Portfolio 2024 - "Some of Me"

Hi, I’m Eike.

In this portfolio you’ll find recapitulations of a few selected works documenting my experiences in and out of architecture.

My career has encompassed roles as BIM expert, parametrics instructor, design-builder, furniture craftsman, render wizard, model builder, and most importantly mentor. In all cases, I’ve applied creativity, pragmaticism, and empathy, and found these to be the key skills that enable all others. I can attribute these foundations to three early mentors, James Doerfler, my collegiate capstone advisor, Bill Christensen, my boss in the fabrication lab, and David Wing, under whom I interned in Philadelphia. I try to pass on their lessons daily.

Eike

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I center my work around the connection between architecture’s participants and their environment, their builders and craftspeople, and their contextual community. At its core, the design of our built environment is less about form than it is about meaning, and I think that these connections are the key to creating meaning. An architecture that embodies these values may become more cared-for than one that doesn’t. This idea has been influenced by Wharton Esherick, Peter Zumthor, and more recently Anne Holtrop, who are each exemplars of these values.

Curriculum Vitae May 2021 July 2023

Marmol-Radziner, Los Angeles, USA - Job Captain Served as primary point of contact with client, consultants, and GC on residential renovation/addition residence for UHNW client.

Led design production and documentation of project using Revit and Lumion, from conceptual design through contract administration.

Mentored team of junior staff and interns.

Improved BIM workflows by creating utilitarian automations and parametric models in Revit/Dynamo.

Project List: T.L. Residence (Los Angeles, USA) Ludo Restaurant (Santa Monica, USA)

Sept 2020 April 2021

Sabbatical, Death Valley, USA - Ceramics & Renovation Renovated 1920’s farmhouse, harvested wild clay, built a kiln, & fired ceramics.

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Project List: China Ranch Farmhouse Renovation (Death Valley, USA) Wild Clay Ceramics (Death Valley, USA) Feb. 2018 Sept. 2020

Woods Bagot, New York, USA - Designer Led documentation and coordination of 20,000+sf luxury penthouse interiors as AOR for “The XI” mixed-use highrise in New York City designed by Bjarke Ingels & Pierre Yovanovitch Designed “The Matteo” 35,000sf residential NYC highrise.

Primary facade BIM coordinator and designer for 1 Journal Square, 800,000+sf mixed-use tower in New Jersey.

Created parametric design solutions, including facade bricklaying algorithm and ceiling panelization.

Conducted zoning and planning studies for development projects throughout NYC. Project List: JFK Terminal 4 Proposal (New York City, USA) “The Matteo” Highrise (New York City, USA) “The XI” Mixed-Use Towers (New York City, USA) “1 Journal Square” Mixed-Use Tower (Jersey City, USA)

Jan. 2018 Feb. 2018

Partners & Spade, New York, USA - Freelance Furniture Designer Designed bespoke furniture and created interior renderings for P&S’s rebranding of Allbirds.

Project List: Allbirds (SoHo, New York City, USA) Zimmerman Workshop/Ottra, New York, USA - Junior Architect, Furniture Craftsman

July 2016 Nov. 2017

Created renderings and contract documents for apartment renovations in NYC, <$1mil.

Prototyped and launched “Ottra” furniture line using CNC and traditional woodworking techniques.

Exhibited “Ottra” line at ICFF and AD Design Show ‘16 Project List: 76th St Interior renovation (New York City, USA) Chelsea Loft renovation (New York City, USA) Brooklyn Heights Interior renovation (NYC, USA) Ottra furniture line Gensler, New York, USA - Job Captain, Design Technology Specialist Contributed to documentation of workplace interiors for Deloitte offices in the Northeastern USA.

Sept. 2015 June 2016

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Assisted teaching 8-week parametric design workshop.

Served as point-of-reference for my studio regarding software and parametric design.

Project List: Deloitte Boston Office (Boston, USA) Deloitte NYC Office (New York City, USA) Perkins + Will, Atlanta, USA - Architect 1, Digital Technologies Leader Promoted from summer intern to full-time entry-level Architect 1, later Digial Technologies Leader.

Contributed to multiple phases of architectural work across multiple market sectors, from competition-level conceptual design proposals for international commercial and mixed-use developments, to construction documentation for Fortune 500 corporate clients such as BMW. Constructed maquettes and mock-ups utilizing rapid prototyping and traditional fabrication.

Served as a point-of-reference for the office regarding software use and troubleshooting. Created introductory course for 3D Printing shared office-wide.

(continues)

June 2014 Sept 2015

Curriculum Vitae (continued) Project List: BSU Life Sciences Building (Bowie, USA) Topkapi Mixed-Use Tower (Topkapi, TUR) Tuzla Mixed-Use Lowrise (Tuzla, TUR) Jurmala Resort (Jurmala, LVA) Bridgestone Office Tower (Nashville, USA) Atlanta Dairies Retail Complex (Atlanta, USA) Atlanta Dairies Interactive (Atlanta, USA) BMW Central Office (Greenville, USA)

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B.Arch ‘14. GPA: 3.5; Philadelphia University (now, Jefferson University), Philadelphia, USA. 2010-2012

Teaching Assistant - CABE Fabrication Lab. Instructed students in modelmaking and fabrication techniques.

2012

Renovation Laborer - Michael Karp Renovated historical estates including Skylands.

2013

Co-Founder/Editor - “Spacework” & the CABE Press, the College’s publishing body for student work.

2012-2013

Design-build Intern - Greensaw Design. Designed, built, and installed furniture and interiors.

2014

Capstone project archived.

Education & Professional Workshops Building Science Fundamentals with Dr. J. Lstiburek, 2018, participant Philadelphia University (now, Jefferson University) Bachelor of Architecture 2014, GPA: 3.5 CIEE Barcelona Architectural Studies (semester abroad), 2013 Exhibitions, Awards, & Honors Professional: “Travail Libre” by Nicholas Morris at the Grande Galerie of the École Nationale Supérieure d’Architecture de Grenoble (2023), “Common Detail” exhibited, a collaboration with Nicholas Morris International Contemporary Furniture Fair (2016), “Ottra” exhibited Architectural Digest Design Show (2016), “Ottra” exhibited Gettysburg Station Re-dedication (2006), “Lincoln” exhibited Academic (2009-14): Pushpin Gallery, group exhibition, 5 pieces selected for exhibition See Gallery, group exhibition, “Library in Charcoal” exhibited CABE Archive, 3 projects selected to archive Faculty Drawing award, 3rd Prize

Comcast “Home of the Future” Competition, Honorable Mention Faculty Scholarship, 2009 - 2014 ALD Honors Fraternity, Founding Member Emerging Leaders Program, Participant Software Competencies & Skills BIM Management, Automation, Integration, and Training Contract Administration Inspection & Field Revision Coordination with consultants, GC, sub-trades Detailing, Weatherproofing, & Technical Review Parametric Modeling Sketching Diagrammatic Narrative Digital Rendering Modelmaking & Full-scale Mockups Mentoring

Languages English, native German, spoken in household - CEFR B1-B2 Dutch, CEFR A2-B1 Spanish, CEFR A1-A2 Biography I’m an experienced project leader, problem-solver, mentor, and craftsman with ten years’ professional experience in architectural design, construction, and furniture production throughout the United States. My life as a craftsman began at four years old when I was given a sharpened set of chisels in my dad’s cabinet shop and set to work, culminating much later in a Bachelor of Architecture from Philadelphia University in 2014. Professionally, I have been a design-builder, a furniture prototypist, and a specialist in digital technologies focusing on parametricism and BIM automation. Personally, I find joy in creating ceramic wares from natural and wild materials, motorcycle touring, and mentoring. My name is Frisian in origin, but I was born and raised near rural Gettysburg, Pennsylvania, United States.

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Revit Autodesk Certified Professional Dynamo Ideate Tools Rhino Grasshopper Sketchup 3DS Max AutoCAD Vray Lumion Enscape Adobe Suite Photoshop InDesign Illustrator Excel PowerBI

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Contents 1. T. L. Residence Los Angeles, Calif. USA; 2021-23 Single-family residence; renovation; 3 stories, 4,650sf built, 22,000sf site 2. Ludo Santa Monica, Calif. USA; 2022-23 Restaurant; historically-designated renovation; 2 stories, 5,000sf built, 5,000sf site 3. “One Highline” Floors 29-33 Penthouses New York City, New York USA; 2018-2020 Mixed-use Highrise; new construction; 5 stories, 22,000sf built

New York City, New York USA; 2017-18 Residential Highrise; new construction; 16 stories, 35,000sf built 5. BMW Central Office Greenville, South Carolina, USA; 2014-16 Office; new construction; 3 stories, 60,000sf built 6. Capstone: Los Angeles Mediatower Los Angeles, California USA; 2014 Residential Highrise; academic work 15 stories; xx,xxxsf built, xxx,xxxsf site 7. Essays, and Things I’ve Made Selected writings, and works in wood, ceramics, and mixed-media.

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4. “The Matteo”

1. T. L. Residence

Location: Los Angeles, Calif., USA Typology: Single-Family Residence; Renovation

1.1

Size: 3 stories; 4,650sf Architects: Marmol-Radziner Principal: Nicole Starr Project Captain: Eike Maas Junior Staff: Miles Haas, Tess Stilman, Reggie Collier, Marshall Gault Interiors: Marmol-Radziner Landscape: Kimura Bonsai Construction: Marmol-Radziner

I served as project captain from conceptual design through contract administration on this renovation of a 1961 California Modern house. The client’s education in the art of bonsai is reflected throughout the 4,600 square foot building and 21,000 square foot lot, integrating details from traditional Japanese architecture. Consideration was given to the relationships between indoor spaces and their lush exterior counterparts, taking advantage of the friendly climate of Los Angeles and the open structural layout of the original house. Unique features of the design include an elevated interior courtyard with gravel floor and moon door, a pool with bouldered walls, and a music studio excavated into the hillside underpinning the house’s existing foundations. The house’s existing structure was retained and reinforced where needed; all interior finishes and layout were renovated.

Opposite: Entry garden featuring pool and moon door.

Rendered image (detail). Revit, Lumion. Eike Maas with Reginald Collier.

1.2

W

TO WATER METER AT STREET

1

W W

(E) POOL EQUIPMENT

3 A1.02

W X

X

W

X

X

X

(E) WASTE LINE TO SEWER (E) WASTE LINE CLEANOUT

W (E) SPA

SS

(E) 400A ELECTRICAL PANEL

X

E

E

(E) POOL

(E) GAS METER

E

X

E

W

10'-0 " SID

E SE

TBAC

K

1

16

DN

X

H

X

W

X

W

1

A3.02 2

5' - 2

X

90.35' PRO PERTY X

W

3/4"

DN

000.1

2.

3.

TEMPORARY KOI POOL AND EQUIPMENT BY OTHERS. PROTECT FROM DEBRIS. MAINTAIN POWER TO EQUIP.

X

DN

X

X

X

X

X

4.

5.

6.

7.

8.

X

CLR

EXISTING HOUSE

X

K AC

A3.01

X

EA

10'-0" STORM

DRAIN EASEM

(E) KOI POND

ENT

/8"

10.

(E) SITE STEPS

11.

X

31

X

(E) TREE WELL

12.

INGRESS/EGRESS EASEMENT

(E) OAK

30.00' PROPERTY

13.

LINE

LOT TIE No.: ###### ##

X " '-0 25

X

A3.01

T ON

X

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X

(E) SYCAMORE

X X

NOT IN SCOPE

(E) PAVILION

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10 '-

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(E) UNCOVERED WOOD PLATFORM

X X 45 .00 X 'P RO PE RT Y

X

X X

LIN E

X X X

X

X X

X O

SITE PLAN 1" = 10'-0"

Site Plan of the residence. Revit. Eike Maas.

A N D A T A A P W A P S O S S R IN

A C M U V O A S C B R C B C D R C IM

14. C C

(E) GARDEN WALL, TYP.

FR

D ROA

4 (E) TREE

X

X X

LON

(N) STAIR TO LOWER LEVEL

X

(N) STAIR (E) JAPANESE MAPLE

X

DECK

X

CHA

X

DECK

X

DN

DN

(N) SUMP PUMP & VAULT - GRAVEL COVER

X

X

DN

50 .00X 'P R

26 '-

6 1/2"

X

X

(E) STAIR

46' -

9.

YL INXE

(E) FENCE, TYP.

