Architecture Portfolio by Thao T. Trinh

THAO T. TRINH architecture portfolio 2013-2016

TABLE OF CONTENTS a collection of work done while at SCI-Arc

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Mind the Gap

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Undergraduate Thesis Term: Spring 2016 Adviser: Devyn Weiser Coordinator: Marcelyn Gow

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Drawing from the Digital, Rendering out the Analog

GS Humanities 1 Term: Spring 2015 Instructor: Jill Vesci

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Shadowplay

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Jamsil Sports Complex DS 5A The Smooth and the Chunky Term: Fall 2015 Instructor: Andrew Zago

California Plaza Market DS 4A Comprehensive Design Studio Term: Fall 2014 Instructor: Margaret Griffin

AS Details, Details... Term: Fall 2015 Instructor: Dwayne Oyler

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Holt House AS Construction Documents Term: Spring 2015 Instructor: Pavel Getov, Jay Vamos

AS Drawing from the Digital, Rendering Out the Analog Term: Spring 2016 Instructor: Devyn Weiser In Collaboration with: Justin Kim, Vaishali Shah

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Motion Driven Sculpture: Depiction of the Human Form

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Case Study: Santa Caterina Market DS 4A Comprehensive Design Studio Term: Fall 2014 Instructor: Margaret Griffin

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Manhattan Institute of Music

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Manhattan Institute of Music (Design Development)

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AS 4A Design Development Term: Fall 2014 Instructor: Scott Uriu, Pavel Getov In Collaboration with: Jennie Sun, Justin Tan, Dennis Lee

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Case Study: Tel Aviv Museum of Art

Case Study: Milan Trade Fair Center DS 3A Studio Fields Operations Term: Fall 2013 Instructor: Christoph Korner In Collaboration with: Adam Rodriguez

Kaufmann House Transform AS Environmental Systems I Term: Fall 2013 Instructor: John Bohn In Collaboration with: Jennie Sun, Janek Kneski, Young Sun, Maricarmen Soto

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DS 3B Comprehensive Design Studio Term: Spring 2014 Instructor: Russell N. Thomsen In Collaboration with: Jennie Sun, Kathleen Mejia, Maysun Kazi

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The Atmo(sphere) DS 3A Studio Fields Operations Term: Fall 2013 Instructor: Christoph Korner In Collaboration with: Adam Rodriguez

DS 3B Comprehensive Design Studio Term: Spring 2014 Instructor: Russell N. Thomsen In Collaboration with: Jennie Sun

Westminster Abbey: Parametric Transformation AS Tectonics Term: Spring 2014 Instructor: John Bohn, Alexis Rochas In Collaboration with: Jennie Sun, Janek Kneski, Young Sun, Harvi Maravilla

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Keloptic Advertisement GS Visual Rhetorics Term: Fall 2013 Instructor: Stephen Phillips

Mind the Gap Undergraduate Thesis Term: Spring 2016 Adviser: Devyn Weiser Coordinator: Marcelyn Gow

Mind the Gap The project explores the negotiation of gaps. These gaps are magnified through misfit configurations of chamfer and 90 degree angles where the collision and disappearance of matter occurs. Through a set of operations including displacing, overlapping and imprinting, a new set of spaces that suggest absence and presence and at the same time density and weightlessness are created. The packing and unpacking of parts produces fake connections, joints and voids that can be inhabited. The exchange between gaps or interstices and the spaces that produce them - these liminal and often unnoticed spaces - are of primary interest in this project. Inspired by Neil Denariâ&#x20AC;&#x2122;s Eye Beam competition entry, this project aims to maintain a reading of surface continuity while breaking certain moments in order to register the parts. Accentuating the gap is the approach used to engage this idea. The gaps serve to break the continuity of the surface although a reading of continuity is preserved between the stacked elements. The project for the Hammer Museum is a mid-rise tower on a plinth. UCLA recently purchased the Occidental Petroleum Tower on the corner of Westwood and Wilshire Blvd. and has plans to renovate the tower by combining the museum, offices and classrooms. Entering the museum on Westwood Blvd., the spaces reveal their linear dimensions and stretch across the tower while also establishing connections to the existing galleries. Two circulation cores anchor the tower, however these spaces become more displaced and overlapped, forming exterior gaps in between floors that allow for daylight to enter and afford circulation. In the expansion of the Hammer Museum into the adjacent tower, the first five levels are designed for exhibitions while the upper 15 levels are allocated for the exchange between administration and classrooms. The south facade on Wilshire is intentionally shear and flat whereas the north face overlooking the museum podium is serrated, stepped and broken rather than smooth and continuous, reinforcing the idea of the gap. The continuous frit pattern creates an alternate reading of subtle shadows against the backdrop of the endlessly curving, yet straight edged geometry of the interior space. The interstitial space becomes a constant or referent space, yet is never fully predictable. The envelope is transparent with a simple, white, gradient frit that gradually shades to opaque white due to the minuscule frit dots collecting at their densest on top. The glass fritting pattern, while conducive to exterior views from the inside, makes the building appear opaque to those walking or driving by at the ground level. Gaps, seams, and breaks are foregrounded in the assembly of the large parts and floor-to-floor sequencing where the envelope is formed to produce a more continuous reading. These multiple and shifting discontinuities advance an investigation of profile, and surface, a formal language beyond or at the outer limit of the continuous surface project.

