NICHOLAS SHEKERJIAN PORTFOLIO v0.23 /1 ARK 2017 p.03 /2 FORuM : OBSERVATORY HOUSING 2016 p.15 /3 HOW TO DISAPPEAR COMPLETELY 2018 p.31 /4 HOMO RODANS 2018 p.35 /5 THE EXPERIMENTAL ROOM p.47 /6 NEW ROMAN HOUSING 2019 p.49 /The work detailed in this portfolio speculate on the increasing prevalence of urban and architectural absence. /It is the opinion of myself and this work that the increasing scale and prevalence of absent space is the result of an increasingly postmodern, urbanized, globalized world, and thus has inherent qualities which deserve examination. /This is in an attempt to discover possibilities of active inhabitation of these spaces, with unique qualities of absence in mind. / Absence, through architecture, contains two basic and paradoxical traits : architecture as a corporeal, sheltering, empty vessel and architecture as a fantasization of ecological potentials; the two together form an ourobouros of building. /Absent space is not just the space of arrival, but is often the space of going. /In their experimentation of the “ars” (the generation of hypotheses) and the “techne” (the testing of hypotheses), these projects solve questions but do not always solve obvious problems of absence. /Sometimes this approach is direct and at other times indirect. /These projects are predecessors for real future strategies of working with qualities of absence in mind. /These speculations are inherently optimistic. /Some of these projects were conducted as a student at Arizona State University, The Bartlett School of Architecture in London, and as a Faculty Associate in Environmental Design at ASU as well as a post-graduate professional. / This portfolio and its explorations are greatly influence by the alluring emptiness of Phoenix, AZ.
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/1 ARK AIA Phx Metro Competition Winning Project 2017
PHOENIX, 2016
This competition brief asked for designs which would characterize “unique” infill for Phoenix, AZ. /When considering future development and the subject of urban infill, one must understand exactly what characterizes
Phoenix’s unique urban environment. /In doing so there is an interesting contradiction in studying urban infill with respect to urban distinction and “uniqueness” in our city: Phoenix’s uniqueness is in its abundance of vacancy,
2020
2040
the very thing which contradicts the subject of urban infill. /This project deals with urban infill without imagining the specific characteristics of infill itself; instead it imagines the result of infill on Phoenix’s unique charac-
teristic of vacancy. /What should we do to preserve an aspect of vacancy when infill takes place? /”Ark” propose to preserve a vacant lot on the SE corner of E. Jackson St. and S. 1st Ave. which borders on the future “Old” Down-
town Phoenix and the future “New” Downtown Phoenix (the de-industrialized part of the city).
2060
2080
2100
Structure
Ark
Site + Underground
xion
7° fle
city
capa
7° flexion capacity
/As the extremes of urban density take over the city, clouding previously existing streets and rising higher and higher into the sky, the Ark remains as a mark of Phoenix’s only unique urban quality, an escape to the past, to
its glorious sunsets, and its imagined “Wild West” history. /Ark is a space where Phoenicians project themselves into a civic practice of vacancy. /The project was awarded due to its contrarian assessment of the competi-
tion brief. /Among the winners, our design was alone in being a cautionary tale, and having a moral compass. / Project with ZACH BUNDY.
/3 FORuM Observatory Housing Post Graduate Speculative Project 2016
Observation and architecture intersect at form. /Form is architecture’s consideration of observation through perspective. /In the 21st century, we are confronted with a growing trend in the vertical perspective. /Most
no longer rely on the horizontal perspective to understand a site or to protect themselves from harm ; most are not obligated to use an awareness of site to survive as our ancestors did for millenia. /We now live above. /
Constantly observing numerous contexts outside of our own and geolocating back to ourselves instantaneously. /This project proposes to enforce not just the observation of Roccascalegna’s generous night sky through the
vertical perspective, but also its medieval linear formal arrangement in enforcing the horizontal perspective : the perspective which gives meaning to observing the sky. The project is constructed around the relationship
of three bodies: /1. the research center above the fortress containing (didactic). /2. public programs within the church as non-intrusive interventions (existing). /3. a submerged observational house (phenomenological).
the site. Some provide total vertical or horizontal perspectival submersion for the reading of the site or the sky, and others blur the two to create experiences for digital mapping/synthetic observation for labs and research.
