Visualization + Fabrication

71
Blue Murder Studios Partition Wall
Fabrication < Freelance >
Client Blue Murder Studios
Summer 2004
72
When the owner of Blue Murder Studios, a photographic studio,
relocated to an ex-industrial space, he obtained a tenuous lease. I
was commissioned to design and fabricate a modular wall that could
be primarily assembled as required to partition the space. In the event
of eviction, the system was also required to easily disassemble for
transportation in his small car to a new space.
Visualization + Fabrication
73
1213a Visualization II
Instructors Sunil Bald, Kent Bloomer
Semester 1, Fall 2009
Infinite Periodic Minimal Surface
(IPMS) Drawing
74
Visualization + Fabrication
The Infnite Periodic Minimal Surface is a highly effcient and scalable
system for creating a single surface that also holds spatial properties. This
drawing combines the precision of modelling software with the sublety of
hand shading.
75
1022b Visualization III
Instructors Ben Pell, John Eberhart
Semester 2, Spring 2010
AC Parasite
76
!" !#
tom fryer / diana nee
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tom fryer / diana nee
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tom fryer / diana nee
The AC Parasite responds to the overzealous air conditioning in
Rudolph Hall, clipping into the existing air strip in the soft.
A shaped, perforated baffe slides to control the downward fow of air to
desks below the air strip. The form economizes in its use of digitally cut
sheet materials - mild steel and polyethylene.
with Diana Nee
Visualization + Fabrication
77
Multiples
1022b Visualization III
Instructors Ben Pell, John Eberhart
Semester 2, Spring 2010
78
A repeating unit is designed for tectonic aggregation, with CNC milling
processes utilized to develop a mold (right).
The fnal piece is cast in plaster and concrete versions.
with Will Fox
Visualization + Fabrication
79
1022b Visualization IV
Instructors George Knight, Brennan Buck, John Eberhart
Summer 2010
Urban / Interior Proposal
for New Haven (2)
80
Imagined interior - Panorama for New Haven Power Station. with Marcus Hooks.
Visualization + Fabrication
81
Books and Architecture.
1213a Architecture and Books
Instructor Luke Bulman
Semester 3, Fall 2010
Published in
Retrospecta 2010 / 2011
Architecture and Books
82
Books and Architecture.
Published in
Retrospecta 2010 / 2011
Zone and Anti-Zone
83
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J U L Y 1 , 1 9 6 8
a c h i e v e l h e d i s c o n l i n u a n c e o I a l l l e s l e x p l o s i o n s o I n u c l e a r
w e a p o n s I o r a l l l i m e a n d l o c o n l i n u e n e g o l i a l i o n s l o l h i s e n d ,
D e s i r i n g l o I u r l h e r l h e e a s i n g o I i n l e r n a l i o n a l l e n s i o n a n d
l h e s l r e n g l h e n i n g o I l r u s l b e l w e e n S l a l e s i n o r d e r l o I a c i l i l a l e
l h e c e s s a l i o n o I l h e m a n u I a c l u r e o I n u c l e a r w e a p o n s , l h e
l i q u i d a l i o n o I a l l l h e i r e x i s l i n g s l o c k p i l e s , a n d l h e e l i m i n a l i o n
I r o m n a l i o n a l a r s e n a l s o I n u c l e a r w e a p o n s a n d l h e m e a n s o I
l h e i r d e l i v e r y p u r s u a n l l o a T r e a l y o n g e n e r a l a n d c o m p l e l e
d i s a r m a m e n l u n d e r s l r i c l a n d e B e c l i v e i n l e r n a l i o n a l c o n l r o l ,
R e c a l l i n g l h a l , i n a c c o r d a n c e w i l h l h e C h a r l e r o I l h e U n i l e d
N a l i o n s , S l a l e s m u s l r e I r a i n i n l h e i r i n l e r n a l i o n a l r e l a l i o n s
I r o m l h e l h r e a l o r u s e o I I o r c e a g a i n s l l h e l e r r i l o r i a l i n l e g r i l y
o r p o l i l i c a l i n d e p e n d e n c e o I a n y S l a l e , o r i n a n y o l h e r m a n n e r
i n c o n s i s l e n l w i l h l h e P u r p o s e s o I l h e U n i l e d N a l i o n s , a n d
l h a l l h e e s l a b l i s h m e n l a n d m a i n l e n a n c e o I i n l e r n a l i o n a l
p e a c e a n d s e c u r i l y a r e l o b e p r o m o l e d w i l h l h e l e a s l d i v e r s i o n
I o r a r m a m e n l s o I l h e w o r l d ' s h u m a n a n d e c o n o m i c r e s o u r c e s ,
H a v e a g r e e d a s I o l l o w s :
E a c h n u c l e a r - w e a p o n S l a l e P a r l y l o l h e T r e a l y u n d e r l a k e s n o l
l o l r a n s I e r l o a n y r e c i p i e n l w h a l s o e v e r n u c l e a r w e a p o n s o r
o l h e r n u c l e a r e x p l o s i v e d e v i c e s o r c o n l r o l o v e r s u c h w e a p o n s
o r e x p l o s i v e d e v i c e s d i r e c l l y , o r i n d i r e c l l y , a n d n o l i n a n y w a y
l o a s s i s l , e n c o u r a g e , o r i n d u c e a n y n o n - n u c l e a r - w e a p o n S l a l e
l o m a n u I a c l u r e o r o l h e r w i s e a c q u i r e n u c l e a r w e a p o n s o r o l h e r
n u c l e a r e x p l o s i v e d e v i c e s , o r c o n l r o l o v e r s u c h w e a p o n s o r
e x p l o s i v e d e v i c e s .
E a c h n o n - n u c l e a r - w e a p o n S l a l e P a r l y l o l h e T r e a l y
u n d e r l a k e s n o l l o r e c e i v e l h e l r a n s I e r I r o m a n y l r a n s I e r o r
w h a l s o e v e r o I n u c l e a r w e a p o n s o r o l h e r n u c l e a r e x p l o s i v e
d e v i c e s o r o I c o n l r o l o v e r s u c h w e a p o n s o r e x p l o s i v e d e v i c e s
T H E T R E A T Y O N T H E N O N - P R O L I F E R A T I O N
O F N U C L E A R W E A P O N S
9
J U L Y 1 , 1 9 6 8
i n c l u d i n g l h e i n l e r n a l i o n a l e x c h a n g e o I n u c l e a r m a l e r i a l
a n d e q u i p m e n l I o r l h e p r o c e s s i n g , u s e o r p r o d u c l i o n o I
n u c l e a r m a l e r i a l I o r p e a c e I u l p u r p o s e s i n a c c o r d a n c e w i l h l h e
p r o v i s i o n s o I l h i s A r l i c l e a n d l h e p r i n c i p l e o I s a I e g u a r d i n g
s e l I o r l h i n l h e P r e a m b l e o I l h e T r e a l y .
