In the opening scene of Peter Greenway's movie “Drowning by Numbers”, a girl playing with a skipping rope counts stars up to one hundred. e objective of the game is to reach the full tally without a slip of the rope. For her, counting stars to one hundred is to lampoon the billions of other stars. It means to seize the vast cosmos.
Numbers are mathematical objects of count, measure & indication of place. Counting numbers detaches things from their context & disguises meaning. It arranges an order of unrelated events & links the succession of dispersed cases.
As in Greenway's lm, the aim of numbers in this portfolio serves only one purpose: to provide an apparent structure that it inherently lacks. e unity & form of this portfolio is arbitrary since it not only presents works with no permanent or unique object, similarity, style, concept, preconceived principle of coherence & preexisting mode of continuity, but is also not the work of one sole author.
e projects are provisionally divided by rules & are presented by page numbers. Numbers give a state of neutrality to events in the space of architectural performances & rules formulate their di erence, de ne transformations &, over a given period of time, make their appearance visible.
Paradoxically, to compose a portfolio as a group of projects would be to formulate their disconnection, to delineate their di usion & to measure the distances in-between.
DROWNING BY NUMBERS00003-00021
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00003
WARNER RETAIL AND PARKING PROJECT
ERIC OWEN MOSS ARCHITECTS 2019–2021
TEAM PARTNERS: DOLAN DAGGETT, RAUL GARCIA, HUGO VENTURA, SABA SAMIEI
MIXED-USE DEVELOPMENT FEATURING RETAIL SPACE AND STRUCTURED PARKING, LOCATED IN THE HAYDEN TRACT DISTRICT OF CULVER CITY, CALIFORNIA. THE PROJECT INCLUDED COMPLEX STRUCTURAL COORDINATION AND UNCONVENTIONAL GEOMETRIES TYPICAL OF EOMA’S DESIGN APPROACH.
WARNER PARKING AND RETAIL. FRONT FACADE REPRESENTATION. DESIGN BY EOMA. NTS
e project consists of a multi-level parking structure with ground- oor retail and restaurant space, located in Culver City, CA. e complex architectural and structural layout included a new interior courtyard, canted column systems, and long-span framing to accommodate open retail zones and e cient parking organization.
Work executed for Eric Owen Moss Architects (EOMA) consisted of coordinating mechanical, electrical, and plumbing systems with the structural framework and architectural design.
Responsibilities included resolving potential con icts between core penetrations and structural spans, reviewing consultant drawings for integration, and managing city coordination processes with agencies such as LADBS, Fire Department, and LADWP. Role also included participation in permit strategy development and interdisciplinary coordination to support timely approvals.
e drawing illustrates the ground oor plan of the Warner Parking and Retail Project, showing the layout of the retail and restaurant spaces along Warner Drive, vehicular circulation, loading zones, and the surrounding structured parking. Two primary vertical service cores are located at the north and south ends of the structure, supporting circulation and building systems distribution.
Mechanical and electrical systems were primarily routed through these two cores, establishing dual service zones to optimize e ciency and minimize con icts with the structural layout. ese cores served as vertical infrastructure corridors, enabling seamless integration of systems between the parking structure and the ground- oor commercial areas.
Plumbing coordination included the integration of city water and sewer systems, as well as support for the building’s landscape irrigation network—including the green roof. is involved reviewing supply routing, verifying pressure zones, and ensuring that appropriate irrigation lines reached the roof deck. Coordination e orts also extended to material testing and species selection for the green roof, speci cally evaluating succulent varieties for performance and water compatibility.
MEP coordination responsibilities included aligning system routing with structural spans, resolving con icts between disciplines, and maintaining full code compliance while preserving architectural intent. Coordination with city agencies ensured timely approval and accurate implementation of all service connections.
Scope of coordination included:
– Integration of mechanical, electrical, and plumbing systems through dual core zones
– Review of shaft penetrations, oor openings, and equipment placement with structural consultants
– Alignment of MEP systems with long-span structural framing to prevent routing con icts
– Oversight of complete utility and MEP service distribution to both the parking levels and ground- oor restaurant and retail areas
– Coordination of irrigation systems for landscaped areas and green roof, including plumbing tie-ins and succulent material testing
– Communication with LADBS, LADWP, and re department representatives to manage compliance and revisions
– Preservation of city-mandated access zones, utility corridors, and re service paths without compromising design
Key outcomes:
– Prevented major delays by resolving shaft and routing con icts early
– Maintained visual clarity of architectural design while ensuring code compliance
– Facilitated on-time permit issuance by streamlining review process
– Created clear channels of communication between consultants and agencies
Glass Forest – Central Courtyard
e central courtyard of the Glass Forest project is a 2,500-square-foot open-air space located 14 feet below street level. Designed to host outdoor exhibitions and small-scale performances, the courtyard connects to surrounding bridges and walkways and is partially sheltered by a horizontal glass plane supported by 18 custom trusses.
Each truss consists of steel tube top chords, steel cable bottom chords, and vertical compression members made of laminated structural glass. Hanging from the trusses are 196 glass cylinders—each 24 inches in diameter and ranging in length from 5 to 14 feet—forming a suspended eld of transparent elements that animate the space and de ne the identity of the Glass Forest.
e structural scope was closely coordinated with mechanical, electrical, and plumbing systems to ensure full integration. System routing was aligned with the truss geometry and architectural layout, maintaining the visual clarity of the design while meeting performance and code requirements.
WARNER PARKING AND RETAIL. CENTRAL COURTYARD VIEW. DESIGN BY EOMA. NTS VII
WARNER PARKING AND RETAIL. FRONT VIEW. DESIGN BY EOMA. NTS
Churchome – O ce Tenant Improvement & Photostudio Buildout
is tenant improvement project for Churchome included the addition of a new dedicated photostudio within an existing o ce suite. Central to the scope was the construction of an eight-foot-tall cyclorama (CYC) wall designed to support media production and content creation.
e CYC wall was framed with 2-1/2" metal studs and nished with 5/8" gypsum board on the interior face. Corners were formed with an 18-inch radius to create a seamless visual backdrop, while the base of the CYC terminated cleanly at the oor nish—without a curved transition—allowing for exible use of oor materials and equipment.
