American Academy in Rome Robert Ira Mothershed 20117 East 60 StreetNew York, New York 10022-1001 USANovember 15, 2010Subject: Portfolio Application – ArchitectureDear American Academy:Thank you in advance for your time and considerations. I am sending this portfolio document for your formal review. Iwould greatly appreciate any sponsorship that the American Academy could host and oﬀer. The highlighted documentrecords the past ten years of proposed designs and previous academic research assignments. Please accept and review thisportfolio material as application for an Architecture Fellowship in upcoming 2011 year. My most sincere aspiration forapplying to this speciﬁc fellowship is to acquire time to contemplate and understand the extraordinary built environment P o r t f o l i o APPLICATIONof past and future Rome. From my past personal architectural training, I have found the greatest admiration of Piranesi’sparametric etchings of historical Rome. His drawings augment the imaginations of many architects. My proposal is in-tended to augment his grafting of space onto a new cultural media of virtual space(s).Within the hardcopy of this manual, there is a front introduction with more descriptive writing for the installation–modelproposal. In 2002, I had earned a Master of Architecture from Clemson University and since that time, I have beenblessed with great opportunities to work for outstanding contemporary architects. I see this portfolio entry as a strongcoherent departure point for more architectural investigation and believe that it can set forward more directives to a futuredoctorial scholarship.Best regards,Robert I. Mothershed310firstname.lastname@example.org
+Roman Intermundium:Robert Ira Mothershed ISBN 978-0-557-65791-9 90000 9 780557 657919
A Piramide for PIRANESI American Academy in Rome Fellowship Application
Who among the wide world of stranger’s will hold our hand, touch our hearts,and make our world beautiful ?Rome was taught to always be the “Eternal City” to all architecture students. True literacy for the ar-chitect is contained within a tripartite idea exchange of seeing, thinking, and understanding. Rome isa navigable non-linear terra forma of Paradise. While, the psycho-geography of Rome encapsulates theradiant past triumphal eras, it still consciously makes new optimistic constructions. Its eternal contra-distinguished energetic laws of motion are perpetually encoded into a dynamic set of political-economicvariables. The computed and engineered iconographic city is a formless matrix of spiritual expressionsand is used to oﬀer its diverse people a substantial surface for creating and making a hackable identity. Itwisely beholds the most instrumental and fundamental urban landscape paradigm of all utopian models.It has socially assimilated and interwoven the inﬁnite democratic ideals that with the opulent mechan-ics of new and old artistic productions. The ever wondering palimpsest city of ﬁgurative relics opposesthe undoing of what has already occurred and strives to aspire the spending of intellectual energy andacademic eﬀort to edify its occupants. Culturally, Rome is in a continual spatial flux (never frozen orstatic) and this rhetorical animated point of view mandates a modality that the spirit of architecture isa transported vase-like vehicle that makes ephemeral time concrete. Without contesting or compromis-ing virtue, the transient design for Baroque space is ubiquitously projected onto the Roman psyche.
The Baroque’ s visceral use of distorting the virtual x,y,and z dimensions of space have cognitively beengiven birth and digitally deployed in Rome. Sentimental marking (one Rome’s greatest asset) of urbanpatterning can augment parametric illusions of silent collisions, divergent tactics, and strategies of stealthlike symbols. The newest and latest Maxxi National Art XXI Museum designed by Zaha Hadid illustratesthat lines (ideas) drawn no longer need to be straight and in conjunction that all communicational tan-gents of time can connect isolated events in space. Here, the new Liminal space of deconstructed vectorsallow Rome to consciously re-awake from a collective artistic vision of architecture. The symbolic ritual ofspectatorship is now de-constrained the de-funct (Baroque) once again is make alive to the future patronsof Rome. The unique Baroque “ideal ‘ is reorganized and manifested with no ﬁnal consummation, no ter-minal appearance, and the disappeared loss of subject is again bewildered into geometrically programmedfragments. By implication, one could subjectively suggest that the real genus-loci of this gallery complexare abstractly generated from extracting the electronic theatrical shadows of Giovanni Battista PiranesiCarceri’s etchings. This theoretical fabrication is not based on Patrik Schumacher ‘s dramatic postulatesof Parametricism but in counter based on the revolutionary excessively coding of inﬁnitely expandingperspectives that are deeply anamorphic. The overlapped and montaged computer generated cameraangles that are topographically distort and warp the scontext of Rome. This new obliquely formalizedmuseum actualises the possibility for a revolutionary fractured building to be compatibly understood aslegacy project. The striated instances of this mathematical approach employ a combined smooth spacethat inherently discloses a baroque constellation of collapsed perspectives (P.O.V.).
Reference 2: PROJECTSINTRODUCTION - future USGBC International Library - NALArrival 2: ACADEMIC SPECUALTIONS Sun Chair SCION ShowroomCRASH COURSES IN NEW ARCHITECTURE M.U.D. Kentucky Special – FER Venice Bridge Museum Chicago River Chicago Tower City Crossing Mobile Tower Butterfly Institute Lap Dancer CONTENTS CHAPTER Taipei Performing Arts Center 1 Flower Tower 2 MJ Forever 3 Los Angeles Union Station High Speed Rail Taipei Museum of Glass Hawaii - Malama Learning Research Center LA Sante Fe Lofts Mulholland Drive – Private Residence New York HighLINE Newport Beach Church of Light TNA – Interior Renderings for FORM:uLA Tripple Hopper – Train Depot Chi Chi Earthquake Memorial DIGITAL DIGRESSIONS: INTERVALS - Travel Sketches / STC
Proposal: Roman Intermundium: A Piramide for Piranesi The perspectival “exposing of origin” within a ﬁeld of hidden sacred non-linear spaces invites a moment to build a new paradigm. The objective is to choreographally raster-rize the supernatu- ral by ghost scripting and refolding the Roman Surface (which is a self-intersecting mapping of a real projective light planes into three-dimensional space). The on-line project will trace the penetrated ineﬀable forces of natural sunlight via through the historical Pantheon’s Oculus using webcam station input points. The site-speciﬁc exercise attempts to de-constrain a new virtual dimension of chiaroscuro within the praxis of contemporary parametricism. A Piramide for Piranesi model would be presented as a resin casted paradigm with a phosphorescent ma- terial. The project’s singular stereochromic mapping exercise would also be composed to emit light at night (a forbidden quantum mechanical gesture). A published process journal would accompany a the hyper- textural event of this newly encoded Piramide. Please note : All refernce images are “to become” credited in Chapter 3.
Roman Intermundium: A Piramide for Piranesi THE ARTIST DIS-MANTLED SPACE TheMEDIA CRASH COURSE (0) past ﬁfty yearsElectronic Reproduction has taken on an invasion of media that has cre- ated a para-digm shift. This has profoundly aﬀect- ed the practice of architecture. Going from a mechanical to an electronic mode of reproduction, the photograph and the fax remain subject to the human condition. (Peter Eisenman, 556) For Peter Eisenman this argument states that architec- ture overcame the mechanical model because it interpreted the values that society placed on vision. The new media values appearance over existence and this damages architecture’s function. The simulation of what can be seen versus what is pres- ently causes fundamental ambiguities. Peter Eisenman argues that the absorption of the perspective in the ﬁfteen-century assumed a dominating position within the mechanics of representing space. He adds that Brunnelschi’s one-point perspective invention was the vehicle by which anthropocentric vision was crystallized. This conﬁrmed vision as the most dominant form in architectural discourse. Eisenman introduces a “Laconic” notation of space looking back onto itself as a type of disturbance in the visual ﬁeld of reason. Eisenman’s treatment of Piranesi gets treated as one who has diﬀracted the monocular subject by superimposing multiple vanishing points where there is no way of correlating what is to be seen as a uniﬁed whole (Figure 9). Within modernity, cubism has also undermined the picture plane’s role and has flattened objects to be seen with the outside edges exposed. Eisenman suggests that the looking back in architecture displaces the anthropocentric subject for the object but allows the inscription of space to be dislocated. This would implement architecture as an outside, other text. The electronic fold for Eisenman creates a possibility to expose the presence of dislocation and thus refer an actual looking back. The fold for him produces a dislocation of the dialectical distinction between ﬁgure and ground. Eisenman calls upon Gilles Delueze, a critic of contemporary cinema, to make an insertion of creating aﬀectual and eﬀectual spaces. Aﬀectual space in concerned with being more rational, more meaningful, and more functional while eﬀectual functions, shelters, frames, and it thus aesthetic. Delueze calls out a new smooth space that strives for the “aura” that is found in cinema where the light can be found in darkness. This would provide a “gaze” that could oﬀer a new assembly of seeing beyond mere vision The architectural and cinematic implications located within this notation of electronic reproduction provide an interior to exterior position of traditionally locating an audience and spectator. Since the reception for information can be inverted in hyperspace, the temporal shrinkage of space now subscribes to a virtual presence. The actual idea can be applied to a work of art and seen as a form of montage. The dissolution of visual information can be consumed in separate viewings simultaneously in diﬀerent spaces. This information leads into broadcasting or transmitting live location to distant cultures in distant lands denoting a global presence. Atlanta’s Ted Turner’s CNN provides a contemporary form of casting montage through the haphazard display of visual and audible news reporting . Post-modern deconstrucvist Lebbous Woods architect designed a stage set surveillance mechanism for Terry Gilliam’s1994 12 Monkeys. This mechanical eyeball is construed around the notation of personal observation and public interrogation .
