititititi tititifititititititititititititititi
htitititititi htitititititi titititititi titititititi
ti6titi ptiptititititititititititititititi
htitititititi
Efititititititititititititititititiwtitihtititi titititititi Efititititititititititititititititiwtitihtititi tititifititititititititititititititititititititititititititi tititifititititititititititititititititititititititititititi
ti6titititiEtitititititititititititititititititibtititihtiti.titihtiti EtitititiCtitititititititititihtitictitititititititititihtitictitititi titititititibtictititititititi57titititititititititihtiti ptiptititititititititititititititititititititititititititititititi titititititititititititi
titititititititititititi titititititititititititi
tihtitiShtititititititititititititititititititititititififitifititititi tihtitiShtititititititititititititititititititititititififitifititititi tititi5tititititititititihtitititititititititititititititititihtititititititi7ti titititititititititititi tititi5tititititititititihtitititititititititititititititititihtititititititi7ti tititi5tititititititititititititititiqfitififitititititititifitititititititi tititi5tititititititititititititititiqfitififitititititititifitititititititi Ititititititititititititititititititititititititititititititi Ititititititititititititititititititititititititititititititi ti78tititititititititititititititiptitibtitititititititititititititi tititititititititititititi tititititititititititititi wtitihtititiptiptitititititititititititititititititi titititititififififififififififififififififififififififififififi titititititififififififififififififififififififififififififififi
tititititititititititi
ti78ti ptiptitititititititititi
ftftftftft ftftftftftft ftftftft Sftftftft ftftftft ftftftft
ftftftftftftftftftft ftftftftftftftftftft
2ftft 2ftft
ftft3ft
ptiptitititititititititititi
NtictitititiFtititititititiRCHti5tititiFtititititititititictititimtitititititi@timtititi.c
ftftftftftfttititititititititititi ftftftftftfttititititititititititi
Ctimptitititititititititititititititititititititititititititititititititi
tiftftfttifttiftftftft tiftftfttifttiftftftft ftft3ft
NftftftftftftftftftftftftfttiftCftftti3tiftfttititiftftftftftftftftftftftftftftftftft@tiftftftft.ftftftft
ftftftft
Cftftftftftfttititititititititititititititititititititititititititititititititi Cftftftftftfttititititititititititititititititititititititititititititititititi NftftftftftftftftftftftftfttiftCftftti3tiftfttititiftftftftftftftftftftftftftftftftft@tiftftftft.ftftftft
ftftftftft ftftftftft ftftftft
ftftftftft ftftftftft ftftftft
ftftftft ftftftftftfttitititititititititititititi ftftftftftfttitititititititititititititi
ti ti ti ti =titititititititiptitiptitititititititititimtititititi;titititiptitiptititiptititim =ftftftftftftftftftftftftftftftftftftftftftftftftftftftft;ftftftftftftftftftftftftftftftft ti ti =ftftftftftftftftftftftftftftftftftftftftftftftftftftftft;ftftftftftftftftftftftftftftftft
tiftftfttifttiftftftft tiftftfttifttiftftftft ftft3ft
ftft3ft ftftftftftfttitititititititititititi ftftftftftfttitititititititititititi
ftftftftftftft ftftftftftftft ftftftftftft ftftftftftft
ti6titi ptiptititititititititititititititi
htitititititi
ftfttitiftfttiftftftftftftftftftftftftftftftftftftftftftftftftftftftftft titititititi ftfttitiftfttiftftftftftftftftftftftftftftftftftftftftftftftftftftftftft ftftftftftftftftftftftftUSftftftftftJftftftft.ftftSftftftft ftftftftftftftftftftftftUSftftftftftJftftftft.ftftSftftftft ti6titititiEtitititititititititititititititititibtititihtiti.titihtiti ftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftft ftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftft ftftftftftftftftftftftftftftftftftftEtitititiCtitititititititititihtitictitititititititititihtitictitititi ftftftftftftftftftftftftftftftftftft titititititibtictititititititi57titititititititititihtiti ftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftft ftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftftft
ptiptititititititititititititititititititititititititititititititi titititititititititititi
tiftftfttifttiftftftftft tiftftfttifttiftftftftft ftftftftftftftftftftftftftftftftftftftftftftftftftftftfttiftft ftftftftftftftftftftftftftftftftftftftftftftftftftftftfttiftft ftftfttiftftftftftftftftjftftftftftftftftftft titititititititititititi ftftfttiftftftftftftftftjftftftftftftftftftft
