This body of work has been supported and funded by the Robert James Eidlitz Travel Fellowship.
GERTIE // 20.08.18
Good food everyday
Williamsburg, Brooklyn, NYC
Coming late 2018…
CODIFICATION THROUGH CARTOGRAPHY
Cornell B.Arch Thesis - May 2018
Awarded the Charles Goodwin Sands Memorial Medal
This thesis is striving for insight into Landscape as Architecture through a graphic language derived from an instruction set. Similar to Sol Lewitt’s accurate process for his wall drawings, this thesis utilizes the Landscape’s natural or man-made conditions to extract logic. This logic or code is a direct response to the site’s layers, textures, scars, colors, patterns, edges, zones, field conditions & natural “procedures”.
Remembering Owen’s Lake
The landscape is neither fixed nor passive but changing & active, demanding extension & reinvention. What is being recovered is not the landscape of scenes & objects but the landscape of history, operations, & synthetic strategies. The landscape is never finished or completed, it is an accumulation of events & stories, a continuously unfolding inheritance.
Since the draining of Owen’s Lake in 1926, thirteen years after the installation of the LA aqueduct, the site has suffered from a lack of water causing it to go through a series of transformations. These mutations were triggered by a series of violent procedures that the landscape undertook. The scars can still be seen today.
My documentation includes aerial photographs, drawings & models. I believe that this tortured landscape must be remembered. These architectural typologies that are a direct translation from the lake will grow & collapse, extend & contract, extrude & subtract, expand & shrink, accrete & dissolve over time.
The fragility of Nature’s beauty can be so easily missed. It is my hope that my monuments will contribute to a deeper understanding and gratitude of the natural landscape and to the preservation of our vulnerable environment.
It usually takes several years for new planted vegetation to establish itself on the lake’s playa. Salt seepage can make it difficult to grow grass on many areas of the dry lake bed, especially those that were not close to the original shoreline.
Sand fences are another approved dust control method on Owens Dry Lake. A large grid of permanent sand fences is installed near the town of Cartego on the western shore of the dry lake bed.
The LADWP implements a summer dry down for their irrigation at Owens Lake to save water during the driest months. Shallow flood ponds are allowed to evaporate, leaving bizarre salt and brine formations.
Construction workers plants native shrubs next to hay bales in an attempt to revegetate the Keeler Dunes at the eastern shore of Owens dry lake. This project is intended to stop these sand dunes from blowing dust into the adjacent town of Keeler. The hay bales are supposed to both reduce blowing dust and protect the newly planted shrubs from the wind as they establish permanent roots systems.
Shallow flood irrigation zones recirculate water through a series of very shallow ponds to keep the lake playa moist and prevent blowing of dust.
Shallow flood zones now cover about 39 square miles of the lake playa with a few inches of water. Naturally occurring salts precipitate out of exposed areas of the soil.
Shallow flood dust mitigation also includes holding of ponds filled by large irrigation pipes. These ponds may hold anywhere from a few inches to a few feet of water at different times of the year. They are contained by berm roads on every side and have become attractive habitat for migratory birds.
Managed vegetation is the third technique originally approve for dust mitigation. The oldest and most established managed vegetation zones are at the southern shore of the dry lake bed. They used buried dip tubing to irrigate rows of native salt grass.
Great basin Unified Air pollution Control district has spread more than 100,00 hay bales across the Keeler Dunes in one of the final pieces of the project to mitigate dust pollution from Owens dry lake. Six months after the November 2015 planting in the keeler dunes, most of the shrubs have been buried, blown away, or eaten by rabbits. The shifting sands of the Keeler Dunes are also rapidly burying the Hay bales.
Shallow flood irrigation zones are designed to prevent blowing dust with a minimum amount of water. Newer shallow zones include “habitat islands” to provide additional habitat for migratory shore birds while reducing water use.
Gravel based dust mitigation has been substantially expanded between 2015 and 2018 to meet LA’s water use reduction goals. During the construction process, the gravel is laid out across long rows before being spread along the Owen Lake playa at a uniform two-inch depth on top of geotextile fabric.
