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AARON BASEMAN

Work Sample www.a-baseman.com BAZEMON@gmail.com 561.215.9949


CONTENTS

Professional Little Tokyo Design Week

1

Ultra Expo

5

Graduate Work GEOGRAPHICS

11

Los Angeles Kunsthal

15

Perloff Hall AUD

23

Californian Steel House

29

Fabrication Manifold Destiny

33

Between The Sheets

39


Intro Pod little tokyo design week collaboration with Jeffrey Inaba, Simon Battisti and Yasmin Khan

Site

Little Tokyo, Los Angeles, CA

Program

Entry Pod

Size

Shipping container

view from approach

This was a collaborative effort with INABA INC. to fabricate and design the INTRO pod for downtown Los Angeles’s Little Tokyo design week, hosted by Hitoshi Abe: Dean of The University of California Los Angeles Architecture department and Japanese Studies department. The pod has an elegant design with a raised wooden floor and drop ceiling to house projecting equipment. The back wall is bare for projecting while the side walls are corrugated with vinyl graphics creating a lenticular effect.

1

interior view


lenticular effects

graphic articulation

view from street


Ultra Expo at LA design week collaboration with Sylvia Lavin

Site

Little Tokyo, Los Angeles, CA

Program

installation

Size

2000 sq. ft.

Ultra Expo explored aspects of the Osaka Exposition of 1970, the first world exposition to be held in Japan. One of the best attended expos in history, it did not so much expose Japanese culture to the rest of the world as stage a veritable implosion of East and West, high art and popular culture as well as new technology and traditional ways of life. Added to this heady mix was a spirit of research and development supported by international corporations, the leisure time an aesthetic sensibilities of a developing youth culture, moon rocks, time capsules and rock and roll bands. As did the 1970 event, Ultra Expo went beyond conventional exhibition formats to create an unorthodox way of displaying historic material emphasizing its contemporary currency rather than nostalgic exactitude. Of particular emphasis in the exhibition installation will be the use of film, video, and photography to produce anew the no longer extant atmospheres of this once exemplary architecture of the future.

5


GEOGRAPHICS Wireframe City SURFACE, SPACE, AND GEOMRTRY IN URBAN GEOSPACE Instructor: Neil Denari collaboration with Sebastiano Zecchetto, Colin Prothero

Site

600.000 sq. M Westwood Villiage, CA

Program

Urban Density [Tabula Rasa City]

Size

2-3M. sq. m.

Westwood Village, an already insular area of West Los Angeles provides a rich programmatic context for a new kind of urbanism. The consistent increase of students at UCLA demands an increase in student housing and more efficient use of land. It also stages an area of localized and economy, providing all the amenities of an independent city. We start with the contemporary givens of the city, namely that of extrusion and maximization of floor area. These two conditions often make for a massiveness lacking in public void space. Given design control over a large area, we exploit the potential to promote connectivity and networking of this mass. To challenge this phenomenon we started to punctuate the city plinth level (usually a 1 to 6 story extruded mass) with public and private void space. We did this by constructing a tower and courtyard module that interlocks with itself. The design of this module inherently builds in void space, operating both horizontally and vertical, that then changes the usual extruded city mass into an airy city network, where city tower and city plinthe, verticality and horizontality seem together into a cohesive city lattice. This typology allows for maximum density as well as maximum sun expose with as minimal shadowing as possible onto the 4-story lattice. While the towers remain thin (100M S.) clustering can lead to larger floor plate. This specific tower density and tower clustering generates the correct amount of surface area for the use of Solar Performative skin. LED’ lighting systems will define the new city’s aesthetic motif and ultimately become part of the general and programmatic gestalt. The LED’s that engulf the lattice constitute a direct output of the skins efficiency.

11

axonometric drawong


270o 149o

64o

o od stw We

d. Blv

N

tower typology

site plan

Typical Mid-rise Massing (implied volume)

Propossed Massing Intervention (implied volumetric wireframe)

programmatic diagram


60.67

61.19

58.61

6.99

14.38

38.0

1

31.59

3.33 12.26

63.93

66.00

19.2

7

31.10

15.00

20.23

44.59

79.57

46.05

31.85

36.59

20.08

31.90

f

10.55 3.00

.64 38

10.00

.96

19

g

49.81

e

d

5 4

c

3

b

2

unrolled elevation

a

1

exploded plans

22.3 20.3

16.3 15.3 12.3 11

7 5

typical elevation

0


Kunsthal Los Angeles Instructor: Jeffrey Inaba collaboration with Sebastiano Zecchetto

Site

15,000 sq. FT, sunset trip & La Cienega West hollywood, CA

Program

temporary exhibition space

Size

30.00 sq. ft.

