 |  |  |  |  |  |
|---|---|---|---|---|---|
 |
5D
Heirloom Architecture, 2016
University of Toronto; Architecture
Advisor: John Shnier,
Master of Architecture
The Pursuit of Permanence
There is beauty in legacy. When artifacts endures through generations, it becomes sentimentally and culturally substantial. The familiar heirlooms can offer dimensions of meaningful agencies, robust performances , resilient versatility, and idiosyncrasy through craft. My premise is, the path to permanence can be found through one or more of these dimension.
[Click Images Below]
Craft is the skillful and artistic expression of physical objects; it is the cornerstone of permanence. Excellent craft isn't limited to the fashions and functions of a zeitgeist; it can range from dense ornamentation to ultra-fine minimalism. (ie. Great Pyramid of Giza, 2560 BC; Orvieto Cathedral, 1591; Farnsworth House, 1951; Innovation Tower, 2013)
Spaces should have anthropometric relevance. Whether it's encouraging cooperative programs or building with tactility in elements like unfixed seating areas. We begin to love a space when we can populate memories and sentiments through agencies. (ie. Ryerson Student Learning Center, 2015; St Lawrence Market, 1844; St. Michael's Cathedral, 1848)
Serviceability is the specifications behind the 'machine for living'. It describes the effectiveness of habitation, the insulation against foreign elements, the processing of waste... It can be demonstrated in mass, strength, circulation, or any number of energy consumption criteria. (ie. Robarts Library, 1973; Evergreen Brickworks, 2010; Eaton Center, 1977)
Physical resilience can accommodate change with sustainable ease and feasibility. Like books in a bookcase, there is spatial system to adapt with the dynamism of shuffling books. (ie. London Aquatics Centre, 2012; Centre Georges Pompidou, 1977)
The Catalogue of Permanence
This is a design tool intended to keep designers perspective of the larger retrospects of excellent craft, starting with the Colosseum at its base.
When we master the technologies of today and tomorrow, we can develop a generation of craft with new materials, new forms, and new methods of making; it will embody super-speed, super-accuracy, and super-resolution.
[Click Images Below]
The Fragments of Permanence
In a series of drawings, I've re-imagined various architectural elements. These nine formal paradigms investigate the potential for permanence
[Click Images Below]
The New Pyramid is an expression of performance by mass. There is an immutable quality to large construction units. It is reminiscent of landscape; consequently, the exterior is a playscape for the agency of rock climbers. The bluff-like exterior is crafted with precisely-fitted units, freeing its interior for grand and versatile cavernous spaces. This is a fragment about performance, agency, craft and versatility, in that order.
The New Pyramid is an expression of performance by mass. There is an immutable quality to large construction units. It is reminiscent of landscape; consequently, the exterior is a playscape for the agency of rock climbers. The bluff-like exterior is crafted with precisely-fitted units, freeing its interior for grand and versatile cavernous spaces. This is a fragment about performance, agency, craft and versatility, in that order.
The New Pyramid is an expression of performance by mass. There is an immutable quality to large construction units. It is reminiscent of landscape; consequently, the exterior is a playscape for the agency of rock climbers. The bluff-like exterior is crafted with precisely-fitted units, freeing its interior for grand and versatile cavernous spaces. This is a fragment about performance, agency, craft and versatility, in that order.
The Silly Putty has a versatilely malleable and imperishable envelope. Inhabitants can assert their agency by molding their own bay windows for sitting, exhibiting, or for a peek at their neighbours. Equally malleable, the slab is a versatile armateur for any forms of agency. This blobitecture is supported by a forest of impossibly thin columns. This is a fragment about versatility, agency, craft, and performance, in that order.
The Silly Putty has a versatilely malleable and imperishable envelope. Inhabitants can assert their agency by molding their own bay windows for sitting, exhibiting, or for a peek at their neighbours. Equally malleable, the slab is a versatile armateur for any forms of agency. This blobitecture is supported by a forest of impossibly thin columns. This is a fragment about versatility, agency, craft, and performance, in that order.
The Silly Putty has a versatilely malleable and imperishable envelope. Inhabitants can assert their agency by molding their own bay windows for sitting, exhibiting, or for a peek at their neighbours. Equally malleable, the slab is a versatile armateur for any forms of agency. This blobitecture is supported by a forest of impossibly thin columns. This is a fragment about versatility, agency, craft, and performance, in that order.
The House of Stairs is a place of agency through discovery and play. The stair element performs as an external and internal structure while also enhancing the circulatory performance. The simple repetition of one element is juxtaposed by the intricately crafted joint details. This is a fragment about agency, performance, and craft, in that order.
The House of Stairs is a place of agency through discovery and play. The stair element performs as an external and internal structure while also enhancing the circulatory performance. The simple repetition of one element is juxtaposed by the intricately crafted joint details. This is a fragment about agency, performance, and craft, in that order.
