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VAULTHOUSEReinterpreting an assigned precedent work: stretching Johnston + Marklee’s Vault House into a single fluid space.

Prof. Hadrian Predock

Fall 2013

3

THEPROB_LEMVILLACritical study of Palladio’s 11 villas. Video installation randomly sources architectural language to make a continually evolving 12th villa.

Prof. Erin Besler

Spring 2014

6LEAGUE

OFSHA_

DOWSFabricating SCI-Arc’s 2014 Graduation Pavillion out of NorthSail Carbon Fiber fabric. On-site construction and administration.

P-A-T-T-E-R-N-S

Summer 2013

8

ROOM002

Building Materials course analyzing the role of the Mock-Up in architecture and the interchange-ability of surfaces.

Prof. Erin Besler

Winter 2014

10

CONTENTS

LUCECENT

_ERGallery and Library Space at the Western Terminus of LA Metro’s Expo Line.

Prof. Ben Refuerzo

Spring 2014

15RE_

SEARCHThe Future of Work Initiative; The Los Angeles Guide to World Cities; Urban Design Principles; Walkability Checklist

UCLA A.UDcityLABLA City Planning

2013 - 2014

14

This project prompts the reinterpretation of the modular logic of Johnston + Marklee’s Vault House into a singular and fluid space. Johnston + Marklee’s Vault House is divided into 7 modules from which this project derives serial sections as the governing matrix of a vault. Each section has between one and three vaults, which yields the colliding ceiling surfaces that inform the organizational logic of the ground plane.

The logic proffered by the formal continuity of the ceiling is in contrast with the plan of the unorthodox ground plane below. Program and privacy are determined not through discrete rooms but by relative elevation and location; rear and elevated spaces are designed as private, while low and frontal areas are deemed as common spaces.

Left: Exploded Diagram of the new Vault House.

VAULTHOUSE

Left: Generative DiagramTop: Long Section

Above: Short Sections

N^

Left: Lower PlanCenter: Upper PlanRight: Original Vault House Plan

The Problem Villa projection manifests the critical claim that Palladio’s projects simply “give facade to a cube.” The project began with Rudolf Wittkower’s grid and the identification of common architectural elements spanning eleven Palladian villas. If Wittkower argued to group these villas into one continual project, The Problem Villa condenses Palladio’s work back into a single evolving structure.

Forty-five tiles spanning three planes, rotate through randomly sourced surface information from one of Palladio’s villas at a rate of ten times per second. What emerges is a collage of architectural elements rather than a single and cohesive façade. that demonstrates the blankness of the cube and questions of the conceptual interchangeability of image, façade, and surface.

Left: Four examples of composite Villas. Next Page: Sample Installation Stills.

THE PROB _LEM

VILLAIn collaboration with James Skarzenski

League of Shadows is an outdoor semi-permanent event structure that serves the SCI-Arc Campus (Southern California Institute of Architecture) and the Arts District in Downtown Los Angeles.

After construction professionals erected the skeleton, Architecture students fabricated the saddle surfaces out of NorthSail carbon fiber fabric. The latticed fabric forms three vaults, which are separately programmable event spaces. The shape acts as a suitable envelope for varying events and shelters attendees from the afternoon sun on what would otherwise be an open parking lot. Though the actual dimensions of the structure do not change, the movement of the sun prompts a waxing and waning of its footprint essentially rendering it as an ephemeral pavilion.

Pavilion design by Marcelo Spina.

Lower diagrams borrowed from P-A-T-T-E-R-N-S.

LEAGUE OF

SHADOWSWith P-A-T-T-E-R-N-S

ROOM 002

In collaboration with Janie Rochfort, Cori Gunderson, Claire Hartinger, and Daniel Ummenhoffer

The term “corner” is used to describe the intersection two or more discrete surfaces; Room 002 disturbs the ease of this definition by literally cutting corners. The project mobilizes the “Corner Problem” to discuss the specificity of architectural surfaces (floor, wall, and ceiling) by blurring their boundaries physically and conceptually. Room 002 dissolves the autonomy and distinction normally afforded to separate architectural surfaces. The work presents irregular ceiling, semi-ceiling, and wall, semi-wall components to purposefully muddle the definitions of distinct wall, floor, and ceiling planes. By cutting corners, a single plane becomes multiple; for every one there are now three.