Thesis Prep Models

Model 1:

Model 2:

Model 3:

Axon of Gaps/Interstices

Ground Floor Plan

Level 15 Floor Plan

Section A-A

West Elevation

Section B-B

South Elevation

Model Building Process

Drawing from the Digital, Rendering out the Analog AS Drawing from the Digital, Rendering Out the Analog Term: Spring 2016 Instructor: Devyn Weiser In Collaboration with: Justin Kim, Vaishali Shah

Drawing from the Digital, Rendering out the Analog “With the profusion of reproduction techniques, things become flatter. At any rate the vast majority of projections work that way, since two-dimensional information is so much easier to handle than three-dimensional things. In practice, projection has become thoroughly directional because of the availability of certain instuments and machines for making pictures.” - Robin-Evans, Architectural Projection Since Evan’s essay published in 1989, drawing and rendering in architecture have become increasinlgy automated through computer graphics procedures--directional projection, clipping planes, photorealistic rendering and so on. Questioning the sufficiency of digitality, the seminar introduces and explores techiniques of representation that shift established hierarchies between the geometric and stereometric, the image and object. First, a vector-based drawing project appropriates two-dimensional effects (lines, strokes, fills, gradients) in the three-dimensional environment of Rhino using Grasshopper scripts designed for the course. The project refers to contemporary painters Kerstin Brätsch, Albert Oehlen, and Garth Weiser, who are taking digital effects back into painting (i.ei keystrokes to brushstokes). Second, a raster-based rendering project were produced within a hybrid analog/digital setup. Capturing physical objects using the earliest form of color photography, three color process, and the latest digital tools, including robotically controlled camera paths in Robot House. The images were mapped back to the digital models using Grasshopper scripts that exploit discrepancies in resolution and registration. This post-photography approach oscillates between vector and raster effects to yield a new form of image making. Heinrich Kühn’s autochromes, David Salle’s Ghost Paintings and Andy Warhol’s screen prints serve as references.

Drawing from the Digital // Monochrome Series A:

Series B:

Series C:

Drawing from the Digital // Monochrome

Series D:

Drawing from the Digital // Polychrome

Series D: Lines

Series E: Squiggles

Series F: Lines and Squiggles

Drawing from the Digital // Polychrome

Series D: Lines

Series E: Squiggles

Series F: Lines and Squiggles

Object 1:

Object 2:

Object 3:

Object 4:

