Art-chitecture

Art-chitecture

Blurs the line between architecture and art, combining elements from each in ways that are symbiotically complementary and mutailly co-constitute. The result are hybrid projects that function, provoke and inspire, an endeavorI like to call “Art - chitecture.”

Art•chi•tec•ture - \ärt-ke-tek-cher\

Icup Synthetic Landscape

The Icup installation takes one of the most ordinary, disposable, and seemingly inconsequential objects—the paper cup—To invert the consumer-object relation and perception through the creation of an extraordinary –membrane like piece that embraces both the coffee-drinker and coffee shop. Given the typical paper cup has an average lifespan of 10-15 minutes, the user hardly ever considers the elaborate processes of its production, distribution, and its disposal. By bringing to light the throw away, mundane paper cup the installation counterbalances ordinary user-object relations to challenge assumptions regarding inconsequential consumption of the invisible waste. The 4,000 cups that make the installation reconfigure the user-object interaction by transforming the special experience of the coffee shop.

To further study the user-object interaction; the I-cup installation was reconfigured and mechanically animated as part of the Phantom Galleries (an organization that transforms vacant storefront into temporary public art galleries) in Long Beach. The Icup installation, created a unique relationship between the community and the cups. As pedestrian walking by had a direct interaction with the installation as he or she was able to activate its movement, via sensor, by simply standing in front of the glass. Its harmonic motion creates a vast array of soft-scapes that are generated by a rotating crankshaft.

> PERSPECTIVE SKETCHES

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> MOTION AT REST

> MOTION ACTIVATED BY PEDESTRIAN WALKING BY

02 PLAN GRID + CONTROL POINTS

01 PLAN CUPS

1 > Motion Sensor 2 > Cups 3 > Crankshaft4 > Pully System5 > Grid System

LEGEND5

4

1

2

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Displacement

Period

0.0 sec 30 sec0.0 in

9 in

60 sec

Displacement

Period

0.0 sec 30 sec0.0 in

9 in

60 sec

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> STUDIES FLEXABILITY + CONSTRUCTUBILITY OF CUPS IN UNITS

> MOTION CRANKSHAFT

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> MOVEMENT DIAGRAM > HARMONIC MOTION > MOTION CRANKSHAFT

- 4,000 CUPS - 15,000 STAPLES - 500 FEET OF STRING - 4 STAPLERS - 9 PULLEYS - 8 HUMANS - 256 FL OZ OF COFFEE

> CEILING SUSPENSION SYSTEM

> TIME LAPSE SEGMENTS

2.00’

2.50’

3.50’

4.50’

5.50’

1.00’

8.50’

10.00’

Set in Motion : The Cloud

The cloud is a catalytic structure that changed the typical spectator’s experience of a gallery environment. The installation sought to solve the contradiction of creating a prominent installation while not overshadowing the work of 40 participating plastic artist on display. The articulation of the space was housed within the shape of the installation creating a dynamic fluidity between the art on display and the observer within the display itself. This art installation was exhibited in the Basswerks gallery, as part of the art show “set in motion.”

> STUDY MODEL

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> SECTION SEGMENTS

> ELEVATION

01 LEVEL

1 > Entry2 > Sculptures3 > Hanging Art4 > Digital Media

LEGEND5

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33

Adaptation : The Cocoon

Downtown Los Angeles is in the process of reinventing itself as a thriving hybrid community. One key component of this goal is the adaptation of old, existing industrial buildings into mix residential and work/live lofts. It is this creative and genuine adaptation process that sprouted the concept of The Cocoon. When I moved into my loft, I analyzed and explored the existing conditions and elements presented by my then-newly repurposed place, and utilized these to create an adaptive dwelling I could reinterpret as home. The extension of the machine room of the freight elevator of this previously sweatshop-building happened to be an extension of my ceiling. This 11’x9’ void became the perfect opportunity to adapt a bedroom and incorporate several other elements in the design to enhance the loft, such as exterior views, ambient lighting through the use of translucent materials, incorporated lighting, material application, and spatial geometry.

> SITE - ADAPTATION - COCCON Before this building was renovated and converted into lofts. The Cornell Building was a sweat shop. This particular area ther e used to be fright elevator.

