ivan adelson portfolio

ivan

ade

lson

ivan

ade

lson

Education

Design Exhibitions

Design Publications

Proficiency

Academic Awards and Scholarships

Professional Experience

University of Michigan|Ann Arbor, Michigan

University of Michigan|Ann Arbor, Michigan

I Love You Back|2010 architecture student exhibition|March 2010

Fresh|2011 architecture student exhibition|March 2011

Palladio Virtuel|Yale School of Architecture|August 20 - October 27, 2012

Civic Friche|journal of emergent urbanity|September 2010 [www.lulu.com]

The Normal_detroit|volumes 1,2,3|[www.lulu.com] [thenormal-detroit.tumblr.com/]

Civic Friche|design installation and exhibition of research|September 2010

Computer Literacy|autoCAD_adobe CS_rhinoceros 3d_maxwell renderPhotography+Film|canon EOS 5d mark II_final cut pro 7 + 10

Guerin Glass Architects, PC|Brooklyn, New York

Neumann/Smith Architecture|Southfield, Michigan

Kohn Pedersen Fox Associates|New York, New York

Eisenman Architects|New York, New York

Tower Pinkster Scholarship Fund|August 2009Taubman College Continuing Scholarship_merit based|2011-2012 academic year

Binda Scholarship Competition Finalist|May 2008

Taubman College of Architecture+Urban Planning

Taubman College of Architecture+Urban Planning

University of Michigan_Taubman College of Architecture + Urban Planning


Eisenman Architects in association with the Yale School of Architecture


Spring Break Externship_facilitated by Taubman College|February 28-March 4, 2011

Internship|June-August 2011

Bachelor of Science in Architecture|May 2010

Master of Architecture with Distinction|May 2012

The Urban Cube|Professor: Thom Moran|fall 2009

Media Mass Public|Professor: McLain Clutter|fall 2010

Research+Design|Summer Internship|summer 2011

Professors: Steven Christensen+Anya Sirota

Professor: Christian Unverzagt

Research_Reactions_Experience|France Studio Abroad|spring 2010

Research_Photography_Design|Graduate Option Studio|winter 2011

Research+Design|France Studio Abroad|spring 2010

Internship|May 2008, June-August 2007

Internship|December 2006, October 2005-June 2006

Ivan Joshua Adelson301 East 38th Street, apt. 17cNew York, New York 10016

[email protected]://www.ivanadelson.com

palladio virtuel

d.r.t. (discovery. resurrection. transplant)

lighting G-TAC, globe trade art center

media mass public

diplopia

DRAWNforth

ARCHrepresentation

the urban cube

brooklyns vertigo

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table of contentsselected academic works|2009-2012taubman college of architecture + urban planning

The human condition presents individuals with various forms of borders, both physical and psychological. Architecture as a form of mediation corroborates the moment physiological/psychological effects are produced, while maintaining the potential to negotiate, blur and amplify these territorial situations. The boundary in question becomes agitated, confused; developing an architecture to not only explicate the role of the line, but to set up the line as a means of territorial difference; to formalize the border.

The title Diplopia, commonly known as double vision, is the simultaneous perception of two images of a single object that may be displaced horizontally, vertically, or diagonally in relation to one another. This project attempts to develop a spatial disconnect between what you see and how you experience it, in other words a moment of spatial diplopia.

Sited on the political boundary between Hamtramck and Detroit, the project is designed to oscillate between and react to the conditions surrounding it, to amplify and exacerbate the boundary at odds with its circumscribed reality. This work sets forth an investigation into the spatiality and lifestyle of the single family dwelling; the architectures goal is to visually/experientially subvert these notions of reality and reimagine the question of boundaries within the domestic realm.

2g4_thesis research/design studio | m.Arch

07

diplopiamake belief architecture|thesis|arch660/662|2011/12professor: keith mitnick

Concerned with both real and imagined parameters, Diplopia calls into question the agency of defining a territory; where the simple crossing of a cognitive line may register new rule sets, ideologies, lifestyles, through a new formal arrangement/composition. The narratives of such agency enable fiction to become reality, for the abstract to become literalized and experienced tangibly.