Rendering out the Analog // Cyan, Magenta, Yellow

Shadowplay AS Details, Details... Term: Fall 2015 Instructor: Dwayne Oyler

Shadowplay In the Torus House, a curving line crosses the flat surfaces of the structure--walls, floors, and ceilings--causing them to undulate. The straight lines between these surfaces break and curve and appear to be folds in a single surface. By following the existing geometry of overlapping horizontal planes and undulating surfaces, a parametric redesign of a louver system for shading the skylight above the central stair is achieved. On a larger scale, the louver system can be read as a single mass. Although comprised with three tiers, the louver system gives an ilusion of one piece from different perspectives because each tier overlaps and extends beyond the next. The entire louver system, including the main structure, are in unison when it comes to materiality, adding to the illusion. Zooming in each tier is comprised of individual panels (shaped like ribs for lightness) that are alternating in size and shape. The two sets of differing panels weave through one another to create a collective tier, while each tier is held together by two wooden dowels (spars) to remove rotation. The tiers have vertical carve outs to control and let light through. The end of the louver arms are shaped specifically to glide and rotate into the designed pocket wall, and held steady in place by gravity. Hence, connection and jount are a hidden structure. The wall itself pretends to become one within the louver system by having tall strands of baltic birch veneers punching in and out of the surface. Because the joint is hidden, these veneers appear to play a part in the structure articulation, but it is merely ornamentation. While the louver system appears to be fused together, they are indeed separate pieces coming together collectively to read like Torus House geometry. The louver system slips into the wall quietly, where there are no obstruction and the two can be read autonomously. The louver at the skylight becomes a dominate feature within the Torus House, with its geometry and casting of shadows hitting the surfaces of the wall that stairs can remain simple to emphasize the designe of the louvers.

Jamsil Sports Complex DS 5A The Smooth and the Chunky Term: Fall 2015 Instructor: Andrew Zago

The Smooth and the Chunky: Urban Regeneration of Jamsil Sports Complex

field as field; field as object; object as object; object as field In the redevelopment of the Jamsil Sports Complex in Seoul, the site of the 1988 Olympic Games, the studio approached the project primarily as an architectural rather than an urban problem. The scale of the project, containing many, varied buildings, allows for an investigation of juxtaposition and difference as an architectural tactic. The constellation of differences; not of different objects or of different spatial fields to contain those objects but different, different things: a licentious emancipation of categories in which fields masquerade as objects and objects splinter into riotous lattices. Less about refinement; instead, the frisson of rude and unexpected encounters. Matter dissolves as stuff decamps from form leaving a blurry matrix while spidery ephemera congeals into blunt - even laughable - broad outlines. Closely studying Jonathan Laskerâ&#x20AC;&#x2122;s paintings, the studio began to draw similarities and differences in the differences to understand the relationships. Set-like diagrams that go beyond abstract form and geometry qualities were discovered and translated to architectural and urban territories (i.e. building types, urban form types and hybrid or intermediate types). Architecture aids in the making of a cityâ&#x20AC;&#x2122;s urban fabric through multitudes of horizontal networks. Mark Wigley describes architecture as an agile, responsive and evolving system like any other found in the natural world, thriving to become deeply interconnected, very much like a circuit board. The continually reshaping of these networks or grids reflect urban development and human needs, hence the grid and the city are interdependent. Without an organization or system to structure a city, the city loses its identity. The grid becomes a means, an apparatus, to display an array of distinguishing urban fabric. There are two divergent organizational characteristics that defines large spatial fields: centrifugal and centripetal. The centrifugal reading of the grid implies an infinite extension or outward continuity in all directions. In contrast, the centripetal reading of the grid shows a bounded figure; its extent is known and limited. These two grids are organizational devices for the construction of a city. The transformation from centrifugal grid to centripetal grid brings complexity and multiple layers of infrastructure into the urban space. The new weaving of network becomes a space for free movement to invent new ideas and paves way for postrevolutionary incubator for new lands of spatial practice. Network density measures the degree to which the indirect links of members of a community are connected to each other. By using these means to organize a city, legibility can be brought into a city through a communicative structure instead of perceptive structure. Architecture is no longer merely objects in a field; the field itself becomes a kind of object. Instead of moving through a system to reach a static enclosure or building, one never has to leave the movement system. Cities have to give human beings direction, streets organize human beings and build order to describe a moral duty of architecture to organize an otherwise chaotic world 44

Analysis of Jonathan Laskerâ&#x20AC;&#x2122;s Painting

Translation of Jonathan Laskerâ&#x20AC;&#x2122;s Painting Into Site

Urban Diagrams

Figure Ground

Green Space

Water Space

Transit/Connection Points

Streets/Intersections

Public Vs. Private Space

Program Diagrams

Holt House AS Construction Documents Term: Spring 2015 Instructor: Pavel Getov, Jay Vamos