. N o n - n u c l e a r - w e a p o n S l a l e s P a r l y l o l h e T r e a l y s h a l l
c o n c l u d e a g r e e m e n l s w i l h l h e I n l e r n a l i o n a l A l o m i c E n e r g y
A g e n c y l o m e e l l h e r e q u i r e m e n l s o I l h i s A r l i c l e e i l h e r
i n d i v i d u a l l y o r l o g e l h e r w i l h o l h e r S l a l e s i n a c c o r d a n c e
w i l h l h e S l a l u l e o I l h e I n l e r n a l i o n a l A l o m i c E n e r g y A g e n c y .
N e g o l i a l i o n o I s u c h a g r e e m e n l s s h a l l c o m m e n c e w i l h i n 8 o
d a y s I r o m l h e o r i g i n a l e n l r y i n l o I o r c e o I l h i s T r e a l y .
. N o l h i n g i n l h i s T r e a l y s h a l l b e i n l e r p r e l e d a s a B e c l i n g
l h e i n a l i e n a b l e r i g h l o I a l l l h e P a r l i e s l o l h e T r e a l y l o d e v e l o p
r e s e a r c h , p r o d u c l i o n a n d u s e o I n u c l e a r e n e r g y I o r p e a c e I u l
p u r p o s e s w i l h o u l d i s c r i m i n a l i o n a n d i n c o n I o r m i l y w i l h
A r l i c l e s I a n d I I o I l h i s T r e a l y .
z . A l l l h e P a r l i e s l o l h e T r e a l y u n d e r l a k e l o I a c i l i l a l e , a n d
h a v e l h e r i g h l l o p a r l i c i p a l e i n , l h e I u l l e s l p o s s i b l e e x c h a n g e
o I e q u i p m e n l , m a l e r i a l s a n d s c i e n l i h c a n d l e c h n o l o g i c a l
i n I o r m a l i o n I o r l h e p e a c e I u l u s e s o I n u c l e a r e n e r g y . P a r l i e s
l o l h e T r e a l y i n a p o s i l i o n l o d o s o s h a l l a l s o c o - o p e r a l e
i n c o n l r i b u l i n g a l o n e o r l o g e l h e r w i l h o l h e r S l a l e s o r
i n l e r n a l i o n a l o r g a n i z a l i o n s l o l h e I u r l h e r d e v e l o p m e n l o I
l h e a p p l i c a l i o n s o I n u c l e a r e n e r g y I o r p e a c e I u l p u r p o s e s ,
e s p e c i a l l y i n l h e l e r r i l o r i e s o I n o n - n u c l e a r - w e a p o n S l a l e s
P a r l y l o l h e T r e a l y , w i l h d u e c o n s i d e r a l i o n I o r l h e n e e d s o I
l h e d e v e l o p i n g a r e a s o I l h e w o r l d .
E a c h P a r l y l o l h e T r e a l y u n d e r l a k e s l o l a k e a p p r o p r i a l e
m e a s u r e s l o e n s u r e l h a l , i n a c c o r d a n c e w i l h l h i s T r e a l y ,
u n d e r a p p r o p r i a l e i n l e r n a l i o n a l o b s e r v a l i o n a n d l h r o u g h
a p p r o p r i a l e i n l e r n a l i o n a l p r o c e d u r e s , p o l e n l i a l b e n e h l s I r o m
T H E T R E A T Y O N T H E N O N - P R O L I F E R A T I O N
O F N U C L E A R W E A P O N S
13
JULY 1, 1968
inslrumenls oI ralihcalion by a majorily oI all lhe Parlies,
including lhe inslrumenls oI ralihcalion oI all nuclear-
weapon Slales Parly lo lhe Trealy and all olher Parlies which,
on lhe dale lhe amendmenl is circulaled, are members
oI lhe Board oI Governors oI lhe Inlernalional Alomic
Energy Agency.
. This Trealy shall be open lo all Slales Ior signalure. Any
Slale which does nol sign lhe Trealy beIore ils enlry inlo Iorce
in accordance wilh paragraph oI lhis Arlicle may accede lo
il al any lime.
z. This Trealy shall be subjecl lo ralihcalion by signalory Slales.
Inslrumenls oI ralihcalion and inslrumenls oI accession shall
be deposiledwilh lhe Governmenls oI lhe Uniled Kingdom
oI Greal Brilain and Norlhern Ireland, lhe Union oI Soviel
Socialisl Republics and lhe Uniled Slales oI America, which
are hereby designaled lhe Deposilary Governmenls.
. This Trealy shall enler inlo Iorce afler ils ralihcalion by lhe
Slales, lhe Governmenls oI which are designaled Deposilaries
oI lhe Trealy, and Iorly olher Slales signalory lo lhis Trealy
and lhe deposil oI lheir inslrumenls oI ralihcalion. For lhe
purposes oI lhis Trealy, a nuclear-weapon Slale is one which
has manuIaclured and exploded a nuclear weapon or olher
nuclear explosive device prior lo ]anuary q6;.
. For Slales whose inslrumenls oI ralihcalion or accession
are deposiled subsequenl lo lhe enlry inlo Iorce oI lhis Trealy,
il shall enler inlo Iorce on lhe dale oI lhe deposil oI lheir
inslrumenls oI ralihcalion or accession.
. The Deposilary Governmenls shall promplly inIormall
signalory and acceding Slales oI lhe dale oI each signalure,
lhe dale oI deposil oI each inslrumenl oI ralihcalion or oI
accession, lhe dale oI lhe enlry inlo Iorce oI lhis Trealy, and
THE TREATY ON THE NON-PROLIFERATION
OF NUCLEAR WEAPONS
JULY 1, 1968
THE TREATY ON THE NON-PROLIFERATION
OF NUCLEAR WEAPONS
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A R T I C L E I V
A R T I C L E V
1213a Architecture and Books
Instructor Luke Bulman
Semester 3, Fall 2010
Architecture and Books
84
Left
16 Page Pamphlet (from Single 11x17 sheet)
Above
One or Many
Visualization + Fabrication
85
1291c Rome: Continuity And Change
Instructors Alec Purves, Stephen Harby and Victor Agran
Summer 2011
Palazzo Massimo as Urban Intervention
86
Axonometric Section: Palazzo Massiomo al Colone Rome: Continuity and Change prioritizes study through observation. As
such, this drawing interprets the known against the unknown aspects
of the site.
The plan of the Palazzo Massimo all Colonne follows, and probably re-
uses, the foundations of a Roman Odeon. This is known but unprovable.
The building is the architecturalization of an urban corridor between
the Campo di Fiori and the Piazza Novonna, and remained a public
thoroughfare until the 1960!s. The interior remains private (unknown)
and as such is rendered as the urban scale poche that organizes the
sequence and experience of passage through the Palazzo.
Visualization + Fabrication Visualization + Fabrication
87
1215b Inner Worlds
Instructor Brennan Buck
Semester 4, Spring 2011
Spatial Divider
88
Inner Worlds culminated in the design and fabrication of an intervention
for a specifc space in Paul Rudolph Hall. Our piece was intended to
act as a spatial separation and amplifcation device, using form, color-
casting, refection and refraction to affect adjacent spaces.