Diplopia employs a hinge of oscillation, in response to Alberto Perez-Gomezs perspective hinge, between architecture and various disciplinary approaches which most closely associate, or render themselves relevant. This project has been subjected to a range of historical works, precedents, as a means to generate a list of individuals who are designed to be key players in the projects conversation. A precedent is defined as something done or said, that may serve as an example or rule to authorize or justify a subsequent act of the same or an analogous kind. The precedents, shown at the right, help put the project in the disciplinary in-between; a mode of working within architecture, while looking outside the discipline to understand the variety of techniques regarding spatial relationships and formal organizations.

juan gris, landscape at beaulieu, 1918 wassily kandinsky, on white, 1923 theo van doesburg, contra-construction, 1923 orson welles, citizen kane, 1941

bruce nauman, green light corridor, 1971josef albers, structural constellation, 1953-1958harold edgerton, skip rope, 1952 peter campus, double vision, 1971

maria nordman, de ondas, 1985richard serra, tilted arc, 1981 gordon matta-clark, splitting, 1974 peter eisenman, casa guardiola, 1988

abelardo morell, the brooklyn bridge in bedroom, 1997embt|miralles-tagliabue, mercaders house, 1994 hiroshi nakao, black maria, 1994 valerio olgiati, national park center, 2002-2008

a.

d.

b.

e.

invisible edge that makes itself present boundary as a spatial divide|the road

boundary within boundary|space within space boundary within boundary|territorial line

The Detroit-Windsor border represents a boundary condition by which an invisible edge makes itself present. The invisible edge provokes the notion of making the intangible, tangible, while trying to materialize its abstract parameters with material characteristics.

Alter Road, the political border between Detroit and Grosse Pointe Park, represents a boundary condition serving as a spatial divide. Instantiated by the relative densities of both sides, the Road, becomes a territory of transition, the threshold to render the physical/psychological effects of the given situation.

The Wall at Alter Rd. and Goethe St. represents another boundary condition serving as a spatial divide between Detroit and Grosse Pointe Park. Designed with the intention to keep undesirables out of Grosse Pointe Park, the Wall is the physical manifestation of boundary control/regulation regarding socio-economic and political separation.

Possessing the spatial relationship and organization of the Russian matryoshka doll, Detroits political boundary consumes a socially, politically, and economically separated swath of land, establishing a boundary within a boundary or a space within a space. The cities of Highland Park and Hamtramck occupy this separated territory, creating a city within a city.

With a shift in scale the political boundary between Detroit and Hamtramck presents itself as a territorial line; rather than the road as a division between two places, the line splits residential blocks and cuts through the houses. This territorial line is analogous to the Detroit-Windsor border, in that it does not possess or embody a physical presence, but is entirely understood through its tangible parameters.

The territorial line only exists in cartographic space, there lacks a differentiation in the built architecture between Detroit and Hamtramck. The Boundary within Boundary category incurs another case study, the split block home. Diplopia uses this case study as a point of departure to visually/experientially subvert notions of reality and reimagine the question of boundaries within the domestic realm.

a.c.

f.

b.

c.

d.

e.

f.

boundary as a spatial divide|the wall

boundary within boundary|split block home

ground floor plan:oground floor plan:scale: 3/32 = 1-0a = 1-0scale: 3/32 = 1-0

zonin

g reg

ulatio

n man

ipulat

ionpu

zonin

g re

gulat

ion m

anip

ulatio

nsc

ale: 1

/8 =

1-0

sc

ale: 1

/8 =

1-0

first floor plan:pst f planl p at loor pss nfirst floor plan:scale: 3/32 = 1-0ale: 3/32 =3 3e 2 =a 3/32aa = 1-0scale: 3/32 = 1-0

alter

ed la

ndsc

ape p

ropo

sal

sasal

sasaalt

ered

land

scap

e pro

posa

lsc

ale: 1

/8 =

1-0

sc

ale: 1

/8 =

1-0

axon

ometr

ic ho

use:

scale

: 3/16

= 1

-0

axonometric house:

ground floor: meet, interact, fuse, repel

axonometric house:

first floor: the domestic situation

axonometric house:

roof scape: territorial perspective

axon

ometr

ic ho

use:e:

axon

ometr

ic ho

use:

axon

ometr

ic ho

use:

scale

: 3/16

= 1

-0

scale

: 3/16

= 1

-0

scale

: 3/16

= 1

-0

axonometric house

axonometric house:

axonometric house:

axonometric house:





axonometric house

axonometric house:

axonometric house:

axonometric house:estic situation




axonometric house

axonometric house:

axonometric house:

axonometric house:

spective




roof plan:oroof plan:= -0-11= 1---scale: 3/32 ==a =scale: 3/32 = 1-0

29

media mass publicfaith|thresholds studio|arch552|f.2010professor: mclain clutter

The megachurch, in its typical form, does not present itself as a religious institution, but rather a facility for masses to gather and be entertained within a media-enhanced environment. Sited in Detroit, this project borrows and leverages the megachurchs use of media, establishing a new sense of community through implementation of a media driven, socially engaging structure. The project is formally conceived as a singular, monumental exterior, with an aggregated, open interior, that borrows and repurposes the spatiality of Detroits vanishing context. Within this porous spatial interface, the building is infused with a media interface of screens and monitors that keep independent functions and programs throughout the structure in constant communication with one another. The project reflects upon and responds to the nature of the megachurch and its occupants by calling for an interaction between audiences accustomed to engagement with media.

2g1_arch design V | m.Arch

The map of Detroit, Michigan as presented is the resultant construction of strategic [mis]use/abuse of Geographic Information System (GIS) software. Used in an unconventional manner for spatial and numerical data investigations, GIS provided insight regarding how the megachurch behaves as an actor in the exurban landscape, how it defines and measures territory, as well as establishing a locale for public engagement.

The megachurch strategically positions itself with the ability to tap into surrounding infrastructures, demographics, and socio-economics with the intention of providing motive for either inward/outward development; hence the preferred locale of the exurban landscape, a region or settlement that lies outside the city and usually beyond its suburbs.

Thinking of the megachurch as a catalyst, Media Mass Public positions itself within occupiable vacancy hoping to create urban green space while establishing a new sense of community through the implementation of a media driven, socially engaging performative structure.

megachurch visit

vacancies | urban green space

street grid | major/minor

potential sites for Media Mass Public

highway intersect with internet usage

income per capita (black[high] - white[low])

dendrite connection as fluidity across site

hard, rigid, circulation within program

thickened walls as bounding condition

transparent walls as enhanced interface

media, technology, constant reminder

program as interface/interface as structure

a social interface is a critical point of intersection between different lifeworlds, social fields or levels of social organization, where social discontinuities based upon discrepancies in values, interests, knowledges and power, are most likely to be located, (prof. dr. n. long)

program as interface|interface as structure

dendrite connection as fluidity across site




media, technology, constant reminder

program as interface/interface as structure

a social interface is a critical point of intersection between different lifeworlds, social fields or levels of social organization, where social discontinuities based upon discrepancies in values, interests, knowledges and power, are most likely to be located, (prof. dr. n. long) dendrite connection as fluidity across site




media/technology as constant remindermedia interface as constant reminder



hard, rigid, cirulation within program

dendrite connections as fluidity across site

martin luther king jr. boulevard

peterboro street

charlotte street

temple street

3rd street3rd street

grand river

M-10

/John

C. Lod

ge Fre

eway

0 96 192 384site plansite plan

ticket booth

men

s ro

om

coat room

mens room

concession stand

small bar

chec

kout

home_appliances

customer assistance

mobile phones

gps_car_marine

musical instruments

BEST BUY

geek squad

tv_video

art center lobby

film exhibition space

Sony Playstation 2_3

Nintendo Wii

video games_gadgets

cameras_camcorders

checkout

film

cen

ter i

nfo

desk

conference room

lecture hall (216 seats)

