Rome Rob Mothershed 2011 Piranesi Research and Design Architecture

3. ISBN 978-0-557-65791-9
90000
9 780557 657919

4. American Academy in Rome
Robert Ira Mothershed 2011
7 East 60 Street
New York, New York 10022-1001 USA
November 15, 2010
Subject: Portfolio Application – Architecture
Dear American Academy:
Thank you in advance for your time and considerations. I am sending this portfolio document for your formal review. I
would greatly appreciate any sponsorship that the American Academy could host and offer. The highlighted document
records the past ten years of proposed designs and previous academic research assignments. Please accept and review this
portfolio material as application for an Architecture Fellowship in upcoming 2011 year. My most sincere aspiration for
applying 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 APPLICATION
of past and future Rome. From my past personal architectural training, I have found the greatest admiration of Piranesi’s
parametric 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–model
proposal. In 2002, I had earned a Master of Architecture from Clemson University and since that time, I have been
blessed with great opportunities to work for outstanding contemporary architects. I see this portfolio entry as a strong
coherent departure point for more architectural investigation and believe that it can set forward more directives to a future
doctorial scholarship.
Best regards,
Robert I. Mothershed
310-972-0973
robmothershed@msn.com

5. +
Roman Intermundium:
Robert Ira Mothershed
ISBN 978-0-557-65791-9
90000
9 780557 657919

6. A Piramide for PIRANESI
American Academy in Rome Fellowship Application

7. 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 is
a navigable non-linear terra forma of Paradise. While, the psycho-geography of Rome encapsulates the
radiant 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-economic
variables. The computed and engineered iconographic city is a formless matrix of spiritual expressions
and is used to offer its diverse people a substantial surface for creating and making a hackable identity. It
wisely 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 opposes
the undoing of what has already occurred and strives to aspire the spending of intellectual energy and
academic effort to edify its occupants. Culturally, Rome is in a continual spatial flux (never frozen or
static) and this rhetorical animated point of view mandates a modality that the spirit of architecture is
a 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.

8. The Baroque’ s visceral use of distorting the virtual x,y,and z dimensions of space have cognitively been
given birth and digitally deployed in Rome. Sentimental marking (one Rome’s greatest asset) of urban
patterning can augment parametric illusions of silent collisions, divergent tactics, and strategies of stealth
like symbols. The newest and latest Maxxi National Art XXI Museum designed by Zaha Hadid illustrates
that 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 vectors
allow Rome to consciously re-awake from a collective artistic vision of architecture. The symbolic ritual of
spectatorship is now de-constrained the de-funct (Baroque) once again is make alive to the future patrons
of 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 programmed
fragments. By implication, one could subjectively suggest that the real genus-loci of this gallery complex
are abstractly generated from extracting the electronic theatrical shadows of Giovanni Battista Piranesi
Carceri’s etchings. This theoretical fabrication is not based on Patrik Schumacher ‘s dramatic postulates
of Parametricism but in counter based on the revolutionary excessively coding of infinitely expanding
perspectives that are deeply anamorphic. The overlapped and montaged computer generated camera
angles that are topographically distort and warp the scontext of Rome. This new obliquely formalized
museum actualises the possibility for a revolutionary fractured building to be compatibly understood as
legacy project. The striated instances of this mathematical approach employ a combined smooth space
that inherently discloses a baroque constellation of collapsed perspectives (P.O.V.).

9. +

10. Reference 2: PROJECTS
INTRODUCTION - future
USGBC
International Library - NAL
Arrival 2: ACADEMIC SPECUALTIONS Sun Chair
SCION Showroom
CRASH 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

12. 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.

14. Roman Intermundium: A Piramide for Piranesi THE ARTIST DIS-MANTLED SPACE
The
MEDIA CRASH COURSE (0) past
fifty years
Electronic 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’s
1994 12 Monkeys. This mechanical eyeball is construed around the notation of personal observation and public interrogation .

