216.544.3497alain.j.peschard@gmail.comrawwrk89.viewbook.com

1189 w.36th #3Los Angeles, CA 90007

Alain Peschard

Education

BA Arch [ 2012 ]University of Southern California, Los Angeles, CA

Experience

[summer 2011]SUMMER USC TEACHING ASSISTANT, LOS ANGELES,CA Worked as a teacher’s assistant for the Summer High School Architecture Program at USC. I was responsible for teaching architectural drawing and modeling techniques as well discussing conceptual design ideas and guiding them in developing their projects

STUDY ABROAD, USC, BARCELONA, SPAIN [fall 2010] =PZP[LK�HUK�KVJ\TLU[LK�HYJOP[LJ[\YHSS`�ZPNUPÄJHU[�Z[Y\J[\YLZ�HUK�WSHJLZ�HJYVZZ�,\YVWL

USC SOLAR DECATHLON DIRECTED RESEARCH, LOS ANGELES,CA [current]*\YYLU[S`�^VYRPUN�VU�[OL�ZJOLTH[PJ�KLZPNU�MVY�[OL�<:�+LWHY[TLU[�VM�,ULYN`�:VSHY�+LJH[OSVU������<:*�[LHT��>L�HYL�KLZPNUPUNa net-zero energy home for a couple with two kids in Southern California that is both architecturally and sustainably unique.

INTERN, PESCHARD ARQUITECTOS, MEXICO CITY, MEXICO [summer 2008]Involved in design brainstorming sessions with the principal architect for an addition to a local university. Attended various meetings to learn about the client-architect relationship in a different country. Oversaw the building of a house WYVQLJ[�HUK�KLHS[�^P[O�[OL�JVU[YHJ[VYZ�HUK�[OL�HKTPUPZ[YH[P]L�HZWLJ[Z�^P[OPU�HU�HYJOP[LJ[\YL�ÄYT

Organizations

USC SOLAR DECATHLON *VU[YPI\[LK�HZ�H�[LHT�TLTILY�PU�[OL�JVUJLW[\HS�KLZPNU�WOHZL�MVY�[OL�<�:��+LWHY[TLU[�VM�,ULYN`�:VSHY�+LJH[OSVU�*VTWL[P[PVU�������;OL�WYVQLJ[�PZ�H�UL[�aLYV�OV\ZL�[OH[�^PSS�WYVK\JL�Z\MÄJPLU[�LULYN`�[V�IL�ZLSM�Z\Z[HPUPUN�^OPSL�KPZWSH`PUN�Southern Californian vernacular typologies

USC GLOBAL ARCHITECTURE BRIGADES Took part in the construction of a communal rancho in rural Gatu, Panama. I was involved in timber framing, YVJR�^HSS�JVUZ[Y\J[PVU��MV\UKH[PVUZ��YVVM�JSHKKPUN��HUK�ÄYLWYVVÄUN�^VVK�LSLTLU[Z��HZ�^LSS�HZ�NH[OLYPUN�I\PSKPUg materials such as wood, sand , and rocks. Collaborating with the local community to teach the building methods in order MVY�[OLT�[V�ÄUPZO�[OL�WYVQLJ[�HM[LY�V\Y�Z[H`�^HZ�HSZV�VUL�VM�[OL�VIQLJ[P]LZ

CODAVolunteered at an after-school facility in South Central Los Angeles to help kids in need through art therapy.

Skills

(\[V*(+��(KVIL�0SS\Z[YH[VY���7OV[VZOVW���0UKLZPNU��4H`H��4PJYVZVM[�6MÄJL��7YVJLZZPUN��9L]P[��9OPUVJLYVZCNC-milling, Lasercutting, Hand drawing

Interests

Photography, Graphic Design, Lacrosse, Soccer

Language

-S\LU[�PU�:WHUPZO�HUK�,UNSPZO

Awards

NAAB archive ”Geometric Fluidity”

raw.wrk.2012 by alain peschard

invisible frontiers

geometric fluidity

models

123

invisible frontiers

the site offers unique atmospheres caused by the vastness and spatial disconnect experienced at mojave due to environmental phenomena as well as programmatic restriction. my interest for atmospheric architecture that attempts to stimulate more than the visual sense and in turn create unique, user-oriented environments will face the challenge of activating a remote, lowly-populated location.