A smooth, organic surface is delineated by 3000 yards of draped yarn,
creating a phenomenological counterpoint to the relentlessness of
concrete walls.
with Nancy Putnam
Featured on suckerpunch daily
http://www.suckerpunchdaily.com/2011/06/02/
from-phenomenology-to-sensation/#more-14679
Visualization + Fabrication
89
Fabrication < Freelance >
Client Anna Zmyslowska
Spring 2012
Interruption
90
Installation in Situ
This project involved the digital fabrication of blanks to be painted and
assembled in an installation in Tokyo. The outlines were supplied as
hand drawings from the artist, then developed into three dimensional
fles. The pieces were fabricated using multiple digital fabrication
procedures; 3-axis milling, waterjet cutting and laser cutting.
Visualization + Fabrication
91
YSoA 2211a Structures and Facades for Tall Buildings
Instructor Kyoung Sun Moon
Semester 5, Fall 2011
92
Writing
93
DIY LESSON
Writing < Freelance >
Client Oyster magazine
June - July 2002, Issue 40
The Barbapapas are a family of multicoloured blobs
in a French childrens book. They have the type of
adventures that one might expect from a family
of shape-shifters. Their most exciting escapade,
however, involved their decision to build their own
house. It was undertaken with their usual abandon.
The Barbapapas simply mixed up some cement,
set themselves up in the most voluminous fashion
possible, and poured cement over each other. Part
of their bodies always protruded, creating doorways
and windows (and ensuring they werent permanently
entombed). Bigger spaces were a group effort,
with Mama, Papa and the kids all pitching in and
forming a super-negative of themselves. The family
managed to achieve an unexpectedly stylish and
anti-establishment organic style in what looked like
a fairly conservative Parisian neighbourhood.
Practicalities notwithstanding, is there a superior
building concept? One that could truly become
integral to the fabric of our homes? Atelier van
Lieshouts (AVL) environments and other projects
somehow recall the Barbapapas and their world,
where people are free to make the useful things
in their lives the important stuff more relevant to
themselves.
In 5 years, AVL has built quite a reputation, from
subverting the stolid state of product and spatial
design, to engaging an intrigued art world with
experiments in living and creating. The atelier
was formed, and is currently headed by Joep van
Lieshout. Calling AVL his brainchild is an enormous
understatement.
The organisation was
conceived, evolved
and nourished by van
Lieshouts fetishes. Its
obvious. With an instantly recognisable language
of material, form and themes, AVLs creative output
is some of the most recognisable of recent art-
time. If you ever glanced more than fleetingly at
the huge, brightly coloured fibreglass forms in any
design or art tome, and at once realised it to be
part of a fully operational mobile home, modular
house, or toilet block, chances are it was AVL. The
aesthetic is honed as only an obsession could be.
And the aesthetic has brought together a team of
broadly skilled workers, who enact AVL projects
on a 9-5, Monday to Friday basis in an old pepper-
storage warehouse in the seedier part of Rotterdams
sprawling docklands.
The AVL team numbers oscillate around 20 mainly
carpenters, inventors, metalworkers, furniture-
makers and a steady stream of student-volunteers.
Installation teams are currently in, or due to leave
for, Antwerp, Switzerland and Sao Paulo. They are
also on the way to Sydney for this years Biennale.
No one is saying what will be on show in Sydney,
but the Atelier once published a book with chapters
describing how to slaughter a pig at home, alongside
details of fibreglass construction processes. This
company sees itself as your guide to the wealth
of modern living, and a history of strange and
improbable projects seems to justify their inclusion
in this years Biennale program.
Van Lieshout has always created useful art. There
is a pragmatism that lends a particular, obsessive
honesty to his work. Consider the fibreglass
room parasitically connected to the exterior of
Utrechts Central Museum (Clip-on, 1997), giving its
inhabitants a new office, or an old truck converted
into a mobile home replete with womb-like sleeping
area, wall-to-wall cow-hide carpeting and a
curvaceously hybridised toilet/shower recess. Just
prior to this he developed sink units, much like the
generic models cast in polyester and sold throughout
suburban Australia. No adornment, no faux-marbling.
Van Lieshout took the old designers maxim of
honesty to materials and got embarrassingly
fundamental with it.
You could see this work for what it was, and the
sinks looked like the ones from your old science
classroom, finished in play-doh hues. And there is a
different honesty to the enormous Multiwoman Beds
made for 16 and equipped with alcohol dispensers
designed to accommodate orgies. Executed with
brutally sturdy construction (unfinished pine beams
reinforced with welded steel corners), they evoke
the Black & Decker DIY Fabrication of clandestine
dungeons.
Things changed in the mid-1990s when van Lieshout
evolved beyond his role as solitary artist-maker, to
form AVL, recognising that factory-style had come to
dominate his work. Soon after, the Autocrat portable
cabin for survival in the wilderness (modelled on
the nineteenth century American Shaker principles
of comfort in proto-Minimalism) was created, with
facilities for sleeping, eating and the slaughter of
livestock. Chasing themes of self-sustainability,
AVL set about creating beautifully simple butchers
blocks, shelving, chairs and tables in the new AVL
survivalist style.
Like a mushrooming network of related services,
a hospital (AVL Spitaal) and the Workshop for
Arms and Bombs were created both inside old
shipping containers. When AVL was invited to
submit a plan for Almere, a rapidly growing Dutch
city, they suggested a free state populated by
mobile homes and services. The city, on an island,
would be isolated with its own economy revolving
around such activities as alcohol, drug and weapon
production, prostitution and counterfeiting. Almere
city council declined, and AVL, unswayed, set about
the construction of what was to become AVL-ville, in
Rotterdam.
This compound was supposed to further the creation
of AVL work and create an environment where like-
minded individuals could play. AVL-ville eventually
came to encompass a restaurant, farm, the weapons
factory, distillery, and various facilities for leisure,
most with varying degrees of disrespect for the
laws of the government of the Netherlands. All were
completed in the AVL style, now encompassing
basic 2 by 4 construction, raw plywood surfaces,
polyester-reinforced fibreglass for durability and an
assortment of off-the-shelf fittings and attachments.
The result was a fantasy land of brutal but playful
architecture. It drew specialists and students from
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4 53&- 6- 4 5# /- 7887
.
