Dislocating and overlapping primary geometric shapes rede昀椀ne spatial organization, fostering a dynamic and engaging environment. In an adjacent studio classroom space, designed for pin-up and exhibit purposes, separate primary geometries create distinct zones. Secondary shapes of varying sizes enhance diversity, forming niches and intimate areas while improving functionality. Larger perimeter elements establish functional zones and guide primary circulation, while smaller forms create niches, redirect corners, and frame views, shaping secondary circulation paths. The interplay of these geometries achieves a balance between openness and intimacy, resulting in a versatile and interactive space for users.
FROM CONCEPT TO DESIGN
Drawing was created by sun printing complex cardboard shapes. From there, the model adapts to the complexity created by the sunprinting.
RECONSTRUCTION
FALLS 2023 - ARCH 1001 - ARCHITECTURAL DESIGN I
It begins in a room bathed in arti昀椀cial light, 昀椀lled with arti昀椀cial voices, arti昀椀cial expressions, and arti昀椀cial applause.
As the dancer rebels against the arti昀椀ciality, the music grows increasingly distorted and disordered, fueling her movements to become more twisted, wild, and charged with energy—until she breaks through the fourth wall entirely.
Could this sequence, these overlapping frames of dynamic motion, be captured, deconstructed, reassembled, and transformed into a model that echoes the spirit of scenography?
A design where movement, distortion, and raw energy are immortalized in form. Back and forth, left and right.
First, enjoy Kenzo World. Then, explore how I distilled its essence into the model.
https://www.youtube.com/watch?v=NoMqvniiEkk
Three scenes are extracted, abstractly analyzed, and reinterpreted through compositional drawings, incorporating elements such as axis, symmetry, hierarchy, rhythm, and datum. SCENE ANALYSIS
COMPOSITION
Model transformed from 6 compositional drawing
REIMAGINATION
FALLS 2023 - ARCH 1001 - ARCHITECTURAL DESIGN I
Imagine this: instead of sketching, drafting, chatting, and working in a studio you know will be bathed in bright sunlight by 7 a.m., your faculty assigns you to a bunker in the basement, where sunlight barely touches your face. How frustrating would that be? How unfair would it feel?
You’d wish for a drill to pierce through the roof to the deepest level, carving a tunnel that channels sunlight all the way down. Slabs would transform into molten metal, fused together under the pressure of social urgency. Stairs would morph into slides, pulling down both sunlight and humans in a rush of energy and necessity.
Students, like dwarfs, slide through 昀氀oors on sledge-like slopes, nestle in oak acorn alcoves, and gather in spaces wrapped in tree-bark textures.
ALICE IN WONDERLAND
FALLS 2023 - ARCH 1001 - ARCHITECTURAL DESIGN I 04
REFLECTION
The Brick Country House is a renowned case study of the open plan concept. Imagine a model of its extruded plan, neatly enclosed in a thin glass box, with water poured over it from above. Unlike other architectural designs where water would eventuallyover昀氀owthebox-likeenclosureorgettrappedincorners,theBrickCountry House allows water to fully 昀椀ll the glass box, leaving no air for excess particles.
Thisraisesaquestion:Howcouldanartist’sstudiobeaddedtotheoriginalplanwithout compromising the concept of the free-昀氀owing plan? How can a functional element be integrated into a design fundamentally driven by non-functional spatial 昀氀ow?
The solution lies in tracing and separating the pre-assumed suggestive service and servant spaces. By doing so, “points” (nodes) and “lines” (connections) are created. The “lines,” consisting of glass galleries, seamlessly connect the “points” - the main building, artist’s studio, and a sunken chamber - tying them together while preserving the 昀氀ow. This approach ensures the new function integrates harmoniously into the design without disrupting the governing principles of the open plan.
Walls embody concepts. Platforms convey ideas. Galleries unveil insights. Water mirrors the environment. Chambers reveal the essence of the owner.
FORM FOLLOWS FLOW
REINTERPRETATION
FALLS 2023 - ARCH 1001 - ARCHITECTURAL DESIGN I
“How do you see the world? As a whole, or as fragments?”
Breaking perspective into fragments reveals a wealth of details often overlooked. Strangely, these fragments are not isolated but interconnected, forming a cohesive whole.
But what details? What details elude his bare eyes and can only be revealed through a gadget?
It is his face. The intricate details of his face blur when he tries to examine them closely, a result of his pupils’ physiological reaction. Because of this, he doesn’t truly know how old he appears—unless someone directly tells him that harsh truth. With the gadget, however, he can count every wrinkle and decide whether it’s time for a trip to CVS for some makeup.