SyNTH 1: digital digressionsCRASH COURSE (1) TschumiBernard Tschumi ﬁnds pleasure in the dismantling of space and seeks pleasure in the violence of archi-tecture, because it submits a possibility for change. This assertion implies that the encoding of violenceinto objects suggest a collision within a context and metaphorically implements a practice of destruction.Architectural programs, for Tschumi, have the capacity to determine a user’s attitude. Tschumi states thatthe use of violence (broken rules) initiates a common practice for transgressing cultural expectations. Hismotivation to understand the occupancy of architecture preserves a readability of diﬀerent expressions.He states that in cinema, our emotions are aﬀected by the perception of violence (Tschumi,150). Hedeclares that the place for the body’s position is inscribed in our own imagination, our own consciousin which that is an imaginary local. Space forces an identity on your presence that is marked upon byarchitects. This marking is subject to perverse treatment, which could radically shift our perception.Tschumi adds that the pleasure of violence is an ancient art form in itself and is indicative of every otherhuman endeavor.Bernard Tschumi frames Le Corbusier as one who has transgressed a built form by solidifying theelements that channels movement into his Carpenter Center. This genuine move to selectively inter-rogate the building front commands the provisionality of the promenade. The ramp marks the humaninvolvement by directing people to become obedient to its physical form. This superimposition collectsrandom channels of movement but deliriously victimizes its user. In this application, the body has beentransgressed as a fragment. Tschumi’s notation of designing architecture is that it can be qualiﬁed as anorganism that constantly engages intercourse with its users. For Tschumi, human bodies create violencewith unexpected motions within a space by committing actions that push against the limits that werecarefully established. In concluding this material, the overall contents of bodies violating space framescinematic montage an organizational procedure for strategically confronting fragments in space.
CRASH COURSE (2) EHGZ | graphic surgery In his drawing of the Manhattan Transcripts , Bernard Tschumi primarily identiﬁes to administer the sequence of space as a way to structure event. His account of event is deﬁned: as an incident, an occurrence, and a particular item in a program. Events can encompass particular uses, singular functions or isolated activities (page XXI, MT). In regard to modernist ideals, his concept of applying a transformative design operation primarily questions preconceived notations toward movement. His ideas oﬀer a system of classiﬁcation by establishing the frame as the chief ordering device. The frame itself conforms to a plurality of interpretations that associate seen and unseen events while simultaneously making a progression of sequences. This combined structure formulates an approach to forming episodes. With the practice of this procedure, a logical construction (conﬁguration) can determine internal and external relations. The architectural knowledge sought within this reflection presents a linear mode of describing space, which promotes an event to be speciﬁed. This characteriza- tion could imply an implicit or explicit reading of spatial depth, mass, and surface. The accumulation of events could also suggest the nature of individual parts that deﬁne the whole (montage). This written account indicates that a space has one logic and events could have another. His attitude toward the 20th century states that man has lost unity between himself and objects, objects and events, and events and spaces. This notation would IMAGE = WORD=IMAGE=TAG=mentality foster a post-modern idiom implying a true disjunction where architecture’s meaning is not easily qualiﬁed. His analysis toward modernity provides a cinematic thinking that ﬁlm abstraction has created an inventive catalog of editing space. Tschumi’s work within this four part drawing series (the park, the street, the tower, and the block) theoretically frames the human body within a typological building scenario. While the series is based on the city of Manhattan, the ﬁnal block series encourages a fragmented montage approach to re-representing his original drawing from that plated series. There are no traces indicated from the ordered panels. He ruthlessly distorts, and compresses the visual information into a total annihilation of information. The objective linear treatment of space was subjectively pulverized from the dissolution of picture grams, perspectives, plans and axonometrics. The end space represents an indirect transfer of scripting, storyboarding, and drawing a hyper sequence version of montage. The transcripts introduce the order of experience, the order of time, and the order of intervals. By consistently adhering to a rational system of framing, Tschumi’s critical deployment of formalizing speciﬁc elements (doors, facades, floors, roofs, walls, etc.) constitutes a fragmented cinematic mode of assemblage. The argument to reinforce this statement is determined by how the drawings are visually consumed. The drawings read from left to right promoting a seamless reading, thus enforcing individual contemplation. By stating that space, movement, and events are interdependent, his ideology commands architecture to be postulated in a reciprocal manner. Reciprocity is deﬁned as the state or condition where a relationship is mutual. The influence between two parties gives and takes while the action corresponds to an influence (XXII, MT). The essence of thematically exposing this information is to document his ﬁlm analogy approach. The individual pieces of framented construction force each shot to accumulate as a dynamic system for assembling visual and experiential discontinuity. For Tschuimi, the integration of narrative action situates a disjunctive harmony bewteen man and building. His deployment of formalizing speciﬁc elements (doors, facades, floors, roofs, walls, etc.) constitutes a fragmented cinematic mode of assemblage. The argument to reinforce this statement is determined by how the drawings are visually consumed. The drawings read from left to right promoting a seamless reading, thus enforcing individual contemplation. By stating that space, movement, and events are interdependent, his ideology commands architecture to be postulated in a reciprocal manner. Reciprocity is deﬁned as the state or condition where a relationship is mutual. The influence between two parties gives and takes while the action corresponds to an influence (XXII, MT). The essence of thematically exposing this information is to document his ﬁlm analogy approach. The individual pieces of framented construction force each shot to accumulate as a dynamic system for assembling visual and experiential discontinuity.+ For Tschuimi, the integration of narrative action situates a disjunctive harmony bewteen man and building.
