• Motif for Guatemala

    Otto Wagner often used a laurel wreath as a motif, symbolizing the Vienna Secession. The wreath motif repeats in various forms in his work. However, the Vienna Secession no longer exits and its symbols are inappropriate to the site. For Guatemala, the Wagnerschule style takes on a motif based on the national bird, the Resplendent Quetzal. Kent Bloomer, instructor / Leon Krier with George Knight, critics. Spring 2013.
  • Netzstil Ornament

    Otto Wagner extensively used glass tiles in his later projects, as an rational and hygienic form of ornament. The glass revealed the ornamental nature of the wall's surface with a pure product of industrial production. Given the theme of reconstruction from despair in the Ciudad Civico project, two shards of a broken tile form the sixteen basic figures. These figures are manipulated to understand their properties, and used in a section of Palacito #38. Kent Bloomer, Instructor / Leon Krier with George Knight, Critics. Spring 2013 
  • Phase-Change Casting

    Pouring water into hot wax, the impact solidifies. Controlling for heat, cold, and time, similar, but different results can be achieved: an analog parametric. Kevin Rotheroe, Critic. Fall 2011.  
  • Mühlrad

    Alban Berg paired the fifteen fragments of Georg Büchner’s play Woyzeck to sixteen expressionist musical objects to create Wozzeck. In a spat of nihilism, the Captain refers to the world as a “mill-wheel,” eternally drowning in misery. The drawing therefore follows the structure of the play and the style of its time: a set of formal expressions floats limply in the libretto. The objects are arranged in a wheel along the F-sharp and B-natural motifs, activating and trapping the offhand and insignificant brutality of the third act in its motion. The resemblance to ground beef is intentional. Rafael Mostel, instructor. Architectonics of Music, Spring 2008.