The document provides an overview of selected works by the author, including architecture projects and writings. It discusses key ideas in the author's approach to architecture, seeing it as a kind of spatial poetry that combines theory and reality through careful design. The author aims to empty themselves into each mark and considers the process of designing to be like writing.
19 06 2013- Javier Duarte asistió a la firma del Programa de Trabajo para la...Javier Duarte de Ochoa
El gobernador del estado de Veracruz, Javier Duarte de Ochoa, asistió a la firma del Programa de Trabajo para la Prevención y Capacitación de Delitos Electorales y Responsabilidades Administrativas entre el Gobierno del Estado y la dependencia federal.
En el evento, Duarte de Ochoa comentó que “Una suma de esfuerzos para fortalecer la colaboración interinstitucional que impulse la democracia como base del progreso social, al tiempo de reforzar acciones de capacitación y prevención de conductas ilícitas de esta índole, que complementen lo que ya se ha desarrollado por parte de la Contraloría General del Estado”.
De la misma forma, el gobernador comentó sobre las iniciativas desarrolladas para impulsar las bases de dicho programa.
19 06 2013- Javier Duarte asistió a la firma del Programa de Trabajo para la...Javier Duarte de Ochoa
El gobernador del estado de Veracruz, Javier Duarte de Ochoa, asistió a la firma del Programa de Trabajo para la Prevención y Capacitación de Delitos Electorales y Responsabilidades Administrativas entre el Gobierno del Estado y la dependencia federal.
En el evento, Duarte de Ochoa comentó que “Una suma de esfuerzos para fortalecer la colaboración interinstitucional que impulse la democracia como base del progreso social, al tiempo de reforzar acciones de capacitación y prevención de conductas ilícitas de esta índole, que complementen lo que ya se ha desarrollado por parte de la Contraloría General del Estado”.
De la misma forma, el gobernador comentó sobre las iniciativas desarrolladas para impulsar las bases de dicho programa.
Creation and Evolution through the Logos book 1 chap 3Miguel Cano
Given the current confusion of values, it would be convenient to return to nature to find possible grounds on which to build a system of common and universal values that can harmonize the various conflicting and contradictory views today.
This book analyzes several classic controversies such as the conflict between materialism and idealism, the debate about the origin and evolution of life and the universe, the controversy between determinism and freedom, and the problem between the individual and the totality.
As conclusion, a number of general principles of nature are enumerated, which are very useful to harmonize the different scientific, philosophical and religious traditions.
Matters of SensationMarcelo Spina and GeorGina HuljicH.docxandreecapon
Matters of
Sensation
Marcelo Spina and
GeorGina HuljicH
ARTISTS SPACE
1110
Marcelo Spina and Georgina Huljich
Matters of Sensation: Materiality in the Sublime
Introduction
MofS focus closely on an evolving materialism in
architecture by a group of emerging contemporary
architects; a “Sensuous Materialism”, an affluent
materialism of sensations rather than an abstract
materialism of pure matter. While materialism implies
a philosophical outlook; a conception of the world
derived from physical phenomena and those relation-
ships which are directly dependant on it; materialism
in its ontology can not be detached from the body. In
fact, as Peter Zellner argues, material bodies can only
be appreciated through sensations. The pursuit of
sensations in these contemporary practices constitutes
a novel form of artistic research that implies “an evolv-
ing materialist/sensualist architecture that gestures
towards a far more negotiable set of relationships
between form, perception and action”1 while still away
from the realm of subjectivity or phenomenology.
To be clear, materialism does not imply here the idea
that material organization at a certain scale will simply
trigger formal organization and structural evolution of
an entire project at another; nor it suggests form find-
ing or form optimization processes as a priori design
criteria. Materialism in these architects has a further
meaning beyond a philosophical one, it indicates a con-
cern with materials as such. In fact the working pro-
cess of this group is rather open. It combines research
and intuition with an obsessive creative surge. This
interest explains not only an experimental approach to
architecture but the will in exploring many different
aspects of architectural form. For these architects, it is
not enough to formulate an idea once; they are inter-
ested in playing through various instantiations of an
idea to demonstrate and rehearse its potential. None-
theless, these architects are not interested in merely
proposing, positioning or illustrating questions, but
they rather choose to produce provisional responses
to them emphasizing in their outcomes the material,
physical and sensorial aspects of form and matter.
Hence the multiplicity of the senses needed to scruti-
nize their work instead of the primacy of the visual.
Grounding Sensation
Sensation is synthetic by definition. Its space is optic
as it is tactile. Bodies are not merely perceived but
they take on a sculptural or tactile quality such as
mass, depth, contour and relief. Deleuze following
Riegl, terms it “haptic space, a space in which there is
no longer a hand-eye subordination in either direction.
It implies a type of seeing distinct from the optical, a
close-up viewing in which “the sense of sight behaves
just like the sense of touch” 2.