1) Site (Owen’s Lake)
Archipelago of conditions
2) Fragment (zoom-in)
3) Fragment Deconstruction
Layers / Levels
A Graphic tracing
5) Extracting Code
6) Field Conditioning
Magnification, extension, extrusion & expansion.
A forgotten landscape.
I am an architectural archaeologist, reading the landscape & translating it into a new visual language. The Lake speaks to us via color, materiality, texture, form & pattern.
Field conditions can be, through their metonymic emission of multiple simultaneous performance vectors and programmatic surfaces, often conflicting and always in different rhythms and relations.
The Landscape is a deterritorialized plane, its boundaries contingent on a particular geography and topography, reterritorialized by any of various patterns, some of which are inscribed on the ground, many of which may lie beneath thin, occupiable surface, insensible yet controlling-infrastructural points and lines of force who positions and relations have been determined by a notational language conventionally understood and translated by the multiple agents responsible for putting them in place.
Examining landscape as architecture and architecture as landscape to be represented, the work attempts to find a middle ground where drawings are read as both architectural space and field conditions.
A Landscape ecology is a given surface area of a site organized into patches and corridors. Patches are defined as nonlinear surface-areas and
corridors are infrastructural pathways containing movement, services, and function. The superposition of these two systems creates a mosaic of natural and artificial surfaces.
The order is not rationalistic and underlying but is simply order, like that of continuity, one thing another.
The field describes a space of propagation, of effects. It contains no matter or material points, rather functions, vectors and speeds. It describes local relations of difference within fields of celerity.
Field conditions move from one to many, from individuals to collectives, from objects to fields.
Breaks and paths together form a system. Points and lines, beings and relations. What is interesting might be the construction of the system, the number and disposition of stations and paths. A complex system can be formally described. One might have sought the formation and distribution of the lines, paths and breaks, their borders, edges and forms. As well as the interceptions and accidents between breaks.
Thesis Drawing & Model Set
1) Fragments of a lost landscape
An Archipelago of conditions
2) Site Map & Deconstruction
Fragments as Islands
4) Study Models & Research Book
5) Cartographic Tools
6) Triumphal Column
Graphic tracing, Deconstruction, Field Conditioning & Model
7) Memorial Wall
Graphic tracing, Deconstruction, Field Conditioning & Model
8) Forbidden Edge
Graphic tracing, Deconstruction, Field Conditioning & Model
The art of perceiving landscape does not reside in seeing each and every single thing and attempting to commit it to memory. Rather, from the full range of impressions one should retain only that which adds significantly to one’s knowledge of the land.
It is important to see in a conscious process. Perception is conscious seeing. The innate capacity for spatial perception (tricks of perspective, shadow effects, tiny optical shots and the wealth of your experience in relation to form) brings about an automatic, fully unconscious reinterpretation of views in presentations of forms and situations.
Drawings are signs or notations, rather than images.
Monuments begin to explore the emotional resonances of Architecture.
A building or form might tell a story, rather than just be a function. An emotionally charged form has the capability to share history and to show multiple perspectives in a story. Architecture has the power to communicate with its visitors.
ZAGREB STUDIO // 12.04.17
TOMORROW IS LOOKING GREAT // 12.14.17
A series of 12 two-color silkscreen monotypes. The body of work is a commentary on contemporary political campaigns. The original installation depicted a post-campaign environment showing posters with phrases from political slogans or speeches & nationalist rhymes as well as personal responses.
12 x (31’’ x 42’’)
"Tomorrow is looking great.
Here we live, here we die, this the land where our hearts lie.
The Massing of Manhattan is growing vertically; the city can be treated as an island that is forever spreading, breaking boundaries and pushing the limits. This thesis explores the concept of building Massing, an accumulation and merging of building types into one interconnected architectural ecosystem. As Manhattan becomes denser, buildings will become taller and thinner, forever challenging the rules and pushing the preconceived limits.
The Manhattan grid system will slowly dissolve. The Urban laws will be shifted and distorted. The future of the grid is the transition from the two-dimensional plane to the three-dimensional field. The future will divide the city into spaces instead of zones. The Massing will still maintain the qualities of the flat Urban Planning, having zoning within larger spaces or volumes.