“Typically,the structure of a building is designed to reinforce an idea, or it is the idea. In other words, it may be designed concurrently with other elements of a building as a secondary element and not the generator of the form. And for aesthetic or economic reasons it may in some cases even assume a background role to the extent that it may be for all intents and purposes invisible— inoperative in the experience of architectural form. Alternatively, the structure may be the organizing idea, where the building’s form and structure are one in the same: the form is generated as structure and it is the architecture’s’ expression. The structure may even function as a didactic tool, omnipresent at all levels of the formal expression which conditions multiple scales of the architectural experience. Structure is all foreground.” This project explores structure and form as the central thematic of a building’s design.” Our Kunsthal proposition engages a structural concept of material weakness to allow a formal strategy and experience informed by specific material properties. Although robust construction methods and materials promote formal design freedom, the material qualities of glass suggest a more narrow “window” within the architectural form. Decisions concerning site massing, form, and distribution of program, are thus linked through this idea of design through material appropriateness, and the structural and experiential qualities of glass are exploited as means of cultivating a new gallery experience.

15


vault_glass intersection

glass_module program

30

8

7 1/4

6 1/2

5

5’

5 3/4

8

15’

0

1 1’

2

7

6

3

5

4

4

5

3

5’

interdependent structure

6” Steel Tube Columns (Secondary Vertical Structure

Steel I-Beam Structure (Primary Roof Structure) Verendeel Truss System Interdependent Steel Foor Structure