In thinking about the exhibition, we wanted to con-
struct an atmospheric ecosystem, a whole ecology of
sensation building ob ...
Course ObjectiveExplore architectural space and form in various.docxmarilucorr
Course Objective:
Explore architectural space and form in various cultures.
15 page paper is due May 4, 2018. The 15 pages should not include cover sheet or citations. Double space, 12 point and number each page. You may choose at two cultures to compare/contrast. You may explore only one. Whatever you do, please use several or one philosophy of architecture. Delve into how a culture define space
Your final research paper is to analyze the importance of architectural space, exploring how at least two cultures express space and the importance of architectural space. I read the wonderful discussions that you all wrote about urban space. Now let us narrow our vision to our immediate space and how we react to space. Try to keep the paper to no more than 15 pages including citations.
OVERALL: Minimum of 15.
Introduction. Identify explain how one culture experience space. Compare to another chore to emphasize. Then tell me how you feel about it. The give summary.
187 | SSpace
soft architecture. Sensors that trigger the opening and closing of doors
and windows, the movement of walls, and even the lowering and raising
of floors and ceilings produce the personalized spaces that characterize
soft architecture. Theatrical stages have had this capability for some
time, and thus have a lot to teach the designer seeking to produce soft
architecture.
Traditional Japanese architecture is an early version of soft architecture.
The ability to change the use and “feel” of a space by simply moving a rice
paper screen and rearranging the mats on the floor is a manual, low-tech
version of soft architecture. A more recent manifestation of softness was
attempted with the Centre Georges Pompidou in Paris (1977) (Figure 93).
It was to have an interior in which many walls and floors were movable.
Unfortunately that degree of flexibility was unjustified. Consequently the
building was renovated in 2000 to increase its capacity and efficiency by
“hardening” it.
In soft architecture each force applied to it creates content that has
form, as “water poured into a vase has form” (Ezra Pound). The water-
generated Blur building by Herzog and Meuron poetically illustrates the
new frontier of soft or reflexive architecture. The term now refers to any
architecture that is not finite or fixed.
See also: Blur • Responsive architecture • Flexibility
Figure 93 Pompidou
Center
Space
The classical questions include: is space real, or is it some kind of
mental construct, or an artifact of our ways of perceiving and thinking?
— Oxford Dictionary of Philosophy
If architecture can be understood as the construction of boundaries in
space, this space must be understood as commonsense space, a space
that possesses meaning and speaks to us long before the architect
goes to work. — Karsten Harries
The ethereal thing about architecture is this thing called “space.” Space, as
a central design concern for architects, has the interesting quality of.
IMMATERIAL - Perceived absence of matter,
Philosophically spiritual rather than physical, Realm of ideas, a formless phenomenon
Immaterial is an idea where material is an object
The richness of the user’s experience of any building depends on awareness of all the senses, but immaterial architecture may trigger a sense more often associated with the immaterial, such as smell and touch
The story begins with the escape of the apocalyptic reality, into the mind of a genius of the brush and stroke. Being an ambitious and busy mind after the Cézanne Drawing exhibition at the MoMA NYC I was compelled to apply acquired energy into compelling research. Although my mind was still in a noisy state I had a couple of thoughts on revisiting and reviving my old research from 2006/07. The main ambition was to make a significant imprint of earthshattering beauty into a collective conscience.
Traveling from New York to Mexico, I have decided to execute the project in a primordial beauty in the cultivated jungle paradise. Photographs were taken on the 8th of August 2021 at the exhibition at the MoMA NYC and projected on a couple of locations at Tulum, Mexico in October 2021. The event was also filmed with GoPro camera. It was therapy for me, as I am hoping the entire project can have a therapeutic influence on the bruised collective soul and mind.
Progressing the research expanded to comprehension of laws of the universe and into contextual landscaping, cognitive modeling, and intelligent environment(s). In a tête-à-tête with a universe, my input was Cézanne’s artwork and in return, I got answers in a form of puzzles, yet to be cracked.
The true power of the project is in unlocking the potential of the environment by relinquishing or letting go of the role of creator, producer, and viewer. I have sensitized the environment to be able to activate its self-producing force and intelligence. While in the first research I have created a system that is implosive by the nature, constantly generating systems without a recollection of the previous one; in this one, I have emptied the referent point/space to activate the environment yielding on the superposition property of the system to be able to unlock the essence, to reach the energy-momentum and tap into cosmic reason.
The idea is also to dip the research into the NFT art world to gain an extra perspective of art in blockchain technology and to test its reception on alternate realities.
YouTube channel Contextual Landscaping https://www.youtube.com/channel/UCBnuw3Mz1n0j5FFGh-6cWwQ
ORDER Introduction Ideas o f O r d e r ... Ra.docxhopeaustin33688
ORDER
Introduction: Ideas o f O r d e r
" ... Ranron Fernandez, tell me, i f y o u know,
Why, when fir? singing ended a i l d rue turned
Toward the town, tell why theglassy lights,
Tke lights iirr tiltfishing boats nt airchor there,
As rlight descended, tiltir~g in the air,
Mastered the night and portioned out the sea,
Fixing einblazoned zoiles and fiery poles,
Arranging, deepening, enchailtiiig night ..."
