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architecture
architectur e is
is...
...
often described as a tenuous balance between
seemingly oppositional fields of interest - one
driven by the desire for conceptual and artistic in-
vention, and the other recognizing the pragmatic
realities of building and social complexities in-
volved in its execution. We believe that the most
resonant architecture stems from the architect’s
ability to be intensely engaged in all phases of the
work with an insistence on the constant intertwin-
ing of multiple approaches and processes- from
technical, to iterative, to inventive, to reflective.
We believe that each approach offers a new per-
spective on the work, it brings new issues to bear,
and ultimately allows for the most robust archi-
tectural outcome.

As a result of this believe, our office has utilized

the last five years to establish a way of working
that is committed to constant experimentation
through a relentless hands-on approach to our
work. This way of working has simultaneously
extended the design process while better inform-
ing each subsequent project with material intel-
ligence and technical expertise.

Los Angeles and SCI-Arc have served as invalu-

able test beds for our ambitions. The work in-
cluded in our portfolio consists primarily (although
not entirely) of work that we have built ourselves.
This way of working grew out of necessity, an in-
sistence on detail driven work on miniscule bud-
gets, and out of the desire to allow the design pro-
cess to continually respond to feedback provided
by the fabrication process. The projects have
happened quickly, with three installations (Density
Fields, Pendulum Plane, and Live Wire) occurring
in just over a year. In the case of those installa-
tions, the condensed time frame led to a cumu-
lative body of work, with each project building on
the expanded material knowledge obtained from
the previous. That knowledge brought with it new
concepts for building that went beyond the mate-
rial itself- one that is interested in extending the
role of experimental work to better engage ideas
of use and human engagement.

december
february
2009 ID# AI 17
1.0 1 .1 live wire

M otivated by the desire to occupy the SCI-Arc gallery in a

way that exploits the spatial potential of the existing venue, this
installation argues for an expanded relationship between tectonic
expression and functional performance. The installation propos-
es a vertical circulation system linking the floor level of the gallery
to the catwalk above. This circulation system, a.k.a. a stair, is
equally concerned with its function, use, and performance as it
is its visual and experiential qualities. The stair establishes a new
form of movement through the space that challenges the closed
nature of the gallery as a hermetic space for objects, effectively
integrating it into the daily operations of the school.

With the intention of bridging multiple architectural ideas within a

single architectural element, the stair exploits a tectonic language
appropriate to that objective. In conventional systems of verti-
cal circulation, numerous components are assembled together,
with each performing a specific function, for example, guardrails
provided along the perimeter, handrail attached to adjacent walls
or guardrails, tread and risers for stair surfaces, and a stringer
for structural support. Furthermore, these individual components
often act independently of systems meant to shape architectural
experience. This segregated tectonic formula leaves little room
for consideration of the kind of fluid spatial and tectonic impli-
cations that might result from a more collective consideration
of the parts. Constructed of approximately 2400 linear feet of
aluminum tubing and rods, the stair employs a combination of
complex loops that perform a variety of tasks as they merge to-
gether to form the necessary stair elements. Similarly, the stair
incorporates faceted perforated aluminum panels of two differ-
ent thicknesses to create a continuous, semi-transparent surface
from stair tread to guardrail to canopy.

Often relegated to pure functional use, the fundamental architec-

tural element presented in this installation is a testing ground for
weaving together a multitude of architectural ideas, ranging from
the manipulation of light, geometry, and structure to, of course,
vertical circulation. Conceived of first as a series of light modula-
tors, each architectural element requires a progressive manip-
ulation in order to negotiate the required performance criteria.
With the length of the gallery and the size of the treads providing a
scale to one side of the intervention, the opposite side reaches up
toward the clerestory windows at a dramatically different scale.
As the stair moves upward, the geometry takes on a transforma-
tive quality that pushes the structural limits of the material, relying
on the built-up density to carry the load. As much as this density
of material is meant to provide structural support, it is recognized
that it is within these areas that their performance is most eas-
ily forgotten, giving way to the spaces they define. It is at this
conceptual intersection that the installation is intended to provide
a more expanded definition of architectural elements, one that
knows no boundaries between the simple functions they perform,
and the more intangible results that they evoke.

