EDGE CONDITION 2011 - 10up Competition - 1st Place - to be built June 2011 http://www.10up.yafatlanta.org/10up_2011_Winners.html Utilizing a by-product material as a means of invoking the temporary pavilion with a temporary material wood edges cut from hardwood boards give a standardized object to build upon creating a field in which to inhabit. By operating on the edge of definitive material, neither board nor wood chip, the wood edge becomes the temporal object between two phases. In the same light the pavilion offers the capacity to be an edge condition of construction. The methodical mode of stacking and maneuvering the edges is in itself on the edge of a mode of construction. The flat stacking method gives way to opportunities for expansion and contraction of the volume between the material. The variable of stacking techniques allow for light to move into the pavilion only through the spaces between the edges transforming the edge condition into an ephemeral effect. The standardized one inch thick wood edge and weight of the hardwood compress the stack into a inhabitable nest stabilized by its dimension and assembly. While dis-assembly is the reverse operation, the disposal of the material is a process of returning the wood edges to the hardwood mill as to re enter the recycling process that would otherwise take place.
EDGE CONDITION 2011 - 10up Competition - 1st Place - to be built June 2011 http://www.10up.yafatlanta.org/10up_2011_Winners.html Utilizing a by-product material as a means of invoking the temporary pavilion with a temporary material wood edges cut from hardwood boards give a standardized object to build upon creating a field in which to inhabit. By operating on the edge of definitive material, neither board nor wood chip, the wood edge becomes the temporal object between two phases. In the same light the pavilion offers the capacity to be an edge condition of construction. The methodical mode of stacking and maneuvering the edges is in itself on the edge of a mode of construction. The flat stacking method gives way to opportunities for expansion and contraction of the volume between the material. The variable of stacking techniques allow for light to move into the pavilion only through the spaces between the edges transforming the edge condition into an ephemeral effect. The standardized one inch thick wood edge and weight of the hardwood compress the stack into a inhabitable nest stabilized by its dimension and assembly. While dis-assembly is the reverse operation, the disposal of the material is a process of returning the wood edges to the hardwood mill as to re enter the recycling process that would otherwise take place.
SOFT SPACE
2010 - competition - top 10
As a framework for exploration in the human scale and constructed mediation of space, this proposes a soft space of emergent exploration determined by the public itself. The space is then defined by a concrete conceptual foundation of form and material, yet embodies a virtual and indeterminate process of time, intervention and response. This project is then interested in how a designed framework can enable the public to participate and digest the creation of a volume. It questions the authorship of architecture by authoring possibilities rather than conclusions. Life is then registered with a temporal sequence of manipulations. A pattern of panels are affixed to the egg-crate construction creating the void and framework for manipulated space. The ever accessible bungee cord is then the agent of interaction. While the space itself can be assemble quickly and efficiently with standard construction techniques and modular pieces, the final product is never revealed. A finished product cannot exist in a work of architecture that proposes time as a design material. Deploying factors of unpredictability as a material agenda is a work of architecture that requires exploration in full scale. While models and drawings are mediators in the process of design, they can not anticipate effects outside of themselves. The initiating form works then is a way to allow multiple arrangements and explorations of the effects of the linear cord. As the frame peels away from itself, participants slip into a void defined by their adjacency’s, interactions and perceptions. Cords can be moved, stretched and applied to various scenarios of defining void, registering the interest and interaction of visitors through the plasticity of the space. A pattern of perforations and notches allow for the attachment of cords. The gradient pattern enables a rigorous and condensed weaving of cords in the core of the space which fades to a looser array of connection points at the slipping points. The anticipatory nature of the architecture project looks forward towards new means of material and threshold. It reaches beyond itself as a defined work with indeterminate possibilities. The human now makes an event out of architecture rather than being imposed by it.