Airplane digression model depicts 911 televised international violence : plexus r + d - december 2003 = Dan Nemec -aka = resin cast master +
crash course (4)The Infrastructural Revolution : Television Rob Mothershed ,1995: Self PortraitPost war America cities have received a spatial explosion since World War II. Engineering technologies have produced new social organizations that havebeen successfully implemented in attempt to modernize and restructure the country’s landscape. New automobile road systems were modeled after Germany’sautobahn had dispersed. Most if not all the urban density that existed was disassembled. This move to de-concentrate urban areas has dislocated most civicinteractions. The new infrastructure presented a boom in suburban housing during these times and created neighborhoods that were erected around freeways,shopping malls, gas stations, and drive-in theaters. Society collectively participated in a new isolated form of life. The immediate tradeoﬀ created a moredistributed output of information. In 1947,the number of television sets that were manufactured in America was around four thousand, in 1953 the numberwas almost fourteen million (Figure 12). In 2001, the number is around two hundred and eleven million (Kwinter, 513).The television engineered a natural environment for escape and preserved an event form from the monotony of commuter life. This new linkage from thehome to the workplace demanded that a broadcasted market be established. Television compensated for a new way for people to interact. This new modalityre-channeled an abbreviated form of suburban dread. This commercial framework for feeding entertainment into our households made a disarticulated spaceout of place. This reorganization of public entertainment artiﬁcially mandates a new interpretation for realizing our postmodern condition. Public and privatelife logistically functions from these communicational enterprises. This reductive reality is more equiped to foster entertainment for our imaginations. Theforeground presence of television culture has developed into a phenomenal device that preoccupies our visual interest. The action of questioning is a mandate for searching for relative meaning. Only through this instrumental searching for knowl-edge, does one become aware of associations , histories, intentions, and observations. What is a critical architectural investigation? Is it a moment contained within the built world that exhibits a process of contruction ? Does it allow the occupant a new view or understanding of relationships between materials and their assembly? Does it condense and foreground itself in a open environment?+
1995 record players will always exist in my head The garden machine does not plow - IT does not know or do anything hu- man- it does not function- does no do anything - but - it freezes up a uni- verse of new dead technomorphism(s))
In December of 2003 – plexus r + d made an interactive gallery installation at the Florida SOA. For one week in time, I assisted with deconstructing machines, found technological ob-jects that were going to be eternally castrated and frozen. The remain of this de-structuring process of manufactured objects made me realize how our human lives are artiﬁcially woventhru the commerce of things and what the things themselves do and participate in. The Dis - Mantling of objects imposed a new space distorts any conventional viewing.
QUESTIONHOW DOES AN ARCHITECT DESIGN FOR THIS CONDITON AND IT NOT “BE “ A SCRAP-YARD ?
violencecrash course(6) CITY OF CENTAUR(S) ?Sergei Eisenstein was trained as an architect. His language was founded on Marxist dialectic, where theinteraction between objects codiﬁes a distinct movement. Being a ﬁrst generation ﬁlm teacher, he primar-ily worked within silent motion pictures. This era aﬀorded him to not only treat images as words but alsothematically expound his formal architectural training. In observing composition, he instinctively turnsto Piranesi as an architect to model his ﬁlm practice. Piranesi construes multiple vanishing points thatprovoke conflicting visual information because the reading on this one space has been compositionallypulverized. He learned from this etching how to dismantle the picture frame. He wanted to expose diﬀer-ent readings from a recorded space by fragmenting pieces and parts and within that process reveal howthings may relate at diﬀerent scales.In Eisenstein’s Battleship Potemkin9 (Appendix B), the editing makes the action more powerful, and it notedas being one of the most agitatational all-time ﬁlm productions. There is no smooth continuity betweenthe cuts, and there is hardly any match-on action. He did not just limit his perception of editing to just astyle or technique, he employed an architectural approach for deﬁning intervals and directing movement.He created imaginary lines that a viewer might travel upon when watching. These paths were setup up asmoving objects within the narrative. For example, within Battleship Potemkin, he uses the baby carriageas a formal device that gets intercepted toward the culminating action.Eisenstein’s editing is very emotional. The patterns that Eisenstein makes are a montage of collisions.One shot being very diﬀerent to another. For him, when an image succeeds another instead of lyingalongside it, the exchange is less perceptible because of the instantaneity of the transition. Instead oflooking at the basic juxtaposition of one image that has replaced another, Sergei Eisenstein’s theory ofmontage utilizes a ruthless elimination. He sought out and exploited what Hollywood would call discon-tinuities. He staged, shot and cut his ﬁlms for the maximum collision set from shot to shot, sequence tosequence. Since he believed that only through being forced to synthesize such conflicts does the viewerparticipate in a dialectical process. James Monaco, ﬁlm writer, states that a dialectical process cre-ates a third meaning out of the original two meanings of the adjacent shots. Editing thus has only twofundamental methods: cut and overlap. The dialectical process is inherent in any montage, consciousor not. Still pictures cannot be put together the rhythm of the succeeding shots. Any kind of montageis deﬁned according to the action it photographs. Sergei Eisenstein maintained that the meaning of asentence is the direct dialectical interplay of shots.Conflict was important to him because it took on a speciﬁc form of expression. His trademark producedtense, violent rhythms and made a principle of combining individual images.
IMAGES ON THIS SHEET IS FROM A DIGRESSION MODEL NAMED MAGDALINE - SHE RESIDED IN ATLNTA’S PLEXUS R + D OFFICEAS THE OFFICE RECPTIONIST -2003What intellectual pleasure creates a perverse “ DISMANTLING “ logic onlyin order to keep mutating beings, objects and spaces? Why are humans so compatible with machines but not with each other ?
All pictures are from Hans Bellmer - Artist - Sculptor - Ref- Wikipedia.comEisenstein’s Montage of AttractionsMovement in ﬁlm is an optical illusion. “Movement” in ﬁlm is not simply what happens. The director has several means to convey motion. Whatdiﬀerentiates a great director from one whom is mere competent is not just a matter of how action unfolds but how things are told. Everything locatedwithin the frame is a symbol. The information has to move the story forward. The audience has to engage the screen action in some form instinctivelyor intuitively. The cinematic frame determines the viewer’s attention while simultaneously revealing a suggestive code of information within a speciﬁcduration. The form of movement has to resonate meaning. The three types of movement are frame movement, camera movement, and mechanicaldistortion. Benjamin states that haptic images are equal to retinal images . Architecture combines both.
Why keep moving the piloti(s) ? 2004 NOTES for the BOSS SCIARC GALLERY - SHUFFLE -SEPT 2004 EL SEGUNDO OFFICE TEAM MEMBER - AS- SISTED STEEL FABRICATION : DOUG JACK- SON WAS THE PRIMARY DESIGN LEADER From the website www. scirarc.edu The Los Angeles-based architecture ﬁrm Jones, Partners: Architecture presented an exhibition at the SCI-Arc Gallery that dramatized the spatial in- fluence of the column. An overhead framework of bridge cranes repositioned three simple columns within the gallery to produce diﬀerent spatial ar- rangements among the columns, and between them and the surrounding walls of the space. The col- umn’s traditional structural role was suppressed in this demonstration/experiment, isolating its space- deﬁning nature as the sole variable. In deference to the purity of the experience of their spatial aﬀect, the movement of the columns is not featured, despite the clearly expressed means for aﬀecting it. This re- straint was relaxed at the end of the exhibit period, though, in an exuberant performance choreographed for the columns, accompanied by a string quartet. : SOME OF THE TEXTAND IMAGESARE FROM SCIARC.EDU
Figure 72. Exterior view of UFA Cinema, Dresden, Figure 73. Interior view of UFA Cinema, http://www.architravel.com/ﬁles/ Germany Coop Himmleb(l)au buldingsImages/bulding480/ UFA%20Cinama%20Center_3.jpghttp://www.theage.com.au/articles/2003/03/15/1047583738545.html UNBUILT - RUSSIA BUILT - LA New York: The Museum of Modern Art, 2002, p. 101 Haunted by the remaining destruction of twenty-two years after the atomic bomb was exploded there, Arata Isozaki has projected images of his megastructures onto a photomural of the razed city. In this image his constructions are also in ruins. It is as if he had rebuilt Hiroshima, and it had once again undergone destruction. Ruins provide an important metaphor for Isozaki: "They are dead architecture. Their total image has been lost. The remaining fragments require the operation of the imagination if they are to be restored." Bevin Cline and Tina di Carlo + +
REFERENCE - PUBLIC SPACE - VIOLATEDCrash Course (7) Himmleb(l)au Dresden to Los AngelesThe French ﬁlm critic Andre Bazin coined the term ﬁlm as a “window to the world”. This metaphor for architecture is applied asa direct transference and implies the reading of the human eye (a transparent door that allows vision into an interior mindscape).The UFA Cinema building alludes to a windowless façade where the ﬁrm advocates an in-between viewing state. The foyer isthis aquarium like glass structure is employed as a movie trailer before the actual watching of a ﬁlm. This public space surpassescinemas built over the past few decades because a time element was deployed (duration). The journey to the viewing is balancedupon the actual arrival into the auditorium.The observer is privileged to visit his surroundings in more numerous ways because the depth of space has been speciﬁcallymeasured to that of camera movement. A constant shift of viewpoints complements strongly contrasted-programmed areas. TheUFA cinema functions on a direct relationship between the sensory perception of feeling and seeing. The interior represents a +cinematographic logic where focus and perspective changes. The composition of forms project stark contrasts of high versus low,far versus near, narrowness versus wideness. This blurring of spatial boundaries enlarges our immediate perceptions, thus creatingan optical subconscious according to Walter Benjamin.The overall building conﬁguration acts as open public sphere dedicated to the immediate urban locale that extends itself into thestructure. This extension of the UFA Cinema in Dresden, Germany augments the notation of montage as a spatial device fororganizing form, ideas, and geometry. The cinematographic image has been transformed as a spatial element. It is expressed asan unstructured, fragmented projection. Moving images that pan in conjunction with the crowd movement destroys any temporalcontinuity within the complex. By streaming heterogeneous movements across the open body of space, the architecture reveals acontorted desire for visual consumption.
