83
reznich*
r e z n i c h *
*the projects included are categorized by context, aspiration, and audience.
matters of international concern.
extra-urban expresses dialogic commitments which exceed the geography of the singular city.
the urban requires an immediate density of mixed desires, programs, and populations.
the extra-rural is the product of attempting to treat a pastoral landscape as a metropolis.
the rural faces solitude, bounty, and quiet.
personal work was done as a favor to friends, family, or myself.
global:
extra-urban:
urban:
extra-rural:
rural:
personal:
*in the interest of your time, some categories may only be represented in the appendix.
global1. Tag, You’re It!
2. The TagWagon 1.0
3. Mother Won’t Die
tag, you're it!Landscape competition as Little Brother, Lausanne, Switzerland, 2013
In Lausanne, Switzerland the harmonious relationship of material densification and nature is challenged in the nooks and cran-nies where a so-called delinquent population vandalizes the built environment. Tag, You’re It! renders explicit the complexity of urbanism via material and vegetal palettes. In recognition of the passivity of existing planting schemes and the aggression of emergent delinquency on the site, Tag, You’re It! joins in the most basic form of democratization. By acknowledging both that cities grow from conflict and that emergent paradigms are revealed by challenging the status quo, the site is activated via a participatory process that places landscape at the center of the conflict. We provide only techniques and strategies, and the public chooses how and where to deploy vegetation, proliferating the city in a form that does not rely on a preconceived planting scheme. The contradiction of planned landscape is challenged by the emergent possibilities of public agency in the urban environment.
S T R U C T U R A L F R A M E W O R K
FA B R I C AT E D F O R E S T
G R A F F I T I D R O P B O X
E V E N T P L AT F O R MC O N S T R U C T I O N
D I S S E M I N AT I O N
peat moss, fine straw, plant gluten, fertilizer, and warm water to form small, sticky balls in a clay shell. seed-ling Kalanchoes and Sedums embedded into each ball.
thrown to splat onto vertical concrete, stone, or brick walls. sticky, self sufficient substrate provides neces-sary nutrients for growth.
S E L E C T I O Nxerophytic succulents
C O N S T R U C T I O N
D I S S E M I N AT I O N
colored clays, water reten-tion gel, fertilizer, soil, and seeds mixed into a paste and deployed immediately.
transported in pastry piping bags, the paste can easily be squeezed into cracks and crevices of pavers, pathways, or loose bricks.
S E L E C T I O Nfast-growing wildflowers
C O N S T R U C T I O N
D I S S E M I N AT I O N
living mosses are washed and blended with buttermilk, water, and corn syrup into a slurry the same consistency as interior paint.
brushed on to porous con-crete, brick, or bark. survives best in shadier areas.
S E L E C T I O Nspongy mosses
C O N S T R U C T I O N
D I S S E M I N AT I O N
small coating of concen-trated fertilizer, peat, straw, and clay wrapped around sets of three seeds.
carefully smeared into crotches and joinery with the tip of a finger.
S E L E C T I O Nepiphytic cacti
C O N S T R U C T I O N
D I S S E M I N AT I O N
grown traditionally in common paper or peat tubes filled with potting soil.
pocketed and plugged into extant gardens as an act of infiltration.
S E L E C T I O Nendemic flora
S T R U C T U R A L F R A M E W O R K
FA B R I C AT E D F O R E S T
G R A F F I T I D R O P B O X
E V E N T P L AT F O R MC O N S T R U C T I O N
D I S S E M I N AT I O N
peat moss, fine straw, plant gluten, fertilizer, and warm water to form small, sticky balls in a clay shell. seed-ling Kalanchoes and Sedums embedded into each ball.
thrown to splat onto vertical concrete, stone, or brick walls. sticky, self sufficient substrate provides neces-sary nutrients for growth.
S E L E C T I O Nxerophytic succulents
C O N S T R U C T I O N
D I S S E M I N AT I O N
colored clays, water reten-tion gel, fertilizer, soil, and seeds mixed into a paste and deployed immediately.
transported in pastry piping bags, the paste can easily be squeezed into cracks and crevices of pavers, pathways, or loose bricks.
S E L E C T I O Nfast-growing wildflowers
C O N S T R U C T I O N
D I S S E M I N AT I O N
living mosses are washed and blended with buttermilk, water, and corn syrup into a slurry the same consistency as interior paint.
brushed on to porous con-crete, brick, or bark. survives best in shadier areas.
S E L E C T I O Nspongy mosses
C O N S T R U C T I O N
D I S S E M I N AT I O N
small coating of concen-trated fertilizer, peat, straw, and clay wrapped around sets of three seeds.
carefully smeared into crotches and joinery with the tip of a finger.
S E L E C T I O Nepiphytic cacti
C O N S T R U C T I O N
D I S S E M I N AT I O N
grown traditionally in common paper or peat tubes filled with potting soil.
pocketed and plugged into extant gardens as an act of infiltration.
S E L E C T I O Nendemic flora
S T R U C T U R A L F R A M E W O R K
FA B R I C AT E D F O R E S T
G R A F F I T I D R O P B O X
E V E N T P L AT F O R MC O N S T R U C T I O N
D I S S E M I N AT I O N
peat moss, fine straw, plant gluten, fertilizer, and warm water to form small, sticky balls in a clay shell. seed-ling Kalanchoes and Sedums embedded into each ball.
thrown to splat onto vertical concrete, stone, or brick walls. sticky, self sufficient substrate provides neces-sary nutrients for growth.
S E L E C T I O Nxerophytic succulents
C O N S T R U C T I O N
D I S S E M I N AT I O N
colored clays, water reten-tion gel, fertilizer, soil, and seeds mixed into a paste and deployed immediately.
transported in pastry piping bags, the paste can easily be squeezed into cracks and crevices of pavers, pathways, or loose bricks.
S E L E C T I O Nfast-growing wildflowers
C O N S T R U C T I O N
D I S S E M I N AT I O N
living mosses are washed and blended with buttermilk, water, and corn syrup into a slurry the same consistency as interior paint.
brushed on to porous con-crete, brick, or bark. survives best in shadier areas.
S E L E C T I O Nspongy mosses
C O N S T R U C T I O N
D I S S E M I N AT I O N
small coating of concen-trated fertilizer, peat, straw, and clay wrapped around sets of three seeds.
carefully smeared into crotches and joinery with the tip of a finger.
S E L E C T I O Nepiphytic cacti
C O N S T R U C T I O N
D I S S E M I N AT I O N
grown traditionally in common paper or peat tubes filled with potting soil.
pocketed and plugged into extant gardens as an act of infiltration.
