Architecture is... Architecture is...

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architecture is

e is...

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often described as a tenuous balance between

seemingly oppositional fields of interest - one

driven by the desire for conceptual and artistic

in-vention, and the other recognizing the pragmatic

vention, and the other recognizing the pragmatic

realities of building and social complexities

in-volved in its execution. We believe that the most

volved in its execution. We believe that the most

resonant architecture stems from the architect’s

ability to be intensely engaged in all phases of the

work with an insistence on the constant

intertwin-ing of multiple approaches and processes- from

ing of multiple approaches and processes- from

technical, to iterative, to inventive, to reflective.

We believe that each approach offers a new

per-spective on the work, it brings new issues to bear,

spective on the work, it brings new issues to bear,

and ultimately allows for the most robust

archi-tectural outcome.

tectural outcome.

As a result of this believe, our office has utilized

the last five years to establish a way of working

that is committed to constant experimentation

through a relentless hands-on approach to our

work. This way of working has simultaneously

extended the design process while better

inform-ing each subsequent project with material

ing each subsequent project with material

intel-ligence and technical expertise.

ligence and technical expertise.

Los Angeles and SCI-Arc have served as

invalu-able test beds for our ambitions. The work

able test beds for our ambitions. The work

in-cluded in our portfolio consists primarily (although

cluded in our portfolio consists primarily (although

not entirely) of work that we have built ourselves.

This way of working grew out of necessity, an

in-sistence on detail driven work on miniscule

sistence on detail driven work on miniscule

bud-gets, and out of the desire to allow the design

gets, and out of the desire to allow the design

pro-cess to continually respond to feedback provided

cess to continually respond to feedback provided

by the fabrication process. The projects have

happened quickly, with three installations (Density

Fields, Pendulum Plane, and Live Wire) occurring

in just over a year. In the case of those

installa-tions, the condensed time frame led to a

tions, the condensed time frame led to a

cumu-lative body of work, with each project building on

lative body of work, with each project building on

the expanded material knowledge obtained from

the previous. That knowledge brought with it new

concepts for building that went beyond the

mate-rial itself- one that is interested in extending the

rial itself- one that is interested in extending the

role of experimental work to better engage ideas

of use and human engagement.

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M

otivated by the desire to occupy the SCI-Arc gallery in a way that exploits the spatial potential of the existing venue, this installation argues for an expanded relationship between tectonic expression and functional performance. The installation propos-es a vertical circulation system linking the floor level of the gallery to the catwalk above. This circulation system, a.k.a. a stair, is equally concerned with its function, use, and performance as it is its visual and experiential qualities. The stair establishes a new form of movement through the space that challenges the closed nature of the gallery as a hermetic space for objects, effectively integrating it into the daily operations of the school.

With the intention of bridging multiple architectural ideas within a single architectural element, the stair exploits a tectonic language appropriate to that objective. In conventional systems of verti-cal circulation, numerous components are assembled together, with each performing a specific function, for example, guardrails provided along the perimeter, handrail attached to adjacent walls or guardrails, tread and risers for stair surfaces, and a stringer for structural support. Furthermore, these individual components often act independently of systems meant to shape architectural experience. This segregated tectonic formula leaves little room for consideration of the kind of fluid spatial and tectonic impli-cations that might result from a more collective consideration of the parts. Constructed of approximately 2400 linear feet of aluminum tubing and rods, the stair employs a combination of complex loops that perform a variety of tasks as they merge to-gether to form the necessary stair elements. Similarly, the stair incorporates faceted perforated aluminum panels of two differ-ent thicknesses to create a continuous, semi-transpardiffer-ent surface from stair tread to guardrail to canopy.

Often relegated to pure functional use, the fundamental architec-tural element presented in this installation is a testing ground for weaving together a multitude of architectural ideas, ranging from the manipulation of light, geometry, and structure to, of course, vertical circulation. Conceived of first as a series of light modula-tors, each architectural element requires a progressive manip-ulation in order to negotiate the required performance criteria. With the length of the gallery and the size of the treads providing a scale to one side of the intervention, the opposite side reaches up toward the clerestory windows at a dramatically different scale. As the stair moves upward, the geometry takes on a transforma-tive quality that pushes the structural limits of the material, relying on the built-up density to carry the load. As much as this density of material is meant to provide structural support, it is recognized that it is within these areas that their performance is most eas-ily forgotten, giving way to the spaces they define. It is at this conceptual intersection that the installation is intended to provide a more expanded definition of architectural elements, one that knows no boundaries between the simple functions they perform, and the more intangible results that they evoke.

