Download - Isaac Howell Portfolio
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Isaac Howell
Selected Works
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Isaac HowellSelected Works
University of California, Berkeley: 2013B.A., Political Eonomics
University of Michigan: 2016Master of Architecture
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Taxidermy in a Dressing Room with Annelise Heeringa + Jayne Choi
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Studio Work
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In the interior, he brings together remote locales and memories of the past . . . every single thing in this system becomes an encyclopedia of all knowledge of the epoch, the landscape, the industry, and the owner from which it comes.
Graduate Studio VII: ThesisInstructors: McLain Clutter + Andrew Moddrell
An Island for 27 Subjects
-Walter Benjamin, The Arcades Project
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The interior, as Walter Benjamin argues in The Arcades Project, defines the urban subject through an encyclopedic collection of objects. Aggregated together, these interiors create buildings that symbolize their own specific meanings.1 The city, as a collection of these buildings, implies a collective subjectivity that all interiors and individuals reside within. This creates different subjectivities of the city (society) and the interior (individual), and the [mental and physical] boundaries between them that are produced. The urban interior, therefore, is a space of identity politics where the subject is framed and defined against the backdrop of society.2 Rather than being constrained by the interior, this thesis relishes in the possibility of an object-urbanism that creates individual subjectivities of the interior within an urban design.
The depiction of urban interiors in recent paintings investigate the relationship between the urban subject and city.3 Through techniques of perspectival construction and formal composition, these visual relationships were spatially studied. To understand this, a method of analysis was created where the subjective interior can determined scalar and formal relationships of the exterior, opening up new possibilities of both interior and urban architecture. The proposal is the speculative application of these techniques on the site of Roosevelt Island, itself an urban interior. These interior-exterior and building-object relationships were investigated, tested, and manipulated. The result is an architecture where buildings, objects, interiors and exteriors are re-shuffled and re-organized; an urbanism for the inscription of imaginative subjectivities.
1 Leon Krier, The Architecture of Community, 2009: 29.
2 Judith Butler, Excitable Speech: The Politics of the Performative, 1997: 21.
3 see Gustave Caillebotte, Young Man at His Window, 1875.
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Thesis Exhibition RGB Gallery, Taubman College
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The paintings that were studied of urban interiors each show a distinct relationship between exterior and interior objects. After spatial analyses, physical (not pictured) and digital models were produced. The building forms which that were created as a result of reconstructing these interiors were then appropiated on to Roosevelt Island, New York City.
Henri MatisseInterior With Goldfish
1914
Madelon VriesendorpFlagrant Delit
1975
Edward HopperRoom in Brooklyn
1932
Gustave Caillebotte,Young Man At His Window
1875
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Each object-building contains two interiors, and their arrangement was to construct and collect views of specific buildings on Manhattan, and reciprocally, to itself. The result is an urban plan that appears jumbled but, in fact, is highly curated.
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The
sis
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The
sis
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Similarly, the poche of these buildings curate the collection of objects within it. As a result, there is a blurred distinction between the interior architecture and the objects themselves.
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Oppositely, the site contains urban objects of the human scale: park benches, mailboxes, bus stops, subway turnstiles, etc, in gradients of intensities. This mimics the density Manhattan, but rather as an object-urbanism.
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Axonometric Interior Views
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Axonometric Exterior Views
The
sis
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Models:City Rendered as a Field of ObjectsScale 1:200
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Models:City Rendered as a Field of ObjectsScale 1:200
The
sis
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Exterior Views: Collections of Urban Artifacts
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Interior Views: Curating the Field of Objects
The
sis
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SECTION A-A
Graduate Core Studio V: Comprehensive / HousingInstructor: Julia McMorroughw/ Kallie Sternburgh + Suxian Sun
Hi [Density] / Lo [Rise]
Mat-building can be said to epitomise the anonymous collective; where the functions come to enrich the fabric, and the individual gains new freedoms of action through a new and shuffled order, based on interconnection, close-knit patterns of association, and possibilities for growth, diminution, and change.
-Alison Smithson, How to Recognise and Read Mat-Building
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Designing high-density / low-rise housing provides a unique set issues: How can the site be logically organized? What should the unit varieties be? How can individuality be introduced? And, can it not be a mat-building? We explored different possibilities to these answers in our proposal for a housing project in Ann Arbor, Michigan.