The House of Stairs is a place of agency through discovery and play. The stair element performs as an external and internal structure while also enhancing the circulatory performance. The simple repetition of one element is juxtaposed by the intricately crafted joint details. This is a fragment about agency, performance, and craft, in that order.
Exhibition
Daniels Faculty of Architecture, University of Toronto; December 16, 2016
[Click Images Below]
Exhibition @ Daniels Faculty of Architecture, University of Toronto; Dec 16, 2016
Exhibition @ Daniels Faculty of Architecture, University of Toronto; Dec 16, 2016
Exhibition @ Daniels Faculty of Architecture, University of Toronto; Dec 16, 2016
Exhibition @ Daniels Faculty of Architecture, University of Toronto; Dec 16, 2016
Exhibition @ Daniels Faculty of Architecture, University of Toronto; Dec 16, 2016
Exhibition @ Daniels Faculty of Architecture, University of Toronto; Dec 16, 2016
Exhibition @ Daniels Faculty of Architecture, University of Toronto; Dec 16, 2016
Exhibition @ Daniels Faculty of Architecture, University of Toronto; Dec 16, 2016
CNC Milling
CNC Milling
CNC Milling
The New Pyramid is an expression of performance by mass. There is an immutable quality to large construction units. It is reminiscent of landscape; consequently, the exterior is a playscape for the agency of rock climbers. The bluff-like exterior is crafted with precisely-fitted units, freeing its interior for grand and versatile cavernous spaces. This is a fragment about performance, agency, craft and versatility, in that order.
The Silly Putty has a versatilely malleable and imperishable envelope. Inhabitants can assert their agency by molding their own bay windows for sitting, exhibiting, or for a peek at their neighbours. Equally malleable, the slab is a versatile armateur for any forms of agency. This blobitecture is supported by a forest of impossibly thin columns. This is a fragment about versatility, agency, craft, and performance, in that order.
The House of Stairs is a place of agency through discovery and play. The stair element performs as an external and internal structure while also enhancing the circulatory performance. The simple repetition of one element is juxtaposed by the intricately crafted joint details. This is a fragment about agency, performance, and craft, in that order.
The Curtain Wall is an expression of permanence by impermanence. The agencies and versatility of moveable walls are overt. They are beautifully light, affably soft, and feasibly replaceable; it is a sustainable element by means of constant reconstruction. On its interior, there are many more curtains laced between organically formed columns. This is a fragment about versatility, agency, and craft, in that order.
The New Cathedral is a The New Cathedral is a display of opulent craft. Each window is ornamented with performative widisplay of opulent craft. Each window is ornamented with performative wind-farming devices. The undulating form offers peripheral visual agency and an exhibition of these opulent crafts. The interior columns and slabs are performatively crafted with integrated furniture and structurally optimized geometries. This is a fragment about craft, agency, and performance, in that order.
The Exhibition of the Ordinaries is a cabinet of curious living programs. A fully transparent envelope gives visual agencies to outside and inside world. Tenants can versatilely occupy each exhibitable space to their own desire. In the center, an interior garden flips nature outside-in. It is a natural spectacle as well as a performative lung. This is a fragment about agency, craft, versatility, and performance, in that order.
The City that Always Sleeps is an anthropometric artifact. It is crafted by a vertical community of beds, each unit can later be versatilely replaced. There¡¦s a romantic agency sleeping intimately next to a window with views. From each bed, there¡¦s agency to the ever-versatile ball pits, which are performatively connected by structural slides. This is a fragment about agency, versatility, and craft, in that order.
The Elevator City has an exo-skeleton crafted by a plethora of moving rooms. Inhabitants can assert their form of agency within these dynamic spaces. On the interior, a helical ramp forms an unsegmented enfilade; it is the ultimate expression of versatility and performance. This is a fragment about versatility, agency, performance, and craft, in that order.
The Parkour Haven is built for versatile play. Instead of keeping trespassers away, it encourages their imaginative agency. On the interior, the slide(snakes)-and-ladder performs as partitions references, structural elements, and whimsical convThe Parkour Haven is built for versatile play. Instead of keeping trespassers away, it encourages their imaginative agency. On the interior, the slide(snakeseyor systems. This is a fragment about agency, versatility, craft, and performance, in that order.
The New Pyramid is an expression of performance by mass. There is an immutable quality to large construction units. It is reminiscent of landscape; consequently, the exterior is a playscape for the agency of rock climbers. The bluff-like exterior is crafted with precisely-fitted units, freeing its interior for grand and versatile cavernous spaces. This is a fragment about performance, agency, craft and versatility, in that order.
The New Pyramid is an expression of performance by mass. There is an immutable quality to large construction units. It is reminiscent of landscape; consequently, the exterior is a playscape for the agency of rock climbers. The bluff-like exterior is crafted with precisely-fitted units, freeing its interior for grand and versatile cavernous spaces. This is a fragment about performance, agency, craft and versatility, in that order.
