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MARSHALL FORDarchitectures

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intro

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INDEX

2 _Intro 4 Ego: The Architecture of Freedom16 Theater for Marcel Marceau26 Supertall Tower (Adrian Smith + Gordon Gill)28 Yongsan International Business District (5+ Design)34 Fossilized Supracapitalism40 Future of Work: Return to Building50 Astana World Expo (Adrian Smith + Gordon Gill)54 Human Topographies62 Center for Faith in Reasoning68 _Resume/CV

INFORMATION

www.marshallwford.com

marshallwford@gmail.com

805.801.7576

STATEMENT

I produce visionary power. My purpose and my passion is establishing and building for dynamic human momentum especially in cities, territories, and societies that thirst for it most. My ambitions are societal, my purposes are inherently human, and my abilities are extensive and honed to express my ideals and ideologies honestly, clearly, and personally.

I discovered power through honesty, devotion, and a definitive architectural ideology. Opposing initial reactions or inclinations produces an unexpected and fertile beauty. Inevitable death, fading traditions, and torturous religious, cultural, and economic factors provide endless, enticingly provocative territory for architectural conjecture. Managing these tools and specific ideals of communities, cities, and terrain led my explorations in the densest, most tumultuous locations on earth including design proposals in Mexico City, the Gaza Strip, abandoned theme parks, ruined factories, the Netherlands, Haiti, and Los Angeles ranging from social housing, memorials, office tower cemeteries, religious laboratories, modular factories, a theater for a mime, the largest and tallest architecture in the world, and framework for urban expansion.

Contemporary scenarios are frightening, and many times bleak, but I believe a fearless optimism, sublimely powerful design, and joyful pragmatism leads us to create actual, tangible, beautiful, universal built power that moves the discipline forward and manifests architectures intrinsic to people, place, and spirit.

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EGO:THE ARCHITECTURE OF FREEDOMEgo, is freedom. The deeper the architect, I, get into the work being the direct result of pushing my own ideas, pushing my ego deeper and deeper into comfortably uncomfortable territory, the broader the engagement with architecture becomes. The idiosyncratic nature of a selflessly egotistical and personal architecture is both liberating and engaging, shattering the shell of a calcified arrogance, defined by the feeling of an undue degree of self worth, too often synonymous with the architectural discipline as a whole. The greatest architecture in the world challenges everyone, running up against a place in a tectonic shift of momentous vernacular reconfiguration. Architecture has the power to change a place, people, and the architect themselves, and an inherent architectural ego is the freedom that allows that power.

LOCATION: CAYUCOS, CA, USA

TEAM: INDIVIDUAL

YEAR: 2014-2015 [M.Arch II Thesis at Harvard GSD, advised by Mack Scogin]

AWARDS: CONSIDERATION FOR PLATFORM 7 PUBLICATION

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A FRAGILE ARCHITECTURE

Pushing oneself toward a completely uncomfortable and idiosyncratic place, unfamiliar in even the most familiar situation is necessary to push the edges of the discipline in productive ways. Becoming comfortable with the uncomfortable realm of the curious, naive, risky, and experimental is entirely egotistical, but this indulgence is necessary to move the discipline forward.

The first work of the greatest creators in history necessarily permit this curious sort of innovation. It is rough, tangible, delicious, confusing, interpretive, and incomplete; the culmination of a human spirit yearning to create and the result of an egotistical ability to do so. The liberation of an architect at the intersection of necessarily egotistical and personally exposed permits an incredibly powerful but fragile architecture with universal appeal and broad engagement that moves architecture past pedagogy, practice, discipline, towards the sublime.

The danger of an egotistical architecture is a broader assumption of selfishness shaped or guided by contemporary social, cultural, and political challenges, both inside and outside architecture. The necessity of egotistical architecture beckons loudly as such challenges begin to quiet the discipline and shatter the architectural potential of the untouchable into niche games, theoretical anxiety, vacuous trends, and white noise. Ego means something more dangerous now, weighing heavily on the professional, academic, and amateur, encouraging caution, assuredness, and anxiety to stop.

The egotistical architect doesn’t stop. They push and push and push, relentlessly, they push themselves, the discipline, the edges of pedagogy and theory, their memory, influences, and origins farther and farther and farther until they reach that point of liberation. That essential, untouchable, right moment in architecture only possible for the selfless egotist. Only the egotistical can do that.

Le Corbusier did it at Ronchamp. Enric Miralles did it in Utrecht. Frank Gehry did it at Bilbao. They put themselves out there, exposed, vulnerable, while never giving up the ego, completely self centered, so self centered, so idiosyncratic, with an inherent sense of generosity, remaining porous enough to let the outside world in, to the point that the architecture could reach that untouchable moment, creating something brand new, deeply rooted in a place while redefining it entirely.

The architect needs an ego, the ability and will to see things in a certain way nobody else can. The architect curates the world for others. A universally approachable and fragile egotistical architecture is utterly permanent. And that ability is rooted in origins, in our beginnings, where I start this project.

Notre Dame du Haut by Le Corbusier

Utrecht Town Hall by Enric Miralles

Guggenheim Bilbao by Frank Gehry

A key component to the project is a 438 page book entitled “A Fragile Architecture” exploring the freedom of ego, the power of the infinitely curious, the assuredly childlike, and the architectural ability to inherently build, including personal interrogations of my origins, ego, and architecture.

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A HOUSE FOR MYSELF

A re-interpretation of the most familiar place in the world leads to fertile new ground to explore architectural ego. My hometown, Cayucos, CA, USA, is redrawn through the methods of three selfless egotists in order to discover necessary site and program, leading to the provocation of a house for myself sited at my childhood home in order to push my ideas further and further towards a place of universal architecture.

Through a series of four consecutive rigorously designed houses with specific attention to material and programmatic personal eccentricities the shy, boisterous, fanciful, curious, naive, and emotional ego is explored, eventually calcifying itself into a fragile shell in the Fourth House, a moment where ego satisfyingly shatters as I continue deeper towards a much larger project for myself.

View from Pacific Ocean

A New and Unfamiliar Hometown; Cayucos, CA, USA

View from South Elevations

ElevationsView from West View from Chaney Ave.

FIRS

T HO

USE

SECO

ND H

OUSE

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A House of the Houses I Love Influential Architectures Collection Sectional Diagram

View from Shearer Ave.

Section Details

A Place to Store My ModelsKitchen for SnacksView RoomLinoleum Dining RoomWes Anderson Memorial Movie DenUnusually Hot Sun DeckThe Marshall Ford Gallery of Amateur Modern ArtManifesto ChamberWhiskey Den (Wood Panels)Ping Pong ArenaNostalgic Artifacts DepositorySand Rinse ShowerThe Lounge to Be Critical InWatch GalleryJacuzzi SpaPoolTower Bath RoomCrows NestThe Quiet Chamber with a WindowMuddy Back YardPitch Black Reality TV TheaterSkimboard StorageGreeting FoyerPiano RoomMom’s Vacation HouseDad’s Tool RoomAmanda’s Yellow RoomFireworks RoofBBQ GalleyFourth of July Room / MuseumGuest BedroomFog Observatory

Rooms/Program {

THIR

D HO

USE

FOUR

TH H

OUSE

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The Fifth House shatters in bright metallic splinters, its dense collection scattered across the town in a dissolving signature of myself. Monumentalism disintegrates into a surreal and uncanny experience in a deeply familiar place, splinters crack the calcified town with the ego to change everything. Small, microscopic, clandestine but selfless, intrinsically. Built off need, an architecture of pieces, an architecture of the whole, a collection of objects placed in specific moments in Cayucos, where I always wanted or needed them. A redefined vernacular defined by an undefined interactular.

