SCI Arc Portfolio - Caleb Fisher

Caleb Fisher

Portfolio

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intro The following collection of works are merely a sample of the most relevant ideas I have come to familiarize myself with on my journey at SCI Arc. I believe the one thing my portfolio could never capture, yet I enjoy the most, are the tangents and stray thoughts that I have pursued along this journey.

Opening up all the possibilities of an idea and exploring each one would be a challenge to catalog in such a small book. My prior understand of architectural production had a direct correlation to a built work in my mind or in the field until this point. Now architecture is a spectrum of solutions, giving me an advantageous lens in the field.

The use of the precision of digital media to create an imprecise effect is a strong theme within the work. The conflicts of juxtaposition seem to arise as a way of providing a tension to explore. Sharp meets soft, solid inverts to void, linear solutions to the painterly. This elements are opportunities to

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rethink the generic. The notion of making a box, the most generic form of architecture, blurred and of variable readings has been a fascinating idea.

To reinterpret the Decorated Shed as a means for a cosmetic solution stirs my interest due to its economic potential. The Broad holds its ground next to Walt Disney Concert Hall not because of its form, but because of it’s skin and structure. Producing affect through relatively modest means speaks to many of the projects within.

I, lastly, enjoyed exploring the speculative consequences of a single detail as it relates to a building’s reading from miles away. This implies that a single drawing has the power to ripple throughout a city, for better or worse.

My background with UW-Milwaukee School of Architecture gave me the foundation I needed to design a building, but SCI Arc helped me to step out of a professional mind set and into the discipline of architecture.

New Models of Coherence

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High Rise in Mexico City

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Team CASED

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Color Outside Lines

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Rural Typologies

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Tactical Typologies

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This Side Up

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untitled

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New Models of Coherence_2GA Studio

A study of autonomous objects interacting without complete fusion. These object exist in a way that is equal yet different , creating a flat ontology that attempts to dissolve hierarchy while creating discrete invidiviuals. These individuals range in form, but all contain a playful familiarity that should not be immediately recognized. This balance between the integrity of parts and de-familiarization was just one of the tensions set up within the studio.

+ gehry_bear

gehry_foundation louis vuitton

libeskind_rex

mike kelley

libeskind_denver art museum

Frank Gehry’s Foundation Louis Vuitton uses an aggregation of rounded volumes with strong creases, resembling the vinyl bear primitive, while Daniel Libeskind’s jutting cantilevers that made if famous match a the low res TREX. While Gehry uses gaps to maintain distance between parts, Libeskind fuses his stretched boxes to one another. Distinct treatment of parts can help clarify or obfuscate readings.

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These elements fuse together as opposites that maintain their distinction through contrast of form/surface while abandoning their original effects as pure individuals. The result is a loose fitting composition: a porous mass meant to imitate the city surrounding it through its diversity. The stacked campus is open air with discrete meeting places. The spaces are unified by the central hub that is hugged by a loop of stair.

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High Rise in Mexico City_2GB Studio

The problem of the high rise has many branches: the stretching of the urban fabric into a minimal footprint, its prominence, its permanence, and its default form as an icon of the city.

Through a careful study of precedent one can begin to unpack the meaningful problems of the high rise in order to address them within the present context.

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elevation

section

eiffel tower gustave eiffel paris

elevation

section

st jakob tower herzog & de meuron basel

aon tower charles luckman los angeles

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self-similarity from detail to mass implied mass_porous texture

gradient occupiable skin generic grid

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generic grid

overlay multiple grids

single detail defines reading

gradation of details

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lobby_ground floor

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floor 8 office_floors 3-11

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floor 19 hotel_floors 12 - 23

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floor 41 residential_floors 24 - 59

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Team CASED_Design Development Herwig Baumgartner & Scott Uriu

_Team Members

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Daniel Hapton AJ Rosales Elena Larianova Sava Nasehi

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FIRE STAIR CORES AND ELEVATORS

CLIENT: G DATE: 4/1

CONTOURED RIBS (PRIMARY STRUCTURE) CONTOURED EDGES (SECONDARY STEEL) CONTOURED SUPPORT TUBES (TERTIARY STEEL)