-WALLACE STEVENS
The title of this book, Ideas of Order, comes
from a poem by Wallace Stevens, "The Idea of
Order at Key WesY'. Stevens' poem elegantly and
compactly addresses issues which in this text are
drawn out over three hundred pages. The poem
recounts the tale of a woman singing by the shore.
The words of her song and the natural rhythms of
the sea mimic one another, yet the gulf between
language and the grinding water keep them from
ever forming a dialogue. Instead, the contrast be-
tween the song and the sounds of the wind and
sea provides a frame which reveals both with new
clarity. When the singing ends, the sea still can-
not be grasped as an autonomous, independent
entity. Instead, a new frame emerges; the lights
of the fishing boats mark out a visual structure
which fixes a new order for the sea.
The primary aim of ideas o f Order is to pro-
v i d e conceptual a n d historical frames of
reference which can be used to 'portion out' the
order of architecture, a task that is by no means
easy. Most of our training prepares us to deci-
pher linguistic and numeric information. We
have little training in making sense out of visual
and graphic material. Ground rules in visual
literacy are presented in this book in an attempt
to demystify the study of architecture, a disci-
pline which is so fraught with jargon a n d
specialized argot that without a primer, the
novice may become hopelessly muddled, or
worse, indifferent to the built environment. The
intent is not to develop an historical or art his-
torical argument, but rather to provide insight
into the way architects make decisions so that
I D E A S C
the reader may better appreciate the rich-
ness of the materlal world.
We do not presume to divine the inten-
tions of architects nor to understand the
precise reasoning followed in their design
processes. Instead, we shall examine objec-
tive data: the physical forms of buildings
a n d the interrelationships among the
whole, the constituent p a r t s and the
broader context. Formal analysis of build-
ings a n d d r a w i n g s shall act as a
springboard for our discussion, although
excurses may range into more abstruse
theoretical territory. Many complementary
and contradictory readings may be prof-
fered. That is why the book is called ldeas
of Order, rather than The Idea of Order. In
Stevens' poem, an interpretation of the sea
which emphasizes its auditory structure is
supported by the song; another interpreta-
tion which emphasizes i t s s p.
Creation and Evolution through the Logos book 1 chap 3Miguel Cano
Given the current confusion of values, it would be convenient to return to nature to find possible grounds on which to build a system of common and universal values that can harmonize the various conflicting and contradictory views today.
This book analyzes several classic controversies such as the conflict between materialism and idealism, the debate about the origin and evolution of life and the universe, the controversy between determinism and freedom, and the problem between the individual and the totality.
As conclusion, a number of general principles of nature are enumerated, which are very useful to harmonize the different scientific, philosophical and religious traditions.
Matters of SensationMarcelo Spina and GeorGina HuljicH.docxandreecapon
Matters of
Sensation
Marcelo Spina and
GeorGina HuljicH
ARTISTS SPACE
1110
Marcelo Spina and Georgina Huljich
Matters of Sensation: Materiality in the Sublime
Introduction
MofS focus closely on an evolving materialism in
architecture by a group of emerging contemporary
architects; a “Sensuous Materialism”, an affluent
materialism of sensations rather than an abstract
materialism of pure matter. While materialism implies
a philosophical outlook; a conception of the world
derived from physical phenomena and those relation-
ships which are directly dependant on it; materialism
in its ontology can not be detached from the body. In
fact, as Peter Zellner argues, material bodies can only
be appreciated through sensations. The pursuit of
sensations in these contemporary practices constitutes
a novel form of artistic research that implies “an evolv-
ing materialist/sensualist architecture that gestures
towards a far more negotiable set of relationships
between form, perception and action”1 while still away
from the realm of subjectivity or phenomenology.
To be clear, materialism does not imply here the idea
that material organization at a certain scale will simply
trigger formal organization and structural evolution of
an entire project at another; nor it suggests form find-
ing or form optimization processes as a priori design
criteria. Materialism in these architects has a further
meaning beyond a philosophical one, it indicates a con-
cern with materials as such. In fact the working pro-
cess of this group is rather open. It combines research
and intuition with an obsessive creative surge. This
interest explains not only an experimental approach to
architecture but the will in exploring many different
aspects of architectural form. For these architects, it is
not enough to formulate an idea once; they are inter-
ested in playing through various instantiations of an
idea to demonstrate and rehearse its potential. None-
theless, these architects are not interested in merely
proposing, positioning or illustrating questions, but
they rather choose to produce provisional responses
to them emphasizing in their outcomes the material,
physical and sensorial aspects of form and matter.
Hence the multiplicity of the senses needed to scruti-
nize their work instead of the primacy of the visual.