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left:

left: study models; the models explore a range of different solutions including pure skeletal systems, and folded plate systems. later studies investigate the integration of both a skeletal system and a solid “infill” material. these are just a few of the models that served as studies for the development of the stair up to the final days before the opening below:below: fabrication began with the construction of a platform and a wooden jig. angles were bent one at a time using a hydraulic bender. A custom die was machined in order to bend to a radius of 2 1/4” and a set of cardboard templates were then produced that could be used to ensure accurate angles of the bends. once all of the individual aluminum elements (over 1000) were bent, placed in the jig and fastened accurately and securely, all of the joints could be welded together. this process effectively fixed the overall geometry of the loops, so that they could be removed from the jig but still maintain their shape.

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PRIMARY

SKELETAL LOOP

SECONDARY

SKELETAL

LOOPS & TIES

Anchored to Concrete

OPEN FRAME

Lag Bolted to Stud Wall

.125” Perforated Aluminum Infill Panels at Tread Locations .040” Perforated Aluminum Infill Panel Faceted at Joints

.125” Perforated Aluminum Infill Panels at Tread Locations

.040” Perforated Aluminum Infill Panel Faceted at Joints 1” O.D. Aluminum Tubing with 8“ long, 3/4” diameter Aluminum Telescoping Rod at all Joints, typ.

3/4” Diameter Aluminum Telescoping Rod Welded at all Joints

Lag Bolted to Stud Wall Lag Bolted to Stud Wall Thru-Bolted to Stud Wall with Plywood Backer

Anchored to Concrete

0’ 1’ 2’ 6’

left:

left: diagram showing the continuous looping system. the system is organized by a series of six loops that together make up two treads and two risers.

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-3.5 0 15 0 -15 0 -22 0 30 0 30 0 15 0 15 0 -150 -180 320 180 360 -180 -22 0 30 0 -15 0 15 0 150 -180 180 320 -150 -22 0 30 0 -15 0 150 180 32 0 -180 -150 -22 0 -15 0 150 180 320 -180 -150 -160 -220 400 210 400 -450 -450 -220 150 -130 -130 280 280 200 200 -150 -130 150 280 -110 200 180 150 -130 280 200 180 180 900 900 900 900 900 -200 -1440 -530 -470 940 900 -400 -330 150 250 -80 -180 150 250 -180 -330 150 -180 -330 150 250 -180 -330 -400 720 210 850 850 900 900 890 -180 -180 -180 -280 -280 -280 -250 -250 280 280 460 -300 -180 -280 -250 280 -300 -300 460 230 310 -300 -370 -350 310 330 300 -300 -370 -350 310 330 300 310 33 30-35 0 310 -370 -350 -300 330 300 310 310 330 740 -740 710 970 L OOP A TUBE F ORMA TION L OOP D TUBE F ORMA TION L OOP E F ORMA TION PERF ORA TED ALUMINUM F ORMA TION PERF ORA TED ALUMINUM F ORMA TION L OOP C F ORMA TION L OOP B F ORMA TION L OOP F F ORMA TION TIE F ORMA TION

FORMATION DIAGRAM

0’ 1’ 2’ 6’ 10’

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PLAN

0’ 1’ 2’ 4’ 10’

ELEVATION

facing north

0’ 1’ 2’ 4’ 10’

ELEV

A

TION

facing eas t 0’ 1’ 2’ 4’ 1 0 ’ N

left and below:

left and below: opening night opening night

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T

his proposal for a 1000 square meter villa in Inner Mongolia, China is part of a development of 100 villas to be designed by 100 architects from 27 different countries.

Our proposal strives to create a symbiotic relationship between the landscape and the building as well as the formation of a series of spatial chasms between major programmatic blocks. In developing the spaces, the proposal begins with the si-multaneous desire to minimize the overall above ground massing of the building while still providing the underground spaces with immediate access to light and air. In pursuit of that objective, we have placed approximately a third of the program below grade. In most cases, however, the excavated area is offset from the building in such a way as to reduce the presence of the building mass on the site without the experiential disadvantages of occupying underground spaces. In effect, most all of the programmatic elements underground can operate as above ground spaces with regard to outdoor access, light, and air. This placement of spaces underground is also beneficial in providing constant protection from the prevailing winds. Access to the underground area is provided by two major ramps extending from the entry point of the site. The first ramp leads to the garage for vehicular access, with the second, smaller ramp leading to the recreation area in the basement.

