Maria, Maximilian_Thesis Book_Symposium

SPRING

2020

SCI_ARC

GRAD

THESIS

Pluralith Architect as host

A No-Brow Approach

M. Arch I Maximilian Maria

Advisor Anna Neimark

CHAPTER

I

contents p3 primary Textbased work p16 References

C hapter 1

Statements in multiple forms, as well as our Lexicon

C hapter 2

Lots of artists, and some architects too

p84 Diagramming

C hapter 3 Drawings + harsh words

p98 Models & performances

C hapter 4 Proposals

ISSUE

01

A demonstration: constructing evidence to show that “the project” is not contained in its drawings nor in edif ice, rather in the notional presentation of work done. Development of concepts guide the mind and the line. We abide by the fallacy that perfect accuracy is achievable; we challenge looseness, calling it ‘tolerance’ to eschew the unknown. A spontaneous process results in something somewhat unpredictable, like cooking, or architecture. Cataloguing proof is realized using the body, personal references, ritual, theories, and copies.

Revealing clues unites disparate (non-) architectural ideas and objects, so an architecture will be administrated live, inventing an image.

thesis statement, as of 1/27/2020

CHAPTER

I

Lexicon

Economy The wealth and resources of a country or region, especially in terms of the

production and consumption of goods and services.

late 15th century (in the sense

‘management of material resources’): from French économie, or via Latin from Greek oikonomia ‘household

management’, based on oikos ‘house’ + nemein ‘manage’.

Current senses date from the 17th century.

5

Performance 1. the action or process of carrying out or accomplishing an action, task, or function.

2. the fulfillment of a claim, promise, or request.

Perform:

1. to adhere to the terms of : fulfill.

2. to do in a formal manner or according to prescribed ritual.

Middle English, from Anglo-French parfurmer, alteration of perforner,

parfurnir, from par-, per- thoroughly

(from Latin per-) + furnir to complete — more at furnish.

Furnish:

to provide with what is needed.

Middle English furnisshen, from

Anglo-French furniss-, stem of

furnir, fournir to complete, equip, of Germanic origin; akin to Old High

German frummen to further, fruma advantage

6

Demonstration 1. an act, process, or means of

demonstrating to the intelligence, as in a showing of the merits of a

product or service to a prospective consumer.

2. a public display of group feelings toward a person or cause.

Middle English, borrowed from Anglo-French & Latin; “action of pointing out, description, explanation”

(Late Latin, “deduction, proof ”), from dēmonstrāre “to indicate, describe, show” — more at demonstrate.

Demonstrate:

borrowed from Latin dēmonstrātus, “to draw attention to, indicate, describe, show,” from dē- de- +

monstrāre “to point out, show” — more at muster entry.

7

Muster:

1. to cause to gather.

2. to bring together.

3. to call forth.

4. to amount to.

Synonyms: (verb) marshall, mobilize, rally. (noun) assemblage, conference, convocation.

Middle English mustren to show,

muster, from Anglo-French mustrer, monstrer, from Latin monstrare to show, from monstrum evil omen, monster — more at monster.

Monster:

Middle English monstre, from

Anglo-French, from Latin monstrum omen, monster, from monēre to warn — more at mind

8

Mind:

Middle English, from Old English

gemynd; akin to Old High German

gimunt memory, Latin ment-, mens mind, monēre to remind, warn, Greek menos spirit, mnasthai, mimnēskesthai to remember Monere:

From Proto-Italic *moneō, from

Proto-Indo-European *monéyeti, causative from *men- (“to think”) Moneta:

1. mint, a place for coining money 2. money, coinage

9

ISSUE

02

Thesis Statement Again

An Architecture is not contained in

its drawings nor in edifice, but more truly in the notional presentation of work. Such an exposĂŠ is a

performance, whether we refer to

the pitch given live in the conference room or the disembodied image that circulates through various

networks, that offers more than

strict documentation. In person, the body communicates. It speaks to the other persons in the room. Through the reading of images, we inherit an understanding of the author’s

disposition toward references and

rituals of representing such complex ideas. This is an easily understood performance of architecture that

serves as a starting point from which to set out on the examination of architectural performance.

(To be clear: Pluralith is decidedly

not including the product’s material performance whatsoever. )

11

Other fields have a better grasp on such a performance, and we

borrow most notably from the arts.