At the skylight within the adjacent edit bay, the CYC wall extended to 1 inch below the underside of the glazing, maintaining visual continuity while allowing natural light into the space. All framing was carefully coordinated to avoid disturbance to the existing CMU and plaster conditions.
New wall assemblies and nish materials were integrated to meet functional performance requirements while preserving the architectural character of the existing structure.
00021
LATHROP ADU PROJECT BURO NONE 2022-2024
LATHROP ADU IS A 979 SQ FT, 2 BEDROOM, 2.5 BATH UNIT SET INTO THE LOS ANGELES HILLSIDE. DESIGNED AS TWO OFFSET RECTANGULAR VOLUMES, THE SEPARATION CREATES LAYERS OF PRIVACY FROM THE MAIN HOUSE AND BETWEEN PROGRAMS. THE SPACE BETWEEN THE MASSES FORMS A CENTRAL LIVING AREA, MAXIMIZING LIGHT AND FLOW. TUCKED INTO THE BACKYARD, THE UNIT BENEFITS FROM A SEPARATE ENTRY AND COMPLETE AUTONOMOUS LIVING.
Nestled into the hillside of Los Angeles, the Lathrop ADU is a 979 sq ft, 2-bedroom, 2.5-bath dwelling that rede nes compact living through architectural clarity and layered spatial separation.
e design employs a tiered, split-structure concept—two distinct rectangular volumes gently staggered across the sloped terrain. is deliberate separation not only distinguishes each mass by function and elevation, but also introduces a layered sense of privacy between the ADU and the main house above.
e two rectangles frame the project: one housing the private bedrooms and baths, the other anchoring shared living spaces. e gap between them—rather than a void—becomes the project's heart: a maximized living zone where space, light, and movement converge. is interstitial space invites openness while maintaining clear spatial boundaries.
A compact kitchen is tucked seamlessly toward the rear, allowing outdoor views and spatial continuity without disrupting the visual ow of the interior. e orientation of the ADU within the backyard ensures a sense of autonomy and retreat, while its layered composition enhances both privacy and cohesion.
Ultimately, Lathrop is a study in geometric restraint and strategic separation, using simplicity to unlock spatial richness in a small-footprint hillside context.
XXADU STAIR PLAN, SECTION AND ELEVATION. DESIGN BY BURO NONE. NTS
DROWNING BY NUMBERS0003-0069
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SANTA MONICA CANYON PRIVATE RESIDENCE REMODELING WORK FOR LEWIN WERTHEIMER ARCHITECTS 2018-2019 TEAM PARTNERS: KELLY BOSTON, KIRK BLASCHKE, LEWIN WERTHEIMER
IN 1933 AUSTIN CEDRIC GIBBONS, CREATOR OF THE OSCAR STATUETTE, BUILT THIS ESTATE IN RENDITION OF SOUTHERN COLONIAL STYLE. THE FOCUS OF THIS PROJECT WAS TO PRESERVE THIS VISUAL REPRESENTATION AND TO EXPAND THE BACKYARD SETTING.
0004
e remodeling of this private Santa Monica Canyon Residence included recon guring the roof pitch direction, redesign of partial rst and basement oor areas, garage and the construction of the backyard porch.
Work executed for LWA consisted in setting up an ArchiCAD project from template, building a 3D model and topography, creating layouts, drawing plans, exterior, interior elevations and details, cooperating with team-members in regards to adjustments, additions and further development of the construction set.
EDGE BRICK TO BE PARTIALLY UNGROUTED TO ALLOW WATER TO DRAIN BETWEEN BRICKS TRENCH DRAIN TO RUN UNDERNEATH
TRENCH DRAIN & ALL CATCH BASINS TO BE CONNECTED TO (E) SUMP PUMP CONTRACTOR TO VERIFY (E)
CAPABILITY OF SUMP PUMP IF (E) CAPABILITY IS NOT SUFFICIENT CONTRACTOR TO UPGRADE SUMP PUMP TYP DRAINS & CATCH BASINS
(E) SUMP PUMP CONTRACTOR TO VERIFY CONDITIONOF (E) SUMP PUMP AND VERIFY THAT IT IS CAPABLE OF HANDLING ALL NEW LOADS DISCUSS INVESTIGATION RESULTS W/ OWNER AND ARCHITECT
(E)SLOPE
VENT FAN: FAN SHALL BE ENERGY STAR COMPLIANT AND BE DUCTED TO TERMINATE OUTSIDE OF BUILDING FANS NOT FUNCTIONING AS A COMPONENT OF A WHOLE HOUSE VENTILATION SYSTEM, MUST BE CONTROLLED BY A HUMIDITY CONTROL
ALTERNATE FULL BRICK WITH PARTIAL BRICK
BRICKS OVER 1 REINFORCED MORTAR BED
TYP
FULL BRICK CAP ALTERNATE BRICK LENGTHS PER FLOOR PLANS
1" BRICK OVER 1" REINFORCED MORTAR
E P
CUSTOM PTD PIPE RAIL SEE 3/ A8 2 FOR ADD INFO
CURVED IRON BRACKET AS REQ D
CIM 1000 WATERPROOFING LAYER
U E S EVAL REPORT #183: EPOXY
PRIMER 60 MILS CIM1000 PREMIX 1 LAYER POLYESTER SCRIM EMBEDDED 60 MILS CIM 1000 PREMIX, SAND BROADCAST ON SURFACE WHILE STILL TACKY, AND PER MANUF RECOMMENDATIONS
-
STANDARD BRICK TREAD OVER 1" MORTAR
CONCRETE SUBSTAIR PER STRUCTURAL DRAWINGS
CIM 1000 WATERPROOFING MEMBRANE SEE 2/A8 2 FOR ADD INFO
BRACKET OR PICKET PER ELEVATIONS
BRICK STAIR
SCALE: 3" = 1'-0" 4
SCALE: 3" = 1'-0"
6" CMU TOP COURSE FOR RETAINING WALL 8 CMU BELOW PER STRUCTURAL DRAWINGS 1 WIDE GRAVEL BACKFILL TO START 2 BELOW TOP OF WALL TO GO TO BOTTOM OF WALL PER STRUCTURAL DRAWINGS
TENCATE MIRAFI 140 NC NONWOVEN FILTER FABRIC PER GENERAL NOTES
4 PERFORATED DRAIN PIPE WITH PERFORATIONS FACING DOWN AT ALL (N) RETAINING WALL LOCATIONS SLOPE TO DRAIN SEE GENERAL NOTES FOR ADD INFO
SUBSTAIR
ree renderings of the kitchen partition wall were based on sketches of Lewin Wertheimer and presented to clients.
