Author Archives: Amar Mehta

The Architect

Final Image

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From context to content

From Context to Content - definig space

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Presentation Bullet Points

Amar Mehta

Presentation Bullet Points:




  • The average individual experiences approximately 1000 new sensations in any given second, but defines the totality of his reality with a fraction of the information gathered.


  • As a result of this involuntary ignorance, our existence is a kaleidoscope of reformatted context, broken down and reassembled to fill in the voids of our incomplete experience.


  • It is a distorted and fragmented landscape that exists in the threshold between the rational and the artificial, and one the project explores through the two avatars of the architect – the Narrator and the Cartographer.




  • The narrator as a storyteller is an implied or an omnipresent being that not only encompasses who tells the story, but more importantly frames how the story is told.


  • Using P.O.V collages, each image explores objective fact, but suspends it in a landscape of subjective fiction. Thus if each collage is a fragment that describes event and place, the collective composition soon builds up an analogy between storytelling and spatial exploration.


  • Therefore, if each collage is conceived as a fragment that defines PLACE, the collection soon transforms from isolated islands into a singular and distorted archipelago that defines SPACE – my continuum.





  • The cartographer marks a shift in the way the world is viewed, from the subjective Point of View, to one that is based on the scientific theories of perception and the human Field of View.


  • Whilst the narrator establishes the notion that reality is bound within the thresholds of what we see against that which is imagined, the cartographer as a spatial translator is more interested in the two ideas: we see, therefore it is, and we draw therefore it becomes.


  • By placing himself at the center of his universe, the cartographer as the omnipotent developer is simultaneously able to document and conceive ground.


  • Document: By objectively interrogating the parameters of his F.O.V, he is able to spatially define and stitch experience to form ground.


  • Conceive: By reformatting context and manipulating experience, he is able to fill in the voids and discontinuous seams in order to define the totality of space.



Conclusion/The Architect:


  • By harnessing the grid as both object and device, the architect performs as the mediator between the narrator and the cartographer, as an entity that can navigate freely between the rational, and the artificial.


  • Object: as a frame inserted between the viewed and viewer.


  • Device: as a regulatory system forged onto ground that transforms it from a viewable scene into a controllable division.


  • However, the grid through its multiple manifestations is never static. It is a generative force that constantly collects, “a space of virtual conjunction, grasped as pure locus of the possible.” – a generator of the infinite landscape.




The part of the architect and the grid is fairly new, and it is bit tough to place it as a few sentences. The grid in the project appears in various forms.

– As the infinite plane, sitting a top of  infinite context – analogy of a false tabula rasa/architecture as closed cycle.

– As a frame the mediates between whats is viewed and by whom.

– As a cartographic imposition on ground –  an artificial device for man to control and deduce knowledge from landscape.

-As the continuous and homogeneous plane – the anti-thesis, a place of infinite narrative, infinite histories and subsequently infinite possibilities – the continuous landscape.





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Darwin Entry



Darwin LA -2


Darwin reagan

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Stitching WIP

Stitching Test

This is not how all the pieces actually go, but just testing a few to see how they line up.

Darwin enters the scene on his way to geologically map the uninhabited landscapes of the galapagos. WIP

Darwin Entry Stencil


Dont know exactly how to define the next map beyond describing a methodology, but if we can imagine darwin ship as a magic eraser/clone stamp in photoshop, that manipulates context  in all layers. Thus as he travels he defines….

Darwin Defining

The above is just an example, but not only will he define the route traveled in the various maps as our seasoned navigator, but with the FOV, the landscapes too begin to take on resolution.

ALSO the grid takes center stage in shaping the cartographers argument. From the drawings i have put up recently, it appears in multiple scales and connotations. Not only does it present itself as an instrument that defines the threshold between the rational and artificial, but at the same time, he as the curator of space adopts the grid and explores it as an object and device of representation. (probably makes no sense…bed time)

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Map 3

Map 2



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Model Platform for drawings and in between the seams of the infinite and generic grid.

Cannot type more, despite my mask and gloves, the foam got to me – fml

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WIP – contextual ground




The tile above is a placeholder for the actual drawing. Whilst the drawing above, shows the architects intention (conquering ground, by overlaying the grid as a contextual tabula rasa), the seams that define the grid, are porous and expose the landscape of context that suspends it. The drawing is a forced perspective between 2 tiles.