los angeles, ca 200 8 ID# AI 17

1.2 1 .3 live wire

left: study models; the models explore a range of different solutions including pure skeletal systems, and folded
plate systems. later studies investigate the integration of both a skeletal system and a solid “infill” material. these
are just a few of the models that served as studies for the development of the stair up to the final days before the
opening below: fabrication began with the construction of a platform and a wooden jig. angles were bent one at
a time using a hydraulic bender. A custom die was machined in order to bend to a radius of 2 1/4” and a set of
cardboard templates were then produced that could be used to ensure accurate angles of the bends. once all of
the individual aluminum elements (over 1000) were bent, placed in the jig and fastened accurately and securely,
all of the joints could be welded together. this process effectively fixed the overall geometry of the loops, so that
they could be removed from the jig but still maintain their shape.

los angeles, ca 2008 ID# AI 17

1.4 Lag Bolted to Stud Wall 1 .5 live wire

1” O.D. Aluminum Tubing

with 8“ long, 3/4”
diameter Aluminum
Telescoping Rod at all
PRIMARY Joints, typ.
SKELETAL LOOP

Anchored to Concrete

.040” Perforated
Aluminum Infill Panel
Faceted at Joints

.125” Perforated
Aluminum Infill Panels at
Tread Locations
OPEN FRAME
.125” Perforated
Aluminum Infill Panels at
Tread Locations

.040” Perforated
Aluminum Infill Panel
Faceted at Joints

3/4” Diameter
Aluminum Telescoping
Rod Welded at all Joints

Thru-Bolted to Stud Wall

with Plywood Backer

Lag Bolted to Stud Wall

SECONDARY
SKELETAL
LOOPS & TIES
Anchored to Concrete
left: diagram showing the continuous looping system.
0’ 1’ 2’ 6’ the system is organized by a series of six loops that
together make up two treads and two risers.

los angeles, ca 2008 ID# AI 17

1.6 1 .7 live wire
740

TIE FORMATION
PERFORATED ALUMINUM FORMATION
LOOP A TUBE FORMATION

LOOP D TUBE FORMATION

LOOP F FORMATION
0 -740
90
0
85
710
0
18

0
0 89
-37
0
-30
-45 0 0
-11 0 21
0
-13
90 0 85 0
0 31 0 30 0
20 40 0
-15 0 0
28 970
-35 0
0
33
23 0
15 0
21 0
0
31 0
-16

18 0
-45 0

0
40 0
-37
0
-30
30 0
31 0

0
-35
3 0
33
0
20
0
31 0
72
-13 0
28 0
0
-37
31 0
0 -30 0
18
15 0
30 0 -22
0

0
0 -22
0 -35
0
33
31

0
20
0
31
0
33
0
28
-13 0

15 0

0 36 0
-18

0
20

28 0
-13 0
-18 0 -22 0
15 0
15 0
-15 0
-33 0

-15 0

0
32 0
-18
25 0 18 0
-28 0

0
-18

0
30
0
-18
0
-22 0
28
15 0
94 0
-33 0
-15 0

15
0 -15 0
0
-25
-18 0 32 0
18 0
-47 0 25 0
-28 0

0
-18
0
30

-30 0
0
-22

0
15 0
-18 0 15
28 0
-53 0
-20
0 -15 0
-15 0 -18 0
-33 0 -40 0 18
0
32 0
-25 0

150
-28 0

-144 0
0
25
0
PERFORATED ALUMINUM FORMATION

-18
46 0 -8 0

-30 0

-22 0 30 0
0 0
90
0 -18 -15
18 0
0
90 0 15 0 0
30
0

90 -18 0
15
-33 0 15 0 -15 0
-25 0
-40 0 32 0

LOOP B FORMATION
LOOP C FORMATION
LOOP E FORMATION

0
28 0 -28 15
0

0 0
90 -18 -30 0
0
90
0
90 0 0 -3.5
46

FORMATION DIAGRAM
0’ 1’ 2’ 6’ 10’

los angeles, ca 200 8 ID# AI 17

1.8 1 .9 live wire

los angeles, ca 2008 ID# AI 17

1.10 1 .11 live wire

0’ 1’ 2’ 4’ 10’
ELEVATION facing north

left and below: opening night

ELEVATION
facing east
0’ 1’ 2’
4’
10’

N
0’ 1’ 2’ 4’ 10’
PLAN

los angeles, ca 200 8 ID# AI 17

2.0 2 .1 villa ordos

T his proposal for a 1000 square meter villa in Inner Mongolia, China is part of
a development of 100 villas to be designed by 100 architects from 27 different
countries.