XVIIFRONT EAST ELEVATION OF SANTA MONICA CANYON RESIDENCE
e rendering represents the three-story frame house with a colonnade across the front facade, which is one of the characteristics of the Southern Style. e roof extends over the colonnade.
0029
HOLLYWOOD HILLS SINGLE-FAMILY RESIDENCE RENOVATION WORK FOR LEWIN WERTHEIMER ARCHITECTS 2017-2019 TEAM PARTNERS: KELLY BOSTON, KIRK BLASCHKE, LAYLA GONZALEZ, LEWIN WERTHEIMER
THE HOLLYWOOD HILLS TERRACED SINGLE-FAMILY RESIDENCE WAS DESIGNED BY JOHN WOOLF IN 1926. THE FOCAL POINT OF THIS RENOVATION WAS NOT ONLY TO CONTINUE THE HERITAGE OF THE ARCHITECT, BUT TO CIRCUMSCRIBE A NEW ELLIPTIC STAIR INTO THE OLD STRUCTURE OF THE HOUSE. AS A CONSEQUENCE, AN ELLIPSE FURTHER INFLUENCED STYLISTIC DECISIONS OF LWA.
The work, executed for LWA and presented here, focused on the elliptic stair handrail, original marble fireplace, balconies’ railings, lighting fixtures, exterior pool area, basement level exterior fireplace, interior details, elevataions, garage and Woolf’s signature domed cabana (gazebo).
Work included building 3D models, setting up layouts, adjusting plans and detailed drawings of mentioned areas. It also enlisted cooperating with team-members by means of renderings, presentations and creating sets for construction.
The stair handrail options were constructed by using morph tool in ArchiCAD.
The synthesized 19th-century French, Greek Revival and Modernist vocabulary of Hollywood Regency are apparent on the facade of the Hollywood Hills house.
0051
PACIFIC PALISADES PRIVATE RESIDENCE REMODELING WORK FOR LEWIN WERTHEIMER ARCHITECTS 2017-2018 TEAM PARTNERS: KELLY BOSTON, KIRK BLASCHKE, LAYLA GONZALEZ, LEWIN WERTHEIMER
THIS PACIFIC PALISADES RESIDENCE WAS BUILT IN 1948, RENOVATED IN 1973 AND IS A REPRESENTATION OF COLONIAL REVIVAL STYLE. THE RENOVATION CONTINUED POLITE DESIGN FEATURES WITH THE INCORPORATION OF SOME UNEXPECTED FUNCTIONAL ELEMENETS INTO TRADITIONAL AESTHETICS.
e work performed for LWA included drafting electrical plans, interior and exterior elevations, and details; as well as coopertation with LWA team-members on the execution of drawings.
e two-story structure of the house has the ridge pole running parallel to the street, an accented doorway and a columned porch which is typical of Colonial Revival Style. However, the house is also noted for its long, close-to-the-ground pro le, and wide open layout, which draws resemblance to Ranch style.
THE SILENT MEDITATION FOREST CABIN COMPETITION WAS AN OPEN INTERNATIONAL CONTEST FOR RURAL LATVIA. THIS COMPETITION SEEKED TO PROVIDE USERS WITH “ECO-FRIENDLY AND COST-EFFECTIVE” SOLUTIONS FOR MEDITATION IN A FORESTED LOCATION OF OZOLINI FARM. DESIGNERS WERE ASKED TO PROPOSE A SERIES OF CABINS WHICH COULD ACCOMODATE A SINGLE PERSON FOR FOUR TO FIVE DAYS AND COULD BE OPERATIONAL IN ALL SEASONS.
The Unbending Trees
Our mentality to a large extent has been cultivated by the modern world. We mistakenly assume our gaze to be the natural way of seeing, when, in fact, there are innumerable ways in which we are blind.
If Vipassana means ‘viewing things just as they are,’ then the exploration of geometry in nature often presents an opportunity to see things that would otherwise be imperceptible. By introducing new geometrical rules and modifications to the construction of the Silent Meditation Forest Cabin, we have an opportunity to show that the principle of reality is relative.
The shape of a hyperboloid, which is circular at its base, presents one of the most economical and sound structures. Rather then being constructed out of curved surfaces, the structure of the Meditation Cabin consists of straight wooden beams.
Wood has historically been the oldest way of building in Latvia. The life cycle of this material is extended by covering the frame of the Meditation Cabin by recycled wooden veneer scraps.
Due to its double curved surface and angle, the shape of the Meditation Cabin can be difficult to grasp, for it is not possible to discern from the outside what is in the inside. The relationship of the interior and external space of the summer garden window is blurred, as it oscillates between an enclosure and an open area.
Vipassana helps to straighten our leaning core, allowing us to refocus on ourselves and our surroundings. Similar to Vipassana technique, which can be both challenging and life-changing, construction of a curvature out of straight planes can be counterintuitive, however reconsidering the rules that might have been inaccurately seen as set in stone can be just as transformative and rewarding.