A0 - landfill






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Folding Panorama WIP

Folding Panorama

The folding panorama will work in multiple ways. As the title suggests, the very long image, will unravel as a set of folds, with each fold revealing more of the landscape. Not only will this be another mechanism in which we get to experience the landscape, but the image adheres to the set of laws earlier determined by the FOV. The full image also provides the totality of how we see, from the objective, then towards the subjective.

I hope the image can speak about the the three avatars of the architect (narrator, cartographer and the *builder); and as i explain each character, the image only reveals as much.

The superstudio creeping in, opens a dialogue about resolution and continuity. The generic grid on content, context and concept-less, thus free for the architect to project his vision.

The extension of the image, then begins to show how through the various fragments – a new environment is created – this then takes over the grid, and will exist at the peripheries of our perception.

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Sorting Factory WIP





The sorting factory is the second stage of production. After gathering the various fragments, these artifacts begin their journey towards re-contextualization. Here the various fragments are broken down further, and their identities and composition mixed and merged to form new blocks of context. These blocks  are then fed into the assembly line, where they are carved into new artifacts – fragments of my landscape.

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Reservoir of Context


Reservoir of Context  A0 - landfill

Before the architect can transform ground into site, he as the omnipotent designer must sort and sieve through context – collecting and reframing the various fragments to perceive new space and the identity of place.

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Layer 2 – building contextual ground


This is the 1st quadrant for the second layer of my ground-making device – the factory of perceptual sorting. Here, collected context and experience begin their jour journey towards re-appropriation. Items from the reservoir are picked and undergo a process of sorting, cultural, material and waste fragmentation. Whilst the waste is returned to the reservoir, the useable fragments are transferred to the mixing chamber, where they bond and intertwine to produce new context. From here, the new contextual sludge is transported to the compressor, where it regurgitates a piece of new landform.

The 4 quadrants together will show this process, the layer before is an image of the reservoir, the layers after will focus on the re-appropriation (in dialogue with my protagonists)…


Work in Progress (finishing the last quadrant later, then will have it rendered overnight, so will work on the other drawings).





The 4th Quadrant will be the assembly and compression of the new and collapsed context. Here the mixture is compressed into actual fragments of the landscape – one that slowly begins to emerge within the central ring.

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Collages and the Continuum

FullCollage (1)

Idea is to present the continuum through these images; how the compilation of fiction and non-fiction create semi-coherent narratives which in turn formulate a sense of place (place later transforms into space). I want to present these (truths and lies) in the same fashion the brief is presented, with the introduction of some catchy one liners.


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Filling in the GAPS …wip


Meyer - Tatlin

Reagan - Studio Corridor

Niemeyer - Brasilia

Niemeyer - Void

Gehry - Floor



Meyer - Bauhaus Out Mexico

Meyer - Bauhaus

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Thoughts on Mexico + Landscape Colonization

My questions about the city exist at 2 scales. One, which refers more so to the scale of my project (resolution, form and the ‘grid’), and the other that questions the role and identity of the architect.

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As with most Latin American countries, Mexico can be seen as a place of transient politics and constant economic reform.

As a result, the capital exists as a place of perpetual reconfiguration; a shifting instability that has etched its morphological transformation deep into the city landscape.

As a result, the city today exists as an intangible kaleidoscope of cultural and social identity – one that has manifested itself through the various typologies of architecture found throughout the city.

Therefore, as an Architect practicing in the contemporary city, how does one negotiate between the quest for identity (architectural legacy), whilst remaining impervious to time and the impermanence of modern culture?

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The Cartographers Artefact



I am feeling slightly crappy (foam related i think) so will re explain this piece better as soon as i get better. But in short, it is a fragment of my/the architects re-contextualized landscape/ground….

Whilst the map records the objective and linear reasoning between landscape and experience, the artefact reveals itself at its most crude and subjective form…bla bla bla

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MODEL in progress

Model NIT




too much sanding…

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Working on the presentation, trying to get a killer introduction done after the great input from yesterdays tutorial. I need to somehow, summarize 3 important facets (the environment as a chaotic assemblage and our inability to fully comprehend the amount of input experienced, our experience as a calculated assemblage/contextualization of subjective reality, and how as the architect i exploit it (4 categories: narrative, cartography, viewing mechanism and the objective realization)….

