alexander culler work sample

2

The broad scope of architectural education has left me armed with a wide range of skills, both conceptual and practical. Inherent within the discipline are attained sensibilities concerning a variety of scales, from the highly designed object, to the pavilion and building, and beyond to the larger scope of the social space which comprises a city network or community. Aside from the physical artifact, the disciplinary values I have taken away from the profession involve critical and conceptual thinking, to design a solution to solve a particular problem, or to even go in search of the problem to pose. This give and take between design research and empirical

observation of people interacting within a space or city space is highly useful to develop a sense of “people driven design”. Ultimately, architecture looks to marry many disciplines together to form a cohesive “design intelligence” in which each solution comes equipped with its own unique particularities. To solve these problems is to think critically in the conception of the process each and every time, as no two circumstances are ever exactly identical. It is the case that one must wear many hats to put themselves both in the role of the subject of which the design is targeted, as well as the individual equipped with the best disciplinary approach to the solution.

Architect as GeneralistAlexander Culler

3

Beyond the idea of how to solve a problem (or how to pose one) is the visualization and communication strategies pertinent to the understanding of it. There is a time to be detail oriented and a time to paint a broad picture of a concept. Both have their time and place of relevance, and both require equal attention and different sensibilities to accomplish. A problem in its self, the visual communication aspect of a design challenge is equally as important as the issue at hand. Effectively communicating an issue, either internally to the work force or externally to the client, or the public at large, must be crafted in a way in which legibility shines through. It is my ambition that this collection of works shows a range of these sensibilities, from the over arching infographic explaining the problem, to the rendered visualization proposing the solution, to the schematic drawings and diagrams which act as a driver for the physical implementation.

Though these general skills are diverse, I have used my prior educational and work experiences to sharpen them in succession. I have taken in as many sensibilities relevant to design over

the past six years as possible, and it is now the task for me to curate these sensibilities in the best manner to solve future problems in the work environment. During my undergraduate education, I learned to understand a kind of data driven design that could innovate new programmatic models for dwelling and commercial environments and challenge the way people typically think about generic and highly delineated program types. My year (ongoing) long work of professional graphic design in a marketing context has taught me to produce materials efficiently in a deadline driven environment and how to understand audience as consumers for various media types, and how best to communicate with potential clients. As I have recently begun my graduate education, I am challenging myself to utilize new representational visual techniques and focus on the narrative aspect of developing and relaying information about design projects and speculative architectures. As my career commences, I look forward to learning additional skills and configuring them into my array of techniques.

4

Growing City is an urban initiative to bring wholesome community activities to the downtown area in Lexington, KY. This is realized through the creation of an urban food market that houses programs centered around gardening and agriculture. The site of the market is across the street from a new pavilion installment to the city, which is home to a seasonal farmer’s market.

The new market design acts as an extension to the current farmer’s market, drawing from the community presence of the existing pavilion and funneling people through the new market project. The market design is divided into three levels with a parking structure below ground. The main level is the market place, where consumers can shop for organic food products and locally produced Kentucky Proud products. The second level has a cafe where fresh produce is prepared for consumption, and expandable classroom spaces

afford the opportunity for patrons to learn about food preparation and cultivation. The second level also has space for the farmer’s market to have an indoor location during the winter season. The roof level of the project is covered with a community garden, where people can maintain their own plots as well as grow food that will be sold and prepared within the market.

Growing City utilizes food conception, food consumption, and food commerce in a programmatic model that flows from the top of the project down to the ground. As visitors circulate across these levels, their contiguous program experiences morph from one phase of the food production process to the next.

01 Growing Citysemester studio | FA 2010 instructor Anne Filson

8

The form of the roof is shaped entirely by the position of the sun in different seasons. Sun studies were simulated throughout the year at pivotal high and low points, and then overlaid to generate typical year round sun and shade zones. After these zones were identified within the roofscape, typical produce and flowers were inserted that could survive based upon specific sun and shade growing requirements. This allows for a greater diversity of produce to be grown in one location, and acts as a visual instrument to inform participants as to what types of crops thrive in which conditions.