(E) DECK

OP X ER T

X

(E) MAIN WATER SHUTOFF VALVE

H

25 '-0 "R

1

DN

RS

H

6 A1.03

2

ET B

X

H

W

X

(E) WATER RISERS

3' - 0"

W

(E) MASONRY DRIVEWAY

X

W

(E) TRENCH DRAIN

1.3

1.

EXISTING WATER LINES

W

E

(E) STAIRS IN DRIVEWAY

LINE

130 GAL. RAIN BARRELS AT (E) DOWNSPOUTS, TYP.

4

W

E

7/8"

E

G

X

E

REPLACE HARDWARE ON (E) 5'-0" TALL GATE WITH SELFCLOSING, SELF-LATCHING DEVICE PLACED +60" A.F.F PER POOL ENCLOSURE REQUIREMENTS, LADBS P/BC 2017-014

A3.02

SS

4' - 10

E

W

E

SS

"

(E) GENERATOR

W

DN X

E

TY LI NE

SS

(E) MAILBOX E

W

X

W

(E) GATE OPERATOR

OPE R

SS

X

190.

19' PR

5' - 0

(E) ENTRY GATE

G

(E) ACCESS INTERCOM

1

1.4

The residence as seen from the street, under construction. Photograph. Dexter Cohen

1.5

1.6

1.7

Previous: Entry garden featuring pool and moon door.

Rendered image. Revit, Lumion. Eike Maas with Reginald Collier. Above: Hand sketch of pool concept. Eike Maas

1.8

Construction of pool underway with boulders and natural stone finishes. Photograph. Dexter Cohen

1.9

1.10

O ST

A3.02 4

OF P

FAC

EO F (E ) FIN

NTE R

1

(E) C E

FACE OF (E) FINISH

H

D

2 A4.02

FACE OF (E) FINISH

C

ISH

4 A4.02

(E) DOWNSPOUT

9' - 5 1/2"

8' - 8 1/4"

4 A5.01

(E) DOWNSPOUT 9 A6.02

LAUNDRY

107.A

109

A6.02

PANTRY 15 A9.12 11 A9.12

A6.01

SHELF

12 A9.12

102.A

10

A6.02 A6.02

H

2

12

11 102.2

12 A9.45

107.1

1 A9.32

104

103

UP

NOT IN SCOPE

E

(E) CABINET

106

A6.03

1.11

A6.08

1

GUEST BEDROOM

7

111

SHEARWALL REFINISH TO M EXISTING

GUEST BATHROOM 110

TIGHT TO EXISTING RISERS

A6.02

(N) POST

110.1

PROJECTOR

2 H

10 9 6

10

5' - 10 1/2"

1

2

1

115.2

MASTER BEDROOM

115.1

12 A9.11

FP-1

4 A9.11

EXISTING STAIR

12 A9.02

106.3

106.2

EXISTING TREE TRUNK

DECK

(N) 42" RAILING

9 A9.13

115.A

A9.13

EXISTING DECK

1

115.E

TYP 115.B

115.D

(N) DOWNSPOUTTIE-IN (E) BAY WINDOW DOWNSPOUT EQ

EQ

EQ

4' - 0"

115.C

B

4 A4.02

4

FACE OF (N) POSTS

2 A4.02

EXTENT OF (E) DECK

TYP

EXTENT OF (E) FLOOR

15 A9.13

EXTENT OF (E) FLOOR

18 A9.13

8 A9.11

EQ

DN (E) LANDING

106.1

3 A9.21

110.A EQ

7' - 8"

A6.09

4' - 0"

CL

12

106.4

20

3 A9.11

2

115 17 A9.13

108.A COORDINATE WINDOW LOCATION WITH 4/A6.01

106.A

10

4

1

13

A6.03 A5.04

1

1 DOOR

TYARD

2 A9.11

1

115.3

ECK TO MATCH 1 RDS. FEATHER OUT.

4 A9.14

5' - 10 1/2"

H

1

17 A9.21

4

NEW WALL FRAMING FLUSH TO EXISTING WALL. OFFET STUDS.

114

ISH

(N) POST

108

MASTER CLOSET

111.1 A6.02

A6.02

KITCHEN

9

EO F (E ) FIN

LIVING ROOM

4

(N) SPIRAL STAIR

FAC 4

A6.04

109.1

11

(E) GAS VALVE TO REMAIN

FI RE PL AC

POWDER

STAIR

12

3

EXISTING DECK

BREEZE BLOCK SCREEN

102

A6.04

1

(E) POST

A6.01

(E )

GYM

11

5 A9.32

6

(E) STEP 16

6

(E) POST

7' - 0"

102.1

3

105

107

5

A6.02

DINING ROOM

VIF (E) VENT LOCATION

2

A3.01

E F G Previous: Rendering of living room overlooking garden.

Revit, Lumion. John Katada. Above: Floor plan excerpt of primary living areas. Revit. Eike Maas 1.

ALL DIMENSIONS ARE TO FACE OF STRUCTURE (F.O.S.), UNLESS OTHERWISE NOTED.

2.

DO NOT SCALE FROM DRAWINGS.

3.

ANY INCONSISTENCIES OR UNFORESEEN CONDITIONS TO BE REVIEWED BY THE ARCHITECT PRIOR TO PROCEEDING WITH CONSTRUCTION.

4.

ALL DOORS AND WINDOWS DIMENSIONED TO CENTERLINE OF CLEAR OPENING.

5.

ALL CASEWORK DIMENSIONS TO FACE OF FINISH.

6.

CONTRACTOR SHALL PROVIDE, ERECT AND MAINTAIN ALL TEMPORARY BARRIERS AND GUARDS, AND ALL

111.3

CL-F

CL-D

WA-B

EXTERIOR FACE OF BEAM

5 WA-F

CLAY TILE ROOF ASSEMBLY WATERPROOF MEMBRANE

RF-A SEALANT

INTERIOR

WOOD FRAMING CL-D SEALANT

WA-F

SPRAY INSULATION

CL-F

WA-B

SEALANT

METAL FLASHING AND DRIP EDGE

1.12

1 BEAM

FLEXIBLE FLASHING

SN-1

WOOD SIDING

SN-1

SHIM WOOD BEAM 1 3/8"

1 BOTTOM OF BEAM 2 A9.33

KERF WOOD FOR METAL TRIM

TYP

CL-C

SN-1 (ALL SIDES)

EXTERIOR

INTERIOR

NEW ROOF TO EXTERIOR WALL 3" = 1'-0"

7

1

Section detail of door header and pitched roof in living room. Revit. Eike Maas

ROOF AND FASCIA OVER CLE

1.13

1.14

IN OBLIQUE

KEYPAD FIREPLACE SWITCH

105.5

1

CORNER

4 8' - 0"

6' - 8"

THERMOSTAT

115.E

115.D

4 OUTLET TYP.

OUTLET (E)

BASEBOARD

8 A9.13

TYP

115 MASTER BED EAST 1/2" = 1'-0"

10

17 A9.45 WOOD SCREEN

ION - OPEN DOOR 1/2" = 1'-0"

1 A9.02

19 3

3 A9.03

4

7 A9.13

TYP

OUTLINE OF POCKET BEYOND

SHADE POCKET

1 A9.14

OPEN TO MASTER BATH BEYOND

IN OBLIQUE

LUSH IS E

N - CLOSED DOOR 1/2" = 1'-0"

4

CL

EQ

8

SUSPENDED FIREPLACE

A9.10

EQ

20 19 A6.09

R 4' - 1"

3' - 2 1/2"

115.3

6 4

BASEBOARD

A9.14

1' - 10"

1.15

EXISTING WOOD FRAMING BEYOND

8 A9.13

TYP

1 A9.45

115 MASTER BED WEST 1/2" = 1'-0"

20 3

Previous: Rendering of courtyard adjacent to primary bedroom. Revit, Lumion. Eike Maas with Marshall Gault.

Above: Elevation drawing of moon door and latticework in primary bedroom, looking toward courtyard.

12

1.16

Primary Bedroom moon door. Rendered image. Revit, Lumion. Eike Maas with Marshall Gault.

1' - 0 1/2"

EXTERIOR

WA-F

1' - 0 1/2"

STRUCTURAL HEADER

STRUCTURAL HEADER

BLOCKING/FRAMING

TRACK BELOW

CL

BUILDING WRAP

SHIM

TYP.

6" O.C.

WA-B

WA-F

ROLLER SHADE

CL

HORIZONTAL WD-6

1/4"

VERTICAL WD-6 FLEXIBLE FLASHING

WEEP AND DRIP EDGE

1/2" EXTIRA PAINTED MATTE BLACK

DOOR HEADER

1/2"

FRAMING

1 1/2"

WD-2

NOTE: SEE SECTION DETAIL FOR 1/2" EXTIRA PAINTED MATTE BLACK. DOES NOT APPEAR IN THIS PLAN DETAIL CUT AT WIDEST POINT OF OPENING.

BUILDING WRAP CIRCULAR FRAME (SEE ELEVATION)

MULTI-SLIDE WINDOW DOOR ASSEMBLY

FLEXIBLE FLASHING 1 1/2" 1 1/2"

DRIP EDGE

1 1/2"

1/2"

2"

1 1/2"

1.17

1"

1 1/2"

3/4" PLYWOOD

1 1/2"

WA-F

DOOR BRUSH (SPECIAL PROFILE)

1/2" PLYWOOD, PAINTED MATTE BLACK

ROLLER SHADE CLEAR DROP AREA

BLOCKING

PRE-FABRICATED ASSEMBLY

1/2" EXTIRA, PAINTED MATTE BLACK

EXTERIOR

SHADE POCKET JAMB BEYOND

MULTI-SLIDE WINDOW ASSEMBLY

EDGE OF DOOR FRAME BEYOND

EDGE OF CIRCULAR FRAME BEYOND

EDGE OF CIRCULAR FRAME BEYOND

WD-2

EXTERIOR

INTERIOR

MOON DOOR HEAD 6" = 1'-0"

1 1/2"

EXTERIOR

INTERIOR

CAULK SHIM FLEXIBLE FLASHING

EDGE OF CIRCULAR FRAME BEYOND

EDGE OF CIRCULAR FRAME BEYOND

MULTI-SLIDE WINDOW ASSEMBLY

EDGE OF DOOR FRAME BEYOND

WA-F

SHADE POCKET JAMB BEYOND

MOON DOOR AXON

8

BUILDING WRAP

FACE OF FRAMING BEYOND

BLOCKING

SHIM STRUCTURAL FRAMING FLEXIBLE FLASHING

FL-K

WD-8 THRESHOLD

4" 5"

FL-A SEALANT

T.O. FINISH FLOOR 1"

EXTERIOR

5".

STAINLESS STEEL ANGLE

SILL PAN T.O. DECK JOISTS

MOON DOOR SILL 6" = 1'-0"

Diagrammatic Axon and Head/Sill details of Primary Bedroom moon door. Revit. Eike Maas

6

1"

FACE OF FRAMING

1 1/2"

4"

WD-2

1.18

Construction of moon door progresses, as seen from the courtyard. Photograph. Dexter Cohen.

1.19

1.20

Opposite: Rendering of studio space with acoustical fabric walls and walnut acoustical paneling, end-grain wood floors with tatami mats. Revit, Lumion. Eike Maas.

Above: Construction of the studio reveals coordinated systems and acoustical detailing.

1.21

1.22

1.23 GARDEN STAIR TOMMY LEE RESIDENCE MAY 4, 2023

MARMOL RADZINE

1.24

Previous: Rendering of back yard cantilevered deck and railing. Revit, Lumion. Eike Maas. Opposite Top: hand sketch of back yard concept. Eike Maas. Opposite Bottom and Above: Construction on back yard. Photograph. Dexter Cohen. Following: Rendering of 2nd floor lounge with fabric draped ceiling and Japanese-inspired details.

Revit, Lumion. Marshall Gault and John Katada.

1.25

1.26

Project Data

Description: Design-Build renovation of a luxury single-family hillside residence with swimming pool and recording studio.