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> SKIN + VIEWS + TRANSPARENCY

> SKETCH + VOIDS

1 > Entry2 > Kitchen3 > Dinning4 > Studio/Office5 > Bedroom6 > Living Area7 > Restroom

LEGEND

02 CEILING

02 LEVEL

01 LEVEL

B2

B1

B3

AA2

BB2

C C2

12

3

4

56

7

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0’ 2’ 4’ 6’

1. HALLWAY2. BATHROOM3. KITCHEN4. DINNING5. LIBRARY6. STUDIO7. LIVING8. CLOSET 9. BEDROOM


5

B2

B1

B3

AA2

BB2

C C2

12

3

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56

7

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0’ 2’ 4’ 6’



B2

B1

B3

AA2

BB2

C C2

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0’ 2’ 4’ 6’



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Context0’ 2’ 4’ 6’

Context0’ 2’ 4’ 6’

> SECTION FOOTING BASE PLATE

> SECTION DIAGRAM > SECTION DIAGRAM

> SECTION DETAIL OF BEAM AT COLUMN > SECTION DIAGRAM

> ELEVATION DIAGRAM

SECTION B1 SECTION B3

4’-11”

3’-0”

9’-6”

10’-9”

8’-8”

4’-11”

3’-0”

9’-6”

4’-11”

3’-0”

9’-6”

1’-4”


4’-11”

3’-0”

9’-6”

10’-9”

8’-8”

4’-11”

3’-0”

9’-6”

4’-11”

3’-0”

9’-6”

1’-4”


4’-11”

3’-0”

9’-6”

10’-9”

8’-8”

4’-11”

3’-0”

9’-6”

4’-11”

3’-0”

9’-6”

1’-4”


4’-11”

3’-0”

9’-6”

10’-9”

8’-8”

4’-11”

3’-0”

9’-6”

4’-11”

3’-0”

9’-6”

1’-4”


4’-11”

3’-0”

9’-6”

10’-9”

8’-8”

4’-11”

3’-0”

9’-6”

4’-11”

3’-0”

9’-6”

1’-4”

> SECTION DIAGRAM > VIEWS DIAGRAM

> BASE PLATE + COLUMNS termination to different materials CONCTETE + OPAEL POLYCARBONATE

to dininig

to Kit

chen to AC

to entry

to Living to Windows

to ENTRY

to ENTRY

to s

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to Studio

to Living to Windowsto Studio

to Living to Windowsto Studio

East Moring Sun 6:51

Preceptual Vision : Points of View

A multi-perceptual experience of consciousness through a vacant storefront

An individual’s perception of things is a critical aspect of the interaction between the spectator and the physical world. A perceptual ‘object’ can be defined as a spatio-temporal coincidence of its different attributes. For example, an object could be a large, red, moving square. If an object’s different attributes occur simultaneously in different places, can they still define the object? The installation emphasizes this “spatio-temporal coincidence” making the observer consider the conditions of our conscious recognition. The installation consisted of fragmentary shapes in different perspective planes that, when seen from specific positions, joined to create words that formed philosophical and artistic arguments on perception. The spectator would decipher each message as he or she looked for key perspective views. However, what lay before him were not letters or words, but rather shapes that, when seen from a specific point of view, aligned in a way the viewer could attach particular meaning to the collective ensemble. The installation sought to convey how art is judged as it is being observed, from the individual’s point of view.

> FLOOR DIAGRAM

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> WORD FRAGMENTATION

MESSAGE LETTER SEPARATION PLANE PROJECTION

> SPACE LAYUOT

1 > The world we see is not real, it’s our mind’s representation of our senses2 > Question what you see3 > Withdrawn in the mind4 > Reality cannot be found except on a single source, because all things are inteconnected5 > Art is truth existing only in the mind. There is no absolute truth

LEGEND

01 FLOOR PLAN

1

2

3

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5

> WORD FRAGMENTATION

MESSAGE 5

MESSAGE 6

MESSAGE 1

MESSAGE 2

MESSAGE 3

MESSAGE 4

SPINAL VORTEX

> FLOOR DIAGRAM > SOCIAL VORTEX - CATALYST> CONCEPT SKETCH

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This installation carried on the challenge of transforming a neglected and marginal service patio behind a Hollywood club into a temporary exhibit space. The show sought to fuse elements of art and music creating a unique experience in an unexpected place. Not being able to physically alter the structural conditions of the patio, the Spinal Vortex facilitated its transformation as it covered the full extent of the space. The installation offer a free-flowing look allowing the existing conditions to bring a new layer of interest, Adding to the place without hiding or masking what was there, it created a well-rounded solution for the artists and musicians performing at the “The Live Festival” show.