16. SyNTH 1: digital digressions
CRASH COURSE (1) Tschumi
Bernard 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 violence
into 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 that
the use of violence (broken rules) initiates a common practice for transgressing cultural expectations. His
motivation 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). He
declares that the place for the body’s position is inscribed in our own imagination, our own conscious
in which that is an imaginary local. Space forces an identity on your presence that is marked upon by
architects. 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 other
human endeavor.
Bernard Tschumi frames Le Corbusier as one who has transgressed a built form by solidifying the
elements 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 human
involvement by directing people to become obedient to its physical form. This superimposition collects
random channels of movement but deliriously victimizes its user. In this application, the body has been
transgressed as a fragment. Tschumi’s notation of designing architecture is that it can be qualified as an
organism that constantly engages intercourse with its users. For Tschumi, human bodies create violence
with unexpected motions within a space by committing actions that push against the limits that were
carefully established. In concluding this material, the overall contents of bodies violating space frames
cinematic montage an organizational procedure for strategically confronting fragments in space.

18. 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.

19. Airplane digression model depicts 911 televised international violence : plexus r + d - december 2003 = Dan Nemec -aka = resin cast master
+

20. crash course (4)
The Infrastructural Revolution : Television
Rob Mothershed ,1995: Self Portrait
Post war America cities have received a spatial explosion since World War II. Engineering technologies have produced new social organizations that have
been successfully implemented in attempt to modernize and restructure the country’s landscape. New automobile road systems were modeled after Germany’s
autobahn had dispersed. Most if not all the urban density that existed was disassembled. This move to de-concentrate urban areas has dislocated most civic
interactions. 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 more
distributed output of information. In 1947,the number of television sets that were manufactured in America was around four thousand, in 1953 the number
was 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 the
home to the workplace demanded that a broadcasted market be established. Television compensated for a new way for people to interact. This new modality
re-channeled an abbreviated form of suburban dread. This commercial framework for feeding entertainment into our households made a disarticulated space
out of place. This reorganization of public entertainment artificially mandates a new interpretation for realizing our postmodern condition. Public and private
life logistically functions from these communicational enterprises. This reductive reality is more equiped to foster entertainment for our imaginations. The
foreground 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?
+

22. 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))

24. 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 woven
thru 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.

25. LA TIMES - DISCOVERY 2004

26. QUESTION
HOW DOES AN ARCHITECT DESIGN FOR THIS CONDITON AND IT NOT “BE “ A SCRAP-YARD ?

28. violence
crash course(6) CITY OF CENTAUR(S) ?
Sergei Eisenstein was trained as an architect. His language was founded on Marxist dialectic, where the
interaction 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 also
thematically expound his formal architectural training. In observing composition, he instinctively turns
to Piranesi as an architect to model his film practice. Piranesi construes multiple vanishing points that
provoke conflicting visual information because the reading on this one space has been compositionally
pulverized. 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 how
things may relate at different scales.
In Eisenstein’s Battleship Potemkin9 (Appendix B), the editing makes the action more powerful, and it noted
as being one of the most agitatational all-time film productions. There is no smooth continuity between
the cuts, and there is hardly any match-on action. He did not just limit his perception of editing to just a
style 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 as
moving objects within the narrative. For example, within Battleship Potemkin, he uses the baby carriage
as 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 lying
alongside it, the exchange is less perceptible because of the instantaneity of the transition. Instead of
looking at the basic juxtaposition of one image that has replaced another, Sergei Eisenstein’s theory of
montage 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 to
sequence. Since he believed that only through being forced to synthesize such conflicts does the viewer
participate 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 two
fundamental methods: cut and overlap. The dialectical process is inherent in any montage, conscious
or not. Still pictures cannot be put together the rhythm of the succeeding shots. Any kind of montage
is defined according to the action it photographs. Sergei Eisenstein maintained that the meaning of a
sentence is the direct dialectical interplay of shots.
Conflict was important to him because it took on a specific form of expression. His trademark produced
tense, violent rhythms and made a principle of combining individual images.