Sportop|a (2002). lt |s compr|sed of a mass|ve ob|ong scaffo|d|ng p|atform, a|most 3 metres h|gh, def|n|ng
two re|ated spaces. 0nderneath the p|atform, ||t by bare bu|bs, |s a ades equ|pped w|th a wor||ng gym,
eat|ng fac|||t|es, upho|stered furn|ture that m|ght pass for gynaeco|og|ca| exam|nat|on cha|rs (or props |n
more sord|d act|v|t|es), torture rac|s and the ub|qu|tous /VL sp|r|t d|spensers. ln one corner the b|ue
po|yester shaft of a compost to||et protrudes through the ce|||ng from above. Next to |t, vert|ca| scaffo|ds
create a sma|| pr|son ce||. ere, one subects h|mse|f to a pun|sh|ng phys|ca| reg|me, or |s subected to one.
ab|es, cha|rs and cut|ery ex|st on|y as a means of fue|||ng a body, ma|nta|n|ng momentum, bu||d|ng onese|f
|nto an ent|ty better equ|pped to exper|ence and re||sh the phys|ca|. he a|| accepts the v|o|ence marr|ed to
feats of phys|ca| endurance. he to||et, |n no uncerta|n terms, rem|nds the occupant that th|s |s the
underwor|d. /scend|ng the sta|rcase at one end of the p|atform, a very d|fferent scene unfo|ds. / row of
some 1b |mmacu|ate beds ||e fresh|y made a|ong the |ength of the wooden f|oor. /t the term|nat|on of the
p|atform a cab|n concea|s the compost to||et. he f|n|sh |s rust|c, but the concept seems more de||berate. /s
an env|ronment concerned w|th the body, |t |s executed on a comp|ete|y a||en sca|e. lt |s as though |ts
creators were ercu|ean, and bu||t th|s p|ace from the crudest mater|a|s, w|th the|r bare hands. Sportop|a
becomes |||e some strange mono||th|c mach|ne, ded|cated to preoccupat|ons w|th the body, pumped up
|||e a gym un||e - an |dea ta|en too far.
See /VL's wor| at the b|enna|e. l|rst, you rea||se that whatever |t |s, you can ma|e |t yourse|f. /VL wants
th|s. he ab|||ty to |nsp|re has a|ways been paramount |n art, and your |nterest g|ves you the p|ast|c|ty of a
barbapapa - eager to prov|de for onese|f. hen you see that to do so |s to remove yourse|f from the
worsen|ng syndromes of the des|gner as god, and the art|st as someth|ng beyond god. /s the person most
|een|y aware of what you want, you come to understand why do|ng |t yourse|f |s art. but |t's add|ct|ve, and
as /VL (and some |mag|nary shapesh|fters) he|p rem|nd us, b|g th|ngs come from rea||s|ng the beauty and
strength |n |now|ng how to bu||d.
om lryer
portfolio_princeton.indd 13 11/25/08 3:48:04 PM
94
around the world, wishing to contribute to and
participate in the AVL-ville lifestyle experiment. The
atelier/commune ran successfully for almost a year,
until last year when the restaurant was shut down
by the authorities and much of AVL-villes land was
reclaimed by Rotterdam council.
People in the art world either really like AVLs
arresting tactics, or write them off as juvenile.
Designers seem irritated that they didnt think of
AVL-ville first. Whatever AVL is, its on a grand
scale, and the swelling repertoire of the AVLs
operations show no sign of relenting. Which is
how the company that designs art will probably
exhibit at Junes Biennale with no spiel, no manifesto.
If its high-concept catharsis youre looking for, give
AVLs work in Sydney a miss. It is art on a human
level, to be lived in,
used and abused.
AVL goes where architects fear to tread, because
AVL has no aspirations for the inhabitants of its
environments. These habitats do not mould their
inhabitants by introducing lofty ideals into their
immediate surroundings. Instead, they are the
required spaces, created through human observation,
fresh from the fleshy mould.
While architects ask us us to reconsider our
views and realign our priorities accordingly, AVL
recognizes the human tendency towards darker,
less cerebral practises. An environment, a vehicle,
and illegal still, or a simple chair all state an
interest in providing or allowing for the pursuit
of all kinds of real human activity. Art facilitates
life. Van Lieshout has always produced work
that responded to his place in the Dutch urban
environment. Now in the AVL aesthetic there is a
sharp distaste for the chintzy, overly comfortable and
altogether Dutch home. Wallpaper, knick-knacks
and pet photos of any kind are discarded, replaced
by a type of hyper-pragmatism refined, irreverent
and dangerous. An AVL-built chair is designed for
someone who wants a seat, not for someone who
wants their home accesorised. Recently AVL was
commissioned to design a reproductive health clinic
for the Dutch Women on Waves project. The clinic
is ultimately intended to operate on a ship that will
sit in international waters just off countries where
abortion is illegal.
Function rules here, sometimes. Yet other works
include rigid 10 metre tall figures gallery fare. AVL
questions equally the usefulness of art, and the
uselessness of everything that is not art.
The zeitgeist has been on a long, slow trajectory
towards AVL. It is part of a backlash against a
media preoccupied with presenting the urban as
one extreme (in which we reside) against a rural
foil (which we retire to periodically). AVL seems
to suggest a melding of the two notions, or at least
provides the means of importing one extreme into
the other. People warm to such fundamentally
contrasting objectives. The imagination is stirred
when one examines the meeting point of the knotted,
deeply grained cheap plywood and its neighbouring
polyester: reinforced fibreglass, perfectly finished.
The three monthly inevitability of emptying your
Compost Toilet (2001) now matter how enlightening
or grounding is also at odds with interiors designed
only for the most debauched excess. AVL design
speaks of a duality that we can neither make sense
of, nor defeat a duality so inherent in modern life
that it almost defines the term itself. Wanting
the country, being in the city. Needing a career,
knowing that a career is a crock. The desire for the
hippie archetype of free love and living from the
land clashes violently with the possible eventuality
of having to defend yourself with home-made
armaments.
Earth 2002.
AVL-ville is currently concerned with commissions
and exhibiting globally. The Atelier has numerous
made-to-order works ranging from car/chicken
coop hybrids to gigantic fibreglass sculptures. One
recent work is Sportopia (2002). It is comprised
of a massive oblong scaffolding platform, almost 3
metres high, defining two related spaces. Underneath
the platform, lit by bare bulbs, is a Hades equipped
with a working gym, eating facilities, upholstered
furniture that might pass for gynaecological
examination chairs (or props in more sordid
activities), torture racks and the ubiquitous AVL
spirit dispensers. In one corner the blue polyester
shaft of a compost toilet protrudes through the
ceiling from above. Next to it, vertical scaffolds
create a small prison cell. Here, one subjects himself
to a punishing physical regime, or is subjected to
one. Tables, chairs and cutlery exist only as a means
of fuelling a body, maintaining momentum, building
oneself into an entity better equipped to experience
and relish the physical. The jail accepts the violence
married to feats of physical endurance. The toilet, in
no uncertain terms, reminds the occupant that this is
the underworld.
Ascending the staircase at one end of the platform,
a very different scene unfolds. A row of some 15
immaculate beds lie freshly made along the length of
the wooden floor. At the termination of the platform
a cabin conceals the compost toilet. The finish
is rustic, but the concept seems more deliberate.
As an environment concerned with the body, it is
executed on a completely alien scale. It is as though
its creators were Herculean, and built this place
from the crudest materials, with their bare hands.
Sportopia becomes like some strange monolithic
machine, dedicated to preoccupations with the body,
pumped up like a gym junkie an idea taken too far.