It’s our luck that performance art is au courant, for sources explaining our work ahead burst forth. To

disambiguate: the general impression is that the surge of an artform

demanding presence is a reaction to so-called socio-cultural flattening, time speeding up, attention lost to

the impersonal and infinite content.

Forces accelerating individual

experience are the byproduct of our

new global paradigm in the digital age, driven by the industry’s everincreasing pace. But industry’s

rigid terms are not to live a life by,

nor to choose for a guide in creative endeavors like Architecture, which really requires the operation of a person.

Unlike a machine, unintended

spontaneity might result from a

person’s performance. That means it’s somewhat unpredictable, and in the ephemera we find

12

something relatable, something personal. During the process of

an Architecture’s development, an Architect’s work exists in a realm more personal than Architecture

knows to term. We are investigating the personal performance of

Architecture and intend to reveal our

revelations in faith that they can be a power for all persons.

Comedy renders complicated and

uncomfortable ideas palatable, and many rather earnest projects in

Architecture’s canon are quite funny.

Our attitude is that canonical ideas

now are preternaturally exclusionary.

Pluralith doesn’t seek to get an easy chuckle, though the presentation of

this project takes performance very

much in earnest. We hope to appeal to the viewer’s sensibilities in an artful manner, one that is unable to be exactly categorized.

13

While this project seeks to liberate architecture from the overgrown

misunderstanding of perfect accuracy, it does not reside in the territory of

the vague. Uncanny properties will

eventuate not through hybridization, instead through co-occurrence of

discrete qualities. Essence of each

must be intelligible in the part as well as the whole.

Presenting to free the presenter,

Pluralith seeks a promiscuous theory

through borrowing and re-presenting intellectual property, that more types of presenters may be invited to the

stage. It is not a stoic, singular claim to the world, but a tablet to write new terms for togetherness.

We commit: no more inclusion by domination.

Currently, the work is searching for other forms of authorship and how

to create an ambiguous institution to relay the message; is an Architecture Studio™ anonymous enough these

14

days?

Misinterpretation of a common

thought object and queering of a

traditional topics allows space for

othered subjects. Performance as such is the preferred mode while many

references for Pluralith prevailed in bricolage as this was perceived to be

an utterly democratic process to work.

We find that assemblage is inept in

philosophical democracy, that it holds too much agency for ad hoc projection

of the author and not enough to reach another person.

If still we explore trite symptoms of cultural homogeneity, it is to better

make a heterogeneous audience, and

our Architecture to be accessible by all present.

thesis statement, as of 2/23/2020

15

CHAPTER

II

References

17

alison knowles_make a salad_1962_ performed at the high line, 2012

Alison Knowles A founder of the Fluxus movement, collaborator with the likes of John

Cage and Marcel Duchamp. Knowles is best known for her 1962 piece

Make A Salad, which is as much

direction as title: she makes a giant salad with the help of a crowd

and then they all eat the salad.

Her performances shine a light on

mundane activity as ritual and use

them to make a collective experience.

Extra description and writing about the artist or piece that’s particularly of interest, if there should be more writing required/desired

19

an Homage cenotaph from the series Momentary Monument I after 2009 brass, earth

Lara Favaretto Contemporary sculptor from Turin

whose works of the last couple decades investigate the impermanence of existence and the voluntary

disappearance (ephemeral nature) of movement. This form itself is

sometimes ephemeral, considering the space created by a moving object or the traces left from it.

The various forms sculptures take are inherently architectural.

21

The Village of the Damned 2015 gray confetti

detail The Village of the Damned 2015 gray confetti

Simple Couples 2009 iron slab, electrical box, carwash brush, wire

Simple Couples 2009 iron slab, electrical box, carwash brush, wire

Fantasy Building 1990 assemblage

Alice Aycock Ranging in material, the scale of this sculptor’s pieces is typically that of a small building. Sometimes, Aycock

directly misappropriates recognizable elements of a building -- a set of

stairs, a pitched roof -- and strips

them of their presumed function. In

some cases, there is a whole building built for sculptural elements to

interact, line and surface implying movement.

Selections are two similar pieces that one could imagine stepping onto. They are alike one another but unlike most of Alice’s work.

Full title of Tree of Life is “Tree of Life Fantasy, Synopsis of the Book of Questions Concerning the World Order and/or the Order of Worlds”.

27

Tree of Life Fantasy 1990 steel, wood

Studies for a Town 1977 wood

Lorna 1983 • Installation with video, remote, furniture

Lynn Hershman Leeson Leeson made the first interactive

video art disc installation in 1983

called Lorna. The user speaks with

the agorophobic protagonist, learns of

her fears and dreams, and helps make choices for them while interacting

with objects in an apartment set in Texas.

