grids an introduction to grids by
federico lepre
Stu d en t Fe d e r i c o L e p re Reg. N o. 201472895
U niver sity of Strath c lyde 2 0 1 5 / 2 0 1 6 Fa c u l ty o f E n g i n eer i n g D e partm en t of Archi tectu re MArch /PgD i p i n Advan ce Archi tectu ra l D es i g n Yea r 5
“ G rids”
“ In the green wild I am gone My hands, toes, shoulders gone But the shoes my feet have worn still remain And they walk toward the sea
Julia Holter, In the Green Wild,
GRIDS
eradicates a third of the city. Nearly 2000 acres, including the entire business district, vanished. At the end one-third of the entire population found themselves homeless. The night of the 8th October in a cottage at 137 De Koven Street, property of Mrs. O’Learly, a living being belonging to the Kingdom of Animalia, the Order of Cetartiodactyla and the Family of Bovidae, commonly a cow, kicked an oil lamp. Nobody (obviously) knows the reason but she kicked that lamp, which then felt down,
exponentially and step by step tore down the entire city.
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This does not correspond to the true, and more then an ascertained fact actually belongs to the in history. Real reasons could be found in the fact that during that year Chicago had not seen rain for several months and that the city’s building were mostly constituted by timber/ wooden structures. Drought and the ideal environment are mostly considered the reasonable cause behind this historic event. Considered all this is undeniable that Mrs. O’Learly myths possesses a sort of fascinating and more appealing scenario. Moreover this story can lead to very interesting interpretation. That’s what Hanna B Higgins did in her comprehensive book The Grid Book. Through the wide analysis of grid forms she investigates the subjects of grids and the application that this element had during the development of . The
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analysis includes from basic construction elements, topography representation, urban development to writing, music notation, ledger to the world wide web. In the introduction she uses the myth of Mrs.
living in byre, a sort of gridded system to host animals, included at the same time in another set of “supra-grids,� the cottage of Mrs. O’Learly, the city block, the district, Chicago itself and so back against the constriction that this systems, this grids, are applying to her. So, in a very personal reprisal, she rebels herself to grids destroying an existing system and consequentially leading the city to literally a new era and a new set of Grids.
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Higgins addresses this event to what she describes as the persistency of the grid 1, once a grid is invented it never disappear and it posses host.
grid, the central point and orthogonal grid as
orthogonal and organised plan in history n,
1 Hannah B Higgings, The Grid Book, 7
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as Higgins reminds. Chicago had a system before and a grid which was set on, and the orthogonal plan was not a new invention and plenty of example can be found in history. that uses different systems to control itself, its territory. This condition can be interestingly compared to what OMA in S,M,L,XL averred regarding the meaning of grids, GRID The Grid — or any other subdivision of the metropolitan territory into maximum increment of control — describes an “Archipelago of Cities within Cities.” The more each “island”celebrates different values, the more the unity of the archipelago as system is reinforced. Because “change” is
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contained on the component of “islands,” such a system will never to be revised.2
The grid for Higgins propagates through history and evolves itself but she attain a similar She states that the origin of city as to to be search in the so called Gridiron, a metal lattice that for its simplicity and homely form, the orthogonal grid itself, was widely used in the past to organise space. It is a system that evolved and became what we know as “modern cities.” Systems that are designed on an “ ”3. Control
2
OMA, S,M,L,XL, 592
3 Hannah B Higgings, The Grid Book, 49
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Germany. Ungers in 1977 was leading the project called “Berlin as Green Archipelago.” The various issues regarding the fragmented condition of the city were addressed by reading the city with the usage of a new model found in the concept of “city within the city” or, as Ungers used to refer to, of “city made by islands”. West Berlin was facing a dramatic drop of population and foregoing approaches to urbanism were impossible to use due to political and practical condition. What Ungers archipelago and to turn the project of the city into the project of architecture of the city. As a consequence the outcome was a series of singular architectural intervention with the aim of shrinking the city to points of urban density. by OMA acquires a richness in the reading of
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existing realities and the perception of urban form. The grid divides and applies control over a territory which gain the state of metropolitan that, far from the zoning process of early 20th the grid itself. The control applied is on a “implicit level�, it acts only as common denominator between each element who lies on the grid. This applies to modern urban fabric but also to more ancient ones. The concept from Higgins regarding the persistency of the grid makes possible the comparison with ancient system directly to modern cities.The Plan of Miletus in In Aristotele’s writings 4 presented: Hippodamus of Miletus. Described
