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Within an operational sense how the organism works was a big question: thinking thoroughly how it disperses within an environment, how it collects surfaces [shedding, suction cups, bio mimicry]. So far it is an “it”. Where does it come from, a thistle as a generator. The energy comes from the seed. Will the seed bring forth an animal or a hybrid?[looking into robot prosthetics to model the mixture of mechanics with a living tissue as part of an animal; if a starfish could regenerate a bionic arm instead of skin and bones]

Setting the form aside [the form seen in photographs below], the naked idea is an organism that can live in three basic environments, born out of the concept of hierarchy. This structure inherent everywhere becomes the all-consuming drive of the organism; to collect, compile an addendum of surroundings, a DNA database [remember Peter Postlethwaite in Aeon Flux, a guardian of a library in the sky that held the living memory and of every human being]. This organism would be the lab assistant of Carl Linnaeus or Ernst Haeckel. Without any database the organism is limited to its seed volume. Only through the acquisition of DNA from others does it have a method of defense, feeding or survival. Within its own system, the hierarchy of information would determine what form it would take in any given situation. The survival skills of a shark would take precedence over that of a seal. The organism is in constant flux to suit its environment, it is a hybrid of a hybrid of a hybrid... The organism is now a Keeper. It becomes the guardian of life itself, storing elemental data in preparation for nature’s eventual obsolescence.

Transmittance would occur with touch. Through a two-way osmosis, the Keeper releases nano particles into the organism as a tracking device, this link serving to transmit new skills the organism would be constantly acquiring. In return the Keeper collects both a DNA sample and a steady stream of data referencing the organism’s fight for survival. Information is stored closest to the seed within. Layers of DNA are fused in thin films of mother of pearl [twice as strong as any high tech ceramic]. A product of self-assembly, the shells around the seed are formed in a sac of sea water. Surrounding the sac of water is the malleable body of the Keeper, shedding and appropriating the various forms found within the surrounding environment.

As part of any environment, the Keeper cannot simply exist without a consequence upon its context. Like Cerebrus, the two headed guardian of Hades, the Keeper communicates with the Instigator. The Instigator operates on a nano-scale by accelerating evolution. It does so by injecting a mutation within an organism’s DNA, thus constantly altering the environment.

For the complete blog: http://vasavoircamille-theteaparty.blogspot.com

Within an operational sense how the organism works was a big question: thinking thoroughly how it disperses within an environment, how it collects surfaces [shedding, suction cups, bio mimicry]. So far it is an “it”. Where does it come from, a thistle as a generator. The energy comes from the seed. Will the seed bring forth an animal or a hybrid?[looking into robot prosthetics to model the mixture of mechanics with a living tissue as part of an animal; if a starfish could regenerate a bionic arm instead of skin and bones]

Setting the form aside [the form seen in photographs below], the naked idea is an organism that can live in three basic environments, born out of the concept of hierarchy. This structure inherent everywhere becomes the all-consuming drive of the organism; to collect, compile an addendum of surroundings, a DNA database [remember Peter Postlethwaite in Aeon Flux, a guardian of a library in the sky that held the living memory and of every human being]. This organism would be the lab assistant of Carl Linnaeus or Ernst Haeckel. Without any database the organism is limited to its seed volume. Only through the acquisition of DNA from others does it have a method of defense, feeding or survival. Within its own system, the hierarchy of information would determine what form it would take in any given situation. The survival skills of a shark would take precedence over that of a seal. The organism is in constant flux to suit its environment, it is a hybrid of a hybrid of a hybrid... The organism is now a Keeper. It becomes the guardian of life itself, storing elemental data in preparation for nature’s eventual obsolescence.

Transmittance would occur with touch. Through a two-way osmosis, the Keeper releases nano particles into the organism as a tracking device, this link serving to transmit new skills the organism would be constantly acquiring. In return the Keeper collects both a DNA sample and a steady stream of data referencing the organism’s fight for survival. Information is stored closest to the seed within. Layers of DNA are fused in thin films of mother of pearl [twice as strong as any high tech ceramic]. A product of self-assembly, the shells around the seed are formed in a sac of sea water. Surrounding the sac of water is the malleable body of the Keeper, shedding and appropriating the various forms found within the surrounding environment.