31

Lorna 1983 • Installation with video, remote, furniture

Lorna 1983 • Installation with video, remote, furniture

How to Sweep May 10, 2012• YouTube video

Tom Sachs With a sculpture studio producing

copies and fakes, Tom Sachs and Van Neistat produce funny shorts every now and again. These videos were

traditionally experimental, sometimes How-Tos, only in the last few years

narrative. The studio is typically the

setting, but more noteably it’s become a sort of character that has enmeshed

the artist, his employees, collaborators, and all of their stuff.

Excellent directions on how the studio managers prefer work to be done, these films explicitly set up rules and expectations. Their style and manner also convey a more complex message, describing the institution’s disposition and offering a sort of character description.

35

How to Sweep May 10, 2012• YouTube video

How to Sweep May 10, 2012• YouTube video

how to explain pictures to a dead hare 1965 performance

Joseph Beuys Beuys was well-known for his

sculpture, the material pallette of

which was from his spotty, traumatic memories after crashing his fighter

plane in WWII. In a way, his objects in general work as a of description

of how his life was saved. The artist

often worked in performance as well, and the piece at left was a sort of bizarre How-To.

39

i like america and america likes me 1974 performance

i like america and america likes me 1974 performance

This is Tomorrow 1956 installation

Alison+Peter Smithson Architects and artists collaborated

on one installation in a section of 12 in this exhibition that questioned media production a la (Marshall

McLuhan), body security, life in the

time of war, and the sense of runaway military technologies.

With artists Nigel Henderson and Eduardo Paolozzi.

43

The Man Who Flew into Space from his Apartment 1985 installation

Ilya + Emilia Kabokov Fantasy and broken promises.

Evidence of a big mess.

45

Der Hexenhammer 2015 viny, frames, paper, ink

Chiara Fumai Most physical objects produced

by Fumai are artifacts from her

performative expressions of revolt

against patriarchal dominance in our world. Radical feminist philosophy

is present in all her work, re-reading symbolism and representation,

occasionally adopting the image of other people to do so.

Add Fire (next page) includes a projection of Fumai’s video piece Chiara Fumai Reads Valerie Solanas, in which she’s taken on multiple other personae to read the S.C.U.M. Manifesto.

47

Witch Head Nebula 2014 illustration

Add Fire 2016 vinyl, video projection

A House for Essex 2014 Photograph

FAT Fashion Architecture Taste built

wacky designs like we might find

in drawing archives of Cedric Price or Superstudio. Odd materials and esoteric motifs suggest a process of

information-gathering that is utterly differentiated in architecture and

from one project to the next, but the attitude seems an irreverent effort

to mix up figures of legend that are traditionally left untouched.

I like it. I’m not sure just what else to say.

You Make Me Feel Mighty Real was a pavilion-turnedsummer-house donning custom metal sequins nestled in thick forest cover.

51

A House for Essex 2014 Photograph

A House for Essex 2014 Photograph

You Make Me Feel Mighty Real 2003 Photograph

Soft Herc Stool

Eames House Living Room 1950 Photograph

Charles+Ray Eames Their design process was executed in

tandem with and in support of their notoious cuteness. They documented,

collected, and analyzed many parts of home life to twist, bend, invert, and

reframe interactions between people and their material surroundings.

Their architecture was performative as they seemed to deign agency on the inhabitants -- most notably themselves.

57

View From the People Wall 1965 film still

Think 1964 multimedia installation

Cowan Courts 2016 photograph

6a architects Time layers multiple existences onto the same geographic place, often

through the same material matrix that is restored or reconfigured. 6a architects do the work to preserve

the sanctity of the new and reveal

characters of the old, interventions renovate and revivify.

61

Cowan Courts 2016 photograph

Cowan Courts 2016 photograph

OFSt 2017 photograph

OFSt 2017 photograph

Bremer Landesbank 2016 photograph

Caruso St John Mentors of 6a architects, these

architects track back to James Stirling.

Their point of departure might have been architecture of the 1960s, but their way, which they walked so

decidedly with colleagues of the same

interest known as The Whisperers, led them to something more delicate than the work of their idols. They seek a rich quality in design.

We find it rather psychedelic.