Place & Time: Los Angeles, California USA; 2020-ongoing Project Scale: 1 structure, 2 stories; 4,650sf built over 22,000sf site

1.27

Budget: appx $11,000,000

Architecture: Marmol-Radziner Interiors: Marmol-Radziner Landscape: Kimura Bonsai Surveying: Hennon Surveying and Mapping Geotechnical Engineering: C Y Geotechnical Engineering Civil Engineering: CW Howe Partners Structural Engineering: CW Howe Partners Acoustical Consulting:Russ Berger Design Group M/E/P Design: Marmol-Radziner General Contractor: Marmol-Radziner

2. Ludo

Location: Santa Monica, Calif., USA Typology: Restaurant/bar; Renovation

2.1

Size: 3 structures; 2 stories; 5,000sf Architecture: Marmol-Radziner Principal: Nicole Starr Project Captain: Eike Maas Junior Staff: Tess Stilman Interiors: Marmol-Radziner

I spent a few weeks on this project as design was getting underway, first helping to guide the design detailing with respect to the existing historical details we needed to respect, and then to help render/visualize and detail the project’s interiors.

Constraints on the space included limitations to how much we could modify the existing shell and exterior of the building due to its historical designation, very low existing ceiling heights that could not be changed, and acoustical and mechanical needs required by the restaurant environment.

Additionally, I mentored junior architect Tess Stilman, who succeeded me in coordinating the project when the T.L. Residence required my full attention.

The project features several bespoke finishes.

Opposite: Central courtyard space. Rhino/Lumion. Eike Maas with Tess Stilman.

2.2

2.3

The lounge room in the bar with acoustical plaster ceiling, brass-framed mirrored pilasters and entablature inspired by Jean Michel Frank, parquet walnut floors, and glass panels by Lalique.

2.4

2.5

Dining Room interior with existing plastered fireplace, parquet floor, skylights, and acoustical plaster wave ceilng with gilver-leaf applique

2.6

2.7

“Wine Room” interior, with fumed oak parquet, stained anigre casework and coffering, beaded textile wall covering, and custom climate controlled bottle storage.

2.8

Project Data

Description: Design-Build renovation of an historically-designated restaurant into a new restaurant and bar, featuring three independent structures and two courtyards.

Place & Time: Santa Monica, California USA; 2021-ongoing Project Scale: 3 structures, 2 stories; 4,650sf built over 5,000sf site 2.9

Budget: appx $5,500,000

Architecture: Marmol-Radziner Interiors: Marmol-Radziner Landscape: Marmol-Radziner Structural Engineering: GMS Acoustical Consulting: Syska Hennessy Group Lighting Consulting: Oculus M/E/P Design: ASDF General Contractor: Marmol-Radziner

3. “One Highline”, formerly, “The XI” Penthouse Floors 29-33 Location: New York City, New York., USA Typology: Mixed-use Highrise Campus

3.1

Size: 3 structures; 33 stories; 280,000sf Architectural Design: BIG - Bjarke Ingles Group Exec Architect: Woods Bagot Principal: Jim Hickerson Project Captain: Eike Maas Interiors: Pierre Yovanovitch

I served as the executive architect’s Project Captain from design development through construction administration on the five west-tower penthouse floors of The XI, now known as One Highline, designed by renowned interiors firm Pierre Yovanovitch (PY). Challenges presented by this project included a building shell that twisted from floor to floor, building systems coordinated to allow for flexible tenant improvements in stacking units, and coordinating lifesafety requirements and code compliance with PY’s design sensibility.

The 33rd floor, the highest penthouse floor on the project with its largest unit at 5,000sf, featured a swimming pool, wrap-around terraces, curved walls with seamless, integrated paneled doors, and a fireplace with curving hearth.

Opposite: The project, with the West Tower at left.

Rendering by others.

3.2

3.3

Construction topping-out and unitized glazing being installed on the lower floors at The XI. Photograph.

Eike Maas. Opposite: Marble finishes with carefullycoordinated seaming in penthouse. Rendering by others.

3.4

L32S DOOR SCHEDULE

FD

2A

2' - 9"

1' - 7 1/2"

1/2" -1

R4' - 3"

R1' - 0"

3' - 0" R CLEA

1' - 5"

1/2"

N ALIG

3' - 10

7

7

N ALIG

EQ

17'

SQUARE TO CORE WALL

" - 8 1/2

EQ

N ALIG

N ALIG

4' - 1"

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

R4' - 3"

2' - 3

1 11' -

PLAY ROOM

7

5/8"

1' -

1/4"

7"

2 19' -

9 12' -

N ALIG

7/8"

1/4"

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

1/2"

6

1' - 7" MIN

N ALIG

EQ

4' - 1"

N ALIG

7 4' - 1"

7

12F 4' - 1"

1' - 1"

5/8"

6' - 0

12F 7

" 5' - 11 " 2 1/2 19' -

2' - 6"

7E

1' - 5"

9' - 4"

3/4"

VIF

7

7 12F 1' - 5"

7' - 6"

2' - 9

R1' - 0"

- 0"

R2' - 3"

R1'

1' - 0"

7

1/4"

1/4" 5/8"

6' -

SQUARE TO FACADE ALIGN FINISH FACE TO INSIDE FACE OF MULLION

1/4"

" 10 1/4

3' - 5"

7E

7

1' - 7" MIN

SQUARE TO CORE WALL

1' - 8

3' - 9

2' - 0

2' - 8"

N ALIG

7' - 5"

7

12F

12E

BATH

7E

EQ

7/8"

1' - 0"

12

N ALIG

A-770.A

12F

R1' - 0"

BED 2

8

4' - 2

1/4"

1/2"

N ALIG

4' - 4

5' - 2

R4'

1/4"

1/2"

1' - 0"

2"

2' - 3

EQ

2' - 0

2' - 8"

3/8"

4' - 3

1' - 7"

26

13 1/2" 1' - 6

7

6' - 0

" 3' - 10

N ALIG

" - 4 1/2

5' - 2

N ALIG

12Z

CL 12B

12B

R1' 0"

12B

5' - 2"

7

EQ

12B

7

7

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

9" 33' -

7

N -130' - 8 3/8" E 132' - 8"

7 7

" 3' - 10

EQ

1' - 0" " 2' 10 1/4

12B 9

N ALIG

N ALIG

N ALIG

7

2' - 6"

12Z

3/4" 4' - 4 N MI 4'-0"

7

- 0"

STO

ICE

9' - 4"

1/2"

8

WINE

N ALIG

1/2"

0 12' -

UT SETO

R1'

OVEN

STO

2' - 3"

2' - 10

3' - 0"

" 4 1/4 VIF

R2' -

4' - 6"

1' - 0"

1/8"

3.5

N ALIG

EQ

2' - 8"

N ALIG

2' - 0

R3' 0"

7

12B 1/4" 3' - 2 1/4" 1' - 3

12G

FRZ

" 7 5 3/4

25

7

SQUARE TO FACADE

SQUARE TO CORE WALL

12B

7

OVEN

7

1/4"

1/4"

1/4"

1' - 0"

4' - 5

2' - 8"

N ALIG

2' - 8

12B

9

REF

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

1' - 7" MIN R1' - 0"

14

7

" 5 3/4

7

N ALIG

7

BED 3

BATH

7E 1/2" 5' - 2

WORK KITCHEN 12B

KITCHEN

1/2"

N ALIG N ALIG

EQ

EQ

7

" 3 1/2 23' - - 3 1/2" 17'

11"

7E

N ALIG

7E

7

7

6' - 0"

2' - 0

N ALIGEQ

7

N ALIG

7

R3' - 0"

12F

1' - 0"

3/4"

7

4

1/4" WIC

7 N ALIG

7

" - 5 1/4

12G

7E

7 ENCLOSE PIPE

7

8" 13' -

MASTER BED

4' - 2"

7' - 0

1/4"

4' - 4"

N ALIG

N ALIG

7 13' -

N ALIG

12B

A-770.A ALIGN FINISH FACE TO INSIDE FACE OF MULLION

5

7E

CORR

N ALIG

N ALIG

7E

PR

A-770.A

15

OVEN

12B

EQ

3/4"

7

6

2' - 6" REF/ FRZ

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

7

7

12F

7

R1' - 0"

3/4"

7

CL

CL

12B

12F

11" 7

SQUARE TO FACADE

7

7

7E

12B

7' - 0

12F

1' - 6"

CORR

7

4

7

12B

N ALIG

7

7E

7

A-770.A

" 11 3/4 13' VIF

7

7E

7E

7

2

" 5' - 11

7

7

7

5' - 6"

7E

1/4" 1' - 0 VIF

- 3"

1' - 2

R4'

12B 7

12B

R3' - 0"

7

R4' - 3"

8" R1' -

3/4"

1/2"

10"

7

7 12B

12B

4' - 9

M BATH

3/4"

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

7' -

1/2"

9' - 6"

R4' - 10

1' - 3

1' - 7"

N ALIG

N ALIG

7E

2B

CL DOOR

" 10 1/2

2' - 7

FOYER

5'

WIC

N ALIG

4' - 7"

0"

7

12G

12A

10

7

8' - 5

N ALIG

2B 7E

1/4"

3' - 4"

5' - 7

8' - 6"

1' - 5

N ALIG N ALIG

24

12B

4' - 2" EQ

7

EQ

7E

12F

3

R1' -

1' - 7" MIN SQUARE TO CORE WALL

12B

7

11

12B

" 11 3/4

R4' - 0"

EQ EQ .50° 22.50° 22 " 1/4 3' - 2 VIF

2B 12F

1/2"

7

7/8"

3' - 8"

5' - 2

12B

3' - 4

2A

R5' - 0"

1' - 7" VIF 0° 22.5

2A

DUCT TO MOVE EAST TIGHT TO EDGE OF SLAB OPENING

1/2"

1"

7

6' - 9

EQ

12F

16

7

N ALIG 1/2"

7

12B

22.50°

7

2' - 1

1"

7

CL

R2' - 3"

BED 4

17

7' - 1"

7

2

R4' - 3"

CENTER WALL ON INTERSECTION

12B 1' - 7" VIF

R1' - 0"

EQ

2' - 0"

2' - 7"

" 6' - 10

5 A-770.A

R1' - 0"

6' - 9"

3' - 6" CLR

3' - 6" CLR

CL

EQ

1

1/4"

7

7E

EQ

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

R1' - 0"

TYP

7

4' - 9

3' - 6"

EQ " 9 1/2 VIF

16

7

" 9 1/2

EQ

7

2 HR

7E

- 0"

R1'

3' - 6" CLR

3' - 6" CLR

10

A-466

N ALIG

EQ 2' - 0"

2' - 9"

7

FIRE RATING 2 HR

110" 110" 110" 110" 121" 121" 121' 110" 110" 110" 110" 110" 110" 110" 110" 110" 110" 110" 110" 110" 110" 110" 110" 110" 110"

7

7E

7E 7

7

CLEAR WIDTH 63" 32" 32" 32" 54" 54" 32" 32" 52" 52" 32" 32" 32" 32" 32" 32" 32" 32" 32" 32" 62" 39" 46" 36" 42"

2 1 1 1 1 1 1 1 2 2 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2

7 12B

1/2"

12F

1/2"

BATH

EQ

EQ

7

4' - 3

10"

6' - 4

7

PY-961

12F

12F

7

3' - 0"

1' - 0"

N ALIG

12F

7

5' - 2"

3/4"

N ALIG

N ALIG

7

12F

12B

20

7

7

7

7

0"

N ALIG

7 N ALIG

7

23

7E

7

8' - 6"

A

R1' -

6' - 5

A

7

NIT FLOOR PLAN - W-6-32-A - BATH 3

3/4"

2

12B

N ALIG

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

1' - 7" MIN

7

" 9' - 10

12F

10 10' -

1' - 0"

7 7

1' - 0"

1' - 0"

21

N ALIG

19

7E

2' - 8"

2

7

VIF

" 8 1/4

B

4' - 0"

1/4"

4'

10"

10"

" - 6 1/2

22

7E

12B PY-956

12D

LAUNDRY

18 9

2A

9' - 3"

2' - 2"

5' - 9

7E

2' - 0"

12B 2A 2A

R1'

12

- 0"

PY-956

DOOR NUMBER OF CLEAR NUMBER LEAVES HEIGHT 1 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

LOGGIA

FD FD

7 7

3/8"

1' - 5"

7

0 14' -

R3' - 0" ALIGN FINISH FACE TO INSIDE FACE OF MULLION

3' - 0" CE LA FIREP ING OPEN 6' - 0"

7

1 18' -

7

1/2"

LIVING/DINING ALIGN FINISH FACE TO INSIDE FACE OF MULLION

7

SCHEDULED FINISH FLOOR - EXTEND TO MULLION

1' 7"

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

R10'

SPECIFIED SUBFLOOR

0"

RADIATOR ALIGN FINISH FACE TO INSIDE FACE OF MULLION

MT3 WINDOW MULLION 7"

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

4"

1' -

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

1' - 7"

8"

7"

7" TYP. ALIGN

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

3"

THIN SET 1/4" 3/4" STONE SLAB ON THINSET

T.O.F.F. T.O.S.S.

