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	<title>Descriptive Services</title>
	<link>https://descriptive.services</link>
	<description>Descriptive Services</description>
	<pubDate>Thu, 27 Feb 2025 19:22:59 +0000</pubDate>
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	<item>
		<title>Public Domestic</title>
				
		<link>https://descriptive.services/Public-Domestic</link>

		<pubDate>Thu, 27 Feb 2025 17:24:41 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

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		<description>Public Domestic







The Public Domestic project documents how improvised interventions have reformatted domestic spaces with a focus on people in the American Southwest.Over the past several years, in part stemming from the pandemic and mitigation measures, many of the shifts to daily life took place not in the public sphere but in private homes. Ad-hoc responses, mutual aid, and mediatized life-at-home altered the conditions of domestic interiors. This exhibition is part documentary, cataloging shifting conditions of living and relationships to the home, and part imaginative, projecting forward how shared domestic infrastructure might radically redefine visions of resilient neighborhoods.

College of Design, University of Oregon in PortlandJanuary - June, 2024







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Project Leads: Gabriel Fries-Briggs César A. Lopez
Project Assistants: Courteney BegayAntolin Gervacio Lance ParisotMarisa TrujilloWith support from The University of New Mexico, Center for Regional Studies and UNM School of Architecture + Planning





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Above photo by Awar Meman, awarmeman.com


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Above photo by Awar Meman, awarmeman.com


	











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2022 - 2024



	









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		<title>Dune Ducts</title>
				
		<link>https://descriptive.services/Dune-Ducts</link>

		<pubDate>Thu, 27 Feb 2020 23:52:02 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

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		<description>Dune Ducts





This installation exploits the effects of imaging to reshuffle landscape, environment, and building systems. A ductscape acts as a prosthetic device for a gallery’s HVAC system. A reshuffling&#38;nbsp;of conventional MEP equipment inserts a vision of air as reflected landscape, amplifying existing systems for tempering and conditioning the architectural exhibition venue.








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Perloff Gallery, UCLA AUD, Los Angeles



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Dune Ducts draws on desert scenery as already commodified landscapes—widely distributed images of nature that serve as a backdrop to common computing platforms. The image of a duct-as-dune interprets the ceiling as an environment full of labor, design, and perhaps delight, or, at the very least, comfort. It considers the overhead site as a productive plenum for architectural positions.




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Dune Ducts is presented as half of Superposition, a joint exhibition with Katy Barkan installed in the gallery at Perloff Hall in the Department of Architecture and Urban Design at UCLA. The joint exhibitions share an interest in the threshold between architectural objects and their spatial corollaries, skirting a clear boundary between the production of things and the production of environments. Superposition, as a model of working, does not attempt to resolve or reconcile. Rather, it serves as a counterpoint to the paradigms of synthesis and juxtaposition. The overlay of multiple categories of work and multiple authors allows for errors, transpositions, and irresoluble differences.




	
	





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Photos by Joshua White


Fall 2019


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		<title>Condition Exchange Unit</title>
				
		<link>https://descriptive.services/Condition-Exchange-Unit</link>

		<pubDate>Thu, 27 Feb 2025 19:22:59 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

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		<description>
	 




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Condition Exchange Unit









Condition Exchange Unit connects histories and futures of air management through interactive projections of a digital environment. Simulated environments create a bounded terrain to visualize our mechanically conditioned world and speculate on collective and planetary futures. With the buildings stripped away, exposed vents, ducts, mechanical systems, and a series of environments construct an ecology of air. The installation invites people to consider ways we condition and relate to atmospheric systems.
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&#60;img width="2400" height="1153" width_o="2400" height_o="1153" data-src="https://freight.cargo.site/t/original/i/d8a5f3f3738598575dfa0e41fb4b64b1717dcc8ad2bdcc53567382c0a84bb854/Condition-Exchange-Unit-copy.jpg" data-mid="227360775" border="0"  src="https://freight.cargo.site/w/1000/i/d8a5f3f3738598575dfa0e41fb4b64b1717dcc8ad2bdcc53567382c0a84bb854/Condition-Exchange-Unit-copy.jpg" /&#62;




Exhibited in “Regenerative Actions”Roswell Museum
April - October 2024




	




2023 - 2024</description>
		
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	<item>
		<title>Patch &#38; Fill</title>
				
		<link>https://descriptive.services/Patch-Fill</link>

		<pubDate>Sun, 07 Feb 2021 19:55:37 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

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	Patch &#38;amp; Fill

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	The Patch &#38;amp; Fill dwelling materializes overlapping forms of collective living. Over the past year, the demands of working from home (for those fortunate to do so) and households of simultaneous tele-activities posed challenges to the communal occupation of space. Architectural habits like the open floor plan require a constant negotiation of activities. Rather than minimize the negotiations of collective living, this house revels in them. The communal residence navigates the individual within the collective with a fluctuating series of overlays, openings, and boundaries. The overlapping parts and shared social spaces are legible in three distinct material systems: CMU (concrete masonry units), SIPs (structurally insulated panels), and stud frame construction. 