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Stitching Landscapes + Intro Video WIP

Land Stitching

Work In Progress



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Rum and Niemeyer





working on all the cnc files that needed to be redone. Hope to have them all ready to submit to Angel tomorrow. Also working on my video and thumbnails. Shall update this post once my computer un-freezes.


CNC render

Rhino decided late last night that i needed a little more excitement in my life – so it crashed and I lost my model (file corruption). Non the less, with a shot of rum and a tummy full of pizza, i managed to redo my model, and re submit it for it to be CNC’d. As always they are running a bit behind so should hopefully be put in later today.

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Color Testing

I am working on a few things, my cnc file i giving me quite a bit of difficulties, but hope i can resolve it by tomorrow.

The Images are for a video i intend to have for my introducton. I want to emphasize on the overwhelming amount of activity and information that bombards our sensorium, and highlight how we sieve through the mess and begin curating our existance and environment.

The three collages are an assemblage of 3 mundane activities i go through every day. 1. Walking home – the final stretch 2. Getting to school 3. My daily coffee run through morwell.

Although at a glance the images are familiar, the composition is such that the closer you get, the more chaotic it gets. Background merges with foreground, scale exists through its appropriation etc – my new reality.

I want to try spend the rest of th ime before tutes to ry figure out how to cnc my continuous landscape at avrious resolutions etc.


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The Long Walk Home

Long Walk Home


Tschumi makes the point in his essay from Event Cities 3, “Concept, Context, Content.” that context is an interpretation just as much as concept and content is. He uses the example that the preservationist sees a habitat for fish and wildlife, where the industrialist sees turbines to provide energy to thousands.

He categorizes three types of relationships that concept and context (in an architectural project) can be in: indifference, reciprocity, and conflict. Indifference is where they exist independently of each other, with no acknowledgement of the other. Reciprocity is where there is a polite give and take and they both try to coexist together. And conflict is where they intentionally intervene in each other, violently subverting the other.


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Field of View



Still have a few bits to change and add to the image, but have reached a mental block. I need to resolve the issue of the blind spots – how to represent them. Also, I am not too happy with peripheral distortion. Although the fragment shapes match the organizational pattern of our nodes, they go against the units no facet rule.

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WIP – Supporting Drawings


I am creating a collage (hopefully turns into a layered and sensorial model). The idea is not only to show the various distinctions in our FOV but how we eventually infil it with layers of context – in the process creating our own landscapes.

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Working the Presentation Kinks

The presentation was nowhere near to what i wanted to “splurt” out, so after catching up on sleep decided to rework some drawings, and start preparing a text that i can start to get familiar with and constantly update in an effort to keep with the project.




3 Screens Wheel for Jury 1 Screen Shot 2016-02-08 at 3.09.52 PMa17

Also came across this artist, Alexa Meyerman, who creates space through a series of photographs. I thought this might be an intersting development in some of my models and arguments that talk about layering context etc.

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Refining S**t – New Model Cast + Redoing segment model

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Amar 0 – 3 Life

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Anaother day, another cast gone wrong! i have that this one wil work though….with some expert engineering and a lot of silicone i feel i will be able to finally cast some resin onto that baby. To be perfectly honest, i don’t think i deserve a tute tomorrow, as most my day has gone into making a resin mould for the landscape cast.  I hope to start the third pizza slice today, and hopefully start working on a chapter drawing for my whitebook. Also i feel like death.

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Model Making

IMG_3480 IMG_3481 IMG_3482 IMG_3483

Sorry for the delay! phone died, laptop has no internet so using Marks laptop! had a few glitches with the moulds n all, so rectifying them….a bit behind from where i want to be…sorry :/

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Work in progress – Quadrant/Slice One

I am currently working on 2 pieces for my eventual pie. I had some trouble with the CNC machine (as they are all broken – one luckily was fixed today evening, so my moulds will begin to take shape tomorrow). In the mean time i revised some pages from my whitebook, and i am in the process of making a papier mache model for tomorrow. I have attched some images of what i intend to do.

