Sachio Badham 2021 Architecture and Design Portfolio

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PORTFOLIO

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ENJOY!

*Contents

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Professional Work Thesis Comprehensive Studio Green Lakes Education Lab Near West Community Arts Center Casa Copan Extracurriculars

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[P.2]

*Resume 01_Info Name: Sachio Sampaio Badham Email: sachiob@gmail.com Phone: +1(805) 453-3537 Citizenship: USA+BRASIL Languages: ENG./POR./SPA./some IT 02_Work Maurizio Bianchi Mattioli NYC Freelance 2021.

Directed and completed representation of several past and current projects for press and website publication (restaurants, bars, private homes, apartment complexes, furniture, industrial objects).

WORKac NY Junior Architect Winter 2020.

Worked solely with Maurizio Mattioli on a mixed-use development in Lebanon. Researched, developed, and visualized masterplan including hotel, restaurant, several villas, duplexes, triplexes, communal space and access to adjacent ski slope.

OMA NY Intern Summer 2019.

Post Houston team member. Proposed and visualized designs for experimental lobby space, hidden club, and the adaptive venue. NYC Tower winning competition team member during final design crunch.

Worked closely with colleagues on representing and constructing several models of differing materials and scales integral to competition entry.

OMA/AMO Rotterdam Intern July 2018 – Jan 2019.

Wafra Tower winning competition team-member. Iteratively designed and modeled digitally + physically the winning entry along with our team of 6. Visualized (photographed, rendered, and illustrated) the entry throughout all stages of development.

Prada team member. Helped develop 2019 SS PRADA Cartesian Theatre. Assisted the design and piloted the logo of the Prada Invites book.

Private villa schematic push. Collaborated with Federico Pompignolli on weeklong design push directed by Koolhaas. 3d modeled at pace and iterated with haste on overall form, material, and interior conditions of a developing villa in an undisclosed location.

Tighe Architecture LA Intern Summer 2017.

Tighe Monograph Designer. Assisted with the development of the book.

Redrawn Exhibition Modeler. With others, 3d modeled, 3d printed, hand cut, laser cut, and assembled models for the exhibition.

Syracuse Architecture TA Undergraduate Representation Teaching Assistant 2019.

Provided drawing/design lectures and assistance.

Studio Alpha Tutor Portfolio & Personal Statement Tutor 2018-Present.

Advised Chinese students in their European and American Architecture graduate school applications. Helped construct their profile to bring out their greatest strengths and ensure consistency across their applications. I advise 3-6 students from September through February, annually.

Set Design Visualization Visualizer and Designer 2021 Nicholas Des Jardines. Visualize and assist in designing sets for Dior, Spotify, Johnnie Walker, Revlon, Saks Fifth Avenue.

Kyle Kinsella. Visualize artifacts for a set for undisclosed music video.

03_Education (1) Syracuse Architecture (BArch). 2015-2020.

Thesis Honorable Mention 2020 King & King Comprehensive Studio Finalists 2019 Portfolio Design Winner 2016 (2) Santa Barbara Community College (SBCC). 2012-2015.

Enlisted in mainly drawing courses in preparation for transfer.

(3) Ventura College. Spring 2014.

Took architectural drawing courses to check my architectural aptitude.

*PROFESSIONAL WORK OMA/AMO Summer, Fall 2018 + Summer 2019 Rotterdam + New York Various Projects

I worked two different sessions at OMA -- 6 months in Rotterdam and one summer in New York. In Rotterdam I was a 3 month member of the Prada team, worked collaboratively with Rem Koolhaas and two others on a private project for a short design push, and then joined two competition teams. In NY I worked on POST Houston for most of my time, and two competitions. As you can imagine, the tasks were varied.

AMO

*Real Fantasies collages completed by me [P.6]

AMO

*Work for the 2019 SS show and graphic proposals for digital marketing + trailers for accompanying collection. (Top not my photograph. Bottom mine.)

AMO

*Prada Invites book including profiles on 3 leading female designers each who submitted designs for the collection. I designed the logo.

[P.8]

OMA Rotterdam

*Wafra Tower winning competition, interior render + cutaway axon. Both my work.