ti78tititititititititititititititiptitibtitititititititititititititi wtitihtititiptiptitititititititititititititititititi
tititititititititititi
ti78ti ptiptitititititititititi
tititititititititititi tititititititititititi 2009 2009
ptiptitititititititititititi
NtictitititiFtititititititiRCHti5tititiFtititititititititictititimtitititititi@timtititi.c
Ctimptitititititititititititititititititititititititititititititititititi
2009 2009
Ctimptirtitititititititititititititititititititititititititititititititititi NtictitititiFrtitititititiRCHtiti32tiFtititititi9tititictititimfrtitititi@timtititi.ctimti NtictitititiFrtitititititiRCHtiti32tiFtititititi9tititictititimfrtitititi@timtititi.ctimti ptiputititititititititititititi
tititititi tititititi
ti6titi ptiptititititititititititititititi
tititititi tititititi
2titi9 2titi9 ptiputitititititititititititititititi ptiputitititititititititititititititi
ti
22 22 =titititititititiptitiptitititititititititimtititititi;titititiptitiptititiptititim =ti1titititititiptitiptitititititititi1timtitirtiti;ti1titiptitiptititiptirtim =ti1titititititiptitiptitititititititi1timtitirtiti;ti1titiptitiptititiptirtim
tititititititititititi tititititititititititi
tititititititititititi
2titi9 2titi9 ti78ti ptiputitititititititititititititititi ptiputitititititititititititititititi ptiptitititititititititi
htitititititi titititititi ti6titititiEtitititititititititititititititititibtititihtiti.titihtiti EtitititiCtitititititititititihtitictitititititititititihtitictitititi titititititibtictititititititi57titititititititititihtiti ptiptititititititititititititititititititititititititititititititi titititititititititititi
titititititititititititi ti78tititititititititititititititiptitibtitititititititititititititi wtitihtititiptiptitititititititititititititititititi
ti
connection from chinatown to downtown
Chinatown to Downtown
metro station study area metro line dash route broadway
chinatown central plaza
metro station
CHINATOWN
study area
chinatown central plaza
el pueblo
CHINATOWN
el pueblo
map of study areas
grand central market
DOWNTOWN grand central market
pershing square
DOWNTOWN pershing square
GARMENT DISTRICT GARMENT DISTRICT santee alley santee alley
chinatown central plaza
chinatown central plaza
chinatown central plaza
chinatown along broadway
el pueblo
el pueblo
garment district; downtown LA
garment district; downtown LA
rail in relation to growth of city
Freeway to Public Way
freeway in relation to growth of city
freeway in relation to growth of city
street pattern of LA city
Nueva Pompeya is known historically as the neighborhood where Tango was born. More recently, the neighborhood is viewed to be unsafe and rundown by the city and its inhabitants. The area, although in need of general up-keep and renovation, is full of people and activity. Aveneda Saenz is the major connector from the south provinces to the city. This surface freeway filters 19,000 private cars through daily, and has one bus every ten seconds. People that come from the south use the shops around Ave Saenz in the Nueva Pompeya barrio. The church, La Nueva Senora de Rosario de Pompeya, located on the plaza, is significant to the neighborhood as well as the city. The Church is currently separated from its plaza.
El Centro de Nueva Pompeya Buenos Aires, Argentina; 2011
buenos aires + nueva pompeya barrio
the site within nueva pompeya The Street Currently the pedestrians maneuver dangerously around the traffic to get from one place to the next. By slowing down traffic and creating a smooth level surface plaza across Ave Saenz, you force the vehicles to be aware and now give the priority to the pedestrians. The overall design will include surface treatment, and addition of street trees to benefit the pedestrian use.
the plaza
existing and proposed traffic & speed reducers on ave. saenz through the plaza area
The Plaza By giving the area where Ave Saenz and the Plaza meet and even surface you create an area safer for pedestrians and a Neighborhood connector. This allows for a somewhat traditional understanding of Church and Plaza. The goal is to identify the existing character and facilitate a connection between programs and activity. The surface would meet the businesses at the entrance level, allowing them to spill out into the plaza creating new relationships and over lapping integrations.