IN 2005 - I STARTED CRASHING DIGITALMODELS INTO OTHER DIGITAL MODELSTHE IDEA CAME FROM WANTING TO DE-FORM AND REFORM PUBLIC SPACES THATWERE TRYING TO BE RESCUED. I FOUNDTHAT PEOPLE WILL ABANDON SPACEAND LEAVE IT TO DIE.
REFERENCE - VIOLENCE - 2 - COLLISON MANAGEMENT DIGITAL CRASH 1 NAZCA VERSUS LA +
1983 - CRONENBUG - DIRECTOR OF CRASH- MAKES VIO- LENT SEXUAL MOVIE TITLED “VIDEODROME”Figure 14. Film Still(S) - VIDEODROME, This motion picture oﬀers two main arguments in seeing postmodern society architecturally,Cronenburg , 1983 politically, and spatially. VIDEODROME mandates a rubberized media landscape by featur- ing a speciﬁc moment when James Woods, main protagonist, literally pushes televisual space into a new conﬁguration. The new boundaries that are presented in the ﬁlm establish a new Cronenburg materialized form for the human body. The picture tube gives way to an elastic costume that reads as a soft intermediary material. The three dimensionality of this animated threshold reposi- tions the glass tube as a zone for interactivity. The ﬁlm transﬁxes this static realm and creates a dematerialized form by displacing a normalized character as one who is deﬁantly generic. The political readings of this ﬁlm are that “TV is better than reality”, and the major corporations have the control to push our emotional buttons. Within the conﬁnes of this ﬁlm, the media has become the message and reality is less than TV. The dark forces that this possesses are attributed to the destructive viewing of sublimated violence that the media brutally presents as appealing. This celluloid production engages contemporary man in pursuit of inﬁnite physical pleasure through a visual medium. To elicit criticism architecturally from this one production, the motion picture provides a new set of spatiotemporal forms. One can visually decipher from the image stills (Fig- ures 14 and 15) that body’s occupation within a framed space has been transported as a disjointed existence. The fact that cinema explores familiar objects and can penetrate transparent thresholds (television screens), provides a literal collision of recognizing unconscious everyday forms.
Aftermath of SNAFUOnly the trace of space is required for comprehending the diagram. The destructive guns toward architecture is aconstant ﬁght and never ending war. Once the diagram is formulated- all constraints within the decision is renderedThe images of 911 have deﬁned my psychotic making process. Have found that the excess brings pleasure to myfacile form making. The virtual camera wi Eisensteinbeobviously model nowimages togetherapproachthere is noa closure of form dynamic thatspectator’sscripts create ing. g within to psychologically penetrated. His assumes anreflects compositional and allowsGhostes mind digital deploys jolting sharp fragmented where animated event. a intensiﬁnovel techtonics. his staged action. His shapeless philosophy mirrors an unbalanced relationship between organic forms and rigid sequences (similar to Piranesi). This fluid naturalism casts a fragmented three-dimensionality where the intellectual syntax (his ﬁlms and his discourse) is spatially blurred. Eisenstein enjoyed the idea of creating images that were multivalent in nature. This assertion can be valid because he uses Japanese Haiku as an example for sketching impressionistic thoughts. These are considered shots for him, and they also represent perfectly ﬁnished sequences. The combinations of these words are systematically arranged and conﬁgured for open readings. The building blocks of words as images force disjunctive literary and architectural relationships. Eisenstein later borrows from one of his major sources of Le Corbusier’s theory, Auguste Choisey’s Historie de l’architecture, on which the architect had relied in his elaboration of the promenade architecturale. He wanted to incorprate Le Corbusier’s (Figure 61) lyrical spatial intensity where precisely controlled itineraries are conditioned. Eisenstein had commanded his most notorious theatrical performance on the Odessa Steps for the ﬁlm Battleship Potemkin. In this speciﬁc editing sequence (see appendix B), he contrasts lights with darks, vertical lines with horizontals, lengthy shots with brief ones, static with dynamic, and traveling with stationary. This edited scene screams with extreme violent action that guides the viewer into a state of confused mental state of ecstasy. One that can be architecturally reckoned with Piranesi’s etchings. 58. Sergei M. Eisenstein, diagram of Piranesi’s Carere Oscura, ca. 1947 + +
MY IMAGINATION NOW DRAWS NEW THINGS THAT WANT TO BE DEAD - WHY ?THE DEFAULT QUESTION:
How does one demarcate a history of culture within a world of demolition, destruction, and devastation ? When students of architecture start design school they become hazed into a studio bauhaus culture. They are superimposed with intense grand objects of complexity that the one can- not have a bearing or position and therefore they only learn to mimic thing that they are attracted to. Student are taught to have their own voice and create their own language. This objective ability to deﬁne a shape grammer and form vocabulary into a coherent science is what makes architecture a silent and romantic journey. Students must learn to map a cartography of conditions into a problem statement only in order to defence and explain a deteremined position for fabricating expressive and subversive artiﬁcial shelters and struc- tures. Training people at a reality based playground can imprison them to eternally search for corrective measures. SyNTH 1 is a book about decoding the system that monitors our behavior, deeds, and our responses to contemporary man made world.
FOG:A2005 - TEAM MEMBER - OLD ATLANTIC YARDSIN LA, LOTS OF ARCHITECTURE DESIGNERS DRIFTTHROUGH THE OFFICE OF FOG. ONCE THEY ENTERAND EXIT THE GARDEN OF COLLISIONS. THEY ARENEVER THE SAME. SINCE 2005, I LOOK FORWARDTO CRASHING, CRUCNHING, WARPING, DISTORT-ING FORMS. THE BENDING AND BREAKING OF MA-TERIAL IS EXCITING AND THE MOMENT RIGHT BE-FORE SOMETHING SNAPS IS THE MOMENT THATDEFINES THE LUXURAY OF CHAOS. +
These sketches was completed on-site in Rome, Italy. The major objective for our sketch class was to focus on building plan axonometric that focused on the ortho- All architects are technically trained to dimentianally craft and material space ?graphic representation of diﬀerent urban building contexts. Given assignments were to focus on small, medium, and large elements at diﬀerent drawing scales. Thedevelopment of looking at existing spaces provoked a much larger understanding on layering a palimpsest for visually crafting and creating a dense hierarchy of graphicinformation. Utilizing the model for extracting imperative views and axis’s revealed most architectural features and simple themes became apparent by directing thedrawing eﬀort toward the three- dimensional. 2001 - Roma
RETRACTABLE ROOFEPHEMERAL HOUSE -1995 - PROFESSOR COLEMAN JORDANThis second year studio project acknowledges the notion ofconstant change and perpetual flux. The ephemeral conceptwas derived from the professor client as a conceptual threadto merge the residence not only to the immediate landscapebut also to the entire Pee Dee marshlands area of the lowercoastland of South Carolina. The house attempts to attachitself loosely to the earth in an aggressive manner where themajor views were going to be fully optimized and where thewindow wall would be mechanized into a physical devicewhere the roof would conceal the exterior partition. By creat-ing a barrier that would disappear, the opportunity to literallyextend the living retreat space into the outdoor balcony porcharea facilitated the deﬁnition of being truly able to interact withnatural elements and sustain shelter. The floating horizontalarmatures establish and connect the migration of bird wildlifeand also present a long linear framed view of the territory.The hibernation of animals draws upon the horizon a newvisual extension. The overall design has a gross area of 2000square feet.