See AVLs work at the Biennale. First, you realise
that whatever it is, you can make it yourself. AVL
wants this. The ability to inspire has always been
paramount in art, and your interest gives you the
plasticity of a Barbapapa eager to provide for
oneself. Then you see that to do so is to remove
yourself from the worsening syndromes of the
designer as god, and the artist as something beyond
god. As the person most keenly aware of what you
want, you come to understand why doing it yourself
is art. But its addictive, and as AVL (and some
imaginary shape-shifters) help remind us, big things
come from realising the beauty and strength in
knowing how to build.

Writing
95
Today we see the evolution of regionalist tropes
in contemporary architecture, but the output is
different, at times even projecting the globalising
agenda that critical regionalists once charged
architecture with resisting. Regionalism is now
carried forward by a new intelligence that accepts
the inherent relationship of architecture to change
and progress. The new regionalism may define
the region differently; while retaining a desire
to articulate manifold identities and difference
through architecture. Importantly, it is increasingly
is inflected by the methodologies and theory of
practitioners who may seem unlikely inheritors of
the regionalist mantle, yet who provide powerful
ideaologies for use in a globalized economic space.
This paper seeks to examine both those that
influence and those who are actively seeking to
advance a new, meta-regionalism.
In the face of the radically changed circumstances
of the modern world, with its seemingly singular
trajectory towards a mode of capitalist production
that promotes a flattening and sameness of culture
by progress, Colquhoun asks how we might define
the new architecture of now, and how it differs
from preceding eras. He argues that regionalism,
embedded in the modern from the end of the
nineteenth century has always sought to preserve
culture that was perceived as threatened. While
a lack of difference defines the contemporary
architectural context, Colquhoun finds new moments
of difference in local examples, a new way to define
the region (as equivalent to the nation-state) - and
places where nationhood...coincide(s) with living
cultural traditions - particularly in the cases of
rapidly developing, yet ancient, civilizations.
In these exceptions to a culture of sameness, we see
the various futures of regionalism. These examples
of a new regionalism are informed by globalized
architectural practice far removed from the polemics of
Framptons Critical Regionalism. Instead, the common
intelligence that connects them is that these new
regionalisms are underwritten by technology and show
little interest in preserving doomed or vestigial culture,
instead extrapolating new hybrids according to their
economic, political and environmental contexts.
The hybrid foundations
of meta-regionalism are
as much the hyperactive
rationalism and dramatic
scalar ambitions of
Koolhaasian urbanism, as the implementation
of sustainability through technology and the
reassessment of vernacular architectures once
insufficiently critical for Framptons definition.
Meta-regionalism offers an enlivening of tired
and outdated notions of regionalism, where the
players are no longer constricted by scale or by
physical vernacular exemplars. Meta-regionalism
understands architecture and building as authentic
in and of itself, in its responsiveness to an era.
Meta-regionalism is unafraid to cross boundaries or
borrow succesful strategies to serve its ambitions;
the ends justify the means where righteousness once
substituted for a lack of applicable principles.
Of consistent relevance to any definition of
regionalism is authenticity. Yet when digital global
culture implies that all things are available to all
people at all times, when an increasingly immersive
environment of technology and media occupies our
senses, what is authenticity?
Alofsins notion of constructive regionalism updates
this with a precursor to the new regionalism - one
which finds a central place for technology. From the
early 1980s (or as Mumford believed, from the Bay
Regional School), a divergent thread of regionalism
has insisted that opportunities exist for new
technologies to create interesting synergies based
on regionalist theory. Colquhoun wonders whether
technology is able to exist without friction in any
place except the West, where it has the longest
history. OMAs China Central Television Building
is one example of the complexities and successes
that arise with the emergence of a technologically
informed nation-state regionalism in the developing
world.
OMAs 2008 building for CCTV represents the new
regionalism as created under nation-state as region.
Colquhoun sees the emerging nations of the East
as being a compelling testing grounds for a new
regionalism - a moment where ancient cultures and
globalization coincide.
But, how are we to understand this as an authentic
regional - as opposed to a universal - contemporary
architecture?
Contemporary China is in some ways the anti-region.
It defies the status of its component regions as being
culturally or climatically autonomous zones. Instead,
a central agenda is decreed from Beijing, often
overriding the specific historical, cultural and even
environmental characteristics of smaller regions.
Yet China is a contained region in itself. It does have
prevailing cultural characteristics in its politics (the
single party state) and ethnicity (the predominance
of the Han Chinese). Above all, China advocates
contemporary market-driven capitalist competition.
In new guises of regionalism, emerging regions
compete against each other on the field of capitalism,
instead of opposing the universal forces of capitalism
and the architecture inherent to it. China is
emblematic of this, as a communist state that has
ceded economically to market capitalism. A new
region is therefore defined by the way in which its
competitive approach differs to that of others, with
architecture becoming a potent tool in the large scale
iconography of power.
The construction technology required to design
and erect the CCTV building challenges prevailing
structural wisdom. At the level of detail, older
bioregionalist tropes are evident, for example in the
fenestration of the facade. Here, horizontal loads are
articulated by the local shaping of the diagrid - which
is sparse or dense as structurally required. Thus,
within a global architectonic context, moments of
regional specificity are brought to the fore. In the
CCTV Building technology becomes the driving force
of the programmatic, architectonic and symbolic
objectives.
Bjarke Ingels and his office, BIG, can be seen as
hereditary to Koolhaas and OMA; the adoption of
an avant-garde position, a diagrammatic, rationalist
approach and an interest in what Leach calls mock
realities. Yet in his interview with Inaba, Ingels
advances an explicitly regionalist preoccupation.
In this interview we see an approach closely aligned
to Framptons vision of a performative architecture,
stripped bare of mechanical systems, but updated to
rely upon sophisticated modelling software to inform
YSoA 1021a Theory II
Instructor Marta Caldeira
Semester 4, Spring 2011
Difference, Authenticity & Meta-Regionalism
96
Published in
Retrospecta 2010 / 2011
massing, glazing and orientation decisions. Similarly,
in the same interview, Ingels aligns with Frampton
regarding the inability of modernism to adapt to
local conditions; and offers instead the alternative
of a fast-track evolutionary model of architecture,
enabled by software. Here we find another iteration
of technologically-informed regionalism, but while
an interest in bio-regionalist thinking is evident,
Ingels flirtations with science are carefully construed
to alleviate what he calls a vulnerability that
architecture has in its economic interactions with
investors, developers or users.
In this way, BIG orients itself to the global economy
as well as looking to older notions of regionalism to
inform its practice. Thus, in answer to Colquhouns
question about the kinds of architecture that
are emerging, we can look to BIGs specifically
topographic approach.
BIG makes architectural mountains, shapes its
publicity image as a mountain, and names itself to
invoke mountainous size. At a zoomed in scale, what
seems to be an almost normative rationalist spatial
and formal approach, is aggregated and altered
to generate a new artificial topography. This is an
architecture that exceeds even the ambitions of OMAs
buildings as cities. BIG pursues building as landform,
and doing this is Denmark, where mountains are
rare, becomes an act of global power - a specific,
compensatory regionalism that refuses to accept the
inherent character or limitations of the traditional
region, and instead generates the place that could be,
rather than reinforcing the place that is.