S E L E C T I O Nendemic flora
the tagwagon 1.0Mobile pavilion with Little Brother, Lausanne, Switzerland, 2013-14
At the end of deliberation for the Lausanne Jardins 2014 competition, the curators approached us - Little Brother - with an offer not to realize our initial entry, but to design the festival’s literal brand-delivery vehicle using our exploration into crowdsourced landscape architecture as a jump-off point. As a reinvestigation into the conceptual project of Tag, You’re It!, the TagWagon’s identity was conceived as a mobile arsenal for guerilla landscape interventions. It is the epicenter from which ideas will be spread in the festival. Part plaza, part storefront, part lounge, part media kiosk, part parade float, part instant disco, and part mounain-top from which to yell, the TagWagon attracts visitors’ focus and reorients outward into the landscape.
mother won't die.Raoul Wallenberg Studio with Mireille Roddier; Winter 2012
The exploration of Mother Won’t Die is wholeheartedly positive. The theory is predicated on the idea that we, the human race, can continue to desecrate the land that supports us, displace the animals that feed us, pollute the air we breathe, and contaminate the water that quenches our thirsts, but we cannot do anything terrible enough to destroy life on Earth. In a time when climate change doubt is trendy in America and consumer material wealth is the accepted model for measuring success, we need to stop and think about the decisions we are making every day; maybe Mother won’t die, but our species might. The project is meant to reconsider the notion that the survival of homo sapiens is a given, and change the way we live, inhabit, and participate in the biotic communities of our planet. In an epoch of unprecedented technological growth, it seems strange that the world’s collective imagination situates America on the edge of the past—we are, apparently, a climax civilization unraveling. Stranger yet, Detroit—the global industrial capital of the 20th century—is now the centerpiece of the world’s post-industrial specter-cities. Rather than lament this position, we should learn from it, especially because we have the world’s attention. The American industrial sector is unlikely to recover its international strength; this truth leaves the near futures of many people and places, global and local, immensely uncertain. Salvaging our standard of living is of immediate concern: we, Americans, overcome—but at what cost?
Situated in the future ruin of the U.S. pavilion in the Venice Giardini, Superthrive is an investigation into the immediate and distant futures with ears to the past and eyes to the horizon. The project presents a diverse arena for optimistic strategies of production as tactical interven-tions in shrinking urban centers. Using the untapped potency of agriculture’s questionable effects on America’s complex landscapes (economic, cultural, political, and physical to be considered), Superthrive situates the intensely global issues of climate change and population growth in the conflict of two thought-contexts: long-term human survival and the immediate recovery from economic collapse.
Superthrive does not take lightly the responsibility of representing America in Venice. It praises American ingenuity and dexterity in times of turmoil, but questions our forceful posture in international affairs. Superthrive offers strategies that provide healthy food for the urban poor, medicines that alleviate suffering, crops that feed the world, and fuel that preemptively sequesters its CO2 emissions during production. But this set, presented with optimism and urgency, also contains paradoxes, thereby putting our very value system into question.
Thomas Cole's The course of Empire
The closer we get to catastrophe, the more possible the transformation becomes. Hope can emerge from despair. The transformation can appear while the solution is still invisible, impossible within the existing system, and exceeding its logic. When loss and excess are simultaneous is when the impossible becomes possible.”_Edgar Morin
extra-urban
2. Interrobang?!
1. Imaging A Riot*
Imaging a Riot*Pop-Up Media Festival with MODCaR, Detroit, MI, 2012