1. Entry/Meditation Area (Surrounded By Mosquito Proof)
2. Chimney/Biomass Stove
3. Food/Water Storage
4. Toilet Room
5. Bed
6.Outdoor Summer Garden
1. Front Elevation
2. I Side Elevation
3. Back Elevation
4. II Side Elevation
1. Section A
2. Section B
3. Section C
4. Section D
Two-layered structure of hypeboloid is made of straight wooden beams. e base of structure is a joist grid.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
1. Greywater Summer Garden
2. Biomass Stove
3. Grease/Practical Filter
4. Protected Sink Plumbing
5. Sink
6. Composting Toilet
7. Mosquito Protection Curtain
8. Cotton/Aerogel Insulation
9. Internal Envelope
10. Venting Skylight
11. 12. 13.
11. Passive Ventilation
12. External Envelope
13. Accelerated Air Circulation
e hyperboloidal shape of the cabin accelerates passive air circulation with the air intake at the side and exhaust at the top of the structure.
e hanging veil at the entry protects from insects and delineates meditation area.
0089
ATRIUM SUSPENSION AT RIVERGATE TOWER, TAMPA, FLORIDA INTERNSHIP AT BALL-NOGUES STUDIO 2017
THE INSTALLATION IS A SUGGESTION OF A NATURAL LIGHT DISPLAY PHENOMENA OF FLUID DYNAMICS OF AURORA BOREALIS. THE ARTWORK IS A COMPOSITION OF COLOR VOLUMES MAPPED ONTO CHAIN CATENARIES.
No 0089 e internship at Ball-Nogues Studio consisted of suspension production. e artwork consisted 1400 individual catenaries, which was 12,000 segments of brightly painted stainless steel ball chain, each unique in length and location.
0092
LVIIIVIEW TOWARDS THE SUSPENSION. RENDERING IS COURTESY OF BALL-NOGUES STUDIO
is suspension is s a translucent three-dimensional canvas which occupies an in-between solid/void state.
FALL 2017 - SPRING 2019
Lena Larionova
DROWNING BY NUMBERS
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THIS IS THE ACCOUNT OF DR. OTTO FRAM WHO, IN 1983, FACED WITH A SET OF UNPREDICTED VARIABLES, LED THE CONSTRUCTION OF THE NORTH POLE SEED VAULT AND WENT MISSING.
DR.FRAM WAS THE LAST TO DETERMINE THE POSITION OF THE NORTH POLE AS MOVING NORTHEAST AT ABOUT 11.6 KM PER YEAR. THE INFORMATION WAS COMPILED AT 2 HOUR INTERVALS. WITHOUT THE EXACT MEASURING TOOL, HE ADAPTED FOR USE A ONE-METER THREAD BORROWED FROM DR. COLLIN’S SEWING KIT. BY THROWING IT ONTO SURFACES AT RESPECTIVE ANGLES OF THE STAIRS, HE CREATED TEMPLATES YIELDED BY THE ATTAINED RANDOM PROFILES. THESE WERE THEN APPLIED TO THE LEVELS OF SEED STORAGE. INSOFAR AS GAINS AND FAILURES OF HIS METHOD, WHICH ALLOWED FOR GREATER DEGREE OF VULNERABILITY, HE MIGHT HAVE FALLEN VICTIM OF HIS OWN OPERATION.
003 MERIT GRADUATE THESIS THESIS ADVISOR COY HOWARD
Radio announcement
e death of historian Tom Raot, whose most prominent work studied the erection of the North Pole Seed Vault of 1983, made public never before seen materials that might shed light onto the tragic and polemical disappearance of Dr. Fram. e 70 meter deep vault, located zero meridian has been a signi cant contribution to the exploration of the Arctic. Led by Otto Fram, the expedition Sever-II established the seed vault in an international e ort to store the planet's seeds and carry out scienti c work. e materials, which include audio recordings and an image, will be presented for the audience's discretion.
Loud speaker
Today is February the 4th.
e search mission to locate Dr. Fram is still on its way. No news on his whereabouts yet.
Turnaround is good, guys. Seismic shots determined there is a rig to be hoisted at the 19th level, 0.33 foot. Chances for ice breakage, however, are high, so be on alert for the warning sirens if need be.
e speed of the wind is 90 knots withsqualls to 105. e thermometer has dipped to 3 digits.
Conditions are quite chilly and icy, fellas, so try not to slip on the steps. Remember to wear your snowshoes and wool stockings.
Letter written by scientist
February 1, 1983
e work on the vault is near its completion, surprisingly for all. Funny, how we just adapt to things. Perfect example being the makeshift measuring tape that is saving us big time. It consists of a one meter thread, borrowed from Dr. Collin's sewing kit, which is allowing us to measure the last dimensions of the stairs and storage of the vault. We know it's not the most exact or precise, but we need to carry on forward. Either way, we can't never be exact, and especially here. For goodness sake, the North Magnetic Dip Pole is ever active and elusive!
Audio diary of scientist
Day 2: Position – 46th level. e rope gave up, lashing the ice, which in turn blocked the entryway. Now gotta play the waiting game.
Day 4: e head lantern is dead. Gotta be careful with the lighter. Day 6: e anarchic and curvilinear steps, which would give anyone vertigo, seems to point to a ickering light emanating from the wall.
e ssure is becoming more apparent as I trudge upwards.
Day 8: Ahhh! Elbows and knees are all bruised up. Slight bleeding. Slipped down to the hall of the vault where the seeds are stored. Chia 1st level-15.7835 N, 90.2308 W, Linum, 35th level, 50.2538 N, 85.3232 W, Banisteriopsis caapi.
Historian’s note
Otto Fram. Notorious, you were, for your success and fall. Storing yourself away, just as the seeds of your life. Disappearing from the public eye, therefore, was the noble act. Perhaps, it was just mere hubris that lead you down that rabbit hole, which, until today, seems not to have an end. Fatigue is the byproduct of twelve years of struggle. What did it all mean? e freezing of time and space, you see, might seem worth the toil for a sliver of future. A temporal ssure that outweighs the current condition. However, at what cost? Tell me! At what cost?
