On the upper levels, the setbacks provide an opportunity for visual connections across programs. The miniature buildings meet at the second level, resulting in a vast interior urbanism, where sectional voids and vertical circulation cores provide locational anchors in a labyrinthine urban organization. On the exterior, the complex is shaped to visually align into a single skyline figure when viewed at high speeds from the highway and arterial roads, while dissolving into a collection of figural buildings when viewed by pedestrians or from the vantage of slower traffic.
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Other Island is an object of imagination. Equal parts geographic object, optical device, and ocean-liner, Other Island leverages this history. On the exterior, the design is a mash-up of digital interpolations of a collection of the most enigmatic islands in the world. This geometry was then sculpted to create oscillating readings between geologic and architectural forms. Conceptually sited within a travel itinerary, Other Island will visit a series of the most frequently imaged global cities. Each iconic skyline will be reflected and manipulated on the surface of Other Island's iridescent chrome-plated faceted geometry.
The island will sometimes display visual noise or intense optical distortions, and at other times carefully orchestrated visual manipulations and attenuations. These ludic distortions are meant to catalyze imagination, new ways of life, radical ecologies, and inventive material compositions through which one might rethink present reality. Our contention is that this ostensibly informal development is in fact carefully planned and executed as a means of social, political, and spatial control of disenfranchised populations by the politically motivated "social organization" Antorcha Campesina.
In the absence of effective governmental policies to provide housing for the expanding population of the urban poor, this organization has seized and urbanized unoccupied land, often in disregard of existing ownership, environmental value or regulatory structures. Each enclave is a unit of control, dividing the municipality into statistical abstractions of population in order to suppress collective consciousness.
Using Detroit as a testing site, the project forwards design proposals that hack the conventional characterization of urban space in commercial data models. The use of geodemographic data has become ubiquitous in the regulation of urban land use and development.
Defined as the study of the geographic distribution of demographic data for use in marketing research, geodemography is increasingly influential in determining the character of the built environment. City planning commissions use geodemography to aid in the implementation of policy, and private corporations reference geodemographic data when purchasing, selling or developing real-estate. This condition is confirmed through the geodemographic data documenting the city and its residents.
This is because a major source of identity-based geodemography is the household unit, from which data is gathered through the monitoring of package deliveries, Internet use, television viewing and other activities.
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A conventional application of geodemography would therefore recommend little in the way of future development. This project consists of three parts. From these maps, three sites have been chosen for occupations that produce data to subvert their received data-images. Second, a map of the corporate apparatus of geodemographic data collection and aggregation is included.
This map and an accompanying video explains the relationships between a vast network of corporate and governmental interests involved in contemporary geodemography, highlighting their interconnections with contemporary real-estate development. The project moves across media and between digital and physical realms to explore the effects of various imaging techniques on how we view the materiality of architecture. Walls, windows, floors, and corners are both the subject matter and material support for each full-scale study. The results of these experiments are reassembled in the gallery as a room — one fragment of an unfinished building — that speaks to the precarity of its own representation.
Using perverse forms of persuasion, the exhibition exploits our everyday viewing habits and capacities for image recognition to render our surroundings anew. Arranged in a grid, concrete units orient the visitor to the room and provide the physical support for a series of metallic prints. Each print translates a mixture of religious and pop iconography into visual patterns with virtual depth upon a fundamentally flat support. Nested within this field of images is a VR headset that, contrary to standard practices, displays an uncanny version of the exact same gallery with the intent of heightening our awareness of the space around us.
The average Canadian spends more that 37 hours a week gazing idly at a glowing screen — from television, to Netflix, to YouTube. In doing so, viewers become increasingly numb to the often-sensationalist content, and eventually, to the social and political realities surrounding them. Turn On, Tune In is a steel frame pavilion sheathed in overstocked or recycled polarizing film manufactured for use in LCD television screens.
The familiar rectangular shape of a conventional screen, so often a marker of passive viewing, is transformed into an interactive display of kaleidoscopic effects engaging the surrounding environment and other viewers.
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Mirror Mirror operates on the image of verticality in Hong Kong by offering a housing strategy that mimics the mountain and alters our view of high-rise living. According to the design guidelines provided by the Hong Kong Planning Department, new developments must at once consider the character of the urban context and preserve the image of the existing landscape. In particular, views to and from Victoria Peak must be maintained.
However, as the city continues to expand, land reclamation along the harborfront will insufficiently address population growth, space deficits, and diminishing visibility of the terrain, prompting developers to more directly engage the mountain both physically and visually. Instead of the somber future presented by conventional models for density, Mirror Mirror considers how the building might contribute to a larger mediatic experience of the city.
Informed by raster logics and post-production techniques, this proposal uses mirrored glazing and variegated panels to construct a low-resolution facsimile of the forested mountain. The facade system occupies a 20 cm-thick space between the zoning envelope and concrete enclosure. Solid and mesh panels in various shades of green blend the tower into the landscape and conceal air conditioning units, plumbing, and other infrastructure typically found on residential facades across the city.
The mesh can also be used to vertically grow air-purifying plants. Allowing these systems to remain on the facade liberates square footage in the unit floor plans. The tower maximizes a 10 m x 10 m footprint that is further subdivided into apartment units using a nine-square grid. Vertical circulation is consolidated into one corner, which allows the tower to transition from a nine-square to a six-square layout and adapt to smaller sites.
The units are arranged to accommodate shared spaces at varying degrees of privacy. The floors are then stacked based on their corresponding facade configurations and how the overall composition contributes to the image of the adjacent mountain. The proposed tower occupies the intermediate space between building and landscape; reality and its digital representation.