shaped by necessity

Thyme

Sage

Chives

BeeBalm

German Chamomile

ChervilDukat Dill

Ginger

Salad Greens

Broccoli

Cauliflowerpeas

Beets

Brussel Sproutsradishes

Swiss Chard

Beans

parsley

ChivesBasil

dill

Mintsage

celery

Eggplant

Garlicpeppers poppy

Aster

Cosmo

MarigoldLupineHollyhock

dill

ChervilCauliflower

Sage Thyme

Beets

peas

GingerThyme

Sage

Chives

BeeBalm

German Chamomile

ChervilDukat Dill

Ginger

Salad Greens

Broccoli

Cauliflowerpeas

Beets

Brussel Sproutsradishes

Swiss Chard

Beans

parsley

ChivesBasil

dill

Mintsage

celery

Eggplant

Garlicpeppers poppy

Aster

Cosmo

MarigoldLupineHollyhock

dill

ChervilCauliflower

Sage Thyme

Beets

peas

Ginger

9

12

The population of Norway has the second highest electrical usage per capita in the world. Swing Theory proposes an alternative method for the production of energy which is both leisurely and easy to participate in. We advocate a new form of sustainability which values having fun and reflecting upon a simpler time in life that is not clouded by responsibility. These values take form in the shape of the swing.

For a music festival, a pavilion in which is dedicated to swinging acts as an icon for meeting, as well as a destination for winding down from the busy concert scene. The swings are a way to relax, but also serve as a living diagram to demonstrate sustainable impact for the event space, Norway, and the world at large. Swingers participate in a network which power various lighting features locally, producing a dynamic and otherworldly atmosphere for visitors to witness.

The pavilion is a stage comprised of two parts: the farm and the city. At the farm level, the network of swings produce energy which lights the upper level, the city. This effect produces a united network of energy production which literally powers the city above it. At its heart, Swing Theory is an awareness campaign to show that every individual, by doing their small part, can make a grand impact on the world at large.

02 Swing Theorycompetition entry | SP 2014 collaboration with Danny Travis & Preston Welker

16

120 energy producing swing units to be installed on site. Materials consist only of wood and rope in addition to the mechanical rig of the swing. Lights on top and bottom of the beam structures pulsate with each passing swing cycle, producing a network of cause and effect participation.

cause and effect

18

The Park Park project re-imagines certain sectors of downtown Lexington, KY to create a transitional gateway between existing city programs in order to create an engaging public gathering zone in an urban context. This is realized through the transformation of both existing parking infrastructural sites as well as the currently existing landscape parks. In each parking sector cell, a void will be extracted from the existing infrastructure and replaced with a constructed topography to act as a new kind of “park”. This method will be thought of as adding a landscape into the built object fabric of downtown. Contrarily, in each existing landscape park a cell will be extruded from the ground plane to create a new found “object” in the landscape that will contain a new program typology. This method will be thought of as adding an object to the landscape.

By producing an interplay of “object vs landscape” spanning multiple datums in a downtown network, an observer will be drawn from one position to another discovering a series of follies within the landscape of the urban context. The topographic “landscape” systems will maintain a property of program ambiguity, encouraging a foreign design system for a user to interpret and move through by their own sensibilities.

The synthesis of conflictions between free exploration of modified infrastructure and rigidly purposeful objects in a landscape will encourage people to act in a network system otherwise not present in the downtown environment.

03 Park-Parksemester studio | SP 2011 instructor Angela Co

20

object vs landscape

SM

artrtr inLuther King

Blvd

E High St

E Vine St

SM

artrtr inLLuther King

Blvd

0 ft 12 ft 25 ft 50 ft

A

B

C

D

E

F

G

H

park types

22

SLim

estone

E Vine St

EE High St

SLim

estone

0 ft 12 ft 25 ft 50 ft

A

B

C

D

E

F

G

H

23

26

Fiberglass Duck takes on a nomadic approach in its architectural solution to the “space between the river”, a no mans land condition existing between any two cities that share a bridge network to connect the two boundaries. As an architectural evolution of the child’s play toy the project shares a name with, Fiberglass Duck shares the spirit of freedom and imagination found in a simpler state of mindfulness. Fiberglass duck is a light, adaptable, and easily transportable construction meant to deploy itself within the site contexts between two cities in a waterway.

The pavilion structure is comprised of two separate, detached surfaces. The two surfaces are configured by the same technique of hanging structure, but deployed against two very different physical conditions. Firstly, the structure of the top surface hangs down via steel cables to an existing bridge structure,

dangling close to the lower surface without contacting it. The top surface is subjected to wind forces which will cause it to sway slightly laterally. The bottom surface is also tethered by cables to a surface, but instead of hanging from a bridge it is floating on the river surface while being anchored to the ground surface below it. The lower surface is subjected to vertical forces of the moving water current, causing it to bob up and down. The swaying of the top surface due to wind forces and the bobbing of the bottom surface due to current creates a unique architectural condition made possible only to this unique site condition.