FLOOR BEAMS / SLABS

PROJECT

PLAZA FRAMING / COLUMNS

CALEB FI DANIEL H ELENA LA AJ ROSAL SABA NA

CASED A

566 SANT LOS ANG

O/ 323.98 F/ 323.98 WWW.CA

REINFORCED CONCRETE TRANSFER SLAB

CONCRETE SLABS / COLUMNS

complete structure

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1

COMPLETE STRUCTURE SCALE 1:500

COMP

FIRE STAIR CORES AND ELEVATORS

FIRE STAIR CORES AND ELEVATORS

CLIENT: GOOGLE INC. DATE: 4/13/2015

CLIENT: GOOGLE INC. DATE: 4/13/2015

CONTOURED RIBS (OPPOSING CONTOURS PRIMARY STRUCTURE)

CONTOURED RIBS (PRIMARY STRUCTURE) STABILIZING TUBES [SECONDARY STRUCTURE PERP. TO PRIMARY BEAMS)

SLAB FRAMING (EDGE AND INTERIOR BEAMS)

FLOOR BEAMS

PROJECT TEAM:

PROJECT TEAM:

CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI

PLAZA FRAMING

CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI

PLAZA BEAMS / COLUMNS

CASED ARCHITECTS

CASED ARCHITECTS

566 SANTA FE AVENUE, LOS ANGELES, CA, 90012

566 SANTA FE AVENUE, LOS ANGELES, CA, 90012

THEATER STRUCTURE (CONCRETE)

O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

TRANSFER SLAB

TRANSFER SLAB

primary + secondary structure

slab framing S-2

FIRE STAIR CORES AND ELEVATORS

PRIMARY-SECONDARY STRUCTURE

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SLAB FRAMING

PRIMARY-SECONDARY STRUCTURE

1

SCALE: NOT TO SCALE

S-3

SLAB FRAMING SCALE: NOT TO SCALE

CLIENT: GOOGLE INC. DATE: 4/13/2015

CONTOURED RIBS (PRIMARY STRUCTURE) STABILIZING TUBES [SECONDARY STRUCTURE PERP. TO PRIMARY BEAMS)

PROJECT TEAM: CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI

PLAZA FRAMING

CASED ARCHITECTS 566 SANTA FE AVENUE, LOS ANGELES, CA, 90012

THEATER STRUCTURE (CONCRETE)

O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

TRANSFER SLAB

PRIMARY STRUCTURE

primary structure 1

PRIMARY STRUCTURE

S-1

SCALE 1:500

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CLIE DATE

BLDG 1 AHU12 EX - 1 AHU 19

EX - 2

AHU 20

EXHAUST FAN (TYP) AHU 5

BLDG 2

AHU 16

AHU 21

FIRE STAIR / CORE AHU 14

FRESH AIR INTAKE (TYP) AHU 22

PRO

AHU 6 AHU 7

AHU 1

HOT / COLD WATER CONN

AHU 23

AHU 8

IN-FLOOR DIFFUSERS

AHU 9

SUPPLY AIR DUCT (RAISED FLOOR SYSTEM)

CAS

THEATER RETURN

566 LOS

AHU 17,18 AHU 10,11

AHU 2 AHU 3,4

THEATER FRESH AIR

UNDER SEAT SUPPLY DUCT

COLD WATER PIPES HOT WATER PIPES SUPPLY AIR DUCT (RAISED FLOOR SYSTEM)

FLUES BOILER 1 BOILER 2

hvac diagram

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CAL DAN ELEN AJ R SAB

CHILLER

O/ 3 F/ 32 WWW

PRIMARY STRUCTURAL STEEL

SECONDARY STRUCTURAL STEEL

CLIENT: G DATE: 4/1

CURTAIN WALL

RAISED FLOOR SYSTEM

PROJECT

CALEB FI DANIEL H ELENA LA AJ ROSA SABA NA

CASED A

566 SANT LOS ANG

O/ 323.98 F/ 323.98 WWW.CA

BU

section 1

BUILDING SECTION SCALE 1:300

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PERFORATED METAL PANEL SKIN

C D

SHOTCRETE TUBE STEEL INSULATION / MEMBRANE / METAL DECKING TUBE STEEL

SKYLIGHT / FRIT GLASS

PAINTED DRYWALL FRP PANELING SYSTEM STANDOFFS SHOTCRETE

PRIMARY STRUCTURE (CONTOUR BEAMS)