4 Hannah B Higgings, The Grid Book, 58
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by Aristotele as who “invented the art of planning cities,” his plan, as Lewis Mumford deliberately fabricated neighbourhood unit”. The plan of Miletus was a plan for a city of 10.000 citizens, who were split in three different categories: artisan, housbanmen (farmers), and armed defender of the state. The land was also divided in three parts, one sacred, one public and the third private. The sacred land was set apart to “maintained the customary worship of the gods,” the second was to support the warriors and the third one was property of the farmers. The grid in which this three neighbourhoods were placed was an orthogonal grid. This is due to the Greeks philosopher’s, intellectual’s and
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mathematicians’s fascination with mathematics and pure geometry 5 . Aristotele adds more to his analysis of Miletus, presenting him as a “visionary, capable of combining abstract social political, philosophical, religious and natural principles in the form of a single plan.” 6 The plan of Miletus is a plan that rise from the act of facing the social realm of greek society, it takes in account a series of structures and combines, organises and spreads all of them onto the land, in a way close to the already quoted subdivision of the metropolitan territory that Koolhaas describes in his dictionary. It is interesting to notice that Higgins’s description of the Gridiron lack of the word “city” which appears only few time. This detail 5 Hannah B Higgings, The Grid Book, 46 6 Hannah B Higgings, The Grid Book, 59
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becomes key factor when compared to the contemporary condition of the city and its common, contemporary, translation, urbanism. Urbanism, urbanization, born in 1867 with the publication of Teoría general de la urbanización from the Spanish engineer and planner Ildefons Cerdà. In his book “The possibility of an Absolute Architecture” Pier Vittorio Aureli describes the character of Cerdà and gives a peculiar interpretation of his plan for Barcelona. He states that the book itself, Teoría general de la urbanización constitutes a legitimisation of the term urbanization, as an element able to embrace and explain the “conceptual feature of a paradigm” 7. This paradigm is to be intended as the condition of capitalism about limitlessness and “complete integration of movement and
7 Pier Vittorio Aureli, The Possibility of an Absolute Architecture, 11
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communication”. Furthermore Aureli states that Cerdà recognises the need to address a new condition proper of the 19th century, what Cerdà himself describes as a “vast swirling ocean of person, of things, of interests of every sort, of a thousand diverse elements” 8. What happened with Cerdà is very interesting. In fact the Spanish planner dealt with the very beginning of a new economic system, of a new form of society and, as a consequence, an all new whole of needs. plan for a city. After the second industrial revolution common needs for cities in Europe were housing availability and managing and ensuring public health standards and facilities 9. 8 Pier Vittorio Aureli, The Possibility of an Absolute Architecture, 9 9 Guido Morbelli, Città e Piani d’Europa, 45
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For cities like Barcelona the option chosen was
each elements using a series of statistics
Aureli interprets this
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approved and organises it, limits fade out and the only obstacle encounter-able is landscape. This is very interesting if compared to greek’s plans. Higgins describes the difference between the greek polis and the roman castra, the typical military plan, and it is exactly the consideration that each of this plan had regarding the landscape 10. As quoted before the fascination to pure maths made the greek one following an orthogonal grid even when was not compatible with the landscape while the roman castra for imperialistic aim and so military tactics was build considering the landscape as an element to integrate and take advantages from. Aureli describes the plan for Barcelona as regardless the landscape. The structure of the plan allows this expansion and, indeed, hold
10 Hannah B Higgins, The Grid Book, 60
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urbs
civitas 11.
11 Pier Vittorio Aureli, The Possibility of an Absolute Architecture,
11
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They are described and related the Barcelona plan. The distinctive character of the three consists in the singular evolution and goals they share. An orthogonal based gridded plan were the city gets subdivided in the public/private dichotomy in an exponential growth that step by step abstract the city from a real and practical proposal till a shapeless reality with no boundaries. As Miletus’s plan the subdivision is both physical and ideal, the grid is not only a tool of subdivision but a tool of connection that host society and the collision between politics - the public sphere - and economics - the private sphere. This distinction is present in Aristotele’s writings, the reality for him is divided in two techne, art, the techne politiké and techne oikonomiké, politics and economy.