Imaging Detroit, equal parts international film festival and pop-up agora, aimed to spark a conversation about the many ways Detroit has been portrayed over the last decade. It staged public debate and open speculation on how the power of image mak-ing may be projected toward the production of a new urban imaginary. In assembling a varied collection of works and guests, Imaging Detroit revealed the possibility of an ephemeral urbanization. The pop-up agora offered the city a 36-hour assembly and debate, turning Perrien Park into a vibrant civic space, complete with screenings, conversations, exhibit, food and leisure._text by Anya Sirota
*On the eve of the festival, an unassociated agent performed a guerilla intervention changing the wording on the sign from Imag-ing Detroit to Imaging A Riot. I honor the edit.
11'11-1/2"
12'0-1/2"
14'10-1/4"
38'10-1/4"
37'1-7/16"
17'1-7/16" 20'0"
10'9-1/8"
16'1-11/16"
22'5-3/16"
28'4-1/8"
32'1-15/16"
8'8-13/16"
18'1-13/16"
23'0-3/16"
36'2"
8'5-1
1/16
" 9'5-5/8"4'10-1/8"
8'11"
9'5-
5/16
"
12'3-3/16"
14'1-15/16"
9'5-
1/16
"
5'5-1/2"
2'9-7
/16"
16'8-1/2"
17'4-3/16"
9'1-3/4"
16'3-1/2"
7'6-1
5/16
"
9'8-
3/8"
3-13
/16"
18'10-7/8"20'0"
1'6-
1/4"
2'9-3/8"
4'5-
5/16
"
2'9-5/8"
8'5-1
/8"
4'3"6'9-1/8"
11'2-1/16"14'9-1/4"
2'10-
5/8"
2'4-5/16"
4'9"
9'3-7/16"
13'2-3/8"
23'4-
7/16"
7'4"
1'9-15
/16"
18'6-1/2"
9'11-5/16"
1'8-15/16"
1'7-5/8"
4'9-7/16"2'5-1/8"
6'3-3/
16"
27'7
-9/1
6"
21'6"
5'9-5/16"
6'7-1/16"
3'7-11/16"
10'4
-1/8
"
9'6-3/8"
5'10-13/16"6'7-1/2" 10
'10"
5'9-1/4"
5'7-11/16"
9'8-1/16"
6'9-1
/2" 5'1
0-9/1
6"
9'8-3/16"
8'5-1/2"
5'0" 3'6-3/8"
6'11-7/8"
14'6-1/8"
14'1
1-5/
8"
12'7
-15/
16"
5'5-15
/16"
4'0-1/
4"
4'6-1/8"
5'7-3/4"
3'6-11/16"
4'6-1/8"
1'7-
1/16
"
3'10-7/16"
2'4-
15/1
6"
4'8-3/8"
4'9-3/16"
3'11
-1/1
6"
0"3'
11-1
/16"
22'8-7/8"
21'2"14'4-13/16"
7'6-1/16"
17'9-
1/8"
18.01°29.3
3°
75.55
°
32.0
8°
46.5
3°
17.60°
32.05° 32.0
8°
46.5
3°
17.60°
32.05°
14.45°
33.9
8°29
.72°
4.65
°
56.02°
51.9
9°
4.26
°
3'2-1
/16"
18.8
1°
29.7
0°
69.0
2°
12.9
0°
33.88°
4.16°
16.82°
11.6
3°
32.61°
56.59°
90.0
0°
33.41°
35.61°
90.00°
45.00
°
45.0
0°
90.00°
21.0
1°
45.0
2°
6.50°
43.34°16.44°
90.0
0°
90.00°
45.00°
45.00
°
23.99°
21.01
°
23.99°
7.55°
45.00°
90.00°
40.51°
89.98
°
4.52°
44.9
8°
44.86°
45.00°14.53°
45.00°
19.37°
1.66
°
44.79°
23.97°
45.00°
45.0
0°
21.03°
21.0
3°
3'6-15/16"
2'11-
5/8"
1'0-13/16"
4'10-13/16"
6'11-15/16"
3'11-15/16"
5'1-
5/16
"
5'0-
3/8"
2'8-1
1/16
"
5'9-13/16"
5'11-3/16"
1'4"
2'4-3/4"
20'1-
3/8"
11'0-
3/8"
2'5-1
/8"
8'0"
7'4-1/16"
24'2-1/8"
8'1-3/8"
7'11-1/2"
26'10-3/16"
19'6-11/16"
11'3-3/8"
6'6-11/16"
37'6-9/16"
16'0"16'0"5'6-9/16"
16'0"
15'5-5/8"
31'5-5/8"
6'11-
3/16
"
14'6-
13/1
6"
21'6"
4'1-5/16"
8'5-1
/16"
11'6-11/16"
9'10
-9/1
6"
8'3-1/16"
6'6-1/4"
7'4-11/16"
9'10-7/8"
11'0-
5/8"
9'11-1/4"
9'8-9/16"
5'10-11/16"
8'11-7/8"
6'6-1/
16"
4'7-
3/16
"
15'11-5/8"
33.58°
63.49°
29.90°
45.00
°
14.98°
29.93°
26.51°54.18°
35.69°
35.82°
89.05°
34.87°
10.58°
45.00°
34.51°
44.98° 34.5
3°
45.00°
10.47°
34.53°
90.00°
45.0
0°
10.47
°
34.5
3°
90.00
°
55.47°
5-1/16"
5-7/16"
3'1-
3/16
"
8'5-
13/1
6"
10'7
-15/
16"
10'1
1-3/
4"
7'1-
5/16
"
10'0
-13/
16"
10'0
-13/
16"
9'7-
3/16
"
5'3-
3/8"
11-1
/2"
2'5-
3/8"
1'0-3/4"
10'8-7/8"
7'4-1/2"
10'6-15/16"5'9-7/8"
7'8-
1/4"
6'4"
23'6"
5'8-9/
16"
4'10
-13/
16"
11'0-1/4"
9-9/16"
5-1/2"
5'7-13/16"
4'10-1/2"
2'1-11/16"
4-7/16"
13'7-5/8"
11'7-5/8"
9'7-5/8"
7'1-7/16"4'3-15/16"1'7-15/16"
1-15/16"
6'5-7
/16"
3'11-1/4"
3'9-13/16"
1'0-3/4"1-5/8"
11'3"
5'10-13/16"
11'1-3/16"
16'5-5/16"
4'8-3/16"
2'4-
7/16
"
2'4-1/2"
4'11-11/16"
4'5-5/8"
10'3
-15/
16"
7'5-3/4"
10'8-15/16"
19'5-7/8"18'3-5/16"
10'8-1/16"
14'1
-3/8
"
6'11
-3/1
6"
10'11-3/4"
6'10-13/16"
4'10-13/16"
6'3-1/8"
2'5-1/16"
1'7-15/16"
10'9-1/2"
7'10-3/16"
15'6-15/16"8'0-7/8"
2'10-13/16"
7'7-3/4"
10'1
-7/1
6"
8'10
-11/
16"
10-13/16"
10'1
0-11
/16"
2'3-
3/16
"
2'10-1/16"
2'2-1/
2"
8'4-7/16"5'10-7/8"
11'9
-1/2
"
10'1
0-5/
16"
5'10
" 15'9-
1/8"
13'10
-3/8"
7'11-7
/8"
5'7-5/
16"
9'0-5/8"
3'3-3/4"
10'3-3/8"
8'6-1/8"5'5-7/16"
2'4-3/4"
3'11-1/8"
18'5
-5/8
"
4'3-7/8"
5'4-1/4"
9'10-1/4"9'8-15/16"
8'3-5/
8"
5'2-1/16"
6'10-1/4"
17'9-7/16"
13'5-9/16"
22'3"
4'1-7/16"
8'10"
5'6-
3/4"
7'8-3/4"
7'9-3/8"
7'7-3/4"
10'6-3/8"
23'0
-3/4
"
1'8-5/8"
5'0-3
/8"
9'6-1/2"
5'5-5/8"
4'7-1/16"
23'11-1/16"
5'1-3/4"
6'11
-5/8
"
1'11-1/4"
6.92°
6.92
°
38.0
4° 38.04°
38.0
4°
30.62°
21.35°
45.04°
6.92°
6.92
°
38.04°
21.35°
21.35°
30.62°
17.54°
27.42°
27.4
2°
45.04°
45.04°
52.29°
52.29°
2.18°
22.79°
35.53°
65.03°
4.13
°
40.90
°
18.94
°
57.72°
35.53° 35.5
