Emily Majors: Scratch

Emily Majors

I am a sophomore Environmental Design major at Texas A&M University from Beaumont, TX.


This studio focused on a process of indexicality. Beginning with a case study of the Troxell House by Richard Neutra, a series of diagrams were produced, revealing the notion of the architectural scratch, a series of disheveled shifts along diagonals produced by analyzing the corner conditions within the plan that result in a formal release.

The scratch set up a game much better represented by the axonometric. In this project the axonometric becomes a direct correlation of the 3D exploration of the scratch. This serves two functions as the axonometric becomes a catalyst for one, the idea of representation and two, a translation of 2D to 3D via the scratch. After the establishment of the axonometric, the scratch begins to activate the drawing in terms of a 2.5D scenario. The scratch established the logic for the organization of the plans, sections, elevations, etc.

In addition to the indexical exploration of the Troxell House, a similar study was performed on a dress from the Pleats Please collection by Issey Miyake to produce an object belonging to a different ontology. With the integration of the dress-generated object as a formal problem, the interior volume reactivates the drawings by disrupting the logic already established by the scratch. Due to this tension between these two different ontological objects, the dress undergoes a transformation as it is forced to interact with the drawing and experiences a loss of self. Although the dress has this loss of origin, it still preserves characteristics that become this struggle between the negotiations of the two objects. As a result, the organization produced by the scratch is completely disrupted by the integration of the dress object. This shifts the entire focus of the project to these points of contention and negotiation.

The entire project is concerned with the notion of representation and so it inhabits the world in which architecture is communicated. Architectural communication is divided into two levels. One is the higher level argument of representation itself and the second is representation based on the idea of mundane communication in this pop-simple approach. Ideas explored about representation via the axonometric are communicated through these traditional representations such as hatching to emphasize the scratch and color coding, as is normative of any diagrammatic representation in architecture.

instagram: @gig_emil