Radio announcement
Lastly, the image, found hanging on the living room wall of Raot's Manchester's residence, dated March 13th 1983, depicts what seems to be a pair of wooden snowshoes looking out to what appears to be the Seed Vault from a few meters away, with the icy and snowy Arctic landscape in the background. Reminiscent of Sebastiao Salgado's aesthetic, the photograph, along with the rest of the materials, bought by the Getty Foundation, will be displayed as part of a temporary exhibition about twentieth century Arctic explorations. It will be part of an ongoing series about human expeditions in hostile and inauspicious parts of the globe.
AN ARCHITECTURAL PROMENADE OR THE OBSERVER’S PATHWAY THROUGH A SERIES OF SPACIAL REVELATIONS IS THE CENTRAL ELEMENT OF DESIGN FOR THE PROJECT OF A CRAFT MUSEUM ON SPRING STREET IN DOWNTOWN LOS ANGELES. THE PROJECT LEANS ON OPTICS, PLACE AND CONTENT THROUGH A SERIAL VISION OF EXISTING AND EMERGING VIEWS, THROUGH REACTIONS TO POSITION OF ONE’S BODY IN THE ENVIRONMENT AND THROUGH COLOR, TEXTURE, SCALE AND CHARACTER.
VERTICAL STUDIO PROJECT
INSTRUCTOR COY HOWARD
e solid geometry of the cube is varied due to the chromaticism of transversal lines of stairs. It shifts the interplay of alignments, horizontality, verticality to a sudden dramatic penetration of emphatic diagonals.
e building’s interplay with change of levels produce intimacy, inferiority & enclosure on the one hand & exhilaration, exposure & vertigo on the other, a comfort of descending in comparison to the uncertainty of ascending.
Multiple enclosures of the facade order the sequence of unfolding spaces through the entryway to the reception & the main hall.
VIIPLAN A
VIIIPLAN B
XPLAN D
IXPLAN C
e Crafts Museum Building is conceived as a technically ordered structure which consists of vertical stone blocks with the network of thin marble footplates.
e layout of plans and sections indicate to a modelled path of circulation which leads visitors to certain predetermined points & lets them explore the spatial qualities of stair sequence. e diagonal clad of changing spaces rise & step onto the open space of the upper oor.
e bridge serves to link the near with the remote. e framing by sheer vivacity of black & white brings the distant into forward. e railings are lines drawn at danger points as a taming detail.
No 007 In Composition & in Collection the black color underneath the found items gives a varied response.
In Composition, the black is saturated & it crafts the e ects of opacity & translucency. e subtle character of gural order attracts an atmospehere of tension.
No 007 e objects involved in Collection exceed preconceptions of their daily being & rip the consistency of color by means of a dark eld & shadows.
SHANGHAI DIGITAL WORKSHOP EXPLORES A PRODUCTION BASED ON REGIONAL IDEAS AND TECHNIQUES. AN ORNAMENT IS USED AS A PIVOTAL POINT OF DIGITAL DESIGN AND ADDITIVE MANUFACTURING TECHNOLOGY AT A SCALE OF JEWELRY.
019
INSTRUCTOR STEVEN MA
No 019 e ornamentation is derived from mesh & becomes the parameter within which the form evolves.
us, the ornament serves as an informative part of the piece.
e initial component is sculpted to be integrated into a dynamic ordering system of an ear cu .
e pelvic skeleton which is formed by a pair of hip bones & consists of three sections are fused together to become a piece of jewelry.
e connecting parts of the mesh are circumscribed by surfaces rendered in di erent material.
DROWNING BY NUMBERS
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THE PROJECT INVESTIGATES AN ARCHITECTURAL PARTICULARITY OF REPETITION IN A HIGH-DENSITY LIVING PROGRAM OF A SITE IN MEXICO CITY. WHEN ARCHITECTURE IS ARGUABLY AN ART OF ORGANIZING RECURRENCE, IT DEPENDS ON ACCUMULATION OF SIMILAR ELEMENTS IN AN EVENT OF SINGULARITY AND DISTINCTIVNESS.
033
STUDIO PROJECT INSTRUCTOR ERICK CARCAMO PARTNER LAURA CROSSKEY
e volume emerges from an accumulated mass, delineated by the site position.
A consolidated continuity of oor plates moves in one degree rotation around the core. e repetitive quality is di erentiated by a rhythm of units stacked in one.
In relation to the formal model, the characteristics of its physical relationship are de ned by the operations of adjacencies, boundaries & double skins.
e program for 54 oors is:
COMMERCIAL - 2000 m
OFFICE - 6000 m
RESIDENTIAL - 140 studio units (70 meters per unit) & 70 one bedroom units (140 meters per unit)
HOTEL - 11 oors, 64 guestrooms(1000 meters per room)
PARKING - 2 levels
XXIIPLANS OF GROUND, FIRST, PENTHOUSE, FIFTIETH TILL FOURTY-FOURTH FLOORS
XXVPRINTED RESIN MODEL. TOP VIEW
No 033 e model of Tower and the site in Mexico City are additively manufactured in resin.
FIGURAL CITY SEMINAR EXPLORES ARCHITECTURE AND URBAN FABRIC IN THE HISTORICAL STAGE OF LATE CAPITALISM. HERE, ARCHITECTURE IS REGARDED AS A CITY, AND CITY AS AN OBJECT.
INSTRUCTOR PETER TRUMMER
Figural city is an object or a gure composed of a mass of arhcitectural elements, which di use gure- eld relationships.
e architectural plans are broken down into elements for the purpose of staging the spacial sequence of composition, the rhythm of network & the geometric perspective of the city blocks.
Paul Rudolph. Colonnade Condominiums. 1987. OMA. Maison a Bordeuax. 1998. Adolf Loos. Josephine Baker House. Peter Eisenman. House VI. 1972. Konstantin Melnikov. Melnikov House. 1929. Dominic Stevens. Mimetic House. 2007.
No 045 e compositional shaping of urban eld by gural voids & volumes.