They are also pure forms which, in observation of their purity, become framed by and simultaneously frame the natural environment.
glass
pane
ls
insu la
ted p an
els
The sphere and cube inform these perspectives. / Through their deformation, a range of perspectival architectural tools which provide different observational experiences are created as structures and objects across
3.5m x 3.5m spatial unit
1
4
6
9
slab 1
interior volume
slab 2
structural unit
site observation
1. research center
n tio
rva
bse
o ctic
a did
sky pool site observation
2. observatory house observat
ion follies
roof merges with site
reflective panels
interior
3. church
1. Glass assembly panel with three image-printed 3/16� insulated glass panes and image-printed OLED sheet. /2. 5mm aluminum clad insulated panel. /3. Roof drainage system with 1� steel grate drain and filter raised above
3 1 2
4
2
5 6 7
8
sloped drain cavity. /4. Space for water runoff from top of facade. /5. 5mm thick aluminum fin frame. /6. Flexible, image-imprinted OLED screen and supporting wire system. /7. Glass and insulated panel mullion. /8. A/C
supply on stand with rigid foam insulation. A/C return along opposite facade.
research center
N
observatory suite
research center
observatory house
The project supposes that to effectively observe today is also to be aware of how one is being observed. /This project seeks protection from constant surveillance as a contemporary design feature. /As such, the glass system
that defines both the house and the research center is designed to create “image resonance” with NASA and Google’s affiliated satellite imagery through varying layers and materials of images. /By measuring the distance between
the site and the GeoEye-1 satellite, the glass and concrete surfaces are imprinted with several layers of site imagery to help maintain resonance with moving satellites, protection from fauna, to deal with the daytime/nighttime
image capturing and solar heat gain. /The glass facade is imprinted with heat resistant acrylic imagery as well as contains flexible and responsive OLED screen material. / Project with MARK LEWIS.
gr-yellow: daytime light and solar heat gain blue: protection of glass from birds invert-black: satellite registration
separation of image maintains resonance with moving satellite double-etched concrete structure, triple-image glass facade system
image folding
brightness and contrast adj.
resolution reduced for GeoEye-1 satellite image resonance (35,786km)
housing plot satellite image
satellite image printed facade + etched roof surface
hidden observatory house with furniture
roccascalegna site
+ the research center
/4 HOW TO DISAPPEAR COMPLETELY Fairy Tales Competition Featured on KooZA/rch and “Discipline” Journal 2017
The Blank Space Competition Brief asked entrants for illustrated fairytales with a focus on the new “Post-Truth” era. /Our team was drawn to the 1950 Disney rendition of Cinderella. /As a story that identifies analogously with
“fairytale” conceptually, it indulges audiences with an engaging story which shows a heroine leaving her mundane life, and escaping into a magical yet unattainable world. / As a fairytale, Cinderella acts as a true parable for a world
defined by “influencers� and others that convey lives outside of reality via images. /As a method of escaping back into the reality that digital environments and their purveyors remove us from, this project is an exercise in
rediscovering reality by building space through frames of images which create the illusion of animation in the original Disney film; this is a corollary to Zeno’s paradox of motion, an ancient theory which negates the possibil-
ity of chronology. /These images show a palimpsest of processes which made them; software was used to trace (rotoscope) the movements of animation between frames from the 1950 Cinderella, and then information was
extrapolated from these animation frames to create digital environments. /This process was not derived from an interest in telling the specific story of Cinderella, but rather in questioning the structure of the story and developing
the method by which one can construct possibilities or plans of real space from digital space by questioning the medium of a narrative structure. /Zeno’s paradox establishes that our human experience of reality is actually an
illusion. /These rotoscoped images, the foundations of the final scenes depicted on the image-reflected screens, are therefore objective indices of illusion. /Project with ZACH BUNDY.
