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Jeisler Salunga Academic Portfolio


Jeisler Salunga 32545 N. Forest Dr. Grayslake, IL 60030 / 224.406.1284 / jeisler.salunga@gmail.com education University of Illinois at Chicago | Aug. 2009 - May 2013 -Bachelor of Science in Architecture -Cum Laude -Deans List (‘10, ‘11, ’12, ‘13) -High Departmental Distinction academic experience Skills: -Four years of Design Studio -Coursework in Architectural Theory, Technology, and Art History -Model Building to scale and 1:1 (physical and digital) Software: -Rhinoceros 4.0 -Grasshopper -V-ray for Rhino -Adobe Creative Suite (Photoshop, Illustrator, Indesign) -Autocad -Google Sketchup professional experience 4240 Architecture, Inc | Nov. 2012 - July 2013 -Intern | Various Projects; model building, full scale mock-up, technical drafting, material presentation, furniture package Design with Company | Aug. 2013 - On call -Assistant | design and built exhibit for Archizines (touring magazine exhibition) Norman Kelley | April 2013 - On call -Assitant | model/installation building, “NAWT Baloons,” “Shape Shape Evolution” (faculty exhibition and play structure) Extension Gallery for Architecture | Dec. 2010 - On call -Intern | “Changing Room,” Easton + Combs installation, previous installation inventory, grant resarcher, installation placement drawing ƒ™ƒ”†•Ϊƒˆϐ‹Ž‹ƒ–‹‘• Work featured, “Stand-Up Hotel,” on cloudwatching.net | Sep. 2013 Student Representative to UIC, Student Recruitment | June-Aug. 2013 Participant in Possible Mediums Conference, with Angie Co | Feb. 2013 Elected Student Advisory Board | Sept. 2012 - May 2013 Vice President to Arquitectos | Aug. 2012 - May 2013 Speculator to Department of Urban Speculation | Aug 2012 - May 2013 Studio Blogger to Fresh Meat | Aug 2012 - May 2013 UIC-SoA Year End Show 2012, “Urban Intimacy” | May 2012 UIC-SoA Year End Show 2011, “Unintensional” | May 2011 UIC-SoA Talent Tuition Award | Fall 2011-Spring 2013 INOMA Scholarship Recepient| Dec. 2011 academic contacts Thomas Kelley - tjkelley@uic.edu Stewart Hicks - hickss@uic.edu Robert Somol - somol@uic.edu


Academic Work p. 01 : The Stand-Up Hotel p. 11 : Exactly Wrong p. 17ǣ”‘‰”‘ϐ‹Ž‡ p. 25 : Urban Intimacy p. 35 : Unintensional p. 45 : Pop-Up p. 55 : Zinery


Stand-Up Hotel UIC SoA | Critic: Stewart Hicks | Spring 2013 —ƒŽ‹–‹‡•‘ˆƒ–ƒ†’‡•™‡”‡–”ƒ•Žƒ–‡†‘–‘–Š‡–›’‡‘ˆ–Š‡Š‘–‡Ž™Š‡”‡ƒ”–‹…—Žƒ–‡†‘„Œ‡…–•†‡ϐ‹‡ their containers both programmatically and spatially. The rooms of the hotel are separate from their surroundings and offer individual experiences through their high articulation of space as well as giving its guests an opportunity to indulge in what the rooms or ‹†‹˜‹†—ƒŽ…‘–ƒ‹‡”•Šƒ˜‡–‘‘ˆˆ‡”Ǥ –‡”‹‘”‘„Œ‡…–•†‡ϐ‹‡–Š‡•’ƒ…‡•‘ˆ–Š‡”‘‘„›‡‹–Š‡””‡•–‹‰‹–Š‡ middle or by subtracting itself from the walls. These part-to-whole relationships scale up and a tower ”—•„‡–™‡‡–Š‡”‘‘•†‡ϐ‹‡•‹–•…‘–ƒ‹‡”„›‰‹˜‹‰–Š‡Š‘–‡Ž‹–•ƒ‡‹–‹‡•Ǥ Š‡—‹“—‡ϐ‹‰—”‡•‡–…Š‡†‘–Š‡ˆƒ…ƒ†‡†‡•‹‰ƒ–‡†‹ˆˆ‡”‡–’”‘‰”ƒ••—…Šƒ•…ƒ•‹‘ǡ…ƒˆ‡ǡƒ†’‘‘ŽǤŠ‡ Š‘–‡Ž‹•…—”ƒ–‡†ˆ‘”–Š”‡‡†‹ˆˆ‡”‡––›’‡•‘ˆ’‡‘’Ž‡ǣ–Š‡’‡”•‘™Š‘Ž‘˜‡•–Š‡…‹–›ǡ–Š‡’‡”•‘™Š‘Šƒ–‡• –Š‡…‹–›ǡƒ†–Š‡’‡”•‘™Š‘Ž‘˜‡•‹–•‘—…Š–Šƒ–Š‡Ȁ•Š‡†‘‡•ǯ–™ƒ––‘”—‹‹–Ǥƒ…Š’‡”•‘‹•ƒ„Ž‡–‘ ‹–‡”’”‡–ƒ†—•‡–Š‡Š‘–‡Ž–Š‡™ƒ›–Š‡›•‡‡ϐ‹–Ǥ Project Recognition: *Featured on cloudwatching.net

