The studio <p-color-blue>This is not a house<p-color-blue> explored how <p-color-blue>artists' processes<p-color-blue> can <p-color-blue>guide meaning<p-color-blue> in architecture. In the adoption of parkour athlete Egg Klickstein as an artist, <p-color-blue>The Institute for Movement Research<p-color-blue> asks: how do we relate to the world around us? Architecture exists as <p-color-blue>constraints<p-color-blue>: <p-color-blue>walls become boundaries<p-color-blue>, <p-color-blue>circulation prescribes movement<p-color-blue>. The Institute overturns this narrative: the constraints open the environment up to <p-color-blue>play<p-color-blue>, it <p-color-blue>expands the world<p-color-blue> and gives <p-color-blue>structures new meanings<p-color-blue>.

Egg Klickstein's work is often an <p-color-blue>exploration of the relationship between the body and a banal object<p-color-blue> such as a fence, in an attempt to <p-color-blue>expand the boundary of how the object<p-color-blue> can inform their movement and thereby <p-color-blue>instill meaning into the object as a virtue of the possibilities it enables<p-color-blue>. The lexicon is an attempt to <p-color-blue>materialize this dynamic<p-color-blue> by alphabetizing <p-color-blue>planes and lines<p-color-blue> and their relations to each other.

Set just off <p-color-blue>Venice Beach on Windward Ave<p-color-blue>, the site houses the home which artist <p-color-blue>Robert Graham<p-color-blue> built to lure his wife <p-color-blue>Anjelica Houston<p-color-blue> out of the hills. One building was their residence, the other his workshop. To <p-color-blue>gain an entry point<p-color-blue> into the remodel, a tripartite model explores one of the more bizarre elements of the site - <p-color-blue>the sloped roof<p-color-blue>. From there, the process began.

The result was a space which pulled that sloped roof all the way out to the ground and <p-color-blue>transformed it into a motif<p-color-blue>. In certain areas, the <p-color-blue>structure is exposed<p-color-blue>, re-contextualizing the <p-color-blue>boundary of the building envelope as an environment to use<p-color-blue>. The artists living quarters are across from the workshop, and both sides look into the courtyard where assembled works can be displayed.