Richard RuizSample Work for Gensler

Cosmogramma 4-9Unusuals 10-13WORKING FUTURES: Outdoor Office 14-19Primitive Complexity 20-23Work from Work 24-25

C o s m o g r a m m a

3 4 5

6

7

8

9

10+11

Clock CatcherPickled!Nose ArtIntro: A Cosmic DramaZodiac ShitComputer Face / Pure Being...And The World Laughs With YouArkestryMmmHmmDo the Astral PlaneSatelllliiiiiiiteeeGerman HaircutRecoiledDance of the Pseudo NymphDrips / Aunties HarpTable TennisGalaxy in Janaki

Zodiac Shit

MmmHmm

Galaxy in Janaki

Cosmogramma

Assigned February 2012, Los Angeles Institute of Architecture and Design

MediumGoogle Sketchup, Basswood

Assignment DescriptionDevelop a rule-based system to select six of Sol Lewitts 122 forms, arrange them in a linear fashion, extend their vertices, and carve the enclosure surrounding the forms.

The source of data I chose for this project was a music album titled Cosmogramma by experimental hip-hop artist Flying Lotus. This album was released during a dark period of my life and helped me rise above personal struggles. As the first design project in the program, I wanted to pay homage to an essential element of my reconstruction.

The six forms represent a mixtape of three compositions. Two forms representing one track, comprised of an entry point and transition point in the mix. By dividing the runtime of the album by the 122 permutations, each form becomes 22 seconds of album time.

Tracklist

Selection of Permutations

Entry and Transition Points Mixtape

The forms chosen as entry and transition points connect at the sides that are mirror images of each other to represent two parts of the same track.

When two tracks are played in unison during the transition of a mix, the opportunity to generate a sum greater than its parts arises. To parallel this concept, the forms combine to complete a squares four sides.

Orientation

Orientation of Entry and Transition Points Orientation of Songs Final Orientation of Skeleton

Extension of a Song

Each song is sonically measured by a peak meter, recording the average signal strength of the frequencies comprising the track. The four horizonal levels of the forms representing the song are assigned four ranges of frequencies, from bass to treble. A value from that frequency range is randomly assigned to a vertice and is extended according to signal strength. This formula is repeated to the remaining two tracks.

Extensions

6727

7246

7934

22 65

108

151

194 23

628

1

323

387

472

561

646

731

820

906

992

11221291

146216411811

1983

21542320

2499

2670

292332

81

3623

396743

08

4640

4998

5339

57046

043

6349

6727

7246

7934

8617

9281

9996

10679

11693

13125

1449215868

1723318562

19993

21357

0

5

1

1.

5 2

Exte

nsio

n Le

ngth

Sign

al S

tren

gth

Frequency (Hz)

Bass

T

rebl

e

Mid-Treble Mi

d-Ba

ss

0

10

20

30

40

50

60

70

80

90

100

Extensions Layout Final Extensions Configuration

Shell

0

10

20

30

40

50

60

70

80

90

22 151

194

236

323

387

646

731

906

992

1122

1462

1641

18111983

21542320

2670

292332

81

39674

308

4998

5339

5704

6043

6727

7246

7934

8617

9281

9996

1169313125

14492

15868

Zodi

ac S

hit

Mm

mHm

mGa

laxy in

Janaki

Identical Frequency Alignment and Depicted PathwayExtensions Representing Identical Frequencies on Skeleton

Rule Two Results

Extension Protrusion

Rule One:Signal Strength ProtrusionExtensions puncture the shell based on signal strength. If the extension protrudes beyond the shell, the shell fastens itself at two sides of the extension.

Rule Two:Frequency AlignmentExtensions representing identical frequencies are connected within the skeleton, their pathways depicted on sides of the shell.

A 5 x 5 x 18 shell wraps around the 3 x 3 x 18 skeleton equidistantly. A rule-based system must be used to determine how incisions are made on the shell, as well as how the shell connects to the skeleton. Two rules are generated separately, their results amalgamated, producing a sum greater than its parts.

Rule One Results

Rule Two

Synthesis of Rulesets

When both perforations are combined, an intersection of negative space from both rules creates regenerated positive space on the shell.

Final Model in Basswood

Any isolated pieces resulting from the synthesis are removed.