Red represents personal assumptions drawn from distant or incomplete facts. White symbolizes personal experiences grounded in 昀椀rsthand facts. Dashed lines illustrate the fragility and tension between objectively objective observation and objectively subjective experience. COLLAGE
InspiredbyLebbeusWoods’drawingof theBerlinWallof Change,thearchitectural concept envisions a structure that responds dynamically to its environmentpoised to bring underground citizens, hidden from war, back to the surface the moment the USA or Soviet Union faltered in their power-driven pursuits.
It exempli昀椀es an immediate, decisive reaction to an objectively ruthless reality.
But as the architect ages, one might wonder: would he still trust the judgments he made in that mirror of his younger years? Would the clarity of his earlier convictions hold against the erosion of time, or would they blur like the 昀氀eeting re昀氀ection of his own face?
STUDIO II
PROMISE
As soon as you step inside the bellies of the parasites, you cannot get out. Initially, the interiors are so comfortable, almost as if they were meticulously customized for a typical human. You don’t want to leave, to return to the darkened stairs, weathered by the elements and worn uneven by time. This place is incredibly cozy; it’s wide enough to 昀椀t a dining table, spacious enough for one, even two or three people to sit together. And beyond that, the parasite’s belly is well-designed enough for an adult to slide from the top landing all the way down to the ground without a single scratch.
That’s how I’ve drawn it, though whether it gets built or not depends entirely on whether the contractor’s budget can handle the expense.
ITERATION
What could the space possibly achieve? Could it nest, providing pockets of intimacy and refuge? Could it interlock, weaving elements together into a cohesive whole? Could it complexify, layering dimensions to intrigue and challenge perception? Or could it elongate, stretching boundaries to create a sense of in昀椀nite extension?
AXONOMETRY MODEL
A real parasite comes to life, spliting and shifting sections
SPACES | SECTION
Communication, eating, resting... Those are the things a parasite will take away from this very staircase.
COMPROMISE
SPRING 2023 - ARCH 1002 - ARCHITECTURAL DESIGN II
“Right there, right there! This is what LSU is famous for!”
“Where, where? Where are the mounds?”
“Over there! Behind the fences!”
“Those two earthy bumps sticking out of the ground? Why are they fenced off?”
That, in summary, is the conversation I imagine having with a friend visiting from another school about LSU’s most iconic site.
No one, including myself before this assignment, truly knew what those two “earthly things” were. The oldest remnants of Native American history, their signi昀椀cance has faded, stripped of their historical value over time. This project aims to design spaces that, with the greatest effort, at least imprint on visitors the reality of the mounds. It’s a reminder that people once celebrated around them, buried their dead, their jewelry, and the essence of a culture extinguished by imperialism and modernity.
The mound was shaped by the Mississippi River, where the civilization of Native Americans blossomed centuries ago.
SITE PLAN
PROVOCATION
The intention is to demonstrate how space in昀氀uences visitors’ cognition and emotions as they move through and experience different environments.
A gallery designed to seamlessly blend shadow and light, creating an immersive and memorable atmosphere that deeply impacts visitors. The interplay of illumination and darkness enhances the spatial experience, guiding focus to the images and information displayed on the partitions. This carefully crafted environment ensures that what visitors encounter leaves a lasting impression, embedding the content in their minds long after they leave.
A passage, mechanically arranged, directs its gaze toward the mound. The bar, ironically, acts as a counterbalance to the fence, symbolizing resistance against gatekeeping preservation. As one steps onto a plate, it pulls a string, lowering the wooden bar. The mechanical sound, the rhythmic up-and-down movement, and the constant shift in perspective all work together to create a dynamic experience. This interplay aims to leave an impression, something meaningful and lasting, on those who step onto the platform.
B - UNIT
STUDIO III
PATH TO NOWHERE
You wake up to 昀椀nd yourself on a PATH. To the east, you do not see its end. A silhoutte sits at the intersection of the PATH and the horizon to the west. As you approach, the dark pro昀椀les gives way to layers of shadowns and you become aware that the PATH, unbroken and determined, pierces through the monolithic
MASS. Continuing, the Mass gives way to volumes - carved moments for rest, discussion, and wonder - each space interacts with others and the continuous PATH. Paying greater attention, niches for coveting precious things and space for tasks that need accomplishing. At several moments, the sun slices through the heavy mass with contrast that demands attention; while within others, metered framing allows the space you are in to seemingly disintegrate into the world beyond. Having enjoyed your walk, you wake again ... this time at your desk.