Bluffs Drinking Fountain

North Cayucos Lighthouse

Old Creek Football Bleachers

Top of the World Tower

F Street Shower

The Pier Diving Board

Next Submarine Attack Defense Cannon

Kayak Buoy

Volleyball Lights at 24th Street

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A TOWN FOR MYSELF

goes deeppast me

past originspast ego

to liberationto freedom

to a universal architecture

idiosyncratically engaginguniversally challenging

for me completelyfor everyone completely

a place I've never known and never will but stands infinitely accessible to all those who

find it, built from the moments of disintegrated monumentality

shiny metallic splintersof everything that is me

The deeper I goRelentlessly me

Relentlessly unfamiliar, uncomfortable, newRelentlessly me

a shattered ego, intact

in a town,a town for myself.

Axonometric View (above Town) Axonometric View (center of Town)

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Running Bluffs Drinking FountainNikki's Ranch WaterslideCayucos Creek Beach BridgeOld Creek Football Arena BenchNorth Cayucos LighthouseThe Pier Diving BoardTop of the World TowerNorth Bluffs Bike RackButterfl y Micro TelescopeF Street ShowerAsh Street BedVIP 4th of July Parade BleachersRain Island in Old Creek RapidsVolleyball Lights at 24th StreetSeagull Fries PitEmpty Lot Handball Wall (Ocean and D Streets)Whale Rock DockLook Out TelescopeSchool to Pool SlideKayak BuoyToro Creek TurnaroundTop of the Rock Hot SpringSwap Meet ForumNext Submarine Attack Defense Cannon**Sprinkler Fountains for the Vines by the CemeteryGateway BellsThe Kick the Can CanPicnic Table SomewhereWarehouse for Upkeep of Objects and the Collection of New Ones

{Moments/Program

Site Plan

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Old Creek Football Stadium

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The Church to be Critical In

View from Mom’s Vacation House

Above Next Submarine Attack Defense Cannon

Fire Pit Area

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Section

The architecture in the new town is not only about building but about that moment of liberation through the ego that finds architecture inherent to place, topography, people, sky, color, and context.

Architecture that goes deep embeds itself into a place, it makes new towns, it makes new vernacular. And the deeper we are able to dive selflessly, vulnerably, into our own egos the more liberating, unlimited, universal, beautiful, and intrinsically powerful architecture becomes.

FORD 15View from Mom’s Vacation House Old Creek Football Stadium FOFOFOFOFOFOFOFOOFOFOOOFOOFOFFOFOOOFOFFOFOOOFFOOF RDRDRDRDRDRDRDRDRDRDRDRRDRRDRDDRRDRDRDRDRDRDRDRDRDRRRDRDRDRD 1111111111111111111111111111111555555555555555555555555555555555555555ViViViViViViViViViViViViViViViViViViViVVViViiViVVV ewewewewewewewewewewewwwewewewweweewww ff f f ffffff f fff fffffffffffrororrooroorrororororoorr m m m m m m m mm mm mm m MoMoMoMoMoMoMMoMoMoMoMMoMMoMoMoMoMoMoMoMoMoMMoMMMoMoMoMMM mm’m’m’m’m’m’m’m’mm’mm’mm’mmm’m’mmmmmmmmmmms s s s s ss ssss ssss sssssssss VaVaVaVaVaVaVaVaVaVaVaVaVaVaVaVaVVaVaaVaVVaVaVVVVaVaVaVaVVaVaVaaV cacacacacacacacacacacacacccaacatitititititiiiiiiiiittttitiiiititiiiititiiiitittiitttiononononononononoononononononnnonnonono HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHououououououououoouoouououuououuooouseseseseseseseseseseseseseseseessesses OlOlOOlOlOlOlOlOlOlOlOlOlOlOlOlOlOOOOOlOlOllOOOlOOlllOlOlOllOldd d d d d d dddd ddddd dddddddd dddddddd CrCrCrCrCCrCrCrCrCrCrCrCrCrCCrCrCrCrCCrCrCrCCrCrCrCrCrCCCCrCrCrCreeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee k k k k k kkk k kk kkkkkkkkkkkkkkkkkkkk FoFoFoFoFoFoFoFoFFoFoFFFFoFFoFoFoFoFFoFFoFFFFFFoootototottototototototototttootototoo babababababbababababbabaababbaababalllllllllllllllllllllllllllllllllllll SSSSSSSSSSSSSSSSSSSSSSSSSStatatatattatatatatatatatatatattataatatatataat dididididididididididdididididiididiidd umumumumumumumumumumumumumumuummmmmummumum

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A THEATER FOR MARCEL MARCEAU

Marcel said, “The world is too loud.” Architecture is too loud; it needs to stop talking and let Marcel speak. A theater for the performer who says nothing and everything at the same time must remain silent for the performance but say everything for the discipline - a visit to the sublime. The theater is an architecture of performance, impossible to derive, but capable of withstanding infinite performances. It is at the same time, screaming and silent; the only place for Marcel Marceau to perform. The theater for Marcel is so loud it becomes utterly silent. For the performer who creates anything from nothing, the theater must do absolutely nothing with everything.

LOCATION: BERLIN, GERMANY

TEAM: INDIVIDUAL YEAR: 2014 [Nobody Dies In Disney World Studio at Harvard GSD w/Mack Scogin]

AWARDS:

CONSIDERATION FOR PLATFORM 7 PUBLICATION

HONORED WITH DISTINCTION

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INTRODUCTION: MY FIRST SPATIAL NARRATIVE

“A light blue, two story townhouse with a patchy, muddy backyard. A wooden fence with no finish. A sandbox with nothing but sand. A crack between two panels. The smell of wood, unfinished, raw, and splintery. Every morning I hoped she was there. One morning she’s crying.

‘Hold on to it for me. I don’t want my mom to find it.’

Life went on after that. Her bedroom. She’s crying. It was the last time I will understand somebody unconditionally. We moved soon after that. I imagined it would go on forever. Some things never get lost.”

It begins with An infinite number of silent performances locked into an infinite number of moments. If I were to find her now it would all be lost. She is everything and nothing at once. Silent and screaming at the same time. And she exists as the essence of her performances, both real and hyper-real, fantasy and reality, always separated by a crack in the fence. For marcel, his mask is the fence. It is the thing that allows him to overact, to scream silently, because he must to get at the essence of the performance to achieve the character, emotion, or object. Each performance contains hundreds of spectacular moments. Every one calculated, rehearsed, and performed. The movements, the costume, the makeup, the strength, the repetition, the rigor, and his face: the mask.

The location for the project is Spreepark, an abandoned amusement on the Spree river in Southeast Berlin. The site is the path that winds through the park; the mime of the park. At once specific and ambiguous it is a collection of pieces used for infinite interpretations and performances, manifesting voids within the more specified performances.

Three Versions of Textual Spatial Narrative

Analysis of Ten Second Increments of Marcel’s “The Mask Maker”

Film of Spatial Narrative

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The theater for Marcel Marceau is so loud it becomes utterly silent. For the performer who creates anything from nothing, the theater must do absolutely nothing with everything.

FORD 20 Using the result of the animate evolution of the voids, a new topography is discovered from the mimetic forms of the park.

ACT

1: S

PREE

PARK

’S M

IME

FORD 21When extrapolated as specific form these new topographies begin to scream.

These interpretations are remodeled based on their intensity and chaos into a completely new thing.

Extensive explorations of these new topographies lead to strangely human, yet completely unreal results.

