Office Equipment and Operating Systems shifts the focus from architecture projects as such toward a conceptual framing of how Office Equipment and Operating Systems support the descriptive services of architectural production. Scanners, plotters, desks, measuring devices, software subscriptions, shared drives, modified appliances, and purpose-built tools sit alongside each other. As means multiply, their customization may no longer distinguish the qualities of work. Yet like the books in an architect’s library, equipment establishes a set of references. These references, guided by the mechanics of production, suggest a consideration of the scanner before the book or the plug-in before the drawing. Installations feature work by Theo Triantafyllidis, d.esk, Reimaging, and Roundhouse Collective.
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On view 9am-5pm, Monday through Friday, March 25 - 29, 2019
Office Party on March 29, 6-9pm
2426 W Washington Blvd
Los Angeles, CA 90018
Reimaging uses scanners to document the office
from: Nicholas Pajerskinmpajerski@gmail.com to: Gabriel Fries-Briggs firstname.lastname@example.org, Brendan Shea email@example.com date: Feb 21, 2019, 7:55 AM subject: OEOS – “As built images” machine
Description: Machine 07 (M07) for producing “AS-BUILT IMAGES” – A two axis imaging machine that produces a pixel based representation of a built environment. M07 will sit inside the gallery and spend time building a compiled image of the space. M07 focuses on stitching together samples of the environments visual context that are less noisey, less interesting, and more flat. The images produced by M07 are real-time, and are completely dependent on how lighting and use of the space changes over time.
I am proposing that M07 live stitch together the gallery of 2426 from the interior. Basically instead of just “focusing on areas that are moving” it do the opposite and while looking around only render or save pixels from areas that are more flat or have lower visual interest scores. Since it has axes the image will be a distorted collection of pixels. Closer to that of the Seth Price skin light-boxes.
-patch and paint
-set up tables
Gabriel Fries-Briggs firstname.lastname@example.org,
Feb 26, 2019, 7:32 AM
OEOS – “Images As-Built” archive
I’d like to do some office maintenance as part of the show with you guys - revisiting the punch list by drafting a floor plan, making notes of blemishes and figuring out how to get rid of them (or, wabi-sabi them as the case may be). I’m proposing that we take stock of the space. Make images of the space. And, make repairs of the space. Archiving the whole process in Google Drive comments and a BIM As-Built spreadsheet.
This process of inventory will pop up on the calendar and will be performative - a series of public building inspections, cleaning hours, periods when we coordinate, plan, and execute maintenance; restocking the toilet paper, repatching the stucco in the bathroom, fixing the weatherproofing on the window, etc. To toggle from the pragmatic to the aesthetic, the inventory will also produce a visual artifact. The output—the space indexed through images of its details and defects—2”x2” photos arranged into an ever-expanding digital grid. A reference to consider: Mierle Laderman Ukeles’s “I Make Maintenance Art One Hour Every Day” (1976).
It’s all in the Visuals OS folder under Images As-Built.
Theo Triantafyllidis uses an avatar to make a painting
pickup dinosaur rib cage Is this a prison? I feel like a domesticated Ork. a wild creature in captivity. an immigrant from another world. Why am I making work for the art world when I could be Riding a horse naked, swinging my axe in the battlefield. making art out there in the wilderness. Like an Ork. work You may not know that, but Orks were the first modernists. Look follows use That kind of thing Has been Ork wisdom for ages.
-patch and paint walls
d.esk uses a website to distribute architectural devices
Images are displayed on devices of varying sizes at differing zooms. Include scale figures in your images to convey the size of the things depicted. Purchase the following assets to make your images size-legible.
For Sale: Measurement Rods, Dimension Stickers, Recognizable Things, and Backdrops.
Paper is the first display screen. We look at what’s on it, we look through it, we don’t spend time looking at it. And why would we? Think newsprint (messy) and newspapers (virtuous). As paper is replaced by digital screens, it lives on as an omni-present force in the underbelly of digital commerce packaging, shipping, and handling. The move from screen to material is thorough and complete.
Assuming history repeats itself, display screens will someday meet this same fate. Celebrate paper materiality by making things with images of it. Purchase 3d models or Isometric renders.