THE COLOR OUTSIDE THE LINE VISUAL STUDIES PUTS THE FORMAL ELEMENT OF COLOR AS A MARK FOR OTHER COMPONENTS OF SHAPE AND DEPTH. THUS, THE FIRST IS A MAIN DRIVING FORCE, A COMPONENT OF FORM AND A DYNAMIC WHICH ALLOWS FOR AN ALTERNATE OPTIC IN PERCIEVING THE CLOSED THREE-DIMENSIONAL FIGURE. AS A RESULT, THE RIGID BODY OF GEOMETRY IS FAR FROM HAVING EXACTNESS AND REGULARITY OF FACETS.
053
INSTRUCTOR ANDREW ZAGO PARTNER PATRICK GESKE
XXIXLASERCUT PANELS. CLOSEUP VIEW
e geometrical demonstration of the perforated palette screens are placed for the merit of dynamism of color & for the re ection of depth.
e perforated panels are organized in layers. e inherent quality of such an organization of colored panels is phenomenal transparency.
Distinct colors as similar to color A, Color halfrone A, Color A; Distinct colors as similar to color B, Color halfrone B, Color B; Distinct colors as similar to color C, Color halfrone C, Color C; Distinct colors as similar to color D, Color halfrone D, Color D.
A volume of eight facets - an irregular polyhydron is broken down into perforated planes.
ese surfaces are layered to demonstrate the depth of color, & to detect slight optical traces near the anferior space.
e analysis of color suggests an operation of breaking into a subtractive model.
061
INSTRUCTOR HERWIG BAUMGARTNER PARTNERS AJ ROSALES CALEB FISHER
DANIEL HAPTON
SABA NASEHI
THE TORRE AGBAR SITE IN BARCELONA HOLDS THE GOOGLE CAMPUS SCHEMATIC PROJECT, WHICH, DUE TO DESIGN DEVELOPMENT STAGE, IS REFINED TO SPECIFIC DETAILS AND SELECTION OF MATERIALS. THE CONCEPT IS DESCRIBED IN TERMS OF ARCHITECTURAL, MECHANICAL AND STRUCTURAL SYSTEMS.
e Google Campus consists of two adjacent buildings. e digitally based integrated building model of Building Two of Google Campus is scrutinized in terms of pivotal aspects of construction documentation.
e structure is divided into primary & secondary. It is followed by an elaboration of speci c details & parts.
re stair cores
slab faming plaza beams
theater structure
transfer slab
contoured ribs
stabilizing tubes
theater structure
plaza beams
transfer slab
opposing con.ribs contoured ribs
stabilizing tubes
oor beams
theater structure
plaza columns
re stair cores
contoured support tubes contoured edges
contoured ribs
oor beams
plaza beams
transfer concrete concrete slabs
skylight glass frp panel system
AHU
painted drywall water duct
tube steel framing column(gypsum) raised oor system
gypsum drop
ceiling framing
BLDG 2 SLABS/ CORES/ FRAMING DIAGRAM
BLDG 2 PRIMARY STRUCTURE DIAGRAM
BLDG 2 PRIMARY/STRUCTURE DIAGRAM
copper per. panel steel perf. panel
waterproof memb.
4” rig. insulation gutter
5”shortcrete
6” str. steel tube clip system
curtain wall second.structure
primary structure
structural angle main. catwalk
pedestal membrane
5” shotcrete metal stud
copper perfor. panel
steel perfor. panel
waterproof membr.
4” rigid insulation parapet ashing
12” struct. steel tube
corrugated deck
5” shortcrete
waterproof membra
tube steel
perforated metal skin
frp paneling system
stando s
primary structure
shotcrete
exposed beams
escalator
oor framing
concrete framing
reinforced berglass panel gutter
reinforced berglass
4” rigid insulation
secondary gutter
primary structure gypsum board
DROWNING BY NUMBERS
lena larionova
7TH PLACE
PARTNERS CHUCK DIEP
THE CITYVISION COMPETITION IS AN ANNUAL ARCHITECTURAL CONTEST THAT INVITES CREATIVES TO DEVELOP URBAN AND VISIONARY PROPOSALS WITH THE AIM OF STIMULATING NEW IDEAS.
PATRICK GESKE KAZUHIRO OKAMOTO
e Beijing Cityvision Competition 2014 had 102 registered groups & received 65 proposals from all ve continents.
e Beijing ideas have been judged by an international jury which had as president Ai Weiwei along with Greg Lynn, Sou Fujimoto, Eric de Broches des Combes & Andrea Bartoli with his annual Farm Cultural Park Prize.
Taking into consideration the contemporary historical context, Citivision saw China as a place of not only future urban development, but of social hybridization. is project is an attempt to envision future Beijing & its citizenship. No 071
GLOBAL SUPREME COURT
IN THE RESOLUTION OF CONFLICT BETWEEN GLOBAL SYSTEM, Petitioner, &
CIRCUIT 18 - SYSTEM A - NETWORK 37, Respondent,
JUDGMENT
Introduction
[1] The residual effects of the widespread inconsistency in the first half of the Twenty-Third century (that chain of violent events otherwise commonly referred to as the Great Devastation ) has led to inoperable levels of indeterminacy in virtual mirror action. This instability threatens the standard operation of the Global System. Committed initially under the influence of the “Sinister Valley,” this outmoded human virus and its malaction yet remain a threat to the operation of the world. The prevalence of organized childbirth-crime within all Circuits adds to the difficulty. Legislation aimed at the prevention of organized birth-crime and the recovery of assets relating to criminal activities exists in Global Web Jurisdiction. Global Web co-operation is essential for the effective implementation of the legislation. In 2219, the extirpation of the robots of Area 5 (Beijing District) initiated the infringement of virtual mirror actions. As a result, the mirror has come to distort the virtual reality. The earth in the area bulges up and dries out. This violation of earth’s crust disturbs the work of elevator Shafts No. 100978, 100979, 100980 on mining operations and logistics of Helium – 3. The shafts are built on the base of old skyscrapers where the C6 concrete is not commingled to the self-supporting bitum. The images of this case are attached.
The series of crimes committed by humans in the Time of Defiance (2212 – 2263).