ACT

2: T

HE L

AND

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I’m hiding and I’m

jumping

around. I know what I’

m doing, it’s

a tease

and I like it

. I’m here

one

second and th

ere th

e next. I

t’s lik

e

magic, you ca

n’t tell

it’s re

al. I’m

not running away I p

romise, I’

m

just having fu

n.

Let’s be alone, get away to our paradise. I know you can see me and I can’t always perform. I need a rest. “Hold onto it for me.” This place is safe, I’m comfortable and I’m happy. I think everyone else is scared but us. That makes me happy.

I’m uncomfortable and

I’m not ready. There’s too

much! Too much! I want

to be somewhere else, I

want to be someone else.

This can’t be right.

I’m ready, I’m pumped, it’s the right time and I’m the right person. I’m feeling confi dent and I’m feeling right. Showtime.

It’s a solemn tim

e. I’m not re

ally sure

about everything but it’s not th

e time to

question it.

It’s a tim

e for respect.

I feel free, I have no limits. I

must go forward and explore

and this is the right time to

do it. I’m feeling ambitious.

I’m curious and brave. Will you come with me?

I have nowhere to go, I

just want to

be with you,

but I guess I

must stay

and be happy.

I must perform. Thank you for

watching, I’ll wave to you in the

audience.

Hahahah!Look at all them! Here to see me! But they can’t even see me!

Things will be f ine,

I don’t have time to

worry. I must not

worry or else I’ll get

distracted.

I have to think, leave me

alone. It’s not you, I just

need some time.

I need to leave. Everything is too

much now. I understand you will

miss me but I need to go.

Path Narratives In Abandoned Spreepark

Re-interpretation of the Path’s Narrative

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ACT 3: THE PATH

The mime of the park. It is everything; telling infinite stories of experiences; intensely specific and rigorous in form yet highly interpretive and subjective in perceived exploration. Each piece of the path loudly tells a story. Some of anguish, some of love, some of death. It is an infinite set of performances only Marcel can perform because, of course, he is everything as well. Each performance is specific, separated momentarily at the obvious places, then rigorously re-interpreted, piece by piece; a seemingly random chaos generating a new thing; not a combination of many things, but the result as one.

The new thing is reintroduced to the new land creating an architecture of performance, impossible to derive, but capable of withstanding infinite performances. It is at the same time, screaming and silent; the only place for Marcel Marceau to perform.

Site Plan

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Typical Sections

Site Section

Physical Model (from above) Physical Model (from terrain level)

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FINALE

In a moment the architecture is a landscape of dramatic, deafening tectonic performance, penetrated by the performance of the path.. A finale of nothing created from everything, forming within the silent, interpretive realm of the mime, mid-evolution between theme park and theater. It becomes an evolution of the acts of many performances of rigorously practiced and performed essentialities; a theater for the fantasy and the real; the real and the hyper real; for the specific and the ambiguous, for the infinite and finite, for life and death, all at once. Marcel is everything, just as the girl in my memory is everything, suspended in time and place; impossible to locate or find, but just as impossible to lose. Marcel performs within the deafening silence of everything. The theater for Marcel Marceau is so loud it becomes utterly silent. For the performer who creates anything from nothing, the theater must do absolutely nothing with everything.

Theater Plan

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SUPERTALL TOWERResidential supertall tower in New York City along “Billionaires Row.” Diverse work on the project included design for penthouses and rooftop architecture, rigorous DD package drawings and design production, and client issued drawings, sketches, and imagery for interiors, exterior, and engineering on a weekly basis. Details of the project remain confidential.

LOCATION: NEW YORK CITY, NY, USA

TEAM: ADRIAN SMITH + GORDON GILL

YEAR: 2014 [completion date tbd]

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YONGSAN INTERNATIONAL BUSINESS DISTRICT

A city within a city, or a metropolis within a megalopolis, Yongsan IBD was masterplanned by Daniel Libeskind and distributed amongst 19 internationally renowned architects to develop into arguably the world’s largest urban design and architecture project. We linked these 18 towers through a valley of dynamic “districts” that meandered through the base of the project from Renzo Piano’s proposed spire to the Han River.

LOCATION: SEOUL, KOREA

TEAM: 5+ DESIGN

YEAR: 2012-2013

AWARDS:

RLI FUTURE PROJECT AWARD

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CONNECTIVE VALLEY

In order to create a cohesive mini-metropolis within a greater Seoul, a central, connective spine is designed as a system of connective districts with above ground and subterranean connections to almost all parts of the master plan providing a wealth of centralized and easily accessible retail, recreation, and entertainment.

Architecturally these districts are distinguished by texture, aggregation, and scale, but merge into one great, connective valley that respects views and connection the tower forest outwards while providing an exciting, seductive, immersive experience within the core of the International Business District.

View in Valley towards Yongsan RiverValley Textures

Master Plan Physical Model @ 1:1000 scale

Bird’s Eye View >

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INHABITATIONA complex and precisely designed set of networked paths connect the Valley to all other parts of the project, embedded in a urban scaled rift, inhabited by several districts of public space including retail, entertainment, green space, and recreation. The scale of the project is both urban and personal as the architecture negotiates between starchitect high rise forest, and the typical, individual user.

Site Plan

Longitudinal Section through Valley

Cross Section through Valley

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REALIZATIONThe project went bankrupt in 2013, shortly after submission by all architects resulting in a collection of physical models as the only realized portions of the master plan. These models ranged from 1:200 to 1:1000 scale and were presented to the public as optimistic, tangible plans for a promising future. All models were cross-studio projects requiring consistent and rigorous international coordination between 5+ Design and Renzo Piano, Coop Himmelblau, Kenzo Tange, Gensler, and landscape/urban design firm SWA.

Daytime view looking East; 1:400 model View inside Valley towards Spire

Night view towards Department Store; 1:400 model

FORD 34FOFOFOFOFOFOFOF RRDRDRD 333444444444

FOSSILIZED SUPRA-CAPITALISM

We replaced hope of success with the unmitigated fate of overtime death. Somewhere the optimism of working and creating a life justified by some sort of career meaning was lost and we are left with an undiagnosed addiction to hours. We created “supra-capitalism”: a society supported, guided, and defined by uncontrolled work habits, misguided productivity-to-time-spent ratios, and relief in mandatory death. In order for the workplace to evolve (or devolve) we must allow supra-capitalism to fossilize itself.

This is an office tower cemetery.

This project establishes an expandable system with incredibly efficient office space that slowly deteriorates as it’s employees do. It’s thousands of cubicles literally become caskets which stack, providing structure for future expansion of the system itself and a fossilized monument to the victims of supra-capitalism.

LOCATION: PITTSBURGH, PA, USA

TEAM: INDIVIDUAL

YEAR: 2012

AWARDS:

POST+CAPITALIST CITY #2 Work INTERNATIONAL COMPETITION 2ND PRIZE

“RELIER” EXHIBITION SELECTIONFEATURED ON ARCHINECT.COM AND BUSTLER.COM

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PROCESS

The project begins with fertile slabs prepared to accept expansion and renovation as necessary. Structure allows the system to move upward and offices begin to form and mature, creating an efficiency zone that continues vertically, and includes ultra-efficient office space where hundreds of thousands of hours can easily be logged in private cubicles. As time passes, so do many employees who hit their magic number of hours. When this happens, each personal cubicle prepares for burial and transforms into a casket constructed with concrete. Caskets are placed nearby the employee’s place of work (and death) and eventually stack upon each other once deaths begin to outweigh current living employees. As offices fade into sublime concrete forests of those who passed, the system solidifies.

As ultra-efficient workplaces continue upward, usually containing 10-20 floors of the tower at any one time, the base fossilizes those lost alongside the ideology of supra-capitalism. The result, after decades or centuries, is lush flora rooted in the lives of those who achieved their hours, reminiscent of the ruins of other lost cultures.