As part of any environment, the Keeper cannot simply exist without a consequence upon its context. Like Cerebrus, the two headed guardian of Hades, the Keeper communicates with the Instigator. The Instigator operates on a nano-scale by accelerating evolution. It does so by injecting a mutation within an organism’s DNA, thus constantly altering the environment.

For the complete blog: http://vasavoircamille-theteaparty.blogspot.com

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T h e B a r t l e t t

S c h o o l o f t h e B u i l t

E n v i r o n m e n tL o n d o n

U KF a l l 2 0 0 8

Within an operational sense how the organism works was a big question: thinking thoroughly how it disperses within an environment, how it collects surfaces [shedding, suction cups, bio mimicry]. So far it is an “it”. Where does it come from, a thistle as a generator. The energy comes from the seed. Will the seed bring forth an animal or a hybrid?[looking into robot prosthetics to model the mixture of mechanics with a living tissue as part of an animal; if a starfish could regenerate a bionic arm instead of skin and bones]

Setting the form aside [the form seen in photographs below], the naked idea is an organism that can live in three basic environments, born out of the concept of hierarchy. This structure inherent everywhere becomes the all-consuming drive of the organism; to collect, compile an addendum of surroundings, a DNA database [remember Peter Postlethwaite in Aeon Flux, a guardian of a library in the sky that held the living memory and of every human being]. This organism would be the lab assistant of Carl Linnaeus or Ernst Haeckel. Without any database the organism is limited to its seed volume. Only through the acquisition of DNA from others does it have a method of defense, feeding or survival. Within its own system, the hierarchy of information would determine what form it would take in any given situation. The survival skills of a shark would take precedence over that of a seal. The organism is in constant flux to suit its environment, it is a hybrid of a hybrid of a hybrid... The organism is now a Keeper. It becomes the guardian of life itself, storing elemental data in preparation for nature’s eventual obsolescence.

Transmittance would occur with touch. Through a two-way osmosis, the Keeper releases nano particles into the organism as a tracking device, this link serving to transmit new skills the organism would be constantly acquiring. In return the Keeper collects both a DNA sample and a steady stream of data referencing the organism’s fight for survival. Information is stored closest to the seed within. Layers of DNA are fused in thin films of mother of pearl [twice as strong as any high tech ceramic]. A product of self-assembly, the shells around the seed are formed in a sac of sea water. Surrounding the sac of water is the malleable body of the Keeper, shedding and appropriating the various forms found within the surrounding environment.

As part of any environment, the Keeper cannot simply exist without a consequence upon its context. Like Cerebrus, the two headed guardian of Hades, the Keeper communicates with the Instigator. The Instigator operates on a nano-scale by accelerating evolution. It does so by injecting a mutation within an organism’s DNA, thus constantly altering the environment.

As an initial disclaimer directed to the reader, upon reading this thesis book, please leave behind any normative definitions you might have about architecture. Instead, allow the ideas and musings found within these pages to incite new value to what we consider architecture. A re-definition whose boundaries are uncompromising yet not at all restricted to the realm of the built environment.

Contrary to the surrounding architecture, this new application is not about focusing on isolated minutia; it is the architecture of designing a future environment for an existing country by means of an imaginary scenario. Within the scope of this project the imaginary scenario is defined as a hybrid of actual and fictional elements, when juxtaposed these factors serve to generate architecture. As the scenario unfolds, so does the development of the country (vis-a-vis- its urbanism) and of the new architecture. Bolivia will be exposed as a site containing a problematic. The problems Bolivia is experiencing are filtered in order to achieve insight into the actual situation. When combined with a possible future, the problematic then develops a solution; whereupon a seamless integration between the production of resources and the urbanism itself is then established. An almost organic synthesis produces a positive outcome instead of the parasitical relationship one finds in most common cities.

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M a s s e yS y r a c u s e N e w Y o r k

S p r i n g 2 0 0 7

As an initial disclaimer directed to the reader, upon reading this thesis book, please leave behind any normative definitions you might have about architecture. Instead, allow the ideas and musings found within these pages to incite new value to what we consider architecture. A re-definition whose boundaries are uncompromising yet not at all restricted to the realm of the built environment.