Fiberglass Duck features four configuration options, allowing the pavilion to orient itself to a specific site condition, or in one of the configurations, to become a boat which enables movement down stream to a new location.

04 Fiberglass Duckweekend workshop | FA 2013 instructor Lluis Ortega

29

In the scheme of specific elements of siting between cities, Fiberglass Duck is adaptable to a variety of four specific orientation configurations between the two surfaces. The base plane always points with its openings down river stream, to allow the natural current of river water to flow through and allow an easy access port for boats and water craft to dock and let people out. The top, however, can be rotated to four distinct configurations to accomplish different functions of the site in which the pavilion is deployed in. The first orientation allows maximum open space in the central space between the two surfaces. The second configuration allows the roof opening to situate itself in a position for people to climb through and access the top surface. The third utilizes the greatest amount of space on an edge condition, to allow views and access to the river and city, while allowing ample light to spill through the portal opening. The fourth configuration allows the hole in the top surface to dock on the lower surface and seal up the front facing, making Fiberglass Duck become a true floating boat structure that can move down river to a new bridge site for deployment.

Adaptable Configurations

30

A solid volume is divided into two interlocking pieces.

The volume is extracted into two surfaces and pinched together to create boat-like movement through the water. The top surface is punctured to allow light to pour in and produce accessibility to the roof, as well as create a locking point for boat mode.

The internal volume is shaped to allow water currents to flow in and around the bottom surface.

The two surfaces are given thickness to improve buoyancy and allow volume to be filled with floating material.

31

steel frame structure

foam in-fill

fiberglass coated finish

32

The pavilion structure is comprised of two separate, detached surfaces. The two surfaces are configured by the same technique of hanging structure, but deployed against two very different physical conditions. Firstly, the structure of the top surface hangs down via steel cables to an existing bridge structure, dangling close to the lower surface without contacting it. The top surface is subjected to wind forces which will cause it to sway slightly laterally. The bottom surface is also tethered by cables to a surface, but instead of hanging from a bridge it is floating on the river surface while being anchored to the ground surface below it. The lower surface is subjected to vertical forces of the moving water current, causing it to bob up and down. The swaying of the top surface due to wind forces and the bobbing of the bottom surface due to current creates a unique architectural condition made possible only to this unique site condition.

Lower structure thickened to provide space for large amounts of foam fill to maximize buoyancy.

Connection Details

33

1. Bolt

2. Cable Mount

3. Steel Cable

4. U-Hook

5. Steel Hook

6. Fiberglass Shell

7. Weld Joint

8. Plywood subfloor

9. Steel Frame

10. Connection Point

11. Foam Fill

structural plan w/cable connection points

34

The Biology Machine is a mixed-use programmatic model that re-invigorates an abandoned office structure in Amsterdam, Netherlands. The project innovates the blending of program types in a way that is foreign to the city, in order to create a new hub of communal interaction. Four isolated program types in disjoint but equal conceptual weight are taken as a control to fuse together with a new programmatic catalyst. The programs of dwelling, entertainment, leisure, and commerce are reanalyzed under the lens of agricultural intervention. This allows for programmatic continuity to occur in spatial cells that were otherwise non-bridgeable.

The workings of the agricultural model are micro-analyzed to produce a coherent flow from food conception to food consumption, passing through the four broad program types on the way. A nodal scheme is selected from spatial analysis studies that apply

agricultural implants into the spatial regions of the broad program types. These connections manifest themselves as formal voids in the structure, creating internal organizational systems as well as acting as hubs for agricultural hybrid program fusion to occur. The internal cores meet external void punctures on the facade, creating open external spaces that bring the hybridized program of the linked nodes to the surface view of the public.

With this setup The Biology Machine acts a breathing eco structure whose program typologies flow from core to core, beginning with broad, unified, program and moving into micro-articulated programs with highly specific requirements. Important to the project are both the journey of plant and animal life, and how an evolving process utilizes different components of plant and animal products to serve various programmatic requirements throughout the structure.