OMA New York

*Post Houston collage + research diagram. Both done by me [P.10]

*PROFESSIONAL WORK Maurizio Bianchi Mattioli 2020+21 NYC Representational Work

After working at WORKac for two months during a design push working one-on-one with Maurizio on a project in Lebanon, he hired me to make presentation drawings for all his past and current projects. There was to be some kind of cohesion across the diverse programs he worked on, but our approach to each drawing depended entirely on its emergent character. We did this over the course of several months, and then transitioned to designing new things.

*dl 1961 Showroom Plan Oblique [P.12]

*(Left row) Her Name Was Carmen drawings (Middle) Table dia

agrams. (Right) Valencia apartment axon, Soho bathroom plan-oblique [P.14]

*PROFESSIONAL WORK Tighe Architecture Summer 2017 Los Angeles Various Projects

My primary tasks at Tighe corresponded to the exhibitions held in August, *ReDrawn. This consisted of 3D printing, laser-cutting, and modeling the complex geometries of 12 of the firms important conceptual and built projects, in collaboration with my colleagues. I was also involved with producing renders and submitting proposals for clients, preparing award-submittal drawings, and designing the Tighe Architecture monograph; yet to be released.

*Private Home Iterative Renders [P.16]

*Rhino, Maya, and Grasshopper were used to coordinate the structural feats of these mostly unrealized building projects. The several month modeling process necessitated extensive coordination between fabricators, bosses, gallery coordinators, and the Tighe team. This experience was my first delving into the world of 3-dimensional complexity.

*The 12 models were built using vast fabrication techniques, including 3d printing, casting, laser cutting, and welding [P.18]

*THESIS Spring 2020 Advisors: 1. Britt Eversole 2.Julie Larsen Location: Siteless, Discursive Six Sickly Schemes Challenge Six Symbols Honorable Mention Thesis AWARD

The clock struck 6 (am). Battalions of self-conscious men and women were spotted limping home from work – draped in black camouflage oozing droningly bleak, intellectualized pessimism to every living, breathing creature within their reach. They could not help it, the institution where they studied had set a benchmark for the upper limit of what they imagined they could produce. There, they acquired a foundationally glum disciplinary outlook. Just then, a blow from above! Like a bolt of lightning to the heart of the establishment, a horde of BUZZING, GALVANIZED kids appeared to strike new electric vigor into the hearts of what appeared otherwise dead corpses! Energetic, loud, bombastic, insolent, unapologetic, uplifting, and mutational! Suddenly, they were unafraid of being wrong.

They were unafraid of being misunderstood. They did not conform to any previously understood typological category. Their sources were vast, and their product was unnamable. They flourished about some in-between space, gathering insight from humanity’s greatest works from all corners of the universe, with no prejudices whatsoever. How could they, and how dare they! What were they actually doing?

They drank coffee until the sun rose. They slept sitting up or curled into the corners of their rickety desks. And as they worked together, an idea formed, not only of what they were against, but of what they were wholeheartedly, undeniably FOR! As their maiden declaration to the world, they presented SIX CHARACTERS based on SIX ICONIC BUILDING PRECEDENTS to act as spokespeople for the new building-project. They conversed with their ancestors through perversion, committed larceny by trick. They acknowledged the artifice of their making. They saw precedent as non-genealogical geometric bodies that harbored mutinous feelings toward their makers. They channeled global inequities to derive poetic tension, which, in turn, infused every element of their world, with nothing too small or insignificant for their maximum inspired attention.

Like baroque architects, they believed that beyond the body’s obvious reality lay a deeper, richer reality for the eye.

And so, they made their markings orthographically at first, abstracted melodramas playing out in plan, section, and elevation, only to be elaborated further in digital space. They had arrived to reintroduce painterly effect in the digital age.

And so, their work remains ever relevant today as as it was at birth, because they were not envisioned as mere buildings, they were imagined as living, breathing characters!

SIX, SICKLY, SCHEMAS, scale-less and heretical, premised on the idea that citation is fundamentally unavoidable when we have so much data thrown at us from all angles, and so we capture citation and freeze it in flux. Why? We are sick of fake honesty, of earnest pretense and the serious ridicule of the concrete box.