The Condominium is camouflaged; everything in Manhattan is the same but is simply covered by a unique façade and general form that respects code compliances. The Massing will in sense be a grouping of facades with an inner anatomy that links all floor plans on multiple levels (sectional relationships). The Manhattan Massing will be recognized as an offspring of the city skyline, a skyline that must be perceived from multiple perspectives and views.
The Architecture of Manhattan will be combined into one. Platforms will be joined, facades will be merged and the people will be plugged in to an interconnected system. The Mass is big but the city is dense, filled will multiple circulation routes and programs. From a distance, the city will appear as an extrusion of the island that consists of an infinite amount of units of various sizes and forms. At the end, an infinite amount of plug-in buildings stack like Tetris to form an intricate body of Architecture known as The Manhattan Massing.
Manhattan is proliferating on all axes. Everything will be linked; creating an ecosystem that encompasses everything one could need. The city will house multiple lifestyles, businesses and leisure opportunities. The Massing circumscribes all things into one extrusion from the two-dimensional grid system. The foundations are laid have been there since the beginning. Time holds the future of Manhattan and the city will experience a collective massing of buildings, form and function.
The Massing has started. Certain areas will develop faster than others, a notion that has always occurred in urban planning. The question is which zones will thrive and be capable of sustaining the new Mass. Architectural Manhattan Condominiums are finitely diverse in terms of their anatomy, but have infinite iterations when morphing exterior facades. The Mass will be unbound.
ROME STUDIO // 18.05.16
PRINTS // 18.12.15
Monoprint + Silk screen + Lithography + Relief
MUSEUM OF 20TH CENTURY // 18.12.15
ARCH.2613 - STRUCTURAL SYSTEMS // 18.11.14
FAUXM ARCHITECTURE // 6.11.15
An exploration of the design processes of some of the biggest names in architecture.
Through a combination of illustration and stop-motion film, we attempted to capture the stereotypical design of nine starchitects. Each architect was given a foam cube and from there, they were free to create a familiar architecture.
Mies Van Der Rohe started his design process with a cigar. After smoking five more he decided simple was the way to go and left the cube as it is, but lifted it off the ground a little bit and added a steel frame to create open floor plans.
The next architect was Zaha Hadid. We imagined her architecture as an extension of the landscape, slowly and elegantly emerging from the site. So we just made a wavy shape on rhino and cut the foam into really thin sheets so we could make it. The building was not built.
Richard Meier, a Cornell Alum known for his tendency to go outside of his comfort zone by creating very colorful and abstract shapes. One could say his architecture is more playful than that of anyone else on the list. Oh wait no, he insisted on white panels.
Ryue Nishizawa and Kazuyo Sejima....... SANAA, made a weird roof.
Next up is Daniel Libeskind. Our interpretation of his style called for deconstructing the cube. Selectively removing certain masses and reassembling to create a new form. While some of the pieces intersected, others laid comfortably on the side. It makes a lot more sense in plan.
To deal with Santiago Calatrava’s design, we had to go over to the engineering department to grab a few nerds to design the structure for us. We tried to do it ourselves but we forgot how to turn on our calculators. His form consists of a series of pointy "slippedges" that look like a bird.
Rem Koolhaas actually yelled at a few interns to do the design for him. They decided to minimally alter the understanding of the cube. Due to the scale of the project, we had to zoom out to fit his scheme into the frame.
Kengo Kuma san loves his wooden sticks. We told him he couldnt use sticks, so he decided to cut the cube into sticks anyway. After that he arranged all the sticks into a grid and hired the best Japanese wood-workers to figure out all the joinery.
Frank Gehry started by giving the whole world of architecture the middle finger. From there, he crumpled up some paper and told his interns to figure it out. After they told him that it was impossible, Gehry fired his interns and bought an aerospace company to design the structure.
At the end of these exercises we can confidently say that we still don’t know what architecture is but at least we learned how to use the foam cutter.
MOTION GRAPHICS // 10.07.15
Explorations with Cinema 4D - Graphic Design + Architecture Visualization