05 The Biology Machinesummer studio abroad | SU 2011 instructor Kyle Miller

36

conception

cultivation cultivation

consumption

agriculture

dwelling

commercial

leisure

entertainment

5,2

5,2,0

3,2,0 5,4,0

2,5,03,2

2,55,4

agriculture

dwelling

leisure

commercial

entertainment

2,3

5,5

1,2

4,5 5,5

2,1

1,2,1

4,5,2

2,1,0

5,5,3

5,5,1

2,3,2

agriculture3,2

5,5dwelling

leisure

entertainment

commercial

6,4

5,4

4,26,2

4,4

5,1

5,4,7

6,4,3

4,4,63,2,7

4,2,7

5,4,2

4,4,0

5,4,1

3,2,0

2,5,1

5,4,6

agriculture

dwelling

commercial

leisure

entertainment

5,2

3,2

2,55,4

5,2,5

agriculture

dwelling

leisure

entertainment

commercial

agriculture3,2

5,5

3,2,0

5,5,0

dwelling

leisure

entertainment

commercial

6,4

5,4

4,26,2

4,4

5,1

agriculture3,2

5,5dwelling

leisure

entertainment

commercial

6,4

5,4

4,26,2

4,4

5,1

4,2,0

5,4,06,4,0

5,1,06,2,0

4,4,0

5,4,7

6,4,3

4,4,63,2,7

4,2,7

5,4,2

4,4,0

5,4,1

5,1,0

1,5,06,4,0

6,3,0

6,2,0

4,1,0

5,0,0 5,0,0

1,56,4

6,3

6,3

4,15,0

5,05,1

6,2

1,1,7

2,4,3

5,4,2

6,3,4

agriculture

commercialentertainment

leisure

dwelling

1,1

1,12,4

6,3

5,4

consumption

conception


37

conception


consumption

agriculture

dwelling

commercial

leisure

entertainment

5,2

5,2,0

3,2,0 5,4,0

2,5,03,2

2,55,4

agriculture

dwelling

leisure

commercial

entertainmentte tainme

leisu

ommeomme

icultuicultu

ellingelling

eeeiculturegricultua icultu e

ellingdwellingommercialcommeomme elling

2,3

5,5

1,2

4,5 5,5

2,1

1,2,1

4,5,2

2,1,0

5,5,3

5,5,1

2,3,2

agriculture3,2

5,5dwelling

leisure

entertainment

commercial

6,4

5,4

4,26,2

4,4

5,1

5,4,7

6,4,3

4,4,63,2,7

4,2,7

5,4,2

4,4,0

5,4,1

3,2,0

2,5,1

5,4,6

agriculture

dwelling

commercial

leisure

entertainment

5,2

3,2

2,55,4

5,2,5

agriculture

dwelling

leisure

entertainment

commercial

agriculture3,2

5,5

3,2,0

5,5,0

dwelling

leisure

entertainment

commercial

6,4

5,4

4,26,2

4,4

5,1

agriculture3,2

5,5dwelling

leisure

entertainment

commercial

6,4

5,4

4,26,2

4,4

5,1

4,2,0

5,4,06,4,0

5,1,06,2,0

4,4,0

5,4,7

6,4,3

4,4,63,2,7

4,2,7

5,4,2

4,4,0

5,4,1

5,1,0

1,5,06,4,0

6,3,0

6,2,0

4,1,0

5,0,0 5,0,0

1,56,4

6,3

6,3

4,15,0

5,05,1

6,2

1,1,7

2,4,3

5,4,2

6,3,4

ellingelling

leisuleisu

ccccomme aallcicici

agriculture

commercialentertainment

leisure

dwelling

1,1

1,12,4

6,3

5,4

consumption

conception


38

AsparagusGreen Beans

CabbageCarrots

Broccoli

Green Peppers

Cucumbers

Eggplants

Lettuce

Mushrooms

Onions

Peas

Spinach

Tomatoes


CabbageCarrots

Broccoli

Green Peppers

Cucumbers

Eggplants

Lettuce

Mushrooms

Onions

Peas

Spinach

Tomatoes

Crops

Area Harvested

RabbitsDucks

TurkeysChickens

Poultry BirdsSheep

Cattle & Buffalo

Live Stock

100,000 200,000 300,000 400,000 500,000 1,000,000 2,000,000 3,000,000 4,000,000 25,000,000

1000 2000 100,000 200,000 1,000,000 1,500,000 2,000,000 2,500,000 3,000,000 3,500,000

Average Harvest Yield Over Five Years (Ha)

