Spatial artifacts collapse conventional drawing systems (plan, section, elevation) into layered compositions that resist singular interpretation. Each drawing operates as a palimpsest in which structure, circulation, and void overlap, fragment, and distort until no hierarchy remains. The result is an unstable field where architecture is read not as a fixed object but as flux: part X-ray, part excavation. Hidden alignments surface, residual traces linger, and oblique intersections fracture legibility. These drawings propose narratives that move between order and disintegration, memory and projection, legibility and erasure. Architecture is imagined less as static form than as a speculative site of instability and encounter.
From these collages, emergent geometries and latent volumes are isolated, abstracted, and recomposed into a catalogue of fragments. Each fragment becomes raw material for architectural speculation. What begins as distortion crystallizes into provisional forms that suggest circulation, structure, or enclosure in flux. By extracting and testing fragments, the project negotiates between chaos and coherence, collapse and construction, opening new ground for spatial invention.
Extracted volumes are translated into three dimensions through a 3D-printed PLA model that serves simultaneously as subject and analytical tool. Its geometry is tested through inversion: photographed under controlled light, then re-rendered by reversing tonal values to unsettle conventional readings of solid and void. Here, mass is reframed as relational rather than fixed, revealed through gradients of light, shadow, and transparency rather than static enclosure. Negative renderings expose hidden alignments and depths, extending the earlier collages into a spatial experiment where fabrication and photography converge.
The mass is further dismantled through a system of sectional slicing, where volume is translated into a sequence of acrylic planes. Each cut isolates fragments of form, breaking continuity into layered fields of solid and void. Rather than presenting a whole, the process reframes architecture as a series of sectional events distributed across a spatial matrix. Alignment, overlap, and interval become the operative conditions, rendering mass as temporal and optical, a shifting density instead of a fixed enclosure.
Sectional studies are materialized as stacked acrylic planes. Each slice is printed with black massing elements, and when assembled, the planes generate shifting alignments that fluctuate with movement and perspective. Depth, density, and void emerge as unstable conditions activated optically. Transparency, reflection, and shadow transform volume into a perceptual field that is distorted by layering and continually redefined by position. Mass is no longer an absolute object but a construct that only comes into being through encounter.
These drawings articulate architecture as a field condition, where massing dissolves into overlapping conditions of structure, circulation, and void. What emerges is not a fixed form but a shifting set of relations. Conventional systems collapse into layered densities that resist singular reading. As perception shifts, alignments surface and dissolve, rendering architecture legible only as fluctuation. What emerges is less an object than a terrain of overlap and interval, unstable, relational, and always in flux. It becomes a spatial environment defined by flow and relation, more like a landscape or ecology than a singular object.
The final renderings extend these investigations into an architectural proposal. What was once a network of lines and intervals becomes inhabitable space composed of layered planes, ramps, and voids. Program is kept deliberately open, allowing circulation and gathering to overlap, producing continuity rather than enclosure. The architecture resists legible planimetric order, unfolding instead as a terrain of overlaps, disjunctions, and shifting horizons. Circulation is discovered rather than prescribed, as movement negotiates stacked platforms, interstitial voids, and oblique alignments. Conceived as both structure and experience, the building is reframed as a spatial field for collective inhabitation—speculative, indeterminate, and perpetually in flux.
Isometric View
Front Elevation
Back Elevation