The notion of Sinister Valley signifies the magnification of the Uncanny Valley from aversion to aggression - human’s instinctive rejection of humanoid robots where the valley is the fall of or aversion of the robot depending on the degree of the conformity of the two.
See for example: the Proceeds of Crime Act 746 of 2825; the Proceeds of Crime Act 544 of 2814
Statement
[2] is case concerns the interpretation of the relationship between two statutes, dealing with (1) the restraint of birth orders and (2) brain-adaption as prevention of criminal actions. e rst, the Prevention of Global Organised Crime Act2 (PGOCA), provides for the issue of Orders for Restraint of Birth by the First Web Court regarding the persons against whom criminal proceedings are pending or about to be instituted. e other, the Cooperation in Criminal Matters Act3 (CCMA), provides, under jurisdiction of enforcement in the System, for Brain Adaptation Orders that have been issued in the course of criminal proceedings.
[3] is is an application for leave to appeal against a judgment of the Global Supreme Court of Appeal. e Global Supreme Court of Appeal dismissed with costs an appeal against a judgment of the Global Court of Systems.
[4] **EXCISED FOR INDETERMINACY**
[5] **EXCISED FOR INDETERMINACY**
[6] e core issues to be addressed are -
(a) whether the registration of the Order of Human Consciousness to be waived in favor of the collective System BC should be enforced;
(b) whether the Brain Adaptation Order should be rescinded.
[7] erefore, three issues are to be resolved:
(a) the ways of the Orders for Restraint of Birth application;
(b) the possibility of total extermination of the Sinister Valley Virus, as an impediment towards the functioning of Global System;
(c) the possibility for the Global System to abrogate human consciousness as its functional basis.
e System A Investigations detail the instability in human cities where birth-crimes are not controlled. e conclusions of the System B Investigation (of the Human Brain System) are as follows:
(a) e Sinister Valley virus is outlined not as human rejection of likeness to robots, but the incapability of the
human to realize its non-humanness. e Sinister Valley Virus is the human rejection of its cybernature.
(b) e transhumanistic consciousness of the individual human is unable to sustain its das ewige Leben (eternal life) which is now on average 814 years.
Conclusion
[8] In summary, the human brain consciousness waiver will allow for the human conscious to be (1) Collective in Network and (2) to avoid all the rudimental conditions of its functioning. e crime will be rescinded. e self-regulation of the Global System may claim to be complete.
[9] e following order is made: 1. e application for the admission of further brain adaptation is granted.
2. All residuary minds which do not undergo the procedure are expelled from the system.
2. No costs order is made.
In the figure above, the Satellite Tower is at first self-contained and then, by distortion,marks the avoidance of a Disrupting Event. The Distress to the System is avoided, but the mark remains.
Ground, Figure
Figure Disturbs Ground
Deformed Ground
Six months ago, my brother moved to Beijing. He works as an engineer, and he asked to get transferred there so he could be with his girlfriend. His term of his stay is two years. I’ve never been there – by which I mean: we. We’ve never been there.
My brother writes me: e issues that a city must attend to are speci c to that individual city. But the issues that a Global City must face are the same in every global city. In Beijing, you learn palpably what overcrowded means. He writes me: Here, time moves di erently. Sometimes it seems not to.
Walking home from the train the other day against a crowd of people, the smog got to be so thick that I couldn’t tell if it was still day, or if it was white-blue streetlights beaming down, obscuring the darkness.
I write my brother: Time moves di erently everywhere, for di erent reasons. Don’t you, however, sometimes get the feeling that all those unique versions of time are slowly falling into sync? Everything that happens 800 years from now has
already started.
I write him: We have more di culty understanding the linearity of time. We see that it is not a ow. It is, in fact, information. e world is an archive, and time is the speed at which new information can be added. A chain of events 800 years long will be archived and accessible.
History is continuous. It is made up of surges and slips. Ruptures are a violation of productivity and are outmoded. Con ict resolution consists in analyzing archival information in the e ort to provisionally avoid disturbances to the system. Slips, when they do happen, do not cause rupture. ere is no void. e void is mended before it has begun. Extinction, in other words, is circumvented. Yet the e ects of its presence are woven into the fabric. What is artifacted from the slip is a distortion of the prior condition. e ground swells, takes a new form, and accommodates change. A new ground emerges from underneath. He writes me: We do not remember; we rewrite memories much as history is
rewritten.
e archive, on the other hand, remembers exactly. When, after the amassing of centuries’ worth of data, combined with an ability to access that data – linking all of the connections –the archive will virtually rewrite the future.
The shaft is exposed above the ground and connects the base with the capital. The capital acts as a Satellite beacon that communicates with other Satellite Tower remotely. At the base of the Tower, there are mechanical passageway that communicate with neighbouring buildings above and below the ground. The autonomous biotechnimechanism of
STUDIO PROJECT INSTRUCTOR JENNY WU
HOUSE IN SILVERLAKE, IS, IN SO MANY WORDS, AN INTERLACED STRUCTURE, A NETWORK OF INTERWINING LINES. THE NET IS USED AS A METHOD OF PRODUCTION AND AN ESSENTIAL VISUAL APPLIANCE. AS OF REPRESENTATION IN DRAWING, THE EMPASIS ON THE FIELDS OF LINES FUNCTION AS BOTH A FIRST STEP TOWARDS DESIGN ELABORATION AND A FINAL STAGE.
e preliminary stage of the project is a three-dimensional rectangualar mesh. It is distorted. Based of the distance of stencil points, the layered grid breaks out of its boundaries. It elevates into an internal vertical circulation giving a slope shape to the net. As a result, the form, which is contoured by tying surfaces to the tubes of the mesh, is balanced over the ground.
Program: public: PARKING
ENTRY
LIVING ROOM
KITCHEN STUDIO
SWIMMING POOL private: MASTER BEDROOM BATHROOM
XLVIIIMANUFACTURED POWDER MODEL. TOP VIEW
e physical model is additevely manufactured in powder. It is sitting on a milled base which represents the site.
Distorted mesh is additively manufactured in powder. Fabrication dictates thickness, materiality & extends to a tectonic scheme of a second model.