Rotoscoped Escape Scene, Cinderella (1950)
Rotoscoped Dance Scene, Cinderella (1950)
x Chase, Cinderella (1950)
Datamoshed Dance Scene, Cinderella (1950)
Rotoscoped Midnight Scene, Cinderella (1950)
Tower, Early Draft
Index, Early Draft
Escape, Early Draft
/4 HOMO RODANS Competition via Bee Breeders Honourable Mention 2018
Tea making is a natural process during which people escape from quotidian stress and observe their own lives from afar, allowing for personal growth as a result of restful contemplation. /Over time, this metamorpho-
sis-via-tea making creates positive change in people’s lives. /The Ozolini Teamakers can facilitate these personal metamorphoses by involving their guests in the production of their unique tea. /In order to help this
mission, this architectural proposal includes two main elements: /1. A landscape design which uses the ingredients of Ozolini’s Daylight Blend, the first tea to be created at Ozolini after the founder’s discovery of the abandoned
farm. /Apple tree leaves, black currant, meadow clover flowers, lemon balm, and mountain ash berries are planted along paths in the forest; during their stay at Ozolini, guests will explore the forest, foraging for these ingredi-
ents. /2. At clearings in the forest, a small area of topography is terraced to support the foundations of cocoons. /These structures are elevated above the ground, providing guests with privacy and safety from the environment.
/These shelters act as nodes in the Ozolini forest that is abundant with organic ingredients; they are the spaces where people practice silent meditation in the form of tea making. /The building is raised above the ground in or-
der to provide privacy and seclusion as well as safety from wildlife including mosquitoes. /The floor contains mechanical systems for heating and cooking with propane. /Under normal usage conditions, a single propane tank
can heat this space for over two months in winter.
/The building systems and utilities of these cocoons are contained in trapdoors in the floor, allowing the space to serve different functions throughout their stay. /Walls are framed with dimensional lumber. Sliding wooden
lathe screens are mounted on tracks in the facade, allowing guests to mediate the conditions between the exterior and the interior. /Ten identical hollow structural steel (HSS) columns are connected to the roof and floor
with pinned connections. /The bottom of these columns are connected to concrete caissons by concrete-filled steel members of varying length. /This system allows the design to be used on a wide range of topography with
Facade Elevation 1:50
Floor detail: propane tank 1:10
Floor detail: storage 1:10
Floor detail: air diffuser 1:10
minimal redesign. /Simultaneously, potential damage to nearby root systems is minimized.
Pin
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Caisson Foundation on Terraced Ground
/The structure is a solitary, ascetic space, used to house only one person for numerous activities; as a meditation chamber, a lookout point, a space of healing , and a tea parlour. /The envelope of these shelters can be shed, al-
lowing guests to transform their space at will; the room can transition from being a climate-controlled space to an elevated space open to the surrounding forest and Lake BezdibenÄ—. /Project with ZACH BUNDY.
1. Components are pre-fabricated from plywood, lumber, and steel, and then delivered via flatbed truck, minimizing damage to forest.
2. Roof is lifted by hydraulic jack; columns with pin connection at roof are connected to caissons. Grading/ terracing to provide proper drainage.