01 | Stand-Up Hotel


Stand-Up Hotel | 02


fig 1. Shelf

fig. 3 Acorn fig. 2 Finial

fig. 2 Part

fig. 5 Bead

fig. 3 Bead

fig. 4 Cove

fig. 6 Ball foot

fig. 7 Lathe

fig 1. Spindle Leg

Stand Up Desk Analysis | Stand-Up Hotel | 04


Section Details | Stand-Up Hotel | 06


Gold is Glamour

Solitary Tranquility 09 | Stand-Up Hotel | ‘‘š’Ž‘”ƒ–‹‘•


A Room for One ‘‘š’Ž‘”ƒ–‹‘ȁ Stand-Up Hotel | 10


Exactly Wrong UIC SoA | Critic: Thomas Kelley | Fall 2012 To understand what “Exactly Wrong” architecture is, one must study the absolute right. For some a •Ž‹‰Š–ϐŽƒ™‹•‡‘—‰Š–‘’”‘†—…‡ƒ™”‘‰ǡ™Š‹Ž‡‹–ƒ›„‡ƒŽƒ”‰‡–”ƒ•ˆ‘”ƒ–‹‘–‘’”‘†—…‡‹–Ǥ Š‡ˆ‘ŽŽ‘™‹‰™‘”•–—†‹‡•ϐ‹˜‡‘„•–”—…–‹‘•ǡ ŽŽ—•‘”›ǡ…ƒŽ‡ǡ‡’‹–‹–‹‘ǡ‘–‡š–ǡƒ†”‘‰”ƒǤƒ…Š ’‹‡…‡ƒ––‡’–•–‘’”‘†—…‡ƒ…Ž‡ƒ””‹‰Š–ƒ†™”‘‰ǤŠ‡•‡‡š–”‡‡•ƒ”‡•—„Œ‡…–‹˜‡–‘–Š‡‘‡…‘†—…–‹‰ –Š‡•–—†‹‡•ǤŠ‡™”‘‰—•–„ƒ”‡–”ƒ…‡•–‘‹–•”‹‰Š–ǡ‹ˆ‹–‰‘‡•„‡›‘†–Š‡–”ƒ…‡ǡ‹–„‡…‘‡•ƒ‡™‘„Œ‡…–Ǥ

ȗ’”‡…—”•‘”–‘”‘‰”‘ϐ‹Ž‡

11 | Exactly Wrong


‘†‡ŽŠ‘–‘‰”ƒ’Š•ȁExactly Wrong | 12


Be comfortable in your own skinǣ„—‹Ž†‹‰–Šƒ–Ž‡–•–Š‡–‘™‡”‹–Š‡‹††Ž‡Š‘Ž†‹–•’ƒ”–•—’ǡ‹•–Š‡”‹‰Š– ’”‘’‘”–‹‘•ˆ‘”‹–ǤŠ‹Ž‡‹–•…‘—–‡”’ƒ”–Šƒ•‘˜‡”•‹œ‡†’ƒ”–•–Šƒ–‘˜‡”™Š‡Ž‹–•…‡–‡”’‹‡…‡Ǥ

Right proportions.

