Projects > I want to show you something but you might have to follow me. What do you think about that?

I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014
I want to show you something but you might have to follow me. What do you think about that?
Cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture
1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5"
2014

I want to show you something but you might have to follow me. What do you think about that? | cedar, pine, fir, poplar, hemlock, muslin, paper, yarn, construction jacks, ratchet straps, cleats, pulleys, and existing architecture |1st floor: 9' x 45' 2" x 73' 3" Basement: 10' x 45' 2" x 43' 5" | 2014

I’m often trying to guide movement and, in doing so, prompt consideration of a circulation’s relationship to its context. I frequently, however, feel an ethical ambivalence about prescribing movement. There is presumption in directing people and it bears the potential for both generosity and harm. Many of us resent domineering designs as we encounter them out in the world. Yet, the ideal counter, free movement through open space, is vacuous. I’ve taken this dilemma as my starting point here. I’ve tried to indicate a distinct circulation that may be followed, assessed externally, or navigated in a different sequence. The particularities of this narrative arise from the contingencies present in the architecture of the Medicine Factory. In the first floor and basement, I recognize opportunities for moments of anticipation and reflection. The narrative I indicate is comprised of structures and movements that attempt to coax out these moments and elaborate upon them.