PAINTED DRYWALL CEILING

EXPOSED BEAMS (INTUMESCENT PAINT)

AHU

P

AIR INTAKE ESCALATOR

HOT / COLD WATER

TUBE STEEL FRAMING PAINTED DRYWALL / FRAMING

C D E A S

C

5 L

IN-FLOOR DUCT / MECHANICAL WALL

PRESSURIZED FLOOR SYSTEM CONCRETE / METAL DECK FLOOR FRAMING

FIRE PROTECTED COLUMNS (GYPSUM) RAISED FLOOR SYSTEM

IN-FLOOR DIFFUSER GYPSUM DROP CEILING / FRAMING

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CHUNK DRAWING SCALE: NOT TO SCALE

O F W

CLIENT: GOOGLE INC. DATE: 4/13/2015

REINFORCED FIBERGLASS PANEL WATERPROOF MEMBRANE 4” RIGID INSULATION PEDESTAL PANEL GUTTER 5” SHOTCRETE 5 X 5 REBAR MESH SECONDARY GUTTER PRIMARY STRUCTURE METAL STUD

PROJECT TEAM: CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI CASED ARCHITECTS 566 SANTA FE AVENUE, LOS ANGELES, CA, 90012

GYPSUM BOARD O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

GUTTER DETAIL

gutter detail 1

A-14

GUTTER DETAIL SCALE: NOT TO SCALE

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CLIENT: GOOGLE INC. DATE: 4/13/2015

BLACK COPPER PERFORATED PANEL POLISHED STEEL PERFORATED PANEL SECONDARY STRUCTURAL STEEL

PROJECT TEAM:

WATERPROOF MEMBRANE

CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI

4” RIGID INSULATION CORRUGATED METAL DECK ADJUSTABLE PEDESTAL

CASED ARCHITECTS

12” STRUCTURAL STEEL TUBE

566 SANTA FE AVENUE, LOS ANGELES, CA, 90012

PARAPET FLASHING WOOD BLOCKING

O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

HAT CHANNEL GYPSUM BOARD 6” STRUCTURAL STEEL TUBE 5” SHOTCRETE 4” RIGID INSULATION

ROOF / PARAPET DETAIL

WATERPROOF MEMBRANE REINFORCED FIBERGLASS PANEL CLIENT: GOOGLE INC. DATE: 4/13/2015

BLACK COPPER PERFORATED PANELS

POLISHED STEEL PEFORATED PANELS

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WITH 1/2” INSULATION

A-13

ROOF / PARAPET DETAIL

CLIENT: GOOGLE INC. DATE: 4/13/2015

SCALE: NOT TO SCALE BLACK COPPER PERFORATED PANELS

REINFORCED FIBERGLASS PANEL

POLISHED STEEL PEFORATED PANELS

REINFORCED FIBERGLASS PANEL

PROJECT TEAM: CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI CASED ARCHITECTS 566 SANTA FE AVENUE, LOS ANGELES, CA, 90012

PROJECT TEAM: CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI CASED ARCHITECTS

O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

566 SANTA FE AVENUE, LOS ANGELES, CA, 90012 O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

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NORTHWEST ELEVATION

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NORTHWEST ELEVATION SCALE 1:300