30. IMAGES ON THIS SHEET IS FROM A DIGRESSION MODEL NAMED MAGDALINE - SHE RESIDED IN ATLNTA’S PLEXUS R + D OFFICE
AS THE OFFICE RECPTIONIST -2003
What intellectual pleasure creates a perverse “ DISMANTLING “ logic only
in order to keep mutating beings, objects and spaces?
Why are humans so compatible with machines but not with each other ?

32. All pictures are from Hans Bellmer - Artist - Sculptor - Ref- Wikipedia.com
Eisenstein’s Montage of Attractions
Movement in film is an optical illusion. “Movement” in film is not simply what happens. The director has several means to convey motion. What
differentiates a great director from one whom is mere competent is not just a matter of how action unfolds but how things are told. Everything located
within the frame is a symbol. The information has to move the story forward. The audience has to engage the screen action in some form instinctively
or intuitively. The cinematic frame determines the viewer’s attention while simultaneously revealing a suggestive code of information within a specific
duration. The form of movement has to resonate meaning. The three types of movement are frame movement, camera movement, and mechanical
distortion. Benjamin states that haptic images are equal to retinal images . Architecture combines both.

34. 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

35. 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.jpg
http://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
+
+

36. REFERENCE - PUBLIC SPACE - VIOLATED
Crash Course (7) Himmleb(l)au
Dresden to Los Angeles
The French film critic Andre Bazin coined the term film as a “window to the world”. This metaphor for architecture is applied as
a 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 is
this aquarium like glass structure is employed as a movie trailer before the actual watching of a film. This public space surpasses
cinemas built over the past few decades because a time element was deployed (duration). The journey to the viewing is balanced
upon 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 specifically
measured to that of camera movement. A constant shift of viewpoints complements strongly contrasted-programmed areas. The
UFA 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 creating
an 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 the
structure. This extension of the UFA Cinema in Dresden, Germany augments the notation of montage as a spatial device for
organizing form, ideas, and geometry. The cinematographic image has been transformed as a spatial element. It is expressed as
an unstructured, fragmented projection. Moving images that pan in conjunction with the crowd movement destroys any temporal
continuity within the complex. By streaming heterogeneous movements across the open body of space, the architecture reveals a
contorted desire for visual consumption.

38. IN 2005 - I STARTED CRASHING DIGITAL
MODELS INTO OTHER DIGITAL MODELS
THE IDEA CAME FROM WANTING TO DE-
FORM AND REFORM PUBLIC SPACES THAT
WERE TRYING TO BE RESCUED. I FOUND
THAT PEOPLE WILL ABANDON SPACE
AND LEAVE IT TO DIE.

39. REFERENCE - VIOLENCE - 2 - COLLISON MANAGEMENT
DIGITAL CRASH 1
NAZCA VERSUS LA
+

40. TAG
+ VIEW FROM INSIDE THE CRASH

43. +

44. 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.

45. +

46. Aftermath of SNAFU
Only the trace of space is required for comprehending the diagram. The destructive guns toward architecture is a
constant fight and never ending war. Once the diagram is formulated- all constraints within the decision is rendered
The images of 911 have defined my psychotic making process. Have found that the excess brings pleasure to my
facile 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 intensifi
novel 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
+ +

48. MY IMAGINATION NOW DRAWS NEW THINGS THAT WANT TO BE DEAD - WHY ?
THE DEFAULT QUESTION:

50. SyNTH 1: digital digressions
essions

52. 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.

