The typical freestanding property walls of Jakarta’s residential homes that demarcate the boundary between adjoining properties are refigured here as holders of the house-hold, drawn into the property and as well as into the house to explore boundaries of outsides and insides. Construction began February 2015.
The strands of Roman Time accumulate and disperse, establish and then reestablish their identities as layers of Roman numerals X, V, and I — roaming and repositioning across the clock face.
A framework for architecture to enact the complex tectonic dramas of social and culture space.
The library today is the new civic center, and the Little Free Library movement brings that civic mode out into the city right there on the sidewalk with you.
Is it space that holds our collections of objects, or is it our collection of objects that create a space for life?
Patterns of language become patterns of surface, space, inhabitation, creating a collecting and collective membrane outside and in.
In the midst of a turn: rather than just setting Turning House on the site, the building sited in the act of positioning and repositioning.
Simultaneously inflecting toward the Open Theater to complete the radial arrangement of the existing arts complex and toward the Central campus alongside the building that houses the faculty offices.
Our work at Queens College has enacted a laboratory of recombination, taking existing campus conditions and reconfiguring them, co-evolving them in response to new programs.
An accumulation and dispersal of structure and image: gathering as the track turns out from and returns back into the building, expanding as it moves around the curve, echoing the motions of the real and graphic runners.
The open bookcase containing the exhibition catalogues at the start of the exhibit transforms into a varying sequence of enclosed cases, opening up again by the reading lounge at the end.
The multi-media activities of the Music Library are brought up to and into and out from the wall.
Structure is dispersed, accumulated, and recombined to provide mutual support and engagement as it gestures out from the stage towards the audience seating.
Taking something from inside the book out to the outside, in order to return it, in a recursive and iterative way, in a spatial interplay, back to the inside.
The dock of this waterfront house is drawn up into and onto the house as the new dining room, rooftop deck, and top deck — an inverse inhabition.
Social strands that weave over and under and into and out from each other—an unraveled and rewoven courtyard house—drawing forth varying symbiotic associations of guest and host.
Tracking John Coltrane’s lyrical figurations and abstractions in his transformation of the original Broadway tune My Favorite Things.
Intrinsic residential elements of display are repurposed, transforming in character as they function in dual modes of art and home collections.
Utilizing fencing, siding, and decking as way to enact the social and spatial boundaries of property and habitation, surface and structure, containment and excess, domestic demarcation and its ambiguity.
Reframing contextual Museum elements in order to reveal and re-contextualize institutional exchanges between bodies, art, graphics, and architecture.
Architectural and graphic and landscape elements as actors in the social and psychological engagements of urban life.
The etymological root of the word apartment — the building type most associated with collective inhabitation — means to be “apart from.”
The handrail weaves its way through the facility, transforming as it responds to different spaces and events as a way to support more than just physical balance.
Design: LeClair Lucas