Grounding Sensation
Sensation is synthetic by definition. Its space is optic
as it is tactile. Bodies are not merely perceived but
they take on a sculptural or tactile quality such as
mass, depth, contour and relief. Deleuze following
Riegl, terms it “haptic space, a space in which there is
no longer a hand-eye subordination in either direction.
It implies a type of seeing distinct from the optical, a
close-up viewing in which “the sense of sight behaves
just like the sense of touch” 2.
In thinking about the exhibition, we wanted to con-
struct an atmospheric ecosystem, a whole ecology of
sensation building ob ...
Course ObjectiveExplore architectural space and form in various.docxmarilucorr
Course Objective:
Explore architectural space and form in various cultures.
15 page paper is due May 4, 2018. The 15 pages should not include cover sheet or citations. Double space, 12 point and number each page. You may choose at two cultures to compare/contrast. You may explore only one. Whatever you do, please use several or one philosophy of architecture. Delve into how a culture define space
Your final research paper is to analyze the importance of architectural space, exploring how at least two cultures express space and the importance of architectural space. I read the wonderful discussions that you all wrote about urban space. Now let us narrow our vision to our immediate space and how we react to space. Try to keep the paper to no more than 15 pages including citations.
OVERALL: Minimum of 15.
Introduction. Identify explain how one culture experience space. Compare to another chore to emphasize. Then tell me how you feel about it. The give summary.
187 | SSpace
soft architecture. Sensors that trigger the opening and closing of doors
and windows, the movement of walls, and even the lowering and raising
of floors and ceilings produce the personalized spaces that characterize
soft architecture. Theatrical stages have had this capability for some
time, and thus have a lot to teach the designer seeking to produce soft
architecture.
Traditional Japanese architecture is an early version of soft architecture.
The ability to change the use and “feel” of a space by simply moving a rice
paper screen and rearranging the mats on the floor is a manual, low-tech
version of soft architecture. A more recent manifestation of softness was
attempted with the Centre Georges Pompidou in Paris (1977) (Figure 93).
It was to have an interior in which many walls and floors were movable.
Unfortunately that degree of flexibility was unjustified. Consequently the
building was renovated in 2000 to increase its capacity and efficiency by
“hardening” it.
In soft architecture each force applied to it creates content that has
form, as “water poured into a vase has form” (Ezra Pound). The water-
generated Blur building by Herzog and Meuron poetically illustrates the
new frontier of soft or reflexive architecture. The term now refers to any
architecture that is not finite or fixed.
See also: Blur • Responsive architecture • Flexibility
Figure 93 Pompidou
Center
Space
The classical questions include: is space real, or is it some kind of
mental construct, or an artifact of our ways of perceiving and thinking?
— Oxford Dictionary of Philosophy
If architecture can be understood as the construction of boundaries in
space, this space must be understood as commonsense space, a space
that possesses meaning and speaks to us long before the architect
goes to work. — Karsten Harries
The ethereal thing about architecture is this thing called “space.” Space, as
a central design concern for architects, has the interesting quality of.
IMMATERIAL - Perceived absence of matter,
Philosophically spiritual rather than physical, Realm of ideas, a formless phenomenon
Immaterial is an idea where material is an object
The richness of the user’s experience of any building depends on awareness of all the senses, but immaterial architecture may trigger a sense more often associated with the immaterial, such as smell and touch
The story begins with the escape of the apocalyptic reality, into the mind of a genius of the brush and stroke. Being an ambitious and busy mind after the Cézanne Drawing exhibition at the MoMA NYC I was compelled to apply acquired energy into compelling research. Although my mind was still in a noisy state I had a couple of thoughts on revisiting and reviving my old research from 2006/07. The main ambition was to make a significant imprint of earthshattering beauty into a collective conscience.
Traveling from New York to Mexico, I have decided to execute the project in a primordial beauty in the cultivated jungle paradise. Photographs were taken on the 8th of August 2021 at the exhibition at the MoMA NYC and projected on a couple of locations at Tulum, Mexico in October 2021. The event was also filmed with GoPro camera. It was therapy for me, as I am hoping the entire project can have a therapeutic influence on the bruised collective soul and mind.
Progressing the research expanded to comprehension of laws of the universe and into contextual landscaping, cognitive modeling, and intelligent environment(s). In a tête-à-tête with a universe, my input was Cézanne’s artwork and in return, I got answers in a form of puzzles, yet to be cracked.
The true power of the project is in unlocking the potential of the environment by relinquishing or letting go of the role of creator, producer, and viewer. I have sensitized the environment to be able to activate its self-producing force and intelligence. While in the first research I have created a system that is implosive by the nature, constantly generating systems without a recollection of the previous one; in this one, I have emptied the referent point/space to activate the environment yielding on the superposition property of the system to be able to unlock the essence, to reach the energy-momentum and tap into cosmic reason.
