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1. SCIENCE FICTION/SCIENCE FACT design thesis [ 2008 - 2009 ]
Science fiction and science fact are typically perceived as two competing perspectives: reality and
fantasy lie in two separate planes. In actuality, science fact has much to gain from studying science
fiction as technological advancement and possibility of the past century allows yesterday's science
fiction to become today's science fact; the impossible becomes possible.
This thesis studied architectural design in outer space from the perspectives of both fact and fiction in
order to design a private space hotel in orbit about the Earth. If we are to inhabit outer space, the
method of design of our space habitats must first respond to the following questions in order for the
most satisfactory design solutions to develop: How do the constraints of designing in outer space
differ from those on Earth? In what ways should one design in space?
Beyond this, the uninhibited freedom of designers in the fictional realm begs the question of whether
these solutions have merit and application in science fact, to which I would argue they do. Architects
should design in space through the study and provision of equal weight and value for not only science
fact, but beyond into the realm of science fiction, thus allowing a solution with the greatest
architectural possibility to arise. To that end, it is not just a matter of in what ways should one design
in space, but if science fiction is to influence design, then architects must also answer: How should
science fiction influence design? Following the first semester's research for the project and in
conjunction with the schematic design, my answer to this question is that:
Science fiction should influence design through the translation of the visual aesthetic effects produced
by science fiction to the experiential aesthetic effects of design, thereby expanding the realm of
factual architectural possibility.
Thus, it is up to the designers of today to expand upon current technology and ideals, which rely so
heavily on science fact, through the application of both science fact and science fiction in order to
provide designs which exhibit the greatest potential for the structures in space which humanity will
undoubtedly progressively inhabit.

2. e n tr y mai n body

3. pr i m a r y c ore tomorrow' s sci e nce fact

4. [ mechanical ]
[ primary structure ]
[ mechanical ]
[ steel ribs ]
[ exterior aluminum panels ]
[ exterior skin ] [ primary structure ]
[ led strip lighting ] [ steel rings ] [ trusses ]
[ algae wall ]
(oxygen recycling)
[ railing ]
[ electrical ]
main body: construction axonometric diagram primary core: construction axonometric diagram

5. JUDD FOUNDATION art storage facility [marfa, tx_fall 2007]
The works of minimalist artist Donald Judd are kept by two foundations, one Collection Research:
of which is the Judd Foundation, who are in need of a new collection storage,
exhibition and research space. The design is derived from the sliding art
storage racks which organize the interior. This idea then expresses itself
externally through the forms of the west facade. Users' typical perception of
the interaction between building interior and natural exterior are reversed
through the layering of porosity. Minimalism itself is also reversed in the
design in that the clean, sterile interior sliding racks become flush with the
wall in the closed state, contrasted with the dynamic nature of the exterior
elements of the west facade.
"Closed" Position A "Transformed" Position A
Second Floor Plan
Southeast Perspective Longitudinal Section Southwest Perspective

6. WHITE HOUSE redux [washington dc_spring 2008]
Using The Machine as a generative metaphor for architectural design, it is my position that architecture should be designed to
embody the essence of the machine. The brief for the White House Redux international competition stated, "The original
White House design was the result of a competition held in 1792. What if, instead of in 1792, that competition were to be held
today? What would a White House designed in 2008, year of election of the 44th President of the United States, look like?"
For my White House design, then, this means architecture should be designed to embody the essence of the democracy
machine - the machine which runs the United States.
Democracy is the institutionalization of freedom. Historically, the United States has been perceived as a place of opportunity,
where the individual is allowed to act independently and freely as they see fit, and a place where for centuries persons from Marine
around the world have sought the freedom which the United States' democracy offers them. One
Landing
Employing the ideas of INDEPENDENCE and FREEDOM into architecture design, the White House is realized architecturally Parking
through a modular system wherein each module has the ability to act both independently and free. Together, the individual Aerial Northeast Perspective
modules form a complete system which serves the White House's programmatic, environmental and security requirements,
allowing the White House to be personalized to suit each individual user.
Reflecting Pool
Turf
Mulched Beds
0' 512'
Aerial Southwest Perspective Site Plan

7. WHITE HOUSE redux [washington dc_spring 2008]
The single module is a 30’ x 30’ x 15’ structure. Each module possesses several characteristics which allow the user to customize their environment. The
most prominent feature is a wheel and drive system attached to each corner of the floor and ceiling slabs which allows the modules to move up or down
along a set of tracks, altering views, access, daylighting and environmental conditions.
1 Module Exploded Axonometric
2
3
Southwest Perspective...view to culmination of Great Hall axis and projecting landscape elements
4
5
Module Transformation
Progression
Northeast Perspective...one possible transformation for daily use [a]

8. WHITE HOUSE redux [washington dc_spring 2008]
Northeast Perspectives...
transformation progression [b] [c] [d] ...modules 'blocked' on grade [e]
[f] [g] [h] ...modules below grade [i]