Wrong proportions.

13 | Exactly Wrong | Scale


Be true to yourselfǣ‘—†‡”•–ƒ†”‡’‡–‹–‹‘ǡƒ…Š‡…‡”„‘ƒ”†’ƒ––‡”…‘˜‡”•–Š‡„—‹Ž†‹‰™‹–ŠƒŽ‹‰‹‰‹–•‡†‰‡• ƒ†”‡ƒ‹‹‰—‹ˆ‘”–Š”‘—‰Š‘—–Ǥ –•™”‘‰„Ž—”•‹–•’ƒ––‡”ˆ”‘ˆ”‘––‘„ƒ…ǡ”—‹‹‰–Š‡—‹ˆ‘”‹–›ƒ† ’”‘†—…‹‰–Š‡™”‘‰ˆƒ…‡•Ǥ

Right face.

Wrong faces.

‡’‡–‹–‹‘ȁ Exactly Wrong | 14


Don’t get too attachedǣŠ‡”‹‰Š–„—‹Ž†‹‰ƒ‡•‹–•‡Žˆƒ–ƒ„Ž‡™‹–Šˆ‘—”Ž‡‰•ǤŠ‡Ž‡‰–‘–ƒ„Ž‡”ƒ–‹‘”‡ƒ‹‘‡–‘ ‘‡ǤŠ‡‹–•…‘–‡š–…Šƒ‰‡•ƒ†‹–•Ž‡‰•ƒ”‡ƒ‹’—Žƒ–‡†–‘–‘—…Š–Š‡‰”‘—†ǡ‹–’”‘†—…‡•ƒ™”‘‰„—‹Ž†‹‰Ǥ

Right building.

Wrong building.

15 | Exactly Wrong | Scale


Know your limitsǣŠ‡”‹‰Š–’ƒ’ƒ”ƒœœ‹”‡•’‡…––Š‡‹”„‘—†ƒ”‹‡•ǡ–Š‡˜‡Ž˜‡–”‘’‡Š‘Ž†•–Š‡ƒ™ƒ›ˆ”‘ …‡Ž‡„”‹–‹‡•ǤŠ‡–Š‘•‡˜‡Ž˜‡–”‘’‡•ƒ”‡”‡‘˜‡†ǡ–Š‡’ƒ’ƒ”ƒœœ‹•™ƒ”–Š‡…‡Ž‡„”‹–›ƒ‹‰–Š‡–Š‡™”‘‰ ’ƒ’ƒ”ƒœœ‹Ǥ

Right paparazzi.

Wrong paparazzi.

Scale | Exactly Wrong | 16


”‘‰”‘ϐ‹Ž‡ UIC SoA | Critic: Thomas Kelley | Fall 2012 ”‘‰”‘ϐ‹Ž‡—–‹Ž‹œ‡••—’‡”‹’‘•‹–‹‘–‘’”‘†—…‡ƒˆƒŽ•‡„—‹Ž†‹‰ǤŠ‡ˆƒŽ•‡‡••‹•…”‡ƒ–‡†–Š”‘—‰Šƒ ’Žƒ›‘ˆƒŽ•‡•…ƒŽ‡ǡˆƒŽ•‡’”‘’‘”–‹‘ǡˆƒŽ•‡•Šƒ’‡ǡƒ†ˆƒŽ•‡•‡…–‹‘Ǥ Š‡ˆƒŽ•‡•‡…–‹‘’”‘†—…‡•ƒƒ””ƒ–‹˜‡‘ˆϐ‹‰—”‡•–Šƒ–ƒ”‡–™‘ǦŠ—†”‡†–‹‡•Žƒ”‰‡”–Šƒƒ‘”ƒŽ•‹œ‡† Š—ƒǤŠ‡ƒ””ƒ–‹˜‡…ƒ””‹‡•ƒ•‘…‹ƒŽƒ‰‡†ƒ–Šƒ–”‡Žƒ–‡•–‘–Š‡‹–‡”‹‘”’”‘‰”ƒǤ ‘”–Š‹•…ƒ•‡ǡ–Š‡…‘—”– Š‘—•‡‹•‰‹˜‡ƒˆƒŽ•‡•Šƒ’‡‘ˆƒŠ‘—•‡ǤŠ‡ƒ””ƒ–‹˜‡ǯ•†‘‡•–‹…‡˜‹”‘‡–‹–‡”–™‹‡•Œ—•–‹…‡ƒ† ‹Œ—•–‹…‡Ǥ Š‹• ™”‘‰ …ƒ …”‡ƒ–‡ ƒ ‰”ƒˆ–‡† ‘” •—’‡” ‹’‘•‡† •›Ž‹‡ „› ƒ––ƒ…Š‹‰ –‘ –Š‡ ‡š‹•–‹‰ …‘–‡š–Ǥ Š—•ǡ ‰‹˜‹‰–Š‡…‹–›ƒ™”‘‰’”‘ϐ‹Ž‡‘”…”‡ƒ–‹‰ƒˆƒŽ•‡…‹–›Ǥ