67

PHOTO PHOTO PHOTO PHOTO PHOTO PHOTO PHOTO

PHOTO PHOTO PHOTO PHOTO PHOTO PHOTO PHOTO

Trinity Church 1877

Henry Hobson Richardson Trinity Church looks like a few different design modes rudely

conflicting and ingeniously resolving across the building. Responsible for

only the exterior of the building, the architect used his appreciation and

expert knowledge of early European Romanesque (gained while only the

second American at the Ecole d.B.A. ) to intensively craft a new indigenous style.

Multiple lines of registration, masonry types, column types, confusing blind windows, windows appearing to break tectonics. Towers, turrets, treatments; the difference tends to unify the style mosh pit around a corner, higher or across a facade.

71

Trinity Church 1877

Detail: note the roof visible through blind windows

Trinity Church Courtyard 1877

Trinity Church Windows 1877

ISSUE

03

Thesis Statement Again

建筑，不仅限于建筑图纸或是建

An Architecture is not contained in

its drawings nor in edifice, but more

筑物本身，而是更真实地体现在

truly in the notional presentation

作品的概念性表达中。这是一种

of work. Such an exposé is a

performance, whether we refer to

表演形式，不管是在会议室里讨

the pitch given live in the conference room or the disembodied image

论各种案例还是网络上传播的图

that circulates through various

像，都不再是一纸文件。面对面的

networks, that offers more than

strict documentation. In person, the

会议中，我们用身体与同一屋檐

body communicates. It speaks to the other persons in the room. Through

下的其他人交流。眼睛扫过图像

the reading of images, we inherit

时，我们继承了作者对这些复杂

an understanding of the author’s

disposition toward references and

创意本身的理解，参考，和表现形

rituals of representing such complex ideas. This is an easily understood

式。在广泛的建筑体系中，这样的

performance of architecture that

表演形式相当于一个简单易懂的

serves as a starting point from which to set out on the examination of

出发点。

architectural performance.

77

需要说明的是：Pluralith绝对与建

To be clear: Pluralith is decidedly

not including the product’s material

筑展品和性能无关。其他的领域

performance whatsoever. Other

可能在这样的表演形式上显得更

fields have a better grasp on such a

performance, and we borrow most

加直观，比如艺术。幸运的是表演

notably from the arts. It’s our luck

that performance art is au courant,

艺术还是比较直观的，我们有大

for sources explaining our work ahead

量的资料可以参考。

burst forth.

78

To disambiguate: the general

简单来说：由于社会文化的扁平

artform demanding presence is a

化，时间节奏加快，客观创造的作

impression is that the surge of an reaction to so-called socio-cultural

品不像以前有影响力，导致艺术

attention lost to the impersonal

形式要求增长。在数字时代各行

accelerating individual experience

业飞速发展的推动下，加速个人

paradigm in the digital age, driven

体验成为了新全球范围副产品。

flattening, time speeding up, and infinite content. Forces

are the byproduct of our new global by the industry’s ever-increasing

然而行业的这些死板条件不应该

not to live a life by, nor to choose

成为建筑设计这样需要创新的行

like Architecture, which really

业的指南。这需要人来控制。与机

Unlike a machine, unintended

器不同，个人的行为很难预测，同

pace. But industry’s rigid terms are for a guide in creative endeavors requires the operation of a person. spontaneity might result from a

时在这些临时的状态和语境里，

unpredictable, and in the ephemera

我们会发现一些非常私人的东

something personal.

西。

person’s performance. It is somewhat we find something relatable,

79

在建筑项目开发的过程中，建筑

During the process of an

Architecture’s development, an

师的作品其实比我们想象的要更

Architect’s work exists in a realm

加私人化的多。在思考建筑设计

more personal than Architecture

knows to term. We are investigating

私人空间的过程中，我们倾向于

the personal performance of

相信对于所有观众来说这件作品

Architecture and intend to reveal our

revelations in faith that they can be a

都会是有影响力的。喜剧可以把

power for all persons. Comedy renders

复杂的想法变得通俗有趣，有些

complicated and uncomfortable ideas palatable, and many rather earnest

恳切的建筑作品也可以变得相当

projects in Architecture’s canon are quite funny.

有趣。

80

我们想阐述的是：Pluralith 不是

Our attitude is that canonical ideas

在找一个捷径。不过这个项目的

now are preternaturally exclusionary.