Overlapping literal and phenomenal transparent layers de昀椀ne functional spaces, as well as tectonic and stereotomic elements, creating a cohesive and multi-dimensional design.
SEQUENTIAL SECTIONS
A series of 10 sketches explores smooth transitions and variations in section, aiming to establish a 昀氀uid and dynamic spatial progression.
FORMATION | SECTION | PLAN
Wood represents tectonic elements, while plaster symbolizes stereotomic elements. The design features tectonic structures wrapped by four plaster monoliths, dividing the path into three distinct parts. Each segment, governed by its de昀椀ning elements, creates a spatial sequence moving from left to right Discussion - Tasks, Wonder - Coveting, and 昀椀nally, Rest.
STAIR TO NOWHERE
The critique space is the de昀椀ning element of an architecture school’s identity, serving more than just a venue for receiving feedback — it is the crucible where new ideas are born and shaped. Far beyond its role as a platform for evaluation, the critique space is a playground that at the same time encourages and challenges innovation and intellectual exploration. Here, students present their concepts, engage in constructive discussions, and re昀椀ne their designs through the exchange of diverse perspectives.
What elevates this experience further is the seamless integration of the critique space within the stair — a seemingly ordinary architectural element that, when intertwined with the act of critique, takes on a profound signi昀椀cance. The dislocation of the horizon line with each step, the gradual ascent or descent, mirrors the intellectual journey of an architecture student. Each step is a shift in perspective, a disruption that stimulates thought, offering new angles from which to view and interpret ideas.
L Free-昀氀oating landings, with no de昀椀nitive 昀椀nal destination, serve dual purposes: a pilgrimage path for devotees of the religion called architecture or a casual spot for friendly lunchtime conversations.
FORMATION | SECTION | PLAN
M
LANDINGS
The landing serves as a resting stop for devoted pilgrims on their journey to seek truth or as a space for critique sessions, both formal and informal.
M
LANDINGS
It also stands as a showcase of an architecture school’s 昀椀nest work: intricate models, millimeter-precise technical drawings, and projects infused with a rebellious spirit challenging an outdated architectural education system.
S Landings, steps, and staircase directions can be 昀氀exibly adjusted for diverse purposes, from religious ceremonies and educational practices to personal branding platforms.
DETAILS
S
ASSEMBLY
Stacking joinery creates gaps between parallel horizontal elements, serving as hanging bars for drawings or adaptable spaces for various components, depending on the project’s ambition and the architecture school’s openness to experimentation.
The client—a dinosaur-bone assembly expert—intends to use the gallery to arrange and showcase his collection before curators bid to acquire pieces for their museums.
He owns two adjacent lots, A and B, separated by a 15-footwide alley. Building B, a machine shop, requires minimal renovation to meet his needs. However, Building A, originally a warehouse with only a skeletal structure of posts and beams remaining, is where the transformation unfolds.
For the sake of showcasing the bones, the existing structure must remain untouched. The design should also re昀氀ect his deep admiration for the intricacy of bones, blending functionality with an expressive architectural homage to his passion.
PROVOCATION
What if the design allowed not only the bones but also the spaces themselves to become part of the museum’s collection?
XL A grid system is implemented to serve multiple purposes: de昀椀ning secondary columns, structuring experiential sequences, establishing a pattern for removable partitions to adapt to exhibition or commercial needs, and creating dynamic shadow and light patterns imprinted in the space.
GRID SYSTEM | UNDERLYING GEOMETRY
INITIAL SOLID - VOID PLAN
As one moves upward, the heavy poche diminishes, giving way to an open space where “the love for bones” takes center stage.
UNIT GENERATORS
L Starting from fundamental inputs, the intricacy evolves by merging scales and combining the complexity of generators.
UNIT COMPOSITION
M The results are combinations of generators, forming spatial elements essential to the building’s function: underground spaces, partitions, catwalk systems, private zones, structural components, roofs, and skins.
for gazing, a place for exploring, for navigating,for getting lost, for transcending, for wandering,
for wondering, for praising, for adoring, for realizing for contemplating, for appreciating,for possessing,
EVENT SPACES
S Consequently, the complexity of each unit generates a rich combination of moments, creating an experience akin to moving through scenes of a movie. Perhaps the spatial conditions evoke memories of Jurassic Park (1993)?