In this project, we considered the characteristics of private and public space, individuality of aesthetic, and form as pattern. The project features three housing cubes consisting of various unit types. Within each cube, living patterns are sub-organized into a 12 x 12 grid. Each domestic program is assigned both a vaulted interior form and an external fenestration. This allows for a variety of aggregation opportunities while maintaining an inherent logic to organization, allowing for flexibility in both program and appearance.
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12
12
12
ROOM TYPE FENESTRATIONPATTERN
FORM
CONTENT TO FORM BEDROOM
BATHROOM
ENTRY
TERRACE ENTRY
LIVING
DOUBLE HEIGHT LIVING
ROOF TERRACE
DINING
LIVINGDINING
KITCHEN
FORM AS LIVING PATTERN
Content Form Form as PatternBEDROOM
BATHROOM
ENTRY
TERRACE ENTRY
LIVING
DOUBLE HEIGHT LIVING
ROOF TERRACE
DINING
LIVINGDINING
KITCHEN
FORM AS LIVING PATTERNBEDROOM
BATHROOM
ENTRY
TERRACE ENTRY
LIVING
DOUBLE HEIGHT LIVING
ROOF TERRACE
DINING
LIVINGDINING
KITCHEN
FORM AS LIVING PATTERN
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2 BD
CUBE 1 CUBE 2 CUBE 3
3 BD (2 STORY) 1 BD
1 BD
2 STUDIOS
2 BD
2 BD
2 BD
1 BD
FORM AGGREGATION Form Aggregation
Hi /
Lo
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FLOOR 11 Bedroom
FLOOR 23 Bedroom + 1 BedroomFLOOR 1
2 Bedroom
FLOOR 2 1 Bedroom + 1 Bedroom
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FLOOR 32 Bedroom
Hi /
Lo
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Hi /
Lo
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PlansCube 2
PlansCube 3
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Hi /
Lo
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Unit Model + Site Model
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Hi /
Lo
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I want to tell you a story about a poor little rich man. He had money and possessions, a faithful wife who kissed his business cares from his brow. and a brood of children that any of his workers might envy. His friends loved him because whatever he touched prospered. But today things are quite, quite different. It happened like this.
Graduate Studio VI: PropositionsInstructor: John McMorrough
Il Rhombi: An OperaAn Opera (In)Complete
-Adolf Loos, Poor Little Rich Man
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Ever since the German opera composer Richard Wagner proposed the idea of the total work of art (Gesamtkunstwerk), architects have been enthralled by the idea. From Loos to Lloyd Wright, Corbusier to Koolhaas, the work of architects have extended far beyond buildings themselves. The ambition of the studio was to design at a variety of scales (building, furnishings, and objects) to test ideas of materials and assemblage, and extend the ideal of design totality.
The task was to make a design opera/work entitled Der Traum der Gesamtkustwerk (the Deam of the Total Work of Art), based upon the short story The Poor Little Rich Man by Adolf Loos. The work was to implicated a logic of completeness (and incompletion) in the space between the real and the fake, control and happenstance. The field of production included diagrams, drawings, models, sets, images, furniture, videos, and scriptsstarting with, and culminating in, the design of a dream house.
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Left: Step 1, Design a Dream House
Right: Step 2, Complete Geometry
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sitting . . . . . . . . . . . . . . . . . . . . standing
sitting . . . . . . . . . . . . . . . . . . . . standingStep 3: Furniture (Set)
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Step 4: Little Elemetns
Ashtray Plates Cutlery
Pillows Slippers Carpet
Il R
hom
bi: A
n O
pera
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Step 4: Opera (In)Complete Film Stills
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In its frantic search for more profitable investments, capital will begin to live its life in a new context: no longer in the factors and spaces of extraction and production, but on the floor of the stock market casino, jostling for more intense profitability. But it wont be as one industry competing with another, nor even productive technologies against another in the same link of manufacturing, but rather in the form of speculation itself: specters of value, as Derrida might put it, are vying against each other in a vast, worldwide, disembodied phantasmagoria.
Graduate Core Studio IV: NetworksInstructor: Jen Maigret
A Loss Disguised as a WinLudocapitalism as Urbanism of Detroit
-Frederic Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism
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The first gas-powered automobile and mechanical slot machine were both invented in 1889. Since that year, the city of Detroit, Michigan was built on a bet of capitalistic spec-ulation and automobile production. 90 years later and all but abandoned by this industry and facing bankruptcy, Detroit turned to the most modern form of capital production: casino gambling. Labeling it as urban recreation in the zoning ordinance, casinos now contribute over 30% of the total tax revenue.