53. FOG:A
2005 - TEAM MEMBER - OLD ATLANTIC YARDS
IN LA, LOTS OF ARCHITECTURE DESIGNERS DRIFT
THROUGH THE OFFICE OF FOG. ONCE THEY ENTER
AND EXIT THE GARDEN OF COLLISIONS. THEY ARE
NEVER THE SAME. SINCE 2005, I LOOK FORWARD
TO 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 THAT
DEFINES THE LUXURAY OF CHAOS.
+

58. 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. The
development of looking at existing spaces provoked a much larger understanding on layering a palimpsest for visually crafting and creating a dense hierarchy of graphic
information. Utilizing the model for extracting imperative views and axis’s revealed most architectural features and simple themes became apparent by directing the
drawing effort toward the three- dimensional.
2001 - Roma

60. 2001 - Florence

62. 2001 - Sienna

64. 2001 - Sienna

66. 2001 - Parma

68. 2001 - Venice

70. chapter 2

71. chapter 2

72. 1995 - 2010

73. PRISONMODEL FOR SENECA -1995 - PROFESSOR DORI SIMONS
NO BRIDGE OF “SIGHS” HERE
PRISON CELLS
DEATH CHAMBER

74. PARKING
PRISON ENTRY

75. RETRACTABLE ROOF
EPHEMERAL HOUSE -1995 - PROFESSOR COLEMAN JORDAN
This second year studio project acknowledges the notion of
constant change and perpetual flux. The ephemeral concept
was derived from the professor client as a conceptual thread
to merge the residence not only to the immediate landscape
but also to the entire Pee Dee marshlands area of the lower
coastland of South Carolina. The house attempts to attach
itself loosely to the earth in an aggressive manner where the
major views were going to be fully optimized and where the
window wall would be mechanized into a physical device
where the roof would conceal the exterior partition. By creat-
ing a barrier that would disappear, the opportunity to literally
extend the living retreat space into the outdoor balcony porch
area facilitated the definition of being truly able to interact with
natural elements and sustain shelter. The floating horizontal
armatures establish and connect the migration of bird wildlife
and also present a long linear framed view of the territory.
The hibernation of animals draws upon the horizon a new
visual extension. The overall design has a gross area of 2000
square feet.

76. MARSH LANDSCAPE RETRACTABLE ROOF
GARAGE LIVING ROOM FRONT ENTRY

77. Soho - NYNY 1995
PARKING STRUCTURE PROFESSOR
RAY MAGILL
This third year studio project was to house a physical gesture for the
selected mid-town area of New York City. By studying the solid/void
relationships that exist within the contemporary urban fabric, the end-
less repetition of street blocks surfaced as the most formal representative
design element. This incremental tectonic unit for zoning functions as
a 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 looking
into one’s own history and collectively displaying a collaged image
screen of projected mental thoughts for the visitor. Utilizing hyped
up neurological instrumentation and cinematic IMAX projection, the
interior wall becomes a reflective digital mirror for re-representing a
multicultural cross-section of humanity. This gesture expresses how
technology amplifies and reveals a new reality for our social condition
and thus creates a new interaction with our collective identity.
How does one frame and learn to di-
rect a mechanical existence within
film’s linear structure ?

78. 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 the
building 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.

80. 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.

81. 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

83. The Conserved SpA Booms Robert Mothershed
Gold 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, berthing
platforms, docks, jetties, piers, quays, walls, etc.) demonstrate an unspoken force about commodity, community, and culture. These physical constructions are localized manipulations
of 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 deciding
directional 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 present
themselves 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 can
be viewed as indicator for marking economic and land expansion. The cranes are sophisticated mechanical extensions of specialized conveyance networks. Ideally, working cranes
must 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 programmatic
infrastructure 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 once
held 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 production
capacity 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 cosemetically
repaired 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 outdoor
dining 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 year
Christopher 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 this
immediate locale of urban cohabitation can place a panoramic glimpse of the modern cacophonic (orderless, perhaps profane) commercial expansion. The SpA ‘s potential threshold for
cargo 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 have
created a dehumanized shipping district. The port is constantly under observation in attempt to further expand its capacity to heighten the density of traffic.

