Tunney’s Pasture

In Tunney’s pasture one of the first things I noticed about the architecture was the symmetry, and a feeling of déjà vu at every turn. However, upon closer inspection I noticed that these spaces, which were built more or less identically, had began to develop their own idiosyncrasies. These changes in identity had happened over time from a series of interactions with the environment, and it was this subjectivity of architecture to its environment that I explored in my installation.

A series of reflective sheets were installed over windows to establish a symmetrical space. However, this image was broken up visually with uncovered windows that revealed the environment. In addition, the reflective planes began to recede outdoors and were allowed to ripple with the wind to create a new identity that is constantly changing in a direct response to its environment.

For the following project, Tunney’s Pasture was designated as the cleansing station of our homeless character’s route.

From the installation, I continued the ideas of potential differing characters of symmetrical spaces and the control of light and the environment into the interior space.

A series of louvers admit or block light, depending on one’s point of view and positioning within the pavilion. As a result, the two symmetrical corridors of the building take on opposing characters, one dark and one light, reflecting our character’s mental and physical transition as he passes through the pavilion and cleanses himself.

At the far end of the pavilion, and central in the experience is a raised platform with an open roof and water collection tub, which is fed by the sloping valley roof. It is here that our character is allowed to perform his cleansing duties and his transition from “dirty” to “clean” is accomplished. Here he can refine his artistic work in solitude before presenting it to the public, purge his mind of unpleasant memories, and cleanse his body.