17 | ”‘‰”‘ϐ‹Ž‡


”‘‰”‘ϐ‹Ž‡| 18


Small Scale ǣƒ…—”–ƒ‹™ƒŽŽƒ––ƒ…Š‡†–‘–Š‡‡š‹•–‹‰…—”–ƒ‹™ƒŽŽ Š‡™”‘‰”‡Ž‹‡•‘ƒ…—”–ƒ‹™ƒŽŽ–‘’”‘†—…‡–Š‡™”‘‰ƒ–Žƒ”‰‡”•…ƒŽ‡•ǤŠ‹•™”‘‰‹•ˆ‡ƒ•‹„Ž‡Ǥ – ”‡“—‹”‡•’ƒ‡Ž•–‘„‡ˆƒ„”‹…ƒ–‡†’”‹‘”–‘ƒ’’Ž‹…ƒ–‹‘Ǥ Š‡ϐ‹•ƒ”‡ƒ––ƒ…Š‡†‘–‘–Š‡’ƒ‡Ž•™Š‹…Š’”‘†—…‡•ƒŠƒ–…Š’ƒ––‡”™Š‹…Š–Š‡’”‘†—…‡•ƒ‘˜‡”ƒŽŽ ‹ƒ‰‡Ǥˆ”‹–’ƒ––‡”‹•ƒŽ•‘ƒ’’Ž‹‡†–‘–Š‡’ƒ‡Ž•ǤŠ‡ˆ”‹–’”‘†—…‡•–Š‡‹ƒ‰‡‘ˆƒ•‡…–‹‘…—–Ǥ––Š‹• •…ƒŽ‡ǡ‘”‡ƒŽ‡ˆˆ‡…–‹•˜‹•‹„Ž‡Ǥ ‘’”‘†—…‡ƒ™”‘‰’”‘ϐ‹Ž‡ƒ’”‡…‹•‡ƒ†–‡…–‘‹…ƒ’’Ž‹…ƒ–‹‘‘ˆƒ…—”–ƒ‹™ƒŽŽ‹•‡‡†‡†Ǥ