RIPE OFFICE [5-20 YEARS]

OFFICE [20-100 YEARS]

PIXEL GRAVEYARD [100-500 YEARS]

ELEVATED TERRAIN & FACILITIES[INDEFINITE]

2

3

5

7

Concept “Disintegrating” Plan

Concept Elevation

pared to accept expansion and ws the system to move upwardreating an efficiency zone that efficient office space where ily be logged in private cubicles. who hit their magic number of

al cubicle prepares for burial and h concrete. Caskets are placed nd death) and eventually stack utweigh current living employees. rests of those who passed, the

pward, usually containing e, the base fossilizes those lost sm. The result, after decades or s of those who achieved their lost cultures.

RRIPE OFFICE[[5-20 YEARS]

OFFICE [20-100 YEARS]

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2

3

Concept Disintegrating PlanConcept “Disintegrating” Plan

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PIXEL GRAVEYARDDDDDDDPIXEL GRAVEYARDDDDDD[100-500 YEARS]

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5

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FERTILE PLANES [2-10 YEARS]

FOSSILIZED MONUMENT [INDEFINITE]

DISINTEGRATING OFFICE [10-50 YEARS]

1

2

3

4

5

6

7

1

4

6

Site Section

FORD 38OFOOFOFFFFFFOOOOOOFOFOFFFFOOOOOOOFOFOFFFOOOOOOFOFOFOFOFFFFFOOOOOOOOFOFFFFFOOOOOOOOFOFFFOOOOFFOOOOOOFOFFFFOOOOOFFOFOFFFFFFOFFFFFFOOFOFFFFFOFOFOFFFFFOFOFFFFOOOOOOF RRRRRRRRDDRDDRDDDDRRDRDRDRRRRRRRDRDRDDDRRRRRRRDRDRRRRRDRDRDRDRRRRDRRRRRDRRDRDRRRDRRDRRDRRRDRDRRDRDRDRRRDRDDRRDRRDRRRDDRDRDRRRDRDRRDDDDRRRDRDRRDDDRRDDDDRDDRRDRDDDDDRDDDDDDRRDDDDRRRDDDRRDDDDDDDDRRD 3333333333333333888888888888888888888

FERTILE PLANES on the top floors provide open fields for young children destined to live and die within the structure.

RIPE OFFICES form in the fertile upper floors. Hours and cubicles begin to grow rapidly.

DISINTEGRATING OFFICES fade as permanent retirement happens. Cubicles convert easily into sarcophagi and begin to overtake the vertical landscape.

FULL OFFICES are organized and “efficient.” This makes each employee's 114,000-150,000 lifetime hours most "productive."

As the transition from current to past is completed, the PIXELATED CEMETERY acts as a new urban park and strengthened structure for the growth of the system. We remember those gone by the number of hours they put in.

R.I.P.114,400 HOURS WORKED

1

3

4

5

6

7

2

1

3

4

5

2

Aerial View

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6 The victims, ideals, and ideologies of supra-capitalism become FOSSILIZED and overgrown, yet continuously more permanent, stable, beautiful and monumental.

7 The base of societal fossilization is a simple plane of ELEVATED TERRAIN providing sufficiently appropriate separation from pre-existing urban conditions and a cover for necessary facilities needed for expansion, burial, and upkeep. Providing direct connection to the respective affected city, this plane hovers politely over historic urban fabric, but touches down (at the red arrows) introducing long-term and short-term residents to a new image of the future. On this plane there may be different types of open space including forests, ponds, community gardens, or hills to roll down.

The program beneath this plane may also house necessary local facilities like gymnasiums, city services, or religious centers in the space between the necessary functional pieces of the tower base, further integrating the optimistic present with a somewhat macabre future above.

Site Plan

Mid-tower View

FORD 40FFOFOFFOFOFOFFOFFFFOFOFOOOORDRDRDRDRDDRDDRRDRDRD 444444444440000000000

FUTURE OF WORK:FUTURE OF WORK: RETURN TO BUILDINGRETURN TO BUILDING

FORD 41FOFOFOFOFOORRDRDRDRDRDR 4444444411111111111111

LOCATION: THE HAGUE, NETHERLANDS

TEAM: INDIVIDUAL YEAR: 2013 (HARVARD GSD, FLORIAN IDENBURG)

“WORKPLAN” STUDIO SPONSORED BY HARVARD UNIVERSITY AND THE DUTCH GOVERNMENT

This is a project about things: the things we collect to preserve and build some self worth or permanence. Our hoards of things in an age when we are supplanted online and through digital means are the final product of our actual existence as people. This is the archive of our most needed things.

The Dutch have beautiful things, and they have centuries of practice preserving those things including the physical land in their country which scientifically should be under water. They are also global leaders in transporting their things and their landscapes to different places that are interested in those things. Now, with the opportunity to become the node of all data across Europe, and at the moment that the Netherlands is most equipped to handle full scale replication and preservation projects the Dutch are at the forefront of immediately preserving their most important things at 1:1, and showcasing those things in order to allow people to view themselves as a whole and not as individual pieces in a hoard.

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censorship

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ONLINE

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MA

NIT

Y

STATIC ART

0% 50%10% 60%20% 70%30% 80% 100%40% 90%

MOVING ART

RECREATION

ADVERTISING

MOBILITY

HOUSING

PRESERVATION

WORK

SOCIAL

UNREST

EDUCATION

MUSIC

NEW SPIRIT

DUTCH LOVEAs one of the most efficient nations in terms of construction, transportation, and living, the Dutch system is desired all over the world. The Dutch meet this need for replicated landscapes with exhibitions like EXPO 2000 by MVRDV at 2000 World Expo in Hannover and the Pavilion in Shanghai in 2010. The Dutch make beautiful things and everyone wants those things, making it necessary to create a new system to store those and display those things to the world.

Since the 1600’s, reconstruction (out of desire and necessity) is the essence of Dutch existence. Advanced polder systems allowed the Dutch to create land from scratch while much of the country was rebuilt after World War II. Constant construction and reconstruction has created a country existing in a set of moments with no reliance on the past, and has cultivated a specific skill set of rebuilding things perfectly, demonstrated at Madurodam (seen at left), a city of selected Dutch buildings built at 1:25 scale.

HUMANITY MATRIX: After examining our humanity through math and data, we will build things to create tangible proof that we actually exist.

Madurodam

FORD 43

Piazza del Campo, Siena

Bureau of Preservation and Reconstruction, Den Haag Mexcaltitán de Uribe (inverse)

Our social image is built from our things.

CITY

STREET

1. Dom Tower of Utrecht2. Rijksmuseum Towers3. Olympic Torch4. Ridderzaal

chters

Shifted Grounds in red (circa 2025)

New Grounds and things under (re)construction

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3

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1

RENEWED PRAXIS (HERMAN HERTZBERGER)

The project harvests the old Ministry for Social Welfare and Employment in the Hague for a financially and socially lucrative future. The building is slated to be empty by 2015 and in order to provide a pure framework for the preservation of the countries present, past, and future the original intent of the building and Herman Hertzberger’s theories of building as city are re-initiated.

The building is preserved as a city with streets and a grid structured after the original dimensions of the building. The central core is the public street encouraging an environment of disagreement and resolution.

Things are collected around the street in the new grounds created from the old towers of the building, recalling the labyrinthine product of Hertzberger’s “freedom through structure” results. The Hertzberger grid, once divided into an even more human scale, becomes an appropriate size for storage of valuables based on average storage facility unit dimensions (5’x5’ - 10’x10’), and standards set by shows like Storage Wars.