Holt House

California Plaza Market DS 4A Comprehensive Design Studio Term: Fall 2014 Instructor: Margaret Griffin

California Plaza Market Site: California Plaza Location: Downtown LA, Los Angeles Function: Market, Office and Retail Exsiting Condition: The existing condition at the California Plaza lacks conneciton from the streets to the main plaza. Strategy: Figure ground is telling of spaces. Through the abstractions of figure ground (from two-dimension to three-dimension), spaces are made: inside and outside spaces as well as the inbetweens. The blur between inside and outside are created through multiple booleans. Volumes can become one or multiple spaces, volumes can separate spaces as well as create an entirely new space. This occurs in the mat scheme as well as into the towers. The two towers are connected visually and communicates through a shared negative space. This negative space is made by carving out the towers to allow for specific views into the city. The plaza level is porous with nodes of vertical circulation placed sporadically across the field. In the lower plaza level, off of Olive Street, groupings of pods form market spaces, both big and small. In the mid plaza level, off of Grand Avenue, the groupings of pods merge together to become a greater space to make up restaurants, retail, and gather spaces. The groupings of pods travel vertically into the towers to create niches of conference rooms.

Section Proposals:

Geometry/Morphology:

Case Study: Santa Caterina Market DS 4A Comprehensive Design Studio Term: Fall 2014 Instructor: Margaret Griffin

Case Study: Santa Caterina Market

Manhattan Institute of Music DS 3B Comprehensive Design Studio Term: Spring 2014 Instructor: Russell N. Thomsen In Collaboration with: Jennie Sun

Manhattan Institute of Music Site: Houston Street between Thompson and Broadway Location: Manhattan, New York Function: Music School Envelope/Form: The envelope can be characterized as elastic, expanding to create tension. The expansion is created by extrusions pressing out from the inside against the skin. The extrusions will start to address programs. The graphics on the skin extentuates the tension that exists from the extrusions; hence the skin becomes informative, telling where performance spaces lie. The graphic stretch in stretch and shrink in size. Some graphic pieces are aperatures, creating an ourdoor layer within the building. Atrium: The atrium acts in a similar way like the envelope, where extrusions are causing tension. However, the extrusions here seve as aperatures allowing natural light and ventilation throughout the building. Some aperatures serve as a means of vertical circulation, connecting programs together.

Long Elevation

Void

Classrooms and Administration

Long Section

Long Section Scale: 1/8” = 1’-0”

Performance

Lobby

Cross Section

East Elevation

Level 5

Ground Level

Below Ground Level

Manhattan Institute of Music (Design Development) AS 4A Design Development Term: Fall 2014 Instructor: Scott Uriu, Pavel Getov In Collaboration with: Jennie Sun, Justin Tan, Dennis Lee

Manhattan Institute of Music (Design Development) Site: Houston Street between Thompson and Broadway Location: Manhattan, New York Function: Music School Architect: RUEA Architects

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Case Study: Tel Aviv Museum of Art DS 3B Comprehensive Design Studio Term: Spring 2014 Instructor: Russell N. Thomsen In Collaboration with: Jennie Sun, Kathleen Mejia, Maysun Kazi

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Case Study: Tel Aviv Museum of Art Architect: Preston Scott-Cohen Location: Tel Aviv, Israel Year: 2003-2011 Area: 195,000 s.f. Height: 51 feet

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Case Study: Milan Trade Fair Center DS 3A Studio Fields Operations Term: Fall 2013 Instructor: Christoph Korner In Collaboration with: Adam Rodriguez

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Case Study: Milan Trade Fair Center Architect: M. Fuksas Location: Milan, Italy Year: 2005 Function: Exposition Structure: Diagrid

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The Atmo(sphere) DS 3A Studio Fields Operations Term: Fall 2013 Instructor: Christoph Korner In Collaboration with: Adam Rodriguez

