ADVISOR: Karen Lange LOCATION: Spring Street, Los Angeles YEAR: Fall 2012 - Current
Humanity is bored. We now desire (and seemingly demand) excessive stimulation in our already over-saturated lives. This, in turn, has created two of you. We now have you, in the material sense, but also your virtual self. Your virtual self is one of random data. It is the collection of information every time you shop and enter a phone number, it’s your Facebook avatar, it’s every Google search you’ve ever done, it’s basically anything you’ve ever released digitally. It’s you, unfiltered - and it’s vastly more interesting.
My thesis project stems from this embrace of the virtual self, and has resulted in two pieces. The first is a data derived dwelling, believing our online identities can be utilized to create a more satisfying life in the real world. The second is a satirical piece, giving those totally immersed in the virtual with the ability to stay there.
As of publication this project is still in production.
ADVISOR: Courtney D. Coyne Jensen LOCATION: Copenhagen, Denmark YEAR: Fall 2011
The Graffiti House is an architectural mediator. Its site is directly between two conflicting ideological groups. To the southwest reside the bohemians of Free Town Christiania, and their total embrace for means of self-expression. To the north live the yuppies of Holmen, and the high profile lives they lead. Utilizing time, the site becomes a place for both groups to interact.
The House’s monolithic concrete backbone is intended to become a canvas for expression. During the winter months, the site is akin to an urban gallery, showcasing the work of the community. The dwelling is a seasonal piece, plugging in only during the warmth of the summer months. In this way, individuals can turn their summer home into a rotating work of art. The Graffiti House unites Christiania and Holmen by embracing their differences and celebrating the beauty of contrast.
ADVISOR: Kelly Nelson LOCATION: Copenhagen, Denmark YEAR: Spring 2012
Settled along Stroget (Copenhagen’s longest pedestrian shopping street), Flux explores design dimensions utilizing a building that fluctuates with time. The “living structure” adjusts and adapts to contemporary society, just as fashion displays sold within it.
Drawing inspiration from the thoughts of Archigram, the majority of Flux is designed to be interchangeable. Made entirely from a kit of parts, the facade system, floors, and circulation is designed to be completely adjustable enabling functionality that satisfies any user need from within.
Each floor is assembled from three structural pieces: the horizontal secondary structure, suspension rods, and 1 sq. meter perforated plates.The perforated plates are to be used two fold. Their first function is to rest on the secondary structure and be pieced together to create floors. They can also, however, be connected to the suspension rods and create hanging circulation paths.
The facade is on a 2 sq. meter grid, with each capable of being updated due to its facilitation of plug in connections to pre designed systems. In the configuration shown here scaffolding is attached. With this scaffolding, owners are capable of using perforated screens for sun shading during the summer months and remove them in the winter.
Inside Flux, high end products are to hang like art pieces – with the ability to be viewed at all angles. The systems have the ability to work with each piece in almost any collection: fashion, automobiles, furniture. Flux is capable of operating with the demands of time.
ADVISOR Karen Lange LOCATION: Cal Poly, San Luis Obispo, CA YEAR: Winter 2013
As a member of Studio 400, we collaborated to create an installation to showcase our thesis research – a book show. This year, two hundred and fifty thousand zip ties gave birth to ZIP. It is designed as a haptic reading room, in which my studio mates and I exposed nineteen thesis books. ZIP marks our studio’s transition from research to design.
ADVISOR: Margarita Yin LOCATION: Cal Poly, San Luis Obispo, CA YEAR: Spring 2011
Action Reaction stems from my realization that the virtues of architecture might be used to interest students at Cal Poly in Mustang Athletics. Cal Poly has a very prestigious athletic program, yet due to a lack of visibility student involvement at games is limited.Action Reaction addresses this.