The idea is also to dip the research into the NFT art world to gain an extra perspective of art in blockchain technology and to test its reception on alternate realities.
YouTube channel Contextual Landscaping https://www.youtube.com/channel/UCBnuw3Mz1n0j5FFGh-6cWwQ
ORDER Introduction Ideas o f O r d e r ... Ra.docxhopeaustin33688
ORDER
Introduction: Ideas o f O r d e r
" ... Ranron Fernandez, tell me, i f y o u know,
Why, when fir? singing ended a i l d rue turned
Toward the town, tell why theglassy lights,
Tke lights iirr tiltfishing boats nt airchor there,
As rlight descended, tiltir~g in the air,
Mastered the night and portioned out the sea,
Fixing einblazoned zoiles and fiery poles,
Arranging, deepening, enchailtiiig night ..."
-WALLACE STEVENS
The title of this book, Ideas of Order, comes
from a poem by Wallace Stevens, "The Idea of
Order at Key WesY'. Stevens' poem elegantly and
compactly addresses issues which in this text are
drawn out over three hundred pages. The poem
recounts the tale of a woman singing by the shore.
The words of her song and the natural rhythms of
the sea mimic one another, yet the gulf between
language and the grinding water keep them from
ever forming a dialogue. Instead, the contrast be-
tween the song and the sounds of the wind and
sea provides a frame which reveals both with new
clarity. When the singing ends, the sea still can-
not be grasped as an autonomous, independent
entity. Instead, a new frame emerges; the lights
of the fishing boats mark out a visual structure
which fixes a new order for the sea.
The primary aim of ideas o f Order is to pro-
v i d e conceptual a n d historical frames of
reference which can be used to 'portion out' the
order of architecture, a task that is by no means
easy. Most of our training prepares us to deci-
pher linguistic and numeric information. We
have little training in making sense out of visual
and graphic material. Ground rules in visual
literacy are presented in this book in an attempt
to demystify the study of architecture, a disci-
pline which is so fraught with jargon a n d
specialized argot that without a primer, the
novice may become hopelessly muddled, or
worse, indifferent to the built environment. The
intent is not to develop an historical or art his-
torical argument, but rather to provide insight
into the way architects make decisions so that
I D E A S C
the reader may better appreciate the rich-
ness of the materlal world.
We do not presume to divine the inten-
tions of architects nor to understand the
precise reasoning followed in their design
processes. Instead, we shall examine objec-
tive data: the physical forms of buildings
a n d the interrelationships among the
whole, the constituent p a r t s and the
broader context. Formal analysis of build-
ings a n d d r a w i n g s shall act as a
springboard for our discussion, although
excurses may range into more abstruse
theoretical territory. Many complementary
and contradictory readings may be prof-
fered. That is why the book is called ldeas
of Order, rather than The Idea of Order. In
Stevens' poem, an interpretation of the sea
which emphasizes its auditory structure is
supported by the song; another interpreta-
tion which emphasizes i t s s p.
Gebser 2017-heiner benking concreteness in integral worlds-revisitedHeiner Benking
Presentation from the International Jean Gebser Society 2017 in New York. Recorded but not delivered, Connection / WLAN problems.. A Video will be made available soon.... maybe check the GEBSER 2001 publication: XXVII Annual Jean Gebser Conference, Worldly Expressions of the Integral, October 18-20, 2001 - Ohio University, Athens, OH,
Concreteness in Integral Worlds
http://benking.de/gebser2001.html
Arts and science are similar in that theyare expressions of .docxwraythallchan
Arts and science are similar in that they
are expressions of what it is to be human
in this world by Ariane Koek
Luc Lalande
Jun 26, 2017 · 6 min read
The following post is a copy/paste of an article by Ariane Koek that
deeply in9uenced my thinking of true art-science collaboration.
. . .
Original Source:
http://www.theartnewspaper.com/articles/Cern%3a+where+art+a
nd+science+collide/24678
By Ariane Koek.
Published online: 04 October 2011
Arts and science are similar in that they are
expressions of what it is to be human in this
world
https://medium.com/@luclalande?source=post_page-----b5624a2ffe2a----------------------
https://medium.com/@luclalande?source=post_page-----b5624a2ffe2a----------------------
https://medium.com/@luclalande/arts-and-science-are-similar-in-that-they-are-expressions-of-what-it-is-to-be-human-in-this-world-b5624a2ffe2a?source=post_page-----b5624a2ffe2a----------------------
https://twitter.com/beautyquark
http://www.theartnewspaper.com/articles/Cern%3a+where+art+and+science+collide/24678
Olafur Eliasson’s “Your Split Second House”, shown at the Venice Architecture
Biennale in 2010, took physics as its jumping-oK point
It is one of the fashionable arts movements of the moment. It is also
one of the most troubled because the aesthetic is unsubtle and still
evolving. With the seemingly giddy rise of the wonders of science in
our culture, epitomised by the boyish Brit physicist Brian Cox’s
blockbuster TV series, “Wonders of the Universe” on the BBC,
arts/science (sometimes called “sciart”) is gaining ascendancy in the
21st century as a movement of inXuence and power.