Casinos are the embodiment this new era of ludocapitalism. There are no longer la-borers nor a manufactured good. Only profits are produced, which are kept in constant movement to create further profits. One strategy in particular to produce this phenom-enological environment is the multi-line slot machine. By placing multiple, simultane-ous bets, the player has a greater perceived chance of a win. When one line wins, the machine celebrates a victory, stimulating a desire for continued gaming. However, the machine fails to acknowledge the total loss incurred. By maximizing exposure to these losses disguised as wins, the casino has become an alternate reality of a complete tonal experience. This project explores the architectural implications and possibilities of the multi-line gaming space, and its application in built form in Detroit. Working in section, the design is intended to be a spatial correlation to the methods of slot machine designs; creating spaces of intensified exposure to the abstractions of capital and gaming within.
diagram: Patent US 6270410 B1Remote-Controlled Slot Machine
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0 1000
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1000 1500 1800 1900
800
21,019
285,704
1660
: King
Cha
rles I
I of E
nglan
g all
ows g
ambl
ing b
y all
1665
: Firs
t hor
se ra
cetra
ck b
uilt i
n N
orth
Am
erica
on
Long
Islan
d
1832
: Firs
t leg
al ga
mbl
ing h
ouse
ope
ns in
Unit
ed S
tate
s, N
ew O
rlean
s, Lo
uisian
a
1869
: Gam
bling
is f
rist l
egali
zed
in th
e U.S
. Sta
te o
f Nev
ada
1887
: Firs
t mec
hanic
al, co
in-di
spen
sing
slot m
achin
e inv
ente
d by
Cha
rles F
ey, S
an F
ranc
isco,
Cali
forn
ia
1444
: The
city
of L
'du
ce r
uns a
lott
ery
to ra
ise fu
nds t
o re
pair
the
city
's w
alls
and
fort
ifica
tions
, Fra
nce
Thi
s is t
he e
arlie
st re
cord
ed lo
tter
y in
whi
ch p
artic
ipan
ts p
ay fo
r a c
hanc
e to
win
. Gra
nd p
rize
is 30
0 flo
rins
1520
: King
Fra
ncis
I of F
ranc
e sig
ns a
bill l
egali
zing
lotte
ries i
n Pa
ris, L
yons
, Stra
sbou
rg, B
orde
aux,
and
Lille
1726
: The
Net
herla
nds e
stab
lishe
s the
firs
t nat
iona
l lot
tery
1732
: Pop
e Clem
ent X
II pe
rmits
the e
stabl
ishm
ent o
f a R
oman
lotte
ry
1621
: tie
nne B
rl
padd
els u
p th
e St.
Mar
y's R
iver a
nd en
ters
Lake
Sup
erio
r
1670
: Fre
nch
miss
iona
ries fi
rst a
rrive
to th
e sit
e of
Det
roit
1701
: For
t Det
roit
first
sett
led
by A
ntoi
ne L
aum
et d
e La M
othe
, sieu
r de C
adilla
c
1760
: Fra
nce
surre
nder
s For
t Det
roit
to th
e Br
itish
1783
: Tre
aty
of P
aris,
Brit
ish c
ede
Fort
Det
roit
and
surro
undi
ng te
rrito
ry to
the
Uni
ted
Stat
es
1837
: Mich
igan
bec
omes
a St
ate
1888
: Glo
be T
obac
co b
uild
s a fa
ctor
y ne
ar d
ownt
own
Det
roit
1889
: Ham
mon
d Bu
ildin
g co
mpl
eted
, firs
t ste
el-f
ram
ed sk
yscr
aper
in D
etro
it
Cadillac
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1900 1920 1940 1960
Population
of Detroit
, MI285,704
465,766
993,678
1,568,662
1,623,452 1,849,568 1,670,144
1933
: Hor
se ra
cing
betti
ng is
lega
lized
in N
ew H
amps
hire,
Ohio
, Wes
t Virg
inia,
Cali
forn
ia, an
d M
ichig
an19
34: H
orse
racin
g be
tting
is le
galiz
ed in
Mas
sach
uset
ts an
d Rh
ode I
sland
.