Our proposal strives to create a symbiotic relationship between the landscape and
the building as well as the formation of a series of spatial chasms between major
programmatic blocks. In developing the spaces, the proposal begins with the si-
multaneous desire to minimize the overall above ground massing of the building
while still providing the underground spaces with immediate access to light and air.
In pursuit of that objective, we have placed approximately a third of the program
below grade. In most cases, however, the excavated area is offset from the building
in such a way as to reduce the presence of the building mass on the site without the
experiential disadvantages of occupying underground spaces. In effect, most all
of the programmatic elements underground can operate as above ground spaces
with regard to outdoor access, light, and air. This placement of spaces underground
is also beneficial in providing constant protection from the prevailing winds. Access
to the underground area is provided by two major ramps extending from the entry
point of the site. The first ramp leads to the garage for vehicular access, with the
second, smaller ramp leading to the recreation area in the basement.

The overall building diagram is based on the development of two “U” shaped build-
ing elements, with one corresponding to the public and the other to the private
functions of the program. The “U” shapes are then overlaid in an interlocking orien-
tation to create deep, geometric light wells that extend into the overall mass of the
building. These light wells are conceived of as the key architectural experience of
the house, serving as a spatial and experiential link between programmed spaces
and the landscape which they extend from. The geometric faceting of the house
serves this idea by creating a material and formal continuity that operates in both
plan and section.

ordos, inner mongolia 200 8 ID# AI 17

2.2 2 .3 villa ordos

PUBLIC/PRIVATE SPACES
VOIDS
The building consists of two U-
shaped programmatic volumes, The voids that are created between
one containing public functions and the volumes serve as entry points into
the other private spaces. The inter- the building and provide light and air
into the spaces below. These areas
locking U’s are rotated in order to
are conceived of as the key elements
provide a three- dimensional rela-
in the spatial experience of the villa.
tionship between floors while main-
taining a degree of separation.

FACETING SITE MANIPULATION

A system of geometric faceting is The site is manipulated in such a way
employed in order to create three- as to emphasize movement into each
dimensional transitions between of the three voids and to open up light
the floors and within the spaces. and air into the basement area.

bottom of opposite page: preliminary

study models left: view of secondary entry
showing the void between the public and
private areas of the villa as well as the cov-
ered exterior area off of the master bed-
room (at the top of the stair)

ordos, inner mongolia 2008 ID# AI 17

 A

2.4 2 .5
C

䴶
villa ordos
N ࣫ゟ
VATIO
OR TH ELE
N

B B


࣫ゟ䴶

D D
SOUT

ROOF PLAN ሟ乊ᑇ䴶

H ELEVATIO

A C

A
N 㽓फ

C
ゟ䴶ゟ 䴶

SITE SECTION D-D facing north ࠪ䴶 ᳱ࣫



B B
C
A

D D

B
SECOND FLOOR PLAN Ѡὐᑇ䴶

ࠪ䴶 ᳱ㽓
A C
D

SITE SECTION A-A facing west

B C
A

㽓ゟ䴶
ࠪ䴶 ᳱ㽓

WEST ELEVATION
D
SITE SECTION C-C facing west

B B

BASE
MENT N࣫
0 1m 2
m
PLAN
5m ഄϟᅸ A
10m
ᑇ䴶 C

20m
D D

FIRST FLOOR PLAN ϔὐᑇ䴶 N ࣫

A 0 1m 2m 5m 10m 20m

EAST
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ATION
ϰゟ䴶


ordos, inner mongolia 2008 SITE SECTION B-B facing north ࠪ䴶 ᳱ࣫
ID# AI 17
2.6 2 .7 villa ordos

above: the plan is organized into two interlocking U-shaped volumes.

located between the volumes are the primary and secondary entries
to the villa. exposed retaining walls at the basement level allow the
spaces to receive light and air while minimizing the apparent volume
of the scheme on the site.

ordos, inner mongolia 2008 ID# AI 17

3.0 3 .1 density fields

T his “extreme cantilever” built of aluminum and polypro-

pylene rope hovered over the courtyard of Materials & Ap-
plications (M&A) in Silver Lake, Los Angeles from October
of 2007 through February of 2008. Defying classification as
either sculpture or architecture, the piece flexes with a ges-
ture that extends lines beyond the small courtyard, seeming
to pierce buildings and features in the neighborhood.