3°
20.01°
18.94
°
18.94°
13.35°
16.16°
16.16°
10.20°
10.20°
33.26°
46.54°
31.53
°
42.3
1°25.37°
18.70°
9.48°
90.0
0°
9.21°
54.43°
63.6
4°
63.64°
54.43°26.36°
54.4
3°
1'10-1/8"
3'0-1/8"4-1/16"
10-1/2"
2'0-3/16"
1'2-7/16"2'6-1/2"3'10-9/16"5'2-5/8"6'6-11/16"7'10-3/4"9'2-13/16"10'6-7/8"
10'2-1/4"
21'10
-1/2"
12'2-
3/4"
9'10-9
/16"
2'6-7/
8"
16'9-11/16"
2'0" 2'7-5/8"
1'10-3/8"
2'0-7/8"
2'0-7/8"
8-7/
16"
2'3-
13/1
6"
3'11
-3/1
6"
5'6-
9/16
"
7'1-
15/1
6"
8'9-
5/16
"
9'9-
7/8"
9'6-
15/1
6"
9'4-
1/16
"
9'1-
1/8"
5'2-
1/2"
1'10-5/8"
14'7-1/16"
9'3-7/16"
31'4-3/4"
9'0-11/16"
2'5-5/
8"
2'8-15
/16"
2-3/16
"
2'11-1/8"
9'7-11/16"
9'1-3/16"
8'3-5/8"
5'6-1/8"
2'8-5/8"
3'0-1/8"
1'10-11/16"
2'8-3/4"
1'2-1/4"
3'11
-3/1
6"
1'4-5/16" 2'0"
1'1-1/8"
2'8-
3/8"
8-7/8"
11'4-1/4"
13'10-7/16"
13'10-7/16" 8'8-3/16"
8'2-15/16"
7'8"7'6-11/16"
16'10
-9/16
"
32'7-1/4"
22'0-3/8"
9'6-1/2"
0-11/16"
1'8-7/16"
8'0-1/2"
3'11-7/8"
3'11-7/8"
3'11-7/8"
2'0-1/4"
10-15/16"
2'11-5/8"2'0-11/16"
2'3-3/16"
2'5-1/
16"
2'11-5
/16"
2'9-3/
16"
2'9-3/
16"
2'9-3/
16"
3'2-5/
8"
2'10
-3/4
"
1'8-7/16"
3'4-3/
16"
7-5/8"3'11-3/8"
8-5/16"
3'8-3/4"
11'11-3/4"
9'5-
7/8"
14'4-11/16"
2'0"
2'0-11/16"
2'10-7/8"
4-3/
16"
1'1-
13/1
6"
7-7/
16"
2'2-3/16"
1'2-7/16"
6-5/8"
8'9-3/16"
4'9-3/8"
6'5-
5/16
"
5'8-
7/8"
1'0"
10'4"
6'5-3/4"
2'7-7/16"
3'5-3/16"
6'8-5/16"
3'5-11/16"
4'10-1/16"1'11-5/8"3'2-3/4"7'5-3/8"
4'11
-1/2
"
4'7-11/16"3'0-3/8"
3'8-3/4"
57.12° 62.86°
46.7
3°
61.9
5°
90.00°
61.95°
90.0
0°
26.45°
90.00°
10.45°
41.67°
90.00°
26.37°
11.37
°
43.27°
90.00°
48.3
5°
90.00
°
15.28°
90.00
°
7.85°
90.00
°
15.28°
90.00°
43.25°
15.28°
90.00
°
42.8
9°
90.00°
90.00
°6.92
°
6.92
°
90.00
°
37.33°
90.00
°
6.92
°
68.54°
90.00°
90.00
°
60.02°62.86°
46.3
9°
48.8
8°
90.00°
33.0
1°
33.01°
90.00°
43.45°
90.00°
30.07°
42.40°
90.00°
43.45°
90.18
°89.90°
89.90° 90.18
°
90.00°
90.0
0°
75.0
7°
15.05°
11.36°
90.00
°
90.00°
5.42°
34.39°
90.00°
9.11°
90.0
0°
42.06°
42.62°
20.92°
13.57°
90.00°
13.5
7°
90.00°
8.38
°
20.58°
45.18°47.37°90.00°
42.23°
90.00°
37.35°
90.00°
13.5
7°28.89°
89.99
°
30.74°
35.95°
15.42°
36.03°
45.69°
28.89°
16.75° 37.26°
8.38°47.26°
26.74°
42.7
4°
20.52° 5.20°
26.74°
42.06°
42.06°
20'8"
21'6-9/16"
9'7-5/8"
16'0-3/8"
17'11-1/4"
44'2-13/16"
15'5"17'0-7/16"
2'2-3/16"
4'4-13/16"
2'7-1
/8"
5'9-3
/4"
4'3-3/4"
1'8-3
/8"
14'2-5/8"13'9-3/8"
28'0"
71.71°78.57°
25.9
9°
37.78° 37.4
2°
49.22°
25.9
9°
37.4
2°
48.9
6°
7.70
°
30.67°25.9
9°
18'9-5/8"
18'7-1/4"
13'2-9/16"
15'4-3/4"
15'6-1/16"
17'7-3/4"
31'7"
44'1-15/16"
40'7-
1/8"
23 Degree Angle
21 Degree Angle
20'0"
9'10-3/16"
2'3-11/16"13'9-7/8"
6'5-3/4"13'8-3/8"
20'0"
11'9-5/16"
6'6-1/16"
12'5-7/8"
10.51°26.63°
14.70°
90.00
°
46.20°
28.1
6°
22.9
2°
21.1
3°
15.6
4°
46.20°
90.00°
5.66°
28.13°
15.67°
15.6
4°
28.1
6°
46.20°
28.1
6°
46.20°
90.00
°
22.2
0°
46.20°
28.1
6°
P5
P8
11-5/8"4'0"4'0"
2'10
-1/1
6"
9'9-
11/1
6"
14'5
-5/1
6"
12'9
-3/1
6"11'1
"9'4-
13/1
6"
7'8-
11/1
6"
6'0-
1/2"4'4-
5/16
"
2'8-
3/16
"
4-13
/16"
20'10-7/8" 22'0"
12'2-1/2"20'0"12'2-7/8"
44'5-3/8"
3-1/
16"40 degree bevel rip
49.8
8°
40.12°
60.15°
90.00°
22.7
9°
90.00°
49.8
8°
40.12° 22.7
9°
60.15°
36.89°
72.19°
Media Scape Cut In
7'8-3/16"
15'11-3/4"
19'10-13/16"
9'7-11/16"4'5-9/16"
24'11-5/8"
29'4-7/16"
P6
Corner AssemblyP4-6
16'8-3/4"
13'3-7/16"
90.00°
54.03°
47.11°
48.26°
54.03°
10'1-1/2"
9'3-
1/4"
23'4-15/16"
8'5-15/16"
9'11"
6'5-3/16"
13'2-3/8"
32'11-7/8"
9'8-3/8" 13'11-1/2"
10'3
-3/8
"
3'6"
17'11
-3/1
6"
1'6-
3/8"
7'2-
3/8"
12'6
-1/1
6"
12'9
-1/8
"
14'4-7/8"
14'0-1/4"
2'10
-7/8
"
5'11
-13/
16"
9'0-
13/1
6"
5'0-
9/16
"
10'6
-1/2
"
15'3
-3/1
6"
7'2-
9/16
"
15'3
-7/1
6"
1'7-7/16"
1'4-7/8"
1'0-1/8"
3'10-1/2"
7'3-7/16"
5'2-13/16"
7'6"
4-1/2"
4'11-5/8"
10'5-9/16"
1'2-3/8"
5'6-11/16"
9'11"
3'10-3/16"
8'0-7/8"
12'3-1/2"
1'2-3/8"
5'6-11/16"
13'4-5/16"
60.02° 57.12°
90.00°
14.54°
14.5
4°
90.00°
21.4
6°
39.3
4°
90.00°
24.18° 18.6
8° 23.3
7°
47.95° 18.68°
23.3
7°
23.37°
43.25°
43.25°
47.14
°
47.14
°
47.14°
C Cap
5'0-9/16"8'8-1/4" 18'7-1/4"
24'8"
31'3-15/16"
4'6-15/16"
11'4-5/8"
11'9-1/4"
14'1-9/16"P7
P4
LW3
LW2LW1
P3
P2
P1
CW2
CW 1
4'5-
7/16
"
3'11
-11/
16"
7'7-
13/1
6"
9'11
-1/8
"
7'6-
1/2" 5'1-
7/8"
2'9-
5/16
"
1'2-
3/4"
2'9-
7/16
"
2'7-
13/1
6"
2'6-
1/4"
2'4-
5/8"
2'2-
7/16
"
1'6-
1/16
"
4'5-
13/1
6"
7'5-
9/16
"
10'5
-5/1
6"
6'4-
7/16
"
5'10
-11/
16"
5'4-
15/1
6"
4'11
-3/1
6"
80.70
°
90.00°
13.3
0°
90.00
°
13.3
0°
90.00
°
90.00°
43.69°
13.3
8°
90.00
°