ATHROOM - TYP SECTION DETAIL AT BATH PERIMETER COVER

AKRF, Inc.

440 Park Avenue South, 7th Floor New York, NY 10016

Acoustic Consultant 646.388.9708

Gabellini Sheppard Associates, LLP

neering Consultant 212.221.6651

665 Broadway, Suite 706 New York, NY 10012

dscape Consultant 917.464.3869

333 Westchester Avenue White Plains, NY 10604

2

Key plan Lighting Consultant 212.675.7760

Interior Design 212.388.1700

Trace Pool Design (Lothrop Associates LLP) Pool Design 914.741.1115

10TH AVE

Flood Consultant 212.689.5389

Tillotson Design Associates 40 Worth Street, #703 New York, NY 10013

AVE 11TH

sultant / Expeditor 212.349.9304

FLR 32 - W (MEP TRANSFER FLR)(2)

1

Notes & Legend

Recent revision history

Contractor must verify all dimensions on site before commencing work or preparing shop drawings. Do not scale drawings.

#

Status

Recent revision history Description

Date

#

Status

Stamp Description BULLETIN 46 BULLETIN 47 BULLETIN 49 ASK-WB-441 HorizCoord L30 BULLETIN 52

Date 19/08/29 19/09/17 19/12/20 20/03/05 Date 28 20/03/30

FLOOR - FLOOR AT PERIMETER RADIATOR PY

Project

The Eleventh Condominum

Sheet title

Issuer

ENLARGED PLANS - UNIT W-6-32-A PARTITIONS

TM

Client

76 11th Ave

© Woods Bagot Project number

520216

N

17TH ST.

Sheet number

Size check

A-770.A

1"

Checked

Approved

Sheet size

Scale

Checker

Approver

36"X48"

As indicated

600 Madison Ave New York, NY 10022 212.300.8000

Floor plan of Level 29 - South Penthouse. Revit. Eike Maas

Status

Revision

TYP

7E

" 0 1/2

R1' - 0"

- 3" R2'

0"

R4'

- 3"

R4'

0" N ALIG

11' -

7/8"

" 1 1/4

2' - 3

EQ

EQ

17'

PLAY ROOM

1/2" " 2 5/8

" 9 1/4

19' -

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

9"

LOGGIA

7

N -130' - 8 3/8" E 132' - 8"

FD

14' " 0 3/8

" 3' - 0 ACE PL FIRE ING N E OP

LIVING/DINING ALIGN FINISH FACE TO INSIDE FACE OF MULLION

/2" -81

" 4' - 1

12' -

N ALIG

6

" 4' - 1

N ALIG

3.6

5/8" 3/4" 4' - 4 IN M 4'-0"

6' - 0

" 1' - 5

N ALIG

1" 5' - 1 " 2 1/2

" 2' - 6

N ALIG

12F

7

7" 1' -

" '-0 R10 ALIGN FINISH FACE TO INSIDE FACE OF MULLION

ALIGN FINISH FACE TO INSIDE FACE OF MULLION

8"

7" 1' -

Detail of floor plan of Level 29 - South Penthouse.

Revit. Eike Maas

FD

7

7

A

7

EQ

19' -

12Z

12F

" 4' - 1

" 1' - 1

VIF

" 1' - 5

N ALIG

EQ

7E

BATH 7

" 0 1/2 3' - 1

- 0"

12E

" 9' - 4

3/4"

7

7 12F " 1' - 5

" 7' - 6

2' - 9

R1'

R1 '-

- 3"

1/2 "

R1 '-

" 1' - 0 " 3' - 0 AR CLE

7

/4" 10 1

" 3' - 5

7E

7

6' -

1/4"

1/4"

7E

12F

SQUARE TO CORE WALL

1' - 8

3' - 9

12F

12

N ALIG

A-770.A

7/8"

N ALIG

" 2' - 8

13 /2" -61

BED 2

8

4' - 2

N ALIG

" 1' - 0

2' - 0 5/8"

1/4"

1/4"

1/2"

R4 '-1

2' - 3

1/2"

4' - 4

5' - 2

" 2' - 6

6' - 0

0" 3' - 1

2' - 0

EQ

" 1' - 0

4' - 3

12B 1/4" 3' - 2 1/4" 1' - 3

" 2' - 3

12B

12B

R1' - 0"

7

WINE

STO

N ALIG

0" 3' - 1

EQ N ALIG

/2" -41

1/4" 1/8"

7

0"

12Z

" 7' - 5

4' - 5

2' - 0

33' -

" 5 3/4

1'

12B

0"

" 5' - 2

7

N ALIG

R1' -

26

STO

ICE

12B

7

7

9

3/8"

N ALIG

1/4" 2' - 8

12B

FRZ

" 7 5 3/4

7

SQU FAC

SQUARE TO CORE WALL

12B

7

OVEN

7

25

R1 '-0 "

OVEN

REF

N ALIG

EQ

" 7 1/4

7

8

7

R3' -

7E

7

N ALIG

12G

7E

1/2"

E

N ALIG N ALIG

" 4' - 4

EQ N ALIG

N ALIG

N ALIG

13' -

7

N ALIG

12G 5' - 2

2' - 0 " 2' - 8

N ALIG Q EQ

" 5' - 6

7

- 0"

7E " 6' - 0

- 0"

7

7

9

N ALIG

3/4"

1/4"

/4" 11 3 VIF

1/2" R3'

7

12B

WORK KITCHEN 12B

KITCHEN

4

7

" 1' - 0

7' - 0

8' - 5

13' -

4' - 9

N ALIG

12F

7

7

7

" 2' - 8

EQ 0° EQ 2.5 22.50° 2 /4" 1 3' - 2 VIF

PR 5

7E

- 0"

ENCLOSE PIPE WIC

1/4"

OVEN

12B 7

14

7

CORR

N ALIG

11" 5' - 5

" 2' - 6 REF/ FRZ

7E

12B N ALIG

" 1' - 0

7

7

R1'

7 7

7

4

7

11" 7

7

CL

R1'

12F

7

A-770.A

12B

3/4" 7' - 0

7E

7

12B N ALIG

1" 5' - 1

7

" 1' - 7 MIN

15

2' /4" 10 1

12B 7

12B

R3' - 0"

- 3"

8" R1' -

WIC

7

" 8' - 6

- 0"

3

2

" 4' - 2 EQ

EQ

1/2"

- 4"

R4'

12B

/4" 11 3

R4' - 0"

N ALIG /4"

2' - 7

" 1' - 7 VIF 50° 22.

3' - 4 1/4"

N LIG GN

R5'

22.50°

12B

FOYER

- 3"

" 4' - 2

1"

12B

2A

1' - 5

R4'

CENTER WALL ON INTERSECTION

12B " 1' - 7 VIF

7

7

7

1 5' - 7

BATH

7E 1/2" 5' - 2

12B 10

ALIGN FIN TO INSID OF MULLI

BED 3

N ALIG

11

7

7

CORR

12A

7

N ALIG /2"

" 1' - 6

N ALIG

1

1/2"

7

2

7

2' - 1

1"

7

R2' - 3"

12' -

" 2' - 7

0" 6' - 1 CL

7

12G

OUT SET

CL

EQ

12F

" 9' - 4

" 4 1/4 VIF

" 3' - 6 CLR

" 3' - 6 CLR

EQ

A-770.A

" 3' - 0

A-466

EQ

S C

3.7

33rd floor penthouse terrace and infinity-edge pool.

Rendering by others.

3.8

3.9

Above and Opposite: Pool installation - sectioned steel plates were hoisted by crane and maneuvered between the concrete structure. Photograph. Eike Maas Following: Curving interior walls, flush full-height glass doors by Vitrocsa, and travertine-clad structure. Rendering by others.

3.10

3.11

3.12

Project Data

Description: New construction of five penthouse floor interiors in new luxury mixed-use highrise.

Place & Time: New York City, New York USA; 2016-ongoing Project Scale: 1 of 3 structures, 5 of 33 floors; 25,000sf of 908,250sf built over 36,000sf site

3.13

Budget: undisclosed, estimated $1billion+

Developer: HFZ Capital Group Design Architect (Core & Shell): BIG Bjarke Ingels Group Executive Architect (Core & Shell + Interiors): Woods Bagot Interiors: Pierre Yovanovitch, Gabellini Sheppard Structural Engineering: WSP Facade Consulting: GMS M/E/P Engineering: Cosentini General Contractor: OMNIbuild

4. 323 East 79th St “The Matteo”

Location: New York City, New York., USA Typology: Residential Highrise Size: 17 stories; 35,045sf

4.1

Architect: Woods Bagot Principal: Matt Stephenson Designer: Eike Maas Interiors: Woods Bagot

I served as Designer from conceptual design through design development on this skinny high-rise tower in New York City. Responsibilities included zoning analysis, planning, rendering and design documentation and presentation to clients, facade design and detailing, and systems coordination.

The biggest challenge for this project came from the dimensions of the zoning envelope, only 27 feet wide and 170 feet high, which created formal restrictions that required intricate structural coordination to resolve. A further constraint given by the client was a mere 1’-1” facade depth allowance for a unitized window wall with masonry.

All of these constraints were satisfied to create 15 residential units over 17 stories and 2 sub-stories.

Photograph of built project. Photograph by Michael Young.

4.2

4.3

Massing study in context. Illustrator. Eike Maas

SCHEMATIC DESIGN

04.11.18

PAGE 13

ing & FAR Analysis

ed Units

RESIDENTIAL RESIDENTIAL RESIDENTIAL RESIDENTIAL

RESIDENTIAL RESIDENTIAL RESIDENTIAL RESIDENTIAL RESIDENTIAL RESIDENTIAL RESIDENTIAL

1 Lobby + Commercial RESIDENTIAL TOTAL

22 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10

192 170 160 150 140 130 120 110 100 90 80 70 60 50 40 30 20 10 0

1665 sf 1665 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1930 sf 1 930 sf

66.6 sf 66.6 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf 77.2 sf

sf sf sf sf sf sf sf sf sf sf sf sf sf sf sf sf

46.0 sf 46.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf 44.0 sf

1895.0 sf 32 060.0 sf

75.8 sf

0.0 sf

44.0 sf

COMMERCIAL TOTAL

185.0 sf

ABOVE GRADE TOTAL

32245.0 sf

Cellar Sub-Cellar BELOW GRADE TOTAL

2 765 sf 2 765 sf 5 530 sf

12'-0" 12'-0"

TOTAL PROJECT AREA (GROSS) Project Site Area FAR Permitted As-of-Right Zoning Floor Area Total Permitted Zoning Floor Area Proposed Above Grade Building Area:

Res.

sf

sf

1 552.4 sf 1 552.4 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf 1 808.9 sf

345.0 sf 345.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf 341.0 sf

1 775.2 sf 30 018.9 sf

1710.0

LOBBY

COMMERCIAL TENANT

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0%

% of 4 BR apartments

5 Bedroom 0

1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

7%

185 sf 30 204 sf

ZFA=

6% 6%

380 sf

37 775.0 sf 2 767 sf 12.0 33 204 sf 33 204 sf 30 204 sf

RESIDENTIAL RESI

% of 5 BR apartments

OTHER NON-LEASABLE (CORE,LOBBY, ETC)

(ft2)

ZONING AREA

(ft2)

ZONING DEDUCTIONS (RECREATION)

(ft2)

ZONING DEDUCTIONS (TERRACES)

(ft2)

ZONING DEDUCTIONS (STAIR)

(ft2)

ZONING DEDUCTIONS (REFUSE RM)

(ft2)

ZONING DEDUCTIONS (MEP)

FLOOR AREA (GROSS)

(ft2)

(ft)

sf T.O. Parapet Roof 17 Residential 16 Residential 15 Residential 14 Residential 13 Residential 12 Residential 11 Residential 10 Residential 9 Residential 8 Residential 7 Residential 6 Residential 5 Residential 4 Residential 3 Residential 2 Residential + Terrace

4.4

RESIDENTIAL

PROGRAM

ELEVATION

RESIDENTIAL

LEVEL

RESIDENTIAL

HEIGHT

FLOOR TO FLOOR

RESIDENTIAL

(ft)

