ODE TO SCARPA
ARCHITECTURE PROJECTS ODE TO SCARPA GALLERY
CHINA PAVILION
ARCHITECTURE PROJECTS CHINA PAVILION FOR THE MILAN EXPO 2015Structural Model This is a structural model of the China Pavilion for the Milan Expo 2015. The pavilion was constructed out of large gluelam beams which sit atop a steel frame. Longitudinal members support transverse beams as lateral bracing. The shape of the beams transition from curved to angular. This change mimics the site, with mountains to one side and the city of Milan to the other. GALLERY
LIVING A MILE FROM WORK
ARCHITECTURE RENDERING LIVING A MILE FROM WORK What is it to live life a mile mile from work, but within the same building? This dystopian supper structure lies within the heart of a city; towering over it and casting large portions in perpetual shadow. The film merely scratches the surface of the daily interactions and experiences of living and working in such a mega-structure. This thought experiment plays on Le Corbusier’s five points of architecture taken to the extreme. The pillar becomes the scale of building, while the free façade acts as a perpetual hazard.
ART/NET-WORK
ARCHITECTURE RENDERING ART/NET-WORK This Artist Residency revolves around networks: Structural, circulatory, spatial, and programmatic networks. It aims to tie itself into the network of the city of Ithaca by becoming and extension of the existing public waterfront trail. This public path is integrated and weaved into the structure as a large open plaza between the separated levels of the building. The pathway bridges across the roadway which currently divides the waterfront trail. The structure is formed of a network of glulam beams which delaminate, re-laminate, and curve to form a scaffolding like array of columns and beams. This Artist Residency revolves around networks: Structural, circulatory, spatial, and programmatic networks. It aims to tie itself into the network of the city of Ithaca by becoming and extension of the existing public waterfront trail. This public path is integrated and weaved into the structure as a large open plaza between the separated levels of the building. The pathway bridges across the roadway which currently divides the waterfront trail. The structure is formed of a network of glulam beams which delaminate, re-laminate, and curve to form a scaffolding like array of columns and beams. VISUALIZATION SECTIONS PLANS CONCEPT AND DIAGRAMS The structural system and facade were parametrically designed allowing for an iterative design approach that led to easy modification of the general form, while constraining the design within the physical limitations of the glulam assembly. ADDITIONAL 3D DAYLIGHT ANALYSIS Daylight and radiant heat analysis informed the design of an optimized layout to enhance environmental efficiency. Computational feedback guided the strategic placement of openings in the plan, resulting in significantly improved energy efficiency.
EMBER
ARCHITECTURE RENDERING EMBER Ember is an art and cultural center in Old Montreal. As an art center, it serves as a central community space for Montreal. Running on the fuel of the busy Montreal day, by night it then continues to illuminate its surroundings. Like a burning ember, the stained glass façade calls on the colors of the red maple leaf, while the stacked pattern mimics the existing masonry construction it slots inside of. As a symbol of life and culture, it harvests feelings of warmth through cold winters and long nights. A large public plaza invites visitors into gallery spaces, performance halls and the contemporary art world. Views from the illuminated structure highlight the monumental past of old Montreal, including a historic chapel. These framed views become part of the experience of the Galleries and further connect it to its surroundings. VISUALIZATION SECTIONS PLANS CONTEXT AND MAPPINGS CONCEPT AND DIAGRAMS
CONVERGENCE AT THE SUGAR EXCHANGE
ARCHITECTURE RENDERING CONVERGENCE AT THESUGAR EXCHANGE Collaborated with Andrew Bogossian Convergence at the Sugar Exchange is a center for Creole culture in New Orleans. Drawing from the structural formation of Creole language and culture, program and activities at the center intersect, overlap, and converge to blend experiences, reconsider traditional interactions, and reconstitute the traditional performer-viewer experience to add to the vibrant and unique culture of New Orleans and Creole people. Sited along the Mississippi River, bordering the French Quarter and Central Business District, the Sugar Exchange location is an ideal one for such a project as its historical basis as a location of commerce and exchange is reconsidered in the Convergence as a cultural and experiential exchange between dancers, musicians, makers, researchers, community members, and visitors. These varying urban conditions are mediated by Convergence through adhering to an intersection of the grids which arise from the formation of each city district and the curvature of the Mississippi River. The main arcade of the site has seasonal use as a Mardi Gras route, while its curvature and wrapping transitions it from an exterior space to one that feels more enclosed and interior. Convergence at the Sugar Exchange seeks to not define Creole and the culture of New Orleans, but to be a beneficial landmark to allow for it to continue to change and progress. The project’s ground floor mediates public and private spaces through using gallery and exhibitions spaces as buffers which act as soft separations between exterior and interior, visitor and resident, and program and service. As your progress vertically through the space, outlooks intersect the building and break separations creating united spaces which re-engage with one another.