small reception space

BEST BUY

video games_gadets

restaurant entry

mens room womens room

womens room

womens roommens room

mens room

campus administration

bar/waiting area

kitchen

wom

ens

room

galleries

indoor sculpture galleries

auditorium

campus information station


microsoft XBOX360

BEST BUY

music_dvds

home theater/audio

womens room

0 64128 256

ground floor planground floor plan

glass blowing studio

metals/fab lab

mens room

children's galleries

womens room

art center aux. lobbyart center small gift shop

1

1

2 2

section 1-1scale: 1=64

section 1-1

womens room

men

s ro

om

mens room

wom

ens

room

womens room

mens room

cafe

cafe

womens room

reception

concessions

restaurant dining area

auditorium

open to below

workshop space

workshop space

classroom restaurant dining area

classroom

classroom

classroom

classroom

book store checkout

book store theater lobby balcony

open to below

danceflooropen to below

open to below

open to below

open to below

open to below

open to below

up

private dining

up

lecture hall


large screening room (304 seats)

projection room

film exhibition space

installation space

interactive virtual media

digital media archive

digital media administration

mens room

0 64128 256

first floor planfirst floor plan

section 2-2

section a-a

45

lighting G-TAC, globe trade art centerthe normal|options studio|arch562|w.2011professor: christian unverzagt

In the last 50 years, Detroit has been home to racial tension, riot, protest, strike, automotive and architectural decay; ruin porn is at the forefront representing Detroits historical aftermath; there have been sparks of creativity beginning to fill the voids and ignite a storm of positivity for a city deemed by media as negative and bleak. The city itself is now becoming the source of inspiration for artists, local and abroad. Art is one of the last things outsiders associate with Detroit. But drive the streets and you quickly realize the city possesses an energetic, grassroots creative class that not only spreads color, whimsy, and provocation across the landscape, but also serves as an engine of redevelopment.

The objective was to transform the Globe Trade Building into an artists incubator, a provider of space, utility, resource, and machinery. With rentable studios and collaboration space, the process of making and that of production would become transparent, and the public would begin to engage with and become a valued part of this event. The hope is to create a central hub of energy for the city and through teamwork and collaboration, begin to redevelop the visual landscape of Detroit as a means to fight blight with art and vision.

2g2_arch design VI | m.Arch

40 41

the spatial location of an actual or planned structure or set of structures (as a building, town, or monuments)

an area or piece of land where something was, is, or will be located

a particular set of circumstances existing in a particular place or at a particular time; the way in which something is placed in relation to its surroundings

Site|Situation.

2.

3.

1.

north elevationscale: 1=16

south elevationscale: 1=16

east elevationscale: 1=16

west elevationscale: 1=16

unrolled elevationscale: 1=32















unrolled elevationscale: 1=32moments of interventiongiven condition (preserved or extracted)

site plansite planscale|1:4000

site plansite planscale|1:4000site plansite planscale|1:4000

an energy producing brightness: the energy producing a sensation of brightness that makes seeing possible

a general notice: general or public notice, attention, or knowledge

a way something is viewed: the manner in which somebody or something is regarded, especially by the public

The Light.

2.

3.

1.

plan oblique, light volume formations

plan oblique, light volume formations, with suspended lighting system

scale|1=16

first floor second floor second floor planscale|1=16second floor plan

Industrial Loft Building

Open to BelowOpen to Below

open to below

Open to Below

open to belowretail open to belowopen to below

studios

dn

dn

first floor planscale|1=16first floor plan

Industrial Loft BuildingL

Open to BelowwO

Open to Belown eOpen to Belowl Machine Shop Addition

Shipping & Receiving

restaurant

gallery|exhibition open to belowopen to below

entrance for gallery|restaurant

studios

up

up

up

dn

upup

up

a system for achieving objective: a method of doing something that is worked out in advance

a layout: a drawing or diagram on a horizontal plane of the layout

to work out how to do something: transitive and intransitive verb to work out in advance how something is to be done or organized

The Plan.

2.

3.