323 E 79TH ST

37,775 GSF

AMENITY & UTILITY

Schematic-level floor area calculations. Excel. Eike Maas

6% 6%

1

CT CABINET & METER

79th Street

MDP

ELEVATOR MACHINE RM

323 E 79TH STREET

01

SWITCHGEAR ROOM

STORAGE

IT ROOM

SCHEMATIC DESIGN

06.19.18

PAGE 4

Schematic Plans

FITNESS CENTER 27’-8” X 24’-9”

Cellar Level BOILER ROOM

ELEVATOR MACHINE RM

BIKE STORAGE

HW SYSTEM FOR LOWER ZONE DUPLEX EJECTOR PUMP PNEUMATIC TANK BOOSTER PUMP FOR UPPER ZONE

GAS SERV. RM

79th Street

GAS BOOSTER FOR GENERATOR

WASHROOM

323 E 79TH STREET

01

WASHROOM HLS STORAGE

REFUSE ROOM

SCHEMATIC DESIGN

06.19.18

PAGE 6

Schematic Plans FIRE PUMP ROOM

Ground Level - Option 2 HLS ROOM 40’-9” X 24’-9”

KITCHENETTE

4.5

SPRINKLER BOOSTER PUMP

PR

79th Street

HLS LOBBY 7’-4” X 6’

MUD ROOM

323 E 79TH STREET

01

LIVING 16’-3” X 15’-3”

SCHEMATIC DESIGN

DINING 16’-9” X 11’-4”

06.19.18

PAGE 10

RESI LOBBY Schematic Plans

2nd Level

GARDEN

14’-6” X 12’-7”

KITCHEN 13’-6” X 7’-6”

CL

79th Street

CL

MAIL/PACKAGE

BATH

M.BATH BATH

BED 4 10’-10” X 10’-9”

CL

DRESSING MASTER BED 20’-8” X 10’-9”

CL

BED 2 13’-6” X 12’-3”

BED 3 15’-11” X 13’-6” WD

CL

CL

Top to bottom: Schematic plans - sub-cellar, cellar, ground floor (level 1 of ‘maisonette’ unit), 2nd floor (level 2 of ‘maisonette’ unit). Revit, Illustrator. Eike Maas

25”

PR CL

KITCHEN 78” 11’-9” X 10’-9”

79th Street

DINING 10’-9” X 10’-9”

CL

LIVING 15’-3” X 14’-3”

323 E 79TH STREET

01

CL

SCHEMATIC DESIGN

79th Street

MASTER 12’-4” X 10’-9”

06.19.18

Schematic Plans

PAGE 16

BED 2 13’-6” X 9’-10”

16th Level (Lower Penthouse) BED 3 13’-8” X 9’ BATH

CL

CL

DINING 18’-0” X 10’-9”

323 E 79TH STREET

01

M.BATH

WD

PR

SCHEMATIC DESIGN

KITCHEN 16’-8” X 10’-9”

CL

06.19.18

PAGE 20

TERRACE Plans Schematic 26’ X 9’-6”

16th Level (Upper Penthouse)

LIVING 24’-9” X 19’-3”

SUN ROOM 9’-6” X 8’-3”

4.6

BATH

79th Street

DRESSING MASTER BED 24’-9” X 14’-10”

323 E 79TH STREET

79th Street

01

MASTER BATH

BATH BED 2 10’-11” X 10’-9”

CL SCHEMATIC DESIGN

06.19.18

PAGE 21

Schematic Plans Roof

BED 3 13’-6” X 10’-11” WD OFFICE 24’-9” X 14’-10”

CL

PUBLIC TERRACE 555 SF

Top to bottom: Schematic plans - typical floor, penthouse terrace floor, penthouse upper floor, roof.

Revit, Illustrator. Eike Maas.

4.7

4.8

323 E 79TH STREET

02

SCHEMATIC DESIGN

06.19.18

PAGE 26

SCHEMATIC DESIGN

06.19.18

PAGE 34

SCHEMATIC DESIGN

06.19.18

PAGE 37

Facade Concepts Opt A: Lattice - Interior Visualization

Previous: Iterative facade studies.

Rhino, Vray.

Eike Maas.

323 E 79TH STREET

02

Facade Concepts Opt B: Bay Window Interior

4.9

This page: Interior fenestration studies.

Rhino, Vray.

Eike Maas

323 E 79TH STREET

02

Facade Concepts Opt B: Bay Window Interior

4.10

Photographic detail of built facade. Photograph by Michael Young.

4.11

Above: Hand sketch of conceptual facade detailing.

Opposite: The facade was built as a window wall with overhanging slab-edge cover. The brick is thin brick bonded to cement board substrate in front of an insulated steel-framed cavity wall. Windows are unitized into the system. Photograph by Michael Young.

4.12

4.13

Construction underway. Photograph by Michael Young

4.14

Construction completed. Photograph by Michael Young.

Project Data

Description: New Construction of luxury residential skinny high-rise on urban infill lot.

Place & Time: New York City, USA; 2018-2022 Project Scale: 17 stories; 35,045sf built over 2,800sf site 4.15

Budget: undisclosed

Developer: Boomerang Development Group Architecture: Woods Bagot Interiors: Woods Bagot Structural Engineering: WSP M/E/P Design: Cosentini General Contractor: Sunlight Construction AA

5. BMW Site Operations Center

Location: Greenville, South Carolina, USA Typology: Office Core & Shell, Interior

5.1

Size: 3 stories; 65,000sf Architect: Perkins + Will Principal: Don Reynolds Design Director: Bruce McEvoy Sr. Architect: Stephen Barefield Jr. Architects: Andrew Newman Eike Maas Interiors: Perkins + Will

This office for BMW’s US headquarters in South Carolina sought to marry BMW’s stark European styling with vernacular materials of South Carolina. I joined this project during schematic design, building models with rapid prototyping techniques, creating visualizations with Revit, Rhino, 3DS Max, and Adobe, and participating in design reviews with our client.

I continued working on the project into construction documentation, working in Revit to model and detail the building until we issued our bid set to the client. The building’s construction is primarily heavy steel with aluminum composite panel facade and butt-glazed curtain wall. Aluminum aileron’s form a breeze soleil on the building’s southern facade. Southern yellow pine provides a warm accent to the facade.

Opposite: Photograph of Office entryway as-built. Eike Maas. Following: Model of building created with laser cutter, CNC router. Photograph. Eike Maas, David Friend.

5.2

5.3

5.4

6

5

4

3

8"

11/16" 3/8"

3 13/16"

3/4"

3/4"

1/4" 1/8" 3/8"

CONTINUOUS 4x4x1/4" ALUMINUM ANGLE AT HEAD STAINLESS STEEL CABLE TENSIONER BASIS OF DESIGN: HAYNE LINES STUD TENSIONING INTERNAL ADJUSTER SYSTEM

THERMALLY MODIFIED LUMBER SIDING ALUMINUM ALLOY RAIN SCREEN SIDING CLIP

STAINLESS STEEL 2 PART WIRE STOP BELOW EACH HORIZONTAL SLAT

1.5" ALUMINUM Z GIRTS 1" RIGID INSULATION

2

1/4" STAINLESS STEEL CABLE

FLUID APPLIED AIR BARRIER

1 1/2"

1/4"

5/8" EXTERIOR SHEATHING

2 13/16"

COLD FORMED METAL FRAMING

B2 SECTION DETAIL AT WOOD RAIN SCREEN - EFC-1 3" = 1'-0"

1 1/2"

1/8"

1/8"1/4" 3/8"

1/2"

1/4" STAINLESS STEEL CABLE

1/4" 1/8" 3/8"

3"

1/4"

STAINLESS STEEL 2 PART WIRE STOP BELOW EACH HORIZONTAL SLAT

11/16"

3/8"

2 3/4"

3/4"

4 5/8"

1/4"

3/4"

3/4"

3/4"

4 5/8"

8"

1/8"

1

THERMALLY MODIFIED LUMBER SIDING

STAINLESS STEEL CABLE TENSIONER BASIS OF DESIGN: HAYNE LINES STUD TENSIONING INTERNAL ADJUSTER SYSTEM

ALUMINUM ALLOY RAIN SCREEN SIDING CLIP 1.5" ALUMINUM Z GIRTS 1" RIGID INSULATION

CONTINUOUS 4x4x1/4" ALUMINUM ANGLE AT SILL

FLUID APPLIED AIR BARRIER 5/8" EXTERIOR SHEATHING COLD FORMED METAL FRAMING

NOTE: TENSION CABLE SUPPORTS ARE LOCATED 4' O.C. AT CURTAINWALL ON EAST AND WEST ELEVATIONS(REF A4/A11-35) .

CENTER CABLES ON VERTICAL MULLIONS.

B1 SECTION DETAIL AT WOOD RAIN SCREEN - EFC-2

B3 INTERMEDIATE SUPPORTS AT EFC-2 WINDOW SCREENS

3" = 1'-0"

1

5.5

3" = 1'-0"

07 54 23 RF-2 THERMOPLASTIC POLYOLEFIN (TPO) ROOFING NO INSULATION

1

1

06 16 00 2.3 SHEATHING PLYWOOD ROOF SHEATHING

07 54 23 RF-1 POLYOLEFIN INSULATION

C3 A11-50

5' - 2"

5' - 2"

06 20 13 EFC-1 EXTERIOR FINISH CARPENTRY

07 42 13.23 METAL COMPOSITE MATERIAL WALL PANELS

07 54 23 RF-1 THERMOPLASTIC POLYOLEFIN (TPO) ROOFING WITH INSULATION

07 54 23 RF-1 THERMOPLASTIC POLYOLEFIN (TPO) ROOFING WITH INSULATION

D4 A11-50

C1 A11-50

07 42 13.13 FORMED METAL WALL PANELS LEVEL 04 41' - 6"

5' - 10"

LEVEL 04 41' - 6" 07 42 13.13 FORMED METAL WALL PANELS

LEVEL 04 41' - 6"

08 44 13 GLAZED ALUMINUM CURTAIN WALL

OPEN OFFICE 331

09 29 00 GY

07 42 13.13 FORMED METAL WALL PANELS

LEVEL 03 28' - 6"

LEVEL 03 28' - 6"

LEVEL 03 28' - 6"

3' - 4"

C4 A11-50

09 29 00 GYPSUM BOARD

13' - 0"

07 42 13.23 METAL COMPOSITE MATERIAL WALL PANELS

B1 A11-50

3' - 0"

06 20 13 EFC-2 EXTERIOR FINISH CARPENTRY

6' - 8"

13' - 0"

OPEN OFFICE 331

13' - 0"

06 20 13 EFC-1 EXTERIOR FINISH CARPENTRY

07 42 13.23 METAL COMPOSITE MATERIAL WALL PANELS

OPEN OFFICE 231

13' - 0"

13' - 0"

6' - 8"

13' - 0"

05 40 00 COLD-FORMED METAL FRAMING

OPEN OFFICE 231

3' - 0"

08 44 13 GLAZED ALUMINUM CURTAIN WALL

LEVEL 02 15' - 6"

LEVEL 02 15' - 6"

A1 A11-50

1/4" = 1'-0"

5

15' - 6"

08 44 13 GLAZED ALUMINUM CURTAIN WALL B3 A11-50

07 42 13.13 FORMED METAL WALL PANELS LEVEL 01 0"

LEVEL 01 0"

A5 WEST WALL SECTION

OPEN OFFICE 131

6' - 8" 2' - 6"

07 42 13.23 METAL COMPOSITE MATERIAL WALL PANELS 07 42 13.13 FORMED METAL WALL PANELS

B4 A11-50

15' - 6"

15' - 6"

OPEN OFFICE 131

LEVEL 02 15' - 6"

06 20 13 EFC-2 EXTERIOR FINISH CARPENTRY

6' - 4"

07 42 13.23 METAL COMPOSITE MATERIAL WALL PANELS

A4 WEST WALL SECTION 1/4" = 1'-0"

4

A3 WEST WALL SECTION 1/4" = 1'-0"

3

LEVEL 01 0"

A

6

5

4

11

3

10

08 44 33 SLOPED GLAZING ASSEMBLIES

08 44 33 SLOPED GLAZING ASSEMBLIES 07 62 00 SHEET METAL FLASHING AND TRIM

46'-8 1/2"

46'-8 1/2"

06 16 00 2.2 SHEATHING GLASS-MAT GYPSUM WALL SHEATHING 05 40 00 COLD-FORMED METAL FRAMING

D

GUTTER HIGH POINT BEYOND

07 54 23 RF-2 THERMOPLASTIC POLYOLEFIN (TPO) ROOFING NO INSULATION 07 00 00 THERMAL AND MOISTURE PROTECTION 06 16 00 2.3 SHEATHING PLYWOOD ROOF SHEATHING

