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 of conventional MEP equipment inserts a vision of air as reflected landscape, amplifying existing systems for tempering and conditioning the architectural exhibition venue.

Perloff Gallery, UCLA AUD, Los Angeles

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.

Fall 2019

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.

Photos by Joshua White

Office Equipment & 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.

Drawing In-Painting

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

10 Casts

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. 

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.

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

Building Tables

X-rays, overlays, and dense transparencies, augmented visual regimes render architecture as amalgams of simulated materials and systems. Headsets (AR/VR) increasingly supplement the section drawing as the primary means of understanding organization and analysis. To the classifications of literal and phenomenal we might add real-time transparency, the production of depth via computational vision.

Building Tables takes seeing as a compositional means. As techniques of vision are updated and amended, architectural barriers are newly exposed. In six tables, a series of conventional wall assemblies are conceived as objects for display. With Nicholas Pajerski and Hong Bae Yang

2017 - 2018