The design intention was in balancing a set of structural

ideas, the programmatic needs of the space, and the desire
to use basic geometries to create a rich spatial experience
within the space itself. The primary structural question posed
by the piece is, “What makes the idea of using lines different
in terms of their structural properties?” The idea addresses
tensile properties, thereby limiting the structural possibilities,
but also allows for a more specific way of designing that ex-
ploits tensile strength. This line of inquiry led to a structural
principle that utilizes a dense field of lines. The installation
consists of two basic materials: (1) an aluminum frame ex-
tending up from the ground and out into the space, and (2)
a series of fine, tensioned ropes pulling the cantilever in the
opposite direction, forcing it to hover above the ground.

los angeles, ca 200 7 ID# AI 17

3.2 3 .3 density fields

T he development of the project was the

negotiation of two primary objectives: (1) the
conception of a spatial idea involving the ac-
cumulation of dense fields of material overlap.
With this idea in mind, one priority became the
insistence on a delicate and inexpensive mate-
rial choice; (2) the creation of a three-dimen-
sional geometry extracted from the surrounding
neighborhood. Those geometries where first
extracted through a series of exuberant mod-
els that extend lines from major points through-
out the neighborhood, including major building
openings, doors, windows and roof lines. In
capturing the spirit of those three-dimensional
site investigations, the architects ultimately pro-
posed a cantilever that relies structurally on an
elegant combination of tensile and compres-
sive members, maintaining both the spatial and
geometrical intent.minum frame extending up left: one of numerous sketches study ing
from the ground and out into the space, and preliminary spatial ideas below: pre-
(2) a series of fine, tensioned ropes pulling the liminary models investigated connec-
tions within the neighborhood in order
cantilever in the opposite direction, forcing it to to generate a site specific geometry for
hover above the ground. the piece.

left and below: this temporary installation located at Materials

and Applications gallery features a dramatic 25’ cantilever of
aluminum tubing and polypropylene rope that reaches out to-
ward the active Los Angeles neighborhood.

los angeles, ca 200 7 ID# AI 17

3.4 3 .5 density fields

plan view

left: evening view of Density Fields below: joints for the above: in
i contrast to the more sculptural qualities expe-
installation were fabricated in the shop of the Southern rienced from the street, the view from inside the piece
California Institute of Architecture (SCI-Arc) adheres closely to the early spatial sketches.

elevation

los angeles, ca 2007 ID# AI 17

3.6 3 .7 density fields

left: the design incorporates carefully considered

“furniture” elements, such as a table and bench
made of rope, that help to extend the experience
of the dramatic cantilever (left) down to a human
scale. below: a silver polypropylene rope was cho-
sen for its affordability, tensile strength, and reflec-
tivity in the evening light.

los angeles, ca 200 7 ID# AI 17

4.0 4 .1 taipei tower

S ituated in the heart of Taipei, this project strives to rethink the typology of housing tower as
a tall box with repetitive balconies, as is the case with most housing in the city of Taipei. This
proposal utilizes geometry and materiality to accommodate the needs of the tenants but also
to create a scheme that is not based on repetition. A stainless steel screen is applied to the
surface of the building to mask the simple, repetitive units behind, as well as enhancing the
geometries of the flowing balconies. This scheme also considers the need for an integrated
approach to the design of the two major building volumes. Rather than simply designing a
15 story residential building with an adjacent 7 story commercial building, we studied an ap-
proach that creates a seamless transition of the two elements. With this scheme, however, we
utilized the residential balconies as a design element that extends into the commercial zone.
While the actual usage remains separated, this strategy allows for a similar design aesthetic
throughout.

The building includes a carefully considered weaving together of four primary building materi-
als: 1) exposed concrete for the floor systems, concrete elevator core, stairs, and selective
wall areas that provide necessary privacy for the residential units, 2) transparent glass enclos-
ing the residential units, but allowing for spectacular views, 3) translucent glass with insulated
backer on selective portions of the building. This provides privacy for areas like bathrooms and
closets, and 4) stainless steel sunscreens that provide shading in front of exposed transparent
glass. Aesthetically, the screens unify the overall façade and allow for more depth and variety
than a conventional glass façade. Many of the shading devices may be opened to allow for
unobstructed views, while others remain closed to provide a permanent shading system. The
stainless steel sunscreens are also a unique design feature at night, as the glow of interior lights
is projected through the screens.