90.00°
90.10
°
38.31°
90.00
°90
.00°
3.79°
90.00°
59.9
3°
90.00
°13.3
8°
CW3
CW4
7'10-1/8"8'6-5/8"
4'7-11/16"7'5-1/16" 12'0-13/16"
63 bev
54 bev
90.00¬
2'0-3
/4"
1'3-15/16"
2'7-5/16" 8'6-1/8"
5'7-
11/1
6"
6'3-
1/2"
3'0-7
/16" 5'10-15/16"
1'1-1/2"
2'1-5/8"
8'3-3/4"
1'9-15/16"
5'3-3/8"
6'0-1/8"
7'5-15/16"
6'10
-11/
16"
5'0-15/16"
6'6-15/16"
4'11-3/4"2'0-7/8"
51 bev
54 bev
62 bev
60 bev
55 bev
39 bev
63 bev
57 bev
54 bev
61 bev
71 bev
55 bev
62.04°
7.06
°
65.56°
49.1
2°
16.44°
42.0
6°
24.59°
3.74°
40.53°
17.03°90.0
0°
44.26°
61.30°
1'3-1/8"
2'4-7/8"
3'4-5/16"
3'11-1/16"
15'2-7/8"
6'2-3/4"
4'2-1/8"4'7-7/
8"
6'11-3/16"
Angle = 35.83
Angl
e =
45.2
6
10'6-3/4"11'6-
13/16
" Angl
e =
60.5
9
8'2-3/16"
10'5-15/16"
12'9-5/8"
12'9-3/8"
10'9-15/16"
8'10-9/16"
1'8"2'0"2'0"2'8-3/4"2'0"2'0"2'0"
44.27°
49.1
3°
40.88°45.73°
3.40°
1.34°
41.98°
46.6
9°
Wing/roof BracingLibrary
9'5-
5/16
"
35'9-1/4"
14'0"
9'9-1/4"
12'0"
18'0" 15'11-11/16"
33'11-11/16"
3'0-3
/4" 4'4-5/8"
15'1-3/4"
3'11-1/8"
7'11-
7/8"
9'4-3/4"
74.27°
31.4
0°
47.1
3°
32.05°
16.32°
47.1
3°
16.32°
15.73°32.05°31
.40°
TCAUP MS_Conservation cohort Practicum Exhibition, Detroit, MI, 2013
Interrobang is an occupation-driven activist architecture in Detroit’s former Packard Automotive Plant. The Plant is one of many sites of its kind: those delinquent sites for which remediation, renovation, or even demolition seem impossible, but have an immense iconographic potential (maybe positive/negative both) embedded in its identity. With aims to solicit a recalibration of the public perception of the site, we invited a mixed group of interested parties - scrappers, economists, planners, artists, friends, historians, preservationists, students, residents, etc - to spend an afternoon in the Plant to produce conflict, conversation, and collective action, dispelling myths and inspiring imagination. We talk tax code, emergent economies, feral brand, community, monumentality, zoning, previous projections, recent histories, ruin porn, urban exploration, regeneration, co-option, fantasies, extreme sports, and on and on, hoping that the visitors come away with some better understanding, some motivation, and the will to conserve.
INTERROBANG?!
urban
a. phytoremediation doppleganger
b. RGB-DIY
1. XXX @ Federal Screw
c. Slowstorm
title !studio, type, prof, date?
body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body body
xxx @ federal screwResearch Exhibition with Meta Friche and AKOAKI; Fall 2011
The contemporary fascination with representations of decay is frequently denigrated as ruin porn, a moniker meant to render explicit a charac-ter of exploitation and scenographic abstraction. In the collective optic, oscillating between fetishism and lament, ubiquity and monumental-ity, engagement and distanciation, a state of being and coming undone, the ruin has resurfaced as a site of symbolic appropriation, chimerical exploration, material contestation, and fabricated desire. Welcome to Federal Screw Works.Federal Screw is an installation that proposes an alternative way to read ruin porn. Can the self-reflexive cultivation of enthusiasm for the ruin help build support for its transformation; can the pluralistic reimaging of ruin help concerned constituents speculate about alternative futures for a derelict site? In consideration of these questions, Federal Screw stages an event and collective exploration, a first step in a forthcoming master plan for Chelsea Commons._text by Anya Sirota
general manifold by: akoaki
phytoremediation dopplegangerInstalled above the slitted oil wells in the factory floor, phytoremediation doppleganger establishes a gridded datum of glowing weather balloons just over eye level. The grid of balloons, spaced on the grid which will be trees if the master-plan moves forward, disrupts the visitor’s vision in the immense factory space, filling the hall with a rhythm of smaller, friendlier spaces for occupation and gathering.
rgbd i yThe RGB-DIY is a participatory installation in which visi-tors can manipulate their choice of live feed or prerecorded video. The device is designed to isolate and reroute the individual color channels in a standard VGA cable through saturation dials and node-switches, giving the user manual control of the temperature and intensity of the colors being projected. RGB-DIY is a lo-tech all star in a hi-tech game.