Cast Model Quadrant 1 - Landscape Model Quadrant 1 - Reverse Screen Saver Model Quadrant 1 MouldA MouldB


The 1st quad, looks at the point of view through duplicity – how a single entity connotes multiple tales. The scale shifts from an actual landscape experienced at 1:2000, and on the flip side, is a simple photoshop window on my laptop.

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WIP – White book pages


Looking to make the first few chapters of the white book into a research document in which i can begin to explain the various parameters for my project. The pages are the representation of the data collected from a test i did at specsavers.  I am hoping my unique limitations can provide some interesting variations for my POV exploration.

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Not the MAP, still working on all the elements to put it together.

MAP scale with HAND

Meyer - Venice


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WIP – creating the island.

I am currently working on a few things, but as of now, i am working on creating the landscapes as depicted in my previous collages. I hope to have the Darwin/Niemeyer spatial relations done for tomorrow, as well as starting a Hannes Meyer collection. The lines you see at various angles are all derived from the actual limitations of our ability to see. They refer to the max peripheral vision and also show angle of focus (frame in which we can recognize symbols). The idea is to create the landscape through these pizza slices, then develop it from there.

Screen Shot 2015-11-30 at 7.12.15 PM

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WIP – White Book – Is my RED the same as your Red?

Currently working on the white book, as well as the presentation text. The title was inspired by a Descartes  that i had stumbled on whilst doing my research on perception and the POV. I accidentally closed the book and lost the page entirely (boo). I feel the book should move away from being a mere medium to represent an idea, and try and become an object of mystery and interaction. The lecture tonight was great, gave me a few ideas, but i also am fond of the method of reveal and representation that Olafur Eliasson used in his cutout book

.Screen Shot 2015-11-26 at 8.35.39 PM

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The POV conversation.

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I am working on to models right now. They are still in their conceptual phase, but hope they lead to something cool. The first, is the planning stage for a potential board game (inspired by “catan”) – i am working to try understand all the rules and regulation. The second is the start of a model that highlights perception. The model can be looked at from opposite ends. The foreground for one becomes the background for the other etc. They are changes in scale and narrative to. Through my research i kept coming across that to abolish the subjectivity in the POV, we must engage with the environment as we do with art. Thus, maybe i can place these objects on a plinth and set up my presentation as a gallery space.

I have also attached some text that i am still working on:


My name is Amar Mehta, and my project begins to explore the transformation of the Point of View, from a medium of experiencing into a platform for creating.

The inhabitable environment as we experience it exists in the realm between reality and perception. We engage our existence in a constant condition of adaptive ignorance, whereby we sieve out the background, and frame only that which is of vital importance. Therefore, the POV not only provides the observer with the framework in which to engage the world with, but at the same time, it highlights the incompleteness of our experience of what we continually call reality.


Looking at precedents ranging from Marshal McLuhan to William Turner, it becomes clear that the entirety of the human environment can be arranged and experienced as a work of art; whereby environments are no longer passive facades, but, are rather sequences of active processes that begin to “massage and manipulate” an individual’s faculty to perceive. As a result, the POV is not the objective representation of what is real, but is the careful assemblage of a new reality – a visual construct, configured through the piecing together of that which is perceived, against that which actually exists.


As with the POV, the island is to be seen as an artificial construct, an unmapped territory that is seen through the eyes of our protagonists. It bares no coordinates, and exists on the grounds of possibility and imagination. Here, the constraints of time and space are abandoned, and instead, the architect must function in a realm where the past is fused with the future, and where the real dissolves into the imaginary.


In an attempt to isolate reality from perception, the protagonists are abandoned on the desert island, each with a set of tools and objects. Abandoning their vessels on arrival, they cautiously carry us forward through the deserted planes, shifting and sieving through the landscape of past experiences. Not only do they begin to map and reveal the untraveled sites, a frame at a time, but in doing do, begin to conceive new environments by re-contextualizing the various fragments of their juxtaposed experiences. Thus, if the POV becomes the medium for experience, the island can be seen as the platform for its spatial contextualization…

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Hello beautiful people

point of view


The definition of “The Point of View” exists in its multiplicity. It is subjective as it is an individual construct moulded by time, space, culture etc. So what is POV to you?