The Silly Putty has a versatilely malleable and imperishable envelope. Inhabitants can assert their agency by molding their own bay windows for sitting, exhibiting, or for a peek at their neighbours. Equally malleable, the slab is a versatile armateur for any forms of agency. This blobitecture is supported by a forest of impossibly thin columns. This is a fragment about versatility, agency, craft, and performance, in that order.
The Silly Putty has a versatilely malleable and imperishable envelope. Inhabitants can assert their agency by molding their own bay windows for sitting, exhibiting, or for a peek at their neighbours. Equally malleable, the slab is a versatile armateur for any forms of agency. This blobitecture is supported by a forest of impossibly thin columns. This is a fragment about versatility, agency, craft, and performance, in that order.
The House of Stairs is a place of agency through discovery and play. The stair element performs as an external and internal structure while also enhancing the circulatory performance. The simple repetition of one element is juxtaposed by the intricately crafted joint details. This is a fragment about agency, performance, and craft, in that order.
The House of Stairs is a place of agency through discovery and play. The stair element performs as an external and internal structure while also enhancing the circulatory performance. The simple repetition of one element is juxtaposed by the intricately crafted joint details. This is a fragment about agency, performance, and craft, in that order.
The Curtain Wall is an expression of permanence by impermanence. The agencies and versatility of moveable walls are overt. They are beautifully light, affably soft, and feasibly replaceable; it is a sustainable element by means of constant reconstruction. On its interior, there are many more curtains laced between organically formed columns. This is a fragment about versatility, agency, and craft, in that order.
The Curtain Wall is an expression of permanence by impermanence. The agencies and versatility of moveable walls are overt. They are beautifully light, affably soft, and feasibly replaceable; it is a sustainable element by means of constant reconstruction. On its interior, there are many more curtains laced between organically formed columns. This is a fragment about versatility, agency, and craft, in that order.
The New Cathedral is a display of opulent craft. Each window is ornamented with performative wind-farming devices. The undulating form offers peripheral visual agency and an exhibition of these opulent crafts. The interior columns and slabs are performatively crafted with integrated furniture and structurally optimized geometries. This is a fragment about craft, agency, and performance, in that order.
The New Cathedral is a display of opulent craft. Each window is ornamented with performative wind-farming devices. The undulating form offers peripheral visual agency and an exhibition of these opulent crafts. The interior columns and slabs are performatively crafted with integrated furniture and structurally optimized geometries. This is a fragment about craft, agency, and performance, in that order.
The Exhibition of the Ordinaries is a cabinet of curious living programs. A fully transparent envelope gives visual agencies to outside and inside world. Tenants can versatilely occupy each exhibitable space to their own desire. In the center, an interior garden flips nature outside-in. It is a natural spectacle as well as a performative lung. This is a fragment about agency, craft, versatility, and performance, in that order.
The Exhibition of the Ordinaries is a cabinet of curious living programs. A fully transparent envelope gives visual agencies to outside and inside world. Tenants can versatilely occupy each exhibitable space to their own desire. In the center, an interior garden flips nature outside-in. It is a natural spectacle as well as a performative lung. This is a fragment about agency, craft, versatility, and performance, in that order.
The City that Always Sleeps is an anthropometric artifact. It is crafted by a vertical community of beds, each unit can later be versatilely replaced. There¡¦s a romantic agency sleeping intimately next to a window with views. From each bed, there¡¦s agency to the ever-versatile ball pits, which are performatively connected by structural slides. This is a fragment about agency, versatility, and craft, in that order.
The City that Always Sleeps is an anthropometric artifact. It is crafted by a vertical community of beds, each unit can later be versatilely replaced. There¡¦s a romantic agency sleeping intimately next to a window with views. From each bed, there¡¦s agency to the ever-versatile ball pits, which are performatively connected by structural slides. This is a fragment about agency, versatility, and craft, in that order.
The Elevator City has an exo-skeleton crafted by a plethora of moving rooms. Inhabitants can assert their form of agency within these dynamic spaces. On the interior, a helical ramp forms an unsegmented enfilade; it is the ultimate expression of versatility and performance. This is a fragment about versatility, agency, performance, and craft, in that order.
The Elevator City has an exo-skeleton crafted by a plethora of moving rooms. Inhabitants can assert their form of agency within these dynamic spaces. On the interior, a helical ramp forms an unsegmented enfilade; it is the ultimate expression of versatility and performance. This is a fragment about versatility, agency, performance, and craft, in that order.
The Parkour Haven is built for versatile play. Instead of keeping trespassers away, it encourages their imaginative agency. On the interior, the slide(snakes)-and-ladder performs as partitions references, structural elements, and whimsical conveyor systems. This is a fragment about agency, versatility, craft, and performance, in that order.
The Parkour Haven is built for versatile play. Instead of keeping trespassers away, it encourages their imaginative agency. On the interior, the slide(snakes)-and-ladder performs as partitions references, structural elements, and whimsical conveyor systems. This is a fragment about agency, versatility, craft, and performance, in that order.