Pluralith doesn’t seek to get an easy chuckle, though the presentation of

表现方式采取的是一种恳切的态

much in earnest. We hope to appeal to

来打动观众的感觉，这种方式可

manner, one that is unable to be

过于追求准确性，虽然这个作品

度。我们希望用一种巧妙的方式

this project takes performance very

能比较难以归类。对于建筑我们

the viewer’s sensibilities in an artful

exactly categorized. While this project

想要做的是把建筑从这个误解中

seeks to liberate architecture from

the overgrown misunderstanding of

解放出来，但并不意味着纯粹追

the territory of the vague. Uncanny

同寻常的建筑性质，并不是说需

求抽象和虚构。想要创造独特非

perfect accuracy, it does not reside in

properties will eventuate not through hybridization, instead through

要把很多东西结合起来，而是应

Essence of each must be intelligible in

精华同时也在整体的概念里易于

该寻找一些不一般的品质。这些

co-occurrence of discrete qualities.

理解。

the part as well as the whole.

81

Presenting to free the presenter,

cultural homogeneity, it is to better

by borrowing and re-presenting

our Architecture to be accessible by all

Pluralith seeks a promiscuous theory

make a heterogeneous audience, and

intellectual property, that more types

present.

of presenters may be invited to the

stage. It is not a stoic, singular claim

to the world, but a tablet to write new terms for togetherness. We commit: no more inclusion by domination.

Currently, the work is searching for other forms of authorship and how

to create an ambiguous institution to relay the message; is an Architecture Studio™ anonymous enough these

days? Misinterpretation of a common thought object and queering of a

traditional topics allows space for

othered subjects. Performance as such is the preferred mode while many references for Pluralith prevailed in bricolage as this was perceived

to be an utterly democratic process

to work. We find that assemblage is inept in philosophical democracy,

that it holds too much agency for ad

Portuguese Ceramics Joseph Min + Max Maria 28. March, 2020

hoc projection of the author and not enough to reach another person. If still we explore trite symptoms of

82

Pluralith通过借用并且重新融合

质性，先需要创造异质性的观众，

展示项目的演讲者可以更加轻松

共享。

已经存在的价值形态，使知识和

并且使建筑在任何时候都可以被

的讨论他们的想法。不要把这个 概念理解成强势单一的主张，把 它看成对统一性的一个新的理

解。我们认为：不可以再被统治所 控制。目前这个项目正在寻找著 作权的形式，从而思考如何建立 一个机构来传达这这些信息。现 在的建筑事务所是否足够匿名

化？对于传统课题的误解很多时

候创造出了更多可以容纳其他东

西的空间。在Pluralith我们所用的 很多引用想要阐述的就是这样一 种民主的创作方式。在哲学中融 合有时候并做不到民主，因为作

thesis statement, as of 3/30/2020 translated by Ina Chen

者本身的思想会太过于影响到读 者。如果我们想要探索文化的同

83

CHAPTER

III

Diagramming

Some didactic drawings that begin to get into the point of the thesis. There’s a sort of overview, maybe one way of describing what I see on the wall. Statements and drawings exist in the same sketchbook, so they lie together here. The Punnett square diagram seems to help architects get their ideas straight, so I’m trying to use it as well. Mapping existences getting started... but it needs some work, I’ll admit it! Also included: some sketches for what the whole thing will look like. Near the end are images of one paper model to be constructed. More to be made, planning is already underway.

85

High

Mid-Brow

No-Brow

Low-Brow

High-Brow

reach Reach Low

Low

character

Character

High

Punnett Square diagram 2020 M. Maria

Punnett Square find High-brow: specialization for connoisseurs Low-brow: authentic folk products for specif ic communities Middle-brow: copies and adulterates high culture No-brow: high quality objects for everyone to access

As opposed to Dwight MacDonald’s term Masscult from the 1960s, which he defines as manipulated high and low. Objects are factory produced without innocation or care, expressly for the market, to please the consumer by any means. Masscult creates a society in which “a pluralistic culture cannot exist”, creating cultural homogeneity. An example: American Collegiate Gothic Revival architecture.

Janice Radway further posits on Middlebrow (originally created at the turn of the last century by someone else) that Middlebrow is in fact in defiance of avante-garde high culture, that it allows access to emotional and intellectual challenges of “good” objects.

87

“Pleasure is the motive and fantasy is the rule.” ___________ is the motive and ___________is the rule.

6a architects and Irénée Scalbert, in Never Modern

Profound Binary As the critic tries to describe a theory for a group of architects who have

chosen not to describe themselves in

such terms, she uses more relational

methods as she gets deeper. The binary seems to allow for this oppositional, comparative conceptual framing. I

think it’s not the right move because it is unproductively limiting, but it does make for some fun ad-libs.