1946: Total amount spent on legal gambling in the United States: $500 million
1947
: Clar
k Cou
nty,
Nev
ada,
appr
oves
352 g
ambl
ing lic
ense
s19
48: g
ambl
ing le
galiz
ed
in Pu
erto
Rico
1934
: Pue
rto R
ico in
stitu
tes a
lotte
ry
1889
: Ham
mon
d Bu
ildin
g co
mpl
eted
, firs
t ste
el-f
ram
ed sk
yscr
aper
in D
etro
it
Rapid Motor Vehicle Company Buick
Motorcar Company Lincoln Motor CompanyChevrolet
General Motors
Ford Motor Company
Packard
Chrysler
Cadillac
1929
: Am
bass
ador
Brid
ge co
mpl
eted
, link
ing D
etro
it an
d W
indso
r, O
ntar
io
1943
: Pea
k W
WII
prod
uctio
n, o
ne B
-24
bom
ber/
hour
at F
ord
s Willo
w R
un p
lant
1943
: Det
roit
Race
Rio
ts
1954
: Nor
thla
nd C
ente
r sho
ppin
g m
all o
pens
, Sou
thfie
ld
-
1960 1980 20001,670,144 1,514,0631,203,368
1,027,964
951,270
$539
,639,1
34
$1,17
3,174
,718
$1,37
0,31
6,981
$1,35
5,974
,378
$1,40
2,740
,796
$1,43
5,064
,984
713,777
Reven
ues from
Detroit casinos
1946: Total amount spent on legal gambling in the United States: $500 million
1974: Total amount spent on legal gambling in the United States: $17.3 billion
1976
: Cas
ino g
ambl
ing le
galiz
ed in
Atla
ntic
City
, New
Jer
sey
1993
: Rive
rboa
t cas
inos a
llowe
d in
Miss
issip
pi, In
dian
a, an
d M
issou
ri
1995
: Col
orad
o leg
alize
s trib
al ca
sinos
1994
: Rac
etra
ck ca
sinos
lega
lized
in D
elawa
re, Io
wa, L
ousia
na, a
nd W
est V
irgini
a
1992
: Rac
etra
ck ca
sinos
lega
lized
in R
hode
Islan
d19
91: T
ribal
casin
os b
egin
oper
ating
in W
iscon
sin
1993
: 92 m
illion
peo
ple v
isit c
asino
s in
the U
nited
Sta
tes
1994
: Cea
sars
Cas
ino o
pens
, Wind
sor,
Ont
ario
2004
: Pen
nsylv
ania
and
Okla
hom
a leg
alize
casin
o ga
mbl
ing
2004: Total amount spent on legal gambling in the United States: $78 billion
2004: Total revenue from slot machines in the Untied States: $25 billion
2005
: Har
rahs
, Inc.
acqu
ires C
easa
rs E
nter
tainm
ent,
Inc.
for $
9 bi
llion
2000
: MG
M G
rand
buy
s Mira
ge R
esor
ts fo
r $6.4
billi
on
2005
: MG
M-M
irage
buy
s Man
dalay
Res
ort G
roup
for $
7.9 b
illion
2007
: Kan
sas a
nd M
aryla
nd le
galiz
es ca
sinos
2008
: Alab
ama l
egali
zes v
ideo
bing
o ha
lls
1993
: firs
t trib
al c
asin
os o
pen
in A
rizon
a, Id
aho,
and
Ore
gon
1990
: Rive
rboa
t gam
bling
allo
wed
in Illi
nois
2012
: Ohio
lega
lizes
casin
o ga
mbl
ing20
13: N
ew Y
ork l
egali
zes c
omm
ercia
l cas
inos
2010
: Cas
ino ap
prov
ed in
Main
e ref
eren
dum
1988
: Sou
th D
akot
a vot
es to
allo
w slo
t, vid
eo, a
nd o
ther
gam
bling
mac
hines
in th
e sta
te19
88: F
eder
al In
dian
Gam
ing R
egula
tory
Act
19
89: C
asino
s leg
alize
d in
Iowa
1987
: U.S
. Sup
rem
e Cou
rt leg
alize
s trib
al ca
sinos
in
Cali
forn
ia vs
. Cab
azon
Ban
d of
Miss
ion
Indi
ans
1986
: firs
t trib
al c
asin
o op
ens i
n C
onne
ctic
ut
1987
: gam
bling
lega
lized
in D
eadw
ood,
Sou
th D
akot
a
1979
: Sem
inol
e T
ribe
open
s fist
Indi
an c
asin
o, F
