Jordan Scheuermann - SCI-Arc - M. Arch II - 2019/2021

Jordan Scheuermann Selected Works 20 1920 21

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Jordan Scheuermann jordan_scheuermann@sciarc.edu 937.545.8374

Jordan Scheuermann is an architectural designer

based in Los Angeles, California.

He is currently a graduate student pursuing a Masters at the Southern California Institute of Architecture (M. Arch. II ‘21). He received his Bachelor of Science in Architecture with Research Distinction and Honors from The Ohio State University.

Prior to studying architecture, he received a Bachelor of Science in Geological Sciences degree from The Ohio State University where he focused on coral biogeochemistry. Later, he worked as a Field Geologist in Antarctica studying Martian hydrology.

He is interested in investigating architecture after the internet and its relationship to culture and the environment in a post-digital future. ++

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001 -- CONTACT 003 -- STATEMENT ----------------------------------------------------007 -- IN DETAIL 035 -- LE MUSÉE IMAGINAIRE 065 -- FUTURALITY 085 -- MALLEABLE ASSEMBLIES 099 -- AFTER IMAGES DS 5000 // VERTICAL STUDIO Natural history museum interested in articulating methods of assembly of complex puzzles

DS 1201 // 2GBX GENERATIVE MORPHOLOGY LACMA proposal which blurs the delineation between the digital and physical

DS 4000 // VERTICAL STUDIO Relaunching Olivetti by developing an online archive to promote a strategy of upcycling and re-seeing

AS 2526 // APPLIED STUDIES Deploys mixed-reality fabrication and design tools to assemble eccentric architectural objects

DS 1200 // 2GAX COMPUTATIONAL MORPHOLOGY Co-working space proposing a new semiotic language for post-digital Chinatown

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IN DETAIL: PUZZLING FORMS OF ASSEMBLY

SPRING 2021 DS 5000 - VERTICAL STUDIO Instructed by Dwayne Oyler Partnered with Faris Ahmed

Using complex, threedimensional puzzles as a starting point, this project is interested in articulating methods of assembly of parts that allow for a transference between numerous scales and types of parts being joined. The puzzles explore the relationship between the individual parts and their assembly to defy immediate understanding and compel engagement with the nuances of their geometric qualities and provoke and intense investigation between parts and materials. By

interrogating Richelieu, a sculpture of Miguel Berrocal, to understand its assembly methods as well as the formal and spatial qualities, it became possible to intervene to exploit the key characteristics into a series of puzzles . The threedimensional puzzle combines highly articulate, specific pieces and resulting monolithic form with the sequential method pf connection found in Japanese joinery. Multiple axes of rotation are used to hold the pieces together and score marks delineate rotational movements.

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The two-dimensional puzzle uses rotational elements to create sequential alignments and forms that can then receive the next part of the puzzle.

Graphic elements cut into the piece and work to connects parts to the whole and establish an overall continuity for pieces across differing materials and form to help give indications of completion. +++ Includes excerpts from In Detail: Puzzling Forms of Assembly Syllabus

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“Puzzles are intentionally designed to delay that understanding, to compel engagement with the nuances of their geometric qualities, and to provoke an intense investigation of the dialogue between parts.”

Excerpt from IN DETAIL syllabus

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SPRING 2020 DS 1201 - 2GBX GENERATIVE MORPHOLOGY Instructed by Damjan Jovanovic Partnered with Kyle Balster

The demise of the encyclopedic museum and its entrenched physical and cultural hierarchies provides an opportunity to re-imagine the space of the contemporary museum . This proposal aims to re-envision LACMA as a museum that is reflective of the contemporary cultural values inculcated and instilled by the internet.

Like the internet, traditional hierarchies are flattened and established boundaries are blurred. The exterior aggregation mirrors this system of organization in which

randomly scattered primitive objects are set in motion to create an assemblage that is in a constant state of flux to form a fuzzy, ephemeral boundary .

Under the museum, the public space or synthetic landscape blurs the boundary of the familiar and unfamiliar, natural vs synthetic, order vs disorder, and the digital vs physical. A natural, overgrown landscape contends with the fragments of the exterior aggregate that have come to rest inside. Fraying the boundary between interior and exterior to create a space

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that is neither and both. These displaced objects seem to be simultaneously foreign and native. At times obtrusive and at other times congruous.

The galleries have no fixed or permanent collections. Instead, the art is continuously in a state of movement driven by individual demands ensuring the collection is continuously changing. +++

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“In order to build a museum of knowledge, a complex new form had to be developed as an iconic gateway. A building that truly stands out can only come into being through shapes resulting from new geometries.”

Excerpt from Coop Himmelb(l)au project description,coop-himmelblau.at

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FALL 2020 DS 4000 Instructed by Peter Testa Partnered with Faris Ahmed

Unable to compete with increased competition and cheaper alternatives, Olivetti, the once influential personal technology manufacturer is a shell of its former self.