1.

ground floor planscale|1=16ground floor plan

Industrial Loft Building|1902

Foundry|1902

Chipping Room|c.1910s

Machine Shop Addition|c.1910sMachine Shop|1892

Shipping & Receiving|c.1910s

theater

installation|flexible space


bar

fabrication shop

fabrication shop

fabrication shop

up

up



Foundry|1902




theater



bar

fabrication shop

fabrication shop

fabrication shop

up

up

ground floor



Foundry|1902




theater



bar

fabrication shop

fabrication shop

fabrication shop

up

up

scale|1=16

67

the urban cubetwo kinds of monsters|arch432|f.2009professor: thomas moran

Through an attempt to create an interior urban fabric, the complexity of the projects interior organization resulted in the external form possessing the simplicity of a platonic cube on point, allowing the form to be readily identified from the exterior. The Logan Square education facility conceptually sought to evoke the perception and spatial experience of the city each floor is modeled after (Paris, Barcelona and Savannah). The openings in each floor plate became interior/exterior atriums allowing natural elements to penetrate through the building, to bring the outdoors, in. The objective was to merge ideas professed by Rem Koolhaas and Leon Krier with regards to bigness and the village, through housing an interior urban fabric. The ambition is to exploit the growing scale of schools for their potential benefits pragmatically, urbanistically, and formally.

ug3_arch design III | b.s. arch

ground floor/mechanical room

1 2

3

second floor/public gallery1. auditorium2. studio space3. library4. school store5. cafeteria6. bathrooms

third floor/activites fourth floor/instruction fifth floor/administration sixth floor/public roof garden

1

2

3

4

5

6

first floor/main entrance1. information/reception desk2. cafe3. bookstore

ground floor|mechanical room 1st floor|main entrance 2nd floor|public gallery 3rd floor|activities 4th floor|instruction 5th floor|administration 6th floor|public roof garden

71

palladio virtueleisenman architects|internship|s.2011professor: peter eisenman + matt roman

The summer internship at Eisenman Architects was a course in history, a lesson regarding precedent, and an inquiry into the world of formal analysis. Assigned to Peter Eisenmans academic team, an extensive analysis of Andrea Palladio and 20 of his Villa projects were placed under scrutiny with respect to Eisenmans proposal [of] a virtual Palladio of adjacencies, superpositions, and overlaysshow[ing] a complex Palladio of indeterminate relationships, oscillating between possible interpretations.

Given the task of analyzing Villas Cornaro, Zeno, and Emo, the first assignment was to discover multiple occurrences of the ABCBA pattern found in Palladios work. The A is the atrium or frontispiece, the B is the transition space, the C is the central space, B is the rear transition space, and A is the rear portico. Second, synoptic/analytic 3-dimensional models were developed as an architectural means to embed the various layers of information discovered in Palladios plans as re-drawn for I Quattro Libri dellArchitettura. The third assignment was supplementary to the notion of an ABCBA organization laid out by Peter Eisenmans theoretical position; these notational axonometric drawings focus on a range of formal transformations and manipulations evident through Palladios plans.

The following representations are the result of close interaction and group discussion with Peter Eisenman, research assistant Matt Roman, and the accompanying Team Palladio. Graphic, formal, and modeling languages/techniques were established as a team and fine-tuned through individual intensive work.

summer internship | research + analysis

Following Rudolf Wittkowers topological research on Palladio and Colin Rowes linking of modern architecture to the Renaissance, Peter Eisenman has been working on a different way to understand architecture today through the work of Palladio. Instead of typology, proportion, or history, Eisenman proposes a virtual Palladio of adjacencies, superpositions, and overlays, which have no preferred or original ground. This work in the context of todays thinking, marks a departure from the aesthetic ideals of surface, representation, or figure-ground. Starting from plans which include the barchesse, conveniently ignored by Rowe and Wittkower, the plan becomes an autonomous entity. Rather than seeing Palladio as a mannerist deviating from a Renaissance ideal, these drawings show a complex Palladio of indeterminate relationships, oscillating between possible interpretations.