06 20 13 EFC-1 EXTERIOR FINISH CARPENTRY

05 40 00 COLD-FORMED METAL FRAMING

05 40 00 COLD-FORMED METAL FRAMING 06 16 00 2.2 SHEATHING - GLASS-MAT GYPSUM WALL SHEATHING

D4 RIDGE DETAIL

07 27 26 FLUID-APPLIED MEMBRANE AIR BARRIERS

1 1/2" = 1'-0"

07 27 26 FLUID-APPLIED MEMBRANE AIR BARRIERS

07 54 23 THERMOPLASTIC POLYOLEFIN (TPO) ROOFING

08 44 33 SLOPED GLAZING ASSEMBLIES

FORMED ALUMINUM GUTTER BY SKYLIGHT MANUFACTURER

05 40 00 COLD-FORMED METAL FRAMING

06 16 00 2.2 SHEATHING GLASS-MAT GYPSUM WALL SHEATHING

06 16 00 2.2 SHEATHING GLASS-MAT GYPSUM WALL SHEATHING

06 20 13 EFC-1 EXTERIOR FINISH CARPENTRY

05 40 00 COLD-FORMED METAL FRAMING

43'-11" 43'-11" 1' - 1"

1' - 1"

D3 SECTION DETAIL

ALUMINUM LINEAR SOFFIT VENT

06 20 13 2.3 ALUMINUM Z GIRT

1 1/2" = 1'-0"

07 42 13.13 FORMED METAL WALL PANELS

05 40 00 COLD-FORMED METAL FRAMING 06 16 00 2.2 SHEATHING GLASS-MAT GYPSUM WALL SHEATHING 07 27 26 FLUID-APPLIED MEMBRANE AIR BARRIERS

07 27 26 FLUID-APPLIED MEMBRANE AIR BARRIERS 07 21 00 THERMAL INSULATION 06 16 00 2.2 SHEATHING GLASS-MAT GYPSUM WALL SHEATHING 05 40 00 COLD-FORMED METAL FRAMING 12'-6"

07 42 13.23 METAL COMPOSITE MATERIAL WALL PANELS LEVEL 04 41' - 6"

C 07 21 00 THERMAL INSULATION

12'-6"

12'-6"

06 20 13 EFC-1 EXTERIOR FINISH CARPENTRY

06 20 13 EFC-1 EXT FINISH CARPENTR

07 21 00 THERMAL INSULATION

07 92 00 JOINT SEALANTS 08 44 13 GLAZED ALUMINUM CURTAIN WALL

06 20 13 2.3 ALUMINUM Z GIRT

05 31 00 STEEL DECKING

08 44 13 GLAZED ALUMINUM CURTAIN WALL

09 29 00 GY BOARD

5.6

C3 SECTION DETAIL

C4 SECTION DETAIL @ SKYLIGHT

1 1/2" = 1'-0"

1 1/2" = 1'-0"

C

8.8

08 44 33 SLOPED GLAZING ASSEMBLIES

LEVEL 03 28' - 6"

SKYLIGHT RIDGE BEYOND

C

EXTRUDED ALUMINUM RAFTER ALUMINUM CLOSURE PLATE

C

46'-9 1/2"

06 16 00 2.2 SHEATHING GLASS-MAT GYPSUM WALL SHEATHING

05 40 00 COLD-FORMED METAL FRAMING 09 29 00 GYPSUM BOARD

07 54 23 RF-2 THERMOPLASTIC POLYOLEFIN (TPO) ROOFING NO INSULATION B

06 16 00 2.3 SHEATHING PLYWOOD ROOF SHEATHING

09 77 00 MODULAR WALL CLADDING SYSTEM

05 40 00 COLD-FORMED METAL FRAMING

1/4" BACK-PAINTED GLASS

06 20 13 EFC-1 EXTERIOR FINISH CARPENTRY 05 40 00 COLD-FORMED METAL FRAMING

07 27 26 FLUID-APPLIED MEMBRANE AIR BARRIERS 06 16 00 2.2 SHEATHING GLASS-MAT GYPSUM WALL SHEATHING

12 24 13 MOTORIZED ROLLER WINDOW SHADE STEEL CHANNEL 09 29 00 GYPSUM BOARD

B4 SECTION DETAIL

3/4" TEMPERED GLASS

1 1/2" = 1'-0"

FRAMELESS FIXED GLASS PARTITION 1/2"

FLOORING PER FINISH SCHEDULE

1"

EXTRUDED ALUMINUM ANGLE TRIM 05 40 00 COLD-FORMED METAL FRAMING

06 16 00 2.2 SHEATHING GLASS-MAT GYPSUM WALL SHEATHING

8.8 1/4" STEEL BENT PLATE

07 27 26 FLUID-APPLIED MEMBRANE AIR BARRIERS 1"

12'-7"

06 20 13 EXTERIOR FINISH CARPENTRY, EFC-1 06 20 13 2.3 ALUMINUM Z GIRT

1/4"

08 74 13 GLAZED ALUMINUM CURTAIN WALLS, (CW-4)

.125" EXTRUDED ALUMINUM ANGLE BY CW MFR., FINISH TO MATCH CW FRAMING

A8 SECTION DETAIL - TYP. SILL DETAIL AT CW-4 3" = 1'-0"

A

09 29 00 GYPSUM BOARD 05 40 00 COLD-FORMED METAL FRAMING

LEVEL 02 15' - 6"

1/4" BACK-PAINTED GLASS 1/4" BENT PLATE

09 29 00 GYPSUM BOARD 05 40 00 COLD-FORMED METAL FRAMING

3/4"

A7 SECTION DETAIL 3" = 1'-0"

1/4" BACK-PAINTED GLASS

09 77 00 MODULAR WALL CLADDING SYSTEM 1/4" BACK-PAINTED GLASS

09 77 00 MODULAR WALL CLADDING SYSTEM 1/4" BACK-PAINTED GLASS 09 29 00 GYPSUM BOARD

EXTRUDED ALUMINUM TRIM NOTE: TYPICAL DETAILS FOR CORNER AND VERTICAL JOINTS IN MODULAR WALL CLADDING SYSTEM.

PLAN DETAIL 5

12'-6" 1/2"

06 20 13 EFC-1 EXTERIOR FINISH CARPENTRY

3/4" TEMPERED GLASS

09 29 00 GYPSUM BOARD

SECTION DETAIL 3" = 1'-0"

A4 A11-52

EXTRUDED ALUMINUM FRAME

RECESSED WINDOW ROLLER SHADE W/ FASCIA

A5

3" = 1'-0"

09 77 00 MODULAR WALL CLADDING SYSTEM

05 40 00 COLD-FORMED METAL FRAMING

COLD FORMED FRAMING HEADER TO RECEIVE GLASS PARTITION HEAD, TO BE DESIGNED BY CF FRAMING ENGINEER

05 40 00 COLD-FORMED METAL FRAMING

1

FRAMELESS FIXED GLASS PARTITION

09 29 00 GYPSUM BOARD

BLOCKING AS REQUIRED

1/4" BACK-PAINTED GLASS

B2 S

A7 A11-52

09 77 00 MODULAR WALL CLADDING SYSTEM

07 21 00 THERMAL INSULATION

A6

1 1/2" = 1'-0"

A5 A11-52

5"

05 40 00 COLD-FORMED METAL FRAMING

B3 SECTION DETAIL

LEVEL 02 15' - 6"

A4

09 29 00 GYPSUM BOARD 1 1/4" 1/4"

SECTION DETAIL 3" = 1'-0" 4

06 20 13 EFC-1 EXTERIOR FINISH CARPENTRY

A3 SECTION DETAIL

A2 SEC

1 1/2" = 1'-0"

1 1/2" =

3

5.7

Previous: Wall sections and details from bid documents.

Eike Maas and Stephen Barefield. Above: Photograph of northern facade and entry to building, as-built.

5.8

Project Data

Description: New Construction of office building for BMW in partnership with the South Carolina Port Authority.

Place & Time: Spartanburg, South Carolina, USA; 2014-16 Project Scale: 1 structure; 65,000sf built

5.9

Budget: undisclosed

Architecture: Perkins + Will Interiors: Perkins + Will Landscape: Perkins + Will Civil Engineering: Seamon Whiteside Structural Engineering: Uzun + Case M/E/P Engineering: Integral Group Engineering General Contractor: Hogan Construction

6. Capstone: Los Angeles Mediatower

Location: Los Angeles, California, USA Typology: Residential High-rise (academic)

6.1

Size: 14 stories; 225,750sf Advisor: James Doerfler Studio: Design 10, “Capstone”; 2014

My Bachelor of Architecture studies culminated in this capstone project, sited in Los Angeles, which seeks to reimagine the typical horizontal spatial progression of the city as a mutable, modular tower. The tower’s spatial sequence incorporates public and semipublic spaces throughout the floors of the building, providing easy access to varied social experiences. Media pods anchor each of the terraced areas with re-programmable functionality ready to adapt to current needs. Three spaceframe cores form the structure of the building and allow for ample air movement and sunlight to penetrate interior circulation. The facade of the building is a steel diagrid serving as an exoskeletal framework to stiffen the structure. The building is wrapped in an operable mesh shade.

Axonometric overhead rendering of the Mediatower. Rhino, V-ray, Photoshop. Eike Maas

6.2

6.3

Concept diagrams. The horizontal experience of the neighborhood turned vertical. Massing studies and formfinding. Illustrator. Eike Maas

6.4

Programmatic function of the media pods to suit needs, supplanting the need for buildings to suit. Residential interior space and media pods fit into a modular Illustrator. Eike Maas

can be changed separate and exterior steel framework.

6.5

Pod interior, assuming the role of entertainment venue on this particular occasion. Rendering. Rhino, Vray.

Eike Maas

6.6

b

c

d

6.7

a

Spatial Sequence a. Public retail and plaza at ground level b. Semi-public terrace amenities at base and crown c. Communal terraces and pods are distributed throughout d. Residential infill massing completes the spatial sequence.

Above: Diagrams depicting the spatial sequence of the building. Illustrator. Eike Maas. Opposite: Plan diagram of the lower terrace floor. Rhino, Illustrator. Eike Maas

6.8

b

c

d

6.9

a

Program Sequence a. Plinth: ground-level retail and garden terrace b. Vertical: circulation cores and MEP risers c. Horizontal: floor plates and partitions d. Roof/Skin/Pods: roof pool and garden terrace, active shade skin, media pods Construction of the building’s programmed spaces. Rhino.

Eike Maas

1

2

3

4

6.10

Structure Sequence 1. Vertical spaceframe, truss “hanger”, terrace pilotis 2. Horizontal steel frame for floor plates 3. Diagrid exoskeleton and steel pod structures 4. Shade skin subframe and mesh

Construction of the building’s structure. Rhino. Eike Maas.

6.11

Above: Diagrammatic Section-perspective of the building.

Rhino, Vray, Photoshop. Eike Maas. Opposite: Conceptual rendering of the building at night. Rhino, Photoshop.

Eike Maas.

6.12

6.13

Rendering of the lower terrace. A pixellated abstraction applied to the color-bonderized aluminum panel ceiling imitates the open sky. Rolling ‘hills’ formed into the terrace structure are populated with native California wildflowers and grasses. The open mesh of the vertical cores allows air to flow through the building. Revit, Vray. Eike Maas

6.14

Project Data

Description: Bachelor of Architecture capstone project, a mixed-use modular high-rise in Los Angeles California 6.15

Place & Time: Los Angeles, California USA; 2014 Project Scale: 1 structure; 14 stories; 225,750sf built over 18,125sf site

Advisor: James Doerfler

7. Essays, and Things I’ve Made

The following pages represent work that is extracurricular to architecture, but whose meditations have shaped my perspective on life and the profession.

7.1

a. “Memory of a Fire” Essay and photographs recounting my time in Death Valley working with wild clay. 2020-2021.

b. Ceramics Ceramic works from 2021-2023.

c. Furniture - “Memory from a Barn” Essay and photographs of Furniture, primarily in wood, from 2014-2018.

d. “Common Detail” Collaboration with Nicholas Morris; a critique of the role and esteem of the craftsperson in contemporary construction. 2023.

e. “Form” Essay on architectural form and meaning. 2017.