PAINTING A BETTER PICTURE
ARCHITECTURE DESIGN PAINTING A BETTER PICTURE What is the function of an image that represents the notion of belonging? Through painted murals, this project fosters community, hope, and belonging in Skid Row with the use of art and technology. https://www.lukekratsios.com/wp-content/uploads/2023/11/looping_AR1.mov SCAN ME! https://www.lukekratsios.com/wp-content/uploads/2023/11/looping_AR2.movhttps://www.lukekratsios.com/wp-content/uploads/2023/11/looping_AR1.movhttps://www.lukekratsios.com/wp-content/uploads/2023/11/looping_AR2.mov SCAN ME! Use phone to scan the QR code and test out the augmented reality experience!Just click on an image above and point your phone camera at it to see it in 3D! THE ART OF SKIDROW In the heart of Los Angeles, Skid Row stands as a stark testament to urban neglect, its streets a canvas of graffiti that tell tales of hardship and resilience. This graffiti, a mix of gang-related tags and heartfelt street art, reflects the complex narrative of its residents. The street art is respected and endeared by those that live in skid row, and so my project delves into this setting, seeking to build on the positive aspects of the art: those that are created to foster community. INSPIRATION FROM NEAR AND FAR Inspiration came from painted murals of non-existent rooms, such as bedrooms and living rooms, that some unhoused people live in front of. These murals become an extension of the physical space that exists and cultivate a sense of belonging and ownership. I drew a parallel between the murals and the project “Gate of bright Lights” by design firm Space Popular, that utilized a screen to display a series of a fantasy spaces that extend the physical space around them. THE MURALS My project introduces a series of painted murals, each a doorway to an imagined yet deeply personal world. These murals, painted on the very walls and spaces inhabited by the homeless, depict fantastical spaces of comfort and desire. Far from mere artistic expressions, these murals help fulfill the dreams and aspirations of those who have no place to call home. They stand as poignant symbols of what everyone deserves but so few in Skid Row have – a safe, personal space to belong. https://www.lukekratsios.com/wp-content/uploads/2023/11/looping_AR1.mov Technology plays a pivotal role in this project, expanding the murals into an augmented space. Individuals can scan the murals to access an augmented reality experience, transforming the 2D artwork into dynamic 3D spaces. Physical or not, this creates a personable stage attached to the living spaces in front of them. It is a space that can be endlessly customized and grow overtime with its occupants. MOBILE HELP APP This digital layer not only enriches the visual experience but also serves as a practical tool, providing much needed aid to the community. Through a specially designed app users are guided to nearby resources and support services. The murals serve as beacons, guiding the homeless to essential resources such as food, water, and medical services. In this way, the project harnesses the power of technology not only as a medium for artistic expression but as a vital resource for survival and connection in the urban landscape. RESOURCES FOR THOSE IN NEED At its heart, this project is more than an artistic endeavor; it’s a lifeline to those on the fringes. Additionally, when the murals are painted, services will provide the cleaning and sanitization of these living spaces. In this way, the project brings a much-needed sense of dignity and health to the residents. This aspect of the project underlines a crucial message: while art enriches the soul, caring for basic needs upholds the human spirit. This project aims to instill pride in the residents; pride in what they can call their own, which in turn brings safety, comfort, and community. MOBILE HELP TRUCK ExteriorInterior CLEANED UP TRANSFORMATION BeforeAfter
SOLITUDE’S GARDEN
ARCHITECTURE RENDERING SOLITUDE’S GARDEN A contemporary sculpture garden built into an abandoned soap factory in Rome. The architecture itself becomes a surreal experience, with no clear distinction between interior and exterior space, and trees suspend from above. The film captures the multi-sensory experience of the garden as an escape from the bustling city life surrounding it; Taking one through the hollowed remains of the burnt down factory which are now sunken spaces within an elevated connected platform. https://www.lukekratsios.com/wp-content/uploads/2023/11/Solitudes-Garden.mp4 DRAWINGS
BUY FOR THE FUTURE