taipei, tw 200 7 ID# AI 17

4.2 4 .3 taipei tower

above: view from the northeast opposite page: evening

view from the southeast

taipei, tw 2007 ID# AI 17

5.0 5 .1 pendulum plane

SECTIONS

SECTIONS

SECTIONS
L
L

M
M

The LA Forum for Architecture and Urban Design
sponsored an open competition in the Spring of
2008 to design what they termed a “liner” for their
N
N
right approach. Anything of real architectural value
within the space should be an integral and constant
part of the experience of the space. The challenge

newly acquired headquarters on Hollywood Bou-
levard. Because the space is shared between
Woodbury University and the Los Angeles Forum
for Architecture, the competition brief asked for
something that could be moved from the space
and stored while not in use by the Forum. The ini-
SECTIONS tial starting point was very much a reaction to the
project brief in the sense that it was not exactly the
came in considering how to introduce a system that
can have the most amount of spatial and functional
impact but still allow for existing functions (i.e. pin
up space for Woodbury) to occur on occasions.
The idea of using the ceiling was the right combina-
tion of 1) maximizing the spatial experience within
the space and 2) providing something that could be
tucked away when required.

los angeles, ca 2008 ID# AI 17

5.2 5 .3 pendulum plane

ELEVATION
With Units Positioned
Randomly

ELEVATION
With Units Positioned
Randomly
TOP ROTATION A
Elevation 12’-5”

TOP ROTATION C
Elevation 10’-9”

BTM ROTATION A
Elevation 9’-6”

BTM ROTATION B
Elevation 6’-1”

PLAN
With Units Positioned
Randomly

ELEVATION
Facing 30 Degrees
North of East

TOP ROTATION A
Elevation 12’-5”

TOP ROTATION C
Elevation 10’-9”

BTM ROTATION A
Elevation 9’-6”

BTM ROTATION B
Elevation 6’-1”

ROTATIONAL DIAGRAM
Facing 32 Degrees North of East

0’ 1’ 2’ 4’ 6’ 10’

SCALE

los angeles, ca 200 8 ID# AI 17

5.4 5 .5 pendulum plane

top of opposite page and below: when not in use by the la fo-
rum, the system folds into a fully closed position to create a uni-
fied ceiling plane above: the system is broken down into bays of
four units each and is attached to wood beams installed along
the surface of the existing ceiling below center (two images):
when deployed, the system allows for display boards to be hung
in the space, creating a variety of different organizational config-
STRUCTURAL PRINCIPLES urations bottom of opposite page: adjustable counterweights
0’ 3” 6” 12” 24” 10’
installed in each of units allow for the asymmetrical cantilever as
well as the proper operation of the pendulum system

T he project subverts that idea of storage by creating a system

that capitalizes on the idea of variability. The proposal performs
both spatially and functionally in two ways. It consists of an intri-
cate ceiling system that performs both as a ceiling as well as a
vertical plane that can shape the space in multiple dimensions.
It also functions as a variable display system along the wall or
in the middle of the space. When in the closed position, each
individual unit is self-balanced on a hinge and hovers above the
space. At both ends of the unit is a smaller hinged frame that
may be rotated. When either of the frames is opened, the bal-
ance of the unit shifts, allowing the smaller hinged frame to be
lowered into position that is optimal for hanging display panels.
With panels running along both sides of the space, the system
provides display options along the perimeter of the space, along
a central spine, or a combination of the two.

The system includes two different units (one being the mirrored
version of the other) as well as a truss that is supported by the
existing ceiling. Constructed almost entirely of welded aluminum
tubes, the units measure 96” x 40”, and are designed to allow
for the display of up to 42” boards. Even though each of the
units operates individually, different spatial configurations can be
formed by lowering consecutive panels to create more of a con-
tinuous spatial divide.

los angeles, ca 200 8 ID# AI 17

 ID# AI 17
plane

ROTATIONAL
DIAGRAM

Ceiling Configuration
FULLY CLOSED
Display Configuration
pendulum

OPEN FRAME
Ceiling Configuration
5 .7

FULLY CLOSED
Display Configuration
OPEN FRAME
Ceiling Configuration
FULLY CLOSED
SECTIONS

Display Configuration
OPEN FRAME
Ceiling Configuration
FULLY CLOSED
TOP ROTATION A
Elevation 12’-5”
TOP ROTATION C
Elevation 10’-9”
10’

BTM ROTATION A
Elevation 9’-6”
BTM ROTATION B
Elevation 6’-1”
ROTATIONAL
ROTATIONAL DIAGRAM
6’
Facing 32 Degrees North of East

DIAGRAM
TOP ROTATION A
4’

Elevation 12’-5”
TOP ROTATION C
Elevation 10’-9”
2’

BTM ROTATION A
SCALE
1’

Elevation 9’-6”
0’

ROTATIONAL
BTM ROTATION B DIAGRAM
Elevation 6’-1”

8
200
los angeles, ca
5.6