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gehry reagan


The following drawings begin to define the spatial boundaries of my POV exploration. Whilst Reagan is in a perpetual loop of constantly redefining himself, Gehry finds himself in isolation, marching forward in search of his identity. As Mcluhan says, “we look at the present through the rear view mirror. We march backwards into the future.” Thus what we see in the case of Gehry is, a city designed by his quest of identity (his LA home, always overshadowed by a synagogue, the walt disney hall,  confined is the courtyard of the Santa Maria della Vittoria…).

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POV machine?


The following model is in its most crude form. I hope that in the coming days i can build upon it and refine it as tool of POV manipulation. Whilst the totality of the image can only be seen from a single POV, the various layers begin to exaggerate the effects of scale, depth, perspective etc. I am also hoping to include more “relief” to the model, as i think the juxtaposition between the 2D and 3D could unravel some interesting results.

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found a stream of thought … now to exploit it

G1 R1 R2

I have finished reworking the collages that needed to have been done – took a lot longer than expected. I AM NOW WORKING ON A RHINO MODEL, FOR A DRAWING  of Reagan’s world – one the embodies the idea of the frame and constant reconstruction. I am also working on a 3D print file, that will allow me to construct a globe of fragmented ideas, and another collage (the one as discussed).

I have also jotted down some thoughts that hopefully begin to shape my argument.

The image of architecture as more real than the architecture itself.

The construct and composition of the image as a metaphor for perception.

The architect’s apparatus of perception is his sensorium (what makes an architect’s sensorium different?) Experiencing through the visual alone – context decontextualizes architecture.

Developing a methodology for decoding the world of the sensorium (collection of preconception).


POV as a representation of a carefully constructed space.


Creating worlds within worlds, where the primary architecture becomes the only context for the secondary and so forth – mise en abyme – perception to the infinite.


Context in today’s world becomes an irrelevant limitation on for which an architect has to operate in. It is momentary, for it is in continuous transition and exists in the realm of complete subjectivity; it is an incomprehensible synthesis of fragments shaped (something uncontrollable) through the industrial processes of culture and time…


The space of the architecture moves beyond its physical limitations and into the territory of the metaphysical, whereby the metaphysical is not a construct purely that of the mind, but instead is one that elevates architecture from beyond what is seen, to what is experienced and subsequently perceived through the frame of the sensorium.


The notion of experience is not to be misunderstood for that of the sensorium. Whilst experience can be seen as the collection of events framed within the visual parameters of the body (touch and sight), the sensorium is the translation and appropriation of the experience into a form of context (deduced into fragments such as depth, perception, scale – all subjective to points if view).


Therefore the role of the architect is not only to determine how we see, experience and function within the frames of the first person perspective, but in the process, produce a methodology of creating him/herself as a context-less operator through the (visual medium) sensorium.


Thus the project exists on the line between reality and perception, governed and structured by forms of experience and tools of perception (explored through the medium of the collage through POV – a double construct: page composition and first person narration).


The P.O.V not only begins to define its own context through the visual and tangible limits within ones visual frame, but through the negotiation of the sensorium, begins to create a thread of the continuous, and holistic image.



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1 2 3 4Working on completing most of the collages for tomorrow; having trouble finding existing content to complete the various images as i perceive them in my head. The following collages are a mixture of Reagan – construction of reality, and Gehry – quest for identity. Feedback would be much appreciated – Gracias!


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WIP – Mies en Abyme

Updated Collage

WIP - Reagan


Constructing the world through Mise en Abyme – How ideas, perception and reality collapse to create a whole new dimension of architecture.

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Work in Progress

Scene after the Bikini Atoll Explosion. Darwin is beached…and on the horizon he see’s …

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Work in Progress

Rethinking everything, i went back to the essence of what my project should be about – through the process of production i forgot to entertain one of my key themes – Isolation. Isolation is not only the tool in which i explore my narrative, but the ambiguity it creates is what entertains on the wider spectrum my notion of the sensorium. What i am now trying to do is progress and document the notion of Natural Selection and Evolution; From the bird to the book and so forth. The image below still has a lot missing – the various connotations that begin to construct the narrative as with questions raised within the realm of the Darwinian.

