Travis Vliet 562.773.4116travisvliet@gmail.com travisvliet.com

Surface ;) Space ___ Volume [ ] < Transparency > Connections #

1/2"

1/4" DIA.

C.B.

1/8"

1"

6"

4"

1"

BRACKET DETAIL/SECTION

1/2"

1/4" 1/4"

1"1/2"3/4"

NOTCH DETAIL DOVETAIL DETAIL

1/2"

1

2"

Profile Detail 1

3" Radius

Dovetail

Bracket

1/2” Finished Birch Plywood

Profile

Notch

Laminar FlowThe 1A installation is a competition among the 1A students and a SCI-arc tradition. I was fortunate enough to win the competition and to have my design built in one of the main entry ways. This project was considered a great success and a book was published by the SCI-Arc Press, which illustrated the design and construction processes. The concept was driven by the forces of light, air circulation, and pedestrian circulation within the existing environment. The design indexes the forces both natural and circumstantial through a surfaces made of 1/4” basswood.

Language

Kabuki Theater Through the study of Kabuki dances and the shapes created by ����������� ������������ ������� ���� �������������� �������Analyzing the forms and reducing the form to its core allowed a language to emerge. This language was translated into a truss system with a pin connections. Ultimately creating a buildings envelope and form. The building retains a sense of movement because the geometries were derived from a physical movement the human body.

Hydro - Terminal Located in Venice Italy the hydro - terminal project serves as a train terminal and a hydroponics farm. Venice has a history of tenant farming and a current problem with the permanent residency declining as the tourism industry rapidly continues to grow. This project brings and industry to Venice that has the potential to sustain its residence need for food and revitalize the Venetian community. Additional programs ��������� ����� ����������������������� ���contribute to the urban culture. Through the deployment of walkways programs are connect emulating the circulatory patterns of Venice.

UN BOXED: The New Whitney Museum The objective of UN BOXED was to refute the current winning proposal of The New Whitney Museum in New York. The studio was to use art as a tool to create a piece of architecture.Less is Moire began as a study of Bridget Riley’s optical art. The moire, which became the driver of the project, produce an effect that creates patterns as a result of two grids or sets of lines overlapping. To recreate the moire there were a series of study done, that eventually led to the building language. The building strategy challenges the typical way art is viewed by creating the worst possible circulation scenarios in a labyrinth like fashion. The elevators would drop a person off on either the � � ������ � ���������� ������ �� ����galleries altering the perspective of viewer. To change perspective one must ������ ������ �� �� ���� � ���� � �level, thus altering the experience of the museum.

Pivotal Connection : HUB LA Space

The building pivots around a core that acts as a social condenser as well as reaching out to the neighboring communities. This project test the limits of co-work space through a series of stacked volumes. Spatial typologies are classifying by how they are used, which is because this build was designed to facilitate a mixture or use. Transparency throughout the building is important because it promotes an open network of information. The courtyards act ����������� �������� ������ ������ ��the work areas. Through the connections of views and courtyards an environment of work spaces develops into a communal sharing space where the exchange of ideas can occur.

[ Z O N E D ]Thesis 2012Advisor: Michael Rotondi

The wall is an essential element of architecture that delineates space.There are wall-types with varying degrees of apertures and enclosures. These apertures and enclosures form a volume of space that is codependent on the delineation of the wall. Although a wall is fragmented it can still be perceived as a line. This perception still holds true in the case where the wall is completely dissolved.

When examining the border between the U.S. and Mexico, we observe this phenomenon at a larger scale. The issue of migration between the US and Mexico is evolving from a politically conservative issue to a policy that negotiates physical and spatial boundaries.

The recent passage of HR 3654, or the “Shared Lands Agreement,” states that, “To construct a zone between countries that does not restrict and/or limit any man, woman, or child from entering based on citizenship, national origin, color, race, or religion. This territorial zone shall be free of any copyright and intellectual property and reject any law that shall restrict the progress and/or an idea towards the advancement of humanity.”

Such policies and their adoption calls upon architects and policy makers to design a “shared space,” and thus, rethink the delineation of the boundary-as-wall. The creation of a zone, instead of a strict line, �� ��� ���� ��� !� "��� � � ��� ��������the way a border is used and perceived. Replacing a built wall with a series of ����������� ���$��������� ����������������border as a set of complex ‘shared spaces’, resulting in zones of different scales and orders with varied behaviors. Developing a new set of conditions ultimately builds an identity that is neither American or Mexican but successfully mediates both cultures into one ZONE.

Program

XSStreet vendors

STailor Cafe

MRestaurantMarket

LRetailMuseum Cultural Arts CenterParksHospital

Research CenterMedical Center

XL

Industrial ManufacturingGarment Factory

Jobs & Industries

Street vendors

CooksBuss boys

WaitersServers

Janitorial ServicesHousekeepers

NanniesTailors

Seamstress

GardenersLandscapers

Construction LabourersSpecialties Industry Workers

Factory workersWaste Management

Farm Workers

MusiciansAthletes

Students

DoctorsDentist

LawyersArchitectsEngineers

Offices

The Border

Zone

Series of buildings