�e RGB DIY VJ Kit is sold as a part of an exhibition at Federal Screw Works located in Chelsea, Michigan. �is kit was designed by Virginia Black and Chris Reznich.
1 cut open cord 2 expose wires snip3parts
plugs [x6]
saturation dials [x3] washers [x6]
bolts [x6]
blue receivers [x2] blue plug caps [x2]
red receivers [x2] red plug caps [x2]
green receivers [x2] green plug caps [x2]
4 solder to saturation dials 5 insert receivers
9 put it together 10 solder 11 connect and play!
7 connect saturation dial to receiver
8 connect receiver
insert saturation dials6
slow storm is an opportunistic intervention. The exhibited film is digital footage of a summer storm rolling in over Grand Traverse Bay - 15 minutes stretched to just under 2 hours. The stretch was to slow the frame rate to the point that the human eye could observe the way the digital sensor recorded the intense contrast of lightning flashes against the night-black sky. Bolts of lightning rarely oc-cur in the film. Instead, patterns of black and white bars flicker across the screen. The wet, dirty, dark corridor reverberates with the low grumble of the distorted audio; the standing water multiplies the visual.
slowstorm
extra-rural1. Pop-It-Up!
pop -it-up!Art/Architecture/Landscape install with AKOAKI, Amilly, France, 2013
Pop-It-Up! is 3D super-graphic that encourages visitors to take a fresh look at the spatial potentials of an industrial site in the process of transformation and to imagine a more playful, dynamic and collective future. The structures, built in situ, span over thirty feet point to point and deploy the logics of American vernacular stud construction in order to deliver an iconographic pow. The forms which can be viewed from above, below and at eye level engage multiple and overlapping vantage points, suggesting that challenging geometries can be arrived at through simple, approachable techniques. All elements in the project were produced and assembled on site using tools germane to conventional construction: a mill saw, a table saw, a pneumatic stapler and a few screw guns. The wild and industrial site, with its bared concrete structure and windows removed, offers exceptional opportuni-ties for experimentation and interim engagement. In an ongoing effort to promote alternative design practice, the construction process, spanning two weeks, was free and open to the public. _text by Anya Sirota
1.11
43.94¬
22.22¬
90.00¬
90.00¬
90.00¬
0.93
1.02
90.00¬
38.16¬
59.89¬
90.00¬
90.00¬
17.53¬
50.45¬
23.16¬
15.45¬
90.00¬
0.91
0.83
90.00¬ 18.60¬
48.94¬ 35.96¬
2.23
2.41
36.17¬
21.13¬
90.00¬
3.88
3.58
90.00¬
69.13¬
27.76¬
0.09
0.02
0.13
0.07
14.76¬
2.92
2.67
90.00¬
69.13¬
14.63¬
2.80¬
10.62¬
1.33
1.28
14.63¬
35.50¬
90.00¬
34.81¬
0.70¬
3.36
3.29
5.28¬
15.24¬
41.15¬
53.74¬
0.05
0.22
4.38
3.84
55.05¬ 72.57¬
90.00¬ 90.00¬
28.34¬
1.68
1.66
0.03
0.0613.47¬
10.46¬
37.63¬
55.05¬
43.26¬
2.02
1.96
16.59¬ 15.30¬
5.10¬ 27.81¬
90.00¬
1.94
2.01
12.65¬
55.08¬
33.36¬ 43.28¬
90.00¬
0.15
0.12
1.21
1.32
10.82¬ 43.68¬
90.00¬ 90.00¬
90.00¬
0.87
0.71
90.00¬
90.00¬
90.00¬
49.29¬
70.15¬
1.03
1.11
6.24¬
41.27¬
90.00¬
90.00¬
90.00¬
0.66
0.73
90.00¬
90.00¬
55.05¬
37.63¬
1.16
This is a .120 rather than a .095
This is a .120 rather than a .095
This is a .120 rather than a .095
35.5º
1.11
43.94¬
22.22¬
90.00¬
90.00¬
90.00¬
0.93
1.02
90.00¬
38.16¬
59.89¬
90.00¬
90.00¬
17.53¬
50.45¬
23.16¬
15.45¬
90.00¬
0.91
0.83
90.00¬ 18.60¬
48.94¬ 35.96¬
2.23
2.41
36.17¬
21.13¬
90.00¬
3.88
3.58
90.00¬
69.13¬
27.76¬
0.09
0.02
0.13
0.07
14.76¬
2.92
2.67
90.00¬
69.13¬
14.63¬
2.80¬
10.62¬
1.33
1.28
14.63¬
35.50¬
90.00¬
34.81¬
0.70¬
3.36
3.29
5.28¬
15.24¬
41.15¬
53.74¬
0.05
0.22
4.38
3.84
55.05¬ 72.57¬
90.00¬ 90.00¬
28.34¬
1.68
1.66
0.03
0.0613.47¬
10.46¬
37.63¬
55.05¬
43.26¬
2.02
1.96
16.59¬ 15.30¬
5.10¬ 27.81¬
90.00¬
1.94
2.01
12.65¬
55.08¬
33.36¬ 43.28¬
90.00¬
0.15
0.12
1.21
1.32
10.82¬ 43.68¬
90.00¬ 90.00¬
90.00¬
0.87
0.71
90.00¬
90.00¬
90.00¬
49.29¬
70.15¬
1.03
1.11
6.24¬
41.27¬
90.00¬
90.00¬
90.00¬
0.66
0.73
90.00¬
90.00¬
55.05¬
37.63¬
1.16
This is a .120 rather than a .095
This is a .120 rather than a .095
This is a .120 rather than a .095
35.5º
sous la plageBab al Bahrain design competition with Design Earth; Winter 2012
DREAMS SO BIG ONLY THE SEA CAN HOLD THEMWaterfront reclamation looms large on the agenda of cities aspiring to expand their economic footprint. In Bahrain, large landforms were carved out from the sea surface over the last decades. Valuable square meters were fashioned to stimulate the market’s desire for real estate and mark the country’s presence on the map. Such progressive expansion of the land over the water physically and symbolically distanced the sea from older parts of the city, all while deferring public interests to the economy.