lorid
a
1963
: Bal
ly in
vent
s the
firs
t ele
ctro
mec
hani
cal s
lot m
achi
ne
1964
: New
Ham
pshir
e leg
alize
s sta
te lo
ttery
1971
: New
Yor
k leg
alize
s off-
track
bet
ting,
Mas
sach
uset
ts, P
enns
ylvan
ia, an
d C
onne
cticu
t leg
alize
stat
e lot
terie
s
1968
: Bal
ly in
vent
s firs
t mul
tilin
e pa
yout
slot
mac
hine
1998
: Cali
forn
ia all
ows f
or th
e esta
blish
men
t of I
ndian
casin
os
1999
: Trib
al ca
sinos
beg
in op
erat
ing sl
ot m
achin
es in
Was
hingt
on
1976
: Firs
t vid
eo sl
ot m
achin
e
1971
: Mas
sach
uset
ts, P
enns
ylvan
ia, an
d C
onne
cticu
t leg
alize
stat
e lot
terie
s
1984
: Ore
gon
and
Wes
t Virg
inia l
egali
ze st
ate l
otte
ries
1976
: Ver
mon
t leg
alize
s sta
te lo
ttery
1980
: Ariz
ona l
egali
zes s
tate
lotte
ry
1982
: Was
hingt
on, C
olor
ado,
and
Was
hingt
on, D
.C. le
galiz
e sta
te lo
tterie
s
1985
: Iowa
, Miss
ouri,
and
Mon
tana
lega
lize s
tate
lotte
ries
1987
: Kan
sas a
nd V
irgini
a leg
alize
stat
e lot
terie
s
1990
: Lou
isian
a and
Main
e leg
alize
s sta
te lo
tterie
s
1991
: Tex
as le
galiz
es st
ate l
otte
ry
1992
: Geo
rgia
legali
zes s
tate
lotte
ry
1995
: New
Mex
ico le
galiz
es st
ate l
otte
ry
2002
: Nor
th D
akot
a and
Sou
th C
arol
ina le
galiz
e sta
te lo
tterie
s 20
03: T
enne
ssee
lega
lize s
tate
lotte
ry
2008
: Ark
ansa
s leg
alize
s sta
te lo
ttery
2013
: Wyo
ming
lega
lizes
stat
e lot
tery
1989
: Idah
o leg
alize
s sta
te lo
ttery
1988
: Flo
rida,
Indi
ana,
Kent
ucky
, Minn
esot
a, an
d W
iscon
sin le
galiz
es st
ate l
otte
ries
1986
: Sou
th D
akot
a leg
alize
stat
e lot
tery
1967
: New
Yor
k leg
alize
s sta
te lo
ttery
1970
: New
Jer
sey l
egali
zes s
tate
lotte
ry
1972
: Mar
yland
lega
lizes
stat
e lot
tery
19
73: D
elawa
re an
d O
hio le
galiz
es st
ate l
otte
ries
1974
: Illin
ois,
Main
e, an
d Rh
ode I
sland
lega
lizes
stat
e lot
tery
2007
: MG
M G
rand
Det
roit
open
s lar
ger c
asino
1999
: Mot
orC
ity, G
reek
town
, and
MG
M G
rand
Cas
inos o
pen,
Det
roit
Mich
igan
Gam
ing
& Co
ntro
l Boa
rd cr
eate
d
1988
: Det
roit
vote
rs re
ject c
asino
s, 62
%-38
%
1996
: Mich
igan
Cas
ino G
ambl
ing
Act p
asse
s, 51
.5%-4
8.5%
files for bankruptcy
files for bankruptcy
1967
: Det
roit
Race
Rio
ts
1973
: Col
eman
You
ng el
ecte
d m
ayor
1977
: Ren
aissa
nce C
ente
r ope
ns
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tonal studies:
perception of winning machine scale, building scale, urban scale
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When Foucault defines Panopticism, either he specifically sees it as an optical or luminous arrangement that characterizes prison, or he views views it abstractly as a machine that not only affects visible matter in general but
also in general passes through every articulable function. So the abstract formula of Panopticism is no longer to see without being seen but to impose a particular conduct on a particular human multiplicity.
