> 1. Picnic Blanket 
It is evident that the idea of the al-fresco dining is richly connected to folly’s history. Although, the relation becomes precarious as the pitfall of an overreliance on the program could remove the ambiguity of the typology, casting it into a sort of pavilion for oysters. To avoid such a reduction, the idea of consumption and expulsion becomes the protagonist, and the folly’s insistence on the fixed menu of oysters and champagne becomes the narrative desideratum. The purpose of this fixed menu is as a rhetorical device to juxtapose with the seriousness of the climate crisis. As time passes, due to the precarious construction of the thin platform, cracks occur, and the tabby concrete starts to break. Since the folly is being used consistently the gaps are also eventually filled with more oyster shells. As the decades pass, the platform breaks into smaller and smaller pieces, being overtaken by sand. The figure of the platform becomes more and more inscrutable, being subsumed by the beachgrass, sand, and oyster shells. The edge beams barely hold the platform pieces in their place offering further stabilization to the dunes.The picnic blanket is always already architecture. In fact, arguably, it is one of the purest forms of architecture. It defines above all a location in space and provides a sense of space. It fosters varied yet discrete activities and it is the around-which of any leisurely affairs.  Its use and purpose are ambiguous, so much so that all the activities made possible by the blanket, are even possible without it. Thus, the picnic blanket, not only has a strong architectural force but also has a deep connection to the idea of the folly. It is useless, and sufficiently ambiguous. 
The “pressure” (Neimark, SCI-Arc) that the Duchamp door puts on the privacy of spaces of the Shotgun house calls out the apparent liberty that one would have in one’s domestic space and one’s artist studio in a single long house. In a moment of irony, the house, that is supposed to give increasing levels of privacy, first gets flattened out by the introduction of ten Duchamp doors which erase all manner of progression and promenade through the plan and secondly get the labyrinthian promenade through the sandwich of programs. The house acts a machine for collapsing time in some way, where everything could happen simultaneously, and the level of control ends at the level of the hinge which one may control in a room. The totality of the house thus, in its conceptual and construction realms exist within the construction documents. The models built for the house also are working models which show how it will be put together. The material specificity thus becomes the explication and the meaning simultaneously. If wall in canonical architecture gathers differing meanings, for example, as a conceptual plane which demarcates space, as a vertical surface for elevation, the constituent corporeal sum of all its parts and pieces, as the extended column etc., then the shotgun house choses only a singular connotation for its elements. Multiple meanings are shed and instead a mereologically coherent constructional logic is adopted. The wall is the 2x6 stud, the sheathing, the paint layer, the screws, and the insulation in its totality. There is nothing more, just the constitutive parts. Thus, the architecture does not signal its differing modes of representation. The constructed house only refers to itself and not to its drawings, its model, or its rendering. And in this self-referencing activity, it makes itself more and more rich with meaning. For example, because of the added requirement of a doorstop on one of the transverse walls, the wall had to be thickened to a 2x6 stud instead of the standard 2x4. The molding on the lintel of the door therefore must travel until it hits that wall and suddenly changes direction jumps to the new thickness. Similarly, because the molding gets cut at the hinge carrying wall due to an intersecting wall, it must be continued on the other side, where it merges with the molding of the other wall. These logics, seem almost unrelenting and objectively averse to minor correctional detailing (like just making the lintel 2x6 as well.) and seem to invoke a sort of deadpan quality. Instead of hiding the error, one reveals it in a monotonous manner – the 2x6 thickness because of the additional door stopper. 
> 3. the order of play 
      > collaboration w/ oscar Zamora 
A playground for the town of El Retiro in Colombia. The size of the site necessitates a strategy to induce play in less than conventional ways. Play, we proposed, can only happen when the rules are set, once the boundaries are delineated. And once the order is placed, one must successively erase it to generate specific disorder. The gradient grid allows the dispersion of play zones according to age group and lays the setting to create a virtual archaeological site. This order then gets obfuscated with the play of children shifting the sand around and the temporal dynamics of ecological succession. 