AFTER LANDFORMS: GROUNDFORMSThe urban project embraces ground manipulation as an architectural strategy. However, rather than piling up earth for the production of “real” value, it excavates the earth to formalize a collective. The project recovers the water level by digging a beach onto the site. Sous les pavés la plage performs as a collector and a distributor of pedestrian flows, landscapes, and activities. By assembling various fragments on a shared plinth, the project is a manifesto for an embedded pluralism. - text by Rania Ghosn
Presented to and theorized with paysagiste and scenographer Christophe Ponceau, Tanneries Amilly is about participating with the landscape on a very tactile level. Using our American identity and evoking the thrills of a drive-in theater, the module provides individual freedom in the midst of collective spectacle. Designed as outdoor living-room sets of unlimited possibility, the unfold-ing surface locks in any direction or position. The (apparent) limits of the material encourage the user to treat it tenderly, and engage with the fuzzy carpet of tall grasses because of his/her proximity to the ground. The modules are designed to be simple to move and deploy, and simple to pack away, so nothing is left permanently to affect the natural processes of the landscape. Partici-pation encourages conservation.
les origamiesDesign Charrette with Meta Friche; Summer 2011
tcaup + msc + gmtc + locResearch Assistantship, Christian Unverzagt, Fall 2012
Digitization, compilation, and organization of Dimensions, the Taubman College of Architecture and Urban Planning’s student-produced journal, for online publication and worldwide - completely free - accessibility. Brushing off the dust from the archived volumes, a more intimate knowledge of the school’s body of work is produced when the set is unified. Ideas evolve, relationships are tracked, and heritage is built from old volumes to new.
DRIVENdriven endurance & multisportBranding and Design work for Gregory Reznich
Designed to present, to network, to inspire. Designed for triathletes, the logo aims to communicate with a community of people who care very much about health, fitness, and personal improvement.
stillstormIndependent Digital Media Exploration; Summer 2011-ONGOING
slowstorm just happened. As I was cataloguing film, my media player glitched--I saw a freeze-frame of an image that shouldn’t have existed. In-stead of a jagged yellow bolt of lightning, the image was black, gray, and white bars horizontally across the screen. I paused the video and manu-ally navigated the series of frames, and found that the digital sensors of my camera were recording fragments of the entire image that would be played so quickly it would appear fluid. I am interested in the fragments. The film is a process of constant discovery, achieved by taking the time to understand something the way it really is.
project overflowAppendix of excerpted title pages of presentable projects excluded for length, arranged in plain, chronological order.
inflowUndergraduate Studio 1 with Anya Sirota; Fall 2010
Inflow is about communication. Sited in Ypsilanti, MI, the project aims to connect the academic and cultural worlds of small town Ypsi with Ann Arbor and Detroit nearby, as well as a regional network of American cities known for their academic and creative cultures. The theoretical goal is an inclusive series of nodes for cultural production and exhibition, symbolically aligned to foster greater participation in creative academic projects in the region. The space designed is a center for three fellows--the three fellows will live and work in a state of permanent exhibition in Ypsilanti.Formally the culmination of a studio spent learning how to use the logic of the fold to create interstitial spaces, the apparently sporadic surfaces are folded with calculated precision to provide projection screens for data art and media manipulations. Materi-als of varying density, opacity, and reflectivity create a transient interior, in which the projection of light through spaces appears as concretely material as the structure of the building itself.
inside city DETUndergraduate Studio 3 with El Hadi Jazairy; Fall 2011
Let’s get one thing straight—Detroit is shrinking, not dying. Detroit is reorganizing, densifying, and rallying. InsideCity (DET) is aimed specifically at densifying. InsideCity sees the city’s want for new perspectives and provides a launch pad—it emphasizes the formation of new partnerships and relishes in the immense generative potentials of educational creativity.InsideCity acts as a node—a connective point in a multiplicitous school network, wherein each highly specialized school is placed near the industry into which it feeds. The engineering school lies adjacent to the tech corridor; the imaginary music school calls a refurbished United Artists’Theater home, etc. As a part of this network, the resource our site offers is MOCAD, with all its aspirational baggage.MOCAD offers programmatic direction; it offers an issue to be solved—it is an underloved institution, but with extreme potential. MOCAD can be a powerful urban attractor, if we can make it accessible. Via curation, interaction, and experimentation, if we can create a stir from the community’s interior, an energetic MOCAD will act as the flame to which young-professional moths will swarm from all over.In exchange for its partnership, connections, and interstitial space, we are offering MOCAD financial sustainability, academic atmosphere, and a vibrant connection to the youth of Detroit. We aim to subsidize MOCAD’s operational needs by embedding them in the program of the Rupert Murdoch School of Branding and Media Fabrication. Public film screenings, parties, events, and exhibitions will produce financial capital to be utilized InsideCity’s new student branding studio as well as human capital to populate the surrounding space—and why not pop in to MOCAD after parent-teacher conferences or Saturday’s matinee?The programmatic addition of two distinct, collaborative schools—one focused on entrepreneurship, finance, and production, and the other focused on exploring today’s most contemporary, most populist artistic medium- encourages a diverse discourse meant to include MOCAD at its confluence.The programmatic spaces are striated to maximize frontal plurality and oriented perpendicular to two covered interior streets, whose intersec-tion is defined by the exploded wall of MOCAD and the school’s three distinct buildings- the labs, the public block, and the studio/cinema compound. The interior street performs as a series of thresholds like one would find in any walkable city’s main drag, creating a dense urban interior regardless to Detroit’s surrounding emptiness.InsideCity is a city initself—the independent programs act as a sum of parts, contributing particularities to an active whole. The activity of the whole is the essential inclusion of local creative Detroiters, and their friends and families. The locally fueled success of the CityShed will brim and spill into MOCAD, and with a newly designed interface, MOCAD will serve as the vocal platform for expansion as attendance rises.
un-extractive industriesResearch Seminar with Prof A. Sirota and Dean M. Ponce de Leon, 2011-ONGOING
Using techniques antithetical to the destructive forces of mining, Unextractive Industries aims to activate the sublime connectivity between the natural landscape and the memory of the industrial culture that established Michigan’s earliest economy. By infusing the dormant mining infrastructures of the Upper Peninsula with new cultural production, Unextractive Industries has potential to assist in the state’s economic recovery.