 With William Lyons2020


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		<title>Timber Debris</title>
				
		<link>https://descriptive.services/Timber-Debris</link>

		<pubDate>Thu, 27 Feb 2025 18:31:51 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

		<guid isPermaLink="true">https://descriptive.services/Timber-Debris</guid>

		<description>Timber Debris









Timber industries have become adept at using the whole log. The waste from large structural members is made into veneer and strand lumber while the sawdust is boiled into pulp and formed into sheets. Wood is standardized and deformations are smoothed out.

The architecture of the American Southwest has long used whole and minimally processed timber. Vigas, latillas, and coyote fences bare the traces of trees, forests, and imperfections. As increasingly severe storms, fires, and unpredictable weather decimate trees, debris is an increasingly pervasive material. 







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Debris Structures documents a series of works made using timber debris. Fall trees, branches, and timber wreckage are used to create a series of structures guided by their imperfections. In Debris Structures, computational design methods layer on long-standing building traditions to capture the specific properties of each piece. Timber is scanned, modeled, and put to work in irregular compositions. Presented as a series of digitally-generated prints, the structures shape an architecture of timber debris.
Exhibited in “Regenerative Actions”
Roswell Museum
April - October 2024


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&#60;img width="5283" height="3132" width_o="5283" height_o="3132" data-src="https://freight.cargo.site/t/original/i/4457f3bd92df85458a6f741f445db3634be4c49c2a4fd7c0888f8608e92e3b93/IMG_8586_a.jpg" data-mid="227358811" border="0"  src="https://freight.cargo.site/w/1000/i/4457f3bd92df85458a6f741f445db3634be4c49c2a4fd7c0888f8608e92e3b93/IMG_8586_a.jpg" /&#62;

Courtesy of the Roswell Museum




	




2024



	








</description>
		
	</item>
		
		
	<item>
		<title>Museums as Climate Policy</title>
				
		<link>https://descriptive.services/Museums-as-Climate-Policy</link>

		<pubDate>Sun, 07 Feb 2021 21:29:35 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

		<guid isPermaLink="true">https://descriptive.services/Museums-as-Climate-Policy</guid>

		<description>
	Climate Museum




&#60;img width="2181" height="1839" width_o="2181" height_o="1839" data-src="https://freight.cargo.site/t/original/i/9ae4aab1160f41734cd87fcf4c246cef8e48cc11cde55665bae8a417109b2e8e/Scene-2_Talking-with-Expert.png" data-mid="98112982" border="0"  src="https://freight.cargo.site/w/1000/i/9ae4aab1160f41734cd87fcf4c246cef8e48cc11cde55665bae8a417109b2e8e/Scene-2_Talking-with-Expert.png" /&#62;

Museums have often served as gatekeepers to collective knowledge, propping up repressive narratives through accumulated assets. The Museum as Climate Policy redefines institutions as a public resource where the nature of content is reassigned to the public. 
The Museum as Climate Policy generates thought on climate change and green futures through user documentation and public policy contributions. Rather than conserving objects, this physical and digital museum is a center for documenting and untangling the web of climate impact, understanding the relationship between the individual and the collective. The museum addresses the need for urgent action on climate change by restituating the museum as the center of policy discourse and providing an infrastructure for direct action.&#38;nbsp;


The museum’s visitors are empowered to recover from climate guilt and doomism, and to instigate change via an exchange of object for knowledge and knowledge to action.
With Libby Ellwood, Hanna Mesraty, and Cheyenne Gurule.

Fall 2020
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	<item>
		<title>Drawing In-Painting</title>
				
		<link>https://descriptive.services/Drawing-In-Painting</link>

		<pubDate>Thu, 27 Feb 2020 23:52:04 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

		<guid isPermaLink="true">https://descriptive.services/Drawing-In-Painting</guid>

		<description>

Drawing In-Painting




	
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Drawing In-Painting is a project about a software. We're calling our software Match-by-Patches. Like the Content Aware tool in Photoshop or Warhol's Paint-by-numbers, it doesn’t introduce entirely new things, it just reshuffles existing content. We thought it fitting to use it for a renovation, in this case, an office. To force some comparisons with this method of working, it could be considered a form of painting. Indeed, the larger field of adjacent techniques and tools is called in-painting. Also known as image interpolation, in-painting is used to reconstruct deteriorated parts of images or to paint-in missing pieces based on surrounding imagery of materials. However, it also bears resemblance to what could be considered drawing. Moving a cursor across a screen to select a region of pixels relies on lines to enclose an area. If imaging can be described as a form of drawing with material, then drawing in-painting might serve to give material some form of coherence according to image logic.
Published in Room One Thousand, Issue 7: Material

Team: Hong Bae Yang and Yiran Chen






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</description>
		
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	<item>
		<title>10 Casts</title>
				