The exhibition attempts to open up Palladio to multiple readings, suggesting a latent instability in the work which runs counter to a commonly held assumption that Palladios architecture can be thought of as ontologically or typologically whole, present, or complete. Rather than pinning Palladios legacy to an abstract idea of resolutioncompositional, stylistic, etcthat looks outside architecture for its standards and legitimization, we could read Palladios legacy instead as a confrontation with certain persistent internal formal problems. Eisenmans redrawing of Palladio further displaces any notion of stability or origin in Palladios work.

abstract authored by Peter Eisenman with Matt Roman

Palazzo Chiericati Palazzo Della Torre Palazzo Thiene Villa Almerico (Rotunda) Villa Angarano

Villa Badoer

Villa Barbaro (Maser)

Villa Cornaro Villa Emo Villa Foscari (Malcontenta)

Villa Godi Villa Pisani Bagnolo Villa Poiana Villa Sarego Cologna Miega

Villa Sarego Santa Sophia Villa Thiene Cicogna Villa Trissino Villa Valmarana

Villa Zeno

Villa Repeta Campiglia


Villa Badoer





Villa Zeno



Villa Badoer





Villa Zeno



Villa Badoer





Villa Zeno


a.

a.

b.

c.

notational axonometrics of formal transformations/manipulations highlighting [mis]alignments of openings, expansions/compressions, off-centering, shifting + [a]symmetries

iterations of both the ideal and virtual ABCBA spatial relationships

three part axonometric drawing of analytic model

b.

c.

ideal ABCBA virtual ABCBA illustration of analytic model

A

A

A

A

B B

B/C

A/B

B B

C

C

THE VILLA CORNARO AT PIOMBINO DESE [1553] is the first villa to extend outward from the main villa body with wings, which in other villas become barchessa extensions. Here the extensions are still functionally and formally part of the main villa body. To read an ideal villa it is necessary to detach these extensions and pull the rear portico outward to produce a symmetrical ABCBA volumetric and functional arrangement. A virtual villa is produced by reading the original plan in a slightly different way. The rear portico, A, is pushed into the rear transition space, B, producing an A/B overlay. The central space, C, is figured by a series of flat pilasters and half-round niches, and appearsin one possible readingto press into the front transition spaces, in turn, extend into the added side rooms, while the front portico is simply attached to the main body of the villa.

exhibition text for villa cornaro by Peter Eisenman with Matt Roman

3d rendering of final exhibition model


Villa Badoer





Villa Zeno


a.

a.

b.

c.




AAB B

A/B

B/C

BA

B

C

C

A

b.

c.


THE VILLA ZENO AT CESSALTO [1560] has a seemingly typical three-bay condition, or nine-square parti. However, it is the center to which attention must be paid. First, it should be noted that Palladios presentation of the plan in The Four Books seems turned around, with the major portico entry at the top of the plan, where traditionally it is at the bottom of the plan, facing up. There is only one portico, which is compressed into the B transition space. There is no portico on the courtyard side, but rather a pair of side entries into what would normally be the transition bay and a minor entry on axis, directly into the main C space. This makes it difficult even to project the possibility of an ideal villa. This condition produces multiple virtual possibilities, specifically a rather unique A/B condition because of the side entries at the front, or courtyard side, of the villa. The minor entries at Zeno are the only ones in Palladios work to connect the barchessa to the villa body without a portico.

exhibition text for villa zeno by Peter Eisenman with Matt Roman


Villa Badoer





Villa Zeno


a.

a.

b.

c.




AA

A

AB

B BA/B/C

A/BCC

b.

c.


THE VILLA EMO AT FANZOLO [1564] may be the most virtual villa of all because it is the most difficult to translate into an ideal villa. The front portico is collapsed into the front B transition bay, which is followed by a second B circulation bay that pushes the main C, or central space, completely to the rear. Thus, from the rear, the main space is in an A or A/B position producing a C/B/A condition. While Emo is nominally a compressed nine-square parti, when the parts are read by location, what would typically be a large C volumethe center of the main body of the villais actually occupied by two internal stairs and a very narrow vestibule or transition space. In the virtual diagram, the C volume disappears entirely, leaving a void between the front and back halves of the main villa body.

exhibition text for villa zeno by Peter Eisenman with Matt Roman

87

ARCHrepresentationseminar: projective geometries|arch516|f.2011professor: rosalyne shieh

Alberto Perez-Gomez writes representation is not a neutral tool or mere picture of a future building furthermore the tools of representation have a direct influence on the conceptual development of projects and [the] generation of forms. In an age of digital process, understanding, and design, what is the disciplinary status of the practice of drawing with regards to spatial inquiry? What would result from an [interrogation] of the relationship between a drawings production and its conceptual objectives? Representation is the spatializing of intelligence; it is the translation of complex thinking into spatial constructs.