Rule One

Synthesis Results

Assigned February 2012, Los Angeles Institute of Architecture and Design

MediumGraphite, Tracing Paper, Pigment Liner, Strathmore, Pantone

Assignment DescriptionConduct a diagrammatic transformation of two important twentieth century architectural works through the pocheting of orthogonal grid overlays of their floorplan, synthesize two diagrams of each work, and finally project the two composite pieces as opposing sets of two-dimensional data inside a three-dimensional axonometric cube.

Original Architectural Works

UnusualsFloorplansFor this project, two floorplans are selected from a group of 12 architectural works to be used as specimens for abstracted spatial analysis. Using tracing paper, gridlines are placed to mark architectural elements and filled in based on interactions specified by generated rulesets.

Gridded Floorplans

Hermman Lange House, Mies van der Rohe

Lovell Beach House, Rudolph Shindler

Singular Abstractions

Extending Walls, subtracting existing Columns Doorways, subtracting Intersections

Extending Doors and Windows, subtracting IntersectionsExtending Walls, subtracting existing Walls

Abstractions

Composite Abstractions

Intersecting fields negated

Intersecting fields negated

Axonometric Projection

The two composite abstractions are placed within an axonometric cube and different intersecting shapes are given varying rules of projection.

Rules of Projection

Horizontal Quadrilaterals move through Vertical Quadrilaterals.

Quadrilateral x Quadrilateral Polygon x Unusual

Polygons absorb Unusuals. Unusuals = Polygons > ten sides

Quadrilaterals are subtracted from realm of Polygon.

Imprint of Unusuals only shown inside realm of Quadrilaterals.

Polygon x Quadrilateral Quadrilateral x Unusual (Gold)

CEO, CTO, COO

Human CenteredDesign UX Design

Software Engineering Visual Design Product Design

Director Director Director Director Director

JrCoordinator

Sr. Contributor

JrCoordinator

Sr. Contributor

JrCoordinator

Sr. Contributor

JrCoordinator

Sr. Contributor

JrCoordinator

Sr. Contributor

I don't feel like I would enjoy having an office.

On OfficesMy philosophy to that is: Whatever gets the work done.

Louis Kam

Play 18%

Commute 12%

Eat 12%Sleep 25%

Work 33%

Scrum Mtgs + Teleconferences 34%

Content Production + Travel 66%

Client Daily Schedule and Work Travel Routine

France

Netherlands

Portugal

England

Ireland

HomeWork

LAX

Company Profile

Senior ContributorUX Design Department,Boston Consultancy Group

WORKING FUTURES: Outdoor Office

The mission of the Boston Consultancy Group is to simply enable its clients to perform more competitively in the business market. This is done by identifying the highest value business opportunities for its clients from a wide range of disciplines, including business administra

-

tion, economics, biochemistry, engineering, psychology, classics, and law.

Assignment ParametersInterview an individual with a unique outlook on the work environmentand design a workplace based on the clients philosophy and needs.

10 minute walk 5 minute walk

Ba

rs

Rest

auran

ts

Co

ffee S

hops

Transportation Access

Adjacent Complimentary Businesses

7th / Fig Metro StationSi

te A

Make basic goods plentiful and easily accessible and productivity will rise, guaranteed. Having places to eat is very helpful, not even great

places, but just a variety. If you're constantly eating the same food very day, it becomes a routine and not a good one since you stop looking

forward to it.

So far, client interaction has been strictly at the client office or via conference call. They typically don't come to the office because they have other business to attend to besides the work we do for them.

