Not allowing the mind to exercise, leaves little space for improvement. Architecture seems to have lost its humor, its surprise.

Allowing for some contributions, some feeling to be brought out allows you to get pulled in. Architecture has long been a solitary production, this ability to project, pull and use that as a generative method of architecture allows for associations usually not attainable. Allowing for creations that could not be generated by one brain alone.  

The gap between methods, the gaps between what is delivered is then personal, it is yours, to create, exploit, give meaning, forget, or disregard. Those spaces, gaps are to be invented, giving joy in the generative nature, making connections between the fragments, making things up, not tied to any pretentious assumptions of right or wrong.

The drawing has long been seen as a static creation, something that references an object for a form of analytical understanding. Allowing it to strive for a larger role, a dynamic role could find new strengths. I urge you to make your own jumps, leaps, assumptions; see your own spaces, forms, characters and rip them to life.

What if they could do more, now finally freed from their trap of construction, of pure utility, pure communication, could they do more? Could they share ideas, could they not dictate, could they not give you more than dimensions and space? 

Could they not find a way to exist with new limits, playing a new game, allowing for some contamination?

Allowing the mind to take rational, accepted architectural forms and radicalize them through a process of condensation, displacement and various others allows for purely imaginative, seemingly irrational, dream like compositions. 

This taps into the unconscious, allows its freedom to be tempted, for desire to push forward and rewritten the rules. Memories, history, thoughts and all our unknowns erupt into the forefront creating a palimpsest of layers of different elements and mechanisms. This allows for the seemingly irrational to become the key of unraveling the potential creative power of our unconscious.

Dreams do have structure. They are made of disconnected fragments of visual and auditory residue which are then transformed into various coherent yet unpredictable relationships with each progressive one contradicting the previous. Destroying only what it considers to be shackles limiting our vision.

This idea of discovery leads to both authorship and reader to exist simultaneously. The ideal way of creativity is to at points not be completely aware that the act of creativity is being pursued. Architecture is capable of enacting and expressing human identity, thought and consciousness.   

These drawings, models and various manifestations of such allowed these self referential games that allow for playing of elements in relation to form of function or convention. Creativity and its flow to architecture is most free from its rules and form when it is in direct contradiction to those rules and form so historically tied to its significance.

A small section of the previous drawings were chosen at random for their qualities. Shapes were allowed to appear, paying little respect for the ones that came before. Enjoyment was desired. Fighting to be simultaneously becoming independent of itself, yet trying to find originality within itself.  Desired is a search for meaning and structure, so these drawings were a momentary glimpse into the value and possibilities of the drawings that came before them. 

They play with vast differences: of scales, of types, of effects, of legibility, and of signs within themselves. The drawings act selfishly, only investing in their own qualities, in their own relationships and in their own nonsense. They are allowed to be unaware of their own errors and shortcomings as the canvas was hoping to behave as a child’s mental playground.

Void of form as a purpose but as a way of tapping into possibilities, a mental treat.

Turning the drawings into volumetric explorations. Finding depth in the presence of drawing; can a drawing have depth?, Can it have volume? Tools that we usually rely on to give sanity to an otherwise incoherent set of graphics Volume, Shadow, Ground, and Perspective again are all at play. Shadow is finally just as powerful questions its own existence, where does it end, or begin?

Shadows continue through mass, or have mass themselves. A single line can either create depth, deceive it, or eliminate it. 

Using the tools that are inherent in the axon, such as volume, shadow, contrast and exposure are still in use yet the viewer is not placed any closer to an answer solely using those. Here, the only tool that will reveal is the viewer, not the author.

The only limit we face is that of our minds, the ability to walk the thin line between our rational tendencies and our unconscious urges. 

Architecture is a medium, not a goal. Each curve, extension and hallway is a result of these two halves colliding, allowing for a momentary glimpse into the overlap. 

We need to give our minds the space to grow, to be itself,  to exercise our diversity. We need to give it space so that it may both give and receive such beautiful things as ideas, openness, dignity, joy, failure, chance and impossibilities as tangents for exploration. In the path of thought, we are the hindrance, not the idea. Ideas are pure. Yanked into existence the moment we think it. There is no impossibility, only avenues not yet explored.

We must not create as we see, but as we imagine. If we learn to remove our hindrance, and see, refocus and understand what the work says, we may find it has its own voice, its own desires and its own urge to become more.

“When you look into the abyss, the abyss also looks at you.”

Friedrich Nietzsche

A One-Night Stand for Art & Architecture (One-Night Stand LA) - was an event by a group of emerging architects and artists from Los Angeles exploring different forms of media, but also new possibilities for architectural strategies of subversion.

One-Night Stand exploited encounters without expectations of further exposure or presence of its participants. Further relations may be explored; memories may be written but nothing is carried to tomorrow. We return to banality once the night is over. The stability, the safety of the norm is returned. We provoke you with a taste. This one-night, this one moment allows our vices, our desires and our minds to tease, penetrate and release. Some may and have come to call the idea as “mental arousal and release without emotional commitment or future involvement”. To us it was One-Night Stand for Art & Architecture.

All Photos taken by Jasmine Park


All architecture forces dimension, we revere it, and we live in it. We create it. This is the last step of the series, it is where all architecture culminates; the space. 

It is presented to you as a thickened paper, a thickened shadow, not as a model, allowing for complete engagement. It deals with material, perception, physical depth, touch, thickness but does not allow for much more. It is torn between the drawing experiment that fosters it, or the realities of the physicality that forces it to extrude.