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The Atmo(sphere) Site: Pier 26 Location: San Francisco, California Function: Natatorium Structure: A natatorium houses a collection of swimming pools from large spaces to individual spa spaces. This means that aside from carrying any dead load, it will also be carrying a lot of water weight. The Atmo(sphere) is designed using two structures: the primary being the diagrid system and the secondary being a system of folds. The diagrid acts as a canopy carrying its own weight. Selected parts of the diagrid are then extruded, creating folds that come to a point; depending on where it is needed. Surface: From the rectangular condition of the site, the diagrid canopy transforms to react with circulation by pushing down. The surface reacts to programs by pulling up to make more space. Design Approach: From Embarcadero Street, one would enter the natatorium through an inclined bridge that connects the building to the urban city. Horizontally, the pools and water spaces are organized from fresh water to salt water, a transition from the urban city to the bay water. Vertically, the pools and water spaces are organized from cool spaces to warm spaces; which enables the transitioning of the collective/community (public) spaces to the individual/intimate (private) space. This matrix of organization allows for a diverse atmosphere in the natatorium.

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Kaufmann House Transform AS Environmental Systems I Term: Fall 2013 Instructor: John Bohn In Collaboration with: Jennie Sun, Janek Kneski, Young Sun, Maricarmen Soto

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Kaufmann House Transform The Kaufmann House, designed by Richard Neutra, is located in Palm Springs where it is hot and dry. As a result of this harsh climate, Neutra had to consider how various architectural, spatial, and material elements of the building would encompass the weather and react to it in order to keep the house a pleasant and comfortable place. The ways in which he responded to the climate was by both choosing and locating particular materials that react well to intense weather changes, as well as by placing apertures and overhangs in places to allow natural ventilation and indirect sunlight. Beginning of transformation: Keeping the materials and overhangs but removing the Kaufmann House out of its context and placing it in a hot and humid climate like that of Tokyo, Japan forced a new design to maintain the energy eficiency of the architecture. The first step was to put the Kaufmann House on pillars to allow for better air circulation beneath. This mechanism efficiently cooled the Kaufmann House naturally. Next, by twisting and turning the skin to create undulating layers of gills on the rooftop of the Kaufmann House, better ventilated it in the hot and humid climate of Tokyo, Japan.

Kaufmann House Location: Palm Springs, California Architect: Richard Neutra Year Built: 1946

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Kaufmann House // Palm Springs, California

Sun Path and Shadow Diagrams

Energy Efficiency Diagrams

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Kaufmann House // Tokyo, Japan

Wind Rose, Sun Path and Shadow Diagrams

Energy Efficiency Diagrams

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Kaufmann House // Tokyo, Japan // Transformation

Wind Rose, Sun Path and Shadow Diagrams

Energy Efficiency Diagrams

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WIND DIRECTION

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WIND DIRECTION

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Westminster Abbey: Parametric Transformation AS Tectonics Term: Spring 2014 Instructor: John Bohn, Alexis Rochas In Collaboration with: Jennie Sun, Janek Kneski, Young Sun, Harvi Maravilla

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Westminster Abbey: Parametric Transformation Architect: Christopher Wren, Nicholas Hawksmoor, Henry Yevele, Robert of Beverley, John of Gloucester, Henry of Reyns Opened: 1090 Height: 225â&#x20AC;&#x2122; (69 m) Architectural style: Gothic architecture Function: Cathedral Gothic architecture exhibits complex geometric shape congurations. But this complexity is achieved by combining only a few basic geometric patterns, namely circles and straight lines, using a limited set of operations, such as intersection, offsetting, and extrusions. The reason for this lies in the nature of the process how these objects have been physically realized, i.e., through constructions with compass and ruler. Consequently, Gothic architecture is a great, although challenging, domain for parametric modeling. There is a strong ratio between the base to column to bay to building inscripted within the cathedral logic, By using these relationships, the Westminster Abbey can be transformed parametrically, looking different, yet sharing the same DNA as its original genetic makeup.