2006 2007 2008 2009 2010+/- +/- +/- +/- +/-

5800

2959

74004200

2700

2400

1500

7500

90001200

100

1500

600

100

6400

2100

73004400

2700

2400

1500

7500

90001200

100

1500

600

100

6900

2100

74004600

2700

2400

1500

7500

90001300

100

1600

600

100

1,000 2,000 3,000 4,000 5,000 6,000 7,000 8,000 9,000 10,000

5500

2100

56004700

2700

2400

1500

7500

90001300

100

1600

600

100

3900

2200

51004600

2700

2400

1500

7500

90001400

100

1700

700

100

+600

-859 -100+200

00

0

000

0

0

00

-500

0+100+200

00

0

00

+100

0

+100

00

-1400

0 -800

+100

0

0

0

0000

0

00

-1600

+100 -500

-100

00

0

00

+1000

+100

+100

0

2010 Yield (Hg/Ha)

*Data collected from food and agriculture organization of the united states

The NetherlandsAvailable Resources

39


CabbageCarrots

Broccoli

Green Peppers

Cucumbers

Eggplants

Lettuce

Mushrooms

Onions

Peas

Spinach

Tomatoes


CabbageCarrots

Broccoli

Green Peppers

Cucumbers

Eggplants

Lettuce

Mushrooms

Onions

Peas

Spinach

Tomatoes

Crops

Area Harvested

RabbitsDucks

TurkeysChickens

Poultry BirdsSheep

Cattle & Buffalo

Live Stock

100,000 200,000 300,000 400,000 500,000 1,000,000 2,000,000 3,000,000 4,000,000 25,000,000

1000 2000 100,000 200,000 1,000,000 1,500,000 2,000,000 2,500,000 3,000,000 3,500,000

Average Harvest Yield Over Five Years (Ha)

2006 2007 2008 2009 2010+/- +/- +/- +/- +/-

5800

2959

74004200

2700

2400

1500

7500

90001200

100

1500

600

100

6400

2100

73004400

2700

2400

1500

7500

90001200

100

1500

600

100

6900

2100

74004600

2700

2400

1500

7500

90001300

100

1600

600

100

1,000 2,000 3,000 4,000 5,000 6,000 7,000 8,000 9,000 10,000

5500

2100

56004700

2700

2400

1500

7500

90001300

100

1600

600

100

3900

2200

51004600

2700

2400

1500

7500

90001400

100

1700

700

100

+600

-859 -100+200

00

0

000

0

0

00

-500

0+100+200

00

0

00

+100

0

+100

00

-1400

0 -800

+100

0

0

0

0000

0

00

-1600

+100 -500

-100

00

0

00

+1000

+100

+100

0

2010 Yield (Hg/Ha)

40

commercialentertainmentdwellingrecreation

1 temporal vendors2 cafe3 cattle auction4 long term vendors 5 exhibition space 6 community garden

1 family dwelling 2 private garden plots3 restaurant 4 office space5 grocery store6 student dwelling

1 family dwelling 2 petting zoo3 theatre 4 library5 rehearsal space 6 studio space7 conservatory 8 student dwelling9 community garden

1 student dwelling 2 family dwelling 3 lounge 4 library5 theatre 6 pool 7 botanical archive8 common room9 vineyard

recreationdwellingentertainmentcommercial







41







The Biology Machine is about utilizing the environmental systems that already exist being brought together to balance each other out. People already produce a certain amount of energy and waste per day being involved in processes related to food, but what if instead the process was made simpler and brought into a local community environment? Unused space common in dwellings could instead be converted to agricultural production, each member of a dwelling society would be matched by an equal amount of agricultural yield to provide for their own nourishment needs.

A machine for living

44

The Kaizen House, being designed for a siteless environment for a faceless resident without any amount of particularities, relies on the most universal and generic design restraints possible to create the most “exceptionally ordinary” housing experience possible. The design methodology puts a human centric focus as the largest priority in order to make the most ergonomic specifically catered spaces dictated by a sequence of the most universal and generic, yet highly specific, daily routines. “Kaizen” literally translates to mean “small improvements”, and this project seeks to amplify the efficiencies of daily tasks, the ones most all humans share in common, and streamline them into a spatial sequence that never has one backtracking spaces when they are in a hurry preparing for their day.

