paolaovandoperaza
the following are selected works from 19 different studios:
case study - frank gehry house// convivir// in plain site // living single--living together // a people’s palace // city shed // a distillery...? // archive it.
+ case study -- gehry residence (1978)
Corrugated steel, chain link fences, plywood -- materials often hidden or non-present as finishes in “high art architecture” -- coexist with the original traditional dutch design. This deliberate imposition of materials and forms can be read as a rebellious act against formal purists and the onslaught of clean “modern” building designs that persist in contemporary architectural academia and practice.
Drawn in black, the orginal home is humble, not too different from the cut and paste houses sprawled throughout Southern Californian suburbia (though it’s location alone brings a certain “high art” pretentiousness that contradicts the claim of it’s “attempt” at subversion, but perhaps that is a conversation for another time). The red is Gehry’s intervention; additions made to accommodate his familial needs and personal desire to appreciate, break, and add to the original form.
The house appears in Phillip Johnson and Mark Wigley’s book regarding the exhibition“Deconstructivist Architecture” at MoMA in 1988. Johnson defines deconstructvist architecture not as a fad or type of architectural movement (tied to a time period or era of design) but rather a result of the architects own understanding of form and choosing to break it. In doing so, the architect must understand formal convention and composition to succesfully introduce new elements. And though designed and constructed north of forty five years ago, its ability to encapsulate time through materiality (with a clear distinction between what was preserved and what was added), the house is a refreshing break within Southern Californian suburbia. Particularly as we see a growth of cut and paste homes throughout the Golden State.
It begs the question: as these houses continue to develop, how can an architect, artist, designer, aid in the modification of homes when mass manufactoring of homes are the only objects on the market. And if it is possible to add/subtract from existing homes, would these homes ultimately end up looking self-similar?
+ convivir
instructor: kutan ayata
In decentering the 3d digital model in a post-digital era, this project focused on developing conceptual from solely through plan drawing to axonometric to elevation (section). There is no given familial structure, the student is expected to enforce their own autonomous polemics and politics to form and form finding.
Located in a typical Los Angeles house plot, measuring a length of 80 feet by 130 feet, this singular building form is designed for the cohabitation of two separate families.
It’s diagram is simple, one family exists traditionally on the margin, the other as a suspended bouba in the center of the plot. The gable a representation of the traditional house.
+ in plain site -- w/ lauren mendoza + yujie hu
instructor: marina ibañez
program: commercial, housing
site: griffith park, ca
If familiar to the los angeles roads and the many billboards found on a single thirty minute drive (no traffic), then one must be aware of the repetitive and non-educational information found on these billboards.
Through image and iconography, this project questions the type of images that are projected onto los angeles, and whether they can be approriated to serve underrepresented angelenos. the billboard draws you into a “boardwalk in the sky” and “hidden” housing units on the site of the old los angeles zoo.
final billboard plan drawn by lauren mendoza
+ living single/living together
*currently in post-production + re-edits
+ a people’s palace
instructor: yasmin vobis
program: education center and community hub
site: charlestown, boston, ma
As an addition to the existing non-profit center, John F. Kennedy Family Center, Inc. that already exists on the chosen site, this proposal took into consideration the police station directly in front of the site and viewed it as domineering towards a center meant for learning and leisure. the building, then, is a basic tool used to separate surviellance from public gathering. To further protect the right to informally gather, interior “open space” was moved to the basement, hosting a library, auditorium, and open space for liming around.
+ city shed
instructor: yasmin vobis
site: north end, boston, ma
Through the reappropriation of an existing park and semi-public tiered dog park, this project proposal removes the existing and adds imported soil to construct a sloped hill on the site. using this constructed landscape as the base of the project, the large roof runs planar to the ground as a way to suspend the interstitial space between ground and “roof”, to create a shaded exterior.
The roof is constructed with steel members that are held together with seven-foot beams (in height) and tethered to the ground through steel poles and braces. the subtractive cut on the roof is the projection of the singular basketball court on the outside and is meant to create a playful flat ground for snowy winter days.
In its essence, the proposal is simply a park with a 140 foot by 168 foot roof.
+ a distillery in roslindale, ma.
+ archive it.
instructor(s): iñaki abalos + renata sentkiewicz
site: cambridge, american academy of arts and sciences, harvard gsd special collections, josep luis sert house
In conversation with abalos + sentkiewicz, the premise of the studio was to reflect on project from past studios, projects that we are inamored with or ones we felt that we fell short on. Through the process of reinterpreting, rethinking, and breaking of our own work, the intention was always to learn from the past and from the present. In fact, considering what does not work and must be abandoned was the challenge of the studio.
Reflecting on this, i must admit i was unable to leave behind ideas from the past. the reason behind that, i have yet to understand. having been unable to break old ideas, i consider this project a complete failure.
Regardless, gaining the ability to rethink through old ideas rather than *new ones allowed for less consideration of what the form was but rather what the form could be. and rather than thinking of it in three dimensions, planar studies were used to rethink the grid. in doing so, the structure of the roof was changed from diagonal beams (from its predecessor) to a weaved pattern of stacked beams that turned an abstracted land form (conceptually) into a pyramidal archive. romantically and subconsciously, mourning projects unfinished.
This form was reprogrammed from a distillery into an archive for the harvard graduate school of design special collections.
movement, time, the collapse of both simultaneously, and the application of this collapse coexist in the same nebulous that inadvertently results in constant failure. as a result, one is stuck in a cycle of constant learning and unlearning.