Today, as our cities are becoming increasingly dense - the role of internal spaces are rising as ever-more important in defining urbanity. And in a moment in which our private lives have become exposed and controlled in almost every aspect, the interior has become the eminent space of refuge, providing anonymity and freedom.
In Is the New Out offers a radical reexamination of the interior as the last urban refuge in 21st century Los Angeles, by introducing a new kind of urban configuration, where public life takes place within blank interior voided figures.
By envisioning not only the ‘inside(s)’ of the city to be turned out, but the ‘insides’ in themselves to be re-conceptualized as huge voided figures, embedded as part of the surrounding urban fabric, this thesis proposes a semi-internal, semi-autonomous world of interior urbanism that destabilizes the traditional tropes of urban space and proposes a new configuration for an increasingly denser Los Angeles.
The Crowd Living House is a proposal for a shared housing development on Mulholland Drive in Hollywood Hills, a location that only the richest 1% could normally afford. Our culture, however, has figured out how to acquire what is beyond our means. Crowd Funding/ Sourcing/ Thinking has permeated our lives (Uber, AirBnB, TEDxtalks). The future of LA is Crowd Living.
We have designed the Wealthy Favela, because in Los Angeles, homes replicate up hills. A house that affords the LA dweller(s) to Occupy an Icon and live the Californian indoor/outdoor style. A house built flexible enough for Roommates, Dual Families or a large Multi-Generation Family. The transformational abilities of the architecture allow the crowd to be the 1%.
Team: Oscar Abrahamsson+Thomaz Regatos+Zhenya Martirosyan
Urban Cosmetics is a proposal for a new home for MASP (Museo de Arte Contemporaneo) in São Paulo. It is utilizing the blankness of explicit geometric shape, urban décor and adornment, and new ideas of the urban ground in creating a museum that lowers the threshold between culture and life in the street.
Two simple triangular shapes constitute the building volume - forming new, elevated, grounds - habitable sloped planes that are displacing the urban ground onto the top of the building. Massive, opaque and black, the figure of the building merges in its muteness with the ground. The skylights established by the fake horizon lines on the top of each of the triangular shapes are glazed but highly reflective, letting light in to the cascading landscape of art on the inside.
Best SCI-Arc Student Project -15-16 - SCI Arc Nominee for MCHAP Student Award.
Gastronomical Innovation Center
The Gastronomical Innovation Center is a speculative proposal for the El Bulli Research Campus in Cala Montjoi, Spain, exploring an architecture that engages with the potential of increased computational power and fabrication technology to generate a previously unseen structure and materiality, one that rivals nature in its complexity and integrates influences from the baroque and mannerist architectural eras.
The research center forms its own environment, an internalized world, which enables the functions of food research and production to be housed inside of the building. The corruptive, ruinous interior system, producing an eroding effect on the figure of architecture, creates cavities and niches that provide a surface for the cultivation required by the El Bulli research. By integrating and informing the systems with systems of organic matter, we want to obscure the relationship between the synthetic and the organic, between the living and the non-living.
Team Oscar Abrahamsson+Jacob Waas.
Absent Figures takes its starting point in the ancient architectural typology of the Hypostyle. It is studying permutations on Henry Cobb's installation "Hypostyle" at the SCI-Arc Gallery.
Absent Figures studies Henry Cobb's array of constructs, taking them through a series of reinterpretations in the realm of orthographic and axonometric projections – aiming at a provocation of what actually constitutes a Hypostyle or a column. It consists of a series of different distinct independent characters, still maintaining the idea of a Hypostyle by fitting them back into a cohesive whole.
The sequence of drawings is exploring how latent information can start to alter the relentless repetitiveness of the Hypostyle, creating a new, differentiated ensemble.
Team Oscar Abrahamssson+Stefan Svedberg+Sasha Tillmann.
Selected work for SCI Arc's publication 'A Voice for Architecture' (2015)
This project for a cross-age music school in Cap-Haïtien takes clues from Haiti’s rich and colorful musical heritage to produce a potpourri of spatial constructs that act both as a teaching institution but also as a hub for public life.
Collisions and intersections of various cartoonish shapes - rounded, angular, lines and points - create an urban ensemble that is vibrating between enclosed and open, betweem cartesian rigidity and punk rebellion. Fragments of a walled square make up a big outdoor space which acts like a magnet for all activities. The cartoonish erosions create activity hubs where outdoor amphitheatres, sports activities and cafes provide people of all ages access to experience the intensiveness of Haitian music.
Team Oscar Abrahamsson+Daniel Hapton+Jessica Passos.