This course offered an opportunity to examine the means by which drawing [is used] to describe, in a measured way, objects, spaces and relationships in the world. Exposure to basic principles of projective geometry and the construction of orthographic projection, via manual processes, allowed for the invaluable development of dexterity and versatility in the realm of architectural representation.

manual geometric projection | orthographic + perspectival

perspective projection

principal + auxiliary views

oblique views + planar sections

93

DRAWNforthseminar: drawn forth|arch509|f.2011professor: perry kulper

experimental architectural representation

the ethics of drawingthe proximities of the architectthe drawing and architecturethe temporality of drawingthe characteristics of experiencethe drawings as things in the worldthe act of drawing and un-drawingthe drawing as a ground for accumulationthe shuttle of ideas to formal and material statesthe production of visual agencies of editing, forgetting, erasingthe augmentation of spatial conditionsthe fusion or the combination of the digital and the manual

objectives discussed and provoked courtesy of professor perry kulper

draw[erase]remember

5040012521/2168

marks (24 sets of 21)iconic house plan_wolf house|mies van der rohemarks remain

if text erases the graphic mark on left, then text remembers mies on right...if image erases mies on right, then image remembers graphic mark on left

wolf house remembered|blue cross hair w/ yellow triangle on textmarks remembered|blue cross hair w/ yellow triangle on imagewolf house censored|4 blue tick marks on imagemarks censored|4 blue tick marks on textwolf house remains

1/30841/6

crossings|digital manual combine

rapidograph pen|koh-i-noor.80mm nib pointtranslucent vermilion ink|koh-i-noor

manual [red]

villa tugendhat ludwig mies van der rohe/brno|czech republic, 1930casa del fascio giuseppe terragni/como|italy, 1936kaufman desert house richard neutra/palm springs|california, 1946house VI peter eisenman/cornwall|connecticut, 1975museum abteiberg hans hollein/mnchengladbach|germany, 1982

digital [black]

99

brooklyns vertigooverconstruction|wallenberg studio|arch442|w.2010professor: cathlyn newell

Investigating potentials within construction sites and inherent inhabitability, an attempt to exploit the overconstructed situation of Williamsburg, Brooklyn, is generated through a visually unfinished installation, while reality provides a finished occupy-able space. Terrain vague includes Unincorporated margins, interior islands void of activity, oversights, these areas are simply un-inhabited, un-safe, un-productive. In short, they are foreign to the urban system, mentally exterior in the physical interior of the city, its negative image, as much as a critique of a possible alternative. The objective is to embody the strangeness of site and its context through enthusiasm for its vacancy. Vertigo is defined as a sensation of motion in which the individual or the individuals surroundings seem to whirl dizzily. Confusion, disorientation, lack of stability; vertigo emphasizes the typically un-inhabited, and renders it occupy-able. Williamsburg holds its destiny, but no longer will it remain untouched; beyond the safety barricade, something will take place, occur, happen.

ug4_arch dsign IV | b.s. arch

87 no

rth 4t

h stree

twilliamsburg, brooklyn, new york

scale: 1/128 = 1

south 2nd street

kent av

enue

wythe

avenu

e

berry s

treet

bedford

avenu

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metropolitan avenue

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grand street

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d.r.t. (discovery. resurrection. transplant)rough + orange|propositions studio|arch672|f.2011professor: perry kulper

Confined by its historicity, Cambridge (U.K) is in need of moving forward, to establish a new trajectory, one of historical remembrance and future technologic prospect. Over the last 100+ years, space within Cambridge has gone missing, forgotten, mis-placed, mis-located due to gradual development; however the city remains trapped, imprisoned by its static present-ness. In an attempt to reboot and amplify a lineage/history that has become stagnant in appearance and mentality, this project begins by remembering the psychological orphans which have been left behind and lost their place within the city.