3. Hydraulic lifting of pre-fabricated floor & mechanical systems.
4. Pre-framed/pre-fabricated walls are installed.
5. Sliding wood screen facade is installed.
6. Interior, winterized canvas installed.
/5 THE EXPERIMENTAL ROOM Studio Program and Exhibition Faculty Associate 2018
As a Faculty Associate at Arizona State University, I had the privilege of working for a new program coordinator whose goal was to reinvent, through curriculum design, branding, and experimentation the Environmental De-
sign program as a socially-embedded program. /In turn, this meant building greater relationships between ASU and the public as well as give agency to the program’s students. /In doing so, I helped conduct the first exhi-
bition and established the first yearly exhibition program between The Design School at ASU and The Phoenix Art Museum; in the spring of 2018, 91 students exhibited experimental constructions envisioning the future of design
education via explorations of design pedogogy and personal dreams. /The exhibition, taking place as an open event on First Friday in downtown Phoenix, also featured verbal presentations by students, videos, models, and
drawings of their designs, and a newly constructed exhibition display system. /Images included are stills from the video of the event filmed and edited by Ben Backhaus. https://www.youtube.com/watch?v=gyIamzLkC04
/4 NEW ROMAN HOUSING Housing Along Pope Sixtus V Masterplan Competition via Bee Breeders 2019
Rome is a museum. /How do we live in a museum? / When Pope Sixtus V redesigned Rome with several important axes of circulation, he effectively created the scenographic organization that would greatly contribute to
Rome’s renown as a city. /As time persisted, the beautiful scenography of Sixtus V’s master plan was a determinant factor in creating the museification Rome we see today. /Pope Sixtus V set forth the contemporary condition of
Rome being a major site of tourism, so much so that a vast proportion of its economy is dependent upon tourism as an industry. /Out of fear of tainting the image of Rome, decades of leadership have avoided housing development
in the city’s most important areas. /Successful collective housing must not be relegated to the poorly connected, unproductive outskirts of the city but rather engage the most highly connected and historically significant sites
where residents are connected directly to the economy and labor of the city.
Re-erected & Consecrated ca. 1589 Pope Sixtus V Pia
Piaz
Piazza Navona 5 M. Visitors / Year = 500 Million Euros
5
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8
Obelisco Esquilino 1st Century A.D. Caesar Augustus
Lateran Palace ca. 1589 Pope Sixtus V
Obelisco Laterano ca. 1500 B.C.E. Thutmose III
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Re-erected & Consecrated ca. 1587 Pope Sixtus V
Re-erected & Consecrated ca. 1589 Pope Sixtus V
4
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Lateran Palace ca. 1589 Pope Sixtus V
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Piazza del Popolo 3.4 M. Visitors / Year =340 Million Euros io + in Communal a m . E . Housing = 21.9 Million Euros / Year l F . C Million Euros / Year o= 321.9
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Obelisco Esquilino 1st Century A.D. Caesar Augustus
Lateran Palace ca. 1589 Pope Sixtus V
Obelisco Laterano ca. 1500 B.C.E. Thutmose III
ni L a te r a Domus . 6 B .C .E a n u s ca. 36 r s L a te P la u tiu
Piazza dell’Esquilino ca. 1587 Pope Sixtus V
Santa Maria Maggiore 2 M. Visitors / Year =200 Million Euros + Communal Housing = 21.9 Million Euros /Year =221.9 Million Euros / Year
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Roman Tourist Spending - 6.78 Billion Euro Contributed / Year in Tourism - 9.6 Million Visitors / Year - Spends an average 100 Euros /6.3 Days of average stay in Rome. = 630 Euros / Tourist*
Palazzo Laterano
0.6 M. Visitors / Year = 60 Million Euros / Year + Communal Housing = 21.9 Million Euros / Year = 81.9 Million Euros / Year
Colosseo 4 M. Visitors / Year = 400 Million Euros
Urbanization of Rome by era
Pope Sixtus V Plan for Rome (1585-90)
- Classical, According to Nolli
- Obelisk
- Medieval, Nolli
- Circulation Scheme
- Renaissance, Nolli, Pope Sixtus V
- Monuments
- Modern, According to Lanciani - Post-War Economic Boom, Comune di Roma
Other Elements - Water
*Figures based on 2017 data gathered by the International Centre of Studies on the Tourism Economy, University of Venice. †All site values represent maximum spending potential via tourism.
