Hack-a-way was inspired by the research of ‘hack cabs’ in subaltern urban areas to define a a concept of ‘hacking’ which broadly encompasses actions which include a) improvising a solution to a limitation and b) an instance of gaining (il)legal access to a space. Under the scope of LA’s housing shortage, civilians on the margins of society are ‘hacking’ their own homes, by using the margins of existing freeway infrastructure as a type of shelter. This observed behavior begs the question if problematic infrastructure such as freeway systems could be ‘hacked into’ at the community level. Hack-a-way recommends, and provides some of the tools for a bottom-up overtaking of the freeway system, ultimately projecting a new human-scale infrastructure and collective-focused value chain.
Tag: Class of 2021
A critique of the present rigidity and bias of 3D modeling software followed by an encouragement toward technologies rooted in a set of new ideologies.
Connect + Play Art Park is a new urban site for the community displaying 10 Art Installations of different material, scale and concept. These installations are meant to create a new type of environment for the community to enjoy, connect and interact with one another while experiencing art.
This project begins by dissecting a block in the historic center of Mexico City, revealing an Aztec causeway, or “cuepotli” as it was known in Nahuatl, the Aztec language. Both contemporary and Spanish colonial-era buildings are revised and partially removed, revealing a linear urban space, flanked by new walls constructed of found and demolished building materials from the site. Part archeological and architectural, this project deconstructs old architecture to reconstruct elements of an older city, the Aztec capital of Tenochtitlan. Focusing on a single block, further extensions of the project would extend throughout the Centro Historico and ultimately unearth much of the central cuepotli network in Mexico City.
This project begins by acknowledging the biopiracy conducted by multinational biotech corporations in the Amazon. With patents registered on materials and knowledge pirated from indigenous people, these companies have prevented indigenous people from benefitting from their own property. This system has also helped prevent Brazil from developing its own bioindustry. As a result, Brazil has little access to the knowledge encrypted in the Amazon rainforest, leading to increasing deforestation and destruction of indigenous lands. This sequence of events ultimately leads to the permanent loss of Amazonian knowledge.
This project proposes a chain of buildings, sites and infrastructure that is intended to address this injustice, replacing it with sustainable benefits for both indigenous people and the Brazilian biosciences. The first step, which would take place on indigenous lands, is to gradually patent indigenous knowledge (of the flora, fauna and how to use materials for human benefit). The project includes a gene bank, film archive and other facilities to record materials and practices on site. Connected by the Trans-Amazonian highway to nearby free-trade zones, the project proposes that this indigenous intellectual property would be studied in Brazilian-owned biotech laboratories. Brazil’s national corporations, working in the free trade zones, would then convert them into products for export.
Royalties from these products would be returned to the indigenous people as legal and medical aid; legal consultation would take place in the project’s northern building, while mobile deployable clinics would be transported to nearby indigenous settlement.
My project illustrates the culpability of architecture in today’s postural conditions and chronic diseases, and provides a foundational framework that can be used to understand domestic architecture as a form of rehabilitative mechanotherapy.
Architecture of Machine Systems delves into the parallels between Rube Goldberg machines and architecture. The architecture machine uses words to drive design while rejecting the presumptions of typical diagram-to-design methods. Words given mass form components of architecture machines. The space of the machine is conditioned by the Architect.
Conflicting concerns and desires naturally reside in the promise of a site. The near future commune will serve to organize the impulses of these participants into discrete nodes linked to and overlapping one another.
The largest congregate setting of LA County’s 66,000+ unhoused individuals resides in the streets of Skid Row, and for as long as it takes to deliver a housing solution, our unhoused communities will continue to suffer at the hands of our codified systems of regulations, like the LA Municipal Code, that restrict and criminalize their abilities to even exist in space. Enduring discrimination for their very existence, unhoused individuals must navigate the LAPD’s yearly 14,000+ misdemeanor arrests attributed to “quality of life” violations that prohibit sitting, lying or sleeping on sidewalks (LAMC§41.18), but to identify as LGBTQ and unhoused means to be DOUBLY discriminated against. LGBTQ individuals (and the 40% of unhoused youths who identify as LGBTQ) are further oppressed by hate crimes, threats of physical violence, and tensions that encourage many to conceal their own identities in order to access resources, and to survive. This work seeks to spatialize the LA Municipal Code, to help the unhoused LEGIBLY understand how they can LEGALLY exist in public space, and to identify opportunities that challenge these structures that isolate, exclude and target the vulnerabilities of a community without other options. A design that serves as a survival guide for the unhoused to more safely negotiate civic spaces as inclusive environments. To be unhoused is not to be sedentary in a tent, it is to be in a constant state of motion, and emotion, Skid Row should accommodate that, and allow unhoused individuals to stake a more dignified claim in a landscape that so strictly governs their ability to even exist.
The analysis of key intersections between the past and present of Tongvaangar, now known as the Los Angeles region, generates the site for this design thesis. From the analysis of historical California basketry weaving mechanisms to the detailed connections of the contemporary building composite FRP, this project focuses on designing a sustainable, modular, and collective community for one of the largest urban Native populations in the United States. The interlocking, prefabricated, modular units consist of 1-2 bedrooms to pods of multi-generational housing arranged within a grid that carves space for natural light, organic circulation, and nodes that allow for both privacy and cultural collaboration. The purpose of the organic floor plans reflects on the reclamation of the space from the colonized design approach that was forced upon Indigenous communities. The curvilinear circulation space that weaves and connects housing units to amenity spaces is translated from an understanding of the complex nature of Indigenous peoples way of life.