Action Reaction intends to be become a through-way, focused at drawing students to walk through it as they enter and leave campus. While walking through the corridor, lights celebrate Cal Poly’s Hall of Fame, and windows to practice rooms provide glimpses into the lives of athletes. Each “spine” of the building represents an athletic club on campus, symbolically appearing as a series of Torii gates for the athletes. On game days the building’s media facade will advertise game times and actually broadcast the events to campus. By becoming a major through-way Mott Gym can act and result in a positive reaction for Cal Poly Athletics.
ADVISOR: Greg Wynn LOCATION: Cal Poly, San Luis Obispo, CA YEAR: Spring 2009
Pico is the nickname for a nightstand I designed to accompany low-lying IKEA beds, and accommodates articles for night time reading, and a hole for storing slippers or other foot ware. This project was built with the power tools available to Cal Poly’s architecture students in the College of Architecture and Environmental Design Woodshop.
Internship: Gensler Location: Tustin, California Year: Summer 2012
The Redhill competition was completed at the request of a client to propose ways to update the facade of a dated commercial building.For this project I worked under two lead designers to address possible solutions.
Located in Tustin, California, the adjacent area has very bland architectural developments. As a result, our move was bold, realizing that future occupants may desire occupying someplace “different”. We worked with vocabulary picked up from the busyness of the adjacent thoroughfare. We also decided to distinguish the building’s entrance by creating a faux two story lobby. In our proposal we also suggested updating the landscape with desert plants.
ADVISOR: Karen Lange LOCATION: Cal Poly, San Luis Obispo, CA YEAR: Fall 2012
My piece for Cal Poly’s yearly furniture competition, known as Vellum, is Aversion Therapy. Consisting of two pieces, it is a critique of societies love for elements of over-saturation.
Scientifically, aversion therapy is the thought that you can cure a patient of some behavior by simultaneously exposing them to stimulus and discomfort. The chair is a reclaimed oil barrel, designed for you to use while engaging with the mask.
The mask is meant as a tool for you to augment your reality. Using Arduino technology, the mask is capable of processing images from a camera and transposing them onto your right eye. Then, out of the mask’s mouth falls a Wii Nuncuck controller. With this you control a crosshair on the screen. When “shooting” the Nunchuck, the area around the cross hair becomes saturated with white pixels. You’re capable of making digital graffiti, erasing and obscuring the world around you.
When used excessively, you will run out of charge. At this point, I inject the discomfort into Aversion Therapy. For ten seconds error messages flood the screen. As this 1/5” screen is your only way to see the world around you, these error messages oversaturate your vision to a point of blindness. At this point, you are experiencing aversion therapy.
Advisor: Karen Lange LOCATION: Cal Poly, San Luis Obispo, CA YEAR: Fall 2012
For Cal Poly’s yearly furniture competition I decided to take an old oil barrel and re purpose it as an industrial chair. This oil barrel and it’s sunset colors was cut put together at the Cal Poly Metal Woodshop. The negative of the cut was used as a footrest.
There are already two of you. There is you in the material sense but now, because of technology, we have the illusion that is our virtual self. Your virtual self is one of random data. It’s the collection of information every time we shop and enter phone numbers to collect a discount. It’s the collection of every tweet, photo, Google search and preference. It’s you, unfiltered and vastly more interesting. I made two attempts to portray our virtual presence. The first is a computer program that shows your digital ghost - your tracks. Using a webcam, the program stores your movement across the screen. As you move, it faintly shows its knowledge of the old virtual you. The second attempt is one I nicknamed ‘Exodus 400: The Soul Tracker’. Again using a webcam, it tracks your movement. Yet this time, it knows who you are. ‘Exodus 400: The Soul Tracker’ is my desire to show the power of your virtual identity. Utilizing facial recognition, the installation is able to identify any user that walks in its line of vision. Then, storing your face and starting a data set, the program is able to create another virtual you. This data set now knows how long you’ve been in its vision, and how many times you’ve gone and come back.
Very soon, our virtual identities are going to make an appearance in our material world. Architecturally, we can learn and work with your aesthetic preferences, your repulsions and your desires. With your virtual identity, buildings will soon have the ability to totally understand their occupants. They will know you - exposed.