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In the city this division is expressed in the public space - or the space to host politics - and in the house, the private space.
words, describing the Vertical City, “The project of the city consist of the coordination between
12.
an open space with facilities spread over the
continuous endless grid. 12 Pier Vittorio Aureli, The Possibility of an Absolute Architecture,
13
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An interesting comparison could be done between the condition of this the Non Stop City grid. Vittorio Pizzigoni wrote that the usage of the Superstudio has a similar character compared to the Prevedari engraving of Bramante 13. This comparison can be extended to the Non Stop City, and moving backward to the gridded plan of the Vertical City and Barcelona. The grid for Pizzigoni is used as a “logical platform that permits a relationship between the different elements of the architecture and offers the promise of a possible unity among them� 14. The grid again more than a tool becomes an object both containing the project and able to apply control over it at the same time. 13 SanRocco, Happy Birthday, Bramante!, 51 14 SanRocco, Happy Birthday, Bramante!, 53
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This duality is an intrinsic element of this object and Rosalind Krauss’s essay Grids can give an interesting support in deconstruct the topic.
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STRUCT/ARCHITECT -URE
As Rosalind Krauss stated grid are also structure. In her essay Grids she describes grids as an antinatural, antimimetic, antireal object. The grid is “the means of crowding out the dimensions of the real and replacing them with the lateral spread of a single surface.� 15 She addresses the subject of grid in the realm of art and demonstrate the implicit contradiction held by this structure. This contradiction has to be searched in the dichotomy that grid showed in the 20th century, the coexisting of two characters: spatial and
15 Rosalind E. Krauss, The Originality of the Avant-Garde and
other Modernist Myths, 9
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temporal. The grid developed on one side, the spatial, a recognisable in painting like Untiltled from 1965
Grid Index, 2008,
tilings, or as he declare of “surface subdivision,� 16ordered form the most simple and orthogonal
The grids collected are generated from maths,
16 Carsten Nicolai, Grid Index, 1
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they are only what they are representing and what they are, an instrument of subdivision. On the other hand the temporal character is to be intended as everything that overlap the grid, everything that diverge the grid from its pure geometrical meaning. This is the character that made possible for art to declare itself “present” at the beginning of the century 17. Krauss describes the state of art in the 20th centuries in relation to grid and to the myth held by it, meaning this coexistence of elements in contrast. She wrote: “The grid’s mythic power is that it makes us able to think we are dealing with materialism while at the same time it provides us with a release into belief.” This condition becomes evident also in architecture with plans like Non Stop City where the grid becomes the preeminent 17 Rosalind E. Krauss, The Originality of the Avant-Garde and
other Modernist Myths, 13
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element of the project. Furthermore the “collision” between pop art and architecture that characterised the production of Archizoom makes appropriate to inscribe the plan in Krauss’s analysis. The project is organised in a way similar to Cerdà’s one, the elements are placed with regularity on the grid and the city itself becomes a surface hosting different elements proper both of the public sphere and the private one. The grid is the place were all the elements of interaction between each other. Andrea Branzi describes Non Stop City with this words 18: “The idea of an inexpressive, catatonic architecture, outcome of the expansive forms of logic of the system and its class 18 Pier Vittorio Aureli, The Project of Autonomy, 75
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antagonists, was the only form of modern architecture of interest to us[…] A society freed from its own alienation, emancipated from the rhetorical forms of humanitarian socialism and rhetorical progressivism: an architecture which took a fearless look at the logic of grey, atheistic and de-dramatized industrialism, where mass production .”
wrote in Teoría general de la urbanizacións while addressing capitalism and without having to face the advent of mass production yet. reveal a peculiar characteristic that is close to the analysis of R. Krauss, the grid shows a
Ungers and OMA used the grid to study the city
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appliance of a certain control over a metropolitan territory. Additionally to this aspect the grid is able to acquire the so called temporal value form Krauss. In architecture and urbanism this value is able to manifest itself through politics.
regarding the issue of Housing hosted by Haus
called Urban Forest, a rethinking on the topic of student housings starting form its most contemporary condition. The project consists of a timber structure that provides facilities typical of a dormitory but
The title Urban Forest refers to this kind of
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resembles Calvino’s Barone Rampante, a character who chooses to live in the trees as a way of emancipating himself from the conditions of land ownership. On the other hand it refers to a series of studies on urban ecology and what is addressed as “Biopower” by Michel Foucault. Biopower is intended as a system that manages and controls people through structures that enhance their lives 19. their interpretation of biopower and the scale of
19 Kooperatives Labor Studierender + Atelier Bow-Wow, Urban
Forest, 70
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chairs in Luxembourg Gardens in Paris. The park provides chairs for users to use and set as pleased. This “records” the people’s behaviour on how the park is used and clues on who was there, who interact whit the space and took advantages of this structure. Other examples provided are the “Bearpit Karaoke Show” in Mauerpark in Berlin, the Eastern Gate in the Temple of Heaven in Beijing , the “Cherry-blossom viewing” at the Tokyo Institute of Technology, the Swimming in the river Rhine in Basel, and the Fishing activity at the Galata Bridge in Istanbul. All those example are share what Atelier BowWow called the communality of architecture. By that they intend all the structures that a place hosts and possesses and that are the elements proper of the user, the objects that shapes the behaviour of the user and that create a direct connection with the space.