Almost every week, across the world, exhibitions are opening that are
billed as arts/science to cash in on this emerging trend, which is also
driven by new funding possibilities from science in the current arts
cash crisis.
But we are in the middle of a crisis of another kind — a reduction in
the wonder of creativity itself, and the question of who controls it and
how. Creativity, and where it comes from, is one of the last great
human frontiers, and one over which we have little control, cash crisis
or no cash crisis.
But there is a battle to do just that, and reduce creativity to a
systematic formula in our function-obsessed, input-output,
application-driven world. Artists are being driven to become
scienti]c, from the moment they ]ll in a funding application
predicting their ]nal production.
Let me explain. I work in arts/science myself. So, you could argue,
who I am to talk? After all, I have created an artists’ residency
programme at Cern, the world’s largest particle physics laboratory
and home to the large hadron collider. But it has at its heart the
wonder of the creative process. It is not a residency which is process-
driven or de]ned by an outcome; nor does it demand communication
about or homage to the science.
I have deliberately set it up to be a laboratory of the imagination,
where freeplay can hap.
3. Architecture is a hybrid between theory and reality. It cannot
exist solely as a built artifact nor can it subsist only on paper.
The built reality is a compromise between these two conditions.
Additionally, architecture must fulfill the needs and desires of the
party who initiates its actuality. Well-considered design solutions
should be folded into a narrative that informs the physicality of
the building. For me, this makes architecture a kind of spatial
poetry. It is authored by individuals who labor carefully and empty
themselves into each and every mark. Just like the birth of space
itself, architecture is spoken into a beautiful, complex, and simple
existence by commanding words. So when people ask me what I
do, I answer, “I write.”
I Write.
4. /Con-tension
Elia Zenghelis Masterclass
Everything is constructed to some degree. In the realm of the ideal, the
cosmos is ordered in such a way that the idea is the end of a logical
argument. In contrast to this, reality is influenced by many factors that must
ultimately come into harmony with one another. This emblematic image
deals with the tension that exists in unifying the ideal, built, and context.
Le Corbusier’s notion of “the house as a machine for living” is shown as
the realm of the gods, a constructed version of the universe. Below is reality
that unifies the built and the landscape, a nod the Alvar Aalto’s belief that
nature can serve as a catalyst to harmonize humans and technology. While Le
Corbusier’s ideas are pure, Aalto’s bring human experience to the forefront.
Removing one element of this image would reduce the significance of the
remaining parts.
Base Images:
Stage set for Mozart’s Magic Flute. Karl Schinkel. 1815
Scene Under the Stairs. Jacek Yerka.
with Nicole Becker
Spring 2016
5.
6. The contrast between outside and inside is a key interest for this project.
The separation between these often involves no more than stepping
over a vestibule. We propose that the difference between two environmental
conditions may be elaborated in such a way that all understand that the change
is happening. The ‘doorway’ is elongated and entry becomes procession, not
step. Changing the body’s relation to sea level heightens this contrast.
The Venetian Carnevale acts a catalyst for the development of this project.
During Carnevale, elaborate masks are worn to hide the wearer’s identity. In
days past, Carnevale was a time of unrestrained consumption and decadence.
Ordinarily law abiding citizens put on the masks and were free to expose their
true character. The concept abstracted from this contradiction was adding a
new and elaborate layer to something in order to reveal its true character;
putting on a layer to peel back many layers.
Our structure is the mask that reveals the hidden foundations of Venice; the
wooden piers that carry the weight of the city. We are able to reveal these
because of the unique conditions in the Arsenale; there is a set of warehouses
that no longer exist. In the late 1800s, part of the fondamenta, Venetian for
foundation, was removed to accommodate the construction of larger ships
in the Arsenale basin. Since the technology did not yet exist to completely
remove the wooden piers that were driven into the ground as the final support
structure, they were left behind while the stone base was removed. These
piers are a reminder that the perceived solid nature of the city above relies
upon a material that can decompose. The revelation we make begins this
decomposition and puts it on its own stage.
with Taylor Jourdan Danger
Professor Peter P. Goché
La Maschera Piú Bella
Fall 2014
8. Site Plan of Arsenale with floating theater.
Site model showing how the theater relates to the ‘fondamente’ , or
‘ground’, and the remains of the foundations of the old Arsenale.
14. 2014 Venice Biennale Sessions
Professor’s Cameron Campbell
Peter P. Goché
Mitchell Squire
Caution: Wet Floor
In 2014, Iowa State University was invited to the Venice International
Architecture Biennale. Thanks to the support of many generous donors,
I was able to attend with my fellow classmates. The focus of the workshop
we participated in was ostensibly to study the undervalued fundamental
element of the floor. Groups of four worked together to carefully unroll and
arrange paper on the ground within the warehouse exhibition space we were
provided. Folds were rigorously made and discussion occured whenever a
boundary was reached. As the workshop drew to a close we realized that the
activity had more to do with the most fundamental element of architecture
than it did the floor. This element? Collaboration.