ARCHITECTURE RENDERING BUY FOR THE FUTURE This project is a commentary on consumerism in the 20th century. Inspired by the work of the design firm Ant Farm and their 1975 project “Media Burn,” the project combines both physical modeling and filming with digitally rendered assets and scenes into a cohesive vision. https://www.lukekratsios.com/wp-content/uploads/2023/06/luke-final-with-sound-Trim2.mp4 ANT FARM – MEDIA BURN This project began with an analysis of Ant Farm’s 1975 Media Burn. “[The firm] organized Media Burn, in which two “artist dummies” dressed as astronauts “drove” a customized 1959 Cadillac renamed the Phantom Dream Car at full speed into a wall of flaming television sets. Using the car once again as a cultural icon, Ant Farm addressed the pervasive presence of television in everyday life, affronting the same media they had invited to cover the event.” RECONSTRUCTION OF CAR SPATIAL ANALYSIS STORYBOARDING
THESIS
ARCHITECTURE RENDERING ARCHITECTURAL INTELLIGENCE: HARNESSING Al FOR DESIGN INTENT HOW CAN THE REAL-TIME MASKING AND LAYERING OF AI-GENERATED IMAGERY BE USED TO EFFECTIVELY REALIZE AND REFINE DESIGN INTENT? LUKE KRATSIOS This thesis investigates and develops state-of-the-art technologies in the field of generative content and examines how designers can leverage inherent training biases and input data to swiftly generate textures and imagery for use within the design process. Ultimately, the developed workflows aid in formulating a cohesive project vision from early stages. By combining proceduralization, simplified modeling techniques, and intelligent masking, the design process accelerates. This not only enables the creation of high-quality renders but more importantly, encourages a nuanced approach to design thinking. CLASS CORNELL B.ARCH 23 ADVISORS CHRISTOPHER BATTAGLIA PATRICK KASTNER DONALD GREENBERG TECHNICAL CONSULTANTS JOHN WOLFORD LEUL TESFAYE RESEARCH HIGHLIGHTS THE PROBLEM TEXTURE PRODUCTION MASKING AND LAYERING (NOT) THE BARCELONA PAVILION PARAMETRIC DESIGN DESIGN STUDY Existing Standards Problem and Solution New Standards Example According to industry standards in design representation, that number is around 5,000 dollars. Beyond the prohibitively high cost for most firms, this massive expense speaks volumes to how these renders are being utilized in our industry. These are not made for or by designers, they are purely marketing tools used to sell a product. The quality provided by affordable and fast arch-vis alternatives falls short of yielding meaningful design feedback or freedom. They result in distracting and uninspiring depictions. THE PROBLEM: THE TOOLS AVAILABLE TO DESIGNERS ARE ARTIFICIALLY LIMITING THE CREATIVE PROCESS THE SOLUTION: EXPAND DESIGNER AGENCY BY DEVELOPING TOOLS THAT EXPLOIT NEW GENERATIVE AI AND INTEGRATE MATERIAL DECISIONS INTO THE DESIGN PROCESS As a baseline for this to be effective we need to achieve competitive quality, cost, and speed. On top of this, I believe the tool must also provide control, familiarity, and customization. Quality, cost and speed are quite straight forward. The other three may require more explanation. Control refers to the ability to produce deterministic results with adequate user input. That input must also be feasible and easily manipulated. Which leads into familiarity. The tools, workflows and processes should be ones well established in the design world. Users should be able to use processes they are already comfortable with. Otherwise the software is not accessible. This again leads to the next and final point: customization. There is not a single workflow that works for all users, and the tool should be flexible enough to allow designers with different skill sets and preferences to take advantage of it. Let’s use the architecture competition as an example of why these points are so crucial: Large firms will spend thousands of hours, and hundreds of thousands of dollars on a large design competition. This makes competing in such a space nearly impossible for smaller design teams. However, with what I propose today, I hope to prove that a strategic utilization of the rapid democratization of our tools will allow even individuals the opportunity to not only compete but excel. boop plop COMPLETE RESEARCH GALLERY COMPLETE RESEARCH GALLERY RESEARCH HIGHLIGHT What if the designer of a project has no experience with complex 3D software and digital tools. Or they prefer to design with physical models in a tangible way. In any case, the goal is to model quickly and freely with less concern for craft and more of an emphasis on rapidly capturing design ideas in their head. How can the designer still make full use of this technology and material information as feedback towards design decisions? SITE IMAGE MODEL PHOTO OVERLAY GENERATED MAP AI RENDER By overlaying a photo captured on my phone of the physical model with the site image, then keying out the yellow background, the model can be placed in context. From there, a pair of images can be generated: a canny edge detection and an ai-generated depth map. This set of information, in tandem with the original color data, is all the information necessary to produce an final rendering. GENERATED MAPS FROM MODEL PHOTO EDGE DETECTIONDEPTH MODEL PHOTO VS GENERATED RENDER MODEL PHOTORENDER DESIGN ITTERATIONS MODEL ITTERATIONS ACCOMPANYING RENDERS