Our characters have convoluted tendencies! They are on the brink of movement. Strengths, weaknesses, motivations, fears, even a fictional presence! As part of their notability, they each have an iconic silhouette and a trading card to pair, just like Pikachu. Stick them in your hat. Stick them in your pocket. Stuff them in your books. Trade them and talk about them and tweak them to your heart’s content. They have arrived to construe an architecture that might inspire the kind of excitement that fictional characters in card games, video games, cartoons, literature, and sports bring to a broader public – boundlessly larger and farther reaching than the architecture community alone. . . . .

Each of them was imagined by answering three questions. First, what are the motivations behind the precedents they sourced – a typical discursive situating of each project, made ACTIVE. Second, what happened to the precedent when it was updated and transcribed to become a member of this founding suite of characters – in other words, what claims did the architect make that now lie flat, or were perhaps just not delivered in bold, and how did the character evolve in response? Third, what is weaponized?

What latent arguments could be elevated far beyond utility, made explicit, graphic, and contemporary?

[P.20]

It was then — seeing what they had started, seeing what they had thrown off, including their dead black camo, seeing what awaited —, that they bolted from their blocks of cynicism to lay claim to the world. Their colors twinkled and their details gleamed!! They were as unforgettable as those fictional characters that we, children across the world, had fallen asleep dreaming to since the beginning of time. They declared that, in the pursuit of bringing to life breathtaking visual experience, no art was warranted the potential power of architecture. A HIGH-POWERED COCKTAIL OF EVERY GREAT CONTRIBUTION THEY COULD GET THEIR HANDS ON… The

PULSING,

SEETHING,

With electrical burns and a fresh membrane of skin and clothes and sleek garment(s), they had shed what once was. As they emerged, they carried not banners, but sharpened pens, highlighters, crayons, and blade-like minds. Plastic clad in lurid hues, they soared toward an apocalyptic end.

They represented the world they had come to make.

1_RRR

2_ALL

3_BNB

4_TFT

5_BBB

6_PPPP

*Character Preview [P.22]

BuT wHy ArE yOu MaKiNg ChArAcTeRs? Because we like it. Because it is more fun. Because we are in school and we are supposed to be imagining exciting future versions of this earth. We want to make that bold, strident, striking world we glimpse occasionally, though rarely, in studio. We want to learn how to do all things, use all colors, take on all forms, and once we do, or die trying – shout out 50 – we hope to go down infecting the globe with our pleasure.

Because when you make characters, they need not manifest as any one, nameable thing. When you make characters, they can become shoes.

They can become a skateboard. They can become a building. They can become your White. Picket. Fence. The making of character is

not confined to known conclusions. Anything and everything can have – can BE character. There is no one way. But here, we focus on how to make persuasive, intense, vibrant, believable characters, with style, out of architectural concepts. Explode your mind, tear off the constricting door to unhinge your imagination, and you will see that beyond this application, these ideas see no end… …at least, for now!

Because characters are living. They are more like us. Perhaps they are even more than us. They are complex in ways that buildings are not, and much, much more interesting. Also, they are easier to sell. If you make a suite of characters, they follow a stylistic theme. As a group they could be: a) your artistic signature, each character (building) you make as a part of your unique though ever-evolving career-long vision of the world, b) the set of components you contribute to an architectural work – spatulas, pillows, walls, door hinges, and archways, or c) alter egos which suck binary code, of otherwise highly practical, utilitarian work, and even d)! - ALL OF THE ABOVE. They can multiply on the internet. They can be printed as cards. They can become physical, but we expect they will leave a disgusting, digital trai101110110100100111100000001100101 101001. Damn you, if they were analog this never would have happened!

It was, until this damned pandemic arose. And it will be, again, soon.

If we don’t make character, everyone else will. And they have been. We just weren’t really looking.

So now, finally, I introduce to you, without further ado, THE ELECTRIC SUITE – perhaps brilliant, perhaps ridiculous. A set of counter icons, mostly irreverent. They breach from the best, quickly forgetting their sources while streaking for punctuation with every added ingredient.