15.
16. with Ashley Schmitz
Professor Ziad Qureshi
A Landscape to Heal
Landscape is the balance that results from the processes acting on it. These
processes are many and humans are but one of them. Landscape itself can
be a force; water may carve into the landscape but its path initially flows as
the landscape guides it. There is a hierarchy to these forces with one being
the dominant shaper and the rest subsidiary, but each leaves an imprint in
the landscape. This balance is deceiving, in that, to a casual or glancing view,
it is serene, but upon careful examination the record of these processes is
apparent.
Meditation can be considered a close act of observation and can be provoked
by actions that are mundane, dull, and repetitive. Many of the processes that
form the landscape are unexceptional. The intent of this project is to place
installations into this rural St. Charles, Iowa site that focus on these natural
processes and use them to instigate meditation.
Additionally, the presence of an apiary on the site connects it to a larger
context. The bees that reside within the apiary serve a greater function in the
surrounding landscape. This interconnected community serves as a model
demonstration for the professionals who attend this retreat to recuperate from
their stressful occupations. Their participation in this community occurs as
they process the product of the apian ecosystem.
Within this context, the explicitly constructed space of the building is for
essential processes; eating, sleeping, and some production. Beyond these
functions, architecture fades and milieu becomes foreground. Landscape is
the focus and much of the psychological healing occurs beyond the confines
of the four walls.
Fall 2013
17. Map locating the site in relation to where the clients will
travel from.
Axonometric showing the qualities of the site and specific points of interest that the design responded to.
18. Diagram showing how the formal arrangement of the building was determined.
Determine overall programs. Partition Programs. Allow access to site through
structure.
Arrange programs for maximum
exposure to the site.
22. Cabinet can be defined as “a room devoted to the arrangement or
display of works of art and objects of vertu; a museum, picture-gallery,
etc.” (OED). When there is an ‘arrangement or display’, it is implied that
a narrative will be constructed by those who come to view, or, interact in
some manner, with the items on display. The intercourse between the two
parts, object and observer , becomes the cabinet. In this sense the cabinet
consists of three elements: object, observer, and the dialogue between them.
Critical to the cabinet is the dialogue, which is a process and brings the whole
together. What is important is not the ‘end’, or ‘product’, of this process but
the process itself. The cabinet presented is the end result of many processes:
marking, dissection, and reconnection. As such it lacks a meaning that is
predefined by the author.
The implication for food production is that the critical elements are not
the individual steps: planting, cultivation, harvest, drying, distribution,
processing, and consumption. Rather, it is the process as a whole and how it
relates those parts. The process becomes a network along the lines of Eneropa
. One element of the network is no more or less important than the other.
The installation at Black Contemporary should heighten awareness of process
by using the intensely focused spatial qualities present. Primary consideration
will be given to the revelation of process in contrast to preloaded ideology and
spatial ideas. Speculations will be based around demonstrating process rather
than hollow representation of predefined meanings. Using these constructs
a cabinet is defined as a room devoted to the arrangement or display of
processes that brings the ‘observer ’ into a heightened awareness of their role
in the space.
(Project in process at Black Contemporary)
with Ali Brunn
Static Potential
Yuxuan Gu
Professor Peter P. Goché
Spring 2016
23. In progress. Full scale installation at Black Contemporary. The project research is focused toward ritual.
24. Martin Heidegger, in his book “Being and Time” suggests that because of
the transitional nature of death and our inability to experience it, our
only way of objectively understanding the boundaries of our own existence
is to do so through others. This is not to say that the dead are no longer
in the world, but they are no longer a corporeal being. Their identity, or
memory will still remain, and still be associated with tangible objects, i.e.
a body, an urn, or coffin. In modern contemporary practices, the deceased
is embalmed: a nasty process that I’ll spare you the details of, but one that
will only temporarily delay the decomposition of the body and will leach
poisonously into the ground. This process causes us to identify the deceased
with a body, which becomes a spatial issue when introduced to the urban
condition: That is to say that if the “dead” are to have a continuing presence
within the city, we must let go of the deceased’s physical vessel and reimagine
our relationship with the them abstractly.
As a counter to contemporary practices, this project proposes a process called
“promession”. Much like cremation, the end result is a granulated powder,
but does not undergo a burning process which the EPA has banned within
the city. Instead, the body is chilled, granulated and freeze-dried. This powder
is then temporarily memorialized in the ritualistic sowing of a plant. Through
the lifetime of the plant, the living grieves the loss of their loved one, but the
plant ultimately passes; itself being an only temporary carrier of the deceased
identity. What’s left is a permanent architecture that stands to give memorial
to the larger body of absence within the city.
with Callah Nelson
Jenna Wiegand
Being Towards Death
James Zeller
Professor Mitchell Squire
Fourth place, Construction Specifications Institute Competition
Fall 2015
25. Early ideogrammatic collages authored by fellow team member
Callah Nelson.