095
INSTRUCTOR ANNA NEIMARK
IN 1692, THE ROYAL ACADEMY’S BIGNON COMMISSION DESIGNED ROMAIN DU ROI FOR THE ROYAL PRINT WORKS. PRINTING STARTED TO BE SEEN AS AN OUTGROWTH OF ENGRAVING RATHER THAN OF CALLIGRAPHY. THE TYPEFACE WAS MADE BY THE WAY OF MAPPING LETTERFORMS ON GRIDS OF FOURTY-EIGHT UNITS ON THE SIDE AND WAS CONSTRUCTED BY THE USE OF ARCS OF A CIRCLE. THE ENGRAVER LOUIS SIMMONEAU TRANSFORMED THE COMMITTEE’S DRAWINGS INTO COPPERPLATE ENGRAVINGS. PHILIPPE GRANDJEAN, WHO CUT THE PUNCHES FOR THE ROMAN DU ROI, DID NOT FOLLOW THE COMMITEE’S DRAWINGS RIGOROUSLY AND SOFTENED THE LOOK OF THE TYPEFACE. IT MAKES THIS TYPEFACE OCCUPY A STRANGE POSITION BETWEEN A CALLIGRAPHY AND ENGRAVING, WHERE INTERPRETATIONS COULD BE MADE WITHIN THE CONFINES OF THE RIGID GRID.
Some may argue that Romain du Roi was one of the rst digital typefaces, since its construction uses pixels (grid), vectors (arcs of a circle) & mathematically based spacing. However, this font still belongs to Transitional family since it is still in uenced by written forms. Based on the stated above, these series of exercises stem from computation & initiatives of the author. ey start with attention given to the depiction of the distinctive characteristics of the uppercase letters G,I,J, such as thickness of strockes & vertical empasis. ey are positioned onto original non-transformed grids. Studies end in the resulting hybrid letter object as a solid white mass set against two original grids. e object is then rendered & additively manufactured.
DROWNING BY NUMBERS113-131
lena larionova
113 STUDIO PROJECT INSTRUCTOR JONAH ROWEN
IN AN ART FORUM INTERVIEW IN 1966, TONY SMITH DESCRIBED HIS DRIVE DOWN SOON TO BE OPENED NEW JERSEY TURNPIKE AS AN EXPERIENCE OF LIBERATION FROM VIEWS HE HAD HAD OF ART. DUE TO THE ABSENCE OF STREET LAMPS, MARKERS OR GUARD RAILS, HE SAW THE EXPANDED FIELD OF ARTIFICIAL LANDSCAPE, LIT ONLY BY INDUSTRIAL NEW JERSEY GLOW. THE NOTION OF SERIALITY OF THE SUBURBAN SUBLIME IS TRANSMITTED TO SMITH’S SCULPTURE “SMUG” (1973). IN THE SERIES OF EXERCISES, THE GEOMETRY OF THE PIECE IS REPRODUCED, THE LATTICE OF IT IS EXPANDED, WHILE GIVING IT A LITERAL CONSOLIDATION OF INITIAL ARTISTIC PASSAGE.
e expanded lattice allows for discovering possibilities of its termination. us, introducted cutting planes reveal spacial con gurations & characteristics of geometries.
e system is then transformed. e negative & positive spaces of system are then manipulated in circulation. A repetitive variation of these measures around multiplying centers results in an oscillation e ect.
e structure is embedded onto a site in Boyle Heights in Los Angeles.
1. LOBBY/BANKING HALL
2. CHECK STANDS
3. TELLER STATIONS
4. CASH VAULT
5. SAFE DEPOSIT VAULT
6. WASHROOM
7. STAFF OFFICE
8. KITCHEN
9. CONCIERGE
10. WAITING AREA
11. MECHANICAL SPACE
12. BOARD ROOM
13. DIRECTOR’S OFFICE
14. BREAK ROOM
15. JANITORIAL
16. CAFE
17. DRIVE-UP BANKING
18. ATMs
In the following exercise, possibilities of system termination are explored.
e cutting plane is introduced in order to reveal sectional characteristics & potential con gurations of space.
e models of the wireframe represnt the connecting axis lines of original “SMUG” & transformed geometries.
e white museum board models bring to foreground the negative space of corresponding geometries
e plan of the Baroque-style church in Turin, designed & built by Guarino Guarini during 1668-1687 is represented.
e plan of St. Lorenzo is analyzed & recreated by the means of circle, ellipse & square geometries. e poche of the church is transformed along horizontal & diagonal axis.
AS EXERCISES IN ARCHITECTURAL GEOMETRY, THESE STUDIES DRAW BEYOND THE NON-MATERIAL MATHEMATICAL MODELING. IN CONFRONTATION WITH SUCH ASPECTS AS MATERIALITY, THICKNESS, DIMENSIONS AND SCALES OF PARTS, GEOMETRY AS APPLIED TO ARCHITECTURE, IS LACKING IN MORE ABSTRACT DEFINITIONS OF SHAPE.
131
INSTRUCTOR JONAH ROWEN
LXXIIINCH CUBE MADE OF IRREGULAR WEDGES IN 4-PLY MUSEUM BOARD
The studies use unfolding & assembling techniques exerciced towards the geometry.
They start with building a cube out of 4-ply museum board. It encloses another one, rotated obliquely with respect to the exterior. Thus, due to the thickness of material, the notion of interior form, that may be a dicrete exterior space, is obvious. The shape is then drawn in orthographic projection in three coordinated views.
During next study, the form is created through the process of projecting edges. Therefore, projection, is used as a technique in service of developing three-dimensional forms. A third cube along a 45°- axis is drawn. The corresponding edges of it are connected in the axonometric projection.
The last step introduces curvature into the geometry. It goes from a simple rotation around a single axis, and progresses toward more complex cases using a different axis of rotation.
131
The three - dimensional form of projected edges is made by the use of 2ply museum board.
The last step of introducing curvature into the geometry is formed by the use of 2 - ply museum board.
