D E S I G N
A cumulation of sorts, featuring my design work(s) from my undergraduate design/studio semesters of study at Cornell University as well as post-Cornell University.
Pavilion no.001 was to exist in the space of a video. Shot in one scene and then edited, Pavilion no.001 was the compression of roughly a hundred or so more years of Russian history. Using Aleksandr Puskin as my starting baseline and the history that ensued before and around him, KERNEL astir was born. :: Movie Poster
Pavilion no.001 was to exist in the space of a video. Shot in one scene and then edited, Pavilion no.001 was the compression of roughly a hundred or so more years of Russian history. Using Aleksandr Puskin as my starting baseline and the history that ensued before and around him, KERNEL astir was born. :: Collaged image of compressed history used as a basis to created the movie poster and model.
Pavilion no.003 was to exist in real space and real time. However to get to such a point, we, the students, as a group had to design the assignment and objectives for the remainder of the semester. From there, using our designed assignments, we entered groups three groups. Within those groups we designed a potential pavilion no.003 that could be realized physically. The competition resulted in a compilation of all three proposals to create the final pavilion: Peep Show. :: Model
Pavilion no.001 was to exist in the space of a video. Shot in one scene and then edited, Pavilion no.001 was the compression of roughly a hundred or so more years of Russian history. Using Aleksandr Puskin as my starting baseline and the history that ensued before and around him, KERNEL astir was born. :: Movie Poster
Pavilions ::
Third Way
Fall 2011
Admittedly, we did not have a site or program, nor did we aim to fix a problem in the world, or a city, or even a given building. All we knew was that an architect’s education might benefit from opening itself up to a possibility—that of contamination, confusion, mis-reading and suspended disbelief—in order to shift beyond the now familiar paradigms of a design studio that is somehow meant to emulate the processes that go on in the “real world.” Ugly and beautiful can be two sides of the same coin, just as superfluous and useful, critical and aloof, good and bad. We chose to go to Moscow because in that city the dualities of meaning are extreme—historically, and especially now, on the eve of the much dreaded election day, when the Russia we know, some say, is turning back to the Russia our parents (on both sides of the border) used to fear, while others suggest that it is spinning in place. Perhaps it is moving on somewhere, in its own, strange sideway, that we simply cannot fathom from our own established modes of what life (or architecture) ought to be. Essentially, as one studio group, we created a series of pavilions that could exisit any where, in any space. As a collobrative effort, each pavilion created, other than the very first one, could not exisit without the brain power and creative eye each member of this fifteen person studio contribued.
Project Contributors: Austin Beierle, Anton Dekom, Lauren Gluck, Andres Gutierrez, Aditya Ghosh, Andrew Huemann, Eric Johnson, Natalie Kwee, Varvara Larionova, Peter Levins, Daniel Marino, Vinit Nikumbh, Elease Samms, Ishita Sitwala, Rachel Tan.