19 | ”‘‰”‘ϐ‹Ž‡| ‘†‡ŽŠ‘–‘‰”ƒ’Šƒ†ƒŽ›•‹•


ƒŽŽ…ƒŽ‡”ƒ™‹‰ȁ”‘‰”‘ϐ‹Ž‡| 20


Medium Scale ǣƒˆƒŽ•‡•‡…–‹‘‹•˜‹•‹„Ž‡ƒ†Ž‡‰‹„Ž‡ ––Š‹••…ƒŽ‡ǡ–Š‡ƒ””ƒ–‹˜‡™‹–Š‹ƒˆƒŽ•‡•‡…–‹‘‹•˜‹•‹„Ž‡ƒ†Ž‡‰‹„Ž‡ǤŠ‡‘˜‡”•‹œ‡†…Šƒ”ƒ…–‡”•ƒ”‡ •Š‘™ƒ––Š‹••…ƒŽ‡ǡ™Š‹…Š‹–—”Š‡Ž’†‹”‡…–ƒ††‹•’Žƒ›–Š‡†‘‡•–‹…‡˜‹”‘‡–Ǥ Š‡Dz†”ƒ™‹‰dz’”‘†—…‡†‘–Š‹•ˆƒ…ƒ†‡‹•‡ƒ––‘…”‡ƒ–‡ˆƒ‹Ž‹ƒ”‡˜‹”‘‡–ˆ‘”˜‹‡™‡”•–‘“—‹…Ž› ‡‰ƒ‰‡ƒ†‹†—Ž‰‡Ǥ –••‘…‹ƒŽƒ‰‡†ƒƒŽ‡”–•˜‹‡™‡”•–Šƒ–‹Œ—•–‹…‡‘……—”•™‹–Š‹ƒŠ‘—•‡ǡ‘”ƒ’Žƒ…‡‘ˆ …Ž‡ƒ”ˆƒ‹Ž‹ƒ”‹–›Ǥ˜‡–Š‘—‰Š–Š‡”‡ƒ”‡•ƒŽŽ‰Ž‹‡”•‘ˆŒ—•–‹…‡ǡ–Š‡”‡‹•ƒ…ƒŽŽˆ‘”ƒ…–‹‘Ǥ Š‡™”‘‰’”‘ϐ‹Ž‡ƒ–‡†‹—•…ƒŽ‡—•‡•ƒˆƒŽ•‡•‡…–‹‘ƒ†ˆƒŽ•‡•…ƒŽ‡ˆ‘”‹–•‡ˆˆ‡…––‘„‡Ž‡„‹‰Ž‡Ǥ

21 | ”‘‰”‘ϐ‹Ž‡| ‘†‡ŽŠ‘–‘‰”ƒ’Šƒ†ƒŽ›•‹•


‡‹†—…ƒŽ‡”ƒ™‹‰ȁ”‘‰”‘ϐ‹Ž‡| 22


Large Scaleǣƒ‰”ƒˆ–‡†‘”•—’‡”‹’‘•‡†…‹–›…”‡ƒ–‹‰ƒˆƒŽ•‡…‹–› Š‡“—‹…ƒ’’Ž‹…ƒ–‹‘ǡ‰”ƒˆ–ǡ‘”•—’‡”‹’‘•‡…”‡ƒ–‡–Š‡ˆƒŽ•‡…‹–›Ǥƒ…Š„—‹Ž†‹‰‹•‰‹˜‡ƒ†‹ˆˆ‡”‡– •Šƒ’‡ƒ––Š‹••…ƒŽ‡Ǥƒ…Š•Šƒ’‡‹•†‹•–‹…–ƒ†‹•„ƒ•‡†‘’”‘‰”ƒ‘”’”‘’‘”–‹‘•Ǥ Š‡“—‹…ƒ†‡ƒ•‡‘ˆƒ’’Ž‹…ƒ–‹‘‰‡‡”ƒ–‡ƒ„”ƒ†‡™•›Ž‹‡™‹–Š‘—–‡Ž‹‹ƒ–‹‰–Š‡…—””‡– …‘–‡š–ǤŠ‡„—‹Ž†‹‰•ǯ•…ƒŽ‡‹•‘™‹•…‘–”—‡†ǤŠ‡…‹–›ǯ•„—‹Ž†‹‰•Ž‘‘•ƒŽŽ‡”–Šƒ–Š‡”‹‰Š– ˆƒ…ƒ†‡„‡Š‹†‹–Ǥ Š‡™”‘‰’”‘ϐ‹Ž‡ƒ–•—…ŠƒŽƒ”‰‡•…ƒŽ‡‰‹˜‡‹–•…‘–‡š–ƒ—‹“—‡ƒ†‘”‹‰‹ƒŽ•›Ž‹‡Ǥ