The result is a layered threshold that is meant to confuse conventional notions of property ownership and public and private uses. The layered boundary is translated sectionally, becoming a drive-in extension of the ground plane that winds upon itself as it moves vertically. Inside, the project is programmed with facilities meant to leverage the latent vitality of the context: an extension of the Mexican Town Flea Market, religious facilities, public and private sports facilities, light manufacturing, and various other public and private programs.
The spiraling organization of the building manifests its programs within a spatial enclosure that is meant to catalyze social interaction between. Its light footing draws attention to the artifice, and at times, the surfaces appear to slip off their supports. This proposal engages the Arts and Crafts history of the Tudor-style Ragdale House by using images from nature to set the stage for a series of visual and spatial effects.
Around the time that Howard Van Doren Shaw built the House and Barn in , it was not uncommon to see household interiors decorated in wallpaper patterns inspired by botanical motifs. In their simplicity, these block-printed wall coverings seemed to capture the unsystematic yet uniform qualities of nature, all within the domestic realm.
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These depictions also called into question the authenticity of natural encounters. The proposal exploits certain commands and filters to expose the requisite labor behind editing a photograph and constructing a reality. This allows for varied audience-to-performer relationships, multiple staging and seating arrangements, and the possibility to generate new content inspired by the diverse imagery.
The surface flexures offer visitors and artists opportunities to sit, lean, and lounge in the landscape during special events or moments of rumination in-residence. The exposed steel framework behind each surface doubles as scaffolding for lighting and audio equipment.
The overall result is an outdoor venue that, as in Brecht, foregrounds and formalizes the requisite labor for theatrical production and visual effects. Cities are at once assemblages of buildings that solicit memory and association, and sedimentations of the flows of infrastructure and economic exchange. The former statement characterizes urbanism as a function of its legibility, the latter through its performance. And while these two conceptions are not incommensurable, more often than not each has announced its importance through the exclusion of the other.
Insisting on the importance of each, the project sets a trajectory towards an architecture of figured flows and articulated economies. Hedgehog House is a summer cottage to be built on sloping farmland in south-western Pennsylvania. The region is spotted with aging timber barns that are remnants of dozens of deserted farms. The barns have become picturesque follies hidden amidst the winding country roads and mountainous terrain of the area.
Next, the typical shed-roof shape of the barn is pinched to force the perspective in one direction. Finally, the angle of the roof profile is used as geometric context for rainscreen walls on the north and south elevations, CNC cut from marine-grade plywood with a wood-grain pattern etched on to the surface.
The walls juxtapose graphic and actual wood grains; further distort the reading of Cartesian perspective through the frequency of the tiling pattern; and manipulate atmospheric perspective through the reflection of light. The simple interior of the structure organizes framed views of the surrounding landscape and a lake to the west of the house. Just Looking. Shaped Places. Becoming Digital Exhibition.
Image Matters. The Thrill of Threshold or Circle, Jerk. Incentive Network. Work by McLain and Cyrus is featured in an exhibition alongside the other five winners at the Sheila C. Assembly Lines. McLain received a B.
Clutter is a Registered Architect in the state of Michigan. Empty Pavilion. Reflections on the Lawn. Other Island. Detroit Shape Scape. Cyrus received a B. Arch from Princeton University.
Turn On, Tune In. Mirror Mirror. Territory Twister. Radical Railbanking. Hedgehog House. Stella in his studio. Magnitogorsk, Ivan Leonidov, Mikhail Aleksandrovich Okhitovich From human to machinic vision. Raymond Hood, Manhattan, Rene Magritte, Mental Arithmetic, George Lawrence. Thomas Edison, Black Maria. Camera Obscura. Leicester Square Panorama. Ford Factory, General Motors Plant, Robert Frank, On the contrary, a church for the poor should be seen as a place for full-blooded laypeople who need to be drawn into the building through material and tactile means.
It is a respite from the world that offers a glimpse of the heavenly Jerusalem to those living in Nineveh. A church for the poor does not have paintings of abstract or ugly figures but is full of beautiful images of holy men and women who overcame their sinfulness to draw close to God. Even more important, a church for the poor shows the poor their mother who comforts and their God Who forgives. A church for the poor is full of signs, symbols, and sacraments: outward signs of inward grace. It cannot be a place where the sacrament of salvation is hidden away, for it should be raised up like Christ on the cross offering His body for our healing.
A house for the poor should not be a modernist structure inspired by the machine, for the poor are surrounded and even enslaved by the machine and the technological.
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It is rather a building inspired by the human body, the New Adam, and the richness of His creation. Those whose lives may touch on angst and suffering do not need a contorted building exhibiting disharmony and atonality. Instead they need an architecture of healing, which through proportions, materials, and spiritual light brings joy to the heart.
A church that is welcoming to those in the state of poverty should not be a theatre church where the visitor is forced to be on stage. Their dignity is respected by allowing them to sit where they want, even if that means in the back or in a side chapel. A church for the poor is not hidden away in the suburbs or on a highway where it may never be seen and is difficult to get to.
It should be placed where the poor are—near the poor villages or the destitute city neighborhoods and in prominent places like downtowns or city parks where the poor sometimes travel. A church for the poor does not close its school just because it is under-enrolled or in financial difficulty. Whether interested in Images a kitchen or building Sacred multi-million dollar dream home, the book can give readers the information America want to get the quality services and products they need.
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