A-7

SOUTHEAST ELEVATION

BLACK COPPER PERFORATED PANEL CLIENT: GOOGLE INC. DATE: 4/13/2015

POLISHED STEEL PERFORATED PANEL

WATERPROOF MEMBRANE

4” RIGID INSULATION

5” SHOTCRETE WITH MESH

6” STRUCTURAL STEEL TUBE PROJECT TEAM: GUTTER

CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI

CURTAIN WALL

CASED ARCHITECTS

PRIMARY STRUCTURE

566 SANTA FE AVENUE, LOS ANGELES, CA, 90012

STRUCTURAL ANGLE

O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

METAL SECONDARY STRUCTURE

CLIP SYSTEM

MAINTENANCE CATWALK

FACADE DETAIL

A-12

CLIENT: GOOGLE INC. DATE: 4/13/2015

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FACADE DETAIL

CLIENT: GOOGLE INC. DATE: 4/13/2015

SCALE: NOT TO SCALE

BLACK COPPER PERFORATED PANELS

POLISHED STEEL PEFORATED PANELS BLACK COPPER PERFORATED PANELS REINFORCED FIBERGLASS PANEL POLISHED STEEL PEFORATED PANELS

REINFORCED FIBERGLASS PANEL

PROJECT TEAM: CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI

PROJECT TEAM: CALEB FISHER DANIEL HAPTON ELENA LARIONOVA AJ ROSALES SABA NASEHI

CASED ARCHITECTS 566 SANTA FE AVENUE, LOS ANGELES, CA, 90012

CASED ARCHITECTS O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

566 SANTA FE AVENUE, LOS ANGELES, CA, 90012 O/ 323.988.9348 F/ 323.988.9349 WWW.CASED_ARC. COM

NORTHEAST ELEVATION

1

NORTHEAST ELEVATION

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A-8

SCALE 1:300

1

SOUTHWEST ELEVATION

SOUTHWEST ELEVATION

A-9

Color Outside Lines_VS Andrew Zago Collab w/ Kazuhiro Okamoto

Color is one of the most ambiguous topics within art due to subjective perception. Color is viewed contextually, both in terms of its neighboring colors and the light in which it is viewed. By studying the work of Rothko, we begin to unpack qualities of color that create an ambiguous space despite the flatness of the medium.

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giovanni bellini

sample

rothko

color sample

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By projecting the Rothko painting onto a weak geometry with slightly skewed sides, certain gradients and qualities around the periphery are amplified, bringing to new life to the Rothko Painting as a “decorated shed�.

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Rural Typologies: the water tower Brief History All human activity depends on water. Water is essential for survival and development of a community. Water towers have been essential to the evolution of modern life in the United States, and as technology developed, so did cities.

Before the advent of the modern water tower, water usage in the U.S. was limited to 2 or 3 gallons a day per person, since water had to be fetched from a local well or pump and carried in to the house. That doesn’t mean there was no technology for water distribution previously: the earliest forms of water towers date from 4000BC in Persia, and the Romans developed a sophisticated water works system with well engineered acqueducts that were able to supply about 300 gallons per person at its glory.

When the industrial revolution hit the United States in the 19th Century, population grew, cities became weathier and started building their own water works systems to improve living conditions everywhere in the country. The amount of water works systems in the US grew exponentially, and by 1900 the average water consumption per capta per day was about 150 gallons.

To allo for fluctiation of demand, storage reservoirs, standpipes and water towers are engineered carefully, and water towers can be specialized yet standardized.

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Formal Parameters Water Towers are composed of two parts that show up consistently in all examples: a base, to raise the structure up and provide gravitational energy, and a water tank.

These parts can be sometimes expressed as individual entities that are working together, examples we call Expressive Structures. Or they can try to blend into one, what is here called Integrated Structures.

The proportions generally favor height over width and length, but not all examples are of slender proportions.

Parts and Operation The tank is the most prominent feature of a Water Tower and varies in shape. The most common shapes for tanks are cilinders, spheres, cones, and torus. All with nodal qualities and effcient load / pressure distribution.

The base can be a continuation of the shape of the tank, another solid shape or a series of thinner supports.

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Expressive Many-Legged Torus_Milwaukee, WI At the higher end of scale this tower comprised of a massive tank with a standard standpipe at its center. Disguised as a 15th leg, the stand pipe’s scale is comparable to the 14 parimeter columns that hold the bulk of the tank.

Cliche Water Tower_Bloomdale, OH The water tower depicted by Warner Brothers, That 70’s show and many other films: modeled from this very kit of parts. With a cylindrical body and panoramic wrapping balcony, these cinematic qualities are a staple in American culture.