The house relies on two competing linear axes, one of the private axis

which is to be accessible only by the resident for morning activities (rigidly defined and specific), and that of the semi-private axis, the more nebulous axis of specificity that allows for a variable evening routine and space occupation and also introduces a facility for house guests to occupy. The role of the two linear processions allow an occupant to way-find through a routine with ease, always sensing where to proceed next into a space that is highly facilitative of the ergonomic task that occurs within in. In this sense, Kaizen House produces a series of “micro architectures” to best facilitate each task of the daily routine.

06 Kaizen Housesemester studio | FA 2013 instructor Paul Preissner

48

Human form factor is taken as the fundamental design determinant for Kaizen House, with 5 distinct body postures derived from human movement that occurs during a daily routine. Each of these postures is projected onto the activities which require them, and a user schedule is produced to analyze the frequency of occurrences per posture per activity per user. This data is used to produce a spatial sequence of assembly-line like machine efficiencies, with an occupant moving through a very syncopated series of spaces.

Posture, Activity, & Sequence

52

kitchen (above)dining (below)

53

bathroom (above)living (below)

54

Blossoms of Light is an interactive, ambient mood-lighting display. Glowing translucent orbs inhabit a base stand, branching out in a series of flexible coils primed for user interaction. At the default state of rest, the orbs oscillate between calming blue and green tones, acting as a passive mood lighting display to be enjoyed in any space. This state represents a feel of neutrality-- when the piece is not being disturbed it continues on about its default behavioral characteristics. However, when interrupted, the orbs in the field take on a new behavioral trait of agitation-- the colors shift from the calming blues and greens to a range of orange and reds. At the point of direct contact, the orbs flash red for a few seconds and then come to a state of sustainment, while nearby orbs disturbed in the field via a “springing” motion turn a shade of orange. The interrupted colors remain changed while the remainder of the field continues

between blue and green, and after a short duration all of the colors revert to their default rest state.

This prototype was developed using the arduino developing environment, and implements the use of capacitive touch sensors to trigger particular LED reactions within each orb unit. The capacitive sensors are programmed with threshold values that determine the proximity of touch to any given unit in the field. When direct contact is made the red LEDs are triggered, but when approximate touch occurs or an orb to orb touch happens the LEDs become an orange tone. This technology allows for a tolerance of interaction that yields different results dependent on the situation.

07 Blossoms of Lightsemester art studio | FA 2012 instructor Dmitry Stravosky

56

An indirect touch triggers a reactionary condition of static orange. A direct touch triggers a reactionary condition of flashing red.

58

4’ 8’This modular system of orb units lends itself to the capacity to evolve beyond the scale of a small unit, and to manifest itself into a larger scheme at any scale. The field condition can be expanded to any size to fill an interior space, illustrating the same principles of behavioral fields to a greater level. Deploying the field over a scale of several feet, the once small implement may now become a spatial index for behavior field study. This asset now has the capability to encourage a user to move through space, interacting with the light field as a whole body experience. As the user walks across the field, lights shift to their red and orange states, allowing the participant to look back to the space they have previously occupied and see a path of visual interruption across the way. In this way a participant will instantly understand the cause and effect relationship they have upon their environment. When people understand the actions they make do indeed have an impact on their surroundings, they will understand a larger realm of capabilities in their interaction with the light field.

Expansion in a Field Condition

59

4’ 8’

60

The role of comic, like any representational tool in another format of architectural drawing, is explored as a method to synthesize new architectural concepts and spatial conditions. At times, the comic is used a visual sequence derivative of real-world data, used to explore the ramifications of a particular data set revolving around an actual crisis (as are the drawings associated with the food economy). At other times, comic is used to explore ideas of narration that could encompass an architectural program, as a means to remove oneself from the physical world and instead discover driving forces of an “other-world” in which to bring back as design concepts. The comic can be both a hot or cool medium, at times used to convey exact instructions, such as the case of a technical drawing, and at other times meant as a tool to inspire thinking in an engaged reader. The comic is a medium that many people are familiar with, though not

all understand the potential impact it can have as a method of relaying information.

Like any tool of representation used in design, the comic is a viable method with its own inherent set of strengths and sensibilities. I continue to explore the potential usefulness of the comics format to relay information both to an audenice outside of the discipline of architecture as well as producing a vessel for people within the discipline to rethink standard conventions and the possibilities to pioneer new ones.

08 Comic as Techniquevarious selected works

63

Excerpt from [Eco-Comics]

65

Excerpt from Malevolent Forms

66

Excerpt from The Biology Machine

alexander culler work sample

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