Opposite: Foraged, processed wild clay from Death Valley, palm frond shoot for texturing, and hand tools.

Photograph.

7.2

a.

“Memory of a Fire” I rented a motorcycle in June of 2019 while I was visiting Los Angeles, and I rode it out to one of the hilltops overlooking the Mojave desert. Looking out, I saw an entire world I’d never been aware of, and I was struck for the first time with the incredible sense that the Earth was so much more than I’d known.

By Eike Maas written December 2023

7.a.1

photographs June 2019 April 2021

In the Mojave, the bones of our planet are laid bare.

Archaean rock formations sail over dried earth, all naked without the foliated veil of the Eastern states.

I remember, when I returned to the desert a year later to live there, hearing the wings of a bird taking flight. It was so quiet without the rustling of leaves or traffic, or the entomological hum of the forest. At night, the desert is still and blue, and glitters with warm flakes of gypsum. It looks like winter and feels like an oven.

The hottest place is Death Valley, which is centered upon the invisible terminus of a river called the Amargosa. At the southern tip of the Valley is a town called Shoshone, official population: thirty-four.

Twelve miles south of Shoshone is the hot spring of Tecopa, and a few miles past that is China Ranch, an oasis which became my home.

It was there, hiking the badlands of the western Mojave, that I began my relationship with earthen ceramics.

China Ranch comprises eighteen-hundred-or-so date palms arranged neatly along the western bank of Willow Creek, a trickle of freshwater that perennially feeds the nearby Amargosa. The wet influence of the creek extends

Top: Along the Angeles Crest Middle: Heading into Death Valley Bottom: Orchards at China Ranch

7.a.2

All photographs

by Eike Maas

7.a.3

outward only far enough for a hedge of mesquite to line its sides, except where human intervention has expanded its reach for irrigation; in those areas there is some alfalfa, leftover from the 1920’s, which turns to sand within feet of the end of a drip line. The rest of the area around the ranch appears to be dust, a hundred miles of it in every direction, and after settling into life on the ranch, I found myself being drawn to it.

There was an area to the east of the creek which had been named the badlands where the dust had eroded into a web of crevasses a few hundred feet deep, and access to the bottom of that maze was easy from the date orchard. The owner of the ranch escorted a few other residents of the ranch and myself into the badlands at night, a few days after I’d moved in. We followed a coyote trail, a smoothed rut of semi-polished dust a foot wide, up the side of a hill maybe seventy feet high, and looked out into the network of overscaled rivulets and up at the sky. There were two peaks farther out in the badlands, hard-walled buttes a hundred feet taller than the highest surrounding hills, and the passageways we traversed along the bottom of the badlands went on beyond them and beyond sight.

The badlands were the first place I’d been in the Mojave with dimensions defined by anything other than the horizon, and their invisible ends made them feel larger, or heavier, than any of the endless flatnesses that appeared everywhere else. The mystery of what might be out there expanded the scale of the badlands and gave them something indescribable that comes close to being called a personality.

I began probing the badlands, at first with escorted guidance, then by following rumors from the old hands on the ranch, and finally established enough

of a relationship with the place to go alone without predestination. There were coyotes who lived there, specifically under a palm tree that had sprung up next to a tiny puddle fed from underground. Once, there were two hundred or more crows, who all landed together on a hillside in one enormous, flapping luff. There was a place that looked like moondust, formed by gypsum sand a few feet deep atop the harder dolomite scrabble that had been pulverized into the badlands’ regular topography. I climbed to the top of the dune and jumped off of it, landing twenty feet below in the powder, and sliding all the way to the bottom.

I gathered earth from the cave entrance and three other promising deposits farther out in the gorge by pulling a utility cart two-and-a-half miles across the challenging surface of the badlands until it wouldn’t move any farther, then carrying four fivegallon buckets and a shovel the rest of the way out and back. I processed the earth with water from the creek and some old pillow cases used to filter out larger particles, and hung twenty-five pounds of oversaturated

7.a.4

About three miles out from Willow Creek, a cave had eroded into one of the sheer walls of the gorges. It was a small cave, maybe fifty feet tall at its highest point, maybe a hundred feet deep, with a Pantheonic oculus at its apex. At the entrance to the cave was a mound of smooth, hard earth laying in dried clumps several feet high. It was uncharacteristically red amongst the buff sand that defined everything else. I picked up a manageable piece of the red earth, and it was heavy, hard, dense, and fractalized as I handled it into smaller and smaller pieces the same shape as the mother I had held. This was the first place I found clay in the Mojave.

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The badlands at China Ranch, where erosion reveals layers of gypsum, caliche, and iron-rich sediments deposited during the formation of Lake Manley, some 120,000 years ago. Photograph. Eike Maas.

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The cave where I found some of the richest seams of clay in the badlands. Eroded mounds of dry clay tower over me in this image. Photograph. Eike Maas.

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Top: Four different sources of wild clay harvested in the badlands ready to be processed.

Bottom: Processed clay in its seive bag, along with some hand tools and texturing implements.

A dried palm frond shoot can be seen to the right of the bag.

All photographs

by Eike Maas.

Top: Iron rich red clay and kaolinitic gray clay are marbled together to create this effect.

Bottom: The first iteration of the kiln, later refined to burn near 2000°F. All photographs

by Eike Maas.

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Middle: The texture of a palm frond is captured in this clay wad.

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mud to dry for several days in the sun. By the fourth day, the mud had become workable, and I removed a solid lump from the hanging sack, now cut to fifteen or twenty pounds, and moved it to a plastic bag for storage.

Over the following weeks, I collected two pieces of thick, rusted sheet steel from a scrapyard next to a collapsed gypsum mine from the 1920’s, a palette of K-23 specialty fire bricks that a hardware store in a remote desert town in Nevada inexplicably had sitting around, and a refractory shelf and thermocouple from an online ceramic supplier. There was a boneyard of cleared underbrush, all mesquite, willow, and cottonwood, near the ranch owner’s home, which I cut and split into usable firewood, transported by hand cart half-a-mile down the gravel road to the place where I built my kiln. And lastly, I found a high-speed fan and an extension cord, which enabled me to inundate the fire with oxygen.

With the clay I made pinch pots without utilitarian intention, marbleized slabs showing off the variety of clay colors I’d gathered, tiles textured with the bizarre patterns of young palm frond shoots and the regulated cadence of mature ones, and little objets d’art formed after human features: a teacup with an ear for a handle, and a candlestick formed in the negative space of a grasping hand. There was a lovely small community out there on the ranch, close-knit, authentic, adventurous, and interesting, but I missed people. The summer during which I’d arrived had already become winter, and time was moving quickly.

I fired the kiln once with a green glass bottle, which would slump around 1400 degrees Fahrenheit,

as a makeshift pyrometer, and the glass liquidated into droplets that I found in the ash. It wasn’t an indication per se that the kiln would be hot enough for ceramic wares, but it did indicate that it might be possible. There had been flames shooting out of gaps in the brick around the circumference of the kiln, so I rebuilt it into a more hermetic form, added an intake damper to control how much cold, oxygenated air was entering the kiln, and added an entrypoint for the thermocouple, which read 1990 Fahrenheit on the next firing.

On April 21st, I was awoken by a person frantically knocking on my door. A fire had broken out where some guests were camping near Willow Creek’s spring, halfa-mile from my home, just north of the orchard. By the time I had phoned for help, I could already see an orange glow over the treetops. The fire was bound to the west and north by the narrow gravel road that wound through the orchard, to the south by a natural waist in the narrow greenbelt along willow creek, and to the east by the empty expanse of the badlands. It was fought throughout the night by a company of volunteers.

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In the meantime, I had been working on renovating portions of a farmhouse built next to the orchards in the 1920’s. My girlfriend, Camille, had moved from Brooklyn to the ranch for a few months and had made fast friends with the local crew. I spent afternoons climbing 30-foot palms with a machete tied around my waist and a bucket of pollinated cotton swabs. It was the early-spring ritual of symbiotic fertilization. The days were becoming longer and the nights were no longer cold. Soon it was time to leave the ranch, bound for Los Angeles. I scheduled my departure for April 28th, 2021.

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The next morning, a breeze carried embers from the four acres that had burnt overnight across the orchard road. Nine of us worked a fifty-foot-wide clearing to the north of the orchard, clearing brush and debris by hand to create a firebreak. Within an hour an intense wall of flame had swept through the entire oasis north of the firebreak, reducing some thirty-five acres of pristine desert oasis to ash. The desert is no place to waste time in sorrow. Rehabilitation began immediately, and I followed through on my plans to make for the coast. A week later I was in Los Angeles, a ripple in spacetime away from China Ranch.

A year passed before I took up ceramics again. On a Saturday morning, I’d hiked Goat Peak in the Santa Monica mountains. The little shrubs that blanket those hills are a distortion to someone like me, used to the high canopy of old-growth eastern forests, and a peak less than 2,000 feet high seems to soar thousands of feet higher above the chaparral. It was a reminder of the little dolomitic hills and gullies in the desert, which seemed so much more imposing against an infinite horizon. Before long, I was producing ceramics again.

I learned about the mineralogy of clay bodies and glazes, the geology to source the raw materials that produce color, sheen, and crystalline effects. I became obsessed with the products of atmospheric kiln firings, where the interaction of earth and heat are transmuted into grotesque and beautiful textures. Sodium carbonate becomes plasma in the intense environment of the kiln, glazing every surface it touches, tearing molecular oxygen free of its mineral bonds to produce glassy silicates shaded orange, gray, brown, and black. Ashes melt in crackling green rivulets along the surface of the vessels. The conditions approached those that formed the porous basalts and elephantine dolomites

of the desert billions of years ago on a powerful primordial Earth; replicated at my own fingertips.

Dainty objects made from the obliterative forces of extreme heat are an indication of the banality of humanity’s absurd power. The ancient dust of the earth that surrounds China Ranch and the ash from its fire become materials of creation.

The Mojave is the desert, and the desert is the earth.

The place now called Death Valley was once a freshwater lake, before that a saltwater sea. Fossilized aquatic flora erode into dry powder. The entire history of the earth exists in the dust that blows around the Mojave.

It buries into every crevice of everything you own, into your closed eyes and past your covered nose, into places inside of you that are beyond physical and will linger long after you’re gone.

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I found a man named Steve Davis, a lifelong potter in Santa Ana, California, who had invented a kiln he called the Kazegama - ‘Wind Kiln’ - an atmospheric ash kiln powered by propane and electricity. He fired the kiln at Bombay Beach, a derelict village along the eastern shore of California’s Salton Sea at the edge of the Mojave desert. In June of 2023, I made a collection of pieces using the clay I had harvested at China Ranch, and traveled to Bombay Beach during a summer heat wave. The results of that firing encapsulate my memories of the desert.

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Burnt and contorted trunks of mesquite trees are surrounded by ash in the aftermath of the Willow Creek fire at China Ranch. Photograph. Eike Maas

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A “nanban”-style bonsai tray made with clay slip from China Ranch and blown ash. Fired in reduction to cone 10, the tray has warped in the intense kiln environment.

“Ranch Tray” 2023.

Stoneware with mineral inclusions, wild clay slip, kiln ash glaze.

265mm x 25mm

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b.

Ceramics

By Eike Maas

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photographs and work June 2022 September 2023

“The trans-personal nature of craftwork is expressed, directly and immediately, in sensation: the body is participation. To feel is first of all to be aware of something or someone not ourselves.”

Octavio Paz, “Use and Contemplation”, 1974

Opposite: ceramic wares in an open pitfire at Dockweiler Beach, Los Angeles, California, USA. Photograph by Eike Maas.

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The orange glow of this tea bowl’s surface is caused by iron oxide flashing in the gas kiln’s flame.

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Crackled green glass forms on the unglazed surface of this platter as calcium-rich ash blown into the kiln fuses with silica in the clay body.

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The pitted, gray-orange surfaces of these teacups follow the pattern of gas flames and sooty carbon burnoff in the kiln environment.

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A blue-gray sheen forms over a brown surface as sodium and iron fuse into microcrystalline structures in the glaze surface. Seashells used to separate the bottle from the kiln floor leave scars of calcium carbonate.

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Rapid cooling caused high levels of iron oxide and magnesium from the glaze and kiln atmosphere to wrinkle as they fused into this metallic surface.

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A wild-clay slip high in calcium and iron give this deformed bottle its yellow-green color. Glassy rivulets formed where ash high in naturally-occuring fluxes was blown into the kiln and fused with the slip.