84. This multi-functioning international managerial trade center currently uses the area underneath the loop road around La Lanterna as a temporary storing place for outmoded
pieces 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 set
of 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 this
historical 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 cemetery
setting. 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 datum
of the newer industrial service plateau. The design works a large vista on the eastern side of the
lighthouse facing toward the inner harbour. The existing vertical ramp and stair circulation is
more emphasised. The entrance and exit bookend this upward path. The new terminal is meant
for re-connecting two open ends (past and future) with the burial of crane booms. This insertion
would 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 cranes
are to have a 350 tonn. maximum capacity. The boom’s segmental nature would could foster
a reading arduous strain and berthing ability. The specific maritime cranes gathered together
could be examined to educate people about the port’s strategic outlook. One that has always
embraced 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 securely
fastened below ground at a negative 1-meter subgrade dimension. Using bracketed devices
on an overhead retractable framework would fasten booms to the lowered visible height. In
a metonymic manner, the crane booms are now fixed in a permanent conserved position (an
Italian Catholic tradition). The older Cranes of yesterday and tommarrow’s outdated cranes
would be openly displayed to re-represent and suggest an ideological machine age thinking (a
positive attitude toward hard labor and commitment).

85. Can people celebrate the death of obsolete machines ?

86. Photo 5 - Typical view of cranes working during
the unloading transhipment berthing time

88. Photo 3 - 40 Tonne Overhead Crane -
Calata Sanita
Photo 1- Mobile Crane-
20 Tonne Capacity (free)
Immigrant Worker - Industrial Revolution

92. Drawing 5 - Developed site plan - indicating
linear area reconfigured into radial patterned
section cuts of loop road

93. Photo 2- Renzo Piano Spyder /1992 Expo
Proposed hoisting detail - plan view
XIII century masoic detai
Photo 6- 1997 Rem Koalhaus San Begnino
Proposed Model - Suspended Park anchor-
ing La Laterna
Drawing 5 - Developed site plan - indicating
linear area reconfigured into radial patterned
section cuts of loop road

94. Proposed detail plan - section view
l
Proposed hoisting detail - elevation view

95. 44 Suspended Catwalk Crane
45 Existing Lead Factory Converted
46 Screnn Wall with Floating Images
47 New Corridor
48 Drum
49 Screen Wall
50 Crane/ Catwalk
51 Metal Floor Grates
52 Existing Train rack Bed
53 Mobile Projector Unit

96. IMAGE PARK - THESIS- OPERATION MONTAGE - 2002
Since culture is represented within a system of symbols, cinema’s ability to script livable texts presents itself as a substantial aperture (window) for witnessing our
post-modern world. The final product of this thesis permeates with several layers of cinematic montage. By subscribing the Eisenstein’s method of constantly inserting
new 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 framed
version of viewing montage is a performance located within the site and outside the building. This occurs within a visually dynamic scene. The examined action was
seamed 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 of
both midtown and downtown Atlanta. The insertion of both contexts is revealed through a transparent holographic screen that provides a new window for viewing
both the new layer of buildings in Atlanta while still presenting a datum for projecting motion picture artistry. The high-rise construction within the skyline of
Atlanta represents a communion of commercial, technological, economic and social power. This level of interaction between real and imaginary are transfixed into
one social space. The new visual promenade for compounding this invasion between what is seen and what is unseen was determined by the capacity to accommodate
the proposed program.
The changes in consciousness that regular cinema affords bridges the openings to the architectural realm by deconstructing optical viewing points within a specific
boundary (frame). Architecturally, the dim light of cinema creates an imagination theater. The nature of makeshift (Ad Hoc) approaches to exploring building
space 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 the
fluctuating levels of activated building space. The temporary reading of the moving image that physically moves recognizes a new field of motion. The blurring of focal
planes 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 a
particular movie production.This reference utilizes the screen as a non-identifiable platform for motion picture viewings.This dismantling participates in a suggestion
to psychologically reinterpret place. This level of interaction between the building and the city ritualizes space in a manner that now allows the a visual penetration
of multiple axis to occur in all directions. The external relationship that is generated from the site makes the city an active audience member. The demonstration
of rhythmic montage also establishes a path of fragmenting circulation views around and through the new proposal. The scope and scale of this cutting technique
constitutes the impression of the visual brutality that this editing construct allows. The transverse circulation scenarios run perpendicular to the main procession
compositionally get re-assembled through its random size and random placement of punched openings. In this project, the repositioning of context, cinema, and
audience fosters an ambiguous dialectical reading through the practice of montage. The forms proposed with this thesis are constructed above the existing railroad
beds 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 existing
overhead 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 set
to 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.