1100
1000
900
800
700
600
500
400
300
200
100
0
100 BC
200 BC
300 BC
400 BC
500 BC
600 BC
700 BC
800 BC
900 BC
population of rome
1,041 p/km2
6,250 p/km2
58,333 p/km2
36,344 p/km2
10,384 p/km2
population density
view inside typical co-living unit
3,500,000
3,000,000
2,500,000
2,000,000
1,500,000
1,000,000
500,000
0
year
2,200 p/km2 2,230 p/km2 2,240 p/km2
2011
2021
20,833 p/km2
20,833 p/km2
100 p/km2
6,250 p/km2
3,125 p/km2
2001
1991
1981
1971
1961
1951
1936
1931
1921
1911
1901
1881
1871
1861
1800
1700
1600
1500
1400
1300
1200
Y
Z
X
view from ground plane, through obelisk and void of tower
I. PIAZZA DELL’ESQUILINO ANALYSIS
Urbanization of Rome by era Classical, According to Nolli Medieval, Nolli Renaissance, Nolli, Pope Sixtus V Modern, According to Lanciani Post-War Economic Boom, Comune di Roma
2. Mapping of Site The Ancient, Medieval, Renaissance, Early Modern, and Contemporary City
1. Space Syntax Urban Navigability & Connectivity Analysis
4. Housing Potential Interpolation of Geometry rotated on Z-axis
3. Formal Analysis Parametric Interpolation of Historic Spatial Geometry Mapping and mirroring the voids of Santa Maria Maggiore onto Piazza Esquilino
II. PIAZZA LATERANO ANALYSIS
Urbanization of Rome by era Classical, According to Nolli Medieval, Nolli Renaissance, Nolli, Pope Sixtus V Modern, According to Lanciani Post-War Economic Boom, Comune di Roma
2. Mapping of Site The Ancient, Medieval, Renaissance, Early Modern, and Contemporary City
1. Space Syntax Urban Navigability & Connectivity Analysis
4. Housing Potential Interpolation of Geometry rotated on Z-axis
3. Formal Analysis Parametric Interpolation of Historic Spatial Geometry Mapping primary void space in Lateran Palace and relation to street
III. PIAZZA DEL POPOLO ANALYSIS
Urbanization of Rome by era Classical, According to Nolli Medieval, Nolli Renaissance, Nolli, Pope Sixtus V Modern, According to Lanciani Post-War Economic Boom, Comune di Roma
2. Mapping of Site The Ancient, Medieval, Renaissance, Early Modern, and Contemporary City
1. Space Syntax Urban Navigability & Connectivity Analysis
4. Housing Potential Interpolation of Geometry rotated on Z-axis
3. Formal Analysis Parametric Interpolation of Historic Spatial Geometry Identifying absence of Miracoli and Montesanto, scaling and mirroring of voids to geometry of Piazza del Popolo
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observation. This housing project critiques the continued exodus of the average citizen from dense, noteworthy European cities by experimenting with diminishing the preciousness of their intense historical sites. This proj-
ect seeks to find a contemporary Romanticism of the these European cities by developing on historically challenging, economically generative, and highly “touristy” sites through parameterized historic geometries.
individual balconies
entrance + living sequence 2.66 ° rotation per level
By adopting the organization of Pope Sixtus V’s master plan, the housing frames the various obelisks Sixtus contributed to the city, reframing the piazza below through calculated public circulation and
communal space
typical residential level
Nick Shekerjian +1480-459-9829 nickshekerjian@gmail.com Education
Software
Experience
Arizona State University, Tempe Architectural Studies (BSD) Masters of Architecture (MArch)
AutoCAD, Rhino, Revit, SketchUp, Adobe Photoshop, Adobe InDesign, Adobe Illustrator, Adobe Premiere, Fusion 360.