-Gilles Deleuze, Foucault
A L
oss
Disg
uise
d as
a W
in
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section study:
a space that intensifies exposure to disguised losses, encouraging a continuous production of gamingor, the participation of any other program that may occur
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A L
oss
Disg
uise
d as
a W
in
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Case Study: Prada TokyoArch 417: Construction
Diagram of Structural + Facade Systems
Instructors: Jen Maigret + Claudia Wigger
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12
3
4
5
6
7
89
101112
13
141516
aluminium diagonal post-and-rail facadetwo-paned rhomboid window, glazedsilicone waterproof sealaluminium guide trackwelded sheet-steel supporting sectioncalcium silicate fire-resistant claddingaluminium diagonal post-and-rail facadetwo-paned rhomboid window, glazedstainless steel sliding track
stainless steel outer pane fasteneraluminium fastener clampsilicone joint stripsilicone compression stripaluminium smoke extraction flapcalcium silicate fire resistant claddingW10 x 33 steel I-section structural facade member
1: 2: 3: 4: 5: 6: 7: 8: 9:
10: 11: 12: 13:14: 15: 16:
Cas
e St
udy:
Pra
da T
okyo
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Professional Work
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Cities are funny things, both equation and caprice, they are testaments to, and limit cases of, big plans, and no-where more so than Chicago...Like all cities, Chicago is a combination of circumstantial facts (the quantities and dispositions of its urban form) and a projective imagination (how it is seen and understood)...Whether reversing the flow of the Chicago River in 1900, or raising the mean level of the city by physically lifting buildings six feet in the 1850s, Chicagos answer to the question of what the city is, has always been, in a manner of speaking, funny (both peculiar and amusing).
for studioAPT Professors John McMorrough and Julia McMorrough
with Caitlin Sylvain
Second City! Or, How Improv Made Chicago Funny (and Vice Versa)
-John McMorrough
2014 Research on the City Grant
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Worked as a member of the research and production team for studioAPT, the pro-fessional office of Professors John McMorrough and Julia McMorrough, on the 2014 Taubman College Research on the City Grant, titled Second City! Chicagos Funny Ur-banism. For the project, Caitlin and I were responsible for conducting research, design strategies, site visits, the production of material for a book, two films, and an exhibition.
Project Brief:Looking at the relationship between improvisational comedy and the city of Chicago, two questions were first asked: How did Chicagos improv comedy become such a large industry, and what connections are there between improv, design, and urbanism? Our initial investigations yielded overwhelming results. The question then became not what connections are there, but how can we make sense of them, and how can they be com-municated? The result was the organization of our research into a book, which follows the format of a specific type of longform improv (a Harold). By juxtaposing relationships between improv and Chicago in different beats and scenes, the reader will be able to begin to make connections between the material discussed. The resulting exhibition was in two parts: An Urban Improv Study Center, which is a proposed new type of in-stitution for collaborative work in and of the city, and a City-Stage, presenting a space for people to engage in improvisational games. By using Second City and improv as a way to understand Chicago, we thought of a city as not a problem to be solved, but as an evolving set of scenes to produce an ever-changing (and sometimes funny) solution.
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Book: Urban Research as Longform Improvisation (i.e., a Harold)
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Exhibition: City Stage + Urban Improv Study Center
Seco
nd C
ity!
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1. In
itiat
ion
2. M
onol
ogue
3. F
irst
Bea
t, Fi
rst S
cene
6. F
irst
Gam
e
4. F
irst
Bea
t, Se
cond
Sce
ne
5. F
irst
Bea
t, Th
ird
Scen
e
Abs
trac
t Whe
re
Gro
up M
ind
Find
ing
the
Gam
e
Film
: Chi
cago
The
ater
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7. S
econ
d Be
at, F
irst
Sce
ne
8. S
econ
d Be
at, S
econ
d Sc
ene
12. E
valu
atio
n
10. S
econ
d G
ame
11. T
hird
Bea
t
9. S
econ
d Be
at, T
hird
Sce
ne
Obj
ect W
ork
In t
he M
omen
t
Yes,
And
Film
: Bas
e R
ealit
y
Wor
ksho
p fo
r Im
prov
isatio
nal U
rban
ism
Seco
nd C
ity!
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Greening the Grounds @ Jane + Finchcompetition entry:
Islands and Piers in a Sea of Green (and Browns and Greys)
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Modelswork from Michael Maltzan ArchitectureAs an intern at Michael Maltzan Architecture, I was responsible for working several project teams to assist with model-making, producing renderings, compiling material specifications, and preparing drawings for publication. Shown here is documentation of a 3/32 site model, which I worked extensively on, for an institutional master plan.
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e: ilhowell [at] umich [dot] edu
Contact
a: 4439 1/2 Willow Brook AveLos Angeles California
90029
t: (562) 472 8702
Thanks!