Skies reflecting on my architectural model
A new perspective
Closeup of process of assembly of full architectural model
Individual plexiglass structure part of whole architectural model, beautiful optical illusions and etching effects from Rhino
Eddie Vedder, lead singer of Pearl Jam, wearing his corduroy jacket
Kurt Cobain Style
Kurt Cobain crowdsurfing in Seattle
Soundgarden, Wipe that grunge off your face
Le Roi Soleil, The Sun God, Louis XIV
Extravagant fêtes directed by Louis XIV at Versailles
Louis XIV age 10 by Henri Testelin
Topographic architectural model
La garganta del diablo, Cafayate, Argentina
Salta, Argentina, Montaña de Siete Colores
Marble floors at El Cementerio de la Recoleta, Buenos Aires, Argentina
3D modeled, plexiglass proliferation disk
Thoughts on my architectural models
The models centre around central/radial axis from which everything emanates, and also around elevated control points and sweeping growth patterns that move diagonally and vertically into space; it is essentially a growth around a radial central axis that itself changes form and mutates in its direction through the proliferation and growth of the model itself.
I placed specific emphasis on a purposeful and controlled center from which everything comes out of, but I did not want the modules to have a finite definition: leaving the backside of the round disk, for example, untouched invites speculation about the module’s future, whether it be more pieces added to the backside, changes in height, overall scale, different materials coming into play. It was an exploration of the central radial axis as the generator of continuous growth and movement that suggest future growth that is not prescriptive; the beginning of an unprecedented future growth.
The ridges of corduroy present similar characteristics as stacked plexiglass- parallel lines that accumulate and proliferate as the material becomes larger. Corduroy presents itself as multifaceted as a piece of plexi- it can have large ridging, which brings along certain characteristics, just like thick plexiglass, or it can even come in varieties that have the thinnest ribbing, like sheet thin plexi with laser produced etching.
My architectural models also echo the sentiment of drama and the extreme volume of period dress from the times of Louis XIV- their shapes inspire and echo the large and dramatic silhouettes of this era, yet they also suggest a certain toughness, due to their inherit material, being plexiglass, which can then be associated with the grunge attitude and movement I was inspired by. The plexiglass wedges could be, for example, interpreted as the "fraise" on Marie Antoinette's dress, or the spikes and hardware on a grunge singer's leather jacket. Possibilities are infinite, and speculating only presents a whole new host of ideas.
Minute details, all 3d modeled in Rhino, laser cut, hand assembled
More thoughts about my architectural models
Through the process of making, I embraced the idea of control and discovery: using the unplanned event/the surprise as a motivator. My module retained a central point of growth, but the tensions in the material pieces themselves caused an unprecedented form that grew diagonally yet retained its center.
I also played with variations of height, the insertion of a second material to capture different effects.
My full plexiglass architectural model
Cross-section prototype model, laser cut museum board
Fremont, Seattle. Extremely eccentric and alternative neighborhood that birthed some of the greatest grunge talents
Thoughts on Grunge
Kurt Cobain's corduroy jacket
Extravagant fêtes directed by Louis XIV at Versailles
Thoughts on Louis XIV, Versailles, Grunge, Palatine
I went to a French school from nursery until 9th grade… Hence, the French education system forms a large part of my educational identity and ideology.
In school, we obviously learned so much about France’s riveting and inspiring history.
One of the time periods we spent the most on, and is one of the most intriguing, is the whole era pertaining to Louis XIV, Le Roi Soleil.
With the corduroy theme, I immediately was mentally drawn to the French court and the garb worn by the courtisans, and all of the beautiful art and design associated with this era. Fabrics used were always sumptuous and regal, dripping opulence and wealth. I wanted to bring this spirit to the forefront of my project. Also in regards to Versailles, last year I read many texts written by La Princesse Palatine, who was married to Louis XIV’s younger brother, who was actually homosexual. Palatine knew, and didn’t care- it was a political marriage alliance anyways, so she just wanted to live her life and didn’t want to know much about her husband’s extra marital affairs… She would detail life in the French court to her family back in Germany, complaining about how terrible it was and how much she hated the ridicule of living there. She hilariously details the way people are in the French court, and all of the funny drama that went on. This was also something I was very inspired by- the whole dark side of Versailles that is lesser known, and perfectly chronicled through Palatine’s texts. This sentiment echoes the grunge movement, where grungy people just want to live their life despite the craziness happening around them, and have an angsty outlook towards the outside world. Palatine is almost like an early adopter of grunge ideology.
I was also very inspired by the insane parties that Louis XIV would throw at Versailles- last year I also read various texts written by him himself, and other contemporaries, that would detail the way these festivities were in their extravagance and opulence, all to extend the all encompassing subliminal power of Louis XIV himself. He fashioned himself as equal to God, and through these parties that were extreme shows of never before seen fantasies, people continued to be blinded by his power, entranced and touched by his sublime power. This inspires me extremely- through the design, I also want to communicate this same sense of extravagance, opulence, and subliminal details.
Landscape architecture, topographic mapping model
La garganta del diablo, Cafayate, Argentina (size comparison to my body!)
Thoughts about the Mountains in Salta, Argentina
The mountains and beautiful scenery in Argentina always permeate into my projects somehow- and I am not complaining. There is endless inspiration in this country that forms such an important part of my identity, and I feel so at home in this type of nature, although it is nothing alike to the environment I grew up in.
The mineral sedimentation of the rocks reminds me so much of corduroy in the way that the layering happens in a similar parallel fashion, yet can bend and take turns whilst holding the same system of stacking and linear organization.
The natural earth tones of the rock are also extremely pleasing to me. I love working with natural tones and then introducing selective pops of color here and there… The purple that runs throughout my project began from the purple mineral sedimentation of THESE mountains!
I love that the purple originates from nature and Mother Nature’s elements- as much as the color can be associated exclusively with royal opulence and wealth, these mountains are a reminder that colors just like my purple shade begin on the Earth that we all share.