In keeping with OMAs approach, older notions
of authenticity are passe, but the authenticity of
urban experience is at a premium, in keeping with
an urbanized and ever-urbanizing global context.
The same digital global culture is increasingly
unworried by once-percieved limitations imposed
by place (scale) and culture. A fantastical, utopian
urban vision acknowleges sustainability (high
density occupation, green roofs), but in the service
of concepts that in terms of scale much more closely
resemble the urban-scale megastructures of OMA,
than that of Framptons regionalist protagonists -
Aalto, Utzon or Murcutt.
With BIGs approach there is a sense that global
issues faced today will not be resolved at the scale
of free-standing residential dwellings. Instead, with
Mountain Dwellings, we see the bucolic urban fringe
of Copenhagen acts as incubator for urban ideas that
might be applied where Colquhoun sees so much
potential for regionalist tactics - the developing
world. Again, technology is at the fore, this time at
the design stage with parametric modelling. In the
completed building it is again possible to discern
a global frame that seeks to engage with large
scale economic machinations, and an embedded
regionalism that satisfies local human interests.
Onix is an office based in Groningen, the
Netherlands, that produces urban-scale projects,
predominantly using wood. In this way, they update
Framptons point on the Visual Versus the Tactile. In
fact, the priveleging of timber in their architecture,
and their challenging of its material properties,
suggests a convincing evolution of regionalist tropes
through scalar changes and a new, technologically-
enabled implementation of vernacular materials and
forms.
Yet in opposition to the advocates of existing
concepts of the vernacular, or even those responsible
for later concepts of critical regionalism, Onix
assume the role of the avant garde. The extending
of their polemic to occupy a position relative to a
larger social region is evident in their issuing of a
manifesto.
The Onix Dogma, as cited by van Toorn is: (1) The
design is made specifically for the location. (2)
Facades are never designed independently of ground
plans and vice versa. (3) Drawings and models are
made by hand. (4) Materials are used in their natural
state. (5) Illustrations in drawings and reference
images are prohibited. (6) The building should not
contain any referential or unnecessary ornaments.
(7) Architecture takes place here and now. (8) All
drawings are done by the architect. (9) Stylised
designs are not accepted. (10) The architect is not
referred to as such.
With this brief charter, we understand a series of
particular positions. Primarily, van Toorn identifies
a kinship with the iconoclastic Danish Dogma group
of movie directors, who redpudiated the universal
predominance of Hollywood illusionism, tricks and
sentimentality in favour of more authentic modes of
cinematic expression. Van Toorn goes on to compare
the rough wooden finishes in Onixs projects to the
rough cuts and hand-held camera aesthetic of the
Dogma filmmakers. In the service of their particular
brand of regionalism, Onix has implemented a far-
reaching new application of an old type. Drawn to
the informal nature, simplicity of construction and
materiality of the barn typology, Onix has morphed
and aggregated the barn into a suburban plan.
The wooden city concept is the ultimate phase of
ongoing experimentation with wood for Onix, a
trope that could be interpreted as resistant to the
homogeneity and ubiquity of concrete construction
for larger scale projects. The introduction to the
Wood Architecture monograph posits wood in
opposition to other more formal materials - the
informality of wood being what appealed to Onix
most. In this we see a narrative of resistance,
and one that touches more informal or vernacular
traditions.
Onix takes this unique typology and creates a circuit
with it - allowing its inhabitants a local inside from
where to resist the modern infinity of the outside.
Onix purposefully takes a type in order to elaborate
on their origins but remain vital and socially mixed
residential and working communities, based on
small-scale activities. What appears initially to
be a project of resistance depends on the pursuit
of major profits and project development founded
on land speculation to make way for a continual
transformation of the ribbon on a small-scale basis.
In this way, the architects propose a reinvigorated
type that depends on the savvy creation of a
vigorous real estate market environment to retain its
dynamism.
In the work of Onyx we see the ways in which
regionalism promises to fold intelligent local
principles into new architecture. While not a new
concept, the self-allignment of the architects at both
poles of the economic spectrum - with avant-garde
Danish filmakers at one extreme, and the suburban
Dutch real estate industry at the other, highlights an
inherently dualistic position.
Writing
97
In the Convent of Saint Marie de la Tourette
(Eveux-sur-Arbresle, France, constructed 1957-
60), Le Corbusier exhibits a disciplined approach
to his late preoccupations of figurative playfulness,
the implementation of Modulor proportions, and a
plastic aesthetic based on exposed concrete. Yet he
also returns to, or reconciles some of his earliest
themes. The structure responds to the uniqueness of
the site in a way that earlier buildings denied. The
establishment of elevated circulation, relatively high
in the scheme, reverses the orthodoxy of upward
vertical movement through architectural space, in
a way that is suggestive of his unrealized urban
designs for Montevideo (1929) and the Obus plan for
Algiers (1930).
Within this greater top-down scheme, the architect
again challenges his spatial innovations of the
1920s and 30s, returning to orthodoxy that he
had previously questioned. In this work we see
the interaction of the architects honed volumetric
tactics and figurative interplay. The five points of
architecture are evident, but are applied, combined
and integrated in a pastiche that approaches the
emergence of a new rhetoric. Of particular interest
is the way in which plan libre and facade libre are
implemented in the monastery, creating a complexity
of interior spaces, as well as externally articulating
the top-down approach and its corresponding
inversion of visual weight.
In addition to an analysis of the above, this paper
will also consider how the architects visit to Le
Thoronet Abbey in Provence (at the suggestion
of his client) inspired a careful reinterpretation of
the monastery type. The interplay of heavy walls,
cavernous, solemn interior volumes and natural
lighting of this tightly massed Cistercian Abbey were
to provide Le Corbusier with an array of insights
into the architectural representation of the monastic
order. Throughout, the paper examines the degree to
which the architect remained faithful to, or departed
from these formal strategies, through his selective
application of the Five Points.
The drawings are explanations of the key moments
in the scheme.
Drawing 1
Approach and the Square
The uphill approach to
the convent is instructive
in any formal analysis of
the building. The angle of approach denies a frontal
reading of the Western facade, instead visually
favoring the Northern facade. The void between
church and residential wings is not read, ensuring
that the two structures are perceived as compounded
(Rowe, p224). Rowe invites a comparison between
this corner-oriented approach and that of the
Parthenon, which Le Corbusier held to be a scheme
designed to be seen from a distance (Le Corbusier,
p52). Like the Parthenon, the corner approach
perspectivally diminishes the long dimension, in the
case of La Tourette suggesting an imagined square
plan that adheres to that of a traditional Cistercian
garth.
Le Corbusier articulated more of his understanding
of Le Thoronet. Unlike Fontenay, with its discrete,
well distributed buildings, Le Thoronet is a study
in containment. Massed around a central, unseen
courtyard, the various volumes are unified by the
formal and material relationships. From the corner
approach, the perspectival coalescence of the distant
piloti and supporting walls beneath the Western
facade also encourages a reading of the La Tourette
as a singular massive block.