The reproduction, replication, and restoration of historic buildings at a 1:1 scale necessitates separating and shifting large pieces of the original structure to create an inhabited scaffold reproduced endlessly in any direction. This is based on Herman’s strict rules that his structures were infinitely expandable.

The decision whether to preserve, reconstruct, or replicate a thing is based on the current nature of the building. There are 3 possible eras in the building’s continued history:

1. Bureau van Sociale Oogsttijd (Bureau of Social Harvest): the core of a hyper-participatory societal archive infrastructure, building strictly through memory we produce a history that is also our future.

2. The Ministerie van Gecontroleerde Ruïne (Ministry of Controlled Ruin): preserving the place between tradition and oblivion; an archive of restoration information and the command center for letting things go. Rehab for addiction to nostalgia.

3. Ministerie van Maatschappelijke Continuïteit (Ministry of Societal Continuity): the control center for the immediate preservation of NL’s physical cultural artifacts including buildings, infrastructure, art, and important people driven by inherent human fears of disappearance and a lack of purpose brought on by technology.

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Street

Collection

New Grounds

Terrain

1. Urban Topographic Paths

2. Carpeted Public Program

3. Separated New Grounds

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2

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3

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Public Street

Street Typologies

ANATOMY

The project is four primary components. The first is the terrain. Eroded from the original grounds of the Hertzberger building, following existing corridors and paths in the Hague. Programmatic elements follow the re-established contours. The building/new grounds above are completely free from urban attachment.

Second are the new grounds where the collection is stored, replicated, and rebuilt. These grounds are re-organized to create perfect replicas or allow immediate preservation of existing structures (cultural artifacts) based on the era of preservation theory at that time.

Stored within the new grounds is the collection: pieces of societal existence collected and replicated in one place. Organized by plots, recalling Hertzberger’s theories of freedom through structure and labyrinthine results of organization.

Last is the public street, built of typologies that allow disagreement with potential for resolution, mapped through the original public dialogue zone of the Ministry. Each piece is a pure form of the respective program.

1. PARK and FRONT DESK: an amorphous area with trees, where public and private things are separated and organized.

5. BAR: in the shape of a bar with a huge neon “DRINK” sign to show people where honest conversations are.

6. SQUARE: aggregate of public space materials and typologies encouraging protest, encampment, speeches, and beach volleyball.

4. FORUM: a structured location for discussion and meeting. Built for disagreement but also for equality.

7. THE CAGE: a cage for battles that end in a result. Chain-link and tarp. The cage doubles as an aviary in peaceful times.

8. LECTURE HALL: pure auditorium form with a chunk cut out allowing views from above to the action below.

9. OBSERVATORY: where the person can see everything and spiritually let go of their things.

2. LIBRARY: recalling notable reading rooms, people here are trying to prove someone wrong, and themselves right.

3. DAYCARE: a solid exterior with a soft and playful core, where parents leave their kids to do adult things.

10. OFFICES: extruded through the collection towards light. Free floorplans for meeting space, server rooms, and specialist quarters. One floor is for the minister of rebuilding.

{

FORD 45

Enlarged Collection Plan

Selected Inventory

a. Dom Tower of Utrechtb. Grass from 2010 World Cup Final defeatc. Frozen Human Items #402d. Collection of Original Beatles Concert Posterse. Piet Mondrian; Broadway Boogie Woogie 1944f. Gun from unnamed famous crimeg. Atelier van Lieshout; Darwin 2008h. Original Bizarden Tulips Seedlings from 1637i. New Babylon model, Constantj. Wall from old red light district 2015k. Red Vines from Van Gogh’s “Red Vineyard”l. Last boxes of Twinkies before bankruptcy, 2013

1 m

5 m

A

B

C

D

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HI

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COLLECTION

The larger objects (1:1 buildings) are both more than perfect replicas and originals moved on-site and reconstructed. Each is individually evaluated through the processes of disagreement and resolution in the public street dialogue core. Once resolved, the process of shifting the new grounds and importing or replicating the pieces begins.

The rest of the collection (hoard and reserve) adapts to the shifting pieces of the building, filling space between the preservation building projects and structure. Artifacts are on view and dispersed according to what plots users want, how much they are willing to pay, and available openings, similar to a cemetery. Pieces never leave the space because mobile systems of enclosure allows preservation in immediate areas. Proximities develop between typically unrelated objects such as Constant’s models of New Babylon displayed in a field of rare tulips.

Cross Section

FORD 46FOFOORDRDRD 444666Longitudinal Section

FORD 47FOFORDRD 444777

FORD 48

5 m

5 m

10 m

10 m

Typical Mid Level Plan

Site Plan

Upper Level Plan

5 m 20 m

10 m

FORD 49

Physical model @ 1:200 scale emphasizing structure of the new grounds and collection.

RESULT

This place became eternal, and impossible to ruin, because it was always in ruin. Onlookers saw the fossilized remains of the zones where reconstruction had taken place. Many desired to remove themselves from an inevitable digitized existence leading to a new future of work, a return to building.

View Upwards Through Public Street

FORD 54

HUMAN TOPOGRAPHIES

The megacity is created by expansion controlled only by the needs of the people. Growth continues informally outward as verticality becomes less and less possible in urban cores. Incredibly rapid and autonomous patterns of settlement are creating cities too big for comprehension. What do we do before this expansion creates international, social, political, structural, and economic problems too big for comprehension? This project maximizes our possible [reasonable] densities through familiar architectural and construction systems and envisions appropriate, sustainable, yet futuristic vertical systems that will permit necessary macro and micro vertical expansion, adding rare program like open space, amenities, and agriculture zones, as we engulf the fringes of our megacities. This architectural proposal offers a vertical system not unlike ideologies surrounding existing self-built horizontal systems: a 3-dimensional micro-city contained in constantly growing vertical structures, integrated within the existing maximized human topographies. In essence, in 30 years when 90% of the world’s population lives in cities (8.3 billion people), it will not make sense to avoid verticality.

LOCATION: ECATEPEC DE MORELOS, MEXICO CITY, MEXICO

TEAM: INDIVIDUAL

YEAR: 2011 [SENIOR PROJECT, CAL POLY POMONA; ADVISED BY IRMA RAMIREZ AND AXEL SCHMITZBERGER]

AWARDS:

DEANS AWARD FOR MOST OUTSTANDING DESIGN STUDENT IN GRADUATING CLASS

COMP D’ELEGANCE AWARD FOR TOP SENIOR PROJECT IN GRADUATING CLASSINTERIM DESIGN SHOWCASE SELECTION

FORD 55

FORD 56FFFFFFFFFFFOFOFOFFFFFFFFFFFFFFFFFFFFF RDR 5555666666666666666

ESTABLISHING A DENSIFICATION PROTOTYPE

90% of people will live in cities in 20 years. What happens when there is no more room? Mexico City is a megacity with extreme terrain, intense social dynamics, and frightening developing typologies. Expansion of up to 1000% every 10 years leads to lost cities, with stolen power, unclean water, and no waste removal. Through my travels to Mexico City I witnessed a very deep, real connection people have with their self built homes on the fringes but the density is reaching fatal proportions. However, recent sweeping and generic solution ideas are dangerous, overwhelming, anonymous, or nonexistent. At some point it makes no sense to continue horizontally. This is a prototype for autonomous densification.

1_Establish Nodes: In order to make an appropriate decision on where these systems are to be initiated we must examine the existing urban fabric and create new districts or zones based on where implied paths of travel, settlement, or usage will occur within the next half century. In order to do this, major roadways are extended either physically or visually. Where these paths of travel intersect is where nodes are established. The lines created in the terrain by these paths also create shapes that will become separate usage zones including new

!

!

!

