The projects shown on this website serve as visual overlays for the spatial registration of place.

Overlay defines this body of work, as each project geometrically calibrates one’s relationship to site, to views, and to daylight. Inherent to these projects is a dialogue that seeks to reveal essential geometric paradigms. These projects mediate between the existing and the new with the aim of reframing and redirecting existing views, patterns, and orientations. Architectural elements serve alternately as foreground or background, depending on their orientation to the viewer and the viewer’s position.

These projects are optical devices that are specifically adapted for representing familiar contexts in unanticipated ways. Eisenman’s trace is reinterpreted in the temporal specificity of place, as Sugimoto’s horizons, Judd’s voids, and Eliasson’s optics represent the corporeal experience of the natural world. While Koolhaas is correct that we are no longer living in the spatial and moral cosmology of Le Corbusierʼs Le Poeme de lʼAngle Droit, the reshaping of our reality in the cultural eddies of modernity requires precisely the sensitivity to site that junkspace numbs.

Through new houses, renovations, and pavilions, extensions are drawn from contextual buildings and landscapes and then transformed to reframe that context. Residential spaces, in their scale and ubiquity, offer a degree of clarity to the most essential aspects of architecture. The design of domestic spaces reveals the overlay of elemental rituals of daily praxis. The timeliness and timelessness of the domestic oblige one to solve issues of daylight, space, and view not for one-time visitors to be delighted in the singular and novel, but as a source of recurring spatial discovery. Complex systems, patterns, and sequences overlaid throughout these simple spaces are designed to unfold over time visually and phenomenologically.


Geoffrey von Oeyen, Los Angeles, 2014