Contrary to the surrounding architecture, this new application is not about focusing on isolated minutia; it is the architecture of designing a future environment for an existing country by means of an imaginary scenario. Within the scope of this project the imaginary scenario is defined as a hybrid of actual and fictional elements, when juxtaposed these factors serve to generate architecture. As the scenario unfolds, so does the development of the country (vis-a-vis- its urbanism) and of the new architecture. Bolivia will be exposed as a site containing a problematic. The problems Bolivia is experiencing are filtered in order to achieve insight into the actual situation. When combined with a possible future, the problematic then develops a solution; whereupon a seamless integration between the production of resources and the urbanism itself is then established. An almost organic synthesis produces a positive outcome instead of the parasitical relationship one finds in most common cities.

This new Architecture is the reanimation of dormant global responsibilities that occur at the scale of a country. A third or even second world country, desperate for improvement, has few options for growth without compromising its own economic or political independence. Could architecture be retooled to liberate a nation from its own impasse? Imagine architecture applied to the prediction of a country's near future. Dissolution, loss, loyalty, autonomy and exploitation, all which serve to identify current global trends, now are the ingredients for this new Architecture phenomenon. This thesis is an attempt to widen the scope of the discipline. Here is architecture committed to the bigger picture, released from the tunnel vision of faint-hearted improvements. Architecture by definition has become stunted with its ties to providing solutions at a human scale.

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P r o f e s s o r J o n a t h a n

M a s s e yS y r a c u s e N e w Y o r k

F a l l 2 0 0 7

This new Architecture is the reanimation of dormant global responsibilities that occur at the scale of a country. A third or even second world country, desperate for improvement, has few options for growth without compromising its own economic or political independence. Could architecture be retooled to liberate a nation from its own impasse? Imagine architecture applied to the prediction of a country's near future. Dissolution, loss, loyalty, autonomy and exploitation, all which serve to identify current global trends, now are the ingredients for this new Architecture phenomenon. This thesis is an attempt to widen the scope of the discipline. Here is architecture committed to the bigger picture, released from the tunnel vision of faint-hearted improvements. Architecture by definition has become stunted with its ties to providing solutions at a human scale.

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C h i l eS u m m e r 2 0 0 7

After returning to Chile from London I sought an internship in a similarly fast-paced environment. Santiago, the nation’s capital was the ideal place to immerse myself in the budding modernist Architecture. Modernism arrived late and has created an interesting after effect within Architecture schools. I worked with a young firm, del Rio + Nunez. The Skibox was one of three projects I worked on. The other two were CAD work for private houses in the south of Chile and another house in Santiago. I expressed interest in learning a 3D modeling program and they gave me this house to model. I learned the program inside-out in two weeks and spent the last two refining the materials and rendering images for client presentation.The Skibox is a weekend retreat for a small family. The entry is from above and elevates the volume of the house to an object within the landscape. The bridge is the sole connector and delicate details like the glass entry room or the wide living room window seat connect the inside with the serene landscape. The experiece was rewarding as it provided an opportunity to both work as part of a team and to produce real-world results.

NPT + 0.60

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P r o f e s s o r N i c h o l a s B o y a r s k y

L o n d o nU K

S p r i n g 2 0 0 7

Ruins. An abandoned Power Station. What to do? The Battersea Power Station has been in a constant state of limbo for 30 years now. The cost to demolish has skyrocketed and due to the gas pipes nearby it is virtually impossible to dynamite without catastrophe ensuing. There have been proposals and ideas, none realized or even started. This conundrum questions our idea of Ruins in our society. The idea of Assisted Aging came about from interest in Performative Architecture. This Aging process unfolds over time. Begun at the time of abandonment, steps are set in place for the rapid decay of the monument. Water pipes run erosive water from the Thames. Poplars, Kudzu vine, English Ivy are chosen for their quick grasp on red brick and for their abilities to grow and take over with speed. The eventual decay will leave the skeleton of steel and mountains of brick and vegetation. This

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P r o f e s s o r N i c h o l a s B o y a r s k y

L o n d o nU K

S p r i n g 2 0 0 7

brick and vegetation is then outsourced to nearby farms as fertilizer. In its peak the Power Station can host migrating birds, butterflies in the summer or small animals during the winter. The Power Station sits amidst a great tract of land. This land is reclaimed and serves the community while points in the wall allow for observation of the ruin over time. Depending on the level of erosion the wall moves back to allow for falling debris.

