Architecture, as a visceral practice, carries with it the weight of an inhabited end structure. The ability to continually link steps together to form an end goal in an iterative process is painstaking at times, even trivial, but necessary. With the ability to alter every decision in a process toward the final end of a new built form, my work tends to provide the end user with an understanding of the ambiguity of the profession. An open, endless construct is something I strive to represent both visually and in three-dimensional space. Intuitive design decisions can be seen as intentional motives when compounded together.
Inspiration can take the form of many mediums. I find inspiration in my own and other’s reactions to a built form or structure. How does it make the person interreacting with it feel? And how are these desired emotions of experienced space achieved through the design process? Working on a project is an additive progression where losing focus on the ending can alter the emotionally driven experience of the built object. Also, sustainable quality and permanence are balancing requirements. Longevity and use of source materials for a design that appeals to lasting quality, instead of current trends, is a goal.
My architectural designs have attempted to start with basic shapes based on my intuition about the proposed built structure. Thus, a design project to create a space for the fabrication and shaping of surfboards was initially based on intuitive movements of materials and workers through space and wave motion. Then an additive process began relating specific needs of the people to work in the designed space, the requirements of fabrication (for example lighting, ventilation, storage) and my decisions about the using construction materials and infrastructure of quality to withstand the long term demands of the fabrication process.
A current research specifically focuses on the Free Quaker Meeting house from the 1700’s in Philadelphia within the historical memorial space, Independence National Historical Park (INHP). What role does it play in a modern twenty first century setting and how can my architectural intervention reflect or be designed for this? Challenging preconceived notions of architectural preservation and memorials and how it relates to existing structures in society over time is the focus of the design process. After exploring some themes in colonial history related to the meetinghouse, I will then intuit some initial design then begin an additive process starting with the nature of existing structures, then the presences of absences, visitor experience and the impact of commodity tourism and in the end the responsibility of designing a quality inhabited spatial experience of a history that will never be complete or inclusive.