Hybrid Structure_Pittsburgh, PA This tower begins the first evolutionary step to lose its peripheral structure and become a more integrated whole. With an octogonal structure, torus tank, and wider footprint for the standpipe, this water tower shows to be a strange cousin of newer tower we recognize today.

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massing

interior

skin

ground

massing

interior

skin

ground

Railroad Tank_Akron, OH The structure on this water is so light it almost looks to stand by its standpipe alone. Placed to serve trains passing by, this tank has a spout for fillups.

Rooftop Vigilante_New York City, NY Much like a masked hero waiting to pounce, this water tower sits on the parapet of a masonry building. What initially could be seen as structurally perilous has good reason.

Classical / Industrial_Pittsburgh, PA With octogonal structure and 4 main tanks, this industrial water tower has unique features that worth noting. Rather than cover up the structure, it is arched to celebrate it’s existance to match the rest of the neo-classical / industrial architecture of the surrounding factory on which it sits.

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Integrated Waterspheroid_Box Elder, SD This tower is shaped by a combination of a sphere, a cylinder and a cone.

The transition between the shapes is smooth and the steel allows for minimal seaming. It is used for signage due to its slender proportions that make it distictive in the landscape. The support is slender since it reflects only the necessary amount od space to fit the standpipe.

Smooth Cylinder_Hermiston, OR This tower is shaped as a cylinder, with a base and tank located within the overall shape. It is made of steel, with minimal seams.The articulation and aesthetics of the tower is commanded by its storage function. However, its prominent appearance and large surface area make it suitable for signage, representing the town’s tradition of watermelon production.

Patterned Cylinder_Stone City, IA This tower has a cylindrical shape with humanized aesthetic treatment.

Windows and doors are proportioned to the human body. The tank is located inside a continuous structure, with no distiction between tank and supports.

It is located in a private estate and it was built to support the property. It was later converted into an apartment.

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massing

interior

skin

ground

massing

interior

skin

ground

Fluted Column_Frisco, TX This tower is shaped by a combination of two cylinder shapes. The surface treatment, however, is similar enough so it can be seen as a single volume.

The tank is steel and the base is concrete.

Decorated single volume_Lawrence, MA This tower is composed of a combination of two shapes: a hexagon and a cylinder. It is made of masonry with very intricate decoration. The decoration is laid out in a classical manner, with an idea of a base, a body and a capitel.

Tank-house_Oakville, CA This tower is of a typology commonly known as a tank-house, which is usually of smaller scale and domestic/private use. The exterior does not reflect the interior, since the tank is probably cylindrical, but rather tries to immitate a domestic building.

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Heavy Tech.

Tactical Typologies John Southern

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Lloyds of London_1978-1986 Richard Rogers This new capital stems from Roger’s profound fascination with Italian Futurism, and specifically with Antonio Sant’Elia’s La Citta Nuova which was a deliberate attempt to embrace technology and part with the past. The deliberate lightness of the upper structure, in both a literal and metaphorical sense, alludes to breaking free from the heavy burden of history and embracing the potency of technological possibilities.

02 / 06

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vs.

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vs.

New York Times Building_2000-2006 Renzo Piano In 2000, several notable architects were invited to envision a new headquarters for the New York Times. Frank Gehry and Renzo Piano submitted concepts for a 80,000 sf site on 8th Avenue and Time Square.

Here we see a tension of alternate realities that are ultimately decided by technology.

Both resemble the famous product of the Times: news. Gehry embarks on a more physical translation; his undulating edges as the tower meets ground and sky embodying the materiality of paper as it curls, folds and overlaps.

These forms also mesh well with the serifs of the Times logo; serifs are meant as aids and indicators of transition in type, and are similarly explored in the fabric of this tower. Despite it’s formal qualities and the technology required realize such a proposal Gehry’s tower explores a history of the times in many regards.

Piano explores themes of overlap and layering but within the abstracted ideals of the grid. Even the second skin of white ceramic tubes extends beyond the inner skin, allow the building a step of gradation as it dissolves into the sky.