The drawing describes how Le Corbusier was able
to harness the potent formal articulation of the
Parthenon to describe the Cistercian underpinnings
of La Tourette. With the approaching visitor able
to perceive the square plan, while not registering
the floating upper structure of the building, the
entire form beyond the Northern facade is read as a
singular event in the landscape.
Drawing 2
Blank Wall, Organic Entrance
The blank Northern facade offers no clue as to
the entry for the building. The first time visitor is
compelled to continue their movement uphill, past
it and the subtle curved wall and sculptural light
cannonsof the crypt. Using the official entrance at
the high Eastern facade, the entrance is marked by
a discrete concrete frame, which the visitor passes
through and then on to the reception office which is
articulated by its polylobed walls.
With the crypt and the reception, curvilinear volumes
define both at the initial arrival point of the church,
and the main entrance of the building. Together, the
two can be seen as an evolution of Le Corbusiers
organic recessed entrances, initiated at the Maison
Cook (1926) and developed at the Villa Savoye
(1928). This drawing describes the evolution of the
curvilinear entrance grammar that Le Corbusier
deployed in these three projects.
The late iteration at La Tourette exhibits an organic
freedom of form and approaching path that von
Moos associates with ever more desperately forceful
images (von Moos, p166), but can equally be related
to the time when the receptive female form first
manifested in Le Corbusiers painting in the early
1930s (Gans, p 29).
Drawing 3
Pinwheel and Stabilizer
The journey past the Northern face achieves a
number of spatial objectives, breaking open the
external barriers, and revealing the complex as open
at the center, and cleaved into two main volumetric
forms. This occurs along a visual East West axis
that connects the viewing platform adjacent to the
visitors office to the valley below through the void
between the residential wings and the church. The
variety of supporting conditions, the restlessness
of the external facades and the dynamic interplay
of courtyard figures suggests a pinwheel formation,
rotating, according to Baker, about the atrium
(Baker, p289).
Above the sacristy, the trapezoid projections of the
light guns are canted, reinforcing the direction of
rotation. I suggest that the atrium participates in
the pinwheel, not as the point of rotation, but as an
affected, directional figure, with the same articulated
clockwise movement as the light guns and the sliced
cylindrical stair mass. This drawing describes the
point of rotation as being in the void between the
oratory and atrium, creating a sense of a vortex at
the center of the complex, dissipating into solidity
in an upward, clockwise motion. The loggia of the
dormitory cells on the outer walls distend as they are
pushed by the outward force of the rotation. Against
this motion the church, deeply rooted in place, acts
as a stabilizer, arresting the movement.
Late Inversions;
Le Corbusier and Saint Marie de la Tourette
YSoA 801a. Formal Analysis
Instructor Peter Eisenman
Semester 1, Fall 2011
98
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Drawing 4
Rotational Circulation and Plan Libre
The pinwheeling motion of the courtyard initiates
a circulatory progression from the reception area
and viewing platform into the residential wings,
establishing the beginning of one of La Tourettes
primary routes - around the U-shaped dormitory
block. This route is defined by the widening,
narrowing and spatial shifts of the corridor, as it
weaves through around the three wings. The corridor
is the circulatory manifestation of the plan libre,
where the shifting walls remain strictly separate
from all columnar supports. The drawing describes
how three distinct structural grids fail to affect the
placement of walls, which instead freely generate
a serpentine pathway further delineated by specific
window conditions and the concrete flowers that
mark the terminating points of corridors on external
walls.
Drawing 5
Cruciform Circulation and Inverted Gardens
Von Moos suggests that the genesis of the
circulatory approach at La Tourette lay in Le
Corbusiers unrealized urban scale proposal for
Montevideo in 1929 a city built from the top down,
not from the bottom up (von Moos, p164). The
Montevideo scheme proposed a massive horizontal
highway emerging from the citys surrounding
mountains and terminating in the bay. Beneath
the highway forms the roof of the building below,
proposed as a vast business center. The clearly
articulated idea of a raised level for circulation
that spans the entire building can be seen in the
architects sketches for Montevideo, as well as the
Obus plan for Algiers (1930).
Le Corbusier redefines the Cistercian cloister by
detaching it from its traditional position on the
innerwall of the courtyard, and establishing it as a
cruciform network of ramped conduits (Potie, p45)
on piloti. These connect the atrium, the sacristy,
the church and the lowest level of the residential
block, and reinterpret the traditional open loggia
with ondulatories glazed colonnades of irregular
spacing. However, the most faithful realization of the
cloister is the roof garden, where the architect gave
the inhabitants access, recreating the traditionally
enclosed courtyard space as an unfolded, grassed
roofscape. With this approach Le Corbusier further
challenged Dominican conventions.
The monastery roof had the best view of its
surrounds, but Dominicans traditionally build in the
lowest part of the valley, where to look outwards
means looking upward into the landscape, with the
eventual and inevitable return of the gaze to the
valley and, metaphorically, to ones self (Heald, p24).
At the convent, as with the Beistegui apartment
(1933) in Paris, Le Corbusier denied the views of
the occupants with a wall of Modulor height of 1.83
metres.
If, over the course of his career Le Corbusier
had come to use the roof garden as a laboratory
for experimentation with forms that contrasted
stern geometry with playful counteraction of free
forms(Potie, p100), the roof at La Tourette must be
seen as having a dramatically different role. Here,
only the geometry is perceived. Yet the original
inversion - the top-down program that La Corbusier
implemented - reveals the space beneath the
residential wings as the site of the interplay between
fantastical forms. There, between the slope of the
earth and the underside of the building, a forest of
piloti of varying types and species (Potie, p46) as
well as structural walls and other extrusions define
a unique space. This drawing proposes a return of
all elements to their original positions in the vertical
hierarchy.
Drawing 6
From the reception and viewing platform, the visitor
may move upward in the building, or downward, but
the bulk of the building is above the entry level. That
the dormitory level is above the entry level is in fact
a return to an orthodox grammar, after experiments
with with locating bedrooms in the lower part of the
residence, below living areas, such as at the Maison
Cook (1926). In this way, La Tourette inverts this
element of Le Corbusiers early spatial discoveries.
But in the way that the volumes inform spatial
sequence for the visitor, La Tourette defines a new
rhetoric, with an elevated entrance and a downward
movement through spaces. Structurally, while the
living wings are a Poissy-type sandwich, the church
is a Tokyo-type megaron, (Rowe, p200). From the
North facade of the church, where the architect
pitches the top horizontal line of the wall, a false
right angle (Rowe, p230) is created. This has the
effect of compensating for the steepness of the site
by visually lifting the center of gravity of the entire
building.
The sandwich type touches the ground more lightly,
and using a wide variety of forms. Yet the mass
of the form, defined by the northern elevation of
the church, is raised above the entry level. On
the Eastern, Southern and Western facades, the
cantilevered loggia of the monks cells further
highlight the sense of a top-heavy mass. This
drawing aligns the heaviness of these facades with
their corresponding interior conditions, which exhibit
a repetitive cellular approach where structural
supports and spatial divisions are indivisible.