ave. saenz
facades
existing conditions facades + services
services + their relative affect on the plaza
significant program + building no significance
building deletion series
significant building significant program
Void The first step I took was to analyze the existing conditions and use of the buildings around the plaza. Both the building and the program were analyzed based on historical and cultural significance .By subtracting the buildings by category new ideas about the plaza emerge. The processes shows us the voids that can be achieved. This is by no means an exercise to illustrate a phasing plan but the possibilities that can be formed by removing all but historically or culturally significant buildings.
without red category
without red, blue + green category
void form series
Form This is the inverse of the Void series, showing the forms that the plaza can take on by subtracting the plaza buildings based on category.
40m
h
butc
y lotter upply s party
church
20m
restaurant
10m
apartments
plaza plan with existing uses and affects 0m 80m
urant Resta ntist r e d lawye st florier h butc lottery pply u
cy
ge stora
house e hous
electr
ol
galleria
arning e l t l u ad t dentis
m
bakery edical center
cho s y r a m i pr
onics
art ca
salonfe
a pharm
medical center
poultry restaur butcherant restaurant
cheese
Carousel
swings
the rooms The Rooms As illustrated in the building deletion series, some buildings will remain untouched throughout the construction project. Plots within the plaza maybe empty for some time during the long process of construction, this presents as an opportunity to use those spaces in other ways. These spaces act as “rooms� that hold activities connected to, or outside of the Plaza experience. While some of these Rooms may be temporary, others can become permanent extensions of the Plaza.
the rooms in plaza
plaza room
plaza room
plaza room
plaza room
interactive board game
Opera and Ataba squares together, form one of the three main transportation hubs in Cairo’s CBD, the others being Tahrir and Ramses squares. They link the commercial and business district of Khedivial Cairo to a group of wholesale specialized markets surrounding Ataba Square, and traditional markets in el-Azhar district. The two squares, originally a major cultural and recreational node, are currently separated by the Opera multistory garage built on the original site of the Khedivial Opera House. A diverse mixture of land uses, commercial activities, and a number of historic buildings characterize the surrounding area.1 Our proposal seeks to restore harmony and urban identity to the historic Opera and Ataba Squares area of Khedivial Cairo. This can only be done in a coordinated approach, one that balances transportation needs, civic identity, development opportunities and a pedestrian friendly environment conducive to tourists and residents alike. This formerly distinguished place, once considered the ‘heart’ of Cairo, is situated at the nexus of Khedivial Cairo with the historic Fatimid Cairo to the East. It therefore serves as both a connection, as well as a center, a place for people to move through, but more importantly for people to come to. Accomplishing this requires reworking the infrastructure of the area, from the demolition of the elevated highways, to the transformation of street and block structures to allow more controlled vehicular movement through the area, as long as such vehicular movement does not infringe upon a generous and elegant urban place for people. The new street and block structure allows better definition of the public streets and two new squares. It allows a better relationship between building and city space, a more elegant way of defining this as a place, a