Together, concocted with elite knowledge of proportion and the psychological effects of color, shape and material, they strike deep chords in our hearts. ***They personify Kant’s suspension of judgement, adopting certain aesthetic sensibilities which encourage indeterminate forms of

engagement and relations between parts (like toys, games, and machines for instance). They encourage the user to follow lines

of tension from place to place, invoking infantile curiosity upon any willing thing. Further building upon this pursuit, they come in plastic, and so they are reflective and transparent and always changing and never the same.

They are, hopefully, impossible to fully know.

*Artifact graveyard.

Ultimately, this founding suite approaches some apocalyptic end, or beginning(?). Each character reels us in and cyber melts our conclusions.

It takes color shape and form by a stronghold and reasserts it for pleasure. Digital life saving devices, baby games, even architectural, they arrive in a shimmering plastic polish, quasi mannerist…

SB

FORMAL 1

Every character is directional. They are set for movement.

Like most characters you know of, they also have a recognizable front, not necessarily one with doors or a patio.

Their constituent parts gravitationally play off the guiding force.

2

Each character engages in a distinct play on color.To test symphonic limits, everything has it. It varies from drawn out gradients to monotone canvases to shrill accents announcing ends of lines and ideas.

3

In pursuit of vivid formal communication – extra utilitarian articulation, shall we say ornament – is added to joints and entries and key notes of the composition, like capitals on columns.

L TENETS for an electric creation 4

Like strings of abandoned concepts, chains of reaction, marking points of entry of structural paths, embark on sequences from recognizable to abstract geometries, disrupting our rationally expected ends...

5

Mike Kelley on Pollock stated that what makes his compositions work is that they are ritualistically contained – if they went on into eternity, they would be chaotic. In this suite, walls, curtains, and other impeding devices erect themselves to heighten the festering intensity of the sonatas lurking behind them.

6

Each composition is drawn orthographically. Rather than push and pull form in scaleless digi-space, we deliberately draw out, in brooding detail, cosmological compositions.

[P.27] *Collector’s Card

1

Character Winton Guest House - Gehry

Red Rage Reggie(RRR) resembles a rainbow pinwheel amoeba with four robot armatures gathering around one celestial core, congregating beneath a collective circus tent where the armatures fulfill their wildest formal fantasies.

[P.29] *Collector’s Card

2

Character Wall House #2 - Hejduk

Alluringly Lazy Lucy

oozes her indifferent hejdukian curvilinears upon a grand, sculptural stair, while only a fossil of the previously triple stacked volumes remains visible on the wall.

[P.31] *Collector’s Card

3

Character Villa Savoye - Le Corbusier

Brand New Bob

erects dramatic drawbridge technology to elevate and detach from a toxic outer world.

[P.33] *Collector’s Card

4

Character Venturi House - Robert Venturi

Two Face Tammy

is driven by the contradiction, with red herrings and recognizable citations marking a path between worlds.

[P.35] *Collector’s Card

5

Character Bordeaux Villa - OMA

Baby Blue Bonanza

engages in complex flight tactics to defy the supressing tendencies of “the box”.

[P.37] *Collector’s Card

6

Character Firminy - Le Corbusier

Paul’s Prple Prty Place

is fundamentally a glowing lantern, emanating light outwards to offer an even more inviting inner cosmos.

*COMPREHENSIVE STUDIO Spring 2019 Advisors: Professor Kamell Location: Clayton, NY Program: Thousand Islands Boat Restoration Facility ALL WORK DONE COLLABORATIVELY WITH PRERIT GUPTA, IN THE COMPUTER LAB, SITTING NEXT TO ONE ANOTHER.

This facility is organized to accomodate long spans for boat restoration processes. A residential tower housing mentors and students conducting traineeships commences a highly articulated tectonic sequence through boat workshops, ultimately landing in a conical gallery/lookout point, suspending the academy’s finest water crafts.