5’ 7/8"

2’ 9 1/4"

2’ 8 1/2"

3’ 10"

2’ 10 3/4"

2’ 4 1/8"

4’ 3/4"3’ 10 7/8"

2’ 8 1/4

"

4’ 10 1/4"

2’ 8 1

/4"

4’ 1 5/8"

3’ 11 5/8"2’ 7/8" 2

’ 8 3/8"

2’ 7/8"2’ 9"

2’ 3/8"

2’ 4 1/4"2’ 11 5/8"2’ 9 3/4

"2’ 10"2’ 11 5/8"

2’ 3 3/4"

7’ 5 1/8"

7’ 10 3/8"4’ 11"

7’ 3 5/8"

4’ 4 1/2"

5’ 2 3/4"4’ 3/8"

8’ 1/8" 5’ 1 1/8"4’ 4 1/8" 4’ 5 3/4"

5’ 5 3/4"

5’ 1 1/4"

4’ 8 3/4"

5’ 11 1/2"

8’

4’ 5 3/4"5’ 7/8"3’ 5 3/4"

5’ 2 3/8"

4’ 6 1/8"

4’ 4 1/2"

5’ 11 1/2"

8’ 3"8’ 5 5/8"

5’ 1 3/8"

7’ 4"4’ 7 3/8"

4’ 2"

5’ 5 3/4"3’ 8 3/8"

7’ 7 3/8"

8’ 9 3/8"

6’ 7 7/8"

3’ 10 7/8"4’ 4 3/8"

5’ 1 1/8"

4’ 1/4"4’ 4 7/8"

7’ 1 1/4"

4’ 8 3/8"

4’ 4 5/8"

7’ 7 1/8

"

5’ 4 3/4"

4’ 3 3/4

"

5’ 1 1

/4"

5’ 10"

4’

5’ 1 1/8"

3’ 7 5/8"

3’ 4 1/4"

3’ 9 1

/8"

4’ 9 1

/4"

5’ 3/4"

5’ 1 1/4"

3’ 4 3

/8"

5’ 5/8"

3’ 3" 4’ 4 7

/8"

3’ 7"

5’ 11

1/2"

3’ 5 5/8"

6’ 9 5

/8"

4’ 1 7/8"5’ 7 5/8" 5’ 2 3/8"

4’ 10 1/4"3’ 4"4’ 11 1/8"4’ 10 7/8" 4’ 10 1/8"6’ 5 1/2"

4’ 4 1/4"

5’ 1 3/8"6’ 5 3/8"

5’ 2 1/8"6’ 11"

5’ 5 3/4"7’ 5 1/4"

8’ 9 3/8"

6’ 10 1/2"

1 > THE CAT CLUB2 > Retail3 > WISKY GO-GO4 > Retail5 > Retail6 > Parking

LEGEND

01 FLOOR PLAN

6

5 4 2 31

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> DEFRAGMENTED SEGMENTS

Group 01 1R1-1R2-1R3-1R4-1R5 1R6-1R7-1R8-4-5-6-7

Group 02 2R1-2R2-2R3-2R4-E-5

Group 03 A-B-C-D-F-3R1

Group 04 B-D-E-E-F-4R1-4R2

Group 05 A-C-E-F-5R1-5R2

Group 06 A-B-C-D-6R1-6R2-6R3

Group 07 B-D-E-7R1-7R2-7R3

Group 08 A-C-D-E-F

Group 09 A-B-C-D-9R1-9R2

Group 10 A-A-B-B-C-D-E-F-F

1R5,1R6,4,5

F,3R1,E,2R3

C,E

E,D,B,5R1,A,C

F,E,5R2

C,E

D,B,C,A

D,B,C,A

9R2,9R1,F

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Art-chitecture

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Transcript of Art-chitecture