Architecture is... Architecture is...

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architecture architectur e is is... ... often described as a tenuous balance between seemingly oppositional fields of interest - one driven by the desire for conceptual and artistic invention, and the other recognizing the pragmatic realities of building and social complexities involved 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 intertwining of multiple approaches and processes- from technical, to iterative, to inventive, to reflective. We believe that each approach offers a new perspective on the work, it brings new issues to bear, and ultimately allows for the most robust architectural 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 informing each subsequent project with material intelligence and technical expertise. Los Angeles and SCI-Arc have served as invaluable test beds for our ambitions. The work included in our portfolio consists primarily (although not entirely) of work that we have built ourselves. This way of working grew out of necessity, an insistence on detail driven work on miniscule budgets, and out of the desire to allow the design process 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 installations, the condensed time frame led to a cumulative 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 material itself- one that is interested in extending the role of experimental work to better engage ideas of use and human engagement.

december february

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ID# AI 17

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live

wire

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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 proposes 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 vertical 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 implications 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 together to form the necessary stair elements. Similarly, the stair incorporates faceted perforated aluminum panels of two different thicknesses to create a continuous, semi-transparent surface from stair tread to guardrail to canopy.

Often relegated to pure functional use, the fundamental architectural 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 modulators, each architectural element requires a progressive manipulation 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 transformative 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 easily 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.

los angeles, ca

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ID# AI 17

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live

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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: 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.

los angeles, ca

8

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ID# AI 17

1.4

Lag Bolted to Stud Wall

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live

wire

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

PRIMARY SKELETAL LOOP

Anchored to Concrete

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

OPEN FRAME

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

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

Thru-Bolted to Stud Wall with Plywood Backer

Lag Bolted to Stud Wall

SECONDARY SKELETAL LOOPS & TIES 0’

los angeles, ca

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1’

2’

6’

Anchored to Concrete

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.

ID# AI 17

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FORMATION DIAGRAM

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los angeles, ca

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ID# AI 17

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ELEVATION

0’ 1’ 2’

4’

live

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facing north

ELEVATION

left and below: opening night

facing east 0’ 1’ 2’ 4’ 10’

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PLAN

0’ 1’ 2’

los angeles, ca

4’

10’

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ID# AI 17

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villa

ordos

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 simultaneous 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 building elements, with one corresponding to the public and the other to the private functions of the program. The “U” shapes are then overlaid in an interlocking orientation 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.

ordos, inner mongolia

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ID# AI 17

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2.2 PUBLIC/PRIVATE SPACES

villa

ordos

VOIDS

The building consists of two Ushaped programmatic volumes, one containing public functions and the other private spaces. The interlocking U’s are rotated in order to provide a three- dimensional relationship between floors while maintaining a degree of separation.

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

FACETING

SITE MANIPULATION

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

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

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

ordos, inner mongolia

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N O R T H ELE VATIO N ࣫ゟ 䴶 B

villa

ordos

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࣫ゟ䴶



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SOUT H E L EVATIO N 㽓फ ゟ䴶 ゟ 䴶

ROOF PLAN A

ሟ乊ᑇ䴶

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SITE SECTION D-D facing north ࠪ䴶 ᳱ࣫

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SITE SECTION A-A facing west

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ordos, inner mongolia

ϰゟ䴶



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ID# AI 17

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villa

ordos

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.

ordos, inner mongolia

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ID# AI 17

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3.0

density

fields

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his “extreme cantilever” built of aluminum and polypropylene rope hovered over the courtyard of Materials & Applications (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 gesture 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 exploits 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 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.

los angeles, ca

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ID# AI 17

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density

fields

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he development of the project was the negotiation of two primary objectives: (1) the conception of a spatial idea involving the accumulation of dense fields of material overlap. With this idea in mind, one priority became the insistence on a delicate and inexpensive material choice; (2) the creation of a three-dimensional geometry extracted from the surrounding neighborhood. Those geometries where first extracted through a series of exuberant models that extend lines from major points throughout the neighborhood, including major building openings, doors, windows and roof lines. In capturing the spirit of those three-dimensional site investigations, the architects ultimately proposed a cantilever that relies structurally on an elegant combination of tensile and compressive 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.

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

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 toward the active Los Angeles neighborhood.

los angeles, ca

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ID# AI 17

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density

fields

plan view

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

los angeles, ca

above: in i contrast to the more sculptural qualities experienced from the street, the view from inside the piece adheres closely to the early spatial sketches.

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elevation

ID# AI 17

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density

fields

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: a silver polypropylene rope was chosen for its affordability, tensile strength, and reflectivity in the evening light.

los angeles, ca

7

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ID# AI 17

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4.0

taipei

tower

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 approach 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 materials: 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 enclosing the residential units, but allowing 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.

taipei, tw

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ID# AI 17

4 .3

4.2

taipei

tower

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

taipei, tw

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ID# AI 17

5 .1

5.0

pendulum

plane

SECTIONS

SECTIONS

SECTIONS

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SECTIONS

los angeles, ca

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

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

ID# AI 17

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5.2

pendulum

plane

ELEVATION

With Units Positioned Randomly

ELEVATION

With Units Positioned Randomly

TOP ROTATION A Elevation 12’-5”

TOP ROTATION C Elevation 10’-9”

BTM ROTATION A Elevation 9’-6”

BTM ROTATION B Elevation 6’-1”

PLAN

With Units Positioned Randomly

N

ELEVATION

Facing 30 Degrees North of East

TOP ROTATION A Elevation 12’-5”

TOP ROTATION C Elevation 10’-9”

BTM ROTATION A Elevation 9’-6”

BTM ROTATION B Elevation 6’-1”

ROTATIONAL DIAGRAM Facing 32 Degrees North of East 0’

1’

2’

4’

6’

10’

SCALE

los angeles, ca

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ID# AI 17

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5.4

STRUCTURAL PRINCIPLES 0’

3”

6”

12”

24”

10’

pendulum

plane

top of opposite page and below: when not in use by the la forum, the system folds into a fully closed position to create a unified ceiling plane 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): when deployed, the system allows for display boards to be hung in the space, creating a variety of different organizational configurations 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 intricate 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 balance 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 continuous spatial divide.

los angeles, ca

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ID# AI 17

Ceiling Configuration

FULLY CLOSED Display Configuration

OPEN FRAME

Ceiling Configuration

FULLY CLOSED Display Configuration

OPEN FRAME

Ceiling Configuration

FULLY CLOSED Display Configuration

OPEN FRAME

Ceiling Configuration

ROTATIONAL DIAGRAM

FULLY CLOSED TOP ROTATION A Elevation 12’-5”

TOP ROTATION C Elevation 10’-9”

BTM ROTATION A Elevation 9’-6”

BTM ROTATION B Elevation 6’-1”

TOP ROTATION A Elevation 12’-5”

TOP ROTATION C Elevation 10’-9”

BTM ROTATION A

10’ 6’ 4’ 2’ 1’ 0’

ID# AI 17

8 200 los angeles, ca

Elevation 9’-6”

ROTATIONAL DIAGRAM

SCALE

ROTATIONAL DIAGRAM BTM ROTATION B Elevation 6’-1”

ROTATIONAL DIAGRAM Facing 32 Degrees North of East

plane pendulum

5 .7 5.6

SECTIONS