Each relief was created as a way of hinting at space, form and movement. Not settling, not just yet forced into a convention. These explorations are to be both model and shadow, object and void. Interior and exterior, plan and section. Architecture always seems to be forced to make decisions, even when its not ready to do so.

All Photos taken by Jasmine Park

Love, sadness, desire, intuition and memories are at frowned upon terms in architecture, a way to distance itself from art. The characters positioned in front of you had various, singular or no roles in the creation of the drawings. 

All of them are left to you to organize, see their value as singular objects, a group or as playful thoughts. Or cast them aside.   


Insanity: doing the same thing over and over again and expecting different results.

Albert Einstein


Qualities of the drawings were once again poached the frame they were contained. Allowing for the form to inspire memories, emotion, reactions and new forms to come to mind.

Place them as you like and see what you are left with; so tell me, what do you see? The have no scale and no intention to have any, nor any desire to be classified.

For me ‘the past’ does not exist, because I consider that everything is simultaneous in our culture and similarly in judging architecture I do not see any fracture between ancient and modern”

Giò Ponti, Amate l’architettura, 1957

The past is no longer a burden or a fear. It is no longer an immense archive of untouchable and superior achievement that presses down on an unworthy present. It is no longer that older child that we must look for approval. It is not the dead weight of success and failures that must be cast-off before anyone can be free enough to do anything. We no longer need to unburden ourselves of the knowledge that nothing we will ever do will ever compare to anything in the countless multitudes of past perfections.

History belongs to us. We are history and history exist because we do not merely repeat the past. Each of us is history, our own and the collectives. 

We can cut it up and put it back together in whatever manner we choose. It does not belong to those who made it: they bequeathed it to us in the very act of dying. It definitely does not belong to an Oxford Don, or in an ivory tower. It is our gift, it is our head start, it is what makes us uniquely Twenty-First Century human, it means we do not need to begin each time from scratch, it means we have material with which to build our future.

History is our quarry. History is an ancient monument on our doorstep that is ripe for plunder. It is our Colosseum from which we get bricks and blocks and metal to put together our own churches. 

Only in this case the Colosseum is not diminished by our rapaciousness, it is nourished by it, it gets bigger every time something new is formed from its bones, it grows and fattens. Every stone we remove sows the seed for three more in its place.

Our acts of creation with the ideas of the past transforms the whole of history. We keep it alive. We keep it growing.  We save it from the Historians and the Museums. It is us who make sure that the most obscure medieval painter is as much a part of our lives as the latest dancing puppy video.

Architecture can strive where the threshold between waking  and sleeping is worn away in the architect and is flooded by images continuously with no hindrance.

“Quietly. I want to pass where no one yet has passed, quietly! - After you my dearest language”

Andre Breton

Unexpected juxtapositions and contradictions in a departure from the usual rational appearance of architectural form awaits.

Drawing is today’s medium that allows for experimentation, youthful imagination, and for freedom of thought. Drawing is thinking. It can jump between idealized fictions to truths with little or no consequence. Allowing us to arrive at destinations from a new vantage point, to test the conventions that we hold so highly. Some ideas cannot be contained to these strict rules we have created, some ideas exist in that gap, fill the gap and force us to realize the possibility of the impossible. 

Drawing is the only medium of architecture that can challenge physical limitations by completely ignoring them. Gravity, time, direction are all at the creators’ discretion or interpretation.

Allowing oneself to study conventions from within one of architecture’s most sacred conventions, drawing. Not taking anything for granted, knowing certain inert tools are not appropriate for the task at hand. This grants us the ability to step away, create a new space, and discover, this is where this thesis finds itself. Not starting from scratch, not trying to be original, only trying to find some place safe, to stop, look and invite a little slipperiness, lucidness into the conversation. 

This allows all the freedoms of tropes, rules, irony, and weaknesses. Of course you can not escape complete convention, completely aware of such an impossibility; that in itself is where this research hopes to land, at the cliff edge, where we can look over and wonder, just wonder, what it might be like to jump, and what the possibilities might be.

Used as an associative machine, producing drawing, banking on previous conventions such as plans, sections, elevations, building, rendering, model, composition, and image will expose the fractures upon which to be exploited. Brutally coupling qualities of phenomenology and Cartesian methods of space and drawing; this research strives to search, discover and accidentally encounter moments of mis-alignment. 

On its own form is void of context and meaningless; allowing the break from rigidity of an inherent meaning towards a speculative one. From Piranesi, to the Texas Rangers (dot-dot game), to Eric Owen Moss (Culver City), to Perry Kulper (drawings) there has been an inclination to exploit and understand how the combination of primitive, simple form could produce a latency from the words to their images, a schism of consciousness, allowing a momentary fracture in association, a speculative view once had, now lost. 

Architecture and its process may not be about upward progress of a staircase or a fluid motion of a facade but about evoking acts of gathering, or dispersing, calling attention to a spot or moment in an other wise chaotic group of symbols.

There is a larger pleasure in discovery than in knowing; while knowledge provides comfort, uncertainty keeps us alive and engaged in the world. Architecture lies between the limits of the conscious mind to decipher the limitless limits of the subconscious minds. 

With an urge to develop the project into three dimensions, the drawings were forced to comply. Stabbed through and associated as plans, sections, elevation at a rotations notice, each model was formed to see a glimpse into the possibilities fully knowing it was not time to see the complete ability or temptations. 

As each model was produced as a tangent to the project and was allowed to extrude forms from the planes and interact with the plans of others. The Drawings were allowed to thicken and become spacial in only that the graphics could be pulled to different planes. 

While a striking level or reduction is visible, it was an important tangent to view the possibilities. The multitude of mental possibilities that these reassuringly architectural graphics and languages evoke their own voices and forms.