M7th / Fig

Metro StationSite

A

Silver Line

Red Line

Purple Line

Blue Line

10 minute walk 5 minute walk

10 minute walk 5 minute walkSite

Occidental Petroleum Corp

North

rop G

rum

man

Cor

p

Ingram Micro

DirecTV

Health N

et Inc

Amgen Inc

Edison Intl

Jacobs Engineering Group Inc

AECOM Techn

ology

DaVita Inc

Aver

y D

enni

son

Corp

Mat

tel I

nc

Tutor Perini

Rel

ianc

e St

eel &

Alu

min

um

Allergan IncLive N

ation

CB R

ichar

d Elli

s Gro

up In

c

Pacific Life Insurance Co

5 m10 m15 m20 m

Western Digital

Broadcom

Corp

Spectrum Group Intl

Dole Food Co

Car Bus Rapid Train

Pote

ntial

Fortu

ne 500 Clientele

10:00 AMProject Meetings

1:00-5:00 PMContent Production

9:00 AMInitial Work Locations

Service Areas

Adminstrative

HCD

Strategy & Product

DEV

Green Light

UX/UI

Daily Migration by Department Fragmentation by Circulation

=

=

=

Open OfficeScrum

Office Scrum

Office

Scrum

Office

Office

Stairs

Nap Nap Nap Nap

Men

Women

Scrum

ScrumOffice

Office

Scrum

Scrum

Open Office

Scrum

OfficeOffice

Phone

Printer Staff

HR

Scrum

Stairs

Recri

Finance Finance

ScrumJosh

Susan

IT

Open OfficeRed Lab

IT Storage

Louch Room

Kitchen Kitchen

SehyerMain Immersion

Immersion

Conference Room

Conference Room

Conference Room

Conference Room

Conference Room

Conference Room

Conference Room

UX/UI

UX/UI

GREEN LIGHT

HCD

HCD

Strategy & Product

BSTStrategy & Product

The existing circulation is utilized to fragment the office space into parts, allowing for reorientation and massing that creates pockets for outdoor workspaces to be generated on the project site.

While the clients current workplace is programmatically static, employ-ees regroup from project to project on a daily basis quite frequently. The dynamicism of this environment can be utilized for crossprogrammatic experimentation of outdoor office spaces.

Site Plan TransformationAfter the office is fragmented by circulation, the pieces are reoriented to generate pockets of openings on the ground level.

The pockets link together through a central pathway laced with outdoor work stations. Elevated walkways connect the three masses together.

Elevators and stairs (denoted in dark grey) connect the ground floor park and outdoor office with the elevated indoor office.

The project enables employees to change their work environment when necessary to maintain productivity and happiness.

N N

N N

Individual Work Stations

Communal Public

Work Stations

Semi-Private Meeting

Breakout Spaces

Private

Public

Public

Private

Private Private

Public

Private

Private

Private Private

Semi-Public Semi-Public Semi-Public

Outdoor Office Space ConfigurationsBy generating a typology of outdoor work spaces, the testing of this programmatic exploration can be conducted in an environment that promotes the nomadic professional lifestyle. These hexagonal kiosks not only support the workers employed on site, but can entice professionals in the surrounding area to also use the space. This can create networking benefits for both types of employees.

Individual Private Work Stations

Public Communal Work Stations

Semi-Private Meeting Room Spaces

Working in elevated office

Working in outdoor multi-space

Working in communal outdoor work station

Outdoor Hot-Desk Work Environment Facilitating Mobility

Project Reactions with Urban ContextBy creating outdoor office space, the site generates both interactions and intra-actions with the urban context beyond the psychological benefits of being outside. This could potentially facilitate professional networking and new business opportunities to benefit all involved parties. Such a work environment embraces the nomadic work lifestyle that typifies the ethos of the upcoming generations entering the workforce. The application of outdoor workspaces can evolve current trends of co-work spaces and collaborative workflows under the backdrop of an environment that has been consistently poorly mimicked indoors. Such an evolution can enable a professional society to directly engage in a more active lifestyle.

Intra- and Interactions with the Urban Context Indoor Hot-Desk Work Environment

Urban Context Interaction Perspective Outdoor Hot-Desk Work Environment Perspective Indoor Hot-Desk Work Environment Perspective

T h e A i r l i n e rPrimitive Complexity

Primitive Complexity

Assignment NameSection + Elevation

Assigned Fall 2014, UCLA A.UD

MediumRhinoceros, AutoCAD, Basswood, Medium Density Fiberboard (CNCd for vacuform molds), PETG, Filament Tape, White Paint

DescriptionUsing analysis of the Jektvikt Ferry Quay by Carl-Viggo Holmebakk, a wall system was created to amplify the precedents original exploration of structural ambiguity via translucency. Primitive Complexity uses fiberglass shaped by regulating geometries of multiple structural systems to distort the visual reading of structure. Such an exploration amplifies structural ambiguity with transparent material

Precedent Wall System Project Wall System

Elevation Section

Final vacuform mold during CNC finishing pass

Vacuform Study Model

Work from WorkLightning in a Bottle 2014: Build Team Michael Maltzan Architecture

rat[LAB] for MAK Center for Arts and Architecture

Richard RuizE-mail: ricruiz@ucla.eduCell: 818.687.9635