The overall building diagram is based on the development of two “U” shaped build-ing elements, with one correspondbuild-ing to the public and the other to the private functions of the program. The “U” shapes are then overlaid in an interlocking orien-tation to create deep, geometric light wells that extend into the overall mass of the building. These light wells are conceived of as the key architectural experience of the house, serving as a spatial and experiential link between programmed spaces and the landscape which they extend from. The geometric faceting of the house serves this idea by creating a material and formal continuity that operates in both plan and section.

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bottom of opposite page:

bottom of opposite page: preliminary study models left:left: view of secondary entry showing the void between the public and private areas of the villa as well as the cov-ered exterior area off of the master bed-room (at the top of the stair)

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PUBLIC/PRIVATE SPACES

The building consists of two The building consists of two U-shaped programmatic volumes, shaped programmatic volumes, one containing public functions and one containing public functions and the other private spaces. The the other private spaces. The inter-locking U’s are rotated in order to locking U’s are rotated in order to provide a three- dimensional provide a three- dimensional rela-tionship between floors while tionship between floors while main-taining a degree of separation. taining a degree of separation.

FACETING

A system of geometric faceting is A system of geometric faceting is employed in order to create employed in order to create three-dimensional transitions between dimensional transitions between the floors and within the spaces. the floors and within the spaces.

VOIDS

The voids that are created between The voids that are created between the volumes serve as entry points into the volumes serve as entry points into the building and provide light and air the building and provide light and air into the spaces below. These areas into the spaces below. These areas are conceived of as the key elements are conceived of as the key elements in the spatial experience of the villa. in the spatial experience of the villa.

SITE MANIPULATION

The site is manipulated in such a way The site is manipulated in such a way as to emphasize movement into each as to emphasize movement into each of the three voids and to open up light of the three voids and to open up light and air into the basement area. and air into the basement area.

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B B 㽓ゟ䴶 NOR TH ELEV ATION

SITE SECTION D-D facing northࠪ䴶ᳱ࣫

SITE SECTION C-C facing w e s t ࠪ䴶 ᳱ 㽓 BASEMENT PLAN ഄϟᅸᑇ䴶 N A A D D 01m 2m 5m 10m 20m ࣫ SOUTH ELEV A TION फゟ䴶 ࣫ゟ䴶 EAST ELEV ATION ϰゟ䴶 C C ࣫ゟ䴶 C C A A

FIRST FLOOR PLAN

SECOND FLOOR PLAN ROOF PLAN ϔὐᑇ䴶 Ѡὐᑇ䴶 ሟ乊ᑇ䴶 N B B ࣫

SITE SECTION B-B facing north ࠪ䴶ᳱ࣫

SITE SECTION A -A facing w e st ࠪ䴶 ᳱ㽓 01m 2m 5m 10m 20m 㽓ゟ䴶 WES T ELEV A TION A A B B D D D D C C A A B B D D C C

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above:

above: the plan is organized into two interlocking U-shaped volumes. located between the volumes are the primary and secondary entries to the villa. exposed retaining walls at the basement level allow the spaces to receive light and air while minimizing the apparent volume of the scheme on the site.

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T

his “extreme cantilever” built of aluminum and polypro-pylene rope hovered over the courtyard of Materials & Ap-plications (M&A) in Silver Lake, Los Angeles from October of 2007 through February of 2008. Defying classification as either sculpture or architecture, the piece flexes with a ges-ture that extends lines beyond the small courtyard, seeming to pierce buildings and features in the neighborhood. The design intention was in balancing a set of structural ideas, the programmatic needs of the space, and the desire to use basic geometries to create a rich spatial experience within the space itself. The primary structural question posed by the piece is, “What makes the idea of using lines different in terms of their structural properties?” The idea addresses tensile properties, thereby limiting the structural possibilities, but also allows for a more specific way of designing that ex-ploits tensile strength. This line of inquiry led to a structural principle that utilizes a dense field of lines. The installation consists of two basic materials: (1) an aluminum frame ex-tending up from the ground and out into the space, and (2) a series of fine, tensioned ropes pulling the cantilever in the opposite direction, forcing it to hover above the ground.