The organizational strategy is linked to the structural concrete fins which allow for the open spans and public viewership into what is typically a private space. Influence was drawn from from the cast concrete members of Michelucci’s San Giovanni dell’Autostrada and Luigi Nervi’s Flaminio Stadium, as well as the rhetorical languages of Wes Jones, Neil Denari, and others of that contingency. The result is something of a torqued spiritual structure, with roots no doubt embedded in the exploratory excersizes which kicked off the semester. This building is on the brink of buzzing into the depths of lake Ontario above which it sits. In hindsight, this was a key project in the development of the formal tenants chronicled in my thesis, one semester later (see tenant 1, page 6).

*Exploded tower [P.40]

*Exploratory Sketches [P.42]

*Physical Model of a module

*Site Plan [P.44]

*Tectonic axon [P.46]

*Long section-perspective [P.48]

*Short section-perspective [P.50]

*Plan, detailed section, and mechanism diagram [P.52]

*Detailed short-section [P.54]

*2ND YEAR STUDIO_B Green Lake Lab Spring 2017 Advisors: Professor Krietemeyer Location: Syracuse, NY Program: Education Lab

Being located at the midpoint of a steep site overlooking Green Lakes in Syracuse, New York, this project serves as a continuation of the hiking path over which it sits. The threshold between public and private, internal and external, are effectively erased. The projects greatest spaces can be enjoyed entirely without infringing upon the activities of the private programmes within. In an effort to mimmick the experiential quality of the preceeding hike, the sequence of approaching and entering the building consists of a series of exagegerated light and dark spaces. Transparencies are created as the building contorts out from landscape, walls and floorslabs conflict, creating a sensually rich sequence of events.

*Final physical model [P.56]

*Abstraction

*Plans [P.58]

*View from top [P.60]

*Short section-perspective [P.62]

*View from across lake, and beneath

*View from Reserve Shelter [P.64]

*2ND YEAR STUDIO_A Near West Community Center Fall 2017 Advisors: Professor Stenson Location: Syracuse, NY Program: Community Arts Center

A bar rests atop a mound. The bar, elevated and ordered, recalls the industrial past of the building site. The mound stays rooted in the park on which it is built, rising to provide programmatic space beneath. The mound is divided into strips, each strip corresponding in section to the proximity of the bar above. The circulation of the gallery is dictated by the height of the bulges, stimulating sinuous movement throughout the space. Above, the roof is traversible, covered in vegetation. It serves as a continuation of the park, funneling circulation towards the center of the building. The bar bends above, forming a void which creates a center, accessible from all directions, framed by its natural and constructed elements.

*Progress drawings [P.66]

*Each strip responds to the proximity of the bar above it. circulation of the gallery space beneath it is directly informd by the height of the bulges above.

INDUSTRIAL BAR and CUTOUT INDUSTRIAL BAR and CUTOUT INDUSTRIAL BAR and CUTOUT

TERRAIN. Vegetated roof. Traversible.

TERRAIN. Vegetated roof. Traversible.

TERRAIN. Vegetated roof. Traversible.

C1: Cafe to main entry

C5: Industrial Fragment C5: Industrial Fragment

circulation

C2: From Tioga st. under andCafe through building C1: to main entryto park C1: Cafe to main entry C2: From Tioga st. under C3: Gallery Circulation C2: Tioga st. under andFrom through building to park andFrom through buildinginto to park C4: landscape building center C3: Gallery Circulation C3: Gallery Circulation C4: landscape into building C5: From Industrial Fragment C4: From landscape into building center center

GROUND LEVEL. Grass terrain, walls which support landscape above, “plastic” concrete fragments GROUND Grass terrain, articulatingLEVEL. entry, and bearing walls GROUND LEVEL. terrain, walls which supportGrass landscape providing structure for above fragment. walls which support landscape above, “plastic” concrete fragments above, “plastic” fragments articulating entry,concrete and bearing walls articulating entry, and walls providing structure for bearing above fragment. providing structure for above fragment.

Main Entry Cafe ASPHALT. Same materiality as the sidewalk itself.

program

Main Entry Gallery Main Entry Cafe Library Cafe Gallery Classrooms Gallery Library Studio’s Library Classrooms Classrooms Studio’s Studio’s

ASPHALT. Same materiality ASPHALT. Sameitself. materiality as the sidewalk as the sidewalk itself.