Above Left: Developed Surface drawingBelow Left: Generative Diagram

Opposite: Room 002

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At the origins of the terms cornice and skirting, as categories of moulding, we find the connections between wall and ceiling, and wall and floor – no less particular in their specificity than the surfaces upon which they are situated. The mouldings actually come from another set of surfaces, they have been projected onto the developed surface drawing of our splayed project, from the drawing of an unfolded box, as a way to orient the form. Yet the mouldings are barely legible as such, and whatever familiarity or comfort that they

offered has been taken away. Mouldings slip into wall as quickly as wall slips into floor. This project undercuts experience and occupancy of the corner. In a sense it is unattainable through any means other than perception, which puts it in conflict with the distinction of the Mock-up, whose otherness as a category of physical model relies on the fact that you can do more than just project yourself into it. If the origins of this project can be said to be located somewhere in the corner, the Corner (as it turns out) is the one thing you can’t

ever really get to. Surfaces are missing, the triangular shaped things remain confused in their terminology and here the corner, which we might find comfort in as the marker separating this side from the other, even doubles as an opening, different from the De Stijl but similar still, as an uncertain threshold between spaces. And so, the project consistently defeats itself long enough to destabilize and challenge preconceptions about architectural surface categories, the depth of flat materials, the physical occupancy of a conceptual marker,

and also by negating any singular orientation, of either frontality or obliqueness. Perception is tangled up in conception. If this (air quotes) sense of obliqueness can do any more work, it is that it creates another point from which to view things, one through which these architectural surfaces reveal their depth and dissociate from the stud system that backs it.

Left: Room 002 PlanTop Right: Moulding Generative DiagramBottom Right: Moulding Elevations.

Top: Room 002 Interior ElevationsAbove: Room 002 Exterior ElevationsRight: Room 002Next Page: Moulding Pieces

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Between cityLAB UCLA and the Urban Design Studio at Los Angeles Department of City Planning, I’ve contributed to a number of publications.

-LESS is the second publication in The Future of Office Work series from cityLAB and Gensler, speculating the future of Downtown Los Angeles as workers become less tethered to their desks, buildings, and cities. The three-part publication analyzes the role of Downtown’s districts as cognitive borders, keeping work typologies in outmoded clusters. Additionally, it features analysis of cityLAB’s Future of Work panels, a three-part series featuring guests to expand on the new spatial dimensions of office work, as professionals outgrow their desks, buildings, and cities.

The Los Angeles Guide to World Cities is a collection of research essays from UCLA’s Modernism and the Metropolis senior undergraduate theory course. In addition to the design and layout of the publication, I contributed an essay on Havana’s Malécon and the Venice Boardwalk of Los Angeles, arguing how each functions as a unique model of public space in real estate otherwise normally privatized. These two models of “insurgent” public space still act as urban spectacles, drawing tourists and commerce without formal attractions.

Urban Design Principles and the Walkability Checklist are publications from the Urban Design Studio at Los Angeles Department of City Planning. The Walkability Checklist– focusing on Downtown Los Angles–aims to raise the standard of pedestrian-friendly environments in Los Angeles while the Urban Design Principles outlines the ten guiding beliefs for Los Angeles City Planning’s 21st century plan.

RE_SEARCH

Top Left: The Los Angeles Guide to World Cities, UCLA Architecture and Urban DesignLeft: Urban Design Principles, Los Angeles Department of City Planning Bottom Left: Walkability Checklist, Los Angeles Department of City Planning Right: The Future of Office Work, cityLAB x Gensler

The LUCE Center– Land Use and Circulation Element– is a proposal for the Western terminus of the Los Angeles Metro’s Exposition Line extension in Santa Monica, CA. Given the diversity of the assigned program– a transit hub, a gallery, and a library– this project aims to unite the site first with four pyramids, into which separate program is loaded. The four pyramids first organize the open ground plane, then lift the library and gallery spaces to allow for an open public plaza at street level. Open at the top, each pyramid acts as a unique gallery spaces while also orienting the library space above. Wrapping the gallery and library is a perforated skin, allowing varying amounts of dappled light to enter, depending on each space.

Top: CladdingMiddle: LibraryBottom: Gallery

LUCECENT

_ER

Top: SectionBottom: Site

Top Left: Gallery PlanTop Right: Lower Library PlanBottom Right: Upper Library PlanBottom Left: Cladding Diagram