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Medium Rare

Invited Distinguished Professor:

Nate Hume.


Gabriel Esquivel,  Studio Professor

Texas A&M University


Team: Julia Peňa, Michael Villareal, Francisco Rivera, Mitzi Belen.


In the process of deciphering these forms of tracing, it is important to identify the characteristics of representation and human perception through the understanding of reality from one's own mind. The objects presented are a representation from a digital distortion of primitives through figure and tracing. In the drawings you can trace the outline and assume their primitive and see where the moments of distortion are formed. Some of the figures are exhausted in form, they are from a third generation, through a process of creation through trace. This transition from 2D to 3D prevents the objects from becoming fully cooked, its existence relies on the 2 dimension qualities in drawings to assume the raw. By creating new object from an outline, the trace of the primitive becomes strange. The primitives assumed by trace of the 2D drawing are the familiar and what we are defining as raw a starting point in form, where the cooked is the over processed generation, removed from the familiar. Each object holds their own definition, but the ensemble holds a place of medium rare. The moments where you can still assume the primitive is layered with offsets, a shell of exterior form acting as a veneer of processing or “cooking” without affecting the actual object. Moments of the object that are cooking are affected by external forms, from either peeling away or impressions from “digital drips”.


Using modern techniques in Horticultural Gardening, a programmatic structure such as horticulture can be feed nutrition through the uses of a hydroponic system. These systems are being practiced in closed environments which allow for climate, nutrition, and protection of the vegetation. To add in the process of the removal of the “human” in the typical human centered practice of architecture, the adoption of Dual Spectrum lighting is used to maximize vegetation development. The system utilizes a series of blue spectrum metal halide lamps and a red spectrum of high-pressure sodium. This in combination creates a pink spectrum of lighting that distorts human perception of vegetation since what we normal perceive vegetation as green, due to the fact that green spectrum of lighting is not absorb by plants but rather reflects off into our retinas; we now have no sense of identification with the color with the lack of presence of greens and yellows.

Arrangement / Creation

Imagination plays a role in our view of reality. Relationships between mind, reality, and the unreal. Thus developing a system of Analysis that begins to break down an order of parts to whole to identify the aspects of the real and unreal. The organization of the objects were made in plan with transitions and scaling of gaps in sections to provide differential qualities and relationships. Merging of the objects with pipes help produce an ensemble that is connected in drawing. This formal relationships connects with the ground as well, implying a structural and visual connection to the environment. It is through the characteristics of the arrangement that questions begin to develop in the distinction between the “real” and “unreal”.


The interior spaces that are created from the inside of these objects are gaps in the form, their special qualities do not allow for the occupied to clearly trace what is shown in the exterior. The pipes that connect the forms are one of the only references to where you occupy the object. Thus distorting one's own location while in the objects and providing a sense of reval when traveling from one object to another. (Program now separates areas and give notions to location)


The arrangement of panels along with their materiality provide a sense of realness to the massings, vegetation such as grass and trees provide a common environment perceived as reality. While the scale and cantilever leave the viewer unsettled in their ability to understand its structure. The vegetation and garden itself provides a sense of materiality to the massing. The weaving of branches and vines adds definition to the structure and operates on scales not normally interpreted by the viewer. It in itself provides the viewer with a portal out of reality, thus offering a revel. The collection of floral vegetation identified by species and climates zones along with the maturity to blossom in sync is not conceivable in reality itself. In All this revel to the viewer is a portal to another reality, one that is not common but yet familiar producing other realities. Developing gaps through a certain sense of reality. The brain will use a process of informed guess work to understand environments and situations. It is through this process that Fictional Realities comes into play, developing a system using prior beliefs and expectation with things. Perception is rather a controlled hallucination, reality as a agreed upon state of hallucination.


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