destination of cultural and business significance. We envision creating different identities for the two squares: a more formal “hard” Opera Square, firmly in Khedivial Cairo and visually and spatially prominent. The other, more informal, “softer” Ataba Square is proposed as a shaded date palm grove. Ataba Square is more connected to the informal activities of markets, hotels, and administrative employees alike, as a respite from the heat and concrete of the city. The scheme is devised to work with the proposed winning scheme of the recent competition to revitalize all of Central Zone of Khedivial Cairo.2
1 2
Ministy of Culture, competition details. summary by John Dutton
International Competition for the Urban Design, Harmony and Historic Conservation of Opera and Ataba Squares Cairo, Egypt: with Vinayak Bharne and John Dutton, AIA; 2010
East-West Traffic
labeled plan
New Blocks
Museum or Major Cultural Building
Opera Square
Reconfigured Azbakia Garden
Souks/Markets
Abata Square
El Azhar St. Restoration
with j.dutton
5
6
8
Jflbj & DXib\kj 9l`c[`e^j fe k_\ \Xjk\ie \[^\ f] k_\ ^Xi[\ej _Xm\ Y\\e i\gcXZ\[ Yp e\n YcfZbj f] dXib\kj jflbj % K_\j\ Xi\ `ek\e[\[ Xj X dfi\ fi^X$ e`q\[ nXp f] _flj`e^ k_\ e\XiYp jki\\k m\e[fij# Xe[ `e ]fid d`d`Z k_\ fc[\i =Xk`dX :X`if% 9\cfn k_\d Xi\ e\n le[\i^ifle[ gXib`e^ jkilZkli\j% 9\kn\\e k_\ knf YcfZbj f] k_\ jflbj `j k_\ dX`e \ekiXeZ\ kf D\kif C@e\ * g\i k_\ :`kp gcXej%
8kXYX JhlXi\ 8kXYX JhlXi\ _Xj Y\\e i\jkfi\[ kf X e\`^_Yfi$ _ff[ jhlXi\# X Zffc# j_X[\[ gcXZ\ kf \jZXg\ k_\ _\Xk Xe[ Zifn[j f] k_\ X[aXZ\ek Z`kp% 8 ^ifm\ f] [Xk\ gXcdj# j\k jc`^_kcp [fne `e X jleb\e Zflik XZk`e^ Xj X ÊZffc$j`ebË # n`k_ X Z\ekiXc ]flekX`e# gifm`[\j X i\jg`k\ ]fi kfli`jkj Xe[ i\j`[\ekj Xc`b\% K_`j jgXZ\ `j ]ifek\[ Yp dXafi ZlckliXc Xe[ Z`m`Z Yl`c[`e^j% K_\ e\n 8kXYX JhlXi\ ^`m\j X j\ej\ f] Xii`mXc kf k_fj\ kiXm\c`e^ efik_ fe 8Y[% 8c 8q`q fi Df_Xdd\[ 8c` J ki\\kj# kiXm\cc`e^ n\jk fe <c 8q_Xi# Xe[ k_fj\ kiXm\cc`e^ jflk_ fe \`k_\i Bcfk 9\b fi <c >Xp\j_ Jki\\kj%
<c 8q_Xi Jki\\k I\jkfiXk`fe K_\ \c\mXk\[ _`^_nXp _Xj ZXlj\[ `ii\g\iXYc\ _Xid kf k_\ hlXc`kp f] k_\ liYXe jgXZ\ Xk 8kXYX JhlXi\ Xe[ n\ gifgfj\ `kj [\dfc`k`fe efk aljk Xk k_\ jhlXi\ Ylk k_ifl^_flk k_\ c\e^k_ f] <c 8q_Xi% K_\ klee\cj n`cc i\dX`e Xj k_\ dX`e YpgXjj f] k_\ =Xk`dX [`jki`Zk% :Xij e\\[ kf Y\ d`e`d`q\[ Xe[ jcfn\[$[fne$ ]XZ`c`kXk`e^ k_\`i jg\\[ _Xj Y\\e [\ki`d\ekXc kf :X`if%
detailed plan
7
I\Zfe]`^li\[ 8qYXb`X >Xi[\e K_\ fc[ ^Xi[\e `j efn X jdXcc\i# Y\kk\i [\]`e\[ j\i`\j f] glYc`Z ^i\\e jgXZ\j `ek\^iXk\[ n`k_ X dXafi kiXejgfikXk`fe _lY ]fi knf D\kif c`e\j% 8ZZ\jj kf k_\ ^Xi[\ej `j ]ifd Xcc j`[\j Ylk gi`$ dXi`cp k_\ n\jk ]fi C`e\ ) Xe[ k_\ \Xjk ]fi C`e\ *%
diagrams
art’ of Cairo, is situated at the nexus of Khedivial ro with the historic Fatimid Cairo to the East. It refore serves as both a connection as well as a ter, a place for people to move through, but more
500m
500m
500m
AXIS - TERMINTATION
PARKING + STREET PARKING + STREET DIRECTION DIRECTION
TERMINATIONS
PRIMARY BUILDING FRONTAGES PRIMARY BUILDING FRONTAGES AXIS - TERMINTATION
FRONTAGES + TERMINATIONS FRONTAGES +
AND STREETS BLOCKS NEW AND BLOCKS
STREETS WITH NEW PLAN
FRONTAGES FRONTAGES ++ TERMINATIONS TERMINATIONS
NEW STREETS STREETS WITH NEW +PLAN BLOCKS STREETS WITH NEW PLAN
STREETS WITH NEW PLAN
FRONTAGES + TERMINATIONS
PRIMARY BUILDING PRIMARY BUILDING FRONTAGES FRONTAGES
AXIS - TERMINTATION AXIS - TERMINTATION
T
E S
digital model
NEW STREETS NEW STREETS AND BLOCKS NEW AND STREETS BLOCKS
500m
allows better definition of the public streets and two new squares. It allows a better relationship between building and city space, a more elegant way of 500m 500m defining this as a place, a destination of cultural and
USE
USE
PARKING + STREET DIRECTION