Above. Early ideogrammatic collage of this project that understands
the structure as a space dealing with industrial processes as well as
memorials within a constructed ‘nature.’
26. 1825. 1850. 1900. 1930.
Mapping of movement of cemeteries in San Francisco plotted against the growth of the city.
CREMATION OF HUMAN REMAINS IN CITY AND COUNTY
LIMITS PROHIBITED.
BURIALS WITHIN CITY AND COUNTY LIMITS PROHIBITED.
http://library.amlegal.com/nxt/gateway.dll?f=templates&fn=default.htm&vid=amlegal:sanfrancisco_ca
SECTION 195SECTION 200 PENALTIES
ARTICLE 4San Francisco Health Code
of theA visual guide
to aspects of
Fine of $100-$500 or improsonment for up to 6 Months, or both.
$
Diagram outlining the San Francisco Health Code.
27. Health care Facilities
KEY
BART
MUNI
New Infrastructure
MUNI Underground
Map showing existing and proposed new infrastructures for the movement of bodies through San Francisco.
28. Bodies are moved via a system
that attaches to the existing
infrastractures of the city.
Above. Bodies are placed in transit
canisters.
Right. Diagram showing how bodies
transit from place of death to the
site.
Below Right. Diagram showing the
unloading, storage, and processing of
the body upon its arrival to the site.
29.
30. Usage map of Mission Bay District San Francisco.
36. Our Conversation
Last night
the city clattered on below
across from our ten story perch
a man hunched over his counter
and stared at a blue screen
White chardonnay patiently rested in
plastic cups that replaced goblets
while we decided our project
could not solve homelessness. Then
I went inside to use the bathroom
The blackness of 1:29 AM was punctuated
when a man and a woman eight stories up
turned out the lights in their loft
1:30 AM saw the definition
of a perfect relationship
A theory of architecture accompanied
a design proposal for new Trump Tower
It disintegrated when the homeless -his creation-
urinated on its ground floor causing
the ‘T’ to fall and make the iconic “Rump Tower”
Just before entering the small hotel room where
our roommate lay tangled in the sheets and
a homeless man rooted through a dumpster far below
we gazed across the sea of earthbound stars
and wondered silently at our conversation
37. Ryan Carter www.assemblagestudies.com
r y a n c a r t e r 6 1 2 @ g m a i l . c o m
(515) 829-1927
Academic Achievements
Fourth Place, Construction Specifications Institute Competition
Shirey Award for innovative use of concrete in studio designs
Hansen Prize, Finalist
Dean’s List
Fall 2015
Fall 2015
Spring 2014
2013-Present
Educational Background
Venice Biennale
Elia Zenghelis Masterclass
Peer Mentor
Rome Study Abroad
DATUM: Iowa State University Student Journal of Architecture
Consisted of extrapolating and synthesizing ideas about modernism and the urban from examples of
domestic architecture by various iconic architects.
Represented Iowa State at the 2014 Venice International Architecture Biennale sessions. The workshop
was called Caution: Wet Floor and two studios of students, including myself, went to Venice as
representatives of the university.
This volunteer position involved being in class to assist the professor, provide demonstrations, and
generally support the first year design students. Here I further devoloped the skill of critically evaluating
student work as well as begin the process of learning to speak to the level of my audience.
Studied abroad in Rome for four months. Part of this included working with Roma Tre students and
communicating across a language barrier.
Another volunteer position that involves compiling, editing, and printing DATUM: The Iowa State
Student Journal of Architecture. This role requires attending weekly meetings and preparing material
for them.
Work Experiences
Fareway Food Stores
Flieshman Construction Company
Medicap Pharmacy
This position was a manual labor position. It was an opportunity for me to learn some basic construction
technologies as well as understand how contractors think about building.
Worked as a part time meat guy. This position involved listening to what customers wanted. I also began
to learn how to be the first line of complaint handling. I needed to understand what I was able to handle
and what I should pass up the line.
Worked as a cashier. Customer service was a priority and it was here that I learned how to handle sensitive
information discretely.
Education BArch, Expected Graduation 2016
Leadership Experience
Spring 2016
Fall 2013, Fall 2014, Fall/Spring 2016
2013-Present
Summer 2015
2011-2014
2008-2011
Fall 2014
Spring 2015
Software Familiarity
Microsoft Office Suite Adobe Creative SuiteAutodesk
AutoCAD
References
Peter P. Goché
(515) 520-3384
goche@iastate.edu
www.blackcontemporary.org
James Spiller
(940) 781-6731
jspiller@iastate.edu
Wayne Fleishman
(515) 490-9651
ACADEMICS and DESIGN WORK ETHIC