PROFESSOR
CRAIG BORUM
STUDIO SECTION
ONE ROOM
“The most important factor here is that you understand that a room is a matter of opinion.”
-- Fran Lebowitz, A Manual: Training for Landlords.
“For myself, I can’t think of anything in the world that is better than a nice room.” --Gustaz Flaubert
Simultaneously the expression of building systems, the manifestation of material ecologies, the articulation of formal languages, and the instantiation of the architect’s conceptual aspirations, a single room is like an interpretive key to the building, unlocking its ambitions on a small scale. Through a highly focused design investigation, this studio will explore the myriad possibilities of architectural design and theory through the disciplinary conceit of ONE ROOM.
Over the course of the semester students will engage a number of Representational Techniques and Tectonic ambitions all explored through the design of ONE ROOM.
Additionally, students will be expected to develop clear positions and disciplinary grounding regarding the ambitions of their individual projects. There will be no specific programmatic overlay for the studio simply the overly determined constraint of ONE ROOM.
“For myself, I can’t think of anything in the world that is better than a nice room.” --Gustaz Flaubert
︎︎︎BACK ︎
MARÍA ARQUERO DE ALARCÓN + ANA PAULA PIMENTEL WALKER**
Volume 01 + 02
CRAIG BORUM
Chen Huang
Yunyan Li
EL HADI JAZAIRY**
Judith Mendoza, Rosa Manzo, Tessa Broek
Renwei Liu,
Lu Li
MICK KENNEDY
Chun-Li Julie Chen
Ellis Wills-Begley
JEN MAIGRET
Nicolai Carlson, Megan Clevenger, Song Gao
Yuyan Wang, Xiangqi Wen, Haoyu Zhou
ROY STRICKLAND**
Kael Fineout
Victoria Wong
GEOFFREY THÜN**
Marco Nieto, Kady Cramer
Ian Eichensehr,
Jonathan Levitske,
John Lozinak
KATHY VELIKOV**
Gina Laudato,
Jasmine Wright
Fernando Rosas, Madison Wong
STUDENT WORK
CHEN HUANG
“ROOM WITH LINES”
This is an exploration of the relationship between lines and a room. What if a space is made out of lines? In the first triptych, different types of lines are being translated in the process from unpacking toreconstructing then flattening. The lines are recalling our visual perception of room elements such as the opened door; the vertical straight lines can explicitly define a door and the dark space behind it. The axon drawing represents lines and performance. The actors implore the audience to momentarily suspend their disbelief. The viewer can understand the stage from multiple perspectives.