Olivetti became known for successfully integrating cutting-edge technology with a comprehensive design philosophy that embraced graphic design, industrial design, and architecture. This proposal aims to relaunch Olivetti. While not proposing a single building for their headquarters, this project establishes a strategy and interface from which it

can manifest. “Tweening” software creates ways of reseeing and extracting new forms from Corbusier’s Olivetti headquarters proposal from which infinite configurations can emerge. Continuing this relationship, Olivetti can now become a design firm by developing an online archive to promote a design strategy of upcycling and re-seeing past products. These upcycled objects use new materials logics utilizing sensing technology that reconfigure past objects into novel, customizable forms and promote an ever-changing 065

database. Content production becomes decentralized the role of Olivetti is to create conditions in which user defined content creation can emerge. Here, the factory does not function as an assembly line, rather a melting pot that produces a representational space for forming new syntactical relationships between past objects. The factory becomes simultaneously the point of design intervention and production. +++

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“Cultural production in the third millennium is totally flat. The information we share travels through media that lack hierarchy. There is no principal authority, no recognized arbitrator, and no centralized archive .”

Excerpt from THE BIG FLAT NOW, 032c Summer 2018

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FALL 2020 AS 2526 - APPLIED STUDIES Instructed by Dwayne Oyler Partnered with James Piccone

The collapse of digital and analog fabrication techniques through the implementation of mixed reality has led to new possibilities for creating eccentric architectural assemblies . The introduction of mixed reality environments can be used to simplify spatial communication to improve how users design, build, and share ideas through the pairing of a digital model superimposed over reality. The capacity to work in an intuitive, adaptive way with flexible materials and fabrication methods that allow for

malleability and ensures a level of precision not easily achieved with traditional fabrication methods. Bernini’s statues on the Ponte Sant’Angelo are used as precedents to investigate the formal and spatial qualities of drapery that can then be utilized to create a new assembly that employs the same range of qualities, geometric variation, and three-dimensional affects.

A rigid frame composed of steel rods are bent, soldered, and welded to create a series of twodimensional profiles that act as an armature for the subsequent

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pieces. Using Fologram and a Microsoft Hololens, flexible styrene tubes could be bent by hand and assembled using the mixed-reality model as a guided overlay to ensure a high degree of precision without the need of creating highly-detailed construction drawings. +++

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Secondary Structure, 1/16” Styrene Rods

Primary Structure, 1/8” Styrene Rods

Frame, 1/8” Steel Rods

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“Bernini could make marble do things it had never done before. His figures charge into hectic action. Most of them are on the rise, and their natural drift is into the air and light. So on Rome’s Ponte Sant’Angelo, Bernini’s angels trip into the sunlight.”

Excerpt from “When Stone Came to Light” by Simon Schama

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Fall 2019 DS 1200 - 2GAX COMPUTATIONAL MORPHOLOGY Instructed by Jenny Wu Partnered with Faris Ahmed

The After Image, the result of an original image processed and manipulated so that discrepancies emerge , was examined through a post-digital lens for the design of a coworking space in Chinatown, Los Angeles. The operations of photogrammetry and adversarial machine learning software were employed to create tension between images, or discrepancies, that could be examined and exploited.

The massing resulted from an amalgamation of high fidelity and low fidelity components

inherent from operations of photogrammetry that begin to produce a sidedness.

The texture begins with a stock image of architecture.

Two variations of machine vision are implemented to produce a discrepancy of fidelity. Discrepancies recontextualize the stock image of architecture from something highly ubiquitous to a sort of new representation of machine semiotic. At night the texture becomes a new sign to Chinatown and the glowing texture produces a new semiotic

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language . One that takes into consideration the past context but re-imagines it through a post-digital lens. By using a stock image of architecture, the image of architecture evolves through the relinquishing of a top-down human hierarchy .

Rather than adding to the realm of stock images, the image is filtered through a new lens in order to free it from the world of stock images. This project posits human agency as an after process of machine thought. +++

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“Rather than finding orientation by way of images in the real world, today images may mutate into a sort of interface- an operational tool reaching beyond visual-cognitive persuasions, beyond representation, beyond ‘the image’ itself, enabling seemingly boundless and borderless mobility between spaces, scales, and temporalities .”

-- Tom Holert and Doreen Mende Excerpt from Fall 2019 DS 1200 - Computational Morphology Syllabus

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“Images permeate our daily interactions, whether mundane or extraordinary , and our engagement with and through them exerts unprecedented pressure on architecture’s historical identity as the locus of the real .”

Excerpt from Fall 2019 DS 1200 Computational Morphology Syllabus

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Jordan Scheuermann Los Angeles, California Summer 2021