Received a MacDowell Colony Fellowship for January 2013 to develop.
Cumularium combines historical, theoretical, and design research in a multivalent exploration of the "folly" as a building typology germane to both the fields of architecture and landscape architecture. Our interest in the folly stems from its long history as a vehicle for design experimentation, as well as the way in which the folly indexes time. A contemporary folly might be seen to engage themes symptomatic of our own time, such as the relationship between man and nature. Our ambition is twofold : endeavoring to analyze the history of the folly while designing a series of contemporary follies, each of which engage a theoretical discourse around the complex and increasingly ambiguous relationship between architecture and landscape.
Exhibited at NYU’s Global Design show 2011.
spirabilis utilizes NASA research on Closed Ecological Life Support Systems to prescribe ecological living where hydroponic plants produce the balance of nutrients and oxygen necessary for human life. Tubular algae cultivation provides clean air through micro-controlled output valves as well as lighting and visual effects. Habitation zones, structural rainwater collection, and oxygen producing algae columns imagine a future where a building is not just a shelter, but life support system.
Commissioned for EcoRedux : Design Manuals for a Dying Planet exhibition at Museum of Contemporary Art in Barcelona, 2011.
spirabilis is an urban appliance, combining characteristics of organic growth and with the possibilities of technology. Concepts of nature are here newly shaped, giving new life to the time-worn batiment. Flexible appliances are deployed, with rainwater collecting trees, and conduits of “ heroic fluids” joined with exuberantly growing algae and nature is newly created in this proposal for a new provisional architecture.
Exhibition Design for the Santa Monica Museum of Art, 2006
Working in collaboration with the independent curator Joshua Decter, servo developed an exhibition infrastructure incorporating fiber-optic lighting technology, digital projection equipment, touch-screen interfaces, and vacuum-formed acrylic panel systems to explore the resonance between geometric, material, and informational systems and their distributional and indexical capacities. The thematic of a “ dark place” operates at the level of content and as a real site of production with the scale of the exhibition.
Commissioned for the Gen(h)ome exhibition at the MAK Center, L.A., 2006.
Each Spoorg cell is embedded with local intelligence, enabling it to communicate with other adjacent Spoorgs. The Spoorg system is a cellular system which interfaces with the interior and exterior of glass building skins. The intelligence of the system is distributed (as opposed to being centralized) and based on wireless radio communication. Spoorg reacts to local as well as regional environmental changes of light and responds by generating various forms of ambient sonic ouput.
Finalist in PS1/MOMA’s Young Architect’s Program, 2004.
Conceived as an augmented environment, the system grows and accumulates throughout the space of the courtyard, resembling a thickened surface. The mat is comprised of two primary layer of drape-formed acrylic surfaces: a landscape of ground pads and a canopy of ceiling pads. The ground pads are embedded with responsive lighting and vibro-tactile technologies, physically manifesting the music in a vibronic seat, as live sonic data from the DJ’s mixing board is captured and processed by a computer running custom software.
Exhibition Design commissioned by Nike, 2004.
GOS features 30 of Nike’s most technologically innovative shoes from its history. Working in collaboration with the graphic design firm SKDP and the artist Karen Kimmel, servo developed an exhibition infrastructure incorporating fiber-optic lighting technology and vacuum-formed acrylic panel systems to explore the resonance between material and formal systems and their indexical capacities. The display system is reconfigurable, allowing for multiple curatorial desires to transform the exhibition’s narrative over time.
Commissioned for Mood River exhibition curated by Jeffrey Kipnis & Annetta Massie, 2002.
Integrating digital design, fabrication, lighting, and sound technologies. Thermocline upgrades the infrastructure of a furniture unit, transforming its tactile interface of surface-to-body into a multi-sensory user atmosphere. Thermocline was later upgraded for the exhibition Non-Standard Architectures curated by Frederic Migayrou at the Centre Pompidou. With MIT’s Media Lab, Thermocline was redeveloped with interactive technologies of motion and sound sensors with a software interface.