97. VIEW FROM SITE TOWARD MIDTOWN ATLANTA
STUDY MODEL INDICATING THE CROSS PROGRAMMING OF SPACE AND FUNCTION
BROWN FIELD SITE
EPA - HIGH RANKING AS WORST SITES -
LEAD SMELTING FACTORY

98. ATLANTIC STEEL RUINS - PRE 2002

103. 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.

104. CLIENT: ARCHI_World International
COMPLETEION Jan 2005
DATE:
SITE: Peru, South America
PROGRAM: Mobile tower - 300 Guests
SIZE: 29,000 sf
NOTES: Cannot Touch Site

105. 1
14
15

106. 2
9
9
8

107. 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.

110. River Station 1/ Swimming Pool The idealized notation of analog
River East assumes a theoretical framework to
s1
derive and formulate prototypical
Water Taxi program: architecture. Analogs are instrumen-
a1_Water taxi dock tal devices that deploy synchroniza-
a2_Waiting space tion. Analogs coordinate different
a3_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 various
a5_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 implementing
a7_Public toilets architecture, the insertion of various
a8_Taxi drop off analogs mandates a unique individual
a9_Bus stop experience for the city of Chicago.

111. s2

112. River Station 2/ Theater
Wacker & Madison
Water Taxi program:
c1_Water taxi dock
Theater program:
c2_Theater
c3_Back-of-house
c4_Storage
c5_Office
Shared program:
c7_Ticket booth
c8_Waiting space
c9_Public toilets
c10_Taxi drop off
c11_Bus stop

113. s3
River Station 3/ Boathouse
Bubbly Creek (Ashland & Archer)
Water Taxi program:
b1_Water taxi dock
b2_Waiting space
b3_Ticket booth
Boathouse program:
b4_Boat docks
b5_Meeting space
b6_Exercise room
b7_Office
b8_Locker & shower rooms
b9_Boat storage shed
Shared program:
b10_Public toilets
b11_Bus stop
b12_Kiss ‘n ride

115. s3
s2

117. The Black Maria - EDISON
OUTDOOR ART TERRACE
FLEXIBLE ART MUSEUM FOR UNDERGROUND
ARTISTS -CITY CROSSING - CANADA
The modern “Art” museum is infected. It pretends to be a didactic device for the
general mass public. Museums are formed and programmed “sponges” of speculative
importance. Museums are places of collecting cultural fragments. They frame the
knowledge of others in attempt to create a reception of meaning. Museums perform
a civilized organization of information. They (museums) subjectively are preoccupied
with educating a speculative memory and establishing a dedicated repository of events.
They institutionally promote observations about the defined moments of importance
and potential represent significant meanings. While the idealized constructed nota-
tion of museum promotes a moment of receptive contemplation; museums construe
a privileged and civilized outlook toward humanity and its preoccupations. Museums
fragment time by setting a privileged moment of mediation. They fasten to mankind’s
historical memory, manifestations, and observations. Knowing that, a museum cannot
simply be defined as an institutional repository of culturally embedded objects. The
more appropriate origin of the museum was initially conceived as a “prison-house”
for the exuberant and exotic collections of worldly masterpieces. These commodified
objects are chained entities to their designated historical cells. They are put on constant
educational exhibition for the bourgeois’ and their social exchange. Museums simul-
taneously absorb culture and release agents of dis-information. In displaying precious
negotiable 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 are
at best: caged, secured, monitored, locked, and labeled.