Color in architecture has always been secondary to form. The dichotomy between the two arised first as a reference to painting in Renaissance Italy: Florentian disegno based on lines and Venetian colore based on direct application of color. Architecture has traditionally been in the first of these camps, which has led to that while in painting, color can produce atmospheric effects, in architecture it reinforces the solidity of volumes. Modernist examples—from Luis Barragán to Le Corbusier to Rietveld— uses color only to highlight or accentuate form.
Colore Piegati is part of a series of ongoing experiments to liberate color - and material - from form in architecture. Through a series of photographical, digital scripting, and physical techniques in folding and coloration, we are translating atmospheric, painterly, qualities into architectural tectonics, where the color acts freely, is not there to enhance the form it adorns, but to bring into focus its own merits and dynamism.
Team Oscar Abrahamsson+Jonathan Choi+Ke Li+Jinwen Yu.
Decorated (Butt)Plug is a sculpture exploring the inversion of space, producing a positive plug from the void of the claustrophobic space inside the cupola stair of Basilica San Pietro in Rome. The volume is the interior of the staircase corridor, fully enclosed, but viewed from the outside. The new exterior surface retains hints from the interior patterning of the space, but creates its own autonomy through the distinct graphic quality of the pattern wrapping around it. This inversion is addressing the constancy of our experiences (or assumptions about) of stairs.
Drawing on the works of Robert Overby and Bruce Nauman in the 1960’s and 70’s as well as the infamous Buttplug ‘Tree’ by Paul McCarthy from 2014, this project seeks to play with space and objecthood, as well as blurring the notions of interior and exterior.
Taino Art Pavilion
The Taino Art Pavilion consists of a randomly dispersed array of courtyards, which, together with structural tubular exhibition cabinets and palmtrees finds a balance between the intimacy of the indigenous indo-caribbean art exhibition it houses and the powerful beauty of the sandy beach landscape of Northern Haiti, in this proposal for a small museum pavilion for indigenous Taino art.
The decision of preserving all the palm trees, generates an unexpected dialogue between the unitary structure of the roof and the playful disposition of the courtyard voids.
Horror Vacui is a hyperreal, highly digital landscape picture, that blurs the lines between real and fake. The landscape consists of two three dimensional digital copies (3D scans) of real objects, which are altered through shifts in scale, texture and material - aiming at eroding and blurring the literalness of the objects, allowing the picture to enter into the hyperreal.
The digital 2.5D Horror Vacui is fabricated using the 'DNA' of the source objects, keeping them somehow identifiable, attempting to create an oscillation between real and fake, between the original objects and the digital effects. The fantastic landscape picture is finally applied in a quasi-architectural way to the Mapo Oil Depot competition (2014) Oil Tanks in Seoul, South Korea, helping in reestablishing the old ‘depot of oil’ into a ‘depot of culture’.
Team Oscar Abrahamsson+Homayoun Zaryouni.
Ubiquitous Color/Shape is a set of digital drawings developed out of a series of photographs in an exhaustive effort to identify ‘worlds of color and shape’ - both ubiquitous and obscure. Patterns, shapes and color surround us every day, in the form of human and social events, consumable products, objects, street life… the vast majority of which are not “designed”. To access these ‘worlds of color and shape’ a series of photos was developed, using a rule-determined, procedural framework, which was then transformed into geometrical patterns of color and shape using computer-based imagery, in search of contemporary color palettes and constellations of geometry with diverse source information.
Drawing on the works of Stephen Shore and Bernadette Meyer in the 1970’s as well as European graphic design from the 1950’s and 60’s, this project seeks to generate multiple readings of the city of Los Angeles, and it’s worlds of color and shape, using only simple geometrical outlines.
Cabinets of curiosities (also known as Wunderkammer, Cabinets of Wonder) were encyclopedic collections of objects in Renaissance Europe whose categorical boundaries were yet to be defined. They were spaces of whimsical contemplation which served as a starting point for speculations on the evolution of natural history.
Post-digital Curiosities applies the sensibilities of the Cabinets of Wonder to today's Post-digital world of connectivity, to create an accelerating formal exchange, a saturated scenario, illustrated by a humanoid prototype with specific behavior and materiality.
By juxtaposing and interpolating a found object with various digital processes, computer-assisted manufacturing techniques and traditional analog tooling, the curious humanoid body sculpture emerges, informed by a cross disciplinary investigation (clothing, biology, visual effects) of post-digital processes of curiosity. The human scale and application is functioning as a catalyst to evolve cultural identity, social norms, performance and aesthetics.