> 4. tower for a collector 
Cavernous follies, hypertrophied limbs, and the subjugation of the flesh to the architecture corner are themes of this yet ineffable fetish. The representations of cows and bulls in a fervent moment dsubjugated by the frame of the artwork itself show a concentration of this fetish. A collection of these objects can’t help but psychologize the collector – the collector realizes their obsessions with other conditions of interest and can then delineate why certain preoccupations have existed. This personal speculation engulfs ideas about architecture, art, and in general culture. The contortion of the bull in Jacques Lipchitz sculptures has efficacy because of the tension because of the close proximity of the frame of the painting. The collector immediately thinks of the corner condition, a theoretical problem worked on by generations of artists and architects. Tatlin’s Corner Counter Relief comes to mind as the figure simultaneously needs the corner and is contorted by it. The collector also can’t help but wonder about cubist sculptures that Jacques Lipchitz did. The distortion of the subject in cubist works allows for the work to densify especially when the frame doesn’t expand with the increased content. The constriction allows for a more perfect figure of these bovine animals to come through. The distortion is fetishized to the point where it matters less if the cow is seen in its degrees of cow-ness, but a more abstract and subtle bovine form that has potentialities to nest, carve and occupy space. These forms almost never need to be complete. The collector also feels the apogee of the fetish, when all of it isn’t revealed. The projection in the mind allows for the figure to remain obscure, but the fetish to reach its completeness. The non-finito sculptures of Michelangelo show such an interest. The contradiction between the muscles and the heavy stone evoke the same feeling in the collector. There is no abstraction here, just the act of stopping before things are finished or halfway. The ideas then start to coalesce, the corner construction of the muscly figure, the articulation of work in unmoving solid material, the distortion and contortion because of the tight frame and the  cavernous. The collector has found the trick to stroke their fetish.

> 5. swerve       > collaboration w/ Malvin wibowo & yiqun wang ...Right away, two contrarion modes of working [on the existing Eduardo Catalano brutalist library] became interesting to us. ...OMA’s extension to the KaDeWe mall in Berlin and ...Piazza del Popolo. OMA’s proposal generates a mode of working within the existing building and expanding its scope and radically shifting its functioning through addition of elements. In the case of Piazza del Popolo, the church on the right, added shortly after its neighbour tries to mimic, imprecisely but effectively. The [first] strategy... we categorize as, to borrow Jeffrey Kipnis’ words In-formation, is where disparate formal and programmatic elements are encased within a Modernist monolith. While..., the Piazza del popolo, is a doubling, which we have been referring to as a sibling, who can have an adversarial relationship, or one of support. Kipnis loosely calls it DeFormation.  [ITERATIONS]From the beginning our group simultaneously worked on both these strategies. We decided to move forward with the other site, where we demolish a one storied brick building, which mostly holds rental offices. By creating a wall of bookshelves facing the Catalano building, we try and initiate a set of effects. The two buildings make the street a hinge but these structures never directly cnect, above or below ground. The Catalano library is hollowed out. Its mezzanine and core removed; it achieves its desire to become a one-room library. By making the slender block which holds all the bookshelves and the corridor, we also generate a void on the right, between it and the existing parti wall. In pursuit of maintaining the diagrammatic separation of the giant reading room, street, books, and void, the services try and find an interstitial space between the books and the public space. With the addition of services and discrete small volumes of programs, we put pressure on this public space to condition it as an informal backyard. The backyard hosts a multitude of activities between the existing parti wall and the rotations of the servant blocks. The floors above are held by the singular corridor with small spaces and nooks on one end. In this process, we’ve returned to a few references again and again, that we think this project has its lineage to. Himmelblau and the free floating objects in the back provide a looser counterpoint to Kahn’s motherhouse and Stirlings wissenschaftzentrum. Our work problematizes these qualities in a compressed space. We put pressure on the program as well as the residue. We achieve the quantitative doubling, although by not explicitly making the doubling look like one. The library shifts its character now, by expanding into a small neighborhood resource of books. The Catalano, by the clearing While in a conventional diptych, the conversation happens in difference of readings, we imagine the reading of our addition to be never be read as a double. There is no difference because everything is different. It serves rather as a counterpoint, as a unit of measurement for the Catalano building.  > 6. “i must have a wall behind me” - mies This project proposes an extension to Mies’s final commission in Berlin - Haus Lemke. After considerations of the site, a moderate construction was deemed most appropriate. Although minimal in its footprint, the project redefines the exisiting house formally and generates a renewed public courtyard. [It]... considers the courtyard formed by the L-shaped plan of Haus Lemke as its subject. The two walls proposed here begin to address the condition of the contained outside. In a dialectical relation with the glazed facades of the Haus Lemke, the wall starts to gain its own identity as a formal and visual marker at the end of the court. The garden currently at Haus lemke, has a peripheral status. It is off to the side, divided by the two paths originally proposed by Karl Foerster landscape design. These paths, sever the garden off and convert the house into an contained siteless object. The walls conceptually finish the courtyard space and in doing so strip the reading of the house as this autonomous object, instilling it rather firmly in an expanded court space within the garden. The house now put into the larger matrix in relation with the garden, starts to question itself in relation to nature. With the addition of the wall and the subtraction of the Foerster paving paths, the court and the garden come again into the dialogue with the house, completing the conceptual schema that Mies had proposed. If the walls have existed as pure demarkers of space in the Barcelona pavilion, as a pure virtual surface at the Farnsworth house, and as only fulfilling its loadbearing function at lemke, these walls build on those tensions between structure, sign and demarker. With its extremely thin marble edge reveal the wall acts as an image for the house. The wood backing reveals the construction logic of the wall. By peeling itself open, the wall also supports itself and by virtue of its L-shaped plan, starts to suggest its own space. Upon close examination of the wall, one finds that the marble, isn’t actually a marble. Glass from the electronic waste is recycled to produce these sustainable tiles which by virtue of their iron oxide content reveal a green pattern mimicking the ornamental marble patterns of the Barcelona pavilion.  > 7. turtles all the way down     > collaboration w/ pablo castillo luna,  rolando girodengo, sarah hopper, fernando garrido The OFFICE KGDVS designed structure is a “1:1 scale model” of the pavilion. Our installation is a model of this model of a pavilion. Formally the project is a series of continuous regressions in scale which raises questions about the status of representation and the differing intellectual associations inherent to such scalar jumps. We intend to link these jumps to subtly intervene in the social space that the pavilion wants to engage. OFFICE’s pavilion shifts in its reading between a model and a piece of built architecture. Our model of a model acts as an attractor point within the field of the pavilion, also performing in a reflexive move as the referent for the actual structure. “The desire for stable origins [in architecture] always turns up empty.” Stan Allen’s words are an appropriate encapsulation of the idea that architecture exists within the realm of representations of the built work, not the built work itself. The idea of scaling, much like a Russian doll, is thought of as an endless series of models nested within each other which raises this very question of the locus of architecture. Here, these models serendipitously come into contact with the virtual social space and become usable. The 1:5 scale becomes a table used for a DJ station for Beer ‘n Dogs, the 1:10 scale acts as a bench, and the 1:20 scale acts as a footstool. Hence, the role of function is questioned through formal gesturing, recalling Eisenman’s experiments at Cannaregio in 1978. The intervention activates the space by giving it a temporary center, and once the models are removed, the space returns to its originary status. After the exhibition, the table, bench, and footstool would be taken to different locations to act as models of social interaction in elsewhere. The intervention, we hope, would initiate a conversation about the idea of the model and its potential in the social space.