USE
DIRECTION
PARKING + STREET PARKINGDIRECTION + STREET
500m 500m
with j.dutton + r.ramirez
The Fashion Institute of Design and Merchandising is located on the fringe of the garment District in Downtown Los Angeles. Fashion takes a necessity and makes it desirable, for the user or the spectator. It is about being seen, enhancing ones character or personality. The screen is a necessity; similar to clothing it protects you from the sun, with pattern like lace, it is functional as well as beautiful. During the day when one is inside the atrium space or studios, the light shines through screen and the pattern is projected on the space and you. The patterns change throughout the day, moving with the sun. At night people from the adjacent park, street or FiDM can see the bright lights of the studio through the black screen. The students moving up and down the runway space are silhouetted; the combination of movement and light creates a performance, intriguing to the spectator, constantly changing with the hours and times of year. The continuous changes the concept of roof and floor; with color and material change the folded plane is perceptible. The plane brings people in and out of the space, blurring the lines between street and building because you are in both simultaneously.
FiDM Studio Annex Los Angeles, CA; 2009
d
section e
section a
site section through olive st.
c
b
a
d
section e
c
b
a
site section through olive st.
section b
d
section e
section c
site section through olive st.
c
b
a
d
section e
c
b
a
site section through olive st.
section d
glazing
ba
railings
axon
sidewalk level
folded landscape
sun screen
bathroom/elevator/fire stair core
oom/elevator/fire stair core
el
structure
unfolded skin
structure
runway circulation
unfolded skin
runway circulation
runway circulation
ee
ay
nw
ru
s/
io
ud
st olive
9th s treet
street
grand anvenu e
hope stree
stree t flowe r
plans
fe
ca
t
8th s treet
y
er
ll
ga
FIDM
olymp
ic b
d site rooflvplan 1’= 1/128”
screen
folded landscape
sun screen
section e
d
section e
b
a
unfolded skin
site section through olive st.
c
Starting with experimentation in tessellation and manipulation of paper and cardboard, we went through several iterations to find a module that was flexible as well as structural. Using Gehry Technologies Digital Project as the tool the module was instantiated through a context model to create the final product that was carefully unfolded digitally and put together manually. Over 600 individual pieces were laser cut and put together into one full- scale installation. The module and the full-scale installation, had to embody characters that allowed for the environmental conditions to be controlled and utilize. The modules had to work together to be flexible as well as structural. The installation was site-specific. Understanding the protection from sun and wind, as well as the traffic of students, was important to the design. The final product worked with the environmental conditions while giving a nice place to meet or rest.
Spatial Apparatus; USC installation with Alan Dana & Derek Greene; 2009
focus areas
form
mutated module
static module
digital project instantiation + siting
construction
construction
sketchbook | life drawings | paintings + mix media 2007-present
la boca
buenos aires
giambolognaâ&#x20AC;&#x2122;s colosso dell appennino; outside of florence IT
bridge in summer palace garden; beijing, CH
monterey, CA
jingshan park; beijing CH
hagia sophia; istanbul TK
michalangeloâ&#x20AC;&#x2122;s, david + giambolognaâ&#x20AC;&#x2122;s, rape of the sabine women; florence IT
life drawing
life drawing
life drawing
life drawing
paintings: set of 3 5”x7” + 36” x 48”
mixed media: 11” x 14”
painting: 30” X 40”
mixed media: 10” X 10”