*20 years ago

*present day

*80 years from now

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L o n d o nU K

S p r i n g 2 0 0 7

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One of the first projects during the London semester was to construct "furniture" for a room in East London. The site I chose was behind Fashion St, in Banglatown. As the site was currently empty and in the midst of construction I required furniture that was impermanent. I devised a system of scaffolding that the community iteself could construct, use and later dismantle. The idea was that the scaffolding would commence when a site was first set to be demolished, the scaffolding would grow as the current site would diminish. When new construction began, the scaffolding would slowly disappear.

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sThis survey class was a field-based seminar course in which I had the opportunity to examine first hand buildings in London and in surrounding cities.

These sketches served as a record of key concepts found in the architecture. It was our task to discern the best method of representation for each concept.

For example: a façade study was best suited for two similarly faced churches in Hampstead Heath, or a section axonometric for an intricate column volume.

P r o f e s s o r J e r e m y M e l v i n

L o n d o n , U K S p r i n g 2 0 0 7

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P r o f e s s o r R o b e r t P e t r i e

F l o r e n c eI t a l y

F a l l 2 0 0 6

The semester in Florence brought about a magical year into experimental Architecture. The city as an Urban fabric is incredibly interesting; composed of the Old Roman city and the "fat” city of new suburbs. The urbanism has gelled by means of contraction and expansion. Always keeping these two concepts in mind I created a series of devices that would alter the perception of the city. Rising above sidewalks and windows, the system of ramps and viewing pads offers a connective corridor between the back of the Uffizi Galleria and the opposite side of Florence, the Oltrarno district. Oltrarno is where the Artists and Musicians live due to the Gentrification occuring in the main city as a result of tourism. The ramp system is also meant to resolve the exit to the Uffizi and to create a new bridge that would mark the final Roman wall boundary of the old city. The bridge is shifted to slow the occupant and shift the focus from simply walking across the river but the the surrounding buildings and back to the Ponte Vecchio.

Santa Maria NovellaIl Duomo Galleria Degli Uffizi

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S y r a c u s e N e w Y o r k

S p r i n g 2 0 0 6

In Professor Rosa's class we analyzed ritual within architecture. I chose to study LeCorbusier's Villas; Villa Savoye, Villa Garches and the Villa LaRoche. Each of the Villas exhibited a ritual of movement between planes or surfaces. The task was to exhibit said ritual within a box. For me it was important for the box to unfold as one played with it, eliciting a ritual of discovery. As one "discovers" the box, key concepts are unveiled. LeCorbusier's key elements of piloti, free plan, roof garden, flexible walls and strip windows are diagrammatic planes that when locked into the volume of the box, indicate their use. Further inside the box is a cerulean blue, cast resin box. This box holds metal plates with each villa's façade making them interchangeable, pointing out LeCorbusier's idea of universality. I explored new materials, using cast resin and laser-cut acrylic sheets.

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P r o f e s s o r A r t h u r

M a c d o n a l dS y r a c u s e N e w Y o r k

F a l l 2 0 0 5

During the Fall semester the studio was assigned a housing project in Downtown Syracuse, NY. Once a thriving Industrial town, Syracuse is now relegated to being one of New York's Rust Belt cities, where suburbs have absconded with much of the population. The design for a housing complex was a continuation of the Paul Klee Seeing Eye project.

I initially sought to combine aspects of the suburbs with those of a typical city apartment. I proposed a diverse environment that mixed a small town idea into the urban setting. This design was further enhanced by Syracuse University School of Architecture's move from the main campus to downtown Syracuse.

Three target occupants were devised through observations of a budding downtown community: the single artist, a couple and the starter family. Each apartment type has a garden included in the design. A mini community inside a larger urban setting is formed when the private apartments are combined with the public space.

commercial/public space

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P r o f e s s o r A r t h u r

M a c d o n a l dS y r a c u s e N e w Y o r k

F a l l 2 0 0 5

Fall of 2005 brought a new studio and a new method for viewing our immediate surroundings. Using Paul Klee and his Seeing Eye theory, our task was to warp our view point, literally.

Paul Klee's method was a system of viewing that flattened and recorded three dimensional space simultaneously. The site was downtown Syracuse, NY.

Through sketches I developed a similar method of distortion. The drawing and later painting are created by combining street façades, sections through the city and plan view.

Acrylic on canvas (4'x3').