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This kind of connection is well addressed by Archizoom and the Non Stop City, where, in an attempt to show a criticism on capitalism, furnitures becomes architecture that repeated endlessly becomes city.
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MODULARITY of URBAN FORM
A city is simple, a Pixel City even more. Pixel City is a project by Shamus Young made in April 2009. It is a procedural city created on MS DevStudio 6.0, its description is peculiar: * The program was built on vanilla OpenGL, Windows, using MS DevStudio 6.0 * Building the city takes about 5 seconds. * Took about 50 hours of coding time. * Runs on older hardware. The goal was to have the program work on Windows machines less than 5 years old. * To be released as a Windows screensaver.
This project consists in a tricky way to build a city quickly on a 3d environment. Young explains all the steps in a video uploaded on
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youtube20. His city is built in 6 simple steps. First of all you need to “generate a series of textures that look like lit windows. The second step consists in generating buildings in “several different styles.” In this step the building are divided in three categories, Generic buildings, Classic buildings
spaces between the streets with buildings, tall in the centre and lower towards the edges.” Five, “add a blue gradient along the horizon as a sky. Add some dark splotches for clouds.” Finally step 6 “spam the streets with little red and white dots to act as ‘cars’.” Young explains on hi website he used this steps for create cities for video games during the 90’s.
20 https://www.youtube.com/watch?v=-d2-PtK4F6Y
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His example of city is off course far from what a real city might be like but express perfectly what a city is: a modular system of repetitive elements. In 1967 “a bathroom every 50 meters” was the title sarcastically given to Non Stop City. The and because of that the orthogonal grid constituted at the end the basic grammar of the project. This city was the extreme version of the Cerda’s plan for Barcelona. It was a plan dealing with mass production that was taking all the elements of a city and exploiting them to the public through the media of pop art. The idea was simple, the city can be an extensive limitless gridded plan with functional and peculiar elements placed in a pattern that resembled the typical plan created by urbanization and, moreover, this series of
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elements can be decomposed and stretched as much as it will ideally work. The city is a series of modular elements, both private and public and “mixed” too. Not mixed, but generated by other means and included in Non Stop City elements diplayed on the grid were objects, furniture and services. The mean of the plan was to erase architecture by shrinking down its elements to the minimum. This plan understands and reacts perfectly with the idea of biopower from Foucault. In the word of Branzi the plan expresses “the idea of an inexpressive, catatonic architecture.” This is to aim to “a liberating architecture, corresponding to mass democracy, devoid of demos and of cratos, and both centerless and imageless.” The Non Stop City industrial design becomes part of the city, a sort or merging point between society and capitalism.
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For Archizoom this sought condition is revealed in the system of supermarkets 21. The collective in fact states: The only place where the factory model and the consumption model come together is the supermarket. This is the real yardstick and model of the future city and, consequently, of reality as a whole: homogeneous utopian structure, private functionality, rational sublimation of consumption. Maximum result for minimum effort.The supermarket foreshadows an image-free structure, nut one which offers an optimum system of information for goods and merchandise, within which the homogeneity of the product is directly produced As a homogeneous amalgam of all real data there is no longer any need for “zoning.� The
21 Pier Vittorio Aureli, The Project of Autonomy, 74
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in which different cultures of the “soil” are actually exceeded: urban culture and agricultural culture. Elevations are formed in the supermarket just as in agriculture, I.e., by the purely functional accumulation of reality. The “landscape” no longer exists as an external phenomenon since the profound nature of capitalism becomes a formal freedom expressing all its rational potential.
This very condition of collision between were the factory model meets the consumption one and becomes grid were all those realities are able to communicate between each other. Communication is the key factor that characterise grid in it totally. Krauss recognises this and in history is the common denominator between each of this analysis and proposals. Glasgow on its side lives avery interesting condition that could be related to this topic and could give interesting mean to this analysis.