23 | ”‘‰”‘ϐ‹Ž‡| ‘†‡ŽŠ‘–‘‰”ƒ’Šƒ†ƒŽ›•‹•


ƒ”‰‡…ƒŽ‡”ƒ™‹‰ȁ”‘‰”‘ϐ‹Ž‡| 24


Urban Intimacy UIC SoA | Critic: Julia Capomaggi | Spring 2012 Urban Intimacy uses a directed path of circulation that wraps around the mass of the building. The path ™‹ŽŽˆ—‡Ž˜‹•‹–‘”•‹ǡ‘—–ǡƒ†ƒ”‘—†–Š‡ƒ••ǤŠ‡’ƒ–Š–Šƒ–‘‡‘˜‡•–Š”‘—‰ŠϐŽ—…–—ƒ–‡•‹•…ƒŽ‡ ƒ……‘”†‹‰–‘’”‘‰”ƒƒ•™‡ŽŽƒ•‡š’‡…–‡†ƒ‘—–‘ˆ˜‹•‹–‘”•ˆ‘”‡ƒ…Š•’‡…‹ϐ‹…’”‘‰”ƒǤƒ…Š’ƒ–ŠŠƒ• points of contact with the mass that access program and provide an enclosed space opposed to the open and exposed space. The pressure of the circulation carves the mass. This process creates an experience of two very different spaces: one of the circulation, and one of the mass. The spaces vary from large and open that are the most exposed to the urban public scenes, to small and closed that are the most isolated and intimate spaces. Programmatically this could be translated into spaces for communication and public interaction and •’ƒ…‡•ˆ‘”•–—†›ƒ†…‘…‡–”ƒ–‹‘Ǥ –Š‹•Ž‹„”ƒ”›ǡ–Š‡’—„Ž‹…‹–‡”‹‘”•’ƒ…‡‹•†‡ϐ‹‡†„›–Š‹• continuous path that connect the sequence of spaces of different intensities. Project Recognition: *‡Ž‡…–‡†ˆ‘”‡šŠ‹„‹–‹‘ǡʹͲͳʹ‡ƒ”†Š‘™ǡ …Š‘‘Ž‘ˆ”…Š‹–‡…–—”‡

25 | Urban Intimacy


Urban Intimacy | 26


27 | Uraban Intimacy | Axonometric: Reveal of Path


E Van Buren St

State St.

Plymouth Ct

Dearborn St

Federal St

Congress Parkway

Harrison St

Site Plan: Urban Funnel | Urban Intimacy | 28


Section A Zoom In: Mass to Path Relationship | Urban Intimacy | 30


Section B Zoom In: Floor to Floor Relationship | Urban Intimacy | 32


33 | Urban Intimacy | Daytime Path Condition / Interior Mass Condition


˜‡‹‰ƒ–Š‘†‹–‹‘Ȁ’ƒ…‡„‡Ž‘™ƒ–Š| Urban Intimacy | 34


Unintensional UIC SoA | Critic: Thomas Kelley | Spring 2011 To achieve the most dramatic changes between versions and create an enironment in which several different scenes, if not the entire play, Rhinoceros, can take place, our group decided to create a deformed reactive surface attached to four tensegrities. ƒ…Š–‡•‡‰”‹–›…‘–”‘Ž•ƒ’ƒ”–‘ˆ–Š‡•—”ˆƒ…‡Ǥ›ϐŽ‡š‹‰–Š‡‹‡ˆ‘‘––ƒŽŽ–‡•‡‰”‹–‹‡•ǡ–Š‡’‹‡…‡‡š’ƒ†• in width and dimension. As the surface nears the ground plane, the catenaries adjust as they are stretched and warped, while some may even touch the ground. The tensegrities allow for the surface to hang without a cube-like jig, and when the catenaries begin to •Š”‘—†–Š‡ˆ‘—”•–”—…–—”‡•ǡ–Š‡’‹‡…‡…ƒƒ’’‡ƒ”–‘„‡ϐŽ‘ƒ–‹‰Ǥ Team: Cherin Al-Hayek, Timothy Baldwin, Marko Dumlija, Daniel Fazcek, Jose Garcia, Kristian Gehl, Ryan Hernandez, Ryan Odom, Kevin Pazik, Erick Sanchez, Aqsa Tahir, Shuya Washido, Yuen Yeung Project Recognition: ȗ‡Ž‡…–‡†ˆ‘”‡šŠ‹„‹–‹‘ʹͲͳͳ‡ƒ”†Š‘™ǡ …Š‘‘Ž‘ˆ”…Š‹–‡…–—”‡