Center of Importance COHESIVE FORM. Symbolising the industrial edge condition and order COHESIVE FORM. industrial of the neighborhood’s COHESIVE FORM. Symbolising the industrial past, the gridded-bar sits atop another Symbolising theand edge order rooted in the piece,condition one that isindustrial instead edge and of thecondition neighborhood’s industrial landscape of the siteorder itself.

The orientation of of thethe neighborhood’s industrial past, gridded-bar sits atop another these two pieces creates a literal center, a public past, the gridded-bar sits atop another piece, that is instead in the space one accessible from all rooted directions. piece, one that is instead rooted in the landscape of the site itself. The orientation of landscape of the site itself. of these two pieces creates a The literalorientation center, a public these two pieces creates a literal center, a public space accessible from all directions. space accessible from all directions.

markers

“Plastic” concrete insertions signifying cafe and main entry Center of Importance Center of Importance “Plastic” concrete insertions “Plastic” signifyingconcrete cafe andinsertions main entry signifying cafe and main entry

*Program diagrams [P.68]

*Perspective + final model

A

industrial bar

B

vegetated roof

C

ground level

D

continuation of sidewalk

E

cohesive form

*Tectonic axon [P.70]

BAR

*Abstract drawing

*First and second floor plans [P.72]

*Short section-perspective [P.74]

*View from within gallery bands [P.76]

*PROFESSIONAL WORK isa y sachio Ongoing Project Location: San Pedro, Copan, Honduras Program: Private Home In Collaboration with Isabella Calidonio

*Schematic Images As such, colors, materials, and roofs, are in a state of flux.

This is a private home nearly finished with schematic located in a small country-town in Honduras. The bottom left L, visible in plan, was our clients’ childhood home. The exterior walls and adobe roof will remain as they were, and extend prosthetically about the newly proposed buildings which complete the U around the courtyard. Access to those buildings is provided by a long promenade, with prototypical arched “frames” punched out of walls to provide interstitial semi-private gardens to three lucky rooms. The main actor, the primary bedroom, is at the heart of the project. A one-lane semi-olympic sized swimming pool practically commences its act within the the room at the centralized bedframe, moves out beyond the four 4’x8’ glazed doors, literally begins shaded beneath the roof jut, breaches the courtyard, and finishes at pool storage, funnily enough, a stand alone punctuation (you decide what kind). Isabella’s room is another space worth mention. It is marked by a geometric rationale now nearly extinct from the project - the quadrant. The room is split into four. It is practically an insular condition, besides its relation to the adjacent garden.

*Old painting of existing home [P.78]

*Schematic axon

*Panoramic *Schematic Image plan [P.80] [P.81]

*Schematic view of primary bedroom side-garden

*Schematic view of existing space renovated* [P.82]

*Schematic view of courtyard [P.84]

Interstitial garden(s)

Isabella’s room.

A quadrant.

The beheamoth is curtained to hide an unforgiving feature on its face - its’ forehead is much too large. There is no current solution.

Custom furniture (one of several)

Primary BR Curtained Behemoth.

...a view from within

Photographs of site and adjacent conditions.

Old house

One-lane semi-olympic-sized pool.

Variations on pool, storage, and adjacent space

*Explanatory and archival view of courtyard [P.86]

*EXTRA-CURRICULARS Ongoing

The images on the following pages range from expired thesis concepts to recent sketchbook drawings. They are included to provide alternative, less polished context to the rest of the (mostly) finished work in the portfolio. All associations welcome!

*The First Card [P.88]

*EXPIRED THESIS WORK

*Thesis-Prep model and earlier drawings

*Thesis-Prep model [P.90]

*RECENT OBJECT WORK

*Sconce concept sitting on Red Shelf

*Slightly tapering red shelf and entry [P.92]

*RECENT PENCIL WORK

*Graphite drawings [P.94]

*SACHIO SAMPAIO BADHAM

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4 53 .

7 5 3 3 sachiob @gmail .com

THANKS!