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left and below:

left and below: this temporary installation located at Materials and Applications gallery features a dramatic 25’ cantilever of aluminum tubing and polypropylene rope that reaches out

to-ward the active Los Angeles neighborhood.

left:

left: one of numerous sketches study ing preliminary spatial ideas below: below: pre-liminary models investigated connec-tions within the neighborhood in order to generate a site specific geometry for the piece.

T

he development of the project was the

negotiation of two primary objectives: (1) the conception of a spatial idea involving the ac-cumulation of dense fields of material overlap. With this idea in mind, one priority became the insistence on a delicate and inexpensive mate-rial choice; (2) the creation of a three-dimen-sional geometry extracted from the surrounding neighborhood. Those geometries where first extracted through a series of exuberant mod-els that extend lines from major points through-out the neighborhood, including major building openings, doors, windows and roof lines. In capturing the spirit of those three-dimensional site investigations, the architects ultimately pro-posed a cantilever that relies structurally on an elegant combination of tensile and compres-sive members, maintaining both the spatial and geometrical intent.minum frame extending up from the ground and out into the space, and (2) a series of fine, tensioned ropes pulling the cantilever in the opposite direction, forcing it to hover above the ground.

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left:

left: evening view of Density Fields below: below: joints for the installation were fabricated in the shop of the Southern California Institute of Architecture (SCI-Arc)

plan view plan view

elevation elevation

above: i

above: in contrast to the more sculptural qualities expe-rienced from the street, the view from inside the piece

adheres closely to the early spatial sketches.

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left:

left: the design incorporates carefully considered “furniture” elements, such as a table and bench made of rope, that help to extend the experience of the dramatic cantilever (left) down to a human scale. below: below: a silver polypropylene rope was cho-sen for its affordability, tensile strength, and reflec-tivity in the evening light.

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S

ituated in the heart of Taipei, this project strives to rethink the typology of housing tower as a tall box with repetitive balconies, as is the case with most housing in the city of Taipei. This proposal utilizes geometry and materiality to accommodate the needs of the tenants but also to create a scheme that is not based on repetition. A stainless steel screen is applied to the surface of the building to mask the simple, repetitive units behind, as well as enhancing the geometries of the flowing balconies. This scheme also considers the need for an integrated approach to the design of the two major building volumes. Rather than simply designing a 15 story residential building with an adjacent 7 story commercial building, we studied an ap-proach that creates a seamless transition of the two elements. With this scheme, however, we utilized the residential balconies as a design element that extends into the commercial zone. While the actual usage remains separated, this strategy allows for a similar design aesthetic throughout.

The building includes a carefully considered weaving together of four primary building materi-als: 1) exposed concrete for the floor systems, concrete elevator core, stairs, and selective wall areas that provide necessary privacy for the residential units, 2) transparent glass enclos-ing the residential units, but allowenclos-ing for spectacular views, 3) translucent glass with insulated backer on selective portions of the building. This provides privacy for areas like bathrooms and closets, and 4) stainless steel sunscreens that provide shading in front of exposed transparent glass. Aesthetically, the screens unify the overall façade and allow for more depth and variety than a conventional glass façade. Many of the shading devices may be opened to allow for unobstructed views, while others remain closed to provide a permanent shading system. The stainless steel sunscreens are also a unique design feature at night, as the glow of interior lights is projected through the screens.

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above:

above: view from the northeast opposite page: opposite page: evening view from the southeast

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M M N N L L SECTIONS SECTIONS SECTIONS SECTIONS

The LA Forum for Architecture and Urban Design The LA Forum for Architecture and Urban Design sponsored an open competition in the Spring of sponsored an open competition in the Spring of 2008 to design what they termed a “liner” for their 2008 to design what they termed a “liner” for their newly acquired headquarters on Hollywood newly acquired headquarters on Hollywood Bou-levard. Because the space is shared between levard. Because the space is shared between Woodbury University and the Los Angeles Forum Woodbury University and the Los Angeles Forum for Architecture, the competition brief asked for for Architecture, the competition brief asked for something that could be moved from the space something that could be moved from the space and stored while not in use by the Forum. The and stored while not in use by the Forum. The ini-tial starting point was very much a reaction to the tial starting point was very much a reaction to the project brief in the sense that it was not exactly the project brief in the sense that it was not exactly the