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Westminster Abbey // Bay Sectional Relationship to Plan

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Westminster Abbey // Unit Relationship

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Westminster Abbey // Column Sectional Relationship to Plan

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Westminster Abbey // Column Relationship

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Westminster Abbey // Column Proportions

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Westminster Abbey // Axon of Column

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Westminster Abbey // Axon of Column

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Westminster Abbey // Axon of Structure Bay

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Westminster Abbey // Axon of Building

Westminster Abbey // Elevation

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Westminster Abbey Transform // Plan of Column

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Westminster Abbey Transform // Axon of Column

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Westminster Abbey Transform // Axon of Capital

Transformation Progression of Capital

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Keloptic Advertisement GS Visual Rhetorics Term: Fall 2013 Instructor: Stephen Phillips

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Keloptic Advertisement: Framing of Reality Often advertisements succeed in getting their messages across visually to consumers within a quick, passing glance. These advertisements appeal to viewers and potential consumers by creating an emotional connection with them. Keloptic’s advertisements utilize this strategy by altering viewer’s reality and making them question their own reality. Meanwhile they are able to showcase their product, they are also able to show what their product can do and the quality of their product. If the viewer use Keloptic lenses, they will have better vision and the ability to see things they have never seen before. Furthermore, if we stare into the Keloptic advertisements long enough, hidden messages within the ad start revealing more than meets the eyes. Image 1 pictures a recognizably famous self-portrait of painter Vincent van Gogh. Van Gogh is famous for his distinct style and technique in using large brush strokes to paint. However, this technique of painting does not allow for capturing finer details in the object being painted. Keloptic notices this and takes advantage of it, lending to a creative ad. A portion of the once recognizable painting is, for once, extremely clear and fine in detail. That portion of the “blurry” painting is seen through the Keloptic lenses. Keloptic wants to show its lens quality. The fact that it zeroes into van Gogh’s face implies that with these lenses, the viewer will no longer struggle to make out faces from afar. Image 2 is another ad for Keloptic picturing a painting of the Rouen Cathedral done by Monet. Like the example before, the style and technique create abstractions within the painting. The abstractions does not allow for the finer details in the architecture to be seen. Again, Keloptic recognizes this and uses it to its advantage. The portion where the lens frames the painting is crisp and sharp, implying that with these lenses, the fine details in buildings and objects would be seen, from texture to materiality. Image 3 is another example while using Seurat’s painting. The ad claims that its lenses work so well, one can even notice her mole; a mole perhaps that was not even there in the original painting. These ads challenge two realities. The first reality is the one that we know. The paintings are indeed abstracted because it was the painter’s intention. However, the other reality challenges what we think we know and see. Perhaps the real reality is the untainted one; the very same one that the painter saw before the abstractions he painted. One reality remains in the picture frame. The other reality is captured in the frame of the lens. This might also imply the progression of technology, by framing the old and framing the new. Perhaps the “abstractions” are indeed the painter’s reality. They painted exactly what they saw without proper lenses. Keloptic is interested in the quality of their product and not so much their product’s design. The quality of the product becomes their ultimate design. The fact that the entire pair of glasses is not shown hints to their advertising strategy. The framing of the glasses to the framing of the painting on the picture frame draws the viewer’s attention to the clarity that the lenses create. The background color of the

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painting within the left lens is the same color as the wall color it is being hung on. Keloptic wants the viewer to think that the object or person in the painting become so real and so alive that it is actually in the room with the viewer. The picture frame no longer exist in framing the painting, but rather the lens do. The ad encourages the viewer to frame their own reality. Keloptic want the viewer to see the potential in the quality of their lenses. In the ads, while the left lens captures an image, the right lens shows the description of the image, like that of art pieces on display at museums, with Keloptic as the author. Here, they boldly suggest that the quality of their lenses is so great, that it is comparable to invaluable paintings. However, this also suggests that vision and sight is invaluable and cannot be replaced. Their art piece is the new art, Similarly, their product enables consumers to have priceless art pieces for themselves, with every view and every glance. Keloptic lets consumer know that they care about the consumers vision. They also care about the moments in the consumer’s life and urge the consumer to cherish them as well. The quality of their lenses will bring quality to the consumer’s life. Advertisements like Keloptic knows humanity’s weaknesses and successfully taps into our human needs by drawing a connection to our emotions. We need to see to function. We need to see well to enjoy… and we want to enjoy. These messages are easily encrypted from the ads because Keloptic makes it visually straightforward to decode, even when the text is in another language. But like many ads too, Keloptic ads are embedded with hidden messages and meanings. They don’t want the consumer to ever remove a pair of glasses with Keloptic lenses because in doing so, the world would become another reality: one that is abstracted and of the past. Keloptic wants us to move forward as a whole and enjoy what life has to offer.

image 1:

image 2:

image 3:

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