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This pot has the same slip applied as the deformed bottle on the previous page. Due to its shape and its location in the kiln, it avoided many of the effects of the blown ash.

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A teapot with a calcium-rich wild clay slip applied over an iron-rich slip. The two slips have bled into each other, revealing red, orange, yellow, green, brown, gray, and black colors.

c.

By Eike Maas written March 2024

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photographs and work May 2014 August 2019

Furniture - “Memory from a Barn” On a Saturday morning, sometime in 2000, I was nine years old, visiting family in Germany, and spending the day with my cousins in our Opa’s barn. The four of us were an industrious bunch who didn’t get to see each other very often, quite energetic and unaware of consequences, and so within seconds we had established the day’s schedule. The conversation went something like this: Sebastian (who was ten): Look, I can climb up on that pile [of pallets]!

Jann-Dieter (Sebastian’s twelve-year-old brother, wearing his soccer uniform): Not if I do it before you, little fatty.

Me: Don’t call him fat, you idiot!

Martin (who was also twelve): You’re both idiots, and both fat.

Stephan, Martin’s brother, who was already thirteen, told us all to shut-up and pulled an electric drill out of his backpack.

Lifting a glass jar of screws off of Opa’s work bench, Stephan informed us that we would build a tower with the pallets. Stephan being the oldest, and biggest, and therefore the most politically influential out of the four of us, had decided our agenda, and thus we set to work.

Martin grabbed a handsaw and gave Sebastian and myself each a hammer, a nearly-useless tool when building with Opposite: Sanding an interstitial layer of veneer of a compound-curved, faired, bent plywood chaise.

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screws. Within a few hours, a three-level tower was built. We collected lunch from Oma, and all shakily clambered onto the tower. It remained upright under the weight of our five squirming selves, and we glowed in collective triumph.

Having accomplished our first goal with several hours still left in the day, and feeling mischievously empowered and insatiably active, Stephan next decided we would build a potato cannon out of a capped length of pvc pipe and Opa’s air compressor. Stephan drilled a hole into the pipe’s cap, I collected potatoes from the back of a wagon, someone charged the air compressor, and the parts soon came together into a magnificent implement, full of noise and power. We spent the second half of the day gunning potatoes our tower until a deflected spud broke a dangling lightbulb.

Neither the sound of hammering and drilling, nor the foomp-pop of the potato artillery had attracted any negative attention from our parents, but the sound of breaking glass, and the pause in cannonfire as we pointed fingers at each other, must have been a sign for concern. The barn door swung open, and Oma and all three of our dads surveyed our afternoon’s work.

Taking down the tower wasn’t really as sad of an event as one might expect; in fact, as far as punishments went, it was amongst the mildest I’d ever received.

The thing had served its purpose, and none of us had enough ego to need a monument. Also, disassembling the uppermost pallets meant one last climb to the top. As the evening came about, the barn was returned to its prior state: air compressor empty, tools back on their hooks, pallets once again a haphazard pile, and potato

residue removed from all impact sites. The lightbulb was still dangling, broken, but it would be replaced.

All that was left was a sense of accomplishment.

Stephan, Martin, Jann-Dieter, and Sebastian all went home, and I feel promptly, deeply asleep.

I think that the efficiency obsession comes from that century-old ethos of the Modern movement, misinterpreted to a fault as mechanically rigorous and pure. It’s an interpretation where every designed element requires a logical pedigree to have merit.

Ironically, even the Post-Modern movement was unable to shake that need for pedigree and pomp, and here we are decades later still bound to it.

I’d like to posit, instead, that merit may stem from the joy of the creator as well. As evidence, I submit the idea that the Barcelona Pavilion and any child’s blanket fort ever are equally worthy of our affections. The Pavilion is hardly more than a blanket

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Now, some twenty-something years later and a decade into a career in architecture, I find myself still trying to capture that playful afternoon as I design buildings - real buildings with budgets and egress paths and bars of reinforcing steel. There is a trope in this profession that more constraints produce better designs. I can understand the intent of this statement, but really, what a precarious idea! So often, this is interpreted to mean that constraint equates with efficiency, which is for so many an ultimate ideal.

But, I remember that shaky tower, planned and held together with little more than boyish ingenuity, and the ideal of efficiency seems lonely and incomplete.

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fort made of marble, after all - maybe the reason for its timelessness. To balance constraint, we must equally apply improvisation. The prerogative of early exloration in creativity is the essential foundation to a later successful reconciliation with the constraints of reality. We liberate design in the beginning, to deliberate its merits toward an end.

Putting this ideal into architectural practice means creating freely and with pleasure, exploring materials without preconception, exploring spaces without a notion of what makes it good or bad. To maintain creativity requires us to keep open the naive perspective of youth, ready to absorb without criticism. I take a piece of wood, for example, and play with it at all of its limits: saturated, bent, thinned, and stretched. In the practice of architecture, this means placemaking without quantitative constraint - being free to capture program in emergent forms and spaces, or to finish surfaces in unconventional means.

I can think of Wharton Esherick’s home near Philadelphia and J.B. Blunk’s north of San Francisco, the Refugi de Sant Benet near Barcelona, and undoubtedly countless more vernacular structures throughout the world as prime examples of this process played out in architectural form. In all cases, the entire structure seems to be built as a gesamtkunstwerk of personal details sculpted and ornamented exactly to reflect the builder’s inner self. The story goes that as Esherick’s mason laid out perfectly straight block walls along his stringline, Esherick himself would walk behind, kicking the blocks into a subtle curve more to

It seems that the constraints on the practice of architecture these days are ever increasing in their quantity and complexity. The case for immediate rationality is easy to concede to. I would argue, though, that the case for free play is therefore more important and necessary than ever. Architecture needs the perspective of a child with a pile of pallets and some friends in a barn somewhere on a Sunday afternoon.

The unpredictable, promiscuous effects engendered by any building make it the instrument par excellence of improvisation.

-Jeffrey Kipnis, A Question of Qualities, 2013

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his liking. That mason is memorialized in a coathook near the home’s entrance, which Esherick carved with his visage. In places like this, the universality of Modern detailing is completely rejected and replaced with hyper-specificity. Yet, even as a visitor to these places the effect is welcoming, personal, and warm, despite its belonging to someone else. I think it’s possible that the convivial spirits of the builders of these places are captured and promulgated in those details, the end result being the feeling of a warm greeting upon entering their home. The inefficiencies of these places give them their character, to stunning effect. This freeness is difficult to retain in the practice’s contemporary climate of fast deadlines, tight profit margins, and practically anonymous clientele, but it isn’t impossible. Gehry’s Guggenheim is an example, albeit somewhat surfacial, of free play at glamorous, glitzy, grandiose scale.

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Furniture prototyped for Ottra, in NYC. Design by Ottra.

The unique geometry and intricate joinery was achieved by employing CNC routers, traditional machinery and jigs, and hand-carving.

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Process photos and final result of compound-curved, faired, bent plywood chaise. The finished chaise measured 5/8” thick and weighs less than 25 lbs including its steel base. It supports upwards of 400lbs.

d.

By Eike Maas with Nicholas Morris

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written February 2023 March 2024 photographs and work Feb 2023

“Common Detail” Common detail is the first sculptural investigation into the concept of a constructive culture produced as a collaboration between myself and artist Nicholas Morris, based in Grenoble, France. The sculpture captures an artist’s misinterpretation of architectural drawings, where industrial components optimized for profitability and efficiency are supplanted by crafted details emergent from the artist’s relationship with material and technique. The thesis of the piece, and of the larger concept of constructive culture, is that the value of craftsmanship can be seen as an equal and opposing force to the value of mass production in the contemporary paradigm of construction. Craftsmanship is given this value by its adoption as a cultural more; the more widespread its influence, the greater its strength.

From that thesis arises an insight into contemporary construction practices: that construction practices and the broader culture in which they occur are reciprocally bound, and any deterioration in one exacerbates a deterioration in the other. Statistics from the UN, UNICEF, the WHO, and countless other reputable international organizations provide quantitative factual evidence that plastic waste and pollution, atmospheric carbon, income inequality, and poverty are all on the rise across the globe. At the same time, investment from major financial institutions into real estate have expanded significantly, consolidating trillions of dollars worth of housing - a vital need - into the control of a relatively small number of people. Besides the quantitative data, we also believe that places have just gotten uglier, and cities and homes have become less pleasant to be in. If construction and culture are tied together the way we posit, and the data suggest Opposite: Photograph of “Common Detail”, a collaborative work with sculptor Nicholas Morris. Western Fir-Larch, Aluminum, Plaster, Steel. 100cm x 100cm x 100cm. 2023.

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Opposite and Above: Architectural details indicating contemporary status quo hardware and construction.

Rhino. Eike Maas.

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that cultures are becoming dirtier, poorer, and, we feel, uglier, then our insight becomes a critique.

Contemporary construction practices are becoming dirtier, poorer, and uglier too. We believe that these undesirable outcomes stem directly from the primary motivation of the real estate market: unregulated profit maximization. From here, we launch our campaign to reverse course.

Opposite: Detail showing cast aluminum hands replacing structural steel brackets, and hand-picked wood replacing builder-grade lumber. Photograph. Nicholas Morris

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If profit is the core of the problem, then profit must be the starting point of our rebuttal. Profitability, to the modern developer, is a function of rapid production, broad marketability, and low labor and material cost.

Maximizing production speed, market valuation, and revenue, and minimizing the hard costs of construction are quantifiable variables in a very simple equation that describes profit. With such simple arithmetic, the qualitative values of these factors are lost.

All of the goals of this equation are most readily achieved by seeking modularity and uniformity in design, specifying materials that industry is already tooled to mass produce, and reducing the need for experienced and skilled labor. At the building scale, end up with buildings that seem unremarkable, materials that rely on petroleum processes, and shoddy craftsmanship. At a broader scale, we devalue skillful tradespeople, sustainable material investment, and the bond between home and occupant. These are clearly the same problems we discussed earlier, which lead to a dirtier, poorer, and uglier world. To correct the problems in our construction industry, we must obviously reframe our definition of profit, factoring qualitative variables into our equation and giving them value.

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“Common Detail” in situ for the exhibition “Travail Libre” at the Grande Galerie of the École Nationale Supérieure d’Architecture de Grenoble, Grenoble, France.

2023.

e.

By Eike Maas

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written July 2017 March 2024

Form

“It is often proclaimed that there exists an urban form resulting from politically determined planning, but in reality one suspects that the urban, in fact, does not have a form.”

-Manuel Delgado, El Animal Publico, 1999.

There is a place that we each have filled with memories of atmospheres and the moods of past experiences. We sometimes peek into the nostalgia of these memories for their opiate effect and permit ourselves a daydream. The sense of an environment fills our mind. The memories come cinematically detailed and other times viscerally blurred, but their effect is powerful and their importance is clear as we are relieved of reality for a moment. The remembered snippets of laughter, the smells and tastes of a long meal, the way someone caught your eye - these things have meaning to us. I often wonder if I can design anything as important.

As I compile an incomplete list of things and places that I remember meaningfully, I’m struck by their diversity in respect to time, place, size, feel, emotion. I think of a lumpy, brown teddy bear; then, the hospital room where my mother recovered from cancer; a hat and a sailboat; and the Sagrada Familia.

The teddy bear was a joyful necessity in my youngest years; the hospital room held a great sense of love; the hat and sailboat are from a memory that is mostly relaxed and sometimes thrilling; and the Sagrada Familia has a sense of awe. I parse the environments of these memories, and I realize that architecture is created with great detail but acts on us in esoteric ways. We often find that the heirlooms of our affection begin to degrade, sometimes even before their obsolescence; but, in memory we find the opposite, that they repose over time. When we remember a difficult time that ended well, we forget the uneasiness and uncertainty before the resolution; and, in remembering times that ended poorly, we rationalize their outcomes and find ways to euphemize their emotional effects.

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The way that we truly define places is not by quantitative measures, but rather by the soft and effervescent effects that linger in us long after we’ve moved on. A place’s gestalt comprises not edges and nodes, but rather the unseen provocations that manifest those physicalities, and recursively, the unseen atmospheres produced by those manifestations. It makes sense, then that we refer to architecture as ‘space’ - that which has no matter - and as ‘place’ - space we endow with dimensionless importance. Architecture is not ultimately about giving shape to our life, but rather about giving it meaning.

Eike Maas New Haven, Connecticut, USA eikejmaas@gmail.com 717-634-1618

all rights reserved, 2024