there are many invisible frontiers around the runway, some are delineated by wind screens, sounds buffers, and programmatic elements, as well as physical barriers, such as parked planes and moving aircraft. other boundaries are formed to separate the public from the private as well as designate restricted and prohibited areas. looking closely at the runway itself, there is another layer of invisible frontiers, boundaries created by physical lines painted on the surface and different materials that have certain aesthetic and experiential qualities. these boundaries, although visual, help dictate activities for users on the runway.

the concept is to bring atmospheric curtains into the project that divide the space parallel to the runway into separate programmatic components that provide an interesting exposure to indoor and outdoor atmospheres that are connected via a public datum that serves as the main contradictory element to the horizontality of the project.

program is divided into multiple components in order to highlight the extremes between light and shadow. shadow plays the role of refuge in mojave due to extreme temperatures and exposure to the sun. the shadow gradient created by placing the buildings along a path at different intevals creates a more dynamic space where people want to move toward the buidling’s shadow.

different materials used add to the idea of being driven through a long space due to visual intricacy that results from movement and filtering of people seen through various surfaces. the idea is to make a working space less apt for people to become accustomed to and therefore unaffected by the space by creating visual and sonar transparencies that may intrigue users at the site to keep moving down the 800 ft path up to the runway.

sketch

programmatic strategy

58

58

14

14

30

26

22

3.96 mi

2.87 mi

2.4 mi

1 mi

780’

P

P

1.81 mi

sabovich st

flight syste

ms d

r

airp

ort

blv

d

inyo st

rop

er

st

site map

Lobby

Office

Work

Test Flight Center

Parking

Public auditoriumcafeteriawc

employee lounge

metal shopcomposite shop

wood shop

simulatorground telemetry station

storage

fuel storage

computer analysis room

computer lab

lecture roomworkshop

wc

storage + janitor

briefing room

student work lounge

offices

conferencewc

employee lounge

Fitness

raquetballrock climbinglockerswc

program distribution

conceptual horizontality

1 lobby 2 office 3 lounge 4 conference room 5 outdoor terrace 6 private office 7 cafeteria 8 auditorium 9 composite shop 10 wood shop 11 metal shop 12 flight simulator 13 workshop 14 computer room 15 raquetball 16 rock-climbing wall

plan + key

A

A

B

1

34

9

10

11

1314

12

87

2

6

6

5

5

P

1615 15

34 2

6

6

5

5

officesemployee loungeconference roomoutdoor terraceprivate office

3

42

6

5

acrylic transparency

A

A

9

10

11

12

composite shopwood shopmetal shopflight simulator

9

10

11

12

section through curtains

study model

light study

fabric curtain study

sketch

fabric-formed resin

geometric fluidity

The aspect of death and mourning should be open to all beliefs and should not carry a capital-ist agenda. This cemetery looks to design a more universal place for mourning and remembering, devoid of capitalism as well as individualism. The theme of water is referenced because it is the element that unites humanities across all borders. There are no columbaria or mausoleums present because these amenities carry a higher price tag. The burial ground flows along the landscape, and creates a field of blurred perception due to the repetition of wooden sticks that mark the graves. This repetition of vertical members creates a visual effect of infinity and symbolically blurs the line between life and death. The formal strategy is derived from research into laminar and turbulent flow. The idea is to conceptualize the landscape into a fluid that runs across the site, interacting with man-made objects and engaging these obstacles by flowing through and around and eroding the obstacles over time. The flow pattern changes depending on the geometry of the object as well as how the objects are arranged along the ground plane in relation to each other. The resulting form tries to mediate the tension between the topographical and the cartesian aspects of the architecture.

Concrete allows for the landform building to integrate itself into the natural landscape through elegant weathering and eroding over time. As the water flows through these volumes, organic spaces are careful carved out to create interesting spaces with unique light qualities. The treatment of the landscape resembles a material carpet, that tries to help the visitor in the process of mourning, it is a transition from harder, more man-made materials, towards the natural as well as giving them an oppor-tunity to pick their own flowers along the way.

program

waiting room furnace room chapelpublic staff

= 100 ft 2

8.000 ft 2

flower

total =

form generation

laminar laminar turbulence

erosion

landscape contour sections

site plan

flow diagram

structural diagram

rammned earth

concrete shell

poured concrete

plan

A

C

B

D

section B

section A

section C

section D

lobby

furnace room

interior courtyard

chapel

models

wood masonry

wood + canvas

foam cnc

eggcrate

wood + museum board

resin + curtain materials

contact

216.544.3497alain.j.peschard@gmail.comrawwrk89.viewbook.com

1189 w.36th #3Los Angeles, CA 90007

Alain Peschard