MARSH LANDSCAPE RETRACTABLE ROOF GARAGE LIVING ROOM FRONT ENTRY
Soho - NYNY 1995PARKING STRUCTURE PROFESSORRAY MAGILLThis third year studio project was to house a physical gesture for theselected mid-town area of New York City. By studying the solid/voidrelationships that exist within the contemporary urban fabric, the end-less repetition of street blocks surfaced as the most formal representativedesign element. This incremental tectonic unit for zoning functions asa grid device that orders how rigid the city form has become mani-fested. This pavilion proposal provides a resting ground for re-discover/uncover/recover of the self by way of oﬀering a sanctuary for lookinginto one’s own history and collectively displaying a collaged imagescreen of projected mental thoughts for the visitor. Utilizing hypedup neurological instrumentation and cinematic IMAX projection, theinterior wall becomes a reflective digital mirror for re-representing amulticultural cross-section of humanity. This gesture expresses howtechnology ampliﬁes and reveals a new reality for our social conditionand thus creates a new interaction with our collective identity.How does one frame and learn to di-rect a mechanical existence withinﬁlm’s linear structure ?
What can really be said. An opinion? My reading on the project was to turn the garage into a collector’s gallery/museum and still provide basic storage for parking. The First iteration split this program where driver’s have the opoortunity to showcase. The overall mass of thebuilding is an inverted setback that zoning requires. The site assumes that large scale buildings exist on one side of the block and smaller scale structures on th e other. the roof pitch starts at the sixth ﬂoor and drops to the top of the second.
Can the modern spectacle of today there be retirement from theater ? This supercrit (1 week design charette) is based on creating a retreat for one of the world’s greatest high wire walker. He has crossed over the Grand Canyon, the world trade center, and also the Eiﬀel tower. After he retires, he plans on writing a book of memoirs. This proposal uses three conceptual strategies that formulate a basic intervention for this one room project. 1- Insert a new ground plan that bridges two diﬀerent types of landscape area. 2-liberate the retreat space by mechanically controlling the roof and walls that literally reveal the core interior space to the earth and sky. This feature of adjusting the enclosure allows Philippe Petit (artist) an opportunity to detach him- self physically, mentally, and spiritually. 3- Re-establish the Clemson University natural history museum to its immediate surroundings. A new courtyard emphasizes a larger public oﬀering for accommodat- ing speciﬁc venues.
SUPER CRIT This supercrit project was a brief 1-week project that introduced the stu- dio to Atlanta. Professor Lloyd Bray provided background information pertaining to the recent history of a new bridge overpass connecting the Midtown area on both sides of interstate. This congested freeway junction sets up the ﬁrst visual reading of midtown and downtown Atlanta and also establishes a physical threshold. This framed view is guided along the north/south interstate retaining walls. The vertical commuter corridor bifurcates the heart of this urban area. This section cut through the city appears as a never-ending stream of continuous fragmented movements. Within this immediate threshold into the city, a building metamorphosis is occurring architecturally, economically, and culturally (Atlantc Station, home of the old steel mill). The initial proposal had DOT (Department of Transportation) and Santiago Calatrava in collaboration in eﬀort to design this new pedestrian / vehicle overpass. After the schematic design was created, the DOT refused to fund and politically partake in this joint project. My proposal calls for a place to commit suicide. Like that of the city, it comments on the existence and being in an area where something is not wanted and is not valued. After doing research on this subject matter and subscribing to its ritualistic nature, the project establishes a place for private desecration. Of course there are commercial aspects built in to the process by having internal light shows that cast external shadows. (supercrit 2 - DRAW Bridge)studio 5
The Conserved SpA Booms Robert MothershedGold is born in Spain, lived in France, and buried in Genova. - 1468 Unknown Writer Genova SpA (Shipping port Authority) is characterized by an edge contour that manifests itself as an industrial front yard. This area of study (an enormous Ligurian coast-line) is conditioned between two powerful natural boundaries (land and water). As an interstitial zone of historical maritime commerce, the man-made extensions (bacinas, berthingplatforms, docks, jetties, piers, quays, walls, etc.) demonstrate an unspoken force about commodity, community, and culture. These physical constructions are localized manipulationsof terrain that provide a platform for trade. Since the Uniﬁcation of Italy, the port and city’s overall conﬁguration has had immense transition. The formulation of the Iron Triangle(Genova, Milano, and Turino) and newly formed 1903 Consortium (C.A.P.) set in motion the port’s unlimited potential for a new loading/unloading capacity of goods. After decidingdirectional expansion toward the West, major immigration populated the growing labor force and assisted the arrival and departure of bundled cargo. Parallel to increase in ship activity,hydraulic mechanical cranes were employed to further accelerate the transshipment procedure with a higher load capacity. The robotic reliance on operating cranes has enabled the port to adhere and maintain a greater measure of eﬃciency than with that of human eﬀort. The port cranes presentthemselves as instrumental devices that allowed an unprecedented industrial growth for both the city and port. The crane’s relationship for expediting cargo is indispensable and canbe viewed as indicator for marking economic and land expansion. The cranes are sophisticated mechanical extensions of specialized conveyance networks. Ideally, working cranesmust never be ﬁxed in one singular position, they must have mobile flexibility (see photo 1). This assertion also implies a larger understanding for describing the city’s programmaticinfrastructure development.The ancient harbor’s basin has a limited capacity for the new type of shipping vessel. This territory of older constructions demonstrates the obsolescing of speciﬁc buildings, goods,and machinery. They are now seen as remnants of an aggressive industry that constantly upgrades moving procedures for ﬁnancial proﬁt. The historical Cotton Magazine, which onceheld 43,000 square meters of storage space with an 85,000-bale capacity, now houses a retail center. Within the recent past, the Old Pier (Molo Vecchio) used at maximum productioncapacity had twelve electric 1.5 metric tonn. cranes running simultaneously (see drawing 1 for type). While the original building structure is currently modiﬁed, there is ﬁve cosemeticallyrepaired unused cranes, which are still positioned on railroad ties and are left virtually isolated and disconnected operationally. These speciﬁc cotton cranes can share the same outdoordining space with local yacht members. Nearby, on a 6 foot rusticated stone base, one 1888 spray-painted primer gray features a bronze plaque dedicating the 1992 / ﬁve hundred yearChristopher Colombus discovery celebration (see drawing 2 for type).The outlined proposal calls for speciﬁc participation with past, present and projected development of cranes and of Genova. The SpA is distanced on 17-kilometer coastline that geo-graphically dominates the city’s water edge condition. This longitudinal dimension aﬀords even greater expansion for more industrialized growth. Everyone whom acknowledges thisimmediate locale of urban cohabitation can place a panoramic glimpse of the modern cacophonic (orderless, perhaps profane) commercial expansion. The SpA ‘s potential threshold forcargo handling could perhaps will never be fully realized when true building boundaries are never deﬁned. The massive overall proportional dimensions of the new Voltri docks havecreated a dehumanized shipping district. The port is constantly under observation in attempt to further expand its capacity to heighten the density of traﬃc.