A downward movement through the building
corresponds with a move toward the open plan,
which culminates in the double height spaces of the
lower Eastern wing, where prominent structural
columns and minimal, detached walls describe light,
open volumes.
Drawing 7
The Axial Church of Light
The church is a strictly prismatic box of Cistercian
authority (Moos, p 103), and the medieval influence
is formally apparent. The building lies along a
central axis that is articulated on the floor of the
church as a paved line, and on the exterior in the
form of the centered organ housing. The structure
is rooted wholly in the ground, an uncompromising
block of concrete from which its interior forms are
carved, and to which the two abstracted wings of the
nave are anchored along the axis of the transept. In
contrast to the orthodoxy of the layout, natural light
is harnessed in a multitude of ways, giving rise to
two broad categories of inlet the sculptural and the
tectonic.
While retaining the sensitive Cistercian treatment
of light, La Tourette represents an evolution of the
sculptural lighting that Le Corbusier had explored
extensively, perhaps most famously at his chapel
at Ronchamp (1954). The light canons (von Moos,
p166) of the crypt and light guns of the sacristy
are fine, angular details in contrast to the massive
orthogonality of the church mass. Perhaps more
interesting, however, is how the plastic properties of
concrete were harnessed to integrate natural lighting
into the tectonic of the building. These elements,
while not as formally distinct as the sculptural, are
legible as a series of angled cuts through, and folds
of the church
,
s structural walls.
Writing
99
1101a Advanced Design Studio
Instructors Yvonne Farrell, Shelley McNamara
Semester 5, Fall 2011
1/16 = 1! Sectional Model
100
Other Works
101
Mute Magazine
Graphic Design and Typography
Client Mute Magazine
1999
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102
http://www.metamute.org/
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I began at Nute as a giaphic uesign intein, anu
concluueu my time theie as a full-time membei
of the ait uepaitment. Eventually, my ioles
incluueu the uevelopment anu iealisation of
concepts foi spieaus, auveitisements, anu online
content. I was also contiacteu to ait uiiect seveial
of Nute's collaboiative uesign piojects, incluuing
the cieation of the Totally 0ut of Time Festival
piogiam, anu uesigneu the inauguial SB covei foi
Nute's Ciitical Neuia issue.
The spieaus above aie a selection that I
uevelopeu ovei my time at the magazine. It was
challenging to communicate the style of the
paiticulai issue thiough the neeu foi uistinctive
spieaus XXXX
GRAPHICS
!"#$%!&'&()*$
Other Works
Mute magazine was founded in 1994 to discuss the
interrelationship of art and new technologies when
the World Wide Web was newborn. But, as mass
participation in computer mediated communications
has become more integral to contemporary
capitalism, its coverage has expanded to engage
with the broader implications of this shift. Mutes
investigation of the social, economic, political and
cultural formations of network societies maintains
an accent on the relationship between technology
and the production of new social relations. At the
same time, the magazines remit has grown broader
and now includes analyses of geopolitics, culture and
contemporary labour that, while necessarily inflected
by contemporary developments in technology, go far
beyond this.
103
College of Fine Arts Fourth Year Studio
Instructor Wendy Parker
Semester 8, Summer 2000
Anime Lighting System
104
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lights ielect on themes of biotechnology
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anu bone aesthetic The iist seiies of foims
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FURNITURE & LIGHTING
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portfolio_princeton.indd 23 11/25/08 3:48:43 PM
The Anime Lighting System is an explorations of the future
of objects in the domestic environment. The lights reflect on
themes of biotechnology, virtuality and everyware, to manifest
a skin and bone aesthetic. The first series of forms were
prototyped in acrylic skeleton, nylon skin with a universal
porecelain plug. Anime was the Object Gallery New Design
prize winner in 2001.
Published in
wallpaper*, The Sydney Morning Herald,
Monument, Object Journal and Domain
Other Works
Right
Screen-based Presentation Slides
105
Various Works
Various Works
Employer Joep van Lieshout
2002
Atelier van Lieshout is a multidisciplinary
firm that designs, manufactures and installs
functional artworks for private, gallery and
municipal clients. In 2002 I worked primarily
in the wood workshop, but also oversaw
polyester-fiberglass and metal projects. I was
responsible for interpreting and developing
design details on the workshop floor, and
supervised the installation of large-scale
installations in prominent galleries such as
the Stedelijk Museum, Schiedam. The images
above represent a selection of the projects that
I collaborated on.
Notable projects were the AVL Franchise Unit
for which I was a detail and construction team
member, and the Interpolis headquarters
interior where I was on the carpentry team
working specifically on structural elements.
106
Other Works
http://www.ateliervanlieshout.com/
107
Tokyo Geidai Second Year Studio Project
Instructor Seiichi Onobori
Semester 3, Summer 2007
Nesting Table Concept
for .ixc / Cassina
A furniture concept for contemporary office
spaces, developed over an 18 month period in
conjunction with the design department at ixc.,
Cassinas Japanese arm.
The table is designed to be used in the
common spaces of the Japanese office, where it
facilitates spontaneous and informal meetings.
The varying heights, footprint and transparent
surfaces were specified to allow quick repositioning,
group member interchangeability and the visible
storage of devices. The aesthetic references natural
elements and an atmosphere of informality into the
office, stimulating creativity.
Two differently proportioned tables nest together to
allow quick flexibility for meetings.
The computer models were developed and submitted
to the manufacturer in Rhino. Renderings were
completed in 3DS Max.
108
Other Works
http://www.cassina-ixc.com/
109
Product Design < Tomato Audio Concept >
Client Kenwood Tokyo
Summer 2007
Presentation Boards

Tomato
110
A furniture concept for contemporary office
spaces, developed over an 18 month period in
conjunction with the design department at ixc.,
Cassinas Japanese arm.
The table is designed to be used in the
common spaces of the Japanese office, where it
facilitates spontaneous and informal meetings.
The varying heights, footprint and transparent
surfaces were specified to allow quick repositioning,
group member interchangeability and the visible
storage of devices. The aesthetic references natural
elements and an atmosphere of informality into the
office, stimulating creativity.
outer band: polymer
main case: ABS
speaker caps: polymer
carry webbing: neoprene
Developed during a two month internship at Kenwood Tokyo, the
Tomato system was designed as a portible speaker system to
compliment the iPod. The form was developed in Rhino, and the
renderings were created in 3D Studio Max.
Other Works
Presented at Apple Headquarters, Cupertino, California
111
George Nelson Scholarship
Yale School of Architecture
2011 - 12
Rogelio Salmona and the
Trajectory of Urban-Social Intervention in Colombia
This research examines the degree to which
we can attribute the post-millennial rebirth of
Bogota with the architectural and urban-social
interventions of the preceding forty years. In doing
so, any architectural research in Colombia must
confront the resolution of social, economic and
physical segregation, issues of public and private
urban spaces and the legacy of utopian urban
proposals versus the realities of massive growth and
(frequently informal) settlement.
112
Other Works
113