All drawings were a collaboration of: Timothy Baldwin, Marko Dumlija, Daniel Fazcek, Jose Garcia, Ryan Hernandez, Kevin Pazik, and Jeisler Salunga All Photographs were taken by Matthew Schneider

35 | Unintensional


Unintensional | 36


37 | Unintensional | š’Ž‘†‡†š‘‘‡–”‹…ǣƒ”–”‡ƒ†‘™ƒ†ƒŽ›•‹•


š’Ž‘†‡†š‘‘‡–”‹…ǣƒ”–”‡ƒ†‘™ƒ†ƒŽ›•‹•| Unintensional | 38


39 | Unintensional | ‘••‹„Ž‡‡”•‹‘•Ȁš‘‘‡–”‹…ΪŽƒΪ‡…–‹‘


‡…–‹‘ǣƒ–—”ƒŽ–ƒ–‡Ϊ›ƒ‹…–ƒ–‡| Unintensional | 40


41 | Unintensional | Natural State / Performers Enclosed


Top View / Performance | Unintensional | 42


43 | Unintensional | Fully Collapsed Version


Fully Collapsed Version | Unintensional | 44


Pop-Up Studio Berlin | Critics: John Manaves, Alice Kriegel, Thomas Kelley | Summer 2012 With a client in mind, “Urban Gardeners,� and a demand for varoius program. Pop-Up was created as a solution. Primarily for recreational use with all nine pieces together, a climbable sculpture is formed. Separated, each piece holds its own function: sound system, pissoir, kitchen, gallery, seating, and storage. The pieces were then implemented into the gardens to give them their opportunity to perform and assist the gardeners. Team: Colin Bachelor, Siobhan Barrett, Robert Becker, Emma Davies, Adrian Forowycz, Jose Garcia, Lewis Garrison, Julie Grismanauskas, Emily Hahn, Max Jarosz, Suroor Khan, Joshua Lawrence, Jessica Lopez, Samra Pecanin, Alex Petrakos, Chris Schroeck, Sam Tanis, Shuya Washido, Heather Wick All drawings were done in collaboration with Jose Garcia, Samra Pecanin, and Jeisler Salunga All photographs taken by Jeisler Salunga

45 | Pop-Up


Pop-Up | 46


47 | Pop-Up | Axonometric / Joined + Separated


Speaker Box

Pissoir

Gallery

Seating

Storage

Storage

Kitchen/Bar

Storage

Storage Program Breakdown | Pop-Up | 48


49 | Pop-Up | Photoraph / Joined + Separated


Theater | Pop-Up | 50


51 | Pop-Up | Storage


Pissoir | Pop-Up | 52


53 | Pop-Up | Gallery


Gallery | Pop-Up | 54


Zinery Archizines | Chicago, IL | Summer 2013 This installation at “The Public Works Gallery� is the Chicago leg of the traveling exhibition Archizines. The exhibition features 101 self-published architecture zines from all over the world, curated by Elias Redstone. In the gallery space, a grid pattern of clamps line the walls with hundreds of potential sites for zine display. Visitors pluck a zine from one location and return it to another, generating a constantly changing scenery of zines, or zinery. The human powered motion of the zinery can be surveyed from the moveable stepped platforms that share the space. These four-legged OSB objects look to be part furniture, part landform, part building and part animal. Most importantly however, they serve as platforms for people to lounge while they read. Like pedestals without permanent sculptures on top, they are mini-monuments for people, placing visitors on display as part of the exhibition. Team: Design with Company (Stewart Hicks & Allison Newmeyer), Robert Becker, Jade Narrido, Jeisler Salunga, Wallo Villacorta

Drawings by Allison Newmeyer All photographs taken by Wallo Villacorta and Public Works Gallery

55 | Zinery


Zinery | 56


Photograph: Object Alone | Zinery | 58


Photograph: Object Alone | Zinery | 60


61 | Zinery | Photograph: Object Alone


Photograph: Object Alone | Zinery | 62


63 | Zinery | Opening Night: Object in Use


Opening Night: Object in Use | Zinery | 64


65 | Zinery | Opening Night: Exhibition Active


Opening Night: Exhibition Active | Zinery | 66


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Jeisler Salunga Academic Portfolio  
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