For Sale: Crush-Resistant Corrugated Honeycomb Cardboard Structural Cross, Newsprint Stack, Brown Kraft Paper Roll, Corrugated Cardboard Structural Frame, Laminated Kraft Paper Slump Model, Wax Paper Sleeping Bag
Roundhouse Platform uses hardware and software to mix movies
PROGRAMMING, THE PROCESS OF ORGANIZING AND ARRANGING PARTS, CAN HAVE AN AUTOMATED OR EVEN A MECHANICAL CONNOTATION; INDEED, THE PROCESS OF ORGANIZING CODE IS WHAT ENABLE ALGORITHMS TO BE EXECUTED BY COMPUTER. HOWEVER, PROGRAMMING CAN ALSO BE CAST IN OTHER CONTEXTS, AS IN RADIO OR TELEVISION PROGRAMMING OR A PROGRAMMING A SEASON OF EVENTS. THROUGH PUBLIC PROGRAMMING, WE PROPOSE TO PROGRAM ARCHIVES IN REAL TIME, USING AN ARRAY OF EQUIPMENT TO PERFORM VARIOUS MEDIA FROM THE PUBLIC DOMAIN IN CONVERSATION WITH CONTEMPORARY WORK.
AN ARCHIVAL EXPERIMENT WITH EQUIPMENT; A FILM SERIES WITH MONTHLY SCREENINGS OF THE PUBLIC DOMAIN’S FILM, RADIO, AND LITERARY MATERIAL—SOME REUSED, SOME REPROGRAMMED. GEARED WITH LAPTOPS, A FREE GRAPHICS LIVE MIXER AND A COUPLE OF PROJECTORS, PUBLIC PROGRAMMING JUMBLES ARCHIVES AND CONTEMPORARY WORK FROM GUESTS.
PUBLIC PROGRAMMING IS DEDICATED TO SUPPORTING WORK IN THE CREATIVE COMMONS BY CONTEMPORARY ARCHITECTS AND ARTISTS. ROUNDHOUSE AND GUESTS USED AN ONLINE WORD PROCESSOR TO COLLECTIVELY PRODUCE A TEXTUAL SCORE. DURING FOUR PERFORMANCES, IN DUOS WE PERFORMED THE VISUAL SCORES ACCOMPANIED BY A SET OR LIVE SOUNDTRACK. BY PERFORMING ARCHIVES, WE REPROGRAM HISTORICAL CONTENT AND RECONTEXTUALIZE CONTEMPORARY WORK.
-1P Site Visit from Otis
-replace threshold weather stripping
Reimaging uses crops to build tables
from: Gabriel Fries-Briggs email@example.com to: Nicholas Pajerski firstname.lastname@example.org cc: Hong Bae Yang email@example.com, Brendan Shea firstname.lastname@example.org date: Jul 24, 2017, 1:20 PM subject: Re: tables forthcoming
These 5 tables represent: a cross section of heights, a cross section of top dimension, a sample of cropped elements (window, door), a rotation, various sectional properties and thicknesses, various material finishes including drywall and plaster, various thermal and weatherproofing technologies
Table No. 1 Lathe and Plaster with Window Height: 36in, Section thickness: 6.75in, Crop dimensions: 24in x 30in, Leg, leg configuration: 4, inset
An interior-exterior wall section is cropped 24 by 30 inches. The plaster and lathe interior finish is thermally separated from the exterior by rigid foam insulation and three quarter inch square battens. The corner of a wood-framed window is clipped and set inside the crop. The table has four legs.
Table No. 2 Corner Stud Wall Height: 32in, Section thickness: 8.25in, Crop dimensions: 24in x 20in, Leg, leg configuration: 2 angled, 2 inset
The corner condition of a stud wall is cropped 24 by 20 inches. This wall section has an alternating thermal break with studs 11 inches on center. Four legs are set inside the corner connection. Two are vertical and two are angled to support the mass of the cantilevering table.
Table No. 3
Rotated Typ. Stud Wall Height: 18in Section thickness: 5.5in Crop dimensions: 24in x 24in Leg, leg configuration: 4, inset
A typical wood stud wall is cropped 24 by 24 inches rotated 18 degrees from vertical. The top finish of the table is a drywall over plywood. The bottom is finished in only plyood. The four inset legs are placed at the angle of the studs making them rotated from the crop.
Table No. 4
Exposed Plaster and Battens Height: 32in, Section thickness: 4.5in, Crop dimensions: 24in x 24in, Leg, leg configuration: 4, inset
A plaster finished wall is cropped 24 by 24 inches. The wall section contains rigid insulation foam and battens, suggesting an exterior wall condition. The plaster finish is laid from one corner leaving it exposed on approximately one quarter of the mesh backing. Four legs are inset from the edges.
Table No. 5
Interior Door with Stud Wall Height: 30in, Section thickness: 6.75in, Crop dimensions: 26-36in x 30in, Leg, leg configuration: 5, inset
A wall section container an interior door is cropped 36 by 30 inches. The wall has a double stud condition at the door frame and a standard wooden frame connecting to the door by a single metal hinge. The door hangs down in the table orientation. 5 legs are distributed according to the table mass.
Office Equipment & Operating Systems can be visited Monday through Friday, March 25 - 29, 2019.
Office Party on March 29, 6-9pm
2426 W Washington Blvd
Los Angeles, CA 90018