		<link>https://descriptive.services/10-Casts</link>

		<pubDate>Fri, 13 Mar 2020 22:38:25 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

		<guid isPermaLink="true">https://descriptive.services/10-Casts</guid>

		<description>
	10 Casts






&#60;img width="1200" height="797" width_o="1200" height_o="797" data-src="https://freight.cargo.site/t/original/i/c4eb1c74881de4ed524fda41baa9bb3000269253e09bda89575dceaf543ff243/image-10.jpg" data-mid="63485680" border="0"  src="https://freight.cargo.site/w/1000/i/c4eb1c74881de4ed524fda41baa9bb3000269253e09bda89575dceaf543ff243/image-10.jpg" /&#62;


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Plumbing standards and the protocols of tilt casting are brought together in 10 Casts. Supported by the UCLA Architecture and Urban Design Teaching Fellowship, the exhibition presents the back-side of the wall as a site of coordinated labor, loose material formation, and the internet of concrete.&#38;nbsp; 
10 Casts constructed a one bedroom apartment’s worth of plumbing containing hook ups for a bathroom sink, shower, and toilet and a kitchen sink. Forced to fit in the space of 2426, a gallery for architecture in Los Angeles, the apartment’s walls were distorted around the floor grid of the gallery. Various formats of imaging inform casting and guide the pouring of concrete on tilted formwork: accelerometer readings, standards of plumbing flow rates, properties of thermal expansion, and edge-detecting video feeds of concrete slurry against a snap line grid.





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The sensor readings and imaging feeds steer slumping in areas of need and produce void or thinness where a thickened mass was not required. Wifi enabled microprocessors and accelerometers attached to formwork both calibrate tilts and stream live to the web. After installation, the wifi boards streamed independent networks through which visitors could access drawings and instructions, merging the means of construction and dissemination.


Spring 2016
	


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</description>
		
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	<item>
		<title>177 Livington</title>
				
		<link>https://descriptive.services/177-Livington</link>

		<pubDate>Sat, 14 Mar 2020 02:59:26 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

		<guid isPermaLink="true">https://descriptive.services/177-Livington</guid>

		<description>
	177 Livingston

&#60;img width="1200" height="797" width_o="1200" height_o="797" data-src="https://freight.cargo.site/t/original/i/bb666de3c5f27535b59d709c298a9a778b726dd9a433adbdcea453db0327bbd6/image-1.jpg" data-mid="63494789" border="0"  src="https://freight.cargo.site/w/1000/i/bb666de3c5f27535b59d709c298a9a778b726dd9a433adbdcea453db0327bbd6/image-1.jpg" /&#62;
`
	


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177 Livingston, in downtown Brooklyn, was built to house three different arts organizations: Triple Canopy, Light Industry, and The Public School New York. The organizations were separated for distinct activities but joined for maximum shared space for large events. Partitions separate. The lack of cladding connects. Infrastructure, storage, and a variety of functions are built into the walls and can be rearranged depending on functional needs or desired levels or opacity. To enable the diverse uses of the space, the design and build out included flexible furniture (tables, benches, a stage) that can be collapsed, moved, or plugged into the wall frames. The lease for 177 Livingston was an experimental arrangement between the landlord, the city, and the three organizations. Because the free lease was given for anywhere between three months and two years, the open frames were designed to be easily taken down, flat packed, and set up in a new temporary space. Designed in collaboration with Rachel Himmelfarb with support from 

common room.



Fall 2019

&#60;img width="1200" height="797" width_o="1200" height_o="797" data-src="https://freight.cargo.site/t/original/i/6a2828ef731e5d3b85323163a81fd37a373d1f0846ba40eec46370fc60a32eff/image-2.jpg" data-mid="63494790" border="0"  src="https://freight.cargo.site/w/1000/i/6a2828ef731e5d3b85323163a81fd37a373d1f0846ba40eec46370fc60a32eff/image-2.jpg" /&#62;
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	<item>
		<title>Office Equipment &#38; Operating Systems</title>
				
		<link>https://descriptive.services/Office-Equipment-Operating-Systems</link>

		<pubDate>Thu, 27 Feb 2020 23:52:03 +0000</pubDate>

		<dc:creator>Descriptive Services</dc:creator>

		<guid isPermaLink="true">https://descriptive.services/Office-Equipment-Operating-Systems</guid>

		<description>
	Office Equipment &#38;amp; Operating Systems







	







Office Equipment and Operating Systems brings together a series of projects produced and exhibited at 2426. The work shifts the focus from architecture projects as such toward a conceptual framing of how Office Equipment and Operating Systems support the descriptive services of architectural production. Scanners, plotters, desks, measuring devices, software subscriptions, shared drives, modified appliances, and purpose-built tools sit alongside each other. The customization of equipment may no longer distinguish the qualities of work. Yet like the books in an architect’s library, equipment establishes a set of references. Organized by Reimaging, installations feature work by Theo Triantafyllidis, d.esk, Reimaging, and Roundhouse Collective.





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