While Piano discussed his work in terms of transparency and openness much like a newspaper should ideally work, these notions are reminiscent of the mid to late 20th century Modernist work, particularly Mies’s Seagram Building. If anything the scrim sheaths the building more than offering transparency. One could easily compare Gehry’s solution to physical paper, while the scrim of Piano embodies a pixelated screen of superficiality, obscuring the inner skin.

Gehry and Piano had the same ideas, simply inverted. Gehry symbolizes the medium of the Times in a nostalgic way, but expressed it through high tech means, while Piano expressed a high tech medium through a nostalgic language of corporate Modernism. Steeped in languages of nostalgia and new technology simultaneously, Piano was selected as the victor, and the project was completed in 2006.

In 2010, digital media surpassed the newspaper in revenue and readers according to surveys conducted by Pew Project for Excellence in Journalism. The Times were fully aware that this was an inevitability, making the timing of this new building significant. By understanding the sensitivity of this digital revolution, it becomes clear that screen is surpassing paper. It stands to reason then that Piano’s scrim was meant to outlast the crumpled paper of Gehry’s proposal.

Westin Bonaventure_1974-76 John Portman

Pulled from its hermetic carapace, the interior of the Bonaventure is derived from a heavy tech backfire. A reaction to the danger of the city and the automobile; it is better to get lost in an endless atrium than in the endless grid of the modern city. As we begin a dark ascent through the base the many centers of the Bonaventure disorient us and our understanding of the space. A Venus flytrap of architectural mystique , victims are lured in as they meander in a cyclical journey of false exploration while deja vu becomes the only source of orientation and comfort. In this space we must look to the past in order keep our bearings. As Rem Koolhaas warns us, in this “voluntary prison� we are content with the inversion of the city. Much as Bonaventure turns inside out, so does the city as the freeways become the new outdoors of our world, forcing us to redefine what outdoor living means. Everything is there for them. Restaurants, exercise, sleep, and even the same gift shops seen at the airport. The future has no need for the outdoors. This network overrides the grid, acting as a superhighway that ignores context. Context has become irrelevant in the presence of this new heavy tech.

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05/ 05

concequence

possibility

reaction

Mutant A hybrid building based on the classical tripartite organization of the column was the initial response to early high rise design. These three parts are then allowed to bleed into one another, amplifying key traits from each tower into something new. This new tower take the top of the Lloyds, the shaft of the New York Times, and the base of the Bonaventure.

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04 / 05

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This Side Up_Vertical Studio

This exercise wishes to tease out the transformative qualities of art within the urban context through a series of empathetic relationships.

Empathy is created when the building shape acknowledges the ground. As shape is dipped into the ground plane, the ground inverses the orientation of the shape.

The building projects the ground back into the city, tansformed by shape. The inversion of the plinth inverses the role of the ground within the immediate context from an occupiable plane to a sheltering structure. As the ground enters the building, it transforms from a surface to a thick boundary. This boundary manifests itself architecturally either as a thick floor slab, or a vertical scrim from which a field of linear paths are derived. In this way movement is not so curated in the way of the grand promenade. Occupants dictate their own journey through the space.

Shape demonstrates a capacity to capture a sense of endlessness, acting as a bracket for cropping an infinite plane beyond itself. As this plane enters different mediums, being ground, building, or sky, shape is modified in order to capture it’s existence within that medium.

The ground and sky are boundless, yet separated by a single plane. Buildings are containers of finite space. Inverting this relationship between space and shape, we experience shape as finite within the infinite of ground and sky, and infinite within the finite of the envelope.

The scrim of stairs reinforces this notion by implying space beyond the limits of the architecture into an inaccessible space. It is within this space that art exist, not confined by a building envelope or within one entity alone, but a continuum of boundless potential.

The oblique nature of the dip implies the legibility of something distinct from the mass. It is an the integral part, but belongs to an entity of its own.

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bo bardi ground_mass Bo Bardi uses the ground and building to frame the sky and the views in the site.

Empathy is created when the building shape acknowledges the ground. As shape is dipped into the ground plane, the ground inverses the orientation of the shape.

ground plane_ building Divorced from the ground plane, Bo Bardi’s plinth oscilates between building and ground, causing a ground plane overlap.