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glasgow / glaow / glasow / gowow owgla / glasla / glagow / owow / gogo owgow / goglas / asglas / goow
Random words. Random combination starting from the letters G-L-A-S-G-O-W to produce a random series of words composed by two syllabus. Is Glasgow a city with a fascinating, mixed and complex set of grids? Yes, indeed, it is. From my point of view this city is strange, I do not mean any offensive or disgusted “strange,� when I look at the plan it feels just odd. Something is not right and something is not trying to investigate that, the reasons or whatsoever.
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The analysis done on Glasgow was divided in
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In fact the post code G1 and G2 are bounded inside this “imaginary” border that both the Clyde and the M8 are tracing, leaving free and open, only the side on east, facing the “most deprived” area of Scotland, East End, as stated by survey conducted by the council. This is very interesting for a series of reasons I will list by consider one element a time. The River Clyde is not crossing the city centre. This is a particular condition, it usually is the opposite, the city seats right in between and takes advantages of the river building on both sides. By looking at the plan and being used to common european cities this feels odd. Even by looking at historical maps by seeing the evolution of this relationship river/city. The fact that the central station was moved multiple times during the 19th century, the fact that many bridges were built or demolished and
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then rebuilt. All of this without a historical background seems at least intriguing. The River Clyde was used to reach the city form the ocean when Glasgow back in the 18th century had developed a strong economy with trading of tobacco, sugar and cotton from America. In 1770 in fact the river depth was even increased in order to allow bigger vessels to reach the city. This trade and this condition of Glasgow as an harbour receiving goods from America gave the city the right environment for developing industries. Those industries were places south to what today is the city centre and this condition of nearness to it might be found in the fact that the Clyde was used as communicational route for receiving raw materials. This evolution is visible on historical maps. During the different steps of evolution the city
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fabric appears unclear. Seems like Glasgow has been unsure about its own city planning. The infrastructures at least suffered of this unclear condition for sure. The Central Station is a clear example. In the second half of the nineteen century was moved from south to the upper side of the Clyde. Years growth of the city the bridge connecting the station to the south was improved and substituted with a wider one. Something similar happened to the system of subways. The old system became part of the North Clyde Line and at the beginning of the second half of the 20th century the new system was built. Major improvement were done later in the 80s. Connections in Glasgow are complicated and the M8 is maybe the clearest example above all. The project construction started in the 60s, late
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50s. The interaction with the city is fascinating, the
cut is creating major issues on the urban tissue
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Most of the time this separation shows residential dwellings on the left-up side and
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deindustrialization but there is more than that. A very peculiar condition of Glasgow, in particular focusing the attention on the City Centre, is the lack of public, urban space. Even the structure of the City Centre stands out if compared to other urban realities. In particular the lack of parks and urban green in general, probably due to the closeness of Glasgow Green and Kelvingrove Park. The vacant and derelict spaces are also almost construction sites. The major square is disconnected from the major pedestrian street, which in its turn shows particularity as well. In fact Buchanan Street reaches St. Enoch Square at its bottom but collapse with Sauchihall Street at its top, in just a corner. All this series of characteristic makes realise the richness of the city centre. The emblem of all
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could be the “M8 Bridge to Nowhere”, the series of pedestrian bridges for allow pedestrian to cross the M8 in Finnieston. The name was given because the project was left abandoned for a while and got completed only last year. It was made to connect the residential area on the left of the M8 with a commercial centre that never happened to be. Nowadays instead of a
The complexity of the connections are astonishing. The bridges in total are three, and their mixture with other “level” of communication is very surprising. The area in fact possesses the highway, the fastest network present, the exit of the highway into the urban network, the pedestrian bridges who pass across the previous two elements, and
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the normal pedestrian trails along the urban network. In addition to that a train station and a car park are present as well. But this complexity and overlapping of network condition in WoodLand, at the node between highway, exit from the highway, pedestrian walks and a small park. On the other side a kind of interesting case is the bridge to reach the Sighthill Park. The interaction here is indirect. While on the other two areas elements are physically affecting each other, here the bridge pass across the highway resembling the M8 walks but in a more shy and more the connection with the edges of city centre that suffers of a lack of clarity, at least in its very entrance.
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IN NEED FOR REDUNDANCY (or just in need to react to grids)
This is my chapter, and I will use I. I am here. I have a need. I do have a need. Repetition, patterns, grids. What is it all about? Why is that so attractive to me? I do not know, and at the end it does not matter. There is something about Glasgow that becomes very intriguing and furthermore an interesting topic to me. The amount of grids and their interaction is confusing and complex more than the necessary. It seems like the city lives a persistent condition of redundancy. Connections overlap and creates new spaces.