Cambridge. [las]Vegas. Melbourne. Proto-architecture. Draw, Erase, Remember. Mis-reading. Here + There. Google Earth. Proximities. Geographic Coding. Prison. Archaeology. Raum Plan. Technology. Propulsion. Mathematics of Unknown. Spectacle. Orange. Misfits. Larva, Cocoon, Butterfly. Holographic. Resolution. Conceivable Whole. Historically Fragmented. Profane. Virtual. Narrative. Retrospective. Projective. Immediacy. Double Agent. Temporal Split. Duration. Noise. Translation. Free Plan. Surveillance. Then, Now, Future. Artificial. Energies. Invisible Spaces. Scramble. Objects. New Sites. Displaced. Iridescence. Analogous. Cipher. Synthetic. Mechanical. The Discovery. The Resurrection. The Transplant.

2g3_arch design VII | m.Arch

Cambridge, United Kingdom as viewed from Google Earth. How can the Google Earth technology allow for design decisions to arise? How can decisions made on the ground begin to influence and perhaps glitch Google Earth and perceptual activity? There is a simultaneous concern regarding the aerial vantage and the perceptual experience of Google Earth, and when these modes of looking/engaging become the operative means of understanding architectural production. The question becomes, what can Google Earth do for the practice and production of Architecture?

Prior to 1849, what is commonly known as Market Square was once home to single family residences; the great fire destroyed that which occupied this location, allowing for the development of a new geographic center. This space became the heart of Cambridges civic, social, and public interaction. In search of this future technologic prospect, Cambridge has set out to establish itself as a new technological frontrunner with not only advancements in science through Cambridge University, but through its own Silicon Fen, referential to Silicon Valley. The market space, a charged, contested site, is prime suspect for reinvestment with technological incubators; the new face of Cambridge will create a presence in the heart of the city with close proximity to the University to continue collaborative research and experimentation.

1903-1927

1903-1960

1903-2010

1927-1960

1927-2010

1960-2010

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cambridge_1927

cambridge_1960

cambridge_2010

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1903/1960 1927/2010

1903/2010 1960/2010

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010

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903

The project assumes a role in the representations of histories, as provided via historical satellite imagery (i.e. Google Earth). Starting in 1903, the project begins to track various forms of development within Cambridge, including the disappearance and emergence of space over time. Biopsies are taken from 1903, 1927, 1960 and 2010, to gather a spectrum of over 100 years of development. By sampling these historical mappings, a series of inherent overlaps and mis-registrations begin to emerge as formal opportunities in relationship to the given ground condition of Google Earth. D.R.T. objectifies these moments of mis-communication and capitalizes on the ability to define and memorialize forgotten/lost spaces of time.

1903

-201

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The Discovery. Predicated on the act of collecting data pertinent to understanding the history of Cambridges psychological orphans, the tracking devices create fissures as a means of establishing a form of remembrance; to remember that which has been forgotten. This is the marking of space lost over time. These fissures become the stage for the resurrection, the rebooting of time in place.

The Resurrection. Developing around the notion of the spectacle; it is an eye catching or dramatic public display within the city. Invisible objects shuttled overhead flicker with information and materiality, never wholly presenting itself or rather what it is yet to become. The architectural objective is never fully explicated, relying on the emergence of an architecture rather than the architecture itself.

The Transplant. Focusing on the Market Squarea symbol of the civic, social, and publicas the site for an architectural intervention, it will become home to the technology incubators. The resurrected objects are transported in hopes of establishing a new center for Cambridge, UK; one that speaks to the citys history while simultaneously projecting a new technological agenda for the regions future.

eames plastique_the VitraHaus / weil am rhein|germany, 2010

Ivan Joshua Adelsonmaster of architecture with Distinction|2012

bachelor of science in architecture|2010

university of michigan/ann arbor, michigantaubman college of architecture + urban planning

ivan adelson

ivan adelson

ivan adelson portfolio

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master of architecture

urban cubeprofessor

taubman collegefebruary

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media mass publicprofessor

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ivan joshua adelson301