NO MORE ROOM, THERE ARE NO SUSTAINABLE SOLUTIONS.

INTERSECTIONS OF PATHS AREWHERE CORES ARE BEGUN.

THE INFANT SYSTEM IS CONNECTEDTO EXISTING INFRASTRUCTURE

PUBLIC PLANES ARE CONSTRUCTED ON EXPANDING STRUCTURE.

PRE-FABRICATED RESIDENCESCONNECT TO STRUCTURAL CORES

NOW SUSTAINABLE GROWTH CAN HAPPEN! ON THE GROUND AND OFF...

21,163,266POPULATION OF MEXICO CITY

76.3%LIVE IN INFORMAL SETTLEMENTS

View of prototype site from freeway.

FORD 57

WHICH ARE PARTIALLY MANUFACTUREDOFF SITE.

...SHIPPED TO THE SITE AND CONNECTEDTOGETHER.

HOOKED UP TO INFRASTRUCTURE... AND LIVED IN. IT CAN GROW!

mountainous agriculture zones, transportation corridors, or extensions of the informal communities further down the hill.

2_Inhabit Terrain: This is done in three steps. First the public use platforms (or foundations) are established as the inherent base for future vertical growth. Next, a fairly basic system of retaining walls are provided which include hookups for infrastructure and utilities. Lastly, within this retaining wall structure users implant their pre-designed homes that may either be constructed by a team or even themselves. The public platforms surrounding the tower foundations begin to serve as markets, sports fields, or other public program.

3_Sustainable Vertical Growth: On those foundations, the first 24 ft. increments of vertical growth are installed with all necessary connections to utilities, transportation, and future structural implications for residential units. Each 24 ft. increment module is designed by a committee chosen by the relevant communities and potentially include green space, public services like schools, medical clinics, or safety; sport fields, meeting halls, churches, or just open circulation. Eventually the towers will be topped out, controlled by seismic safety and density regulations and/or resident preferences.

APSPOTFOORRIEHTEKILYEHTTUBPUOGOTMOOREROMONSIEREHTDNADNAPXEOTEUNITNOCYLERUSLLIWYEHTEDISLLIHOTNIDEKCAPYLIMAF CES

YRDNUALROFDNA... !SEODYDOBON

CURRENT SYSTEMS DON’T ALLOW THATGROWTH SAFELY OR SUSTAINABLY

THE FAMILY MOVES JUST BEYONDTHE FRINGES.

WHERE THEY CAN CHOOSE THE PIECES THEY WANT...

HTIWLLIFOTGNITRATSERAYEHTTUBPROGRAM AND STORAGE...

THERE IS NO MORE ROOM!

WHERE THEY CAN CHOOSE THE MATERIALS AND PIECES THEY WANT.

FOR GARDENING, PARTYING...

BUT WHAT IF THEY COULD EXPAND AND GROW?!

Existing Fabric

Assumed Connections

Nodes At Intersections

1_ESTABLISH NODES

2_INHABIT TERRAIN

3_SUSTAINABLE VERTICAL GROWTH

Establish foundations. Provide retaining walls and utility connections.

Units designed/inserted; expanded at users will.

Expand vertically in 24’ units. Install utilities and infrastructure. Circulation, green space, verticality; tower is established.

Narrative

FORD 58

SITE PLAN

A_Terrain Units: Each terrain unit acts as a piece of the overall circulation and open space system. As each unit stacks, no space is lost because every roof acts as a new piece of terrain. Each unit also has a courtyard so even when densities are maximized, every unit has a private outdoor space and access the rest of the overall system. Eventually these units begin to cantilever over each other or expand vertically creating an environment where the architecture is formed by these building blocks of dwellings.

B_Tower Region: This area becomes a sort of hotspot where transportation, commerce, and production meet between the two settlement ideologies at play. This area is mainly focused on the foundation and platforms where diverse public programs exist from markets to sports fields. Transportation hubs here serve as the primary connection to urban infrastructure and circulation for both the tower and the ground units.

C_Preserved Program (the odd shapes): To preserve the most important spaces that many autonomous communities will devour immediately, the usual pattern of settlement is interrupted and replaced by pieces that seem at first abnormal, but in reality are necessarily different. These pieces are churches, playgrounds, public services, transportation hubs, or flexible areas that are oriented or created in ways disallowing any sort of residential unit to be built on the property.

Circulation: Each zone (created by connecting nodes) is primarily accessed by paths of travel that are extended. These are sometimes built on extreme slopes, but not more extreme than already existing paths. Secondary circulation occurs on roofs of the ground units, with primary axes preserved prior to completion of local densities. Most transportation is limited to foot and cable car traffic, eventually leading to automobile transportation hubs and parking further down the hill.

Green Space

Public Program

Services

Vertical Program Preservation Resulting CommunityExisting Program

Urban Context

C

A

B

Necessary Verticality

Central Mexico City

Ecatepec de Morelos

Resulting Community

UU bU bUUrban CCConttttextt t

Necessary Verticality

c de Morelos

FORD 49

AGRICULTURE

FORESTOFFICES

GARDENS

SPORTMEETING

PARKSERVICES

CHURCHMARKET

SPORTPLAZAAGRICULTURE

HOUSE

HOUSE

HOUSE

HOUSEHOUSE

HOUSEHOUSE

EXXISSTTINNGEEXXXISISISSEXISTINTSTE TIITINNGGGGG

SHRINEAG

GREENGREEN

GREEN

HO

USIN

G

HO

USIN

GH

OU

SIN

G

HOUS

ING

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UULLLLLLTLTLTLTLTTTTTTTUTUTUUUUUUUUUURRRRRRRRRRRRRRREEEEEEEEEE

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AAAAAAAAAAGGGGGGGGGG

FOFOFOFORDRDD 44449999

AGRICULTURE

FORESTOFFICES

GARDENS

SPORTMEETING

SERVICES

MARKETSPORTPLAZALAP

AGRICULTUREGGGGGGGGGGGGRRRRRRRRRRIRIRIIIIICCCCCCCCCCCCCCCCCCUUUUUUUUUUUU

HOUSE

HOUSE

HOUSE

HOUSEHOUSE

HOUSEHOUSE

EXXISSTTINNGEEXXXISISISS NNISTE IITSTE TIITINNGGGGGGGGGG

AG

GREENGREEN

GREEN

HO

USIN

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HO

USIN

GH

OU

SIN

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HOUS

ING

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UULLLLLLLLTLTLTLTLTLTLTTTTTTTTTUTUTUUUUUUUUUUUUUURRRRRRRRRRRRRRRRRRRREEEEEEEEEEEEEEE

LOOOOOOOOOOOOOOOO LLOOOOOOOOSCH OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLLLOLLLLLOLLLLLOLOOOOOOOOOOOOOOOOLOLLLLLOOLOLOOLLLLLLLLLLLLLLOLLLL

AAAAAAAAAAGGGGGGGGGG

TOWERThis does not begin as a tower. It is an aggregation of pieces of public necessities determined by the will and need of the users themselves; the result formed by 24 ft. increments of pre-designed pieces of structure. Those pieces of structure include connections for residential units (to be added once the structure piece is in place), public programs organized by committees of existing and new residents, green space, primary and secondary circulation cores, and adequate vertical, horizontal, and lateral support. As these pieces stack, vertical neighborhoods form and residents are integrated into the construction and formation of not only their own residences but the communities they live in.