118. OUTDOOR ART TERRACE
ESCALATOR BRIDGE
Does the center of urban art activities need a iconic landmark ?

119. METRO - ESCALATOR CONNECTION HORIZONTAL GALLERY

120. SKY DECK
VERTICAL GALLERY

121. -01
00
+01
=02

123. CONCESSIONS PATIO - OUTDOOR TERRACE VERTICA L TRANSPORTATION TO METRO

124. PROGRAMMABLE SKIN - FACADE - NO IMAGE INDICATED
NDICATED
DICA MAIN ART LOBBY

125. +
METRO CONNECTION
BELOW

126. SKYDECK
VERTICAL GALLERY
HORIZONTAL GALLERY LOBBY
CONCESSIONS PATIO - OUTDOOR TERRACE
+

128. Why does the human species always look to the past for an-
swers to the future ?
Nazca 2005 Observation Tower
Position:
Within contemporary reality; the notion of space has become an archaeological void. Space, today, is a global palimpsest historically fragmented and never fully
understood by the present day user. This condition is exacerbated by Man’s reliance on technology and the prolonged pattern that has culturally augmented and
socially 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 this
prescription 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 this
project’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 of
nature 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. It
allows 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 with
the capacity to turn the observer into occupier and participant. The retractable mobile tower project signifies freedom from an absolute set of visual boundaries and
extends 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 these
drawings 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 Tower
the project also contains the ARMature. The trajectory of the ARMature scans then traces the drawings based on user input and special interest. The ARMature, in
concert 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 the
Earth 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.

130. ASSISTANT:
JASON ALLEN
MOBILE TOWER

131. MOBILE TOWER
+
PARKING DECK
+

133. rule 1 - THE BUILDING CANNOT TOUCH THE SITE
MOBILE TOWER

136. MOBILE TOWER

137. RESIDENT CABINS
VERTICAL CIRCULATION
ADJUSTIBLE OBSERVATION DECK
MOBILE TOWER
LIBRARY DECK

139. MOBILE TOWER

140. MOBILE TOWER

142. 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.

143. NO SITE LOCATION = DIAGRAM MODEL EQUALS PROTOTYPE 1
OVERHEAD BUILDING
CRANE FOR EXHIBIT
SHIFTING
GI
GIFT SHOP - DINING

144. SIGN - ENTRY
STORAGE
OVERHEAD BUILDING
CRANE FOR EXHIBIT
SHIFTING
LECTURE HALL
GALLERY 2
CLASSROOMS
IFT SHOP - DINING
TRUCK LOADING
GALLERY 1
GIFT SHOP - DINING

145. SIGN - ENTRY
STORAGE
OVERHEAD BUILDING CRANE FOR EXHIBIT SHIFTING
LECTURE HALL

146. USER GROUPS
SIGN - SHOW
GALLERY 3
SIGN - ENTRY
CLASSROOMS
GIFT SHOP - DINING

148. LOCAL CONTEXT
Do machines within the Garden indicate a reciprocal
picturereque dialoge or do they only attract a decision
maker ideology?

149. LECTURE HALL
SITE SPECIFIC LOCATION
RAMP ENTRY
GALLERIES
SITE SETBACK

152. 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

156. The technological and the bio-
logical, once regarded as op-
posites, are today increasingly
merging into hybrid constell
ations. This calls up the old question of
the definitions of life and nature, and
what their relation is to technology an
d culture. We can observe a shift from
a world of constants to a world of vari-
ables in which the biological is placed
ever closer to the technologi-
cal. This shift takes place si-
multaneously with the grow-
ing technologisation of society.
Christian Moeller

158. 1 PUBLIC SPACES AND CIRCULATION
1a Lobby/Reception/Exhibit/Gift
2a General Circulation
2 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 Dock
3 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 Equipment
4 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 Areas
5 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 Storage
6 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

159. MJ FOREVER - BURIAL TOWER

167. Where does one stop reaching for the sky and where does one lose all connection with the ground ?
Archi-logical Design
FLOWE(R) TOWER