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This is the limbo Glasgow is facing. The city is stuck in this condition and in this fascinating realm the city is reacting to it. The system Glasgow adapted itself to this reality and places proper of a typical suburban aesthetic like edged along a highway are able to be lived and be alive because of that. The project is related to all this discoveries and reached the stage were instead of treating confusion as a negative aspect it wants to take advantages from it.
I’m convinced of my position, I will not regret. I have not intended to do that. Grids. This is what all is about. An obsession, a topic that I do not understand completely and I am still not able to comprehend in all its complexity.
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Glasgow is an intense reality that might need to acquire some enzymes in order to work better. An enzyme works in a very simple way. It is shaped for its purpose and to host and facilitate catalyse chemical reactions. corrects bits of DNA. The city works in a similar way. The city as body (and architecture before that) is Morphologie Manhattan. More recent example can be found in the theory of urban entropy from Marc M. AngĂŠlil. The city becomes a system of connection that
Glasgow is by no mean any different. The
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metaphor applies itself and becomes congruent with this reality. The city is an organism then or maybe even more, it is contained in an organism, subjected to different materials, different spaces. Like different Boson of Higgs maybe, different porosities . The city develops and manifests different porosity. Paola Viganรณ applied this concept to Paris and studies the effectiveness of communication routes and network between the city and the banlieue. My projects deals with all this and confront itself with different kind of communications, of networks. But instead of networks calls this elements grids. Because they are. Higgins was able to analyse the entire spectrum of grids in reality, I am not. But from a book like
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concept, object, tool, instrument, and so on, is able to shape our reality, becoming the translator of idea, the connection between human brain and reality. Agnes Martin in an interview declared that her brain is empty. She is not thinking, she declares that. I can only assume what she was meaning, and I am pretty sure I can only assume wrong. She is saying that her role is to translate her inspiration into a canvas in a way that reaches drawing something. She is very calm. Extremely calm. And this is scary (or maybe I am just envy). How can she be?
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disegno a visual research on grids by
federico lepre
Stu d en t Fe d e r i c o L e p re Reg. N o. 201472895
Univer sity of Str athclyde 2 0 1 5 /2 0 1 6 Fa c u l ty o f E n g i n eer i n g D e p a r tm en t o f A rchitecture MA rch / Pg D i p i n A d va n c e A rchitectura l D esig n Yea r 5
“ D i se gn o ”
antity is key in the entire
the relationship quality-qu
production
:
simply
“is� Enzo Mari, June 2002
DE-SI^NO
ab- bozzare q.C. c o m e p er s ta b i l i r n e i c o n fi n i
-
ebrietas designat? Hor.: modo quid desig-
“l ike to settle th e l i m i t s �
Disegno is a visual research. Disegno is an endless project. Disegno is a visual research. Formally prudent and targeted to get lost, wandering in a vast subject. There is no end, only discovery. An obsession that brings with it revealing elements. The form takes over and becomes a guide in the interpretation of the content. Disegno has no chapter only a lienear structure. Disegnare means to discover a limit. The act of drawing is the project and the limit reached is not the objective, the objective is to draw. “The city is like a great house, and the house in its turn a small city� L. B. Alberti Disegno is a series of grid visually related one to another in an aim uncertain and irrational for most of its time. Disegno shows the topic in relation with projects and each project shows connection with the previuos one. This connection manifests Disegno has no end therefore is an ongoing project. Disegno is extensive but only under this circumstances bounded in 60 pages. Diesgno aims to show the omnipresence of grid in life, from Diatom to city, house, economy, infrastructure, memory and human body.
t
from, within, in relation to images from various sources
pics the meeting of grids in photos by
federico lepre
Stu d en t Fe d e r i c o L e p re Reg. N o. 201472895
Univer sity of Str athclyde 2 0 1 5 /2 0 1 6 Fa c u l ty o f E n g i n eer i n g D e p a r tm en t o f A rchitecture MA rch / Pg D i p i n A d va n c e A rchitectura l D esig n Yea r 5
“ Pi c s”
t Three surveys combined pages a la Ruscha
FINNIESTON
CLYDE
WOODLAND
SIGHTHILL PARK
CITY CENTRE
GLASGOW’S CANAL
WOODLAND
CITY CENTRE
pictures taken with a
C a n o n Su resh o t WP-1 Film used AG FA Ph o to | Vi s ta 2 0 0