Architekton, 2013 -Tempe, AZ -Farmer Studios II -Maricopa County Southwest Justice Center Architectural Intern
The Bartlett School of Architecture,
Skills
Gould Evans, 2013-2014 -Phoenix, AZ -UA McClelland Hall Renovation -ASU Stadium Renovation Architectural Intern
Sketching, model building, hand drafting, emulsion black and white photography, mixed media rendering, concrete fabrication, basic tool and shop competency.
Kaiserworks, 2016 -Phoenix, AZ -Tempe Public Market -Christin House Architectural Intern
London Experimental City, Post Graduate Study with Sir Peter Cook
Honors and Awards Golden Key Honor Society, 2010-2014 Member National Society of Collegiate Scholars, Member Herberger School of Design , 2010-2014 Design Excellence Recipient and Dean’s List Scholar Sean Murphy Prize / Class of ‘77 Scholarship, Finalist The Bartlett School of Architecture, 2018 Honors Recipient for Experimental City Project AIA Phx Metro Competition, 2017 Winner Bee Breeders Meditation Cabin Competition, 2018 Honourable Mention
Shepley Bulfinch, 2018-2019 -Phoenix, AZ -MonOrchid Renovation -Banner Health Tucson Architectural Designer, Visualization Arizona State University The Design School -ALA 121 + 122, Teacher’s Assistant, 2015-2017 -EDS 200 + 401, Faculty Associate, 2017-2019 MicroDwell / Phoenix, AZ, 2013 -“Modern Pallet”, Designer + Builder Herberger Design School Senior Show, 2014 Designer and Arch. Rep. “Depth of a Skin” Exhibition, 2014 -Phoenix, AZ -Exhibition at the First Baptist Church in downtown Phoenix -Under direction and in collaboration with Elena Rocchi. Artist, Exhibition Designer
References “Lapsus Imaginis” I Exhibition, 2015 -Tempe, AZ -Under direction and in collaboration with Elena Rocchi. Artist, Exhibition Designer
S.ARCH Conference 2018 in Venice, Italy -Wrote, published, and presentred a paper on architetural and urban absence entitled “Measuring Absence”. Author and Presenter
Elena Rocchi Former Director + Architect at EMBT Architects Architecture Clinical Assistant Professor Environmental Design Program Coordinator elena.rocchi@asu.edu
“SUGO” I + II Exhibition, 2016 -Scottsdale, AZ -Under direction and in collaboration with Elena Rocchi. Artist, Exhibition Designer
Invited Critic to University Architecture Reviews at: -Arizona State University -University of Arizona -Taliesin West School of Architecture
Jason Schupbach Director of The Design School at ASU Jason.Schupbach@asu.edu
Venice Biennale 2016 -“Ecotechnohub” video entry for exhibition of ‘Unfinished Competition Projects’ in Spanish Pavilion -Under direction of Diego Garcia-Setien Video and Audio Editor Venice Biennale 2018 -US Pavilion “Dimensions of Citizenship” workshop “CitAZen: Roots in Motion” -In Collaboration with Elena Rocchi and the Politecnico di Milano Designer, Performer, Student Coordinator The Experimental Room + The Withdrawing Room , 2018+2019 -Public exhibitions with EDS 200 class at the Phoenix Art Museum during First Friday Exhibition Designer Feather Boy, 2017 -Music video for Proteens Production Designer Anybody’s Baby, 2019 -Music video for Proteens Production Designer UCL, The Bartlett School of Architecture, 2018 Experimental City Post Graduate Study with Sir Peter Cook Student, Honors Recipient
Christoph Kaiser Owner of Kaiserworks Principal Architectural Designer christoph@kaiserworks.com Mark Lewis Architectural Designer at Kaiserworks Owner of Unlikely Creatures mark@unlikelycreatures.com Paul Marquez Architectural + Landscape Designer at Shepley Bulfinch pmarquez@shepleybulfinch.com Drake Hoffman Interior Architectural Design at Gensler, Boston. drakephoffman@gmail.com
nickshekerjian@gmail.com +1 480.459.9829 1301 E. Myrna Ln. Tempe, AZ, 85284