By using the building as a way of projecting and reinterpreting the ground, power is redistributed and inversed within the urban and socio-political context. art_building Bo Bardi buries art and divorces it from the ground in order to preserve the infinite modern plane of the city.

By viewing art as an object that interacts with the ground and building simultaneously, one suggests something beyond a container programatically. building_interior The inversion of space occurs through the ground plane of the plinth in Bo Bardi’s scheme.

This same inversion occurs within the interior of the new design, the ground filtern being the scrim of stairs.

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fisher

infinite sky

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finite

finite

finite

infinite ground

finite_infinite

As the ground enters the building,infinite it transforms from a surface to a sky thick boundary. This boundary manifests itself architecturally either as a thick floor slab, or a vertical scrim from which a field of linear paths are finite derived. In this way movement is not so curated in the way of the grand promenade. Occupants dictate their own journey through the space.

Shape demonstrates a capacity to capture a sense of endlessness, acting as a bracket for cropping an infinite plane beyond itself. As this plane enters different mediums, being ground, building, or sky, shape is modified in order to capture it’s existence within that medium.

The ground and sky are boundless, yet separated by a single plane.

Buildings are containers of finite space. Inverting this relationship between space and shape, we experience shape as finite within the infinite of ground and sky, and infinite within the finite of the envelope.

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fi n

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ground(plane)_ground(arch)

finite

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Taino Art Museum Thom Mayne

Cap Haitien Envisioning a timeline in place of a museum, a field of objects floats in glass casing that seems infinite.

The key to this project is not the interior, but the abrupt exit into the forest. This is a gesture representing the devastation and disease that nearly wiped the Taino people from the earth and nearly destroyed their culture and traditions.

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1492 ad

4000 bc

museum

timeline

illusion

disillusion

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botanical garden

future village

k l

1:500 site plan

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6 5 4 3 2 1

a b c d e f g h i j k l

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guttered roof system

roof substructure

gradient of casework

louvers

raised deck (1.5 m)

raised deck (1.5 m)

existing building

1:100 isometric

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1:100 ne elevation

1:100 sw elevation

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1:100 section

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1:50 sw elevation

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1:50 interior elevations

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2 x 5 rectangular tube steel 1 x 1 rectangular tube steel 2 x 5 rectangular tube steel 2 x 5 rectangular tube steel 2 x 6 wood deck 2 x 10 wood joist 1/2 steel haunch plate 12 x 12 concrete coloumn

shelf grille side grille

32 x 18 duct

1:50 section detail

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elevational hvac diagram

corrugated steel sheet

corrugated steel sheet

2 x 6 wood stud

2x6 wood stud

transluscent polycarbonate, 1" 2 x 6 wood stud

2x5 3 gauge steel tube frame

1/4" steel cable

LED strip

grille

wood louver sliding glass panel

grille

2 x 6 wood stud

fixed glass panel

intake / exhaust grille

2 x 6 wood deck

2x5 3 gauge steel tube frame

2 x 10 wood joist

2x10 wood joist 2x10 wood joist 32 x 14 air duct

14 x 30 duct

12 x 12 concrete column

1:25 section detail

1:25 section detail

sliding glass panel (ne) shelf grille below 2 x 5 rectangular tube steel side grille fixed glass (sw)

1/4" steel cable

2 x 6 wood stud wood louver

1:25 plan detail

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untitled_thesis interest

Considering the work of Tom Friedman, such as Total Cereal and Dollar Bill, a tension between the real and the perceived becomes apparent.

The distortion of the familiar not only has spacial implications in terms of perception, but ideas consideration as the subject views the art. As a tool of ambiguity, and a means of generating a flexible and reactive field, these ideas have strong potential in the field of architecture. Subjects to explore within the self-similar tactic could be: parametricism, fuzziness, voxels etc.

The possibilities are still unexplored.

Tod Friedman_untitled (dollar bill)

Tod Friedman_untitled (total)

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Twilight Stage_Santa Monica STEREO_BOT

Aided in the design, fabrication, and assembly of a Stage for the City of Santa Monica and Santa Monica Pier.

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FO T OU CR THHE AF D L OE O RR

N

KEY Available Office Tenant Space Leased Space Core

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