S1 S2 S3 S4

Primary Vertical Structure

S5 S6 S7 S8

S9

S 10

S 11 S 12 S 13 S 14 S 15

Glass Modules


Floor_Plans L.3 S0

S0

S0

Y1 S1

S1

S1

Y2

L_1

Y3

Y4

Y4

Y7

Y9

Y 10

Y 10

Y 13

Y 11

Y 11

Y 12

Y 12 Y 13

Y 13

S5

S5

S5

Y 14

Y 14

Y 14

Y 15

Y 15

Y 15

Y 16

Y 16

Y 16

S6

S6

S6

Y 17

Y 17

Y 17

Y 18

Y 18

Y 19

Y 19

S7

Y 18 Y 19 S7

S7

Y 20

Y 20

Y 20

Y 21

Y 21

Y 22

Y 22

S8

Y 21 Y 22 S8

S8

Y 23

Y 23

Y 23

Y 24

Y 24

Y 25

Y 25

S9

Y 24 Y 25 S9

S9 Y 26

Y 26

Y 26

S 10

S 10

S 10

Y 27

Y 27

Y 27

S 11

S 11

S 11

Y1

Y 28

Y 28

Y 29

Y 29

Y 30

Y 30

S 12

Y 28 Y 29 Y 30 S 12

S 12

Y2

Y 31

Y 31

Y 32

Y 32

Y 33

Y 33

S 13

Y6

Y9 Y 10 S4

S4

Y 12

main gallery space_2

Y8

Y9

Y 11

Y5

Y7 S3

Y8

S4

S2

Y6

Y7 S3

Y8

Y4

Y5

Y6

S3

Y3

Y4

Y5

Y6

S1

Y3

S2

S2

Y5

module gallery 3

Y2

Y2

Y3

S2

S0

Y1

Y1

Y 31 Y 32 Y 33 S 13

S 13 Y 34

Y 34

Y 35

Y 35

Y 36

Y 34 Y 35 Y 36

Y 36

S 14

S 14

S 14 Y 37

Y 37

Y 38

Y 38

Y 39

Y 39

S 15

Y 37 Y 38 Y 39 S 15

S 15

Y7 S3

Y9 Y 10 S4 Y 11 Y 12 Y 13 S5 Y 14 Y 15

module gallery 2

Y 16 S6 Y 17 Y 18 Y 19 S7 Y 20 Y 21 Y 22

main gallery space_1

S8 Y 23 Y 24 Y 25 S9

L.2

Y 26

S 10 S0

S0

S0

Y 27 S 11

Y3

Y4

Y4

Y6

Y6

Y7

Y7

Y 15

Y 16

Y 16

Y 18

Y 18

Y 19

Y 19

Y 21 Y 22 S8 Y 23

Y 23

Y 24

Y 24

Y 25

Y 25

Y 24 Y 25 S9

S9

Y 26

Y 26

S 10

Y 27

S 10

Y 27

Y 27

S 11

S 11

S 11 Y 28

Y 28

Y 29

Y 29

Y 30

Y 28 Y 29 Y 30

Y 30

S 12

S 12

S 12 Y 31

Y 31

Y 32

Y 32

Y 33

Y 33

S 13

Y 31 Y 32 Y 33 S 13

S 13 Y 34

Y 34

Y 35

Y 35

Y 36

Y 36

Y 35 Y 36 Y 37

Y 37

Y 38

Y 38

Y 39

Y 39

Y 39

S 15

S 15

X 10

X9

X8

X7

X6

X5

X4

X 10

X9

X8

X7

X6

X5

X3

X2

S 15

X3

Y 38

Y 34

S 14

S 14

X 10

Y 37

X9

X8

S 14

X 10

S 10

X9

S 15

X8

Y 26

X7

S9

X7

Y 20

Y 22 S8

Y 23

X6

Y 19

X6

Y 22

X5

Y 18

Y 21

S8

X4

Y 17

S7 Y 20

Y 21

X3

Y 16

S7

Y 20

X2

Y 15

Y 17

S7

X1

Y 14

S6

S6

Y 17

module gallery 1

S5 Y 14

Y 15

S6

Y 39

Y 13

Y 13 S5

Y 14

Y 38

Y 12

Y 12

Y 13

X5

Y 12

S5

Y 37

Y 11

Y 11

main entrance

S 14

Y9 Y 10 S4

X4

Y 11

Y 36

Y8

Y 10 S4

X3

Y 10

Y 35

Y7

Y9

S4

Y 34

Y6

Y8

Y9

Y 33

Y5

S3

S3

Y8

S 13

Y4

X2

S3

Y 32

Y3

Y5

X2

Y 31

Y2

S2

S2

Y5

S 12

S1 Y2

Y3

S2

Y 30

Y1

Y1 S1

Y2

X1

Y1 S1

Y 29

X1

Y 28

X 10

X9

X8

X7

X6

X5

X4

X3

X2

X1

X 10

X9

X8

X7

X6

X5

X4

X3

X2

X1

X 10

X9

X8

X7

X6

X5

X3

X2

Y8


v_01

v_05

v_10

v_15

v_20

v_25

v_30

v_35

v_40

42’

30’

15’

0’


Perloff Hall AUD (renovated) Instructor: Craig Hodgetts

Site

500,00 sq. ft. parcel: UCLA campus

Program

Architecture School

Size

110,000 sq. ft.

Although the existing AUD school building is a manageable size architectural project, it is organizationally very complex and perfomativelly challenging. The organizational solutions have to be on one hand open and connected and on the other hand isolated and disconnected. The building carefully delineate it’s relationship to the campus landscape, infrastructure and milieu. Overall, the building design needs to make a positive contribution to the campus as a whole and create an internal architectural and social landscape which is functional and atmospherically conductive to learning. This project, if it were to be manifested, would lie in place of the existing “aud” building (architecture/urban design; Perloff Hall). Initially the form was shaped from analysis of the studio/ mainspace diagram. There after the values in which a student would circulate through a design school was accounted for by the roof design; the rest of the building was then was then resolved as a layered system assembled through use of the roof ’s conceptual agenda. The roof houses the library and a covered exterior space. The design was ordered to promote interaction among multi-disciplinary students.

5

6

4

1

3

2

Plan/ second level

3 40’

40’

1. studios: 800sq. ft. 2. vertical circulation 3. metal scrim 4. shop entrance 5. studio balcony: 7500sq. ft. 6. main space: 3000sq. ft. total sq. ft.: 64,000

23


Diagram/ expanded

Diagram/ primative

studios

mainspace

mainspace studios

Section/ transverse 48’ 34’ 26’ 12’


Diagram/ passive cooling

Detail/ slab edge


The Californian Steel House Instructors: Mark Mack, Ben Refuerzo, Barton Myers, Jurg Lang

Site

30’ x 90’ lot Linney Canal, Venice, CA

Program

single family residence

Size

3500 sq. ft.

This house is to be built for a developer, requesting that the house is mainly constructed of steel to deal with the perils of construction and environment in Southern California, such as fire, seismic and open space design. This client further asked for a speedy process of design and realization, in order to avoid lengthy regulatory slow downs and variances; on request the project has been carefully built within the boundaries of the site and consideration of the special surroundings of the site and its context has been taken into account; compliance with the current code and zoning regulations has been addressed. The client is also an admirer of the California case study houses, Eichler homes and Modernism in general. As a developer he would like to make a similar contribution to the culture of architecture only in more contemporary setting and infused with concerns of today, such as durability of construction, sustainability and the design of a prototypical project. The client is also interested in the idea of prefabrication and off site manufacturing of parts or sections of the house and in the possibility to use the design on other sites, such requiring a more generic use of space and amenities, along with large multi-usable spaces with high volumes and vertical spatial orientation, which will require large spans and moment frames mainly constructed of steel. In an effort to adhere to the clients requests the methods of detailing are simple, prefabricated and are built to be variable (i.e. the external louver system). The house is wrapped entirely of glass and enveloped by a dynamic louver system to provide privacy and solar shading.