Make up new rules.

89

“Tourism is a democratic use of space.” ___________ is a ___________ use of space.

Author

“Make it or break it.”

Make ___________ or break ___________.

Unknown

91

x 5

experience

4 3 2 1

life's end as we know it

birth infancy

childhood

adolescence

YA

adulthood

golden years

time self encounters w/ others possible

produced by the author

x 5

experience

4

possible existences A look into the nature of existence as

3

we live it. This diagram is getting at

2

relates to time and space. Building

what we experience and how that on a review of performance, how

1

we conceive spaces, offering a

contemporary reunderstanding of (co-)incidental experience. By birth

convening with others, we can

infancy childhood experience more existances than just

adolescence

our own.

time self encounters w/ others possible

93

Rule #1: No more inclusion by domination.

PHOTO PHOTO PHOTO PHOTO PHOTO PHOTO PHOTO

Big Statements It’s a weak position to speak only to those with less agency and pander on sucking it up, “keep calm and

carry on” attitudes that are truly

pedestrian. What small demands

we make of our captors! It’s a tired perpetuation of the patriarchal

boundaries imposed on us. If we aren’t all free, none of us are free. I commit to not embody harm by living the

same rulebook I was handed at birth.

95

Rule #2: Architecture is incomplete until it’s engaged by an agent.

Rule #3: Write a love letter to Architecture.

97

ISSUE

00

Models & Performances

99

1 fold

2

fold

3

template PHOTO for architectural PHOTO exquisite PHOTO corpse PHOTO (invented PHOTO by the author?)

PHOTO PHOTO

exquisite corpse Some say that a building is the architecture frozen in time, or

perhaps we could say... it’s died.

But for architecture to go on living, it is occupied with life. It seems

appropriate to play the old surrealist game with architects -- first person

draws section or elevation (or plan?)

into their segment, folds the page over so the next architect doesn’t see the contents, only the outline, repeat.

Sending this out to thesis students as a game to play together, although we aren’t able to convene in person.

Like chain mail, but enjoyable.

101

looking into the vitrine

Performance II Performances performed collectively and documented architecturally.

We are seeking something in

the spontaneous in the scene of

architectural production. This one has to do with interruption and alignment through repetition.

103

Performance II March 9, 2020 Max spoke with Ina on 3/3/2020, asked to translate the Thesis Statement between English and Mandarin.

Ina responded on 3/8/2020 that Ina had finished translating to Mandarin and was prepared to perform the reading on film.

Max set up at 6:30pm in Keck Hall at 960 E 3rd Street, Los Angeles, CA 90013 using a Canon 60D, AmazonBasics tripod, Tascam DR-40 with external Rode microphone, Manfretto tripod, DJI Mavic Mini, and iPhone 8Plus. All equipment was borrowed in advance, except for the iPhone, which belongs to Max. Max arranged SCI-Arc’s moving walls as to block

documentation of first performance before performance

visibility from passersby and contain the sound of the performance. Next, Max went to the studio on the mezzanine above to alert students present that a performance will be filmed below.

Ina and Max framed the shot using yellow electrical tape, marking edges according to the viewfinder of the 60D. Camera and field recorder tripods’ feet were taped to the floor using the same yellow tape.

The Mavic Mini was taken out of its travel box and placed on the ground at the ready.

Stopping camera and field recorder between takes, Max read the script in English while Ina read the script in Mandarin simultaneously.

Max and Ina read the Statement aloud in monotone with no volume increase.

still from drone film, axonometric perspective

still from drone film, plan

still from Canon 60D, take 2

still from Canon 60D, take 4

still from Canon 60D, take 8

still from iPhone 8 plus

1/2” = 1’ scale objects reproduced in PLA on Creality CR10s

final scene Some objects, images depicting proposal for space of final

performance in the fall semester.

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before

after

before

after

Rendered elevation

hotel Lorena Sited outside La Paz in Baja

California Sur, this land is owned by a client, who has no idea what to do with it. The whole region

is remote, and gorgeously vacant of most tourists, but has power,

water, and roads already paved

for a development that was never built. The site is reclaimed from a

massive scandal involving a Spanish infrastructure magnate. Mysterious.

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region, from Google Earth

area

as seen from the reef

near the sea

floating in the canyon

looking out to sea

perched in the canyon