Commissioned for Latent Utopias exhibition curated by Zaha Hadid and Patrik Schumacher, 2002.
In the Lattice is conceived as an active modeling environment where remote sensing technologies allow the exhibition visitor to engage in active participation with the content of the exhibition. A prototype geometry inscribing an intricate lattice pattern is deployed as a navigational system within a series of four light tables. The lattice geometry, cut into the tabletops, regulates the position of sensors. Viewers manipulate the script through the table interface which is then viewed in 3D on eight plasma screens in the immersive environment.
Exhibited at the Storefront for Art and Architecture, 2000.
Synthesizing fabrication, material, and lighting systems at a furniture scale, Cloud Box is a prototype that incorporates a multi-use program of storage, illumination, and display. In Cloud Box that material attributes of acrylic are augmented with layers of more immaterial media like fiber-optic lighting. Looking at the Cloud Box lighting becomes ambient and the objects located within it are blurred, their contours merging together.
Edited by Mitchell Joachim and Michael Silver, Metropolis Books, Forthcoming, 2013.
The editors propose that a relevant architecture must not only be functionally “green”; it should also look different. Style and innovation cannot be considered separate issues in the production of environmentally responsive buildings. The editors have compiled a group of contemporary practitioners who provoke new ways of thinking about green architecture and the challenges of an uncertain environmental future.
Edited by Neeraj Bhatia and Lola Sheppard, Yale School of Architecture, 2013.
From soft politics, soft power and soft spaces to fluid territories, software and soft programming, Bracket 2 unpacks the use and role of responsive, indeterminate, flexible, and immaterial systems in design. In an era of declared crises--economic, ecological and climatic, among others--the notion of soft systems has gained increasing traction as a counterpoint to permanent, static and hard systems. Acknowledging fluid situations with complex feedback loops that allow for reaction and adaption.
Edited by Nina Rappaport with Francisco Waltersdorfer and David Yang, Yale School of Architecture, 2012.
Architecture Inserted features work of the Louis I. Kahn Visiting Assistant Professorship, an endowed chair at the Yale School of Architecture. The book includes work from the studios of Eric Bunge and Mimi Hoang in “ Paris Doubles,” Chris Perry in “ Anticipatory Architecture: CERN 2054,” and Liza Fior with Katherine Clarke in “ Alternative Legacies for the Olympic Site.” The book includes interviews with the architects about the work of their offices and essays about their pedagogical approaches.
Edited by Megan Born, Helene Furjan, and Lily Jencks. With Cathryn Dwyre as Managing Editor at Penn Design. MIT Books, 2012.
Contributors to Dirt include Barry Bergdoll, Alan Berger, Anita Berrizbeitia, Lindsay Bremner, Kim Brickley, Case Brown, Mark Campbell, James Corner, Phillip Crosby, Keller Easterling, Ruth Erickson, Larissa Fassler, Helene Furján, Future Cities Lab, Mark Alan Hughes, Tetsugo Hyakutake, Robert Le Ricolais, Lily Jencks, Peter Lloyd Jones, Ferda Kolatan, Sylvia Lavin, Andrew Lucia, Ian McHarg, PEG, Rhett Russo, SERVO, Phoebe Washburn, Marion Weiss, and Richard Wesley.
Experiments within Contemporary Architecture. Edited by Zaha Hadid & Patrik Schumacher, Springer Verlag, Wien/New York, 2002.
Latent Utopias focuses on experiments with radically new concepts of space, requiring the profession to "play" and experiment. This proto-architecture that emerges under requires public exhibitions as forum of exposure and testing ground. The works presented by the various architects aim for interactive forms of installation, and construct experiences, venturing into the realm of radical abstraction.
Monograph published by DAMDI Architecture Publishing Co., 2008.
An architectural design collective, Servo's focus is on the development of architectural environments, active design systems comprised of temporal conditions, the proliferation of electronic and digital equipment and interfaces, and i the ebb and flow of information in real time. Projects include a show at the Centre Pompidou and an exhibition design at the Santa Monica Museum of Art in LA. This monograph is illustrated by models, and technical drawings, and accompanied by essays and experimental design research projects.