29


plans

glazing

bedroom 2

WC

bedroom 1

Living Room

Garage

south elevation

up WC

down

generic form

WC

Skin/Envelope concept diagram

kitchen up exterior covered space

WC

studio down

Master Bedroom

balcony

patio

hot tub

plan level I

plan level II

plan level III

south elevation 32’

22’

10’

0’

rendering\ south west corner


Manifold Destiny the bends instructor: Jason Payne

+

+

Main Entry:prot Variant(s): or proto Function: combining form Etymology: Greek prōto-, from prōtos; akin to Greek pro before 1 a : first in time <protohistory> b : beginning : giving rise to <proplanet> 2 : parent substance of a (specified) substance <protactinium> 3 : first formed : primary <protoxylem> 4 capitalized : relating to or constituting the recorded or assumed language that is ancestral to language or to a group of related languages or dialects <Proto-Indo-European> William Morris [textiles]

Program

an Abstraction [a Standard Skateboard Deck]

Size

31” x 7.5” x 7/16”

Working with william morris textiles and the compound definition of the splintdeck and enables deployment of certain attributes shared by the latter two objects toward a new, third thing. This has been accomplished through prototyping, or the modeling of a series of initial forms poised for subsequent refinement. This prototypes are crude, involving only a select set of fundamental operations and attributes that have not yet evolved toward higher levels of specialization. This “prototyping” requires the transfer of the “friendly” attributes of the splint to deck. Simply put, imagine the skate deck might bend in ways already observed by the splint. The deck will order to be rendered (redefined) more supple through comparative analysis, and alludes to a limited (read:simple) set of new formal and material moves.

33

Eames Splint [unrolled]

Standard Skate Deck


A

B

A

A

D

D

C

C

B

B

A

A

R 0’-8 1/2” R 0’-1 1/2” R 8’-1 3/2” R 0’-1 1/2”

R 0’-2 1/2”

skate deck with deformation unrolled

Skate deck with deformation

C

C

D

D

B

B

C

C

This project is specifically interested in exploiting the double curvature of a standard skate deck beyond its material capabilities to create bends that can only be achieved by predeter-

D

mined slits and darts. Charles and Ray Eames engineered six different darts into the leg splint in order to allow the various curvatures for each part of the splint; in addition, each slit in the ply rotates around a central pivot point to create slits rather than cuts.

The formal

R 0’-1” R 0’-1” R 0’-1/2”

expression of the bulges arrayed across the surface was chosen by displacing the areas of

R 0’-7 3/4”

R 1’-8”

double curvature to specified locations. The result of the displayed double curvature is a reaction to forces of nine localized curvatures.

R 0’-1 1/2”

R 10’-9 1/2”

The combination of these nine forces results

in unique areas of localization that are doubly curved to resolve the surface within the provided parameters. R 4’-3 3/4” R 1’-8”

The final built deck adds a third truck not as an alteration to function but rather as a result of the preferred formal iteration.

An iterative process of various slits based on the Eames

splint was used to conclude that an ‘x’ shape slit is the best option for achieving maximum curvature of a bulge with minimum negative material reaction.

R 1’-11 1/2” R 0’-2 1/2” R 0’-2”


note: The standard technique of mold/form to object, through use of a VAC bag was use to produce a mutated skate deck. By layering wood oak veneer to build strength and spread the stress of the expanding and bending wood, a multitude of variation was achieved. Carefully placement of the bulges, in the form, enabled maximum deformation throughout the deck. The form was molded out of birch ply and coated with polyurethane.


Between The Sheets a tessellation experiment instructor: Heather Roberge

Program

Rain Screen

Size

15’ x 15’ [wall coverage]

Digital design has given rise to formal experimentation that outpaces advancements in construction methods. This technology seminar attempts to choreograph formal experiments in step with computer aided manufacturing processes such that the two are linked from the outset. Participants design and prototype formed aluminum panel arrays for use in building envelopes. In order to incorporate highly crafted, custom panel manufacture, the design proposals will limit tooling costs by limiting unit types. The unit will be understood as a tessellation unit capable of drawing topographic fields with geometric rhythm. Modulation of pattern, shape and texture are the primary design techniques with each relying heavily on intense fields of geometric description.

_panel A

12”

side view

_panel B

_panel C

19.25”

section

4”

top view

_diagram/exploded axon

primatives plan detail

linework

edge condition

contour panel assembly

39

panel connection

section detail


Work Sample  

work sample

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