168. THE SPATIAL SCHEMATA OF LOS ANGE-
LES IS A PLEXUS OF COLLISON. THE COR-
RIDORS OF THIS MODERN DEVELOPMENT
COMPELLS A COLLAPSE OF INDUSTRIAL
CLIENT: PLANNING. THE HORIZONTAL FLUID OP-
COMPLETEION ERATIONS THIS REGION IS BASED ON THE
ARCHI_World International
DATE:
Jan 2005
GROUND PLANE . THE VERTICAL MASSING
SITE:
OF THIS CITY IS SMOOTHERED AND COV-
Peru, South America WITH SPRAWL .. THE CONTINUOUS
ERED
PROGRAM:
Mobile tower - DETERIORATION OF EDGES HAVE LEFT
SIZE:
300 Guests
NOTES:
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.

169. 1,000,000,000 SF
FLOWE(R) TOWER

171. 1,000,000,000 SF
FLOWE(R) TOWER

172. OUTDOOR TERRACE FACING SUNSET

175. THE NEW SKY MALL

177. SOLARIUM(S) VIEW EAST FROM PROPOSED TOWER
LIVE
1,000,000,000 SF
RECREATIONAL
OFFICE
VERTICAL TRANS

178. FLOWE(R) TOWER

179. 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.

181. MOBILE SEX MUSEUM
BATHHOUSE

182. BRIDGE
SITE PLAN
OPERABLE LAWN - CANOPY

183. MOBILE SEX MUSEUM
LOVER LAWN ABOVE
PRIVATE ENTRY BELOW

184. A-OUTDOOR LOUNGE
B-UNDERGROUND BATHS
C-PUBLIC SUANA
D-MISTY FOUNTAINS
E-LIQUID SPA
F-MASSAGE ACADEMY
G-SKIMP POOL
H-JUICE BAR
J-PARLOR ROOM
K-MILKY CAFE
M-LOVER’S LAWN
N-OUTDOOR JUCUZZI
P-SEXSCREEN
RAMP CONCOURSE

186. MOBILE SEX MUSEUM

187. A-OUTDOOR LOUNGE
B-UNDERGROUND BATHS
C-PUBLIC SUANA
D-MISTY FOUNTAINS
E-LIQUID SPA
F-MASSAGE ACADEMY
G-SKIMP POOL
H-JUICE BAR
J-PARLOR ROOM
K-MILKY CAFE
M-LOVER’S LAWN
N-OUTDOOR JUCUZZI
P-SEXSCREEN

189. CLIENT: ARCHI_World International
COMPLETEION Jan 2005
DATE:
SITE: Peru, South America
PROGRAM: Mobile tower - 300 Guests
SIZE: 29,000 sf
NOTES: Cannot Touch Site

190. 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

191. T1
T2
T3

192. T3
T2
T2
T1
SITE PLAN - CITY CONTEXT

193. DIGITAL MODEL
OVERALL

194. VIEW TOWARD MOUNTAIN AND
METRO RAIL

196. SOUTH WEST CORNER ELEVATION WITH TOWER BETOND

197. PROCESS MODELS

198. EARLY ROCK FORMATION MODELS

200. ENTRY ARMS FOR DIRECTING
MOTION AROUND SITE PER-

201. T3- PRIMARY PERFORMING ARTS THEATHER

203. T2- - ADJUSTABLE CEILINGS FOR ACOUSTIC
CONTROL

205. T2- - ADJUSTABLE CEILINGS FOR ACOUSTIC
CONTROL

207. 3D- SECTION OF PARMETRIC MODEL

209. 3D- SECTION OF PARMETRIC MODEL

212. 3D- SECTION OF PARMETRIC MODEL

214. 3D- SECTION OF PARMETRIC MODEL

216. MAIN ENTRY - ATRIUM

218. MAIN ENTRY - ATRIUM

220. V B M 2005 How can the crafted industrical trades of
ship building inform a trade of viewing
art ?

222. HOW CAN THE ASSEMBLY
LINE PROCESS INFORM A
MORE INTELLIGENT AND
INTERACTIVE RETAIL SPACE
?