right approach. Anything of real architectural value right approach. Anything of real architectural value within the space should be an integral and constant within the space should be an integral and constant part of the experience of the space. The challenge part of the experience of the space. The challenge came in considering how to introduce a system that came in considering how to introduce a system that can have the most amount of spatial and functional can have the most amount of spatial and functional impact but still allow for existing functions (i.e. pin impact but still allow for existing functions (i.e. pin up space for Woodbury) to occur on occasions. up space for Woodbury) to occur on occasions. The idea of using the ceiling was the right The idea of using the ceiling was the right combina-tion of 1) maximizing the spatial experience within tion of 1) maximizing the spatial experience within the space and 2) providing something that could be the space and 2) providing something that could be tucked away when required.

tucked away when required.

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SCALE

0’ 1’ 2’ 4’ 6’ 10’

N PLAN With Units Positioned Randomly

ELEVATION Facing 30 Degrees North of East

ROTATIONAL DIAGRAM Facing 32 Degrees North of East

TOP ROTATION A Elevation 12’-5” BTM ROTATION B Elevation 6’-1” BTM ROTATION A Elevation 9’-6” TOP ROTATION C Elevation 10’-9” TOP ROTATION A Elevation 12’-5” BTM ROTATION B Elevation 6’-1” BTM ROTATION A Elevation 9’-6” TOP ROTATION C Elevation 10’-9” ELEVATION With Units Positioned Randomly

ELEVATION With Units Positioned Randomly

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top of opposite page and below:

top of opposite page and below: when not in use by the la fo-rum, the system folds into a fully closed position to create a uni-fied ceiling plane above: above: the system is broken down into bays of four units each and is attached to wood beams installed along the surface of the existing ceiling below center (two images): below center (two images): when deployed, the system allows for display boards to be hung in the space, creating a variety of different organizational config-urations bottom of opposite page: bottom of opposite page: adjustable counterweights installed in each of units allow for the asymmetrical cantilever as well as the proper operation of the pendulum system

T

he project subverts that idea of storage by creating a system

that capitalizes on the idea of variability. The proposal performs both spatially and functionally in two ways. It consists of an intri-cate ceiling system that performs both as a ceiling as well as a vertical plane that can shape the space in multiple dimensions. It also functions as a variable display system along the wall or in the middle of the space. When in the closed position, each individual unit is self-balanced on a hinge and hovers above the space. At both ends of the unit is a smaller hinged frame that may be rotated. When either of the frames is opened, the bal-ance of the unit shifts, allowing the smaller hinged frame to be lowered into position that is optimal for hanging display panels. With panels running along both sides of the space, the system provides display options along the perimeter of the space, along a central spine, or a combination of the two.

The system includes two different units (one being the mirrored version of the other) as well as a truss that is supported by the existing ceiling. Constructed almost entirely of welded aluminum tubes, the units measure 96” x 40”, and are designed to allow for the display of up to 42” boards. Even though each of the units operates individually, different spatial configurations can be formed by lowering consecutive panels to create more of a con-tinuous spatial divide.

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SECTIONS ROTATIONAL DIAGRAM RO TA TI O N A L DIA GRAM RO TA TI O N A L DIA GRAM FULL Y CL OSED Ceiling Conf iguration FULL Y CL OSED Ceiling Conf iguration

OPEN FRAME Displa

y Conf

iguration

OPEN FRAME Displa

y Conf iguration FULL Y CL OSED Ceiling Conf iguration FULL Y CL OSED Ceiling Conf iguration

OPEN FRAME Displa

y Conf

iguration

SCALE

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ROTATIONAL DIAGRAM Facing 32 Degrees North of East

TOP R O TA TION A Ele v a tion 1 2 ’-5” BTM R O TA TION A Ele v a tion 9’-6” TOP R O TA TION C Ele v a tion 1 0 ’-9” BTM R O TA TION B Ele v a tion 6’-1” TOP R O TA TION A Ele v a tion 1 2 ’-5” BTM R O TA TION A Ele v a tion 9’-6” TOP R O TA TION C Ele v a tion 1 0 ’-9” BTM R O TA TION B Ele v a tion 6’-1”