PROGRAM

The primary issue with proposed vertical typologies from the 20th and 21st centuries is they are not vertical systems of inhabitancy but instead vertical blocks of requirements. This system performs as a direct reflection of the inhabitants desires. In essence, the human determines the sections to the right, one of infinite possibilities. Just as we see in the two-dimensional layout of streets and neighborhoods, parks are adjacent to homes which are adjacent to roads that lead to places of work. By stacking these ideologies instead of laying them out, we get a new type of urban adjacency that is compact, achievable, and efficient. This method allows for adequate preservation of open space, agricultural zones, and safe places to play while also accounting for the extreme densities that begin to form.

The transition from vertical to horizontal takes place on the public platforms at the base of the tower, anchored by a church in this case. A similar typology is followed through

***As the communities become familiar with this new system of expansion the social competence necessary to continue similar systems will arrive, and the optimism established will carry these places until establishment is inevitable.

A. Circular Gardens B. Column Forest C. Gathering Floor D. The Garden E. Service Level

A

B

C

D

E

Sections

into the “terrain units” but instead of a vertical structure, the ideology follows the existing topographies as much as possible; a familiar way of living to those who are used to creating the urban fabric that surrounds them.

FORD 60

DOUBLE / 512 FT²

SINGLE / 256 FT²

CONCRETE FOUNDATION

2’X2’ GRID

IMPLANTCOLUMNS

INSERT WETMODULE

CUSTOMIZEWALLS ANDMATERIALS

ROOF IS GREEN& CIRCULATION

A_ TERRAIN UNITSThese units are homes and businesses, meant to be stacked, although expansion for individual units happens horizontally. Each unit is flexible in that rooms can be moved around and the front door can be changed as expansion happens in every direction. Each has a courtyard to preserve outdoor space once stacking begins and the rooftops become public space and circulation. From above, the terrain looks almost uninhabited although densities may eventually be doubled. From the ground the conglomeration of self-built homes creates a human pixelation effect; an image of human topographies.

Informal Terrace Space

Storefront Space

Circulation Zone

Pixel Facade

Unit Courtyards

Assorted Open Space

Construction Neighborhood Stacking and Expansion

Ground Level View

Typ. Plans

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B_ TOWER UNITSEach unit has several options and can be altered further once installed. A wet module (kitchen/bathroom), utility connections, one partition wall, stair cutouts, and ceiling tracks are provided for future walls. From there the user picks their pieces. Personal outdoor space includes rooftops and optional balconies.

?

PRECASTCONCRETESTRUCTURE

STEEL UNITSUPPORTS

UNIT #416.1

UNIT #416.2DURING INSTALLATION

GREENBALCONYPIECE

BALCONY PIECE

1 FLOOR / 320 FT² 2 FLOORS / 640 FT² 3 FLOORS / 960 FT²

ECON 3RD

ECON 2ND

BASIC 3RD

Physical 1’:1/32” Urban Model

Typ. PlansTyp. Configurations

Construction

FORD 62FOFOFOFOFOFOFOFOFOFOFOOFFFFFOOFFFFOOOFFFFOFFOFFOFOOFFFFFFFFORDRDRDRDRDRDRDDDRDRDRDRDDRDRDRDRRDRDRDD 666666666666666666622222222222222222222

FORD 63FOFOOOFOFOFOFOFOFOFOOFOFOFOFOFOFOFOFOOOOOOOFOFOFOOORDRDRDRDRDRDRDDRDRRDRDDRDRRRDRDRRRDRRRRDRDRDRRRRRRRRDRRDRDRDDDDR 666666666666666663333333333333333333

CENTER FOR FAITH IN REASONING

While faith and reason both attempt to provide an explanation to our unanswered questions, there are significant differences in their approach. Logic (scientific research) is a system of acquiring proof to solve or explain a problem. Faith is an optimistic belief system put in place to explain possibilities for solutions to problems. There are unanswered gaps left in the answers produced by both faith and logic. Our solution is to create an environment that encourages dialogue between those that argue for scientific approach and those that rely on faith. While science and religion may appear contradictory, both systems attempt to discover necessary truths and provide answers for humanity to thrive in a single, productive, and efficient place. The Center for Faith In Reasoning is a science building on a religious university campus that creates a harmonious environment for both.

LOCATION: LOYOLA MARYMOUNT, LOS ANGELES, CA, USA

TEAM: FARNAZ MAHJOOB

YEAR: 2010 [CAL POLY POMONA; STUDIO w/SARAH LORENZEN]

AWARDS: INTERIM DESIGN SHOWCASE SELECTION

FORD 64

Expression / Monument

FAITH AND REASONING

In Christian monasteries the building expressed Christian organizational/symbolic systems through its architecture. There were three principal components to these buildings: the cloister, the temple, and the bell tower. Cloisters were designed to isolate monks from the public to minimize subjective influence. It was a space for individual and communal interactions to further discovery of religious “truth.” In contrast, the temple was designed to be welcoming to the public. It was here that the truth pursued in the cloisters was shared with the public. This space was designed to provide a symbolic expression of faith as a means to offer parishioners hope and clarity. The bell tower was literally constructed to signify time and to provide a visible marker for the church.

Loyola Marymount is founded on the Jesuit belief system that encourages learning and critical thinking, and that encourages the development of imagination and artistic expression. “In promoting the integration of knowledge, a specific part of a Catholic university’s task is to promote dialogue between faith and reason, so that it can be seen more profoundly how faith and reason bear harmonious witness to the unity of all faith.” (John Paul II) Scientific research on a religious campus may seem contradictory, however, in the Jesuit tradition, science is embraced as a crucial instrument in searching for the unity of “all truth.” Furthering this potential conflict in search of a true resolution we created a science building directly influenced by the traditions of those who invariably search for hope, happiness, and life. We began by examining symbols and architecture that are directly expressive and intentionally clandestine or unabashedly extroverted.

We must hope tofind happiness.

We must prove

happiness

exists.

We must hope to someday provehappiness exists.

...but the ideologies studied here must be expressed and shared with humankind because they provide a necessary hope and explanation.

Isolation from the outside world minimizes subjective influence and provides absolute sanctity for pursuit of truth...

How can a dialogue between faith and reason bear harmonious witness to both?

Tower Garden

Specific

Cracks

Peek

Core

Pedestal

Cloister

Object

Canyon

Tower

FORD 65

Base FormPlanarity vs ObscuritySolidarity vs TurbulenceShifting PlanesImplanted ProgramPenetrations & Bell TowerTopographic InsertionMidterm ExplorationFinal Exploration

SITE

Landscape is organized into zones where each zone is directly influenced by the adjacent building program. For instance, the more formal and organized library is directly connected to a formal French-style garden while the 24-hour lounge is next to a more natural and colorful garden serving as outdoor meeting space. The landscape also adapts to the sanctity, privacy, and activity of any particular part of the project. Zones

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meant to be more public are outwardly inviting with ample light, loose landscaping features, and attention triggers. Private or sacred areas, not unlike more ancient places of study, must provide sanctity and may be obscured by dense micro-forests, elevated from the ground plane, or simply located within strictly controlled areas of the project.

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Impact Variables Impact Zones Impact Results

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BUILDING CONCEPT

The centralized core functions as a protected cloister for researchers and students. The multi-disciplinary and public parts of the program, focused around the auditorium, occur on the ground floor acting as our temple. Other public program (cafes, galleries, and general education classrooms) create a buffer between the outside world and the scientific core. The bell tower acts as a visual landmark for the building. It is open to the public allowing users to explore the highest point on campus, symbolically and physically elevating visitors above the natural world.

The “base form” of the building resembles a functional “race track” typology but is specifically organized to break this typology; influenced by exposure to sunlight, visibility from primary campus thoroughfares, and programmatic necessities. Wrapped in a human-barcode-inspired translucent skin, the race track is broken by penetrative landscape, solid laboratory masses, and parametrically pixelated office conduits.