WIP - Niemeyer



Niemeyer Illusion

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Thinking out loud

The 4 main principles of The Sensorium I could derive from the Gutenberg Galaxy:

  1. A medium has its effects on a sense other than those with which it communicates.
  2. This effect is registered on all senses as an interdependent sensorium, in terms of their equilibrium or ratio.
  3. This ratio is constitutive of rationality or even consciousness.
  4. An imbalance of the senses induced by media can deprive one of rationality or consciousness


What is the Sensorium?

The sensorium is the method of reception and interpretation of a specific construct of sensory stimuli, individually calibrated through the manipulation of the ratios of our senses. As a result, the space perceived is not natural, but instead is a visual construct that has developed over time through the over dependence of visual interpretation. Therefore, the sensorium cannot be seen as just the subjective interpretation of stimuli, but must also be seen as the exploitation of the senses; one whereby the receiver must constantly negotiate with the stimulus in order to arrive at a meaning.


What is the space of the Sensorium?

As described, the sensorium is a space inhabited and filled with one’s own imagination through the depth of negotiation between the receptor and the stimulus. It is not an illusion but is an individual construct from what is perceived between the subconscious (Space) and reality (Time). This interplay between time and space allows one various ways of perceiving the world in terms of the experience of synaesthesia; whereby the stimulus of one sense causes a perception by another.

However can the idea of a sensorium reflect that of a Heterotopia? A space of a non-place; a space void of time and context, where the two exist but continuously collapse on one-another at various intervals and intersections? Does the sensorium forcefully segregate nature from nurture, experience from reality, sovereignty from democracy, in favour for isolation and abandonment over ritual? Does the sensorium oppose the theory of natural selection, or allow to it to thrive and evolve?


* * *

Thus if we take the space of the sensorium to be a construct that exudes a certain amount of information through the form of calibrated stimuli, the 6* seeds would fall on a constantly shifting gage that would be defined by these ratios. For example, on one hand we could have the self and fully-aware (McLuhan – realist – one that understands the mechanisms of media) and on the other we have Niemeyer (the idealist – one who is trapped in a utopian realm filled with surrealist iconography).

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Work in Progress: Reagan

Collage - Reagan

The image on the right should resemble the statue of liberty….but it isnt.

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Booted from the Bauhaus

Collage - Hannes Meyer

Continuing with the theme of illustrating turning points, the following moment shows the event that eventually led to Hannes Meyer leaving Europe for Mexico. The event shows a disgruntled mob moving into Walter Gropius office after learning that their dear Meyer has been fired and replaced with the smooth, Mies Van Der Rohe.

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Documenting Thought

Dr. Strangelove

Beginning to think of the architectural space in which these reconstructions / sensoramas take place in. Do they remain “virtual” or begin to manifest themselves as hetrotopic entities. Is it an extension of the White House, a series of follie in the 1939 NY World fair, the situation room in the beagle, or is it performed in the cerebro?

Defining the Sensorium…

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Guess Who? (work in progress)


Still working on the collage, lots still needs to be done on it, but i am attempting to capture the various turning, pivotal and eventual reconstruction of these “scenes.” The image above (if you were paying attention to my somewhat abstract and distorted of meaning presentation) is the pivotal scene in which Frank Gehry decided to change his name. As a child, he was often beaten for being a “Christ Killer.” Thus in a cinematic way, i am trying to covey and to an extent recreate this.

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Work in Progress

Collage - Vanishing Man

I re-did the space helmet, so hopefully it looks like one now.  I wanted this to be the last image in my illustrated timeline; one that will eventually look over a totalitarian U.S.A The image is of the anonymous man that appears in the origin depiction – but has now aged (will tie in to the narrative as it develops).

P.S. if anyone has an image that is iconic and totalitarian, please let me know…..danke!

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The Voyage

Collage 3

Work in progress….scene two: Darwin’s POV from the beagle as he leaves the Galapagos in 1935

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The Origin Story

Collage - The Origin Story

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Not a floor plan – Vanishing Islands

Collage - Disappearing Islands

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Timeline Compilation

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Sorry about the text – They are little notes that I’m sure will prove to be helpful in the future (I hope).

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Oscar Niemeyer’s University I.D. to Escola de Bellas Arte 1934

1929-carteira Escola Belas Artes

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Updated Timeline – More to come!

Updated timeline

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