Guest-edited by Christopher Hight and Chris Perry, Wiley-Academy, 2006.
Collective Intelligence in Design takes in contributions from: A|Um Studio, servo, Open Source Architecture, OCEAN, the AA’s Design Research Lab, MIT’s Media Lab, Small Design Firm, and United Architects. The issue features essays from a diverse pool of academics and designers, including Alexander Galloway and Eugene Thacker, David Salomon, and Brett Steele, as well as an extensive interview with Michael Hardt, an influential thinker on the subject of contemporary globalization.
Published by Phaidon Press, 2005.
Ten of the world’s respected architecture critics, practitioners, and curators were each asked to select ten architects whose distinctive designs have emerged internationally. The work of each of these one hundred studios is presented here on four pages and is accompanied by an insightful text by the contributor. The book comprises some 1,500 images, 250 buildings & projects, 10 essays and twenty-eight countries.
Curated by Frédéric Migayrou and Zeynep Mennan at the Centre Pompidou, Paris, 2003.
An exhibition of experimental projects and prototypes by a dozen international architectural teams (including servo, UN studio, R&Sie, et. al.) the exhibition provides an overview of current architectural research resulting from use of digital tools and computation for architectural conception, production and distribution. In these areas, boundaries are dissolving, ideas are metamorphosing and time sequences are breaking down, with principles of interrelation, variability and simultaneity now intervening at every step in the architectural process.
Mario Carpo, ed. Wiley-Academy, 2012.
Featured article reprint by: Christopher Hight and Chris Perry Introduction to Collective Intelligence in Design Reprinted from AD: Collective Intelligence in Design (2006) The digital turn in architecture has gone through several stages, and Architectural Design (AD) has captured them all. This anthology of AD's most salient articles is chronologically and thematically arranged to provide a complete historical timeline of the rise to pre-eminence of computer-based design and production. Contributors include Peter Eisenman, Greg Lynn, Stan Allen, Bernard Cache, and Charles Jencks.
Design Museum, Barcelona, Spain, 2011.
EcoRedux explores the remarkable contemporary resurgence of ecological strategies in architectural imagination featuring new interpretations and ecological strategies of the historical material from the 60's in the form of diagrams, drawings, animations, interviews with the architects, computer codes, cookbooks and instruction manuals.
Elsewhere Envisioned. NYU Gallatin School of Individualized Study. Curated by Mitchell Joachim, 2011.
Neil Spiller, Ed., Thames and Hudson, 2009.
Presenting fresh architectural visionaries from around the world, Digital Architecture Now celebrates architects who are pushing digital design and software to their limits and showing how radical experimentation can lead to spectacular built results. Neil Spiller’s text places this contemporary work in the context of recent developments and considers the future trajectory of digital architecture.
Joseph Rosa, Ed. SFMoMA + Rizzoli, 2004.
Commissioned project by servo, ed. Jeffrey Kipnis and Annetta Massie, Wexner Center for the Arts Press, 2002.
Donald Albrecht, Ed. Coooper-Hewitt, National Design Museum, New York, 2002.
Featured project by servo, ed. Kurt W. Forster, Marsilio Press, 2004.
Mark Burry, Jane Burry Eds., Thames & Hudson, 2010.
Architecture has always relied on mathematics to achieve visual harmony, structural integrity, and logical construction. Now digital tools and an increasing interest in physics have given architects the means to describe and build spatial constructs that would have been inconceivable even ten years ago. This carefully researched survey of forty-six international projects offers an overview of how different strategies are being employed through diagrams, photographs, and texts.
Joseph Rosa, Ed., Rizzoli, 2003.
A new generation of architects is pushing digital technology to its limits and continues a tradition of "organic" architecture. This volume defines the next generation and captures the latest trends in architecture it has put foward. A number of the architects (Greg Lynn, RUR Architecture, Foreign Office Architects) were among those selected to compete in the Ground Zero redevelopment effort.