Curently, the project exists in a phase of trying to better understand the character of the local communities surrounding the po-tential sites, which were originally established primarily to support the once-burgeoning copper and iron ore mining industries.
bananahammock beach chairConstruction Exploration with Matthew Schulte; Fall 2010
Dimensions
DIMENSIONS
DIMENSIONS
DIMENSIONS
DIMENSIONS
DIMENSIONS
DIMENSIONS
DIMENSIONS
DIMENSIONS
DIMENSIONS
DIMENSIONS 24
24 24
architecture underground through life world visitor spatial scale individual “Not over esteemed or dwarfed by the scale of the city, but rather reflect and reverse the urban density into a complete void space at the exact same scale.” river reprieve reality pure “Not over esteemed or dwarfed by the scale of the city, but rather reflect and reverse the urban density into a complete void space at the exact same scale.” light experiences darkness cemetery
I would say that no process is autonomous and I don’t think a process is something that you do because it will get you something. I think it’s more of a structuring of your own way of working or way of thinking. So I don’t think the process produces anything. I think the process just is a way of framing how you produce something.” “I have a hard time envisioning a processing doing something on its own accord without a human developing a
tion, this project obscures oppositions by looking at dualities that exist in nature, specifically through the lens of enantiodromia, which is the process of one thing slowly becoming its opposite.” perception people mirage ground uncover town thin “As a way to speculate on site, perception, form and representation, this project obscures oppositions by looking at dualities that exist in nature, specifically through the lens of enantiodromia,
ent plaza piers future debris “Buildup is not only palpable in nature; but exists in the growth of ideas,” FDR neighborhood manhattan facility slip pause only once ideas glass east bridges along present plaza piers future “Buildup is not only palpable in nature; but exists in the growth of ideas, thoughts, and information.” “Buildup is not only palpable in nature; but exists in the growth of ideas, thoughts, and information.” “Buildup is not only
relationship “The space of engagement is an atmosphere, an intangible tension between it and me, the potent image and the intoxicated projections of the viewer.” “The space of engagement is an atmosphere, an intangible tension between it and me, the potent image and the intoxicated projections of the viewer.” “The space of engagement is an atmosphere, an intangible tension between it and me, the potent image and the intoxicated projections
ambiguous thing, and forgetting is no less vague or intangible. Remembering is an act with which everyone is familiar. It is comprehensible and is practiced consciously in the realm of social rituals.” “Memory is an ambiguous thing, and forgetting is no less vague or intangible. Remembering is an act with which everyone is familiar. It is comprehensible and is practiced consciously in the realm of social rituals.” “Memory is an ambiguous thing, and
constructed conceptual building barriers “During the day this window functioned as an outward viewing device, but at night it became dark and reflective and as such was transformed into an inward viewing instrument.” viewing used tub shower privacy norms health frosted constructed conceptual building barriers zoom “During the day this window functioned as an outward viewing device, but at night it became dark and reflective
ideas strips story test writing trussing set section place physical part knowledge created body architecture trimming structure slices slaughter shape roasting relationships work drawing cabin process “The presence of actions alludes to the silent implications of tacit knowledge, and those actions elicit a particular demeanor or conduct.” “The presence of actions alludes to the silent implications of tacit knowledge, and those actions elicit a particular
in its temporal and tactical definition. Debris is only representative of a small part of a greater whole from which it came.” system surface space size reveal presence potentials overlying location force dusty dry complexities traditional survival stretch small site town factory social only desert “Debris implies spatial presence, but finds significance in its temporal and tactical definition. Debris is only representative of a small part of a greater whole from which it
of assembly and variation of the unit [can] produce greater variations in the whole.” unforeseen trial traditional textual suggests strategy sequential rhinoceros units whole thinking part parametric modeling group varied variation unit software “The logic of assembly and variation of the unit [can] produce greater variations in the whole.” process potential investigations introductory form fabrication emergent “The logic of assembly and variation
reading nevelson minimalist life inherent “Touch, for example, is not separated from sight but rather a vital tool used in conjunction with sight and other senses to develop a deeper understanding about our physical environment.” assemblage common products installation photo author units objects “Touch, for example, is not separated from sight but rather a vital tool used in conjunction with sight and other senses to develop a deeper
muybridge motion horse final familiar “The comfort with which architects have adopted digital technology is countered by the difficulty of physically representing the digital; that is, getting the design out of the computer.”orthographic operations molten molds manipulations digital three-dimensional projection “The comfort with which architects have adopted digital technology is countered by the difficulty of physically representing the digital; that is, getting the
scale roots revolution relationships red culture read process perversely peek paper operations newsprint fashion jacket “The observer is offered the chance to peek inside—however perversely—into the intricate character of China’s textile manufacturing.” hanger folded english dress chinese western void recto-verso vellum uncanny “The observer is offered the chance to peek inside—however perversely—into the intricate character of
output fabrication explore experience types techniques qualities number light “Process with a capital P is dead. Facilitating its own dream killed it.” standard space primary management processes design software process architectural our media effects projects platforms “Process with a capital P is dead. Facilitating its own dream killed it.” experience types techniques qualities number light examines drawings buildings boundaries across
sees you crying” important experience clients city themes structure specific schizophrenic we think “You might be moved to tears by a piece of architecture—that’s interaction. If the architecture sees you crying and responds by crying itself,” interesting interaction idea students situation different appropriate teaching “You might be moved to tears by a piece of architecture—that’s interaction. If the architecture sees you crying and responds
the two.” natural interface inside human forms “I propose a way of blurring the duality of life and death, a way of creating a strong dialogue between the two.” “I propose a way of blurring the duality of
urban mode of living.” available zones typology tower system scale residents refurbishment pragmatic neighborhood “The creation of an efficient and sensible shift of people, materials, and resources from suburbia to an
shall increasingly live within an invisible, responsive environment, built upon millions of accumulated, antecedent events.” accumulation time terabytes millions manifest “As the accumulation of digital data begins to
awareness walking transitions “The person walking from the visual starkness of the sunken courtyard space into the far softer, more tactile experience of the sand room is more aware of their senses as a result of the contrast.” “The person walking
twisted death surface life quarry landscape site living ground building re necessary manipulation “I propose a way of blurring the duality of life and death, a way of creating a strong dialogue between
resources housing development urban suburban building need used residential large high “The creation of an efficient and sensible shift of people, materials, and resources from suburbia to an
an invisible, responsive environment,” interaction environment drive creation world void valuable today “As the accumulation of digital data begins to structure and mediate our every interaction, we
from the visual starkness of the sunken courtyard space into the far softer, more tactile experience of the sand room is more aware of their senses as a result of the contrast.” information construct
dimensionsResearch Assistantship, Christian Unverzagt, Fall 2012
Digitization, compilation, and organization of Dimensions, the Taubman College of Architecture and Urban Planning’s student-produced journal, for online publication and worldwide - completely free - accessibility. Brushing off the dust from the archived volumes, a more intimate knowledge of the school’s body of work is produced when the set is unified. Ideas evolve, relationships are tracked, and heritage is built from old volumes to new.
pirates of penzanceBackdrop Painting for Traverse City Central Theater Dpt; Fall 2010
thanks.