Organization and this re-defined typology controls the sanctity, privacy, and porosity expressed on all elevations. While necessary to expose scientific progress occurring on campus, it was essential to protect the sanctity of the process and those inside. Sacredness Public/Private Porosity

View from Main Campus Road

Site Plan

Temple of reasonable faith.

Site Section

FORD 67FOFOFORDRDR 66777

PROGRAM

Functionality and proximity, as in the most sacred places on earth, dictate where program is placed and where certain events inevitably happen. To provide greatest sanctuary, all public spaces are placed on the lower levels, primarily to the exterior. As one travels farther inside the complex, the spaces become more specific, quieter, and more productive.

Structural and (sometimes gigantic) mechanical systems weave through solidified laboratories and silent studies. Offices are placed methodically throughout the labs and classrooms in order to provide proximity to one’s passion but disperse, to an extent, the faculty among the pupils, providing the greatest opportunity for saturation of many ideas among many students.

View Inside Courtyard

ProgramCirculationStructure + MEP(drawn with Farnaz Mahjoob)

Observation Tower / Exhaust

LabsSupport LabClosed OfficeOpen OfficeConferencePublic SpaceGeneral ClassroomAdopted ProgramMEPClean CirculationDirty Circulation

FORD 68

resume/cv www.marshallwford.com marshallwford @ gmail.com3554 Shearer Ave, Cayucos, CA 93430 805.801.7576

EDUCATION Harvard University Graduate School of Design, M.ARCH II Degree, with distinction [2015] - Featured in Grounded Visionaries Campaign exhibition of the most infl uential and relevant GSD student work

- “workplan” traveling studio (Netherlands); “Cold Storage” documentary through Harvard metaLAB (Cambridge) - Publicist for “MISC,” a GSD student-run publication - Participant in Travel GSD, a GSD student group encouraging fi rst hand design experiences outside Harvard

California Polytechnic University, Pomona. B.ARCH Professional Degree [2011] - Awarded Deans Outstanding Student Award for most outstanding design student in the school of architecture, and the Concours d’Elegance for the best senior project in the school of architecture. - NAAB accredited Bachelor of Architecture degree, cum laude, Dean’s List x7, with a GPA of 3.56. - Member American Institute of Architecture Students, elected ENV Council Secretary, Golden Key Honor Society - Awarded prestigious Koeper Prize for Writing out of over 100 undergraduate and graduate students for best written critical exploration of an American architect, subject: Eero Saarinen.

EXPERIENCE Harvard Graduate School of Design [Architectural Instructor I Cambridge, MA I June 2015-July 2015] Architectural studio instructor for the 2015 Career Discovery Program; responsible for studio assignment design, implementation, and individual/group critique. Organized reviews, lectured on relevant topics, and assisted hand drafting.

Adrian Smith + Gordon Gill [Intern Architect I Chicago, IL, USA I June 2014-August 2014] Critical design and production role in SD, DD, and CD phases of high profi le, multi-billion dollar, intl. and domestic projects. Work includes an undisclosed supertall residential tower in New York, and Astana Expo 2017.

5+ Design [Designer I Los Angeles, CA, USA I August 2011-August 2013] Critical design role in concept, SD, DD, and CD phases of high profi le, multi-billion dollar, international, mixed use projects. Work includes Yongsan International Business District (Seoul, Korea; winner of 2013 RLI Future Project Award), Dongguan International Trade Center (Dongguan, China), and assorted projects in Turkey and China.

FoxLin [Designer + Graphic Designer I Los Angeles, CA, USA I sporadically 2011-present] Academic and professional design role in international social housing and urban design projects. Work includes housing and urban design projects in Haiti, Mozambique, and Angola. Developed a fl exible market module for the commercial urban re-establishment of Port-au-Prince, Haiti.

KMD Architects [Intern Architect I Santa Monica, CA, USA I Jun 2009-Sep 2009, Jun 2010-Sep 2010] Professional design and production role in DD, CD, and CA phases of built healthcare, civic, and urban design projects. Selected two consecutive years from a competitive fi eld for a single intern position in Los Angeles. Lead designer for conceptual large scale, urban redevelopment intern project for San Francisco’s waterfront.

PUBLICATIONS - Ford, Marshall; A Fragile Architecture [2015, Thesis Publication] - Open Letters & Backpocket Projects, Harvard GSD, for multiple projects [2014] - “Herman Hertzberger.” Pin-Up 2013/2014: 132-44 [2013] - Archinect.com & Bustler.com feature on “Fossilized Supra-capitalism” project [2012] - Fong, Jack; A World of Cities, “Uplift,” pp224-240 [2011-2012] - Ford, Marshall; Human Topographies [2011] - Senior Projects and Graduate Thesis, Cal Poly Pomona,“Human Topographies” [2011] - NTUT Wall Competition Publication, “Healing Bounds,” [2010] - Disney’s Bobby Brooks Memorial Studio Book, “Terminus” [2009]

SKILLS + AVOCATIONS Fluent in Rhino +vRay, Revit, Autocad, Photoshop, Illustrator, InDesign, Premiere, Sketchup, Ecotect, Microsoft Offi ce; Somewhat profi cient in Grasshopper, Maxwell Render, Dreamweaver, Flash, 3DSMax, After Effects

Advanced knowledge of materials & applications, theory, urban design, retail design, high rise design, programming, graphic design, rendering, sustainable practices, construction, professional practice, and complex scale model building.

Languages: English & some Spanish

FORD 69

awards

re:publica 15 Exhibition Selection [Berlin]Appleton Travelling Fellowship Finalist [Harvard GSD]

Grounded Visionaries Exhibition Selection [Harvard GSD]openLAB Exhibition Selection [Harvard GSD]

AIA|LA NextLA Citation Award [9/26-11/14]

MISC Publication Selection [Harvard GSD]

RLI Future Project Award [with 5+ Design]

“Relier” Exhibition Selection, Los Angeles

Post+Capitalist City #2 Work, 2nd Prize

Deans Outstanding Student Award(awarded for most outstanding design student in the school of architecture, Cal Poly Pomona)

Certifi cate of Concours d’Elegance(awarded for best architectural senior project in the university, Cal Poly Pomona)

Interim Design Showcase Selection* [Spring]

IIDA Student Exhibition, Impromptu Honorable MentionBESS Symposium SelectionInterim Design Showcase Selection* [Winter]Haiti Rebuilding Conference Showcase Selection, Port au Prince, HaitiInterim Design Showcase Selection* [Fall]

2010 AIAC University College Award Scholarship, 1st PrizeSocioDesignFoundation Vignette Competition Honorable MentionOutstanding 4th Year Design Student**NTUT International Wall Competition, Gold PrizeKoeper Writing PrizeDeans Writing AwardInterim Design Showcase Selection* [Spring]Metropolitan Water District Spring Green Expo SelectionBESS Symposium SelectionNational Association of Women in Construction Ch110 Scholarship [2008, 2009, 2010]Interim Design Showcase Selection* [Winter]

Team Leadership Award, Disney Bobby Brooks Memorial StudioBest Team Dynamic Award, Disney Bobby Brooks Memorial StudioInterim Design Showcase Selection* [Fall]

Outstanding 3rd Year Architecture Student Award**Interim Design Showcase Selection* [Spring]Interim Design Showcase Selection* [Winter]LG Beyond Design Competition, Top 10 Entrant

Outstanding 2nd Year Architecture Student Award**LA USGBC Natural Talent Competition Honorable MentionInterim Design Showcase Selection* [Spring]

* Exhibition of the best work in the program per quarter.

** Awarded to the top 5-10 design students in each academic year.

2012

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2015

2011

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2009

2008