Jun 26, 2016
#UCLAAUD class of 2008 #foreverumber #architectsinblue #malibuwedding (at Oak Canyon Ranch)
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#UCLAAUD class of 2008 #foreverumber #architectsinblue #malibuwedding (at Oak Canyon Ranch)
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Church Genealogy -------------------------------------------------------------------------- Formal Disobedience / 2014 UCLA Architecture & Urban Design -------------------------------------------------------------------------- “The Church of Santa Maria of Santes Creus conforms to a strict upbringing of architectural sizing. From her very inception, a desired form was stressed with her architectural figure evaluated by her symmetry, proportioning, and planning of space.”
Excessive Seam -------------------------------------------------------------------------- Formal Disobedience / 2014 UCLA Architecture & Urban Design -------------------------------------------------------------------------- The Church of Santa Maria of Santes Creus shares qualities of Romanesque and Gothic construction: vaulting perpendicular with the nave & transept follow Romanesque principles of semi-circular arches; vaulting parallel with the nave & transept follow Gothic principles of pointed arches. This discrepancy of tangent and non-tangent curvature result in a quadripartite vault that must consider an excessive seam.
The Analogous City, 1976
Reeling from the destruction of modernist paradigms throughout the 1950s and 60s, theories of the postmodern sought new methods of understanding society and its products. Conceptions of the city, in particular, expanded beyond the logics of urban planning and architecture and into phenomenological realms such as memory, spatial perception, and language.
Aldo Rossi, Eraldo Consolascio, Bruno Reichlin, and Fabio Reinhart produced The Analogous City for the 1976 Venice Bienale after several previous experiments with collage as a pedagogical device. The nearly human-scale canvas contains an array of architectural images, photocopied in greyscale from myriad sources.
Architectural collage practices positioned themselves in opposition to the modernist figure of the Master Planner, who imposed a singular logic upon space (real or hypothetical) based on “innate” principles. In revolt, the postmodern approach collapsed the depth of any one conceptual system, instead examining the play between heterogeneous, equally flat, texts indepedent of context, author, medium, or date.
Images of disparate scales (i.e. facade detail, city plan, platonic form), perspectives (i.e. plan, section, isometric), and media (i.e. sketch, topography, abstract geometry, photocopy) occupy the plane of The Analogous City through a process of flattening. This operation allows each unit to interact with other objects in traditionally impossible ways: a rouchly sketched human, window, and lamp (Aldo Rossi, Spazio Chiuso, interno, 1974) frames two poche city layouts—within the window the human perceives Knossos palace (15th-16th century BC), while surrounding the window is Gianfranco Caniggia’s Como map (1963).
The postmodern gaze achieved new modes of architectural representation through a process of fracturing and collapsing. While the merit of this operation in relation to modernism is significant, its capacity to create positive meaning remains encumbered by its overwhelming magnitude, chaos, and multiplicity.
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The Performing AudienceÂ
Cirque du Soleil is known for engaging the audience in their performances, blurring the boundary between stage and audience. This project poses the question, “What if the audience were active participants in the show, not merely spectators?” The audience is sitting on a rig which moves within the volume of the theater, obscuring and framing various parts of the stage at different times in the show.
The remaining audience not only sees the paid performers, but sees the interaction of the moving audience members with the performers in a seamless viewing experience. Robot and Architecture are one. The final model is a fiberglass and carbon fiber composite model, actuated by servos connected to an Arduino microcontroller. Two axes of freedom are achieved, allowing the rig to move forward, backward, and vertically.
This concept for a theoretical Cirque du Soleil performance asks the question, "how can we bring the audience into the performance?" The show should create not just a spectacle, but an immersive experience. Thus the audience is on a rig that reorients the the viewer to interact with the show.