This multi-functioning international managerial trade center currently uses the area underneath the loop road around La Lanterna as a temporary storing place for outmodedpieces of rusted machinery. This speciﬁc area can be seen as a transitional emporium of yesterday’s tools and also the greatest historical Genovese landmark. The sophisticated charac-teristic and manufactured mechanical intelligence within a brief evolution of cranes marks a systematic trajectory about inscribing service and dedication. The cranes have served as setof home-based tools for enabling political seatrade abroad. The outlined proposal calls for speciﬁc participation with past, present and projected development of cranes and of Genova.The studio proposal is a physical ﬁnal resting terminal (graveyard) set into the existing perimeter proﬁle of the loop road underneath La Laterna. The studio proposal works by inform-ing a partially demolished utilitarian overhead passageway with a proposed suspended pedestrian park design by Rem Koolhaus (see photo 6). His future design physically links thishistorical monument with the new Ferry Terminal. The new ground level oﬀering revises the usage of this privitasied property in attempt to engage a somewhat unusual public cemeterysetting. In 1890 this was hinge point site for deciding what direction to expand. The 1997 masterplanned area of San Begnino has two diﬀerentiated ground levels of 18.3 meters. The lower proposed pathway will be visually submerged against the built-up datumof the newer industrial service plateau. The design works a large vista on the eastern side of thelighthouse facing toward the inner harbour. The existing vertical ramp and stair circulation ismore emphasised. The entrance and exit bookend this upward path. The new terminal is meantfor re-connecting two open ends (past and future) with the burial of crane booms. This insertionwould re-structure the existing grade surface to allow a larger collection for future crane booms.The largest spatial requirement is inthe cross section of the truss armature. Some floating cranesare to have a 350 tonn. maximum capacity. The boom’s segmental nature would could fostera reading arduous strain and berthing ability. The speciﬁc maritime cranes gathered togethercould be examined to educate people about the port’s strategic outlook. One that has alwaysembraced technical knowledge with corporate innovation. The installation articulates a mov-able set of apparatus’ that allow a re-sequencing, like that of the port proﬁle (see drawing 4).The wrought iron cast metal and extruded A36 steel armatures would be minimally securelyfastened below ground at a negative 1-meter subgrade dimension. Using bracketed deviceson an overhead retractable framework would fasten booms to the lowered visible height. Ina metonymic manner, the crane booms are now ﬁxed in a permanent conserved position (anItalian Catholic tradition). The older Cranes of yesterday and tommarrow’s outdated craneswould be openly displayed to re-represent and suggest an ideological machine age thinking (apositive attitude toward hard labor and commitment).
Can people celebrate the death of obsolete machines ?
Photo 5 - Typical view of cranes working duringthe unloading transhipment berthing time
Drawing 5 - Developed site plan - indicatinglinear area reconﬁgured into radial patternedsection cuts of loop road
Photo 2- Renzo Piano Spyder /1992 Expo Proposed hoisting detail - plan view XIII century masoic detaiPhoto 6- 1997 Rem Koalhaus San BegninoProposed Model - Suspended Park anchor-ing La Laterna Drawing 5 - Developed site plan - indicating linear area reconﬁgured into radial patterned section cuts of loop road
44 Suspended Catwalk Crane45 Existing Lead Factory Converted46 Screnn Wall with Floating Images47 New Corridor48 Drum49 Screen Wall50 Crane/ Catwalk51 Metal Floor Grates52 Existing Train rack Bed53 Mobile Projector Unit
IMAGE PARK - THESIS- OPERATION MONTAGE - 2002Since culture is represented within a system of symbols, cinema’s ability to script livable texts presents itself as a substantial aperture (window) for witnessing ourpost-modern world. The ﬁnal product of this thesis permeates with several layers of cinematic montage. By subscribing the Eisenstein’s method of constantly insertingnew information into the picture plane at diﬀerent intervals, the intent was to make a visceral reading of this move spatially as well as architecturally. The framedversion of viewing montage is a performance located within the site and outside the building. This occurs within a visually dynamic scene. The examined action wasseamed and encased into a mechanical motion going from left to right. At this outside edge boundary of the site, the content that gets viewed is a clear depiction ofboth midtown and downtown Atlanta. The insertion of both contexts is revealed through a transparent holographic screen that provides a new window for viewingboth the new layer of buildings in Atlanta while still presenting a datum for projecting motion picture artistry. The high-rise construction within the skyline ofAtlanta represents a communion of commercial, technological, economic and social power. This level of interaction between real and imaginary are transﬁxed intoone social space. The new visual promenade for compounding this invasion between what is seen and what is unseen was determined by the capacity to accommodatethe proposed program.The changes in consciousness that regular cinema aﬀords bridges the openings to the architectural realm by deconstructing optical viewing points within a speciﬁcboundary (frame). Architecturally, the dim light of cinema creates an imagination theater. The nature of makeshift (Ad Hoc) approaches to exploring buildingspace has always been a historical cinematic tradition.The participants who visit this proposal see not just new screenings of diﬀerent media but also share in thefluctuating levels of activated building space. The temporary reading of the moving image that physically moves recognizes a new ﬁeld of motion. The blurring of focalplanes registers a more detailed area for this interstitial volume. Montage engages the mood of an outdoor environment that is set parallel to the mood or tone of aparticular movie production.This reference utilizes the screen as a non-identiﬁable platform for motion picture viewings.This dismantling participates in a suggestionto psychologically reinterpret place. This level of interaction between the building and the city ritualizes space in a manner that now allows the a visual penetrationof multiple axis to occur in all directions. The external relationship that is generated from the site makes the city an active audience member. The demonstrationof rhythmic montage also establishes a path of fragmenting circulation views around and through the new proposal. The scope and scale of this cutting techniqueconstitutes the impression of the visual brutality that this editing construct allows. The transverse circulation scenarios run perpendicular to the main processioncompositionally get re-assembled through its random size and random placement of punched openings. In this project, the repositioning of context, cinema, andaudience fosters an ambiguous dialectical reading through the practice of montage. The forms proposed with this thesis are constructed above the existing railroadbeds that physically enter the grounds of the site. The stadium seating is set between the west end of the Butler building addition and the east side of the existingoverhead crane. The new production studio space is superimposed on top of the 1960’s foundation addition.The coterminal/parallel approach to staging events in this space can be denoted from sectional sequence cuts to show the overall organizations of linear volumes setto reface the south elevation. Since the initial program’s manifestation has remained intact, that being a place to view and produce new experimental ﬁlm productions,the project’s three main components have been spliced together utilizing the most remarkable cultural devices to construct meaning, architecture.
VIEW FROM SITE TOWARD MIDTOWN ATLANTASTUDY MODEL INDICATING THE CROSS PROGRAMMING OF SPACE AND FUNCTION BROWN FIELD SITE EPA - HIGH RANKING AS WORST SITES - LEAD SMELTING FACTORY
When will public space exist again where there are no laws, no rules, no order ? Building equals Server The present time in history is emblematic of an overpowering electronic shadow. The connection to, and distribu- tion of information has pervaded all facets of human interaction. Only through the total implementation of this connectivity can a new paradigm be realized. Today’s “Library” is, by deﬁnition, a (dis)continuous stratiﬁed nucleus of recorded publications in a constructed categorical spectrum. It is, by association, an indexed archive of information describing and augmenting man’s knowledge, resources, and technological status. The proposed project identiﬁes itself as a recording devise: a virtual transcription: the simultaneous portal to and record of humanity through an interactive global network.
CLIENT: ARCHI_World InternationalCOMPLETEION Jan 2005DATE:SITE: Peru, South AmericaPROGRAM: Mobile tower - 300 GuestsSIZE: 29,000 sfNOTES: Cannot Touch Site
How can recreational space signify an interwoven non building with nature ? The Chicago River Project Urban Waterways 1: The built environment of Chicago sustains a sophisticated and heroic architectural existence. This constructed city can be described as a dramatic theater of production(s) and negotiation(s). The city’s factual reality creates moments where aggressive buildings narrate and perform in stage-like spectacles. For example, the transitioning buildings castled around Grant Park formally remain directed to a proscenium and shadow an audience of intrigue. Another inherent example is the reciprocal skyline of the city. It lifts its favorite actress in a frozen moment of conclusion and ﬁnality. This collective eﬀort overtly creates a dedicated and singular instance for recognition. While the epic sized structures of the city create an exchangeable identity, the river that surges through the city has been forgotten. The river observes a coterminal set of positions within the city’s cast of characters. Meaning, it connotatively spaces the intervals of diﬀerent plots and directs a silent rhythm. In contrast to the play,the river has been robbed of its historical marvel. It has developed into a memory mechanism of diversion instead of a channel of industrial distribution. The flowing river, which has always been a commercial commodity, has become a central place of spatial programmatic inquiry and social interest. It has become reprogrammed to situating and couching the city as a machined backdrop. The river was also overcome by the generic ordering of streets. The unsympathetic block grid has dominated by the superimposed organization of downtown and lacks a singular attitude /role when dispersed. While the river is a shared public space, it once separated sections of downtown and caused territorial divisions. Now, the living but buried river weaves and stitches the homogenous urban fabric causing a regeneration of diﬀerent permeable boundaries. In the areas, which are analogous to screenwriting, the river has been scripted to adhere a speciﬁc unknown cast role. The mystique of the river demarcates and deﬁnes a variable link between the dramatic production of mankind, the fluid productions of nature and the liquid ephemerality of life. The idea of linking multiple zones of spectatorship and docking interactivity can be considered and articulated with the analogous approach to contemporary culture.
River Station 1/ Swimming Pool The idealized notation of analogRiver East assumes a theoretical framework to s1 derive and formulate prototypicalWater Taxi program: architecture. Analogs are instrumen-a1_Water taxi dock tal devices that deploy synchroniza-a2_Waiting space tion. Analogs coordinate diﬀerenta3_Ticket booth systems of movement patterns and structure in eﬀort to seam a connec-Swimming Pool program: tion or bridge. Analogs allow a plat-a4_Inside/Outside pool form for exchange. It allows variousa5_Locker & shower rooms hardware systems to be operated, commanded, and communicated. The analog exacts a synapse of informa-Shared program: tion to co-exist and also signify meth-a6_Lounge ods input and output. Utilizing this digressive strategy for implementinga7_Public toilets architecture, the insertion of variousa8_Taxi drop oﬀ analogs mandates a unique individuala9_Bus stop experience for the city of Chicago.
The Black Maria - EDISON OUTDOOR ART TERRACEFLEXIBLE ART MUSEUM FOR UNDERGROUNDARTISTS -CITY CROSSING - CANADAThe modern “Art” museum is infected. It pretends to be a didactic device for thegeneral mass public. Museums are formed and programmed “sponges” of speculativeimportance. Museums are places of collecting cultural fragments. They frame theknowledge of others in attempt to create a reception of meaning. Museums performa civilized organization of information. They (museums) subjectively are preoccupiedwith educating a speculative memory and establishing a dedicated repository of events.They institutionally promote observations about the deﬁned moments of importanceand potential represent signiﬁcant meanings. While the idealized constructed nota-tion of museum promotes a moment of receptive contemplation; museums construea privileged and civilized outlook toward humanity and its preoccupations. Museumsfragment time by setting a privileged moment of mediation. They fasten to mankind’shistorical memory, manifestations, and observations. Knowing that, a museum cannotsimply be deﬁned as an institutional repository of culturally embedded objects. Themore appropriate origin of the museum was initially conceived as a “prison-house”for the exuberant and exotic collections of worldly masterpieces. These commodiﬁedobjects are chained entities to their designated historical cells. They are put on constanteducational exhibition for the bourgeois’ and their social exchange. Museums simul-taneously absorb culture and release agents of dis-information. In displaying preciousnegotiable items, social crimes are being committed. The objects captured by the intel-lectual elite. These objects, which are at least to be considered incarcerated artifacts areat best: caged, secured, monitored, locked, and labeled.
OUTDOOR ART TERRACEESCALATOR BRIDGE Does the center of urban art activities need a iconic landmark ?
METRO - ESCALATOR CONNECTION HORIZONTAL GALLERY
Why does the human species always look to the past for an-swers to the future ?Nazca 2005 Observation TowerPosition:Within contemporary reality; the notion of space has become an archaeological void. Space, today, is a global palimpsest historically fragmented and never fullyunderstood by the present day user. This condition is exacerbated by Man’s reliance on technology and the prolonged pattern that has culturally augmented andsocially formulated how Man experiences his relationship to nature. The machines generated by technological advances are ultimately prosthetic extensions of Mans’existence and are only sensitive to speciﬁc programming. They do not have the encoded capacity to react to space, rendering the environment prescriptive. It is thisprescription of modern operation that precludes Man into missing the full meaning of space.Proposal: Hyp(er)_Vyp(r) ®The Nazca Hyp(er)_Vyp(r) ® Observation Tower proposes to construct a new architectural agenda for experiencing the enormous landscape drawings. It is thisproject’s intention to use this agenda as a way for man to use his technology to embrace the anthropological phenomenon here and to reconnect to the essence ofnature once again. The desert surface geoglyphs have become educational diversions now, but can also serve as a coordinate system to communicate with the uniden-tiﬁed and mysterious forms of life outside our own. The tri-partite hybrid intervention transplants users into an inspection that displaces modern space and time. Itallows visitors to immediately embrace the historical inscriptions at multiple scale readings potentially in order of magnitude or more. The tower traces the embed-ded etchings as if they were analogous to individual moments of DRAFTing. The hovering tower operates as a memory, recording, and measuring instrument withthe capacity to turn the observer into occupier and participant. The retractable mobile tower project signiﬁes freedom from an absolute set of visual boundaries andextends without restriction. The open performance of the design initiates a machine logic and philosophy as an operational strategy, but focuses on the phenomeno-logical and ephemeral qualities of the drawings as the primary way to evoke Mans’ comprehension of these anthropological masterpieces.The Hyp(er)_Vyp(r) ® physically and viscerally uncoils itself as a way to navigate a collective audience and implant a superimposed memory of how and where thesedrawings came from. By erasing the singular viewpoint, the new tower oﬀers unlimited spatial conﬁguration within the shifting horizon while delivering an enlight-ened human perspective. The intention is to take the spectator to the object of study without harming or damaging the process or means. In addition to the Towerthe project also contains the ARMature. The trajectory of the ARMature scans then traces the drawings based on user input and special interest. The ARMature, inconcert with the Tower, creates shifting zones where the relationship between space and time is integrated with the spirit of the Nazca and their relationship with theEarth through movement along or around the drawings. Dynamic intervals of spirit, place, and event allow a re-engagement with the unknown and foster an educa-tion into the understanding of natural space.
How does a generic botanical building space become developed and encod-ed within speciﬁc functional architectural program ? The idealized notation of Analog assumes a framework to derive and formulate architec- ture. Analogs are instrumental devices that deploy synchronization, coordinate diﬀerent systems of movement patterns and structure connections or bridges. Analogs allow a platform for exchange. It allows various hardware and software systems to be operated, commanded, and communicated. The analog exacts a synapse of information to co-exist and also signify methods input and output. Utilizing this digressive strategy for imple- menting architecture, the insertion of various analogs mandates a unique individual experience for the Tittot Glass Museum.
NO SITE LOCATION = DIAGRAM MODEL EQUALS PROTOTYPE 1 OVERHEAD BUILDING CRANE FOR EXHIBIT SHIFTING GIGIFT SHOP - DINING
SIGN - ENTRY STORAGE OVERHEAD BUILDING CRANE FOR EXHIBIT SHIFTING LECTURE HALL GALLERY 2 CLASSROOMSIFT SHOP - DINING TRUCK LOADING GALLERY 1 GIFT SHOP - DINING
SIGN - ENTRY STORAGEOVERHEAD BUILDING CRANE FOR EXHIBIT SHIFTING LECTURE HALL
USER GROUPS SIGN - SHOW GALLERY 3 SIGN - ENTRYCLASSROOMS GIFT SHOP - DINING
LOCAL CONTEXT Do machines within the Garden indicate a reciprocal picturereque dialoge or do they only attract a decision maker ideology?
LECTURE HALLSITE SPECIFIC LOCATION RAMP ENTRY GALLERIES SITE SETBACK
Can an organism derive a regonial context to make a passive design approach more intel- ligent? The new Malama Learning center is set to anchor itself into its new site providing the campus with direction and a future. The new building will address thee important axis created with the current pathways on campus but also with surrounding residential areas. At the intersection of those new paths the Malama Learning Center will begin to take form. That form will evoke the image of construction and rebirth. Many spaces will be housed under its protective shell while others will such as the amphitheatre and gardens will not. Those spaces not requiring mechanical AC will be protected by the structural skin surrounding it. As the building stiches itself together around the apex of the pedestrian paths its form will collide together in a glassatrium housing the lobby. By merging positive and negative the new center willact as a compass guiding it s students to their future goals.Every Machine is the spiritualization of an organism. - Theo van Doesburg
The technological and the bio-logical, once regarded as op-posites, are today increasinglymerging into hybrid constellations. This calls up the old question ofthe deﬁnitions of life and nature, andwhat their relation is to technology and culture. We can observe a shift froma world of constants to a world of vari-ables in which the biological is placedever closer to the technologi-cal. This shift takes place si-multaneously with the grow-ing technologisation of society.Christian Moeller
1 PUBLIC SPACES AND CIRCULATION 1a Lobby/Reception/Exhibit/Gift 2a General Circulation2 PERFORMING ARTS/ASSEMBLY 2a Performance/Lecture Hall 2b Exhibition/Set Storage 2c Equipment Storage 2d Performance/Dance Studio 2e Theatre Restrooms (2) 2f Outdoor Gathering Space/ Amphitheater 2g Loading Dock3 ADMINISTRATIVE FUNCTIONS 3a TNC Director’s Oﬃce 3b TNC Open Oﬃce Plan 3c TNC Oﬃce Manager/Reception 3d Volunteer/Open Work Areas 3e MLC Oﬃce 3f Staﬀ Lounge 3g Oﬃce Supply Storage 3h Oﬃce Equipment4 TEACHING AND MEETING SPACES 4a Classroom Spaces (3) 4b Small Conference Room 4c Large Conference Room 4d Visiting Artist/Scholars/Scientist Studios (2) 4e Resource Room 4f Outdoor Teaching Areas5 NATURE CONSERVATION OPERATIONS 5a Clean Lab 5b Nursery/Shadehouse/Repotting Shed 5c Plant Maturation Open Area 5d Covered Repotting Area 5e Outdoor Staging Area 5f Native Hawaiian Ethnobotanical Garden 5g Field Work Area 5h Storage Tool Room 5i Mud Room 5j Bulk Storage 5k Flammables Storage6 SUPPORT SERVICES 6a Kitchenette 6b Staﬀ Restrooms (2 ) 6c Public Restrooms (2 )7 BUILDING SERVICES 7a Custodial Closet 7b Supply Closet 7c Mechanical Room 7d Electrical Room
Where does one stop reaching for the sky and where does one lose all connection with the ground ? Archi-logical Design FLOWE(R) TOWER
THE SPATIAL SCHEMATA OF LOS ANGE- LES IS A PLEXUS OF COLLISON. THE COR- RIDORS OF THIS MODERN DEVELOPMENT COMPELLS A COLLAPSE OF INDUSTRIALCLIENT: PLANNING. THE HORIZONTAL FLUID OP-COMPLETEION ERATIONS THIS REGION IS BASED ON THE ARCHI_World InternationalDATE: Jan 2005 GROUND PLANE . THE VERTICAL MASSINGSITE: OF THIS CITY IS SMOOTHERED AND COV- Peru, South America WITH SPRAWL .. THE CONTINUOUS EREDPROGRAM: Mobile tower - DETERIORATION OF EDGES HAVE LEFTSIZE: 300 GuestsNOTES: 29,000 sf THE CITY VOID. THERE IS NO DEMARCAT- ING BOUNDARY BETWEEN DISTRICTS, Cannot Touch Site ZONES, TOWNS, AND LOCAL CULTURE. THERE ARE ONLY OBLIQUE MOVEMENTS WITHIN THE DELICATE STREET FABRIC. THE THEORETICAL TRAJECTORIES OF FORM AND FUNCTION SHALL BE RET- ROFITTED ACCORDING TO EXITING INFRASTRUCTURE,EXISTING POPULA- TIONS, AND EXISTING HISTORIES. THE AR- CHITECTURAL POETICS OF URBAN SPACE IS ESTABLISHING A MONUMNETAL THE- ATER FOR FUTURE DEVELOPMENTS WHILE PROMOTING HUMAN OCCUPANCY AND HABITATION. AS A MNUEMONIC ARCHI- TECTURE – THE SCALE OF MEMORY HAS NO SPECIFIC RESPONSE, MEMORY RECOL- LECTION, OR NAVIGATIONAL REQUIRE- MENTS. THE CHRONOLGY OF BUILDINGS WILL TRANSITION AS ORIENTATIONAL DEVICES FOR FURTHER ACKNOWLEDGE- MENT OF PLACE. THE LOST CITY OF LOS ANGELES HAS WILL HAVE TO SACRIFICE ITS HOMOGENOUS MANIC MONOPRO- GRAMMING. THE “FLOWER TOWER” IS OPEN EVENT ARCHITECTURE OF 1 BIL- LION SQUARE FEET.
Can a new monumental machine establish a lost identity ? LAp DANCER The overall design intent of this proposal is the mount a new urban space onto the open core of civic/cultural space in front of City Hall. The intervention establishes itself as a physical bridge from existing elevated detached terrace by RE-grounding itself as a new physical threshold. The architecture creates a formal device that aspires to connect the higher pedestrian plane of arts with the concealed lower park of local govern- ments. The Intervention overlaps these two institutions in order to create a more intimate transition while also seamlessly supporting the monu- mental urban presence of the government hall. This illicit bureaucratic intersection can now create a new underground plexus of co-terminal activities. The SPACE of LA can capture the temptation(s), desires, fears, and dreams of any seeking individual. Today, the downtown has become a LOST garden of secret pleasures. It has been abandoned because people fear of not having the social amenities found elsewhere. The core of downtown lacks a friendly outdoor center. The city has become desperate for interfacing with its honorable patrons. PUBLIC space has become subverted to the machine and the pedestrian masses have such been obliterated. The motions through the city should have a human pulse, a human touch, a human connection. This proposal calls forth a re-connection with our contemporary culture in order to provoke a more visceral associa- tion. The proposed architecture informs it self as metaphorical Lap Dancer. This project is a multi-modal pleasure experience. The park is designed to amplify natural senses as the user interfaces with the activity or space/object. The act of pleasure ampliﬁcation must then be turned into spectacle for other users.There will be visual, textural, olfactory, and auditory stimuli all summoned by the act the user has chosen to participate in. The user has the choice; they have the power to control their level of pleasure. The park works in harmony with the edge conditions of the park boundary. Certain ideas are expressed as super graphics or patterns to relate to the scale of the city. Our generation of the spectacle is a product of over lapping, colliding, and perceived volumes consisting of separation of space and program. The skillful manipulation of visual, textural, auditory, and olfactory proximity make this park the adventure everyone should have.
CLIENT: ARCHI_World InternationalCOMPLETEION Jan 2005DATE:SITE: Peru, South AmericaPROGRAM: Mobile tower - 300 GuestsSIZE: 29,000 sfNOTES: Cannot Touch Site
architectural / theater prosthetics - Sleeve + Mask skins / structures / enclosures - are place where the mind seeks to ﬁnd pleasure / discover rest / live the un-certianity of life Can new space dance, fashion and augment itself as a character on stage and the audience is the city ?architectural puppets are machined costume composite skins / structures / enclosures - are place where the mind seeks to ﬁnd pleasure / 21 architectural theater - “body forms” are motivated by hybrid operations implying